c.
ENGLISH
furniture, Decoration,
WOODWORK & ALLIED ARTS
DURING
The last half of the Seventeenth Century,
THE WHOLE OF THE
EIGHTEENTH CENTURY,
And the earlier part of the Nineteenth.
— BY —
THOMAS ARTHUR STRANGE.
Published by McCORQUODALE & CO., Limited, 40, Coleman Street, London, E.G.;
Also at Glasgow, Leeds, and Newton-le-Willows.
PRICE 30/ NET.
ENTERED AT STATIONERS' HALL.
Fhi r ' IN OI^EAT MITAI'I-'
PREFACE.
NE of the most noticeable features of Eighteenth Century Cabinet-work, etc., is the way the Master-
men seemed to have combined a scholarly knowledge of design, etc., with a thorough knowledge of
their craft, entering into the minutest details. Ruskin, in his " Stones of Venice ," suggests a
" consummation devoutly to be wished," and which must have been to a large extent practised by these old
cabinet-makers, etc. Ruskin says, speaking of the great variety in the designs of Venetian Glass, with the
absence of modern finish; " Now you cannot have the finish and the varied form too. If the workman is
thinking about his edges, he cannot be thinking of his design ; if of his design, he cannot think of his edges.
Choose whether you will pay for the lovely form or the perfect finish, and choose at the same moment
v/hether you will make the worker a man or a grindstone.
" Nay, but the reader interrupts me—'if the workman can design beautifullyj I would not have him
kept at the furnace. Let him be taken away and made a gentleman, and have a studio, and design his
glass there, and I will have it blown and cut for him by common workmen, and so I will have my design
and my finish too."
" All ideas of this kind are founded upon two mistaken suppositions : the first, that one man's thoughts
can be, or oiight to be, executed by another man's hands ; the second, that manual labour is a degradation,
when it is governed by intellect."
" On a large scale, and in work determinable by line and rule, it is indeed both possible and necessary
that the thoughts of one man should be carried out by the labour of others ; in this sense I have already
defined the best architecture to be the expression of the mind of manhood by the hands of childhood. But
on a smaller scale, and in a design which cannot be mathematically defined, one man's thought can never be
expressed by another : and the difference between the spirit of touch of the man who is inventing, and of the
man who is obeying directions, is often all the difference between a great and common work of art. How
wide the separation is between original and second-hand execution, I shall endeavour to show elsewhere; it
is not so much to our purpose here as to mark the other and more fatal error of despising manual labour when
governed by intellect ; for it is no less fatal an error to despise it when thus regulated by intellect, than to
value it for its own sake. We are always in these days endeavouring to separate the two ; we want one
man to be always thinking, and another to be always working, we call one a gentleman, and the other an
operative ; whereas the workman ought often to be thinking, and the thinker often to be working, and both
should be gentlemen in the best sense. As it is, we make both ungentle, the one envying, the other
despising, his brother ; and the mass of society is made up of morbid thinkers, and miserable workers. Now
it is only by labour that thought can be made healthy, and only by thought- that labour can be made happy,
and the two cannot be separated with impunity. It would be well if all of us were good handicraftsmen in
some kind, and the dishonour of manual labour done away with altogether; so that though there should
still be a trenchant distinction of race between nobles and commoners, there should not, among the latter,
be a trenchant distinction of employment, as between idle and working men, or between liberal or illiberal
professions. All professions should be liberal, and there should be less pride felt in peculiarity of employ-
ment, and more in excellence of achievement. And yet more, in each several profession, no master should
be too proud to do its hardest work. The painter should grind his own colours ; the architect work in the
mason's yard with his men ; the master-manufacturer be himself a more skilful operative than any man in
his mills; and the distinction between one man and another be only in experience and skill, and the
authority and wealth which these must naturally and justly obtain."
List of Architects, Designers, and Authors, whose Works are illustrated
in this Book.
Page.
AcKEnMANN's RePOSITOUT op Auts ... ... ... ... ... ... 368
Adam , R . and J. ... ... ... .. ... ... ... 225 to 243
Bartolozzi, Francesco ... ... ... ... ... ... 246 to 253
Campbell, Colin ... ... ... ... ... ... ... 9
Carter, Edward ... ... ... ... ... ... ... ... 5
Carter, j. ... ... ... ... ...
... ... ... 219 to 224
Chambers, Sir William ... ... ... ... ... ... ... 212
Chippendale, Thomas ... ... ... ... ... ... ... 105 to 208
cipriana ... ...
... ... ... ... ... ... 251 to 253
Columbani, Placido ... ... ... ... ... ... 216 and 217
Crunden, John ... ... ... ... ... ... ... ... 213
delattre ... ... ... ... ... ... ... ... 247
Edwards and Darley ... ... ... ... ... ... 73 to 77
Gibbons, Grinding ... ... ... ... ... ... ... 13 to 34
Gibbs, James ... ... ... ... ... ... ... 28, 40 to 52
Halfpenny, W . and j. ... ... ... ... ... ... ... 97 to 104
Hawksmoor, Nicholas ... ... ... ... ... ... ... 29
Heppelwhite ... ... ... ... ... ... ... ... 257 to 290
Hope ... ... ... ... ... ... ... ... 364 to 367
Johnson ... ... ... ... ••• ... ... ... 78 to 83
Jones, Inigo ... ... ... ... ... ... ... ... 1 to 9
Jones, William ... ... ... ... ... ... ... 65
Kaufman, Angelica ... ... ... ... ... ... ... 246 to 249
Kent, William ... ... ... ... ... ... ... ... 62 to 64
Langley, Batty ... ... ... ... ... ... ... ... 66
Lock, Matthias ... ... ... ... ... ... ... 84 to 86
Manwaring ... ... ... ... ... ... ... ... 91
Mayhew and Incb ... ... ... ... ... ... ... 87 to 90
Milton, Ihomas ... ... ... ... ... ... ... 214 and 215
Pain, W. and j. ... ... ... ... ... ... ... 253 to 256
Paine, James ... ... ... ... ... ... ... ... 71
Pergolbsi ... ... ... ... ... ... ... ... 245 to 256
Richardson ... ... ... ... ... ... ... ... 210
Rousseau, j. ... ... ... ... ... ... ... ... 22
Shearer ... ... ... ... ... ... ... 268 to 272
Sheraton, Thomas ... ... ... ... ... ... .. 273 to 363
Stone, Nicholas ... ... ... ... ... ... ... ... 7
Swan, Abraham ... ... ... ... ... ... . :... 68 to 70
Talman... ■
... ... ... ... ... ... ... ... 9
Thomas, \V. ... ... ... ... ... ... ... ... 244
Vanbrugh, Sir John ... ... ... ... ... ... 27 and 58
Verrio, Antonio ... ... ... ... ... ... ... 20
w^allis, n. ... ... ... ... ... ... ... ... 218
Ware, Isaac ... ... ... ... ... ... ... ... 59 to 62
Webb, John ... ... ... ... ... ... ... 6
VV^ren, Sir Uuristophkr ... ... ... ... ... ... .. 13 to 23
ZuccTii, Antonio ... ... ... ... ... ... ... ... 255
SYNOPSIS.
BedpoPtf, 198, 281, 316. Handles, 96, 183, 222, 230.
Bedsteads 87. 199 to 204, 26.5, 282, 288, 291, 292, 331, Ironwork, 58 to 57, 111.
359, 863.
i Knife Cases, 263, 328.
Bookcase Doors, 152 to 155.
Lanterns, 106.
Bookcases, 158, 159, 198 to 197, 209, 286 to 290, 860, 361. Memorial Tablets, 27, 40, 41, 48, 2,19.
Bookshelves, 181, 182.
Mirrors, 12, 82, 35, 169 to
Borders 65,
and Friezes, 80, 81, 85, 86, 90,
105, 145,
227, 281, 285, 251, 254 171,
to 256, 292. 808.
Brackets, 151, 168, 169, 176, 272. Mouldings, 212, 228, 261, 300, 338, 356, 364.
Bureaux, 109, 287, 288. Organs, 146, 147.
Cabinets, 12, 82, 108, 190, 191, 288, 290, 327, 862, 368. Overdoors, 92, 224, 354.
,
Candelabra, 39, 107, 230, 236, 237. Panellings, 17, 24, 35.
Candle-stands, 179, 180, 816, 350 Pedestal Cupboards, 270.
Candlesticks, 94. Pedestals, 82, 35, 46, 58, 150, 151, 178, 185, 219, 263, 271,
Canopies, 35. 367.
Card-tables, 32, 26 4. Pediments, 278, 279, 292.
Carvings, 13 to 15, 17 to 26, 34, 35, 293, 294, 317, 327. Picture Frames, 171, 175.
Ceilings. 11, 20 to 24, 61, 97, 99, 210, 212, 221, 225, 226, Pier Tables, 219, 264, 295, 296, 297, 828, 350.
228, 229, 242, 243, 252, 857. Pulpits, 26, 29.
Cellarets, 261. Sarcophagi, 42.
Chairs, 12, 30, 31, 58, 63, 87, 91, 129 to 133, 135, 136, 150, Screens, 104, 172,
151, 173,
219, 264, 287, 817, 362.
238, 289, 257 to 260, 285, 812, 318, 815,
846, 847, 865, 866, 367, 868. Settees and Sofas, 30, 81, 129, 134, 185, 208, 239, 257,
Chests of 274, 314, 846, 868.
Drawers, 347,
12, 266, 267.
Shields, 175.
Chimney-pieces, 1 to 6, 8, 9, 19, 21 to 24, 84, 49 to 52, 58
59, 61, 62, 64, 68, 69, 88, 84, 90, 224.
101, 102, 112, 172, Shop Fronts,
173, 174, 209, 211 to 218, 223, 231 to 285, 244, Sideboards, 241, 262, 272, 298 to 301, 366, 368.
254, 353, 355, Sides of Rooms, 62, 98, 100, 102, 103, 220, 221, 240, 245,
China Showcases. 12, 187 to 189, 192, 295 to 297.
Chinese Ornaments, 72 to 77, 82. Silversmiths' Work, 95.
Chinese Palings, 76, 93, 101. Staircase Brackets, 70.
Chippendale Sundries, 209. Staircase Rails, 70.
Choir Stalls, 16. Staircases, 9, 60, 71.
Cisterns, 47, 48, 112. Stand for Jars, 185.
Clocks, 161 to 166, 802, 303. Steps, 311.
Clothes Presses, 12, 32, 85, 160, 208, 265, 830. Stools, 12, 30, 31, 36, 136, 257, 368.
Coal Vases, 166. Sundials, 47.
Commodes, 128, 189 to 141, 226, 227. 265, 267, 268, 810. Tables, 32, 35, 108, 148, 149,'209, 235, 261, 266, 275, 276,
Console Tables, 79, 150, 186, 236, 237. 295, 309, 318, 319, 326, 327, 335, 341, 350, 351,
352, 362.
Cornices, 205, 206, 235, 284.
Tea Chests, 184, 263.
Couches, 136, 868.
Tea-kettle Stands, 191.
Decorated Panels, 228, 241, 248, 246 to 251, 253 to 256,
280. Toilet Glasses, 273, 308.
Doors, 7, 15, 19, 50, 52, 224, 242. Turnings, 26, 27, 285.
Dressing Tables, 32, 109, 151, 266, 253.
269, 270, 308, 309, 863. Urns, 252,
Fenders, 206. j Urn Stands, 262.
Figure Decoration, 246 to 251. Vases, 44, 45, 47, 48, 78, 221, 268.
Fire Dogs, 34, 38. Wardrobes, 207, 266, 309.
Five Orders, 113 to 127. Washstands, 207, 209, 261, 308 to 311, 830, 363.
Fonts, 28. Windows, 47, 102, 358.
Frets, 156, 157. I Wine Coolers, 148, 149, 186, 241,
Girandoles, 167, 168, 177. 219, Work
222, 229, 235, 236, 241, j Tables, 309, 351, 352, 868.
264, 277. i Writing Tables, 137, 188, 140, 142 to 144, 268, 271, 318,
Grates, 38, 110, 222. 319,829,841,361,852,361.'
C3
'Hib
G
W ^
to CJ d)
> CJ
cS Í3 cj
(/3 Gí
"tj P o
3 ^ tuO
P a; _G
rG W
_C0 rC
. ,N t;!
I I G
C o S rt
oj G d>
^ O ^ g"
« ü ^3 o
o) "T h P^
^
o Î G3
CO
G ^
O
SGH "73
.Í2 G
TJ G
•S ^
t3 TG
G G
oJ G
3
Cu
Gi
o
OJ
g;
-+->
bû
G
O
CO p
m p:3
rG •
G ^
G
"G
3
cj
>
_
_
3 G ">
G o oj
G G
S! G
G G
w ■;
 
