With regard to the exhibits of English firms, of which these illustrations include examples, little requires to be said, in addition to the remarks already made in the preceding chapter, of their work previous to the Exhibition. One of the illustrations, however, may be further alluded to, since the changes in form and character of the Pianoforte is of some importance in the consideration of the design of furniture. Messrs. Broadwood's Grand Pianoforte (illustrated) was a rich example of decorative woodwork in ebony and gold, and may be compared with the illustration on p. 172 of a harpsichord, which the Piano had replaced about 1767, and which at and since the time of the 1851 Exhibition supplies evidence of the increased attention devoted to decorative furniture. In the Appendix will be found a short notice of the different phases through which the ever-present piano has passed, from the virginal, or spinette--of which an illustration will be found in "A Sixteenth Century Room," in Chapter III.--down to the latest development of the decoration of the case of the instrument by leading artists of the present day. Mr. Rose, of Messrs. Broadwood, whose firm was established at this present address in 1732, has been good enough to supply the author with the particulars for this notice.
Other illustrations, taken from the exhibits of foreign cabinet makers, as well as those of our English manufacturers, have been selected, being fairly representative of the work of the time, rather than on account of their own intrinsic excellence.
It will be seen from these illustrations that, so far as figure carving and composition are concerned, our foreign rivals, the Italians, Belgians, Austrians, and French, were far ahead of us. In mere construction and excellence of work we have ever been able to hold our own, and, so long as our designers have kept to beaten tracks, the effect is satisfactory. It is only when an attempt has been made to soar above the conventional, that the effort is not so successful.
[Illustration: Lady's Work Table and Screen. In Papier-maché. 1851 Exhibition, London.]
In looking over the list of exhibits, one finds evidence of the fickleness of fashion. The manufacture of decorative articles of furniture of _papier-maché_ was then very extensive, and there are several specimens of this class of work, both by French and English firms. The drawing-room of 1850 to 1860 was apparently incomplete without occasional chairs, a screen with painted panel, a work table, or some small cabinet or casket of this decorative but somewhat flimsy material.