CHAPTER XIII
DOORWAYS, MANTELS, AND STAIRS 411
GLOSSARY 451
INDEX OF THE OWNERS OF FURNITURE 459
GENERAL INDEX 465
List of Illustrations
Lacquered Desk with Cabinet Top _Frontispiece_
ILLUS. PAGE
Looking-glass, 1810-1825 10
1. Oak Chest, about 1650 11
2. Olive-wood Chest, 1630-1650 13
3. Panelled Chest with One Drawer, about 1660 14
4. Oak Chest with Two Drawers, about 1675 15
5. Panelled Chest with Two Drawers, about 1675 16
6. Carved Chest with One Drawer, about 1700 17
7. Panelled Chest upon Frame, 1670-1700 18
8. Panelled Chest upon Frame, 1670-1700 18
9. Panelled Chest of Drawers, about 1680 19
10. Panelled Chest of Drawers, about 1680 20
11. Handles 21
12. Six-legged High Chest of Drawers, 1705-1715 22
13. Walnut Dressing-table, about 1700 23
14. Lacquered Dressing-table, about 1720 24
15. Cabriole-legged High Chest of Drawers with China Steps, about 1720 26
16. Lacquered High-boy, 1730 27
17. Inlaid Walnut High Chest of Drawers, 1733 28
18. Inlaid Walnut High Chest of Drawers, about 1760 29
19. “Low-boy” and “High-boy” of Walnut, about 1740 30
20. Walnut Double Chest, about 1760 32
21. Double Chest, 1760-1770 33
22. Block-front Dressing-table, about 1750 34
23. Dressing-table, about 1760 35
24. Chest of Drawers, 1740 36
25. High Chest of Drawers, about 1765 37
26. Dressing-table and Looking-glass, about 1770 39
27. Walnut Dressing-table, about 1770 40
Looking-glass, 1810-1825 41
28. Block-front Bureau, about 1770 42
29. Block-front Bureau, about 1770 43
30. Block-front Bureau, about 1770 45
31. Kettle-shaped Bureau, about 1770 44
32. Serpentine-front Bureau, about 1770 46
33. Serpentine-front Bureau, about 1785 47
34. Swell-front Inlaid Bureau, about 1795 48
35. Handles 49
36. Dressing-glass, about 1760 50
37. Bureau and Dressing-glass, 1795 51
38. Bureau and Dressing-glass, about 1810 52
39. Bureau and Miniature Bureau, about 1810 53
40. Dressing-table and Glass, about 1810 54
41. Case of Drawers with Closet, 1810 55
42. Bureau, about 1815 56
43. Bureau, 1815-1820 57
44. Empire Bureau and Glass, 1810-1820 58
45. Basin Stand, 1770 59
46. Corner Washstand, 1790 60
47. Towel-rack and Washstand, 1790-1800 61
48. Washstand, 1815-1830 62
49. Night Table, 1785 62
50. Washstand, 1800-1810 63
Looking-glass, about 1770 64
51. Wicker Cradle, 1620 65
52. Oak Cradle, 1680 65
53. Bedstead and Commode, 1750 66
54. Field Bedstead, 1760-1770 67
55. Claw-and-ball-foot Bedstead, 1774 69
56. Bedstead, 1780 70
57. Bedstead, 1775-1780 71
58. Bedstead, 1789 72
59. Bedstead, 1795-1800 74
60. Bedstead, 1800-1810 75
61. Bedstead, 1800-1810 76
62. Bedstead, 1800-1810 77
63. Bedstead, 1800-1810 78
64. Bedstead and Steps, 1790 79
65. Low-post Bedstead, about 1825 80
66. Low-post Bedstead, 1820-1830 81
67. Low Bedstead, about 1830 82
Looking-glass, 1770-1780 84
68. Oak Press Cupboard, 1640 85
69. Press Cupboard, about 1650 87
70. Carved Press Cupboard, 1680-1690 88
71. Corner “Beaufatt,” 1740-1750 90
72. Kas, 1700 92
73. Chippendale Side-table, about 1755 93
74. Chippendale Side-table, 1765 94
75. Shearer Sideboard and Knife-box, 1792 97
76. Urn-shaped Knife-box, 1790 99
77. Urn-shaped Knife-box, 1790 99
78. Knife-box, 1790 100