T3 U
, .
G oj
oj ^
Suo O
<v
rG 'Ü
^ G
in oi
;3 G
q::3 (D
U
 
INiOO JONES. 17th Century.
Among the great Architects of the Renaissance in Italy were Bramante, Barbaro, Sansovino, Sangalla, Michael
Angelo, Raphael, Urbin, Julio Romano, Serlio, Labaco, Scamozzi, but, above all, the great Palladio. 5
Iñigo Jones was one of the first English Architects who studied in Italy the old Roman ruins, and the newer buildings
"
erected by the above Architects. He says in the first part of his work, Stonehenge Restored, 1655 "—" Being naturally
inclined in my younger days to study the Art of Design, I passed into foreign parts to converse with the great Masters
thereof in Italy, where I applied myself to search out the ruins of those ancient buildings, which, in despite of time itself
and violence of barbarians, are yet remaining. Having satisfied myself in these, and returning to my native country,
I applied my mind more particularly to the study of Architecture.'' He paid two visits to Italy, and he returned from
his second visit filled with the very spirit of the great Italian artists of the Renaissance. From among the various
buildings he erected I have taken and illustrated here some of the Chimney-pieces, etc., and readers will notice that
they are of a free classic type. I have not attempted to thoroughly illustrate his work, but only so far as to enable
me to get a proper sequence, so that my readers may be better able to understand the underlying feature which animated
the Art workers of the Eighteenth century ; and which, as I have before observed, Inigo Jones was the first, or among
the first, to start in this country. He was much employed by the Court, in conjunction with Ben Jonson, the poet,
in the production of Masques ; Inigo Jones designing the scenery and Ben Jonson composing the verses. He is credited
with completely revolutionizing the scenes of the stage by placing the stage itself at the back where it now is (it formerly
being in the centre), and by that means having moveable scenery at the sides which he greatly developed by mechanical
resources. After a while these joint authors fell out, and the following lines—among a lot of others—which Dryden
"
called dotages," were written by Ben Jonson about Inigo Jones, probably referring to his supposed mean birth :—
" Med.—Indeed there is a woundly luck in names, sirs,
And a vain mystery, an a man knew where
To find it. My Godsire's name I tell you
Was In-and-in Shuttle, and a weaver he was.
And it did fit his craft ; for so his shuttle
Went in-and-in still—this way and then that way.
And he named me In-and-in Medley, which serves
A Joiner's craft, because that we do lay
Things in-and-in, in our work. But I am truly
A rchitectonicus Professor, rather ;
That is, as one would say, an Architect."
Tale of a Tub, Act IV., Scene I.
His great work as an Architect, is the Banqueting Hall, Whitehall. He had a large number of pupils and many
imitators. To John Webb and Edward Carter is due the credit of carrying out many of Inigo Jones' designs. Webb,
who was his nephew and son-in-law, rebuilt the side of Wilton House and built Ashburnham House, among others, from
the designs of Inigo Jones. Some of the Chimney-pieces were in marble, some in stone, or oak, and Italian workmen
were brought to this country to carve them, although we had native talent—as is proved in the case of Nicholas Stone,
who was much employed by the nobility and Architects of the time, Inigo Jones among others.
 
IÑIGO JONES. ITtli Century.
Nicholas Stone was born at Woodbury,
near Exeter, in 1586 ; was employed in 7
making monuments for persons of the first
distinction. He was employed by King J ama\s
I.on various works, including the Banqueting
Hall, Whitehall. He was appointed Master-
Mason to Charles I.,and this is the substance
his for "
of patent same : Charles, by the
grace of God, King of England, Scotland,
France and Ireland, Defender of the Faith,
etc. To all whome these presents shall
come, greeting. Knowe yee that wee, of
our especiall grace, certeine knowledge and
meere motion, and for divers other good
causes and considerations us at this present
moveing, have given and graunted, and by
these presents, for us, our heirs and sue-
cessors, doe give and graunte to our trusty
and well-beloved servaunt Nicholas Stone,
the office and place of our Master-Mason
and Architeokt for all our buildings and
reparations within our honour and Castle of
Windsor, and him the said Nicholas Stone
our said Master-Mason and Architeckt for all
our said buildings and reparations within our
honour and Castle of Windsor aforesaid, wee
^
^ doe make, ordaine, constitute and appointe
Doorways by Inigo Jones. these presents, for and dureing the terme
of his natural life. And further wee doe give and graunt to the said Nicholas Stone for the executing of the said office
and place the wages and fee of twelve pence of lawfull money of England by the day, in as large and ample manner as
William Suthis, or 21st."
any other person or persons heretofore did enjoy. A.D. 1626, April
ft
Doorways by Inigo Jones.
 
