DUTCH AND FLEMISH FURNITURE. Under the rule of the dukes of Burgundy Flanders was brought to the zenith of perfec tion in some branches of the industrial arts, especially tapestry weaving. But not until the 15th century do we find any pieces of movable furniture conforming to our idea of that word. Great coffers Ouches or bakuts) acted as chairs, beds and closets for holding the tapestries, clothing, bedding, etc. They showed rough carving in Gothic motifs, but more often were covered with floriated iron bracing and wide spreading branched lock escutcheons. The churches and monasteries alone had artistically designed pieces consisting of pulpits, reading desks, choir-stalls, etc. We have a few extant closet doors, the recesses of which closets were built into the wall; these doors were panelless boards held together with strap-hinges that straggled across the entire surface in Gothic scroll work and held them together. The tables were boards set on trestles. But the rise of the bourgeoisie with their powerful communes and the corporations and guilds brought not only peaceful conditions but a height of luxury and wealth that made Flanders the envy of her greater neighboring kingdoms. And, late in the 15th century, to the luxurious wealth of cush ions, carpets, tapestries and stamped and gilded leather work are added pieces of furniture that afford both body comfort and artistic effect to a certain degree. And at last we are able to discern a difference between the furniture of the church (hieratic) and that of the palace (profane) or dwelling of the wealthy. Carved and paneled pieces appear in the ladies' cham ber, painted in red heightened with white ros ettes; there was no bedroom, but the chamber had a bed, bench and armchair as well as a sideboard (dressoir). Still the bed was often a long chest on short legs, covered with a mat tress and pillow and protected at the sides with curtains to keep off the draughts and above by a canopy suspended from the ceiling. In the lining of the walls were often closets, the win dow frame afforded a seat, and there were set tles and benches. Sliding doors, later, disclosed shelves in the wall, on which were books, glass, plate ware, clothes and food; thus they served as cabinets, bookcases, cupboards, wardrobes and larders. They were primitive armoires. But the chair was still a chest with supports and a back added, and the sideboard (dressoir or credence) was also a chest but supported on legs and topped with a dais or canopy. The
carving of the panels ran to (linen orna ment, the rest to Gothic (tracery.* But pan eling was only done for churches till after the middle of the 15th century. The chimneypiece became quite ornamental (a number are extant) and had overmantles with arabesque carving on the supports and elaborate many-membered moldings in the overhanging cornice high above. Decorative Dutch tiles appear sometimes on the hearth and sides. Some of the mantles show painted decoration, generally armorial bearings. Brackets and consoles appear now, with carving, though immovable. Meals were taken in the great main hall, which was fur nished with a dressoir (buffet), trestle table, forms for seats (no chairs except for the lord and ladies and the guests. Great buffets (dressoirs) are recorded of the Burgundian period. Thus we read that when Philip the Good married Isabella of Portugal (there was a dressoir 20 feet long on a platform, and it had five stages (gradins), the three upper ones loaded with vessels of fine gold, and the two below had great vessels of These dressoirs were beautifully carved in Gothic trac eried doors and panels; some had numerous doors and also compartments in the lower space. A three-legged stool appears about this time, having the rear leg extended and spread out and deflected back at an angle of about 40 degrees so as to form a back. The rear of the seat diminishes almost to a point. Contem porary pictures show cavaliers sitting straddle legged and facing the back of these while using the back to rest the arms and hands upon; there were also a few four-legged chairs — all had very heavy lathe-turned legs. A very heavy boxed seat was the hokker, which was provided with arms and had the sides and back boarded in to a considerable height and roofed with a pediment. Other pieces were the bedstool to mount to the high bedding; reading desk, wash stand, framed mirror and fire-screen. The Flemish woodcarvers were becoming so skilled that their services were already called for in England, France, Spain, Italy and even Ger many. Among the noted Flemish masters of the 16th century working in Antwerp we find the names of Hans and Adrian Collaert, Hans Liefrinck and Cornelis Matsys.