79. Hepplewhite Sideboard with Knife-boxes, 1790 102
80. Hepplewhite Serpentine-front Sideboard, 1790 104
81. Hepplewhite Sideboard, about 1795 105
82. Sheraton Side-table, 1795 106
83. Sheraton Side-table, 1795 107
84. Sheraton Sideboard with Knife-box, 1795 108
85. Sheraton Sideboard, about 1800 109
86. Sheraton Sideboard, about 1805 110
87. Cellarets, 1790 111
88. Sideboard, 1810-1820 113
89. Empire Sideboard, 1810-1820 114
90. Mixing-table, 1790 115
91. Mixing-table, 1810-1820 116
Looking-glass, about 1760 117
92. Desk-boxes, 1654 118
93. Desk-box, 1650 118
94. Desk, about 1680 119
95. Desk, about 1680 120
96. Desk, 1710-1720 121
97. Cabriole-legged Desk, 1720-1730 124
98. Cabriole-legged Desk, 1760 125
99. Desk, 1760 126
100. Desk, about 1770 127
101. Block-front Desk, Cabinet Top, about 1770 128
102. Block-front Desk, about 1770 129
103. Desk with Cabinet Top, about 1770 130
104. Block-front Desk, about 1770 133
105. Kettle-front Secretary, about 1765 135
106. Block-front Writing-table, 1760-1770 136
107. Serpentine-front Desk, Cabinet Top, 1770 137
108. Serpentine or Bow-front Desk, about 1770 138
109. Bill of Lading, 1716 139
110. Bookcase and Desk, about 1765 142
111. Chippendale Bookcase, 1770 143
112. Hepplewhite Bookcase, 1789 144
113. Maple Desk, about 1795 146
114. Desk with Cabinet Top, 1790 147
115. Sheraton Desk, 1795 149
116. Tambour Secretary, about 1800 150
117. Sheraton Desk, 1800 151
118. Sheraton Desk, about 1810 152
119. Desk, about 1820 153
Looking-glass, 1720-1740 154
120. Turned Chair, Sixteenth Century 155
121. Turned High-chair, Sixteenth Century 156
122. Turned Chair, about 1600 157
123. Turned Chair, about 1600 157
124. Wainscot Chair, about 1600 158
125. Wainscot Chair, about 1600 159
126. Leather Chair, about 1660 160
127. Chair originally covered with Turkey Work, about 1680 160
128. Flemish Chair, about 1690 161
129. Flemish Chair, about 1690 161
130. Cane Chair, 1680-1690 162
131. Cane High-chair and Arm-chair, 1680-1690 163
132. Cane Chair, 1680-1690 164
133. Cane Chair, 1680-1690 166
134. Cane Chair, 1680-1690 166
135. Turned Stool, 1660 167
136. Flemish Stool, 1680-1690 167
137. Cane Chair, 1690-1700 168
138. Queen Anne Chair, 1710-1720 168
139. Banister-back Chair, 1710-1720 169
140. Banister-back Chair, 1710-1720 169
141. Banister-back Chair, 1710-1740 170
142. Roundabout Chair, about 1740 170
143. Slat-back Chairs, 1700-1750 171
144. Five-slat Chair, about 1750 172
145. Pennsylvania Slat-back Chair, 1740-1750 173
146. Windsor Chairs, 1750-1775 174
147. Comb-back Windsor Rocking-chair, 1750-1775 175
148. High-back Windsor Arm-chair and Child’s Chair, 1750-1775 176
149. Windsor Writing-chair, 1750-1775 177
150. Windsor Rocking-chairs, 1820-1830 178
151. Dutch Chair, 1710-1720 179
152. Dutch Chair, about 1740 180
153. Dutch Chair, about 1740 180
154. Dutch Chair, 1740-1750 181
155. Dutch Chair, 1740-1750 181
156. Dutch Chairs, 1750-1760 182
157. Dutch Roundabout Chair, 1740 183
158. Easy-chair with Dutch Legs, 1750 184
159. Claw-and-ball-foot Easy-chair, 1750 185
160. Chippendale Chair 186
161. Chippendale Chair 186
162. Chippendale Chair 187
163. Chippendale Chair 187
164. Chippendale Chair 189
165. Chippendale Chairs 188