^ tí P _c cu
this TP p tp b£) tp -tí tí
o o CO en <u tuO
a O c tí tí tp o 'tí
CL> c/} tí tí tí a tí ^
O fe 3
tí
_ o Q tí P
5 o i-( m Oh -4-» rtí 'tíl·l a rTSIJ mp tí tí Ph ^
^ O o tp
tí o -tí. ^
B tí a a
rtí 4-» d a
tí ri U O _tí G i
bjO O h
tí
ra Gh o a .to (y, §
^ ■h t:;p7 atí
S o
s x v¡ tí
^ 2 ri tí ri
OJ (U '-' mp o ri _to tí
o d
^3 tí G tí
o > TP U i-"
o r^tí
CO tí o
oj
<u rtí ri tí
o fi C/) TP +3 cu o O 1 .2 ^ âj "tí •4-»
tí oj
c/) tí tí O 4-» -O G rtí
'rtí ftíi O) o •r* '/) G I
cp s CU cu F P^
bjO o ^ G jU 4-> .a
o a co
tí CP .S oj c o (/) rtí d mp a
w-íf
4-»
■Td O tí P bD a rtí u tí ^ , C/)
tí OJ tí CJ ip MP "G tí ^ cu
MP tí s r^H -f» > ■> bJD d
cp rCl ri
ti£> ri *=< fj C/) i-H a tí
C. oj -M ri tí •—< r^· -K O
<D ■> Tp tí mp
r,
rO o '"G (U
<u O g
tíí í" OJ íí) u
^rr-í
tí (U tí
"tí <v O MP <u tp d tí a
i: -tí o; /P o
4-' o taí Oj CO .2^
cu r-H tí rû PP
o tí t3 tí
>, o Tp O •tí ri a 4-» Tp P p -M tí
OJ MP cp tí G G C/} F a d
ΗI • rH 'rtí 4-J a ^ .a tí tí
<í¡ rí5
tuD
íñ c O <U •a go •O ;p ou G Ctí <u O ^ O co rû p^í tí < ra
H
^ cu O
" C/} o ctí mp O
o M—( jz, ■":: oj Tp tí TP tí > tí (U
S tí o Tp
c3 tí cu '1 CP 'P rtí tí
rtí G tí "o tí -tí tí P
o tí Û m-h tí
ri MP o c/T o
O ri (U Jo o tí CU TP <U ÜJO CO mp tí-
, rtí
> a h mp rtí o rtí
cu 'rtí rtí tp ri _ a co ri*
O cu a -g s i ^ Tp tí tri
Cj 'a O •c tí tí
<0 <U cu ri I (U tí CU u ..
bjD G i—< *o '-. c/)
tí cu •4-' bü
o_, p ° !>. o s ^ c ^ .a .tí ^ o (U ^ o tí
.tí o p
Uo 'p *CH tí 0) o > > *
> w bjO I"* CO tuO t)jO .tí ^ TP O > tí ri ^ q X_) tí •E
tí ^
tí ^ a ^ tí tí G pp G CO- a tí cu
tí 4-» OJ tí tí
o tí > <u O o <v <v ^
o o« MP M-H
0) ^ ri tí tí :s
mP PH C/) "í ri tí
o > tí MP 9
„
^ £?■ s mp o tí tíí
C/3 a o C/3 i-t
mp tí bn
tí tuO d oT
tp tí -xí "ri ■> a q > Tp
tí tí3 tí o <u tí o O .a tí ^ ri ¿ g 'P
tp -tí -p a
tí ri ri rtí Jo Tp G o) o CU rtí tí
O Tí p tíP rtí O
^ a TP tí rt
cd a ►>
tí CO ri a ^ ^ tíí - G f-F
rH
o C/} tí
> rtí CU ri Tp
> tí p o tí <u tí .a JJ -H ttí -
^ c p P rr
MP rtí
o tp tí o o tí tí .-H tí ri
Oj OJ tí ri-l
rtí oj I ri àjo (n "o H tí tí 2 d (U rtí
o S—i p
tí CP 1 a TP Jf) r^ cp PC g ri tí CO 22 ^
ü cu
í> o ^ rrs tí rt CU
H r^ PP 3
o o ^ d > "03 rtí ^
„
. O) rfP "o "a? "tí oJ tí -M rtí
bü Ph
^ d mp cj o (U
t^í
o rtí rtí
u MP rO Ctí a
C/) .a
^ .s P. P ^ tp $P tí OJ p P § X -tí
4-' g _tí H 'g I II I rtí rtí
tí ^ d G rt ra o tí
o tí
m Ph >
o p cp ftí tp W U "üO > MP tí co Ph rtí ri
uj
2:
o
o
o
10 IÑIGO JONES. 17th Century.
but more brittle ; plain Yellow
Alabaster, a very beautiful and
the most transparent of all kinds :
and Oriental Alabaster, a very
beautiful stone of a yellowish
colour, elegantly veined with a
brown and reddish colour.
The ceilings of this period are a
great feature of the Interior de-
coration, and were made in plaster.
One very noticeable feature is the
cove ; the ceiling itself was divided
into panels and circles, the borders
of same being enriched, in some
cases, with flowers and fruits of all
descriptions—apples, marigolds,
grapes, roses, tiger lilies, pome-
granates, etc., etc , all mixed up
together, and well raised and
undercut. It must be remembered
when noticing these naturalistic
designs, that these modellers of
ceilings were working side by side
with carvers of the school of Grin-
ling Gibbons, as it was the custom
at that time for such workmen to
carry out their work in siitt, and
not as it is often done now—in a
workshop, perhaps, hundreds of
miles away, and then workmen
sent to fix them. A good example
of this is illustrated a few pages
further on—Holme Lacy," in
Herefordshire.
In other cases the borders had
flat ornamentation of Greek or
Roman design, and in others a
flowing Italian Renaissance char-
acter. In many cases, both the
naturalistic and geometric, etc.,
patterns were on the same ceiling,
the flowers, etc., being on the
border of the centre medallion.
The panels of these ceilings were
often painted with allegorical and
other subjects ; nymphs and
cupids sprawling on clouds, etc.
Nearly every artist of the Seven-
teenth Century painted ceilings,
staircases, etc. ; even Rubens
painted the ceiling of the
Banqueting Hall, Whitehall.
No. 2 and 5 from the Duke of Northumberland's at Chiswick.
11
0)
.fc c/
X c
t/: o
^ Xi
i<r ^
u
pq tl·l
C¡ ^
rû
zd
CJ
di
in C
^ rf
O Cu
o
íU
-i-i u-
oj OJ
>
.í2
C/2
^ -e
d c
^ CTj
„ e
rox;
d
yAWTlv>TT»vft->v// Y^v/^^WA^v/^^wm^^vf^^v/r^^i^vyw^rl^v/^^vff^^V/^^'/AW NWAw^/Wr^v'/rN-^ rt
^
bo^
C o
• ^
S ro;
LJ ^
r->
73 cj
-M C/3
rt 0
K
o ^
4-1 bü
C
£ d
o ü
O d
cr
C
tS rt
W
O5 o;
o o C/D
^ rO Í3
o
m
d bjO-O
O 0 c
o ;j::
'o
jn u:
(U
KS"^ ctí
I .í£
H Tt- M
ode
Vr\\ "IT Vi^'^rvV^ t>' riwff
 
Sir CHRISTOPHER WREN and QRINLINQ GIBBONS. 17th Century.
13
Carving over the Altar of St. James's Chnrch, Piccadilly,
London. By Grinling Gibbons.
Though Sir Christopher Wren and Grinling Gibbons can hardly
be said to belong to the Eighteenth century, yet their work must be
illustrated here, as it so greatly influenced the Architects and Art
Workers of that century. Evelyn appears to claim the credit of
" "
discovering Grinling Gibbons. According to what he has left
us in his famous diary, as he was out one day for a casual walk near
his residence, Sayes Court, Deptford, he came near a solitary thatched
house in a field, and upon looking in at the window saw Gibbons
making a copy in wood of a large Cartoon or Crucifix of Tintoret's,
and upon entering he was greatly impressed with the delicate work-
manship—the best, he says, he had seen in all his travels. There was
à regular colony of carvers at Deptford at that time, the decoration
of the immense high decks of the old men-of-war affording ample
e.nployment for them. Some time after this Evelyn took Gibbons to
Whitehall with some of his carvings, and introduced him to Charles IE
who gave the artist a place in the Board of Works and employed his
hand on the ornaments of the most taste in his palaces, particularly at
Windsor Castle. He was also employed by Sir Christopher Wren on his
various works, the Library at Trinity College, Oxford, being one of the first, and is justly considered one of his hap])iest
works. He was also employed on such famous houses as Chatsworth, Petworth, Burghley, Houghton, Cassiobury,
Blenheim, Belton House, etc Eor the Choir of St. Paul's Cathedral he likewise did much of the foliage and festoons
belonging to the stall work, and those in lime-tree which decorate the side aisles of the Choir. An immense number of
designs of this period are attributed to him. Most all the City churches built by order of Queen Anne, the Act for which
String Course round St. Paul's Cathedral, London.
Il
Carved in Stone. From St. Paul's Cathedral, London,
was passed in 170S, to replace those destroyed by the Fire of London, claim to have carvings done by him. Sir
Christopher Wren was commissioned to superintend their erection. He carved foliage, birds, fruit, flowers, shells, fishes
etc., in great variety—and as they are in nature, without any conventional treatment. Nothing can surpass the perfect
mastery of execution. All the work is cut clean and sharp out of wood which admits of no tentative cuts, and requires no
rubbing down with sand-paper, and in which errors are not to be repaired. Some good examples of his are to be seen at
Hampton Court Palace—where visitors
will notice groups of flowers, fruits, etc.,
surrounding portraits that are placed
over the fireplaces, and one must con-
fess to the added grandeur it gives to
such pictures. They will also notice the
carved mouldings of doorways as one
goes from room to room—some of which
are beautifully designed. Grinling Gib-
bons is supposed to have been born of
Dutch parents ; much controversy seems
to have originated over the place where
he was born, but as Horace Walpole
justly observes "
; When a man strikes
out originality for himself, or in other
words, is a genius, the place of his birth
has little claim on his merit." From
1714 to 1721 he was appointed Master
Carver in Wood to George I., with the
magnificent salary of eighteen-pence a
day. He died in 1721.
A great many mansions throughout
the country, such as Lord Chesterfield's
house, " Holme Lacy," in Hereford-
shire, have what they call his carvings ;
but it is well known he had a great
number of assistants who worked under
hi^ supervision, and there were a great
number of carvers who worked after
his style. In fact he formed a School
of Carvers. There is a Vestry Room
and an Organ Loft in the Church of St.
'Hie Dean's Canopy, St. Paul's Cathedral, London.
Carved by Grinling Gibbons.
15
Sir CHRISTOPHER WREN and QRiNLINQ GIBBONS. i7tli Centim.
Carving from the Choir Stalls of St. Paul's Cathedral, London, by Grinling Gibbons.
Side Aisle of the Choir of St. Paul's Cathedral, London.
o
^ tíi: o uT
fe
o +-■ gj -4-'
tí -4—»
'o ^OJ
tí£Í .£r tí 'u M-i
cá TÜ 0 0
, in cy)
Oj tí ^ '
Q 1 fcJO
ïî ^ ctí tí
tí
o toí „
^ 5b 0 2
tbO
cj tíl·l cá Pt tí
c/^ fe
cj 0)
<u rtí
-4-' <n
Cü H-H fe
4-»
tí 0
C/^
o tí' bjO
tí 0 OJ tí
■Tí 'CH
tíi) tí tí
tí fe
0) tí
0
O) s fe .íG
0
Oh -M (U 5
O - 0) C/) -tí fe
00 >
> tí
M p fe
s 0 <u
ctí (ü *C/}
tí tí
0
tí
0 TI! 0)
0 tí
-4-» gj
Sir CHRISTOPHER WREN and QRINLINQ GIBBONS. Late 17th Leiitiiry. 17
L>
ON
NO
>
JD
D
JD
O
in
in
3
T3
O
C/3
c;
*o
r*
u
p.
di o
O
E HJ
o
<Ü
c/:
c
o
_D
-O
Ü
tc
c
 
