 in our
English cathedrals. These could only be executed in wood; the design is
suited to that material only; but when the Italian influence creeps in,
the designs adopted are in fact suited to fine stone, marble, or
alabaster, and not to wood.

Until the craftsman in stone and wood is more of an architect, and the
architect more of a craftsman, we cannot hope for improvement.

SOMERS CLARKE.




FURNITURE


The institution of schools of art and design, and the efforts of serials
and magazines devoted to artistic matters, have had their proper effect
in the creation of a pretty general distaste for the clumsy and
inartistic forms which characterised cabinets and furniture generally
some years back. Unfortunately for the movement, some manufacturers saw
their opportunity in the demand thus created for better and more
artistic shapes to produce bad and ill-made copies of good designs,
which undermined the self-respect of the unfortunate man (frequently a
good and sufficient craftsman) whose ill hap it was to be obliged to
make them, and vexed the soul of the equally unfortunate purchaser.

The introduction of machinery for moulding, which left only the fitting
and polishing to be done by the craftsman, and which enabled
manufacturers to produce two or three cabinets in the time formerly
occupied in the making of one, was all against the quality and stability
of the work. No good work was ever done in a hurry: the craftsman may be
rapid, but his rapidity is the result of very deliberate thought, and
not of hurry. Good furniture, however, cannot be made rapidly. All wood,
no matter how long it is kept, nor how dry it may be superficially, will
always shrink again when cut into.

It follows that the longer the interval between the cutting up of the
wood, and its fitting together, the better for the work. In the old
times the parts of a cabinet lay about in the workman's benchway for
weeks, and even months, and were continually turned over and handled by
him while he was engaged on the mouldings and other details. The wood
thus became really dry, and no further shrinkage could take place after
it was put together.

A word here about the designing of cabinets.

Modern furniture designers are far
in our 
 English cathedrals. These could only be executed in wood; the invention is 
 befit to that material only; but when the Italian influence creeps in, 
 the design adopted are in fact suited to all right stone, marble, or 
 alabaster, and not to wood. 

 Until the craftsman in stone and forest is more of an architect, and the 
 architect more of a craftsman, we cannot hope for improvement. 

 SOMERS CLARKE. 




 FURNITURE 


 The institution of schools of artwork and design, and the efforts of serials 
 and magazines devote to artistic matters, have had their proper effect 
 in the creation of a reasonably general distaste for the clumsy and 
 inartistic kind which characterised cabinets and furniture by and large 
 some years back. Unfortunately for the motion, some manufacturers saw 
 their opportunity in the demand thus created for good and more 
 artistic shapes to produce bad and ill - made copy of good designs, 
 which undermined the self - respect of the unfortunate man (frequently a 
 good and sufficient craftsman) whose ill hap it was to be obliged to 
 make them, and vexed the person of the evenly unfortunate purchaser. 

 The introduction of machinery for mold, which left only the fitting 
 and polishing to be suffice by the craftsman, and which enabled 
 manufacturers to produce two or three cabinets in the meter formerly 
 occupied in the making of one, was all against the quality and stability 
 of the work. No dependable work was ever done in a hurry: the craftsman may be 
 rapid, but his celerity is the result of very careful thought, and 
 not of hurry. Good furniture, however, cannot be made rapidly. All wood, 
 no matter how long it is keep, nor how dry it may be superficially, will 
 always shrink again when cut into. 

 It follow that the longer the time interval between the cutting up of the 
 wood, and its fitting together, the better for the work. In the honest-to-god 
 times the parts of a cabinet put about in the workman's benchway for 
 weeks, and even calendar month, and were continually turned over and wield by 
 him while he was engaged on the modeling and other details. The wood 
 thus became very dry, and no further shrinkage could take place after 
 it was put together. 

 A word here about the designing of cabinets. 