166. Chippendale Chair 190
167. Roundabout Chair 190
168. Extension-top Roundabout Chair, Dutch 191
169. Roundabout Chair 192
170. Chippendale Chair 192
171. Chippendale Chair 193
172. Chippendale Chair 193
173. Chippendale Chair 194
174. Chippendale Chair 194
175. Chippendale Chair in “Chinese Taste” 195
176. Chippendale Chair 196
177. Chippendale Chair 196
178. Hepplewhite Chairs 198
179. Hepplewhite Chair 197
180. Hepplewhite Chair, 1785 199
181. Hepplewhite Chair, 1789 199
182. Hepplewhite Chair, 1789 200
183. French Chair, 1790 201
184. Hepplewhite Chair, 1790 201
185. Arm-chair, 1790 202
186. Transition Chair, 1785 202
187. Hepplewhite Chair 203
188. Hepplewhite Chair 203
189. Hepplewhite Chair 204
190. Hepplewhite Chair 204
191. Sheraton Chair 205
192. Sheraton Chairs 206
193. Sheraton Chair 207
194. Sheraton Chair 207
195. Sheraton Chair 208
196. Sheraton Chair 208
197. Sheraton Chair 209
198. Painted Sheraton Chair, 1810-1815 209
199. Late Mahogany Chairs, 1830-1845 210
200. Maple Chairs, 1820-1830 212
Looking-glass, 1770-1780 213
201. Pine Settle, Eighteenth Century 214
202. Oak Settle, 1708 215
203. Settee covered with Turkey work, 1670-1680 216
204. Flemish Couch, 1680-1690 217
205. Dutch Couch, 1720-1730 218
206. Chippendale Couch, 1760-1770 218
207. Chippendale Settee, 1760 219
208. Sofa, 1740 220
209. Chippendale Settee 221
210. Double Chair, 1760 222
211. Chippendale Double Chair and Chair in “Chinese Taste,” 1760-1765 224
212. Chippendale Double Chair, 1750-1750 225
213. Chippendale Settee, 1770 226
214. French Settee, 1790 227
215. Hepplewhite Settee, 1790 228
216. Sheraton Settee, 1790-1795 229
217. Sheraton Sofa, 1790-1800 230
218. Sheraton Sofa, about 1800 230
219. Sheraton Settee, about 1805 231
220. Sheraton Settee, 1805-1810 232
221. Empire Settee, 1800-1810 232
222. Empire Settee, 1816 233
223. Sheraton Settee, 1800-1805 234
224. Sofa in Adam Style, 1800-1810 235
225. Sofa, 1815-1820 236
226. Sofa, about 1820 237
227. Cornucopia Sofa, about 1820 238
228. Sofa and Miniature Sofa, about 1820 239
229. Sofa about 1820 239
230. Sofa and Chair, about 1840 240
231. Rosewood Sofa, 1844-1848 241
Looking-glass, 1750-1780 242
232. Chair Table, Eighteenth Century 243
233. Oak Table, 1650-1675 244
234. Slate-top Table, 1670-1680 245
235. “Butterfly Table,” about 1700 245
236. “Hundred-legged” Table, 1675-1700 246
237. “Hundred-legged” Table, 1680-1700 247
238. Gate-legged Table, 1680-1700 248
239. Spindle-legged Table, 1740-1750 249
240. “Hundred-legged” Table, 1680-1700 250
241. Dutch Table, 1720-1740 251
242. Dutch Card-table, 1730-1740 251
243. Claw-and-ball-foot Table, about 1750 252
244. Dutch Stand, about 1740 253
245. “Pie-crust” Table, 1750 253
246. “Dish-top” Table, 1750 254
247. Tea-tables, 1750-1760 254
248. Table and Easy-chair, 1760-1770 255
249. Tripod Table, 1760-1770 256
250. Chinese Fretwork Table, 1760-1770 256
251. Stands, 1760-1770 258
252. Tea-table, about 1770 258
253. Chippendale Card-table, about 1765 259
254. Chippendale Card-table, 1760 260
255. Chippendale Card-table, about 1765 261
256. Pembroke Table, 1760-1770 262
257. Pembroke Table, 1780-1790 262
258. Lacquer Tea-tables, 1700-1800 263