19
Sir CHRISTOPHER WREN and GRINLINO GIBBONS. l.ate ntli or Ka.ly ISth Centuries.
Doorway, St. Nicholas Cole Abbey, Queen
Mantel-piece at Stoke Hall, by Grinling Gibbons. Victoria Street, l.ondon.
Sir CHRISTOPHER WREN and QRINLINQ GIBBONS. Late 17th Century.
gave him but a few minutes' view. They were
20 five little designs in paper, for which he received
as many thousand pistoles ; Wren had only time
to copy it in his fancy and memory.
William and Mary commissioned Wren to
build the existing suite of State apartments at
Hampton Court Palace, in emulation of the
splendour of Versailles. (It will be remembered
that Louis XIV. was William III.'s greatyival.)
Panel Belton House, Grantham, by Grinling Gibbons. Wren not only rebuilt
at part of the palace, but
superintended the decoration of the apartments
for Queen^Mary ; '^and among others whom he
employed in the latter work was Antonio Verrio,
a Neapolitan, whose exuberant pencil was ready
at pouring out gods, goddesses, caesars, kings,
emperors, and triumphs on the walls of ceilings
and staircases. The New Testament and the
Roman History were the main sources of his in-
spiration; so what with painted marble columns,
nymphs, satyrs, muses, virtues, zephyrs, cupids,
etc., etc., which all jostle each other in amazing
Panel at Belton House, Grantham, by Grinling Gibbons. confusion, he managed to produce something
very gorgeous, and quite in the French taste. A
specimen of his work on a large scale can be seen
in the King's Great Staircase at Hampton Court
Palace, which is the principal approach to
William HP's State Rooms. It appears that
Charles IT, having a mind to revive the manu-
facture of tapestry at Mortlake, sent for Verrio to
England, but, changing his purpose, he employed
him at Windsor Castle, where he did an enor-
Plaster Ceiling, Belton House, Grantham. mous amount of decorative painting, for which
he drew large sums. He does not appear to have
been over modest in asking for money ; it is re-
corded that once at Hampton Court, not being
able to get near the King, he called "
out : Sire,
I desire the favour of speaking to your Majesty."
" Well, Verrio," said the "
King, what is your re-
"
quest ?" Money, sir, I am so short in cash,
that I am not able to pay my workmen, and your
Majesty and I have learned by experience that
pedlars and painters cannot give credit long."
The King smiled and said he had but lately
"
ordered him a £i,ooo. Yes, sir," replied he,
" but that was soon paid away, and I have no
"
gold left." At that rate," said the "
King, you
would spend more than I do to maintain my
"
family." True," answered Verrio, " but does
your Majesty keep table I do ? "
an open as He
was also employed at Burleigh and afterwards at
Plaster Ceiling, Belton House, Grantham. Chatsworth. His performances were in his day
S¡r CHRISTOPHER WREN and QRINLINQ GIBBONS. Late 17th Century. 21
Lord Chesterfield's "Holme Lacy," Herefordshire.
held in high estimation, but Pope's couplet seems to express the
general opinion of his work now
" On painted ceilings you devoutly stare.
Where sprawl the saints of Verrio and Laguerre."
I have not shown any of his designs, as they are best under-
stood when seen ; but I have shown the dado of the King's Great
Staircase at Hampton Court Palace, which is painted en grisaille,
or warm light and shade only ; see No. i, page 35.
As a rule a good deal of the oak wainscotting in Wren's buildings
is somewhat plain, but at Hampton Court Palace the mouldings
are elaborately carved, though the panels (which have very wide
bevels) are plain, but they are of a good width, which seems to
have been the rule. The architrave mouldings round the doors
are elaborately carved, also the cornice mouldings and friezes.
The oak panelling is of a
beautiful warm-toned colour
and no doubt was chosen with
Plaster Ceiling, Carved Over-mantel great care from thoroughly well-
by Grinling Gibbons. seasoned wood, and cut in such
a way as to show the largest amount of grain It is known that Wren was largely in-
fluenced by the French style (Louis XIV.), and it is known he did not visit Italy, although
"
he went to France, and returned to England with, as he says, all France on paper."
This feeling is certainly apparent in some of these carvings. The panelling in most of
the City Churches is very plain, being an ovolo on edge, with large bevels and very wide
panels. The cost was evidently a consideration. In some of the pulpits the plain panels
were inlaid with a few simple geometric lines, etc. Doorways of rooms were made a
Bracket, Library, St, Paul's
Cathedral, London.
CO
d »
cô (
Í
4^ -j
CO
f
CO
I—H PI
CÔ o
CO Pi
o
p^
•rH
o 'Í
r~r
Ü c3
05
05
43 ta
•43
S c3 ,♦
o Ü
4H
W)
g
>
cd
o
f-
î.
23
Sir CHRISTOPHER WREN and QRINLINQ GIBBONS. Late nth Century.
24
Plaster Ceiling, Carved. Over- cedar and lime were much
mantel by Grinling Gibbons at
Lord. Cbesterfleld's "Holme used by the carvers of this
Lacy," Herefordshire.
period, as they were more
Among the woods used during suitable for the tender work
the last half of the Seventeenth required for flowers, etc.
Century and first half of Eigh- Elm was sometimes used for
teenth Century, were oak for various ncce.ssary articles
wainscotting, and doors made of about the house, such as
cedar ; but the doors, etc., about dressers, and also ash,
this time were also made of beech, birch, and poplar of
mahogany. Where the woodwork the three varieties, white
had to be painted or gilt, which black, and aspen. Sycamore
was done extensively about this
was much used ; in fact, in
time, it was made of deal, even the some old houses in the
carvings were painted or gilt, so country the floors are of sycamore, and the wainscot of poplar.
that one wood was as good as Walnut was extensively used—both English and Italian
another for that purpose, but deal effects being gained by contrasting the plain wood with
was the most economical. Pear, " Burr "
centres. Amboyna and rosewood were also used.
Chestnut was, at an earlier date, used in the substantial parts
of buildings, and, in old houses, is often mistaken, even by
good workmen, for oak, which it so greatly resembles in
colour and substance. Ebony mouldings were used by the
Dutch cabinet-makers. Maple, yew, and cherry were also in
use. Pear tree was cut into boards, and occasionally took the
place of oak, while veneers of pollard oak were used in
centres of panels.
It must be mentioned that in the country districts in the
olden time, gentlemen building residences used the wood
that grew on the estate, other woods not always being Panel, St. Paul's
available. Oathedral, London,
by Grinling Gibbons.
There was a fashion about this time of painting the leather
of the backs and seats of chairs. The edges of chairs covered with tapestry, woollen
work, or figured velvet, etc., had, in most cases, an edging of fringe. The seats
Screen, St. Nicholas Cole were often moveable. The chairs were sometimes caned, and the seats stuffed
Abbey, Queen Victoria Street,
London. with horsehair, etc.
Cut through and Carved Fret.
 
