Part 21

“Of these we have purposely omitted to give any designs: their general appearance varying so little from wardrobes, which pieces of furniture they are intended to represent, that designs for them are not necessary.

“The upper drawers would be only sham and form part of the door, which may be made to turn up all in one piece, and form a tester; or may open in the middle, and swing on each side; the under drawer is useful to hold parts of the bed furniture; may be 5 feet 6 inches high, 14 feet wide.

“Nine designs for Cornices which are suitable for beds or windows are here shewn; these may be executed in wood painted and japanned, or in gold. A mixture of these two manners produces an elegant and grand effect. The foliage may be gilt, and the groundwork painted; or the reverse.” One of these appears as No. 4 on Plate LIV. This exhibits the curtain and toothed lappets, or points, of the lambrequin below the cornice.

The sideboard with Heppelwhite is quite different to that of Chippendale. The latter merely designs a long plain table with carved legs and no drawers. Heppelwhite’s sideboard is a far more highly developed piece of furniture. Sometimes the drawers were arranged in compartments, for various uses, and the sideboard had a cavity between the front legs to accommodate a wine-cooler. Pieces of plate and knife-cases stood upon its wide slab. The sideboard represented on Plate LIV. has Heppelwhite’s characteristic inlay of the husk or bell-flower done in satin-wood and the characteristic “spade” foot. An inlaid floral ornament decorates the corners below the front drawer.

Heppelwhite remarks:

“The great utility of this piece of furniture has procured it a very general reception; and the conveniences it affords render a dining-room incomplete without a sideboard.” The one represented on Plate LIV. has several drawers. The right-hand drawer “has partitions for nine bottles. Behind this is a place for cloths or napkins, occupying the whole depth of the drawer.”

“The drawer on the left hand has two divisions, the hinder one lined with green cloth to hold plate, etc., under a cover; the front one is lined with lead for the convenience of holding water to wash glasses, etc., there must be a valve-cock, or plug, at the bottom, to let off the dirty water; and also in the other drawer, to change the water necessary to keep the wine, etc., cool; or they may be made to take out. The long drawer in the middle is adapted for table linen, etc.

“They are often made to fit into a recess, but the general custom is to make them from 5½ to 7 feet long, 3 feet high, and 28 to 32 inches wide.”

He also gives designs for “sideboards without drawers; the ornaments to the front of which may be carved, painted, or inlaid with various coloured woods.” This kind is merely the old sideboard table.

Of pedestals he writes:

“Pedestals and vases are much used in spacious dining-rooms, where the last-described kind of sideboards are chosen; at each end of which they are placed. One pedestal serves as a plate-warmer, being provided with racks and a stand for a heater; and is lined with a strong tin; the other pedestal is used as a pot cupboard.

“The vases may be used to hold water for the use of the butter, or iced water for drinking, which is inclosed in an inner partition, the ice surrounding it; or it may be used as knife-cases, in which case they are made of wood, or of copper japanned. The height of the pedestal is the same as the sideboard and 16 or 18 inches square; the height of the vase about 2 feet, 3 inches.”

Of the knife-case, he says:

“The universality of this piece of furniture renders a particular description not necessary. It may be made of mahogany inlaid, or of satin or other wood at pleasure.”

Four designs of _vase knife cases_ are given. “They are usually made of satin, or other light-coloured wood, and may be placed at each end on the sideboards, or on a pedestal; the knives, etc., fall into the body of the vase, the top of which is kept up by a small spring which is fixed to the stem, which supports the top; may be made of copper, painted and japanned.”

One of these is shown on Plate LV., No. 4.

“Cellerets,” he tells us, “called also _gardes de vin_, are generally made of mahogany, and hooped with brass hoops lacquered; the inner part is divided with partitions, and lined with lead for bottles; may be made of any shape. These are of general use where sideboards are without drawers.”

Plate LIII. shows all of these articles except the celleret. The sideboard is similar to that on Plate LIV. and upon it stand knife boxes and a lustre. Pedestals supporting the vases described above stand on either side. Above is an ornate mirror.