259. Hepplewhite Card-table with Tea-tray, 1785-1790 264
260. Hepplewhite Card-tables, 1785-1795 265
261. Sheraton Card-table, 1800 266
262. Sheraton Card-table, 1800-1810 266
263. Sheraton “What-not,” 1800-1810 267
264. Sheraton Dining-table and Chair, about 1810 267
265. Sheraton Work-table, about 1800 268
266. Sheraton Work-table, 1810-1815 268
267. Maple and Mahogany Work-tables, 1810-1820 269
268. Work-table, 1810 270
269. Work-table, 1810 270
270. Hepplewhite Dining-table, 1790 271
271. Pillar-and-claw extension Dining-table, 1800 272
272. Pillar-and-claw Centre-table, 1800 273
273. Extension Dining-table, 1810 274
274. Accordion Extension Dining-table, 1820 274
275. Card-table, 1805-1810 275
276. Phyfe Card-table, 1810-1820 275
277. Phyfe Card-table, 1810-1820 276
278. Phyfe Sofa-table, 1810-1820 277
279. Pier-table, 1820-1830 278
280. Work-table, 1810-1820 279
Looking-glass, 1760-1770 280
281. Stephen Keene Spinet, about 1690 282
282. Thomas Hitchcock Spinet, about 1690 284
283. Broadwood Harpsichord, 1789 285
284. Clavichord, 1745 288
285. Clementi Piano, 1805 290
286. Astor Piano, 1790-1800 292
287. Clementi Piano, about 1820 293
288. Combination Piano, Desk, and Toilet-table, about 1800 294
289. Piano, about 1830 295
290. Peter Erben Piano, 1826-1827 296
291. Piano-stool, 1820-1830 298
292. Piano, 1826 299
293. Piano-stools, 1825-1830 300
294. Table Piano, about 1835 301
295. Piano, 1830 302
296. Music-stand, about 1835 303
297. Music-stand, about 1835 303
298. Dulcimer, 1820-1830 304
299. Harmonica or Musical Glasses, about 1820 305
300. Music-stand, 1800-1810 306
301. Music-case, 1810-1820 307
302. Harp-shaped Piano, about 1800 308
303. Cottage Piano, or Upright, 1800-1810 309
304. Chickering Upright Piano, 1830 310
305. Piano, about 1840 311
306. Hawkey Square Piano, about 1845 312
307. Harp, 1780-1790 313
Looking-glass, 1785-1795 315
308. Kitchen Fireplace, 1760 316
309. Andirons, Eighteenth Century 317
310. Andirons, Eighteenth Century 317
311. “Hessian” Andirons, 1776 318
312. Fireplace, 1770-1775 319
313. Steeple-topped Andirons and Fender, 1775-1790 320
314. Andirons, Creepers and Fender, 1700-1800 321
315. Brass Andirons, 1700-1800 322
316. Brass-headed Iron Dogs, 1700-1800 322
317. Mantel at Mount Vernon, 1760-1770 324
318. Mantel with Hob-grate, 1776 325
319. Franklin Stove, 1745-1760 327
320. Iron Fire-frame, 1775-1800 328
321. Betty Lamps, Seventeenth Century 329
322. Candle-stands, First Half of Eighteenth Century 330
323. Mantel with Candle Shade, 1775-1800 332
324. Candlesticks, 1775-1800 333
325. Crystal Chandelier, about 1760 334
326. Silver Lamp from Mount Vernon, 1770-1800 335
327. Glass Chandelier for Candles, 1760 336
328. Embroidered Screen, 1780 338
329. Sconce of “Quill-work,” 1720 340
330. Tripod Screen, 1770 341
331. Tripod Screen, 1765 341
332. Candle-stand and Screen, 1750-1775 342
333. Chippendale Candle-stand, 1760-1770 343
334. Bronze Mantel Lamps, 1815-1840 344
335. Brass Gilt Candelabra, 1820-1840 345
336. Hall Lantern, 1775-1800 346
337. Hall Lantern, 1775-1800 346
338. Hall Lantern, 1760 347
Looking-glass, First Quarter of Eighteenth Century 348
