Design for Two Gothic Chairs 1841 - 1884

Editor: Here we have *Design for Two Gothic Chairs*, created sometime between 1841 and 1884 by Charles Hindley and Sons. It's a drawing or print made with pencil and potentially wood, currently residing at the Met. They have an interesting austerity to them, a rigid formality. What do you see in this piece? Curator: Well, immediately I'm drawn to the Gothic revival elements. Consider how these pointed arches and geometric forms are visual echoes, conjuring cultural memories of medieval cathedrals and the social structures they represent. Doesn't that architectural symbolism imbue the chairs themselves with a sense of authority and permanence? Editor: Yes, I see that! Like sitting on a little throne almost. It's interesting to think of something as everyday as a chair being loaded with all that symbolism. Curator: Precisely. It begs the question: What need or desire does incorporating these symbols fulfill for the user, and by extension, for society? The Gothic style wasn't just about aesthetics; it was a deliberate invocation of a specific past. Does the design make you think of moral rectitude? Of a return to tradition? Editor: Hmm, maybe? More like a romantic idealization of the past, perhaps, rather than strict morality. Like a stage set. Curator: Good point. It speaks to how visual symbols can be both powerful and fluid, shifting in meaning across different eras and individual interpretations. We should consider both the intended and perceived effects. The Gothic implied permanence and order. Is it order, or the impression of order that attracts? Editor: I think you’re right, symbols are all about creating an impression. I’ve never really thought about furniture like that before. Curator: These chairs reflect that power and constant, active cultural conversation. Perhaps now when you sit, you'll consider all the unseen conversations being had.