Sir CHRISTOPHER WREN and QRINLINQ GIBBONS. Late 17th or Early 18th Centuries.
26
Carved Oak Pulpit, Inlaid Panels, and Carvings from various sources.
Sir CHRISTOPHER WREN and GRINLING GIBBONS. Late 17th or Early I8th Centuries.
27
Memorial Tablet to Sir Christopher Wren-;-and,y
Family, St. Paul's Cathedral, London.
Another great Architect of the period was Sir John
Vanbrugh. Alan Cunningham, in his " Lives of British
Architects," "
says no man who has been satirized by
Swift and praised by Reynolds could have much chance Memorial?Tablet, St. Paul's Cathedral, London.
of ' ' ' '
being forgotten ; but the fame of him who was at once the author of The Relapse and The Provoked Wife and the
architect of Castle Howard and Blenheim, stands independent of even such subsidiaries." He was born in the parish of St.
Stephen, Walbrook, in the year 1666. In his younger days he seems to have met with misfortune, being at one time
imprisoned in the Bastille. Castle Howard—one of the noblest mansions in England—was designed by him in 1702 for the
Duke of Carlisle ; it has been greatly praised for its picturesque and varied beauty. In 1706 Parliament resolved to raise a
Examples of Turning, etc., of the last half of the 17th Century.
Sir CHRISTOPHER WREN and QRINLING QiBBONS. Late 17th or Early 18th. Centuries.
public monument to the illus-
28 trions John, Duke of Marl-
borough, and voted a mansion,
and Sir John Vanbrugh was
appointed architect—this build-
ing is Blenheim. Among other
buildings of his are Eastbury in
Dorsetshire ; King's Weston,
near Bristol ; Easton Neston in
Northamptonshire ; Oulton
Hall, Cheshire, and Seaton
Delaval, in Northumberland. It
"
is said by Walpole, If Van-
brugh had borrowed from Vit-
rurius as happily as from Dan-
cour, Iñigo Jones would not be
the first architect of Britain."
He died March 26, 1726. In
his character of architect. Dr.
Evans bestowed on him this
epitaph : —
"
Lay heavy on him, earth,
for he
Pulpit, St. Mary Aldermary, Queen Laid
Victoria Street, London, E.G. many a heavy load on
thee."
referring to the stupendous piles of Blenheim and Castle Howard.
James Gibbs, another eminent architect of this period, was born in
Aberdeen about the year 1694. Gibbs decided early in life to study
abroad, and went into Holland in the year 1664. His progress was
rapid, and his abilities attracted the notice of the Earl of Mar, who
Font, Cover, and Doorway, St. Stephen,
assisted him to travel in Italy, in order to pursue his studies, correct Walbrooh, London, E.G.
his taste, and expand his views. It appears after the Mar family fell into disgrace, Gibbs remembered him in his will,
and left to the only son of his first benefactor, ;^i,ooo in money, all his plate, and an estate of £280 a year. After ten years
in Rome, Gibbs appeared
in London, and set up as
an architect. The first
building he completed
was King's College, Cam-
5"^ fdAGNUS LHRlbT Ch urch bridge. The first edifice
London Bridge KiEV/CAT which he erected in
London was St. Martin's
Church, the next was St.
uo r«ûo Clary's in the Strand. He
was great in designing
public monuments, and
readers will find a good
deal of his work illustra-
ted, such as memorial tab-
lets, urns, doors, windows,
escutcheons, etc. He also
built the Senate House
Fonts,
at Cambridge.
29
NICHOLAS HAWKSMOOR. Late 17th and Early 18tli Centuries
Pulpit of St. Mary, Woolnougli.
The church of St. Mary, Woolnough, was built by Nicholas Hawksmoor (1666-1736), who was one of Wren's jnijîils,
and the only one that attained to any eminence. He assisted Wren in the building of St. Paul's Cathedral to its finish.
He was Clerk of the Works at Greenwich Hospital, also at Kensington Palace, Whitehall, and St. James'."^- Palace. He
built, besides the above church, Christ Church, Spitalfields ; St. George's, Middlesex ; St. Anne's, Limehouse, and St-
George's, Bloomsbury, the steeple of which consists of an obelisk, crowned with the statue of George I., and hugged by
the "
royal supporters. Walpole says, A lion, a unicorn, and a king on such an eminence are very surprising."
" The things, we know, are neither rich nor rare.
But wonder how the devil they got there."
At Blenheim and Castle Howard he was associated with Vanbrugh.
 
CHAIRS and STOOLS. » Late ITtli and ILirly 18tli Centuries.
(For Description see page 33.)
 
Description of Settees, Chairs, Stools, and Seats on Pages 30, 31 & 36.
33
Page 30.—
No. i is a small Settee of a typical Queen Anne design.
Nos. 2 9.nd 3, Settee and small Chair, at Forde Abbey, are in oak, painted black, and covered with Mortlake
tapestry representing sprays of cut flowers ; the arms are covered partly with tapestry, and partly with
woollen work on canvas, which work was done extensively by ladies of the period—late half of the
17th Century.
No. 4 is from Broughton Castle, and
5 from Knole Park, Sevenoaks, the residence of Lord Sackville, G.C.M.G., which is noted for its collection
,,
of old furniture, etc.
6, period of Queen Anne, has the loose down cushions so much in use at that time.
,,
,, 7, 8, 9, 10 and ii are from Knole Park.
,, 12, also from Knole Park, is in walnut, covered with silk damask, and fringe on edge which was fashionable
during the Queen Anne period—to which the chair belongs.
,, 15, 16 and 18 are from the same mansion.
,, 17 is from Broughton Castle, and
,, 19 from Hampton Court Palace.
Page 31.—
No. i.—Chair in walnu't, has a moveable seat ; about 1703.
,, 2.—Chair in chestnut, from Fielding, Dorking ; about 1690.
,, 3.—Chair in walnut, moveable seat ; about 1700.
„ 4.—Chair in walnut, closely caned seat and back, from Montacute ; about 1690.
„ 5-—Chair in walnut, the front and back legs are similar, the seat covered with pile needlework, from Parham,
Pulborough ; about 1710.
„ 6.—Chair in walnut, covered with tapestr}^, close brass nails, from Belton, Grantham.
„ 7.—Chair in walnut, covered with woollen work on canvas, from Parham, Pulborough.
„ 8.—Chair in walnut, covered with figured velvet, from Knole Park ; about 1710.
,, 9.—Settee in maple, covered in cut crimson velvet, from Brympton, Yeovil ; about 1710.
,, 10.—Chair in walnut, from Claydon House, Winslow.
5, II.—Chair in oak, rush seat, from Hampton Court Palace.
„ 12.—Chair in mahogany, horsehair seating, period Queen Anne, from Claydon House, Winslow
,, 14.—Chair, from Broughton Castle.
,, 15.—Chair in walnut, from Hampton Court Palace.
,, 17 and 19.—Stools in walnut, from Hampton Court Palace.
M 18.—Stool, from Locock Abbey ; about 1710.
Page 36.—
Nos. i, 2, 3, 4, 5, 7, 8, 9, 10, ii, 13, 14 and 18 are all from Knole Park.
,, 6.—Gilt, period early Georgian, from Hampton Court Palace.
)5 12.—Organ Stool, covered with vçlvet, from Belton, Grantham.
„ 15.—Mahogany ; about 1710.
» 16.—Walnut Sofa, covered with pale blue damask, from Belton, Grantham ; about 1710
C
Late ITtli or Early IStli Century
FIREPLACES and FIRE=DOGS from Hampton Court Palace.
No. I on this page
is from Hampton
Court Palace, and is
in oak. It has a bor-
der of blue glass
round the silvered
plate. It is in VVil-
liam III.'s State Bed-
room. It is claimed
that Sir Christopher
Wren specially de-
signed this room.
No. 2 is a rough
idea of a Chimney-
piece in the King's
Private Dressing-
room.
No. 6 is in the
King's First Presence
Chamber. It is in
oak, with black-
veined marble round
the opening. These
boldly moulded mar-
ble surrounds are a
feature of this style.
No. 7, a corner fire-
place in the King's
Dressing-room. •
Nos. 3, 4 and 5 are
fire-dogs in steel from
Hampton Court.
No. I on page 35
is a rough sketch of
the panels on the
King's Great. Stair-
case, Hampton Court
Palace, painted by
Verrio. See page 21.
Nos. 2, 3 and 5 on
page 35 are Carvings
from the Palace.
No. 4 is a Table
from the Victoria and
Albert Museum, and
is made of pine ve-
neered with lignum
vitae, amboyna, and
other woods, and
black and white
composition. Made
about 1700.
 
 
BED HANGINGS. Last Half of 17th and First Half of IStli Centuries.
Nos. 4 and 5 are old
State Beds ; No. 5 being
Queen Mary's, wife of 37
William III. It is in
crimson velvet.
No. 4, Queen Anne's
bed. The hangings are of
fine silk velvet, worked
with an elaborate pattern
of architectural designs
and conventional vases
and flowers, in orange and
crimson on a white ground ;
it is said to have come
from Spitalfields. Another
old State bed at Hampton
Court Palace is that of
Queen Charlotte, wife of
George III. The em-
broidery, on lilac ground,
is said to be an exceedingly
fine specimen of English
needlework.
No. 1.—From Knole Park. No 2.—Prom Knole Park, Sevenoaks.
No 3.—From Knole Park. Nos. 4 and 5.—From Hampton Court Palace.
38 Late ITtli or Early IStli Century.
ORATES and F1RE=D0QS from Hampton Court Palace.
No. 6 on Page 35 is a Cabinet of about the period 1700. Nos. 7 and 8 are gilt Girandoles from Hampton Court Palace.
No. g is a Canopy from the King's First Presence Chamber, and is in two ghíiçiçs of criip^gn damask.
39
O)
ü
CO
C3
<V
bd
CÛ
<
u
Q
Z
<
 
41
42 SARCOPHAQI, JAMES OIBBS. Early 18th Century.
MEMORIAL TABLETS, JAMES QIBBS. Karly I8th Centmy.
43
The Sarcophagi or Monumental Urns on page 42 are in what Gibbs calls the "
Antique Taste." They are mainly based
or traceable to designs he had seen in Italy, where he studied for some considerable time. As has already been mentioned,
he was eminent for his designs for Monuments, or Memorial Tablets to go in churches, of which there are several in West-
minster Abbey, London. The above Memorial Tablets he calls " Twelve small compartments for monumental inscriptions."
Of course, some of the designs are extravagant, but could easily be simplifted ; they are certainly full of suggestive
ideas to the experienced designer.
 