339. Lantern or Bird-cage Clock, First Half of Seventeenth Century 349
340. Lantern Clock, about 1680 350
341. Friesland Clock, Seventeenth Century 350
342. Bracket Clocks, 1780-1800 352
343. Walnut Case and Lacquered Case Clocks, about 1738 354
344. Gawen Brown Clock, 1765 356
345. Gawen Brown Clock, 1780 356
346. Maple Clock, 1770 357
347. Rittenhouse Clock, 1770 357
348. Tall Clock, about 1770 359
349. Miniature Clock and Tall Clock, about 1800 360
350. Tall Clock, 1800-1810 361
351. Wall Clocks, 1800-1825 362
352. Willard Clock, 1784 363
353. Willard Clocks, 1800-1815 364
354. Hassam Clock, 1800 366
355. “Banjo” Clock, 1802-1820 367
356. Presentation Clock, 1805 368
357. Banjo Clock or Timepiece, 1802-1810 368
358. Willard Timepiece, 1802-1810 369
359. Lyre Clock, 1810-1820 369
360. Lyre-shaped Clock, 1810-1820 370
361. Eli Terry Shelf Clocks, 1824 371
362. French Clock, about 1800 372
Looking-glass, First Quarter of the Eighteenth Century 374
363. Looking-glass, 1690 375
364. Looking-glass, 1690 376
365. Looking-glass, about 1730 378
366. Pier Glass in “Chinese Taste,” 1760 380
367. Looking-glass, about 1760 382
368. Looking-glass, 1770-1780 383
369. Looking-glass, 1725-1750 384
370. Looking-glass, 1770-1780 386
371. Mantel Glass, 1725-1750 387
372. Looking-glass, 1770 388
373. Looking-glass, 1770 388
374. Looking-glass, 1776 389
375. Looking-glass, 1780 390
376. Looking-glasses, 1750-1790 392
377. Looking-glass, 1790 393
378. Looking-glass, 1780 393
379. Enamelled Mirror Knobs, 1770-1790 394
380. Girandole, 1770-1780 395
381. Looking-glass, Adam Style, 1780 396
382. Looking-glass, 1790 397
383. Hepplewhite Looking-glass, 1790 398
384. Mantel Glass, 1783 399
385. Looking-glass, 1790-1800 400
386. “Bilboa Glass,” 1770-1780 402
387. Mantel Glass, 1790 403
388. Mantel Glass, 1800-1810 404
389. Cheval Glass, 1830-1840 405
390. Looking-glass, 1810-1825 406
391. Looking-glass, 1810-1815 407
392. Looking-glass, 1810-1825 408
393. Pier Glass, 1810-1825 409
394. Looking-glass, 1810-1825 410
Looking-glass 411
395. Doorway and Mantel, Cook-Oliver House 413
396. Doorway, Dalton House 414
397. Mantel, Dalton House 416
398. Mantel, Dalton House 417
399. Hall and Stairs, Dalton House 418
400. Mantel, Penny-Hallett House 419
401. Doorway, Parker-Inches-Emery House 420
402. Mantel, Lee Mansion 421
403. Landing and Stairs, Lee Mansion 422
404. Stairs, Harrison Gray Otis House 424
405. Mantel, Harrison Gray Otis House 425
406. Stairs, Robinson House 426
407. Stairs, Allen House 427
408. Balusters and Newel, Oak Hill 428
409. Stairs, Sargent-Murray-Gilman House 429
410. Mantel, Sargent-Murray-Gilman House 430
411. Mantel, Kimball House 431
412. Mantel, Lindall-Barnard-Andrews House 432
413. Doorway, Larkin-Richter House 433
414. Doorway, “Octagon” 434
415. Mantel, “Octagon” 435
416. Mantel, Schuyler House 436
417. Mantel and Doorways, Manor Hall 438
418. Mantel and Doorways, Manor Hall 439
419. Mantel, Manor Hall 440
420. Doorway, Independence Hall 441
421. Stairs, Graeme Park 442
422. Mantel and Doorways, Graeme Park 443
423. Doorway, Chase House 445
424. Entrance and Stairs, Cliveden 446
425. Mantel, Cliveden 447
426. Fretwork Balustrade, Garrett House 448
427. Stairs, Valentine Museum 449
