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the bare look of arm-chairs. Towards the fourteenth century, tables of precious metals disappeared, in consequence of fashion ruling in favour of the stuffs which covered them; tapestry, tissues of gold, and velvets thenceforth formed the table-cloths. On great occasions, the place of the principal guests was distinguished by a canopy, more or less rich, erected above their seats, as represented in the account of the sumptuous feast given by King Charles V. to the Emperor Charles of Luxemburg, in the great hall of the palace. M. Fréguier thus describes the banquet from contemporary documents in the “Histoire de l’Administration de la Police de Paris:”—

“The dinner was served on a marble table. The Archbishop of Rheims, who had officiated that day, first took his place at table. The Emperor then sat down, then the King of France, and the King of Bohemia, the son of the Emperor. Above the seat of each of the three princes was a separate canopy of gold cloth, embroidered all over with fleurs-de-lis. These three canopies were surmounted by a larger one, also of cloth of gold, which covered the whole extent of the table, and was suspended behind the guests. After the King of Bohemia, three bishops took their place, but far removed from him, and near the end of the table. Under the nearest canopy the Dauphin was seated, at a separate table, with several princes or nobles of the Court of France, or of the Emperor. The hall was adorned with three buffets, or dressers, covered with gold and silver plate; these three dressers, as well as the two large canopies, were protected by a railing, to prevent the intrusion of the crowds of people who had been permitted to witness the magnificence of the display. Finally, there were to be seen five other canopies, under which were assembled princes and barons round private tables; also numerous other tables.”

      It is noteworthy that from the time of St. Louis these same chairs and seats, carved, covered with the richest stuffs, inlaid with precious stones, and engraved with the armorial bearings of great houses, issued for the most part from the workshops of Parisian artisans. Those artisans, carpenters, manufacturers of coffers and carved chests, and furniture-makers, were so celebrated for works of this description, that in inventories and appraisements of furniture great care was taken to specify that such and such articles among them were of Parisian manufacture; ex operagio Parisiensi (Fig. 4).

      Fig. 4.—Louis IX. represented in his Regal Chair, tapestried in fleurs-de-lis, from a Miniature of the Fourteenth Century. (MS. de la Bibl. Imp. de Paris.).

      The following extract, from an invoice of Etienne La Fontaine, the royal silversmith, affords, in terms which require no comment, an idea of the costliness lavished on the manufacture of an arm-chair, then called faudesteuil, intended for the King of France, in 1352:—

“For making a fauteuil of silver and of crystal decorated with precious stones, delivered to the said seigneur, of which the said seigneur ordered the said goldsmith to make the framework, who ornamented it with several crystals, illuminated pieces, many designs, pearls, and other stones. … VIIᶜ LXXIIIIᵐ (774 louis).

      “For illuminated pieces placed under the crystals of the said fauteuil, of which there are 40 of the armorial bearings of France, 61 of the prophets holding scrolls, 112 half-length figures of animals on gold ground, and 4 large representations of the judgments of Solomon. … VIˣˣᵐ (620 louis).

      “For twelve crystals for the said fauteuil, of which five are hollow to hold the bâtons, six flat, and one round,” &c.

      Fig. 5.—Seats from Miniatures of the Fourteenth and Fifteenth Centuries.

      It was only towards the commencement of the fifteenth century that chairs stuffed with straw or rushes first appeared; they folded in the form of the letter X (Fig. 5); the seats and arms being stuffed. In the sixteenth century chairs with backs (chaires or chayeres à dorseret), in carved oak or chestnut, painted and gilt, fell into disuse, even in the royal castles, as being too heavy and inconvenient, and on account of their enormous size (Figs. 6 and 7).

The dresser, which has just been described as used at the grand feast of Charles V., and which moreover has been retained, altered to a sideboard with shelves, almost to our time, was an article manufactured much less for use than for show. It was upon this dresser—the introduction of which does not appear to go further back than the twelfth century, and the name whereof sufficiently describes its purpose—that there was displayed, in the vast halls of manorial residences, not only all the valuable plate required for the table, but many other objects of goldsmith’s work which played no part in the banquet—vases of all sorts, statuettes, figures in high relief, jewels,

      Fig. 6.—Christine de Pizan, contemporary with Charles V. and Charles VI., seated on a Chair in carved wood with back and canopy, and tapestry of worsted or figured silk. The box or chest which formed the writing-table contained books. (Miniature from a MS. in the Bibl. of Burgundy-Bruxelles, Fifteenth Century.)

and even reliquaries. In palaces and mansions, the dressers were of gold, silver, or copper gilt; as were previously the tables. Persons of inferior rank had only wooden tables, but they were scrupulous in covering them with tapestry, embroidered cloth, and fine table-cloths. At one time the display of wealth on the dressers in ecclesiastical establishments attained to such a point, that we are reminded, among other censures levelled against that fashionable exhibition of vanity, of the expostulations of Martial d’Auvergne, author of the historical poem, “Les Vigiles de Charles VII.,” addressed to the bishops on the subject. One item significant enough is mentioned in ancient documents; it is the tribute of half-a-dozen small bouquets, which the inhabitants of Chaillot were bound to tender annually to the Abbey of Saint-German des Prés, to decorate the dressers of Messire the Abbot.

      Fig. 7.—Louise de Savoie, Duchess of Angoulême, mother of Francis I., seated in a high-backed Chair of carved wood. (Miniature from a MS. in the Imp. Bibl. of Paris.)

      More plain, but also more useful, were the abace and the crédence, other kinds of sideboards which generally stood at a little distance from the table; on one of these were placed the dishes and plates for removes, on the other the goblets, glasses, and cups. It may be added that the crédence, before it was introduced in the dining-halls, had from very remote times been used in churches, where it was placed near the altar to receive the sacred vessels during the sacrifice of mass.

      Posidonius, the Stoic philosopher, who wrote about a hundred years before the Christian era, tells us that, at the feasts of the Gauls, a slave used to bring to table an earthenware, or a silver, jug filled with wine, from which every guest quaffed in turn, and allayed his thirst. We thus see the practice of using goblets of silver, as well as of earthenware, established among the Gauls at a period we consider primitive. In truth, those vessels of silver were probably not the productions of local industry, but the spoil which those martial tribes had acquired in their wars against more civilised nations. With regard to the vases of baked clay, the majority of those frequently exhumed from burial-grounds prove how coarse they were, though they seem to have been made with the help of the potter’s wheel, as among the Romans. However that may be, we think it best to omit the consideration of the question in this place, and to resume it in the chapter on the Ceramic Art. But we must not forget to notice the custom which prevailed among the earliest inhabitants of our country, of offering to those most renowned for their valour beverages in a horn of the urus, which was either gilt or ornamented

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