VASES designed by JAMES QIBBS. Early I8th Centuiy.
45
Pages 44 and 45.—Fifty-four Designs of Vases, etc., in the Italian Renaissance style, executed in marble and lead. These
leaden Vases were very fashionable at this period, and are still to be seen in the gardens of old country houses. I
purpose later on in this book to give some further illustrations of lead-work. James Gibbs studied in Italy, and the
bent of his genius is distinctly traceable in these designs. The taste for these ornaments was derived, as mentioned
above, from the ancient Roman villas. They were extensively used in decorating the gardens of Versailles and
other.places of the time of Louis XIV. and his contemporaries. As the majority of readers already know, these
vases were used to decorate the tops of pedestals, where the balustrades end, either on garden terraces, on the upper
parts of buildings, or on the piers which carry large iron gates. They were also placed on pedestals in gardens.
 
<17
DIALS, CISTERNS, WINDOWS, etc., JAMES GIBBS. líariv i8tb Centun .
CISTERNS and VASES by JAMES QIBBS. Early 18th Ceiitur
STONE TABLES,
Nos. I to 8 on left hand are designs for Marble or Stone Tables for Gardens
or Summer-houses.
Nos. 9, io> II, 12 are Cisterns, which can also be used as Fonts.
Nos. I to 8 on right hand are Marble Cisterns for Buffets.
Nos. I to 3 are Vases designed for the Right Honourable the Earl of Oxford.
The centre one, executed in Portland Stone, is in the Garden of
Wimpole, in Cambridgeshire.
 
 
 
52 JAMES GIBBS. TOPS OF CHIMNEY PIECES. Early 18th Century.
" orf
of in General and their Ornaments : There are different ways adorning Ceilings. I have
James Gibbs says Ceilings with octagon
given here three different ways (not shewn in this book) one with large square panels ; another large
; and
panels and and the third with large hexagons and rhombs ; all with roses in the middle of their panels,
squares,
on the left hand. may
bordered with fret and guilochis. The proportions of each are figured on their profiles These^
I have the
either for curvilinear or flat ceilings. By curvilinear I either semi-circular or elliptical. madq
mean
serve
the of St. Martin s-iq-the-
ceilings of the Church of St. Mary-le-Strand with squares and rhombs, and elliptical ceiling
both which have a very good effect,
Fields with large in them ceilings
squares, the angles taken off, with roses ;
IRONWORK. í^ate 17tli 01" Early 18th Century.
No. I on this page is from St. Paul's Cathedral,
London ; it shows great variety, and the contrast
of the foliage with the stepwork seems most 53
happy.
No. 3 on page 54 is from Ragley.
No. 6 is from Church Street, Stoke Newington,
London.
No. 7 is from Abney Park Gates.
No. 10 is from Enfield, Middlesex,
No. II is from Church Street, Stoke Newing-
ton, London.
No. 13 is the Altar Rail of St. John's Church,
Westminster, London.
No. 20 is from Huntercombe Manor.
The first illustration on page 55 is the so-called
" Lion Gates " at Hampton Coprt Palace. These
were erected in the reign of Queen Anne. Sir
Christopher Wren is credited with the design of
these gates, but he probably designed the piers,
etc., while Jean Tijou designed the ironwork.
The second large illustration on page 55 is also
from Hampton Court Palace.
The illustration to the right of the above is
from the Geometrical Staircase in St. Paul's
Cathedral.
The Proportions of Rooms and the Coving of their
rule for Ceilings.—The
finding the height of rooms of these sorts is this : let the
and length
breadth of them be added together, half the sum is the height of the
room. These are the just proportions of rooms as handed down to us
by the greatest masters, if their ceilings are covered or arched ; but if
they are fiat,their height will be agreeable if made equal to their breadth,
as for example, a room thirty feet long and twenty feet broad should be
twenty feet high ; and even rooms of this proportion are often
and that coved,
sometimes one-quarter and one-fifth. But in the common
buildings in England we are forced to give rooms a lower proportion in
regard to the coldness of the climate and the expense of
the building, so that
height is sometimes one-fifth less than the
broad breadth, as
by sixteen twenty feet
feet high, and sometimes less, as feet broad
fifteen twenty
feet by
high, which is the lowest proportion tfiey should have.
 
IRONWORK Late 17th or Early 18th Century. 55
The second large illustration on centre of this
page is one of a series of thirteen at Hampton
Court Palace. They were removed to the
South Kensington Museum, but have lately
been returned to the Palace. Each screen is
13 feet 2 inches wide, and 10 feet 6 inches high.
They were designed by Jean Tijou, a French-
man.
50
IRONWORK. Late ITtli or Early 18tli Century.
Walpole House, Chiswick Mall,
London.
Gates of St. Paul's Cathedral, London.
Nos. 4 and 6 on lower line of page 55 are from
the Dining Hall, Trinity College, Dublin.
The third illustration on page 56 is from
Bulwick Hall.
The first illustration is from Walpole House,
Chiswick Mall, London.
The second illustration is one of the Screens
separating the Choir aisles from the apse at St.
Paul's Cathedral, London.
Nos. I to 6 on page 57 are from Enfield,
Middlesex^
No. 7 on same page is from Church Street,
3tpke Newington, London.
Bulwick Hall.
 
 
 
