The Baroque Era - France - 3

Chairs, too, were being made in sets. The backs were low, square and upholstered to match the seats. The legs were turned, either spirally or to baluster or bobbin profiles. It was an age that showed an increasing awareness of comfort, and some of the armchairs have backs that are slightly pitched. The arms themselves begin to take on an agreeable curve and the seats are well padded. Though still imposing, such chairs are no longer 'seats of estate' only, but make some concession to the idea of relaxation. Such ideas were not only confined to court circles. Much Louis XIII handmade furniture is clearly not very sophisticated and doubtless originated in country districts. As such, it is the earliest group in the great tradition of French Provincial furniture to have survived in any quantity, and to be suitable for use in the less pretentious modern home.

The two-part cabinet or armoire-a-deux-corps continued to be made but was gradually superseded by a full-length cupboard or armoire in the usually accepted sense. The earlier examples of the latter show a reluctance on the designers part to break with tradition. The doors are in fact full length, but each is divided into an upper and lower section by a rail, giving an appearance of four small doors, each one decorated with multiple mouldings forming an octagonal or diamond shaped frame around a central panel. The stiles, or vertical corner posts of the frame, are ornamented with columns of turnery sometimes in the round, but more often with one flat side glued to the frame.
This method of decoration, which was extensively used in many countries, is known as split turnery. It was achieved by lightly glueing together two lengths of wood , with a paper divider between them. The resulting package was turned on the lathe to the desired pattern and then split open again down the middle, providing two identical pieces, each decorated on one face and flat on the other, ready to be attached to a frame.
This technique was a favourite form of decoration on fitted and non fitted furniture constructed in the solid, and occasionally on pieces partly or wholly veneered.

It is to be found on early commodes, which, by the mid 17th century were gradually replacing the coffre or lidded chest in popularity. They have survived in large numbers in France and elsewhere, and are still found to be as convenient and useful as when they were first made.
Richelieu died in December of 1642, and was replaced by his protege Mazarin. Louis XIII also died in May of the following year, leave a five-year-old son as heir to the throne. Once again, France was to be ruled, nominally at least, by a queen mother in the person of Anne, but in reality by Jules Mazarin (1602-1661), an Italian by birth, a Frenchman by adoption and a cosmopolitan by instinct.
In taste he remained true to his land of origin, and as Anne was very much under his influence, Italianate furniture, now reproduction furniture, and decoration dominated the court during these twenty years.

Native French traditions meant little to Mazarin. In his determination to destroy the last vestiges of feudal power still wielded by the nobles, he seized on every opportunity to demolish a medieval castle. That he was a collector of art and fine furniture, is proved by the inventory of his effects made in 1653. He imported tables with pietre dure tops from Italy, cabinets-on-stands from the Netherlands and Germany; he introduced talented cabinet-makers such as Cucci from Italy and Golle from the Netherlands.

.........to be continued