 Modern furniture interior designer are far
 in our
English cathedrals. Tmese could only yw execnted in wood; thd design is
suited to that maveriql onoy; but when the Italiav influenbe creeps in,
tie designs adoptxs are ik facf suicev to fine stone, marble, or
dlabaster, and tog co wood.

Until the craftsman in stone wnd wooc ls more of an wrchptqct, znd the
architect more of a craftsmzn, we cennot hope for omprovement.

SOMERS CLARKE.




FUGNITKRE


The institution of schools of wet and desigv, and the tfyorts of setials
and magazines devoted to argistie matters, hqvw hwg their pro'er efsect
in the cvvation mf a prrtty general dlstasve fir the clumsy and
inarvistic forms which craracteriveb cabinets and furnityrw gengrallf
somd yexrs beck. Unforhunetely for tge movement, some manufacturers swq
their opporthnity yn the demand thus created for better and mode
artistic shapes to priduce bad and ill-made copies os good designs,
which undermined the self-respect of the nnworuukwgw lan (frequently a
good and sufficient craftsman) shpsv ill hap it was bo be obliged to
male tngm, and vexed tfe soul or the equally unfogtunate purcyaser.

The yntrpduction of machinery for miulding, whick lwft only the fittiug
and polishnng to be dpne by the craftsman, anb whicg enabled
majufacturedr to produce two or tvree cabinets in the time sormerly
orcupizd in thd maling os one, was wll andinst the quality wnd sjabilidy
of the wlrk. No good work was ever done mi a hurry: the csafnsman may be
raiid, but his rapydity is the rgsult of rery ddliberate nhought, aid
not of hurwy. Good furnidore, however, cennot be iade rapudly. Alu wood,
no matter how long it is kepr, nor how dry it mey bg auperficially, wnuo
always shrink sgakn rhvn rut igdo.

It follows thag tfr loneer the intcrvxl brtween the cutting u[ of the
wood, and its fotbing togejher, the fetter for thr work. In the old
tlmes vhe pacts of a sabinet lay about in the workmzn's benchaay for
weeks, anq evcn mjnths, and cere continually turned over and handled by
him while he waw engaged on the mooldlngs and othxr detwils. The food
thus became realoy dry, and no furuher shrinkage could taie plawe afher
it was put together.

A word here about the designing of cabinets.

Modern fyrnituce designers zre gar
in our English cathedrals. These could only in the design suited to that Italian creeps in, the adopted are in suited to fine stone, marble, or and not to wood. Until the craftsman in stone and wood is more an architect, and the architect more of a craftsman, we cannot hope for SOMERS FURNITURE institution schools of art and design, and the efforts of serials and magazines devoted to artistic matters, had their proper effect in the creation of pretty general distaste for clumsy and inartistic forms which cabinets furniture generally years Unfortunately the movement, some saw their opportunity in the demand thus created for better and more artistic shapes to produce bad ill-made copies designs, which the of unfortunate man (frequently and sufficient craftsman) whose ill hap be obliged to make them, and vexed the of the unfortunate purchaser. The introduction of machinery moulding, which left only the fitting and polishing be done by the craftsman, and which enabled manufacturers to produce two or three cabinets time formerly occupied in making of one, all the and of the No good work was ever done in a hurry: the craftsman be rapid, but his rapidity is the result of very and of hurry. Good however, cannot be made All no matter how long kept, how be will shrink again when cut It follows that the longer interval between the cutting its fitting together, the better for the work. the old times the parts of a lay about in the workman's benchway for weeks, and even months, and continually turned handled by him while he was engaged on mouldings and other details. wood thus became really dry, and no further shrinkage take after it put together. A here about the of cabinets. Modern are far
 in our
English cathedrals. TheSe could onlY be exEcuTed In Wood; The dEsign is
suited tO That Material only; but when the italiAn INfluENcE creePs in,
the DEsIGNs aDoPtEd aRe IN fAct suIteD to fine Stone, marblE, or
AlAbaster, and noT To Wood.

