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Some furniture survives from ancient Egyptian tombs from about 3000 in the form of beds, chairs, tables, and storage chests.
It is in such furniture that decoration is first seen—in the leg of the bull and the lion employed as a furniture support, especially for beds.
Still more recent is the collection of the interior furnishings of the past by museums and galleries, where they are studied in scholarly isolation.
The segregation of such objects in galleries, however, has led to an increasing misunderstanding of their original purpose; and the division of the arts by museum curators into the fine arts and the decorative (or industrial) arts has helped to obscure the original functions of interior furnishings.
The more important artists had studios with assistants and apprentices and often signed cooperative work.
Many architects also designed interiors, including the accessories—furniture, pottery, porcelain, silver, rugs, and tapestries.
Paintings were usually ordered by size and frequently by subject from a painter who often practiced other forms of art, including furniture design and decoration.
Porcelain and silver, for instance, no longer fulfill their original purpose as part of the household furnishings but are collected into cabinets, since they are so precious.
Mirrors were employed for the same purpose of adding space to an interior.
The deliberate use of antiques as decoration was unusual in most periods.
Generally, in older houses elements of the previous decorative scheme were relegated to less important rooms when new decoration was undertaken to bring an old interior into line with current fashion. The art market has existed from the earliest times for the purpose of providing both new and antique works for the decoration of interiors, but in early times the market in old work was usually limited to paintings by admired masters and goldsmith’s work.
Only within the recent historic past have any interiors but those belonging to the rich and powerful been considered worthy of consideration.
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Since most of these patterns—especially those to be found in basketry and textiles—bear no resemblance to natural forms, they probably arose from the nature of the techniques employed in making the objects in question.