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[[File:Hôtel de Charost JP2010, Dorure salle à manger.jpg|thumb|right|300px|Surtout de table at the [[hôtel de Charost]]; the top is a mirror.]]
 
A '''surtout de table''' is an ornamental [[centrepiece]] displayed on a formal dining table., Evolving"a fromlarge acenterpiece simplewith platemirrored orplateaus bowland onnumerous whichcandelabra toand standother candlestickspossible anddisplay condiments,pieces aon top".<ref>Coffin</ref> In French ''surtout de table'' often tookis the formusual ofterm afor longany galleried tray madetype of precious or gilded metalscentrepiece, often madebut in sectionsEnglish allowingthis its"tray" length to betype, determinedalong bywith the leavesobjects addedplaced toon the table. During the later half of the 18th century and throughout the 19th centuryit, no formal table was considered compete without one. Today, they are still seen and used inis the most formal diningusual roomsmeaning.
[[File:Drawing, Design for a Surtout de Table (Centerpiece), 1780–90 (CH 18542829-2).jpg|thumb|Drawing, Design for a Surtout de Table based on [[Pompeii]], 1780–90]]
 
Evolving from a simple plate or bowl on which to stand candlesticks and condiments, a surtout de table often took the form of a long galleried tray made of precious or gilded metals, on which a series of other objects were placed for display. It was often made in sections allowing its length to be determined by the leaves added to the table. During the later half of the 18th century and throughout the 19th century, no formal table was considered compete without one. Today, they are still seen and used in the most formal dining rooms.
 
==History==
[[File:Salle a manger soupiere Palais Bourbon.jpg|thumb|[[Palais Bourbon]]]]▼
According to [[Roy Strong]], the surtout de table first appeared in 1692 at the meals for the wedding of [[Philippe II, Duke of Orléans]] (then [[duc de Chartres]]) and Louis XIV's legitimized daughter [[Françoise Marie de Bourbon]], as "a great silver gilt piece of a new invention".<ref>Strong, 238</ref> At first it was designed to hold candles, condiments, and other clutter on the table, and protect a polished wooden table from the staining caused by spillage from the salt and vinegars in the condiments.<ref>[http://www.louvre.fr/oeuvre-notices/surtout-de-table The Louvre] Retrieved 27 January 2016.</ref> During the first half of the 18th century, as the great central and ceremonial salt cellars fell from favour, to be replaced by smaller individual salt cellars, and the [[sugar sculpture]] [[trionfo]] declined, the surtout de table evolved to fill the role of ornamental table centrepiece.
 
It often took the form of a raised galleried tray which would be filled with matching candelabra, figurines, vases and [[epergne]]s, the gallery itself sometimes containing candle sconces. They were not always constructed from precious metals; porcelain and glass were often used,<ref>[http://www.musee-chateau-fontainebleau.fr/IMG/pdf/a_De_bronze_et_de_pierre_dure-_Un_cadeau_espagnol_a_Napoleon.pdf Musee Chateau de Fontainebleau] retrieved 21 January 2016</ref> as might be [[sugar sculpture|sculptures made from sugar]]. The top of the tray was often a mirror, to show the underside of the objects on it, and increase reflected light. Others continued as sculptural forms, sometimes becoming extremely extravagant.
The surtout de table first appeared in the 17th century and was a utilitarian object designed to hold candles, and protect a polished wooden table from the staining caused by spillage from the salt and vinegars in the condiments.<ref>[http://www.louvre.fr/oeuvre-notices/surtout-de-table The Louvre] Retrieved 27 January 2016.</ref> As the great central and ceremonial salt cellars fell from favour, to be replaced by smaller individual salt cellars; during the firt half of the 18th century, the surtout de table evolved to fill the role of ornamental table centrepiece. Often taking the form of a raised galleried tray, the gallery itself sometimes containing candle sconces, the tray would be filled with matching candelabra, figurines, vases and [[epergne]]s. Not always constructed from precious metals, porcelain and glass were often used.<ref>[http://www.musee-chateau-fontainebleau.fr/IMG/pdf/a_De_bronze_et_de_pierre_dure-_Un_cadeau_espagnol_a_Napoleon.pdf Musee Chateau de Fontainebleau] retrieved 21 January 2016</ref>
 
It was not uncommon, if a surtout de table were commissioned for a specific house, for an indigenous theme to be used in the style. Hence, a hunting lodge may have a surtout de table with figurines of dogs and their quarry; while a grander town palace would feature the most fashionable Rococo or Baroque styles of the day. Military figures and regimental officers' messes often commissioned examples with military subjects.
 
During the 1850s, the fashion for themed dining table decoration reached its epochapogee and the surtout de table reflected this. Porcelain factories, such as [[Meissen porcelain|Meissen]] produced elaborate models and figurines which replaced the classical statuary of the [[Empire style]] with coloured porcelain mountains, rustic scenes with cattle and goats and, occasionally, even a jungle theme complete with lifelike porcelain snakes.<ref>See the Surtout de table by Charles-Jean Avisseau (1795-1861). Exhibited at l'Expositionthe universelle[[International deExposition (1867)|1867 Exposition Universelle]]. 1903 Infantry: 10573 [[Musée des Arts Décoratifs, Paris|Musée des Arts Décoratifs]], Paris.</ref>
 
==Notable examples==
[[File:Giuseppe Valadier surtout de table.JPG|thumb|right|300px|Design for ana classical architectural surtout de table by Giuseppe Valadier]]
 