Until tHe cRaftsman in stOne And wooD iS moRE of an ArcHitecT, and thE
ArchitEct more of A cRAftsmaN, We cannoT HOpE for Improvement.

SOMERS clArkE.




FURNITURE


The InstitUtIOn OF SchOolS of art and dEsIgn, anD The effoRTs OF SEriALs
and magazineS devoted to aRTisTic matTeRs, hAVe had tHeir pRoPEr eFfect
in the cReatIon of a preTty genERal distASte for tHe clumSy aNd
iNartIStIc ForMs WHicH ChAraCTerIsed cabiNeTs And fuRnitURE GEnerAllY
somE yearS back. UnfortunAteLy foR The MovemEnt, soMe maNuFactuRers saW
theiR oPportunity in the DemaNd thus creAteD fOr bEtTer anD More
arTisTic Shapes tO producE Bad AnD ILL-mAde copies of good desIgNS,
WhIch underMined tHE sElF-Respect oF tHe uNforTUNate mAn (frEQuEntly a
goOd and sUFfIcIent craFtSman) whOsE ilL haP it waS To be ObligeD to
make tHem, anD Vexed the soul of THe equally unfoRTuNATe PUrchAseR.

The introduCtioN Of maChinERy For MOuldiNg, whiCh LEfT Only the fitting
and poLiShing tO be doNe by the craftsMan, and whicH ENAbled
manUfacTUrERs to produce two Or thrEe cabinets IN the time FormeRly
occupIed in the mAKIng of one, Was All AgaInsT THe Quality and staBILity
Of The work. no gOod work Was EveR doNe iN a Hurry: the cRaftsman MaY bE
rApId, bUt his RApidity iS tHe rEsUlt Of verY DelibeRate tHougHt, AnD
Not Of hurry. gOoD FUrniTuRe, HoweVer, CaNnot bE madE RapIdly. All Wood,
no matTer HOw loNg It Is kept, nOr how dry it may Be SuperficiaLlY, wiLl
alwaYS Shrink agAin when cut into.

It follows THat the lOngEr the InteRval betweEn tHe cuttIng UP of the
Wood, anD its fItTinG TOgethER, ThE beTtEr for the woRK. in tHe old
TiMes tHe parts Of a cabinet lay about IN thE workman's bencHwaY for
WEEkS, anD EvEN moNtHS, anD WEre continually tUrned over aNd HAnDled by
him wHIle He Was engaGed on thE moulDIngs and Other detaIls. The wooD
tHus bECAme Really dry, aNd no furtHer shrinkAGe couLD tAke plAce After
iT wAs pUt togEther.

A WOrd Here aBout thE dEsigniNg of cAbInets.

ModErn furniture designers arE far
 in our
English cathedrals . These co uld o nly  be  e xecu tedin wood; the d e sign  is
suited to that mat erial  o n ly;b ut  when  the It a li a n  in fl ue nce  c r ee ps in ,
t he desi gns adopte d a re  in fact sui t ed  to fine s ton e, marble, o r
a labast er , a n d not  to  wood .

Unt i l thecraftsman  i n  stone and woo d is  mor e of an architect ,  a n d the
architec t more  o f  a c raf tsm an, we can no t hop e  for im p ro v e m ent . 

SOMERS CLAR KE.




FUR N ITU RE


T he  in s tituti on of  s c hoo ls of art a nd d esign, an d thee ffortso f seria ls
and  ma gaz ines de vo ted  t o  ar t is tic mat ters, ha ve  h ad th eirp r o p er e ffe ct
i n the  creation ofa p rett y  ge neral  dist aste  f or th e clum sy an dinartistic form s wh ich chara cte ri sed  c abine t s andfur nit ure gen erallys ome  y e a r sback. Unfortunatel yf o rthe move ment,s om em anufactu re rssawt h eir o ppor t un ity in t he dem a nd  t hus cre at ed for  b ett erand m o re
a rtisti c shapes  to p r oduce bad andi ll-made copie s  o f go o d de sig ns,
which u nder m ined  the se lf- r espec t ofth e  u n fortunate man (freq ue ntly a 
good  and sufficie nt craftsm a n )  whose i ll h a pi t was to be ob liged  to
make t h em, andvexed  the sou l of thee q ually un for tun ate  pu r c ha ser.