“Candlestands are very useful in large suits of apartments, as the light may be placed in any part at pleasure—in drawing-rooms, in halls and on large staircases, they are frequently used. These designs may be executed in mahogany or wood japanned.” A very graceful example appears as No. 6 on Plate LV. It has five branches, three of which only are shown in the sketch here. This is to be made in mahogany or japanned wood and the branches are lacquered brass.

No. 1 on Plate LIV. represents a little urn-stand “to set the teapot on.” This is about 26 inches high and can be painted or varnished or inlaid with various coloured woods.

The “Pole fire screen,” a specimen of which is shown on Plate LV., No. 5, “may be ornamented variously, with maps, Chinese figures, needlework, etc. The screen is suspended on the pole by means of a spring in the eye, through which the pole goes.” These articles are made of mahogany or japanned wood.

The Horse fire-screen is supported by uprights standing on feet. The screen slides up and down in grooves in these uprights. The framework is usually of mahogany and the screen is covered with green silk needlework, etc. Heppelwhite’s lamps are often ornamented with brass work. He gives, however, a square one to be made in mahogany. Of great importance are his mirrors with sconce arms, which he calls “Girandoles,” and remarks: “This kind of ornament admits of great variety in pattern and elegance; they are usually executed of the best carved work,—gilt and burnished in parts. They may be carved and coloured suitable to the room.” A very graceful example is shown as No. 3 on Plate LV. The mirror fills the entire oval. Girandoles also hang on the walls of the room shown as Plate LIII.

Pier-glass frames are “almost invariably of good carved work, gilt and burnished.” The square shape is most fashionable, Heppelwhite says, and directs that “they should be made nearly to fill the pier. They must be fixed very low, and the panels of the sides are frequently made of various coloured glass.” What he means by this will be understood by referring to the large mirror over the sofa in Plate LIII.

Pier tables “are made to fit the pier and rise level with, or above the dado of the room, nearly touching the ornaments of the glass.”

“Tables in general,” we learn, “are made of the best mahogany. Their size is various but their height should not exceed 28 inches.”

“Card-tables may be either square, circular or oval: the inner part is lined with green cloth; the fronts may be enriched with inlaid or painted ornaments; the tops also admit of great elegance.”

Specimen card-tables are shown on Plate LIV., Nos. 2 and 3. Pembroke tables are the most useful of this species of furniture; they may be of various shapes. The long, square and oval are the most fashionable. These articles admit of the greatest elegance in the workmanship and ornaments. The tops “are inlaid, painted or varnished.” A beautiful example is shown on Plate LV. This table is supplied with a drawer below the top, the leaves of which fall at the two sides of the drawer.

Heppelwhite made a great variety of other tables, such as “tambour writing tables,” “night-tables” shaving-tables, and dressing-tables of all kinds. His dressing-tables were the result of much thought. In them we see the convenient mechanical and folding arrangements that Sheraton carried so far in his various devices. In one of Heppelwhite’s dressing-tables, the drawer is divided into compartments for pins, combs, essences, etc., and the looking-glass rises from the drawer on hinges, or it can be made to lie flat. “Rudd’s Dressing Table” also appears, which Heppelwhite says is “the most complete dressing-table ever made, possessing every convenience which can be wanted; or mechanism, or ingenuity supply. It derives its name from a once popular character, for whom it was reported it was invented.” Here the drawers can be made to swing around in any desired position, and the looking-glasses also swing on pins after they are elevated.

Another ladies’ dressing-table is a simple table, the slab of which lifts up or can be opened out. In the centre of it is the dressing-glass which can be made to rise and stand. Around it are little compartments for articles of the toilet. Then he makes also what he calls dressing-drawers. This is an “ordinary chest-of-drawers, one drawer of which is fitted up as a dressing-drawer.” Some varieties have serpentine fronts. Two of his mahogany bason-stands appear as Nos. 1 and 2 on Plate LV. Hanging-shelves for books or china are made of mahogany and are suitable for ladies’ rooms.

