The best houses in post-medieval Scotland had attenuated balk frontages which broadcast central like Doctor Who’s Tardis.
Beyond the ambiguous façade, a heavily-carved access led to a first-floor accessible room, with a added one or two floors aloft and a attic in the gable.
Floors were covered with alloyed blitz mats and carpets kept for table coverings. A solid ‘joyned’ table of oak or elm would be acclimated in the arch room, a abate archetype kept in the parlour.
But chairs were symbols of abundance and nobility, retained for the arch of the ancestors and acclimated alone by the masters and mistresses of the house.
Come the 1600s, though, carpenters began to see appeal beat accumulation as chairs became fashionable in the homes of bottom mortals. The appearance adopted is accepted broadly as the Wainscot chair.
These chairs were usually fabricated from the finest brand of oak and were characterised by collapsed board seats, carved bench rails, arm supports, advanced legs angry by a lathe, aback legs square-sectioned, and legs abutting by low beeline stretchers.
Clevedon Salerooms of Bristol awash a archetypal 17th Century Wainscot on September 3. The carved aback on this archetype showed an arcaded console carved with a beginning bulb and thistles.
The closing beautification prompted the agent to call the armchair as ‘probably Scottish.’ But back Kirkcaldy Art Gallery staged a ground-breaking exhibition of colloquial chairs in the 1990s, the characteristic carved burden of 17th Century Scottish examples was a actual English-looking rose!
I accept one at home to which some Victorian wag adapted assumption castors. The anteroom now has a acceleration limit.
The Wainscot at Clevedon Salerooms awash for £200.
Wainscot chair, £200 (Clevedon Salerooms).
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