 
5
o
O 61
ci
LU
<
<
in
62 ISAAC WARE and WILLIAM KENT. Early 18th Century.
Describing the Library at
"
Houghton, Ripley says : This
room is wainscotted with
mahogany ; and the bed, which
is of painted tafíety, stands in
an alcove of the same wood."
Blue Damask Bed Chamber
—hung with tapestry.
The Drawing-room hung with
yellow caffory.
The Saloon is hung with
crimson flowered velvet. The
ceiling, painted by W. Kent,
who designed all the ornaments
throughout the house. The
chimney-piece is of black and
gold marble and so are the
tables. In the broken pediment
of the chimney stands a small
antique bust of a Venus, and
over the garden door is a large
Side of Eoom by Isaac Ware.
antique bust.
'¡The Carlo Maratt Room has hangings of green velvet, The table is of lapis lazuli, at each end are two sconces of
massive silver.
Breakfast-room.—Over the chimney-piece is a very good picture of hounds by Wooton.
Richardson.
Supping Parlour.—Over the chimney-piece is a portrait of Horace Walpole by
Coffee-room.—Over the chimney-piece is a landscape with figures dancing by Swanivet.
The Great Staircase is painted in chiaro oscuro by W. Kent.
Common Parlour —Over the chimney-piece is some fine pear-tree carving by GibbÒns, and in the middle of it hangs a
^ '
portrait of him by Sir Godfrey Kneller. [
Velvet Bed Chamber.—The bed is of green velvet, richly embroidered and laced with gold. The hangings are tapestry,
a over the
representing the Loves of Venus and Adonis. Over one of the doors is a seaport by old Griiher, landscape
other door.
The Dressing-room is hung with very fine gold tapestry after pictures by Vandyke.
The Embroidered Bed Chamber has the bed of the finest Indian needlework» The hangings are tapestry ; over the
doors two pieces of cattle.
The Cabinet-room is hung with green velvet.
The Marble Parlour.—One entire side of the room is
of marble, with alcoves for sideboards, supplied with
columns of Plymouth marble ; over the chimney-piece
is an alto-relievo in statuary marble, after the antique,
by Rysback ; and before one of the tables is a large
granite cistern; two fruit pieces in panels over the doors.
The Hall.—The ceiling and frieze of Boys are by
Altari. The basso relievos over the chimney-pieces
are from the antique. ,
The Long Gallery is hung with Norwich damask.
William Kent was born in the North Riding of
Yorkshire in 1684. He was apprenticed to a coach-
"
builder, but, according to Walpole, having felt the
emotions of genius," he left his master when he was nine-
teen and came to London. His early paintings, again
according to Walpole, "excited a generous patronage
at Wrotham
in some gentlemen of his own country, who raised a Chimney-piece in the Dining Boom Park,
HOGARTH CHAIRS. Early 18th Century.
13 bx) C/5 C/5
C C ir 3 o; (L>
03 ■-P ®
"âc S ¿3 63
c -S H
W e
„
p
« ¿ -o x '5
D '' oo
" bjo
S
•rMp (JJ
o
H-1 3 S
2 S
iJD T3
C i .3
'-Í S _ü
P >> 'C
O <U t/j rO
C o o O
hi C/5
3 bc -3 '> t/^ X
u ;> ^
"rn ^ cd O)
3
e
o c (L> 2
"o
jp
''M o cd
.s D bjO
: oí
c3 5
3 i2
3 C
3 O c) rt
3 .>> 35
^ p: Cfi
cd O
"c/5 0) ■5
33 33
te 3
b 33 3 Cd
03 Q O
<u o C/5 fc£)
35 tuO B
ü 'O cd 3 cd
^
3 § 33 F' c/5
£ 'S '2 cd
o 3. £ 2
s 1/3 3
o 5í
C <v ^
o
33 a I 3
3^;
33 £
(D 'o ^ o
(U <u
C/)
C/5
3 o3 KJ 35 Id
<U
<u « 8
35 •SP .s 3
<v
c/5
33 «
Oí c/5 .í2
oj 2 •M 33
Cd ^ 3 O
OJ O
2 §d ;n¿j te
35 -3 lo 35
ro te
ü IN p
C/5 CJ te o
.2 ® Cd
'2 35
oj
W) D 5 3 33
3 35 3 3
,. . _o cd
O O O C/5
C/5 D >> o
3 rt 3
* C/5 (/5
O7t '2 T:
^
> £ cr
/T
'o 3 D 2
2 cd o T3 35
a> r-
o
o; -P 0/ ^C/5 ."2 03 3
35 D 35
-1- O) 35 3
D £
33 o
OJ D w Id
c
JOr c >
; o cd o 35 £
^ U
o 53 C/5
o Cd
w O -S
■■5 pq
: 3
c/5 CA;
Lm
^ CJ o3 o
05 o
„ 3 D >
^ 2 Cu o
2 ¿ Ch
cd
2" 3 3
Cd D O D
k CJ
.:Í2 35
35
2 35 t3,
w Cd
w t; s •2 £
0) r- "£ "o1
"
^ 3h 'H' D
S ^ *P 2 D 35
-M ^
^n 03 <->
3 C/5 c/5
C/5 2 33 ID te
cd u fe
2 S
3 3
te o £
O (J 00 .2 r O
Cd
"C 3 o
(¡2 3
3 O) "S O o
35 ^
C/) t3) -3
o 05 5 te
3
<u 1
—. C/)
35
> O) 2
^ 2 S e
35 D
> 3 < o
0?
-y
•XJ ®
<v
2 ^
^
64 ^ "3
(D S
- Tl! 2
^S í
^ "> Í-^H
-4->
PH
o ,, rí3 P
> CA)
CU 0) S-H
^3 > O
o3
í-H X3
-M c
p cd
p biò
rC c3
C 3tî
•
<V CA) *—'i
CJ P
p "a;
r O ^ C
^Í=¿ 1> cd
Q. p
p
CU a
(
C/í ^D p 0)
cu p
-t-'
(U >.
> «H-i
ctí O
<u
03 ^ c/3
O; T5 p bjo
_c
'S 'S
X
-M p
o
P
-M a
rP O 0)
O r-|
33 CU •xí -M
o3 P C/3
o3 cd
c/í <U
"¡3 -i-' CA)
33 c Oh
33 ;3 cd
X o3 cu
Suo X3
oj X3 P o
p cu rP
. rs
>< H-»
^
H 'T)
OJ
rt O
<U
Ph 73
p^ S 33
rt
o
M
P
*c75
s=^ 2P"
(U
í^ o
<v 3: 03
!2
'3 2
O ¿0 ^
■"
C
"S Ï3)
^2 .23
Q ;o
jn xS Ph J2
"oj o3 <u
>> 2 p
Ctí P 03
* 03
r~*
p,
P -M |£
3 p - 73
• -
(U o ■^| a
p
W S S 3
(D
Xi .
X H ^ <u „
3 33 "
.
02 2
tí
o3
bí)
o3
> to oT
y3
o3 XS
« o23C/3
0) rO o3 33
cu X X C/3 ¿H ^
03 OJ <u 3
Oh 2 q CO
-i-> 03 rl
tuO
_g tuO
Cti X3 P bü)
p ;-^ bí) tí -
P ctí "S
o
u 3íí O *c/)
O lU
TJ 'd
65
CHAIRS, etc. First half 18tli Ceiiturv.
William Jones, architect, published in "
1739, The Gentlemen's or Builder's Companion," which comprises chimney-
pieces, slab-tables, pier glasses, or tabernacle frames, ceilings, etc. They are mostly of a classical character. This seems
to be one of the first books published in this country on Furniture.
E
BOOK CASES. First half I8th
THOMAS LANQLEV, Century
BATTY and
'litii/miiiiiiiiiiili'd
BATTY and THOMAS LANQLEV, P1ER=QLASSES. half 18th Century
(-7
Adam, in his " Works of Architecture," "
says ; The Tabernacle
apartment) Frame, almost the
formerly known in only species of ornament
this an
country, (in
now
English universally
artists exploded." It is
to explained "
as a collective term made use of
express the whole of a
columns dressing door, window,
or niche, or
pilasters, when the
with an entablature chimney, consists of
and dressing
in Works pediment over them." There is a continual
published reference to 'I
during the abernacle
first Frames
half of the century, so I have thought it best to give Robert Adam's definition of same.
18th
SWAN. CHIMNEY PIECES. half Century.
ABRAHAM
" The City and
68 Country Builder's
and Workman's
Treasury of De-
signs,"by Batty, and
Thomas Langley,
contains examples of
piers, gates, doors,
windows, niches,
buffets, cisterns,
chimney-pieces, tab-
ernacleframes,pave-
ments, frets, gul-
ochis, pulpits, types,
altar pieces, monu-
ments, fonts, obe-
lisques, pedestals,
sun-dials, busts and
stone tables, book-
cases, ceilings, and
ironwork ; but it
must be confessed
that they del iber-
ately copied the
designs of Inigo
Jones and others,
without acknow-
lodging it in their
book.
Abraham Swan
published in 1745
a Work called "The
British Architect;
or, The Builder's
Treasury of Stair-
cases," containing
firstly, an easier,
more intelligible,
and expeditious
method of drawing
the Five Orders
than had hitherto
been published, by
a scale of twelve
equal parts, free
from those trouble-
some divisions called
" aliquot parts."
Shewing also how
to glue up theil
ABRAHAM SWAN. CHIMNEY PIECES. First half 18tli Century.
C/) (/)
3 <u
.2 'B
60
^ >.
-tí >
I &
d !>■> (/i
•5
i-i
p
o !/)
(n I
? o
, o CJ
c ^
o
'-M
03 tí
tí en
C/}
4-»
C
4->
03
tí
a>
>
tí tí
o o
o
4-> X
lfflil^|f' liii II'Hr l'ífiíiiíiiiIj]
^ -s
>> rtí
c
03 ^
."B •n
X3 > tí
(U Oj
S t3 -M
^ OJ tí
o3
^ .2 bjO
(Á
4-» :3
c cr
<D O
tí 03
o3 tí
tí tí
«J "o
.■t: o o 2
CIh ..Û (/) ri
oj ^
^ §
c ^
ABRAHAM SWAN. BALUSTERS and BRACKETS. First half 1 8th Century.
70
 
 
EDWARDS and DARLEY. " CHINESE " ORNAMENTS, etc.. Middle I8tli (lentury
<i3 CJ
diî
o o3 fa
«-r-( -M CU
<u
■n fa
c
no- rt
<v <-♦-1
rd e/T o
CJ
2 a3 d
p. o
d
Cd c/T
4-»
<u d
> cr d
<v CJ ce
C d '*3
<u d
cr
oj eu CJ
c/)
4-J
o fa
oj d 'S
p
CJ CJ o
u e
*o o3
u
4-J
fa
CTÍ CJ CJ
dl Td
2 4-» 2
2 2
3
fa o
-4-' 4—»
(/) .2 (f)
d 4-4
C/)
_c 2 a3
2 CJ
fa fa
o 4-4
<V ■Td
fa d
2 d
O eu • rv
CO 2 tUD
U 2 _d
2 2
2
o o 2
^U( 4-> o
'o UO s
T3 CJ c;
<u C fa
o 4-»
u
2, . rv o
«4-H
c/) (/)
2 eu o
S
03 4-4
Tí d
;_i CJ
^-l (D
o -O fa fa
d
OJ 'u V-4 4-4
Ui <J o *21?
d C/)
-M eu d
03 •T3 (f) o3
ÜjO
(/) iz¡ e/T
(U -M 4-4
,d eu
,dî 2 3
4-'
o 2 fa
nr! o3 o
li?H d -
c
rt PQ c;
0)
(U ÍJjO «-♦-H
42 c fa
o c 2 O
o < o
_d
nd o 4-4
(U Ce
(/) o3
o CJ
(f) V-H fa
d c/T
U. d Ce 2
H 'o u 2
U o
2 H-H o
O 4-4
C/)
V-i (/:
0) c/T 2
c .a
oJ c
6 o
(U o
Q£)
> C¿
.-t:
-b ÍÍ
d
(U
a,
 
EDWARDS and DARLEY. "CHINESE" ORNAMENTS, etc. jMiddlo IStli Ceiiturv.
t3 tuo g
oj S
.Û .C5
d
Oj
OJ
>
a
íg o cti
3 t-
^
X
X! P
<3J
^ CbÜ
c 3^ -
a)
.C5 ns Hp-i
76
EDWARDS and DARLEY. "CHINESE" ORNAMENTS, etc. Middle 1 8th Century.
ñO o
o
- rO
t:)
oj .Ü
^ (U
03 rd
^ S
¡1
IT3 .S
C
-M
i=l
OJ
4(<D -UJ
OT
r-tt-í; 03
op -+->
w
(11 o3
«
+-" 0)
'tí
77
EDWARDS and DARLEY. "CHINESE" ORNAMENTS, etc. i8th Centurv.
3
tuD 5
bjo ta
THOMAS JOHNSON. GIRANDOLES, etc. Middle 18th Century.
Thomas Johnson pub-
lished a Work about the
middle of the Eighteenth
century, in which the
designs are all of an ex-
travagant character,being
a mixture of the Gothic,
Chinese, and Louis XV.
styles, with the further
addition of all sorts 01
grotesque figures of men,
animals, birds, etc., all
mixed up in amazing con-
fusion,comprising, among
other things, as follows :
Designs for candle-stands,
kettle-stands, etc., over-
doors of Watteau land-
scape, mirrors, picture
frames, ovals (mirrors),
slab frames (consoles),
side of room, organ, ceil-
ings, lanthorns, over-
mantels, chimney-pieces,
brackets for figures,
clock cases, girandoles,
stands for silversmiths'
work,table brackets,stone
grates, watch cases, etc.
Matthias Lock published
several works from about
the year 1740,one of which
he dedicated to the Right
Honourable Lord Blake-
ney,GrandPrésidentof the
Ahtigallican Association,
and the rest of the breth-
ren of that Most Honour-
able Order. He also pub-
lished the followingWorks
"A New Book of Foliage
for instruction of young
" H.
Artists," 1769 ; A New Book of Pier Frames, Oval Girandoles, Tables, etc.," 1769 in conjunction with Copeland
"
" Six in
" A New Book of Ornaments," and 1768 A New Drawing Book of Ornamental Shields," and Sconces,"
1752 ;
1768. Although his first designs are all in the style of Thomas Johnson, later he designed furniture of a more classic
was
type—more after the Adam style. It appears from a note he has left in a Design Book, lhat five shillings per day
the average wage paid in 1743 to operative carvers in London.
"
Speaking of Looking-glasses, Hungerford Pollen in his Furniture and Woodwoik," one of the South Kensington
Art Handbooks—says :—" The Looking-glasses made in the Seventeenth and Eighteenth centuries by colonies of
Workmen in England and France, had the plates finished by an edge gently bevelled of an inch in
Venetian
width, following the form of the frame whether not as
square or shaped in curves. The bevels were always
 
