The Cincinnati daily star. [volume] ([Cincinnati, Ohio]) 1875-1880, 1877-11-26
TIE QUELN ANNE REYIYAL.

lnlS FeNlNh Is Sdlu 10 De Inc WORK OF
that knot of poets and artists and con-
nOisseurs OF b iC-A-brac at whose head
stand Dante GaDriel RUsetti aud Viii
liam Morris, and the traces of Italian
fancy and English qudintness combined
in it declare Lnat IL mlght have been
their work If it is not. It's Introduction
was associated with revival OF Queen
Anne forms i'll Architecture, that is, of
the somewhat Dutcl Character Of a
country house, with red brick trimmings
and curved guD es, TO be found in tue
latter years OF William and Mary, quali-
fed by new inVeAti0n anu modern Las;e,
or course, it met with opposition and
criticism; FOR 1t appears TO nave sprung
INTO notice iuiI-srown, not like a growth
answering need, but like q surprise.
Animated discussions concerning its
merits and dement's, displaying equal
acrimony and ignorance, took place in
the meetings OF the architects and
others interested III such things, vari-
GUS voices declaring that nobody would
credit Queen Anne's epoch with any
style AZ all, ana that iflne epocn had a
style. it was not this; that this was Il
mOngrel, violating classic rules while
pretending t. be a form Of classic, and
yet really not unsuited TO Gothlc sur
rOundinge; and that, being an attemD.
to unite the truthlu!ness, variety, ana
plcturesquenesS OF the Gothic with the
common sense OF the Italian, it shuulu
De ed the Free Classic, for it was IN
reality only Renaissance, less strict
ana r'H"eu th'n 'ne otd h4nals : :
the @ Ieen Anne, so-called, of to-day,
and tuat which was purely home bred
and national Of the original style, reyels
in no curves whatever, but is severely
square and straight. Its lines are re-
bound from the curves Of Two centuries.
All of It's articles stand well off the
floor, upon strong supports, the con-
structiOn perfectly apparent, the cor
ners sharp, the panels many and small;
it carries much plaLe-glass, cut always
with a deep beyel, ana il mas a great
deal of carving IN the face, that is, i'll
sunk relief, OF the conventional forms UI
rruit, flowers. foliage, birds and AMI
mails, and tNeIr lueaIiAed suggestions:
it uses but little metal on its heavy artl-
cles, but llluminales Itself with number
less small and precious mirrors, with
brass sconces and cGndela bra, and rare
china, and its chimney pieces overflow
with sculptured beauty OF column and
capital and fri ze. Some OF the cnoicer
traits OF the ENZaDetnan are to be seen
occasionally III me calVlng OF the cab.
nets; there is even a hint Of the Louis
QuinZe in the long Teedy legs that now
aud then uphold some HgnG square OBJ
ject; it is thoroughly eclectic; and If
tnere is the least reminle lecence OF the
Go hlc in the tops Of sldG-boards, bufr4ts
and cabinets, there is general CHAR
acter Of the Louis Treize Throughout the
whole.
Such as it is, the style has struck the
eye wherever II has been
seen. LIS dealers keep travellers ran
sacking the three Kingdoms to procure
original articles to accord with it. III
the march of improvement, ancient
dwellings in the city constantly giving
way to new ones with modern convent
ences, there has arisen a trade whose
members are termed "nOuse-breakers,"
who carefully take to pieces the build
Ings OF one hundred and one hundred
and fifty years ago, preservlngthe wood
work with which the hrst followers Of
Grlnling Gibbons anI his school made
old London hne, the winuOw frames,
cornlces, panelIng, balusters, doors, aud
deSSNS pOrtes, which are SO valued that
reported TO bring pounds where it once
cost pence, and even its duplicates COM
mand fabulous sums. The Queen Anne,
with which ali TINS is used, is perhaps |
the most satisfactory domestic iurni-
ture that we nave, being reas enable and |
efficiently DeauCiul. 1t is quaint ana
ana has the simplicity anu |
luietness Of old work, without arcni-
Lectural pretenslon.-l HarpePs Maga-
zine.