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First was the decoration of furniture legs with sharply profiled metal rings, one above another, like many bracelets on an arm; this was the origin of the turned wooden legs so frequent in later styles.

Second was the use of heavy fringes on furniture covers, blending the design of frame and cushion into one effect; this was much lightened by Classical taste but was revived in Neoclassicism.

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Egyptian furniture in general was light and easily transportable; its decoration was usually derived from religious symbols, and stylistic change was very slow.

had beds, stools, chairs, and boxes as principal forms.

Third was the typical furniture grouping that survived intact into the Dark Ages of Europe: the couch on which the main personage or personages reclined for eating or conversation; the small table to hold refreshments, which could be moved up to the couch; and the chair, on which sat an entertainer—wife, hetaira (courtesan), musician, or the like—who looked after the desires of the reclining superior personages.

From this old hierarchy of furniture derived the cumbersome court regulations concerning who may sit and on what, that persisted for centuries in the palaces and ceremonies of monarchs.

A flax cord, plaited, was lashed to the sides of the framework.