Commodes are often richly inlaid; some of them indeed are made of satin-wood and are shaped like half a drum. Chests-of-drawers, double chests-of-drawers and wardrobes are of the plainest forms and made of plain mahogany with a simple ring handle or knob.

The long bookcase of the type on Plate XXXIX. Heppelwhite calls library case. Describing these, he says: “They are usually made of the finest mahogany; the doors of fine waved or curled wood. May be inlaid on the panels, etc., with various coloured woods. The ornamental sash bars are intended to be of metal which, painted of a light colour, or gilt, will produce a light, pleasing effect.” The dimensions are determined by the place where it is to stand.

The dimensions of Heppelwhite’s desk and book-case are length, 3 feet, 6 inches; depth, 22 inches; height of desk, 3 feet, 2 inches, including 10 inches for the inside of the desk; total height about 6 feet; depth of bookcase, about 12 inches. These are “usually made of good mahogany. The drawers and internal conveniences admit of much variation. The designs show three different ways of making them: the patterns of the book-case doors may also be very much varied. On the top, when ornamented, is placed between a scroll of foliage, a vase, bust, or other ornament which may be of mahogany, or gilt, or of light-coloured wood.”

A tambour writing-table and bookcase appears on Plate LVII. This requires little explanation except to note that it has three drawers and a cylinder tambour shutter that rolls back and reveals all the pigeon-holes, nests of drawers and writing-table, while the upper part consists of shelves enclosed by two doors.

Of the latter, Heppelwhite says: “Tambour writing-table and bookcase, the doors to which are intended to be made of and ornamented with metal frames; these painted of a light, or various colours, produce a lively and pleasing effect. The reeds are here drawn forward to shew the appearance when shut.”

The library table is from 3 to 4 feet long and 3 feet deep. It is of mahogany, and covered on top with leather or green cloth. Some of them have cupboards in front for books, papers, etc.

The room on Plate LIII. is an arrangement of Heppelwhite’s own plan, regarding which he remarks: “Having gone through a complete series or suit of Household Furniture, we were strongly advised to draw out a plan, which should shew the manner of properly disposing of the same: with this intent, aided by the advice of some experienced friends, we here shew, at one view, the necessary and proper furniture for a Drawing-room, and also for a Dining-room or Parlour, subject to the following variations: If the object of this plan was a Drawing-room only, on each side of the chimney-piece there should be a sofa, and on the opposite side, instead of a sofa, should be a confidante: the sideboard also should be removed, and an elegant commode substituted in the place. The remaining space may be filled up with chairs. For a dining-room, instead of the pier-tables, should be a set of dining-tables. The rest of the furniture, and the general ordonnance of the room is equally proper, except the glass over the sofa, which might be omitted; but this is mere opinion, many of the Dining Parlours of our first nobility having full as much glass as is here shewn.”

The proper furniture for a Drawing-room and for a Dining-room or Parlour, being thus pointed out, it remains only to observe, that the general appearance of the latter should be plain and neat, while the former, being considered as a State-room, should possess all the elegance embellishments can give.”

The side of the room which the reader cannot see contains four windows, furnished with window stools and lambrequins; and, between each window, pier-glasses and pier-tables stand. These semi-circular tables were used, when necessary, to extend the square table in the centre of the room: one being placed at each end, for the extension table had not come into fashion.

THE SHERATON PERIOD

THE SHERATON PERIOD

Thomas Sheraton, an English journeyman cabinet-maker, settled in London about 1790. From that date until his death in 1806, he seems to have stopped working at his trade and to have spent his time writing practical books on furniture. His first publication, _The Cabinet-Maker and Upholsterer’s Drawing-Book_, appeared in 1791; but he had previously published eighty-four _Designs for Furniture_. In 1803, he issued _The Cabinet Dictionary_; and in 1804–7, _The Cabinet-Maker, Upholsterer and General Artist’s Encyclopædia_ appeared.

