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Italian
Petrarca Chairs Adaptation
of
the 15c Petrarca Chair My
Lady’s garden needed chairs, and there could be no
better excuse to research and adapt a medieval design! I chose to
recreate a recognizable back-paneled arm chair of
Italian origin, typified by a specific example called
the Petrarca Chair.
This style is notable for the ease in which it
can be disassembled for transport. Aren’t
these Glastonbury chairs? The
German Renaissance artist Albrecht Dürer created his
famous woodcut of a rhinoceros without ever having
seen one, and it really shows.[i] In much the
same way, John Arthur Thorne, an English monk of the
Glastonbury Abbey, had in 1504 built a chair guided
only by a description brought from Rome by his Abbot[ii]. And although
Thorne’s chair did resemble the Italian chairs which
his Abbot had admired, its unnecessary complexity may
well have disqualified it from further interest. But it was
the first chair of its kind known in England, and so
became famous. It
has been widely copied, faithful plans continue to be
published, and even the Italian examples which
preceded it and inspired it are often mistakenly
called “Glastonbury chairs”. The
English Glastonbury chair is a degenerate design in
that it entirely lacks the elegant functional
simplicity of its forebears. It must be
pointed out therefore that these present chairs were
adapted directly from the Italian precedents, and not
from the English Glastonbury chairs. Unlike
the
Glastonbury Chair in which the seat and back panels
are held along all four edges by joined rails and
trunnioned crosspieces, the Petrarca Chair features
simple seat and back panels set into slots cut only
into the rails. Dowels
which span the full width of the chair are used in the
place of the Glastonbury’s complex and fitted
crosspieces. And
unlike the Glastonbury, the order of assembly of the
Petrarca chair’s legs, rails, and arms allows an
alignment of these components in which all surfaces
and holes may be made perpendicular and normal. Inspiration: The present chairs
are faithful to the illustrative Petrarca Chair in
construction and proportion. The Petrarca
Chair is so called because it has remained in the
former residence of the poet Francesco Petrarca, in
the Italian province of Padua, for hundreds of years. “Le Morte
del Patrarca,” a 1929 painting by Pietro Gualtiero De Bacci
Venuti, reflects a commonly held belief that the poet
was seated in that chair at his death in 1374. The chair is
unlikely to be that old however, bearing as it does
the carved embellishments typical of 15c chairs. It was
depicted in a woodcut (Figure 1) featured in a locally
published book on Petrarca in 1635[iii]. I
chose the specific example of the Petrarca Chair as
the inspiration for my chairs because of the elegant
simplicity of its design, the completeness of its
current condition, the availability of documentation
on its past conditions, and the surety that it is an
authentic example of a pre-17c chair and not just
another well-disguised Victorian-era reproduction. I developed
plans for my chairs by making measurements from many
available photographs of the Petrarca chair. The
arms of Petrarca-type chairs exhibit both a range of
form and a characteristic similarity. The arms are
what make the Petrarca chairs, together with the
Glastonbury chairs, immediately recognizable. For reasons
of personal taste, I chose to copy the arms of a
similar 15c example of the Petrarca style, also found
in Padua. I
have yet to locate sufficiently detailed photos or
sketches of the Petrarca Chair’s carved embellishments
to support an attempt to recreate them. The present
chairs will likely either receive original carvings
inspired by Renaissance Italian motifs, or remain
uncarved. The
original form of the Petrarca Chair: Materials: A
walk through most any museum display of medieval
furniture might give the impression that oak was
esteemed above all other types of wood for the making
of prestigious furniture. However, the
passing of centuries is a filter by which mundane and
unimpressive items are destroyed by neglect, the weak
are worn down and broken, and most anything which can,
rots. Oak
is famously strong, tannins make it resistant to rot,
and if an item of furniture wasn’t particularly
impressive in the first place then it was never likely
to be maintained to end up in a museum. Hence,
museum displays of fancy medieval furniture made of
oak. Every
pre-17c
English Glastonbury chair which I reviewed was made of
oak. Yet
despite that, and the strong survival bias for oak
furniture, nearly every example of pre-17c Italian
Petrarca chairs which I encountered was made of
walnut. One
was cypress, a soft but highly rot-resistant wood. Remarkably,
the one example of oak was the Petrarca Chair itself. Matteo
Boschini, an accomplished amateur wood carver living
in Northern Italy, examined the chair in 2015 and
reported that it was of oak[iv]. Although
this narrow study is far from conclusive, it suggests
a strong cultural preference, and is perhaps a
statement on the relative availability of oak and
walnut in Renaissance Italy versus England. Clearly,
whereas the Petrarca and Glastonbury chairs were both
popular styles, the apparent dichotomy was not due to
issues of suitability.
Oak
was selected for the new chairs, given that the
Petrarca Chair was made of oak, and that the new
chairs are intended for use in a garden and will be
left outdoors from Spring to Autumn. Finish: I
make no attempt here to push the boundaries of
knowledge regarding period furniture finishes. After 500
years, a chair’s original finish is generally long
gone, and any paint or varnish seen on it now is
likely to be a recent addition, and any present oils
may have merely accumulated through use and handling. The many
images of furniture found in medieval paintings
suggest that chairs were used both painted and
natural. Such
images which I have reviewed of Savonarola chairs, a
similarly complex style of portable chair which was
also popular in 15c Italy, show the chair unpainted,
but of course could have been oiled or varnished. The one
pre-17c painting which I encountered of a Petrarca
chair gave the uncertain impression that the chair was
unpainted. I
chose to seal the chairs against weathering with a
mixture of linseed oil and varnish, while using
asphaltum to darken the wood to imitate the effect of
aging.
Endnotes: [i]
Giulia Bartrum,
"Albrecht Dürer and his Legacy", British Museum
Press, 2002, ISBN 0-7141-2633-0 [ii]
Chinnery, Victor (1979). Oak
Furniture: The British Tradition. Woodbridge,
Suffolk: Antique Collector's Club. p.
220. ISBN 0-902028-61-8 [iii]
Giacomo Filippo
Tomasini, Petrarcha Redivivus (Padua 1635) [iv]
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