ness between the late Flemish renaissance and the
corresponding Scottish wood-work. Foremost among
the examples here present comes the carved oak table
No. 423^ the legs of which are formed in the middle by
the enormous acorn-shaped mass so common in Flemish
work; other examples of unwieldy picturesqueness
are to be found in the Dutch Guild wardrobe No. 4.50,
and the oak cabinet No. 533. Attention should also
be called to the cabinet No. 464, whose beautifully
rich colour almost outweighs every other consideration ;
and the Queen Mary cabinet recently in the collection
at the Bishop's Palace is a purer example of work, as
is also the simple and solid No. 404. It is in chairs,
however, that the best illustrations are to be found.
No. 94, dated l625, with its panelled back and semi-
circular rose-filled top, may be taken as a type of a
particular make of chair of which many examples may
be noted, specially Nos. 179, 365, 547, 552, and 553,
and, with a valuation necessitated for a double purpose
of table and chair. No. 550. The beautiful lines of
No. 476 would be difficult to excel, and this particular
article of furniture seems to occupy a position midway
between those described and those which are common!}'
designated crown-top chairs, from their having the
imperial crown, with scroll supports, as the principal
object in their scheme of ornamentation. The back
supports are usually cut into double screw twists ; they
may or may not possess arms and fore supports.
The back panel has carved and pierced stiles and
rails, and cane may or may not be employed in the
seat and back. No. 481 is a magnificent example,
and variations may be seen in Nos. 104, 451, and 493.
This was a favourite design for chairs during the reign
of William and Mary, and probably an importation from
Holland — a fact apparently attested to by No. 287.
The metal-work of this period should also be referred
to, particularly the sconces, which, decorated by
hammered work or in repousse, are hung and placed
about the octagons. Perhaps the most noteworthy is
the pair No. 402, though 513 is just as interesting;
and attention is called to the Dutch specimens of
metal-work, particularly the lamp No. 438, and to the
Norwegian, No. 513.
This century saw also the introduction in France, of Boule or Buhl work, named after the artist and in- ventor, Andre Boule, born 1642. It is a particular kind of veneered work, composed of tortoise-shell and thin brass, with ivory and enamelled brass sometimes added, brass, and shell being, however, the general methods. Illustrations of this work are seen in the tables Nos. 64 and 65, which are further enriched by examples of Boule's added skill as a sculptor in brass. In the eighteenth century the seat of inspiration in furniture design was shifted from Italy to France, and this latter country for some time hereafter led the fashion. Boule work grew into bigger and more imposing structures ; other changes were introduced to cai-ry out the taste for gilding which then prevailed, and broken shell- shaped wood-work, known as Louis Quinze work, began to be adopted, the fantastic forms of the curves being- called Rococo, from the words rocai/le coqiiaille, rock and shell curves. The names of Le Pautre, Reisener, David, and Gonthiere may be mentioned among artists, and good specimens of the work of this period are to be seen in Nos. 136, 162, and I66. The mounts used in the decoration of these are made of a mixture of copper and zinc cast in a mould, and termed ' ormulu.' It is, however, in English work of this period that the exhi- bition is particularly strong, and is the work of a native school of designers, foremost among them being Thomas Chippendale, who published a book of designs with the object of promoting good French design in this field of art. His work is extremely well represented, as a reference to the Catalogue will show. Mention should, however, be made here of the powerful influ- ence exercised by Sir William Chambers, and constantly seen not only in Chippendale's, but in other work or the century, and of the classic feeling imparted to furni- ture by the brothers Adam in their designs for tables, chairs, sideboards, and plate. A representative example is chair No. 34. An alliance between furniture and painted decoration, already mentioned in connection with early Italian work, and then current in France, consisted in the introduction of painted medallions and cameo tops and borders in table tops and fronts. A specimen of such work is No. 90, and it may be interesting to state that Angelica Kauffman did work of this kind. To return, however, to Chip- pendale. With him must be associated Heppel- white, who also published a set of designs, and Thomas Sheraton, whose Diclionanj was issued late in the century. No detailed description of the various exhibits under the names of these three men Is neces- sary, and readers of this article are referred to the ex- cellent note on ' Chippendale and his Successors' which is inserted in the Catalogue of the Exhibition, by Mr. Marshall of the Edinburgh High School. The speci- mens of old bookbinding are reserved for future notice. Tapestry, though well represented, is deficient in really good specimens of the art. The best are those in the fifth octagon, and though treated too pictorially, the effect of No. 563 is extremely beautiful. All too brief a space is left to notice the works in the Amateur and Professional Sections. The majority of the exhibits from the Edinburgh Social Union, the Keswick School of Industrial Arts, and those of the Corstorphine Brass Class, particularly this latter, are most excel- lent up to a certain point, though the intention is in many cases much better than the result. It speaks volumes for the future position of the plastic arts when those usuallj' classed as consumers can thus practically demonstrate their growing taste for beautiful surround- ings. The chief fault would seem to lie in the desire for originality, but it should never be forgotten that the study of the works of the past is the only real road to a future excellence, and the best examples here are