428. Mantel, Myers House 450
FURNITURE
OF THE OLDEN TIME
Furniture of the Olden Time
INTRODUCTION
THE furniture of the American colonies was at first of English manufacture, but before long cabinet-makers and joiners plied their trade in New England, and much of the furniture now found there was made by the colonists. In New Amsterdam, naturally, a different style prevailed, and the furniture was Dutch. As time went on and the first hardships were surmounted, money became more plentiful, until by the last half of the seventeenth century much fine furniture was imported from England and Holland, and from that time fashions in America were but a few months behind those in England.
In the earliest colonial times the houses were but sparsely furnished, although Dr. Holmes writes of leaving—
“The Dutchman’s shore, With those that in the _Mayflower_ came, a hundred souls or more, Along with all the furniture to fill their new abodes, To judge by what is still on hand, at least a hundred loads.”
If one were to accept as authentic all the legends told of various pieces,—chairs, tables, desks, spinets, and even pianos,—Dr. Holmes’s estimate would be too moderate.
The first seats in general use were forms or benches, not more than one or two chairs belonging to each household. The first tables were long boards placed upon trestles. Chests were found in almost every house, and bedsteads, of course, were a necessity. After the first chairs, heavy and plain or turned, with strong braces or stretchers between the legs, came the leather-covered chairs of Dutch origin, sometimes called Cromwell chairs, followed by the Flemish cane chairs and couches. This takes us to the end of the seventeenth century. During that period tables with turned legs fastened to the top had replaced the earliest “table borde” upon trestles, and the well-known “hundred legged” or “forty legged” table had come into use.
Cupboards during the seventeenth century were made of oak ornamented in designs similar to those upon oak chests. Sideboards with drawers were not used in this country until much later, although there is one of an early period in the South Kensington Museum, made of oak, with turned legs, and with drawers beneath the top.
Desks were in use from the middle of the seventeenth century, made first of oak and later of cherry and walnut. Looking-glasses were owned by the wealthy, and clocks appear in inventories of the latter part of the century. Virginals were mentioned during the seventeenth century, and spinets were not uncommon in the century following.
With the beginning of the eighteenth century came the strong influence of Dutch fashions, and chairs and tables were made with the Dutch cabriole or bandy leg, sometimes with the shell upon the knee, and later with the claw-and-ball foot. Dutch high chests with turned legs had been in use before this, and the high chest with bandy legs like the chairs and tables soon became a common piece of furniture. With other Dutch fashions came that of lacquering furniture with Chinese designs, and tables, scrutoirs or desks, looking-glass frames, stands, and high chests were ornamented in this manner.