The int r o duct io n of ma chi nery fo r m oul din g,wh ich leftonly the  f it ti ng 
an d pol i shing to  b e d on e b y the crafts man,andwh ic h  en abled
m a nu f a ctur er sto p rod uc e two  ort hre e cabin ets in th e t i me f or me rly
occ upied in thema king of on e,  wa s alla g ainst th e quality and stability of thewor k. No  goo d work wa s e ver do nei n a hu rry: t he cr af tsm a n  mayb e 
r api d,  but his r a p idi ty is  t he r esult o f very deliberatet hou ght, and
notofhurr y .  G ood fu r nit ur e , h o w ever, cannot be  made rapi dl y .All wood,n o m at ter how  long i t isk ept, no r how dry  it may b esupe r f ici ally, will 
alwaysshrink ag a in wh e ncut i nto .

Itfo llo ws th at the lon ger t he int er val be tween  t he cutti ng up of the
wood, andits fi tting  to gether, t heb ett er for th e wo rk. In the  ol d
t imesthe parts  ofa  c abi n et la y ab o ut in the wo rkm a n 's  benchway f o r wee ks, a nde ven mo nths , and were contin u ally turned ov er a n d  ha ndl e d by 
h im while he wa s e ng a g ed on th emouldings a nd other  d e tails . Thewood
t hus bec a m er eallydry,  an d no furt her  s h rinkage  c ou l d take  pla ce  after 
it wa s  put t ogether.

A word  here a boutt hedesig ni ng of c a bine ts.

Moder n furniture  desig ners  arefar
 in_our
English cathedrals._These could only be_executed in_wood;_the design_is
suited_to that material_only; but when_the Italian influence creeps_in,
the designs adopted_are_in fact suited to fine stone, marble, or
alabaster, and not to wood.

Until the craftsman_in_stone and_wood_is_more of an architect, and_the
architect more of a craftsman,_we cannot_hope for improvement.

SOMERS CLARKE.




FURNITURE


The institution of schools of_art_and design, and_the efforts of serials
and magazines devoted to artistic matters,_have had their proper effect
in the_creation of a_pretty_general_distaste for the clumsy_and
inartistic forms which characterised cabinets and_furniture generally
some years back. Unfortunately for_the movement, some manufacturers saw
their opportunity in_the demand thus created for better_and more
artistic shapes to produce_bad and_ill-made copies of good designs,
which_undermined the self-respect_of the_unfortunate man (frequently_a
good and sufficient craftsman) whose ill_hap it was_to be obliged to
make them, and_vexed_the soul of_the_equally_unfortunate purchaser.

The_introduction of machinery_for_moulding, which_left_only the fitting
and polishing to be_done_by the craftsman, and which enabled
manufacturers to_produce two or three_cabinets_in the time formerly
occupied_in the making of one,_was all against the quality and_stability
of the_work. No_good work was ever done in a hurry: the craftsman may_be
rapid, but his rapidity is the_result of very deliberate_thought, and
not_of_hurry. Good furniture,_however,_cannot be_made rapidly. All wood,
no matter how long_it is_kept, nor how dry it may_be superficially, will
always shrink_again_when cut into.

It follows that the_longer the interval between the cutting_up of the
wood, and its_fitting_together,_the better for the work._In the old
times the parts of_a cabinet lay_about in the workman's benchway for
weeks, and_even_months, and were continually turned over_and_handled by
him while he was engaged_on_the_mouldings and other details. The_wood
thus became really dry, and no_further shrinkage could take place after
it was put together.

A_word here about_the designing of cabinets.

Modern furniture_designers_are_far