Notable examples of surtoutsurtouts de tablestable include those made the Italian goldsmith Luigi Valadier, often designed by his son, the architect [[Giuseppe Valadier]]. These monumental surtoutsurtouts de tablestable often reperesentrepresent Roman cities in miniature, complete with temples, colonnades and triumphal arches of coloured marbles and alabaster mounted on gold and mosaic pediments.<ref>[http://www.musee-chateau-fontainebleau.fr/IMG/pdf/a_De_bronze_et_de_pierre_dure-_Un_cadeau_espagnol_a_Napoleon.pdf Musee Chateau de Fontainebleau] retrieved 21 January 2016</ref>
 
[[Waddesdon Manor]] in England is now home to a vast 6.7 metre long gilt tray surtout de table made by [[Pierre-Philippe Thomire]] (1751-1843). Made circa 1818, it was given to Prince Ruffo Delladella Scaletta by [[Louis XVIII]].<ref>[http://www.yannickchastang.com/conservation/portfolio/bronze/21/ Yannick Chastang Conservation] retrieved 27 January 2016</ref>
 
[[George Washington]] ordered one via [[Gouverneur Morris]] in Paris in 1790, writing "Will you please my good Sir, send to me to Philadelphia or this place mirrors for a table with neat and fashionable but not expensive, ornaments for them, such as will do credit to your taste. The mirrors, the aggregate length of them may be ten feet, the width two feet, the panels may be plated ware or anything else more fashionable."<ref>HARBAUGH, MARJORIE WARVELLE, ''THE FIRST FORTY YEARS OF WASHINGTON DC ARCHITECTURE'', 2013, Lulu.com, {{ISBN|1304237869}}, 9781304237866, [https://books.google.com/books?id=A6myBQAAQBAJ&pg=PA477 google books]</ref>
France distributing wreaths of glory is the name and theme of a large silver plate on bronze surtout de table commissioned from the Parisian jeweller [[Charles Christofle]] by [[Napoleon III]] in 1852. Intended for use at state banquets at the [[Tuileries Palace]], the gilded tray contains a [[garniture]] of fifteen sculptures. The central figure is a winged [[Victoria (mythology)|Victory]] bearing laurel leaves which she awards to two horse-drawn chariots representing war and peace. At Victory's feet sit figurines representing Justice, Concord, Force and Religion.<ref>[http://www.napoleon.org/en/collectors_corner/object/files/surtout_christofle.asp Napoleon.org] retriebd 28 January 2016</ref>
 
TheFrance surtoutdistributing dewreaths tablesof wasglory stillis inthe situname whenand thetheme palaceof caughta firelarge insilver 1871.plate Iton bronze surtout de wastable pulledcommissioned from the smokingParisian debrisjeweller damaged[[Charles butChristofle]] intact.by It[[Napoleon hasIII]] neverin been1852. restoredIntended andfor isuse todayat diplayedstate withbanquets itsat smokethe blackened[[Tuileries giltPalace]], andthe dentsgilded attray thecontains a [[Muséegarniture]] desof Artsfifteen Décoratifs,sculptures. Paris|MuséeThe descentral Artsfigure Décoratifsis a winged [[Victoria (mythology)|Victory]] inbearing laurel leaves which she awards to two horse-drawn chariots representing war and peace. At Victory's feet sit figurines representing Justice, Concord, Force and ParisReligion.<ref>[http://www.napoleon.org/en/collectors_corner/object/files/surtout_christofle.asp Napoleon.org] retriebdretrieved 28 January 2016</ref>
 
The surtout de table was still in situ when the palace caught fire in 1871. It was pulled from the smoking debris damaged but intact. It has never been restored and is today displayed with its smoke-blackened gilt and dents at the [[Musée des Arts Décoratifs, Paris|Musée des Arts Décoratifs]] in Paris.<ref>[http://www.napoleon.org/en/collectors_corner/object/files/surtout_christofle.asp Napoleon.org] retrieved 28 January 2016</ref>
<gallery>
 
<gallery widths="200px" heights="200px">
File:France Surtout de table.jpg▼
File:Surtout de Table (Tenth Series of Designs from the wor... - Google Art Project.jpg|Designs for silver, [[Juste-Aurèle Meissonnier]], 1740s
File:Hôtel de Charost JP2010 salle à manger.jpg|[[Hôtel de Charost]]▼
File:The Great Dining Room.jpg|[[Chatsworth House]]▼
▲File:France Surtout de table.jpg|French [[ormolu]], later 19th century
 
▲File:Hôtel de Charost JP2010 salle à manger.jpg
 
File:Musée de la faïence, Fauchier.jpg
 
▲File:Salle a manger soupiere Palais Bourbon.jpg
 
File:Surtout de table en forme de rocher.jpg
▲File:The Great Dining Room.jpg|[[Chatsworth House]]
</gallery>
 
==Notes==
{{commons category}}
<references/>
 
==References==
 
*Coffin, Sarah D., [https://www.cooperhewitt.org/2018/09/05/surtout-de-table-sustenance-of-political-power/ "Surtout de table: sustenance of political power"], 2018, [[Cooper Hewitt, Smithsonian Design Museum]],
*[[Roy Strong|Strong, Roy]], ''Feast: A History of Grand Eating'', 2002, Jonathan Cape, {{ISBN|0224061380}}
* Milena Hübner, ''Surtout de table by Pierre-Philippe Thomire at the Wilanów Palace'', Kwartalnik Historii Kultury Materialnej, 68 (3), 2020, 357–390. https://doi.org/10.23858/KHKM68.2020.3.005
 
[[Category:Serving and dining]]
[[Category:SilverSilversmithing]]
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