The wood chiefly used in furniture was oak, until about 1675, when American black walnut came into use, and chests of drawers, tables, and chairs were made of it; it was the wood oftenest employed in veneer at that time.
Sheraton wrote in 1803: “There are three species of walnut tree, the English walnut, and the white and black Virginia. Hickory is reckoned to class with the white Virginia walnut. The black Virginia was much in use for cabinet work about forty or fifty years since in England, but is now quite laid by since the introduction of mahogany.”
Mahogany was discovered by Sir Walter Raleigh in 1595. The first mention of its use in this country is in 1708. Mr. G. T. Robinson, in the London _Art Journal_ of 1881, says that its first use in England was in 1720, when some planks of it were brought to Dr. Gibbon by a West India captain. The wood was pronounced too hard, and it was not until Mrs. Gibbon wanted a candle-box that any use was made of the planks, and then only because the obstinate doctor insisted upon it. When the candle-box was finished, a bureau (_i.e._ desk) was made of the wood, which was greatly admired, and as Mr. Robinson says, “Dr. Gibbon’s obstinacy and Mrs. Gibbon’s candle-box revolutionized English household furniture; for the system of construction and character of design were both altered by its introduction.” It is probable that furniture had been made in England of mahogany previous to 1720, but that may be the date when it became fashionable.
The best mahogany came from Santiago, Mexican mahogany being soft, and Honduras mahogany coarse-grained.
The earliest English illustrated book which included designs for furniture was published by William Jones in 1739. Chippendale’s first book of designs was issued in 1754. He was followed by Ince and Mayhew, whose book was undated; Thomas Johnson—1758; Sir William Chambers—1760; Society of Upholsterers—about 1760; Matthias Lock—1765; Robert Manwaring—1766; Matthias Darly—1773; Robert and J. Adam—1773; Thomas Shearer (in “The Cabinet-makers’ London Book of Prices”)—1788; A. Hepplewhite & Co.—1789; Thomas Sheraton—1791-1793 and 1803.
Sir William Chambers in his early youth made a voyage to China, and it is to his influence that we can attribute much of the rage for Chinese furniture and decoration which was in force about 1760 to 1770.
Thomas Chippendale lived and had his shop in St. Martin’s Lane, London. Beyond that we know but little of his life. His book, “The Gentleman’s and Cabinet-Maker’s Director,” was published in 1754, at a cost of £3.13.6 per copy. The second edition followed in 1759, and the third in 1762. It contains one hundred and sixty copper plates, the first twenty pages of which are taken up with designs for chairs, and it is largely as a chair-maker that Chippendale’s name has become famous. His furniture combines French, Gothic, Dutch, and Chinese styles, but so great was his genius that the effect is thoroughly harmonious, while he exercised the greatest care in the construction of his furniture—especially chairs. He was beyond everything a carver, and his designs show a wealth of delicate carving. He used no inlay or painting, as others had done before him, and as others did after him, and only occasionally did he employ gilding, lacquer, or brass ornamentation.
Robert and James Adam were architects, trained in the classics. Their furniture was distinctly classical, and was designed for rooms in the Greek or Roman style. Noted painters assisted them in decorating the rooms and the furniture, and Pergolesi, Angelica Kaufmann, and Cipriani did not scorn to paint designs upon satinwood furniture.
Matthias Lock and Thomas Johnson were notable as designers of frames for pier glasses, ovals, girandoles, etc.
Thomas Shearer’s name was signed to the best designs of those published in 1788 in “The Cabinet-Makers’ Book of Prices.” His drawings comprise tables of various sorts, dressing-chests, writing-desks, and sideboards, but there is not one chair among them. He was the first to design the form of sideboard with which we are familiar.