How many of the models in Sheraton’s books are his own it is hard to tell. He claims very few of them, and remarks in the _Cabinet-Maker and Upholsterer’s Drawing-Book_ that “it is intended to exhibit the present taste of furniture and at the same time to give the workman some assistance in the manufacture of it.” Sheraton, like Chippendale, whose “designs,” he says, “are now wholly antiquated and laid aside, though possessed of great merit according to the times in which they were executed,” and like Heppelwhite also, therefore exhibits the fashions of his time—fashions that came from France. From what he himself writes, it would seem that he gathered designs from various sources and worked for popularity. He says:

“In conversing with cabinet-makers, I find no one individual equally experienced in every job of work. There are certain pieces made in one shop which are not manufactured in another, on which account the best of workmen are sometimes strangers to particular pieces of furniture. For this reason, I have made it my business to apply to the best workmen in different shops to obtain their assistance in the explanation of such pieces as they have been most acquainted with. And, in general, my request has been complied with, from the generous motive of making the book as generally useful as possible.”

He then informs the reader of “the difficult task I have had to please all.... I find some have expected such designs as never were seen, heard of, nor conceived in the imagination of man; whilst others have wanted them to suit a broker’s shop, to save them the trouble of borrowing a bason-stand to shew to a customer. Some have expected it to furnish a country wareroom, to avoid the expense of making up a good bureau and double chest-of-drawers, with canted corners, etc., and though it is difficult to conceive how these different qualities could be united in a book of so small a compass, yet, according to some reports, the broker himself may find his account in it, and the country master will not be altogether disappointed; whilst others say many of the designs are rather calculated to shew what may be done, than to exhibit what is or has been done in the trade. According to this, the designs turn out to be on a more general plan than what I intended them, and answer, beyond my expectation, the above various descriptions of subscribers. However, to be serious, it was my first plan, and has been my aim through the whole, to make the book in general as permanently useful as I could, and to unite with usefulness the taste of the times.”

This taste changed gradually from the Louis XVI. style to that of the Empire. Sheraton, consequently, covers these two periods. Sheraton had his own tastes and his own ideas, however, and his books are full of his individual fancies and instructions. He was a great admirer of carving. When we read: “Having possessed a strong attachment and inclination for carving in my youth, I was necessarily induced to make attempts in this art, and on succeeding in some degree, I was employed in the country occasionally in it,” this explains the many graceful designs that he gives for carved splats and bannisters of chairs. He was also fond of inlaid and painted furniture, and greatly liked the new fashion of inlaying with brass, especially for black woods. Satin wood, too, particularly of a “fine straw colour,” which has a “cool, light and pleasing effect in furniture,” he also admired, and thought tulip-wood and zebra-wood (of the “scarce brown and white streaked variety”), beautiful for cross-banding.

Mahogany he uses for dining-room, library and bedroom furniture, and for chairs with carved backs. He brightens much of his mahogany with such brass ornaments, as handles, key-plates, columns, rails and claw-feet, and often inlays it with a few small lines of brass, as he does rosewood. Rosewood he recommends for choice pieces, such as work-tables, secretaries, etc. Brass beads is another form of ornament that he likes to use. The straight line appears in the forms of the Sheraton furniture. The chair leg is frequently reeded, or turned and decorated with twisted flutes and fillets. The tambour shutter Sheraton makes much use of, and he likes to introduce all kinds of mechanical devices into his furniture.

Among his favourite ornaments are the husk, or bell-flower, the swag, or festoon, the column, the lyre, the lotus, the acanthus, the urn, the vase and the patera, the latter being used especially to hide the screws of beds and joining of chair-frames (see Plate LXIII. and Nos. 10 and 11, Plate LXII.). Like Chippendale, he gives an immense number of book-case doors composed of panes arranged in ornamental designs, and behind these he flutes green silk curtains. During his last period, the wire door appears for commodes, cabinets and other pieces.

