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Striving to enrich the world with the fine arts of Mastery woodcarvings we have dedicated some time to the rich History of Tudor Design and period furniture. Come learn about why the Bed and [url=http://www.thehygienerevolution.com/hollister.php]hollister[/url] chair became a symbol exclusive to dignitaries and those of wealth and power.

Tudor Interior Design 1500-1650 The period covered is the most interesting in the history of English Interior Design. The Renaissance came late into England with its new standards of luxury and even of comfort, which were practically unknown before the early years of the sixteenth century. This country was by no means lacking in skilled craftsmen, Walls in the [url=http://www.sandvikfw.net/shopuk.php]hollister sale[/url] dwellings of the rich, were hung with tapestry of English origin. Furniture consisted of a great bed or two, probably draped, stools, very few chairs, trestle tables, chests, and serving-boards of simple construction. Such a room, of the time of Henry VI There would be a richly-hung bed one chair of simple form, and a carved sideboard on which stand two ewers and a cup on a chest; and that is all. In the inventory of the [url=http://www.teatrodeoro.com/hollisterde.php]hollister deutschland[/url] goods of one of the suppressed nunneries, the chamber of the priest attached to the institution contained only a bed, a chest, and an "old chair"-no doubt a discarded chair of state of the abbess.
Churches and monasteries were rich in finely-wrought gold and silver plate, in sumptuous textiles and embroideries, in exquisite carving. Foreign markets provided a stimulus to the organization of the guilds the merchant adventurers was effective it definitely [url=http://www.mxitcms.com/abercrombie/]abercrombie[/url] graded industrial society into the classes of [url=http://www.par5club.com/louboutin.php]louboutin[/url] masters, journeymen, and apprentices, their closer intercourse with the wealthy and luxurious merchants of the Low Countries, of Germany, and Italy. Domestic architecture developed ; houses engaged the attention of the craftsmen. It is true that the old inspiration of the Church was soon lost. The suppression of the monasteries had destroyed the ecclesiastical tradition of the arts. For a time England had to look elsewhere for the leaders of its craftsmanship.A design lead was given by the son of Henry VII as early as I509 we find an Italian, Guido Mazzoni, called Paganino, entrusted with the design for the tomb of Henry VII. ; Several English artificers were associated share in the execution of the work under Pietro Torrigiano, who received the contract in 1512. This was the beginning of a considerable addition of Italians, sculptors and decorators, These brought to England the decorative motives of the Italian Renaissance-the classical columns and pilasters, the panels of symmetrical ornament, the roundels of laurel leaves filled with busts in relief-imaginary.They brought too, the new method of stucco ornament to architecture, and terra-cotta, such as the roundels at Hampton Court, modeled by Giovanni da Maiano and gilt by Antonio Toto, the King's serjeant painters.
To some extent, the new style of decoration was put to ecclesiastical use, as in Henry VII's Chapel at Westminster, St Cross, and King's College Chapel. The living room, belongs to this period ; and examples like Waltham Abbey, now in the Victoria and Albert Museum, illustrate the living room of this period of transition. This panelled room dates from about 1530. Most of the detail is entirely Italianate; but a Gothic motive-the double ogee form-recurs, curiously intermingled with Renaissance ornaments. The use of wainscot for this purpose was already established, linen fold, was simpler in design. But the plastered wall now came into being, where an interesting series of fragments have survived showing the later development of this class of work. The fullest and most exuberant expression of the Italianate movement in England must, however, have been Nonesuch, near Cheam, begun by Henry VIII in 1538. Of this amazing building, Braun, in 1583, the King "procured excellent artificers, architects, sculptors, and statuaries, as well Italians, French, and Dutch as natives the finest and most skilled of these men, Antonio Toto was the chief craftsmen.
Indeed, when we examine the decorative designs authoritatively attributed to Holbein, the greatest of all the aliens employed by Henry VIII. It [url=http://www.rtnagel.com/airjordan.php]jordan pas cher[/url] must be the next development of ornament-one far more akin to the natural tendencies of our own craftsmen-in his use of arabesques and strap work it never really took root in England, in applied decoration, only a few details [url=http://www.sandvikfw.net/shopuk.php]hollister outlet sale[/url] such as the fluted columns and Italianate survived in capitals, the pilasters and rounded arches, the melon-shaped ornaments, dolphins, and the like, which survived, chiefly in woodwork, until the early part of the seventeenth century. Italian motives were brought into England by the middle of the sixteenth century,. The art of the engraver even before the close of the Gothic period afforded a means of multiplying the designs of the goldsmith-as, for instance, in the case of Israhel van Meckenen, who reproduced many [url=http://www.rtnagel.com/louboutin.php]louboutin pas cher[/url] designs. The woodcuts of Holbein and Durer, certainly came to England. Through the printing press which was producing a large mass of illustrated books of designs which furnished craftsmen with every kind of pattern for their use.. This is the first appearance of the professional designer, who, henceforth, was to play so important a part.
The designs of the German Little Masters were not largely used, except in the case of decoration. Our craftsmen found the patterns of the Flemings more to their taste, the strap work and grotesques of Floris, Bos, Collaert, and their fellows. Cock did a large trade in work of this kind, both as publisher and engraver. By the end of the sixteenth century still another decorative feature demands attention-the plaster ceiling, generally subdivided into geometrical compartments, sometimes appeared in English work, whatever the origin of some of its pattern. Just after the year 1600, ceiling decoration with its nicely proportioned but undecorated panels, relieved with pilasters and frieze of ornamental strap work and foliage, and completed allowed our builders to deal with the pointed [url=http://www.agentparadise.com]woolrich sito ufficiale[/url] styles of the middle Gothic period, and our cabinetmakers with the hints they took from their French contemporaries of the eighteenth century. On furniture of the time of the sixteenth century we had a definite and logical significance. It connoted forms or ornaments derived or believed to be derived from classical forms apply even to chairs and tables in little more than a century. It is seen as a mirror of the gradual growth of a standard of good living and comfort among the classes.At the commencement of our period the [url=http://www.riad-marrakesh.fr]abercrombie[/url] bed was the principal article of furniture in the dwellings of the great and rich. It was sumptuously upholstered and fitted with the necessary clothing.
The chair was a symbol of power and state-proper only for kings and such-like dignitaries; queens had to sit on stools, or low chairs. Other folk had benches, or the simplest sort of stool. Tables were mainly boards with trestles; the kings of England and Scotland imported large quantities of furniture from Italy, and from France, sumptuously decorated and upholstered. bedecked [url=http://www.agentparadise.com]woolrich outlet[/url] with cloth and fringe of gold and silk and velvet, carved or inlaid with divers woods, and ivory the British carpenters mainly used oak and our craftsmen soon built up a style of their own, strong and serviceable. By the Middle of the seventeenth century there was a characteristic of [url=http://www.giuseppezanottipaschere.com]giuseppe zanotti sneakers[/url] simplicity in decoration. Forms, restricted at first to the halls of the nobility, The new middle classes equipped themselves with chairs and tables, at least with good, honest, carved patterns and, later, with leather cushions. Whose pride in its possessions is now often shown by the carved name and date that takes its place in the decoration. The bedstead, heavily made of oak, and reeking with ornament, still retains its place of honor in an age which is characterized by its fondness for wood.
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