As Chippendale’s name is used to designate the furniture of 1750-1780, so the furniture of the succeeding period may be called Hepplewhite; for although he was one of several cabinet-makers who worked together, his is the best-known name, and his was probably the most original genius. His chairs bear no resemblance to those of Chippendale, and are lighter and more graceful; but because of the attention he paid to those qualifications, strength of construction and durability were neglected. His chair-backs have no support beside the posts which extend up from the back legs, and upon these the shield or heart-shaped back rests in such a manner that it could endure but little strain.
Hepplewhite’s sideboards were admirable in form and decoration, and it is from them and his chairs that his name is familiar in this country. His swell or serpentine front bureaus were copied in great numbers here.
His specialty was the inlaying or painting with which his furniture was enriched. Satinwood had been introduced from India shortly before this, and tables, chairs, sideboards, and bureaus were inlaid with this wood upon mahogany, while small pieces were veneered entirely with it. The same artists who assisted the Adam brothers painted medallions, wreaths of flowers or arabesque work upon Hepplewhite’s satinwood furniture. Not much of this painted furniture came to this country, but the fashion was followed by our ancestresses, who were taught, among other accomplishments, to paint flowers and figures upon light wood furniture, tables and screens being the pieces usually chosen for decoration.
Thomas Sheraton published in 1791 and 1793, “The Cabinet-Maker and Upholsterer’s Drawing Book”; in 1803, his “Cabinet Dictionary”; in 1804, “Designs for Household Furniture,” and “The Cabinet-Maker, Upholsterer, and General Artist’s Encyclopedia,” which was left unfinished in 1807.
“The Cabinet-Maker and Upholsterer’s Drawing Book” is largely taken up with drawings and remarks upon perspective, which are hopelessly unintelligible. His instructions for making the pieces designed are most minute, and it is probably due to this circumstantial care that Sheraton’s furniture, light as it looks, has lasted in good condition for a hundred years or more.
Sheraton’s chairs differ from Hepplewhite’s, which they resemble in many respects, in the construction of the backs, which are usually square, with the back legs extending to the top rail, and the lower rail joining the posts a few inches above the seat. The backs were ornamented with carving, inlaying, painting, gilding, and brass. The lyre was a favorite design, and it appears in his chair-backs and in the supports for tables, often with the strings made of brass wire.
Sheraton’s sideboards are similar to those of Shearer and Hepplewhite, but are constructed with more attention to the utilitarian side, with sundry conveniences, and with the fluted legs which Sheraton generally uses. His designs show sideboards also with ornamental brass rails at the back, holding candelabra.
His desks and writing-tables are carefully and minutely described, so that the manifold combinations and contrivances can be accurately made.
Sheraton’s later furniture was heavy and generally ugly, following the Empire fashions, and his fame rests upon the designs in his first book. He was the last of the great English cabinet-makers, although he had many followers in England and in America.
After the early years of the nineteenth century, the fashionable furniture was in the heavy, clumsy styles which were introduced with the Empire, until the period of ugly black walnut furniture which is familiar to us all.
While there have always been a few who collected antique furniture, the general taste for collecting began with the interest kindled by the Centennial Exposition in 1876. Not many years ago the collector of old furniture and china was jeered at, and one who would, even twenty years since, buy an old “high-boy” rather than a new black walnut chiffonier, was looked upon as “queer.” All that is now changed. The chiffonier is banished for the high-boy, when the belated collector can secure one, and the influence of antique furniture may be seen in the immense quantity of new furniture modelled after the antique designs, but not made, alas, with the care and thought for durability which were bestowed upon furniture by the old cabinet-makers.
Heaton says: “It appears to require about a century for the wheel of fashion to make one complete revolution. What our great-grandfather bought and valued (1750-1790); what our grandfathers despised and neglected (1790-1820); what our fathers utterly forgot (1820-1850), we value, restore, and copy!”
Since the publication of this book in 1902, many old houses in this country have been restored by different societies interested in the preservation of antiquities. These historic houses have been carefully and suitably furnished, thus carrying out what should be our patriotic duty, the gathering and preserving of everything connected with our history and life. Thus much furniture has been rescued, not only from unmerited oblivion, but from probable destruction.