Sheraton’s drawing-room furniture was of white and gold, of satin-wood, wood painted and japanned, or of rosewood. The coverings for the drawing-room chairs were silk or satin, the designs being stripes or the oval medallion. In 1803, he advocates cane.

Sheraton has very little to say about textiles or colours. He speaks of printed cottons, and silks and taffeta of all colours, plain, striped, checked, flowered and mixed with gold and silver. The only colour about which he has any thing to say is blue: “Blue and white, blue and black, very light blue and yellow will harmonize. Blue kills some colours; and on which account before any be used to join with another colour, they should be compared together; and if the more brilliant colour to which it is joined becomes therefore less vivid, some other colour should be chosen.”

He gives many directions, however, regarding the arrangement of rooms.

“As the entrance, or hall, of any well built house ought always to be expressive of the dignity of its possessor, so the furniture ought to be designed in a manner adapted to inform the stranger, or visitant, where they are, and what they may expect on a more general survey of every apartment.

“As the hall is a general, or ought to be a general opening to all the principal apartments, it should be furnished so as not to be mistaken for the most superb division of the structure, or where they may expect to meet the nobler person who resides in it. The furniture of a hall should therefore be bold, massive and simple: yet noble in appearance and introductory to the rest.”

It is interesting to note that the Adam stucco-work has had its day and that there is a return to the Boucher treatment of the ceiling. Sheraton remarks: “Plastered ceilings are supposed to be more common in Britain than in other countries. The manner of finishing ceilings has been various, at different times, in this country. A sort of very heavy ornamented plaster work was formerly introduced, together with pannelled work in heavy mouldings. Within about thirty years since, this kind of ceiling work has been composed in a much lighter style, and variegated with painted panels, often from the heathen mythology, or other poetical subjects. At present some of the most elegant rooms have no plastered ornaments in their ceilings, but are painted to imitate an open sky, with some faint scattering of clouds.”

The walls were hung with paper.

The window generally reached to the floor, with small panes of glass, from four to eight in a sash. The window was also furnished with a blind. “The most fashionable blinds,” Sheraton assures us, “are of wood painted green all except the frame which is of mahogany. The blind part is either composed of upright or horizontal narrow laths ⅛ of an inch thick painted a bright green and which move by means of a lever to any position for admitting more or less light.”

The cornice was painted and japanned, or carved and gilded, and from it hung the draperies.

“Festoon window-curtains,” says Sheraton, “are those which draw up by pullies, and hang down in a swag. These curtains are still in use in bedrooms, not withstanding the general introduction of the French rod curtain in most genteel houses. A festoon window-curtain consists generally of three pulls, but when a window is extensive they have four or five.”

An example of the French rod is shown on Plate LIX., No. 1, dated 1803. Sheraton says: “The French window rod is made of brass about ¾ of an inch diameter, having a pulley at the left end and two at the right, one of which is fixed on a pin perpendicular to the rod. At present, they frequently make the French rods of satin wood two to a window to lap past each other about three inches in the centre; so that the curtain draws half on each side separately, or only half of it may be drawn at once; and when they are both drawn out they lap over each other.” The chimney is invariably furnished with a glass. Sheraton says:

“In elegant rooms, the chimney-glass is usually carried to the under side of the cornice of the ceiling; but to reduce the expense of the plate, sometimes a broadish panel is introduced at the top of the glass with a frieze and cornice above all, included in the frame of the glass.

“The most generally approved pilasters for chimney and pier-glasses are those of 3, 5, or 7 reeds, worked bold; but which, in my opinion, still look better by being parted with a ground one-third of the width of the reed which may be matted to relieve the burnished reeds. It is not unusual to have a twisting branch of flowers, or a ribband round the reeds rising upwards, and terminating in some sort of Composite, Corinthian, or Ionic capital. The panel above the glass is sometimes made quite plain and covered with silk as a ground for drapery, tacked under the cornice of the glass to match that of the windows.”