THOMAS JOHNSON. P1ER=QLASSES, etc. Middle 18tli Century
81
THOMAS JOHNSON. MIRRORS. jMiddlo 18tli Centurv.
13 o
-M OJ
Cl,
C/3 ^ ÛjO
c .Í2
«J r.C
c ^
t« "Td
0) O)
ra C
O cu rd
cu B
> O
(U <u "
.Jd X! D,
<u
-I-'
O,
S
u J=1
cu
CJ U
C cu
*-t-H ^
C/5 O
cu 5
bjo ^
Td
cu c
cu O)
Td
O
s
>,
rO
Tí
Td CU
Td C/5
03
'Sh
ñ
THOMAS JOHNSON, GIRANDOLES, OVERDOORS. etc. Middle I8th Century
THOMAS JOHNSON, CH1MNEY=PIECES. Middle LStli Century.
cd X
c (U <u
O t 83
c/: et)
tuo CJ
0) <—{
rd H (U
w-(
-M (U
c >
o
_G CO
s
o "S "ô)
G
o (U
\~4 cti
X eu
CJ G X
> O)
-M
<v
eu X
XI CO c3
CO G.
X) aj c;
CO
X (U
e X
<D
'rt X H
W-H
_G g'
(1^ ■x _o
eu V-)
•4-J ai
G v-i
O 0)
CO o
ÇJ
0)
Ü X
CO
c3 *03 v-
G G o
CG ai •-I
O) eu <u
y" 'O .s
W OJ
ys tí o
.s
oj t/5
t ■S 1
C
O
-
O
,
(/) ti
ai
'tub oi
<u
C^ U(
f -i.
o
o
1—^
X oT
-M o
G
oi
U(
X PH
OJ
_C s
o
tí
X
•hi (U
tí 'd
<u o
o
U(
o
o s
X
MATTHIAS LOCK. CHiMNEY=PIECE and ORNAMENTS. Middle I8th Century
even after
right on through the Eighteenth Century,
"
the time that the Rococo " work went out of fashion,
which no doubt due to the discoveries
change was
made at Pompeii, etc., which had the effect of turning
old
the attention of designers to the beauties of the
classical style.
He
James Paine (see page 86) was born in 1725.
published in 1751 his designs for Doncaster Mansion
here shown is from that Book, the
House—the design
drawings for which he made in 1745-48. He also pub-
lished " Plans, etc., of Noblemen's and Gentlemen's
for
in various countries in 1767." He used Adam's stucco in his later buildings. Of his designs
Houses executed Leicester Square, London. In 1783, he
Ceilings and Chimney-pieces, one of the latter was for Sir Joshua Reynolds, divided
Gwilt mentions that Paine and Sir R. Taylor
designed the bridges for Chertsey, Walton, and Kew, in Surrey. Court,
of the profession between them until Robert Adam entered the list. He lived for some time at Sayes
the practice
Addlestone, near Chertsey, Surrey. He died in France in
. 1789.
 
so JAMES PAINE. Middle 18tli Century.
contains
"The Universal System of Household Furnishing," by Ince and Mayhew, Cabinet-makers and Upholsterers,
the
designs—both useful and ornamental—in the most taste ; finely engraved, in which
upwards of three hundred elegant
to the and
nature of ornament and perspective is accurately exemplified. This Work was made convenient nobility
directions for executing the several designs ; together with
gentry in their choice, and comprehensive to the workman by
drawing. It is dedicated to the Most Noble George Spencer, Duke of
specimens of ornaments for young practitioners of
business man. Their Lanthorns are
Marlborough. The furniture was designed by Ince, Mayhew evidently being the
for busts or lamps (page 185), Sideboard Tables (pages 148 and
■similar to Chippendale's (page io6), as are also their terms
The most fashionable Beds
Bookcases (pages 158 and 159), and Bookcase Doors 152, 153, 154, and 155)-
149), (pages
French Dome beds, and State
during the last half of the century were called Sofa beds. Field beds, Beds for Alcoves, beds.
Ladies
Ince and Mayhew, which, in error, have been attributed to Chippendale.
beds. On page 136 are.some Chairs by " were also
Tables—which they call Toilet Apparatus
toilets were draped, including the glass as on page 109. Toilet
for frets
Chippendale's (page 207), having all the combinations there shewn. They had a decided preference
similar to
furniture was also like Chippendale s,
(pages 156 and 157), coupled with taste. Their
a strong Chinese and Gothic
181 and 182) and the China
but more extravagant, see Clothes-chests (page 160), as were also the China shelves (pages
 
and MAYHEW. DRESSING TABLES, COMMODES, etc. Middle I8th Century.
INCE
89
INCH and MAYHEW. MIRRORS. Middle 18th Century.
and Chinese Cases (pages 187 and 188), Back Stools were made in burnished gold covered in
French blue damask.
Chairs For
similar to Chippendale's, see page 130. Girandoles
to those Slab-frames, Pier-glasses and Tables are
of similar
Johnson or M. Lock. Their designs of Fenders will be found on
186). page 206; Brackets for Marble
See Slabs
page m for Hand-rail for (page
Balcony, Stair-case Railing, and Brackets for Lanthorns. If
to the readers will
up turn
pages above mentioned they will find some of Ince and various
been Mayhew's designs—which in some cases
grouped with have
other makers' designs—for the sake of easy comparison and reference.
 
 
OVERDOORS. 18th
92 Century,
1 1 /3 11 9^.
from the time of Queen Anne up to
The Overdoors above are of various periods during the Eighteenth century,
The Chinese on page
the end of the centur}'. The fan shaped belong to the last half of the century. Railings
ones
and other souices-
93 are from the books of Chippendale, Robert Mainwaring, Ince and Mayhew, contemporary
of the Adam Brothers,
Among the designs for Silversmiths' work on page 95, are to be found some of the designs
who designed a great deal of this class of work, (See Nos. 24, 28, 30, etc.)
 
 
 
ESCUTCHEONS, HANDLES, FENDERS, etc., etc. 18th Century
 
 
William Half-
"
penny, Carpenter
and Architect," by
himself, and later, in
conjunction with his 90
son, published a good
many works on
architecture during
the first half of the
i8th Century. The
designs of his in
this book are taken
from "
The Modern
Builder's Assistant."
Another work of
theirs, "New designs
for Chinese Temples,
Triumphal Arches,
Garden Seats,
Palings, etc.," pub-
lished in 1750-52,
contains designs of
some monstrous ab-
surdities for what
they call "
Chinese "
Bridges, Temples,
Triumphal Arches,
Garden Seats,
Palings, Obelisks,
Termini, "
Chinese "
Doors, Windows,
Piers, Summer-
houses, etc.
Describing one of
their designs, entitled
"
a Chinese Alcove
Seat, fronting four
ways," they men-
tion that " above
the crown of the
cove may be a room
wherein musicians
may be secreted and
play soft music to
the agreeable sur-
prise of strangers,
the performers going
in by a subterranean
passage, and a broad
step ladder, between
the back of the
seats, lighted by
Middle 18th
W. and J. HALFPENNY. SIDES OF ROOMS. Century.
Among the works that W. and
J. Halfpenny published are the
following :—
" A New and Complete System
of Architecture," 1719 ;
" Magnum in Parvo ; or. The
Marrow of Architecture," 1728 ;
" Art of Sound Building," 1725 ;
" Six New Designs for Con-
"
venient Farm-houses ;
" New Designs for Chinese
"
Temples ;
" Geometry ; Theoretical and
Practical "
;
" Rural Architecture in the Gothic
"
Taste ;
Useful Architecture for Erecting
Parsonage-houses, Farm-houses,
and Inns" ;
Twenty New Designs of Chinese
Lattice and other Works for
Staircases, Gates, Palings,
etc." ;
" Chinese & Gothic Architecture" ;
" The Country Gentleman's
Pocket Companion & Builder's
Assistant for Decorative Archi-
tecture "
; and
" The Modern Builder's Assis-
tant.'
small windows in the roof con-
cealed from without." This
building will be agreeably situ-
ated on a grand amphitheatre
of green slopes. Summer-houses
at the end of long walks, of a
fanciful, and sometimes of a
classical design, are to be seen
in the grounds of i8th Century
mansions. TheHalfpenny'sseem
-
to have been great exponents of
the "Chinese Taste," and seem
rarely to have missed an oppor-
tunity of introducing Chinese
figures and ornaments wherever
they could do so. Instances will
be noticed in the designs shown
here ; in the corners of the
Ceiling shown on page 97 ; in
the cove of Side of Room on
page 100 ; in Chimney-piece on
page loi ; on Side cf Room on
page 103, etc.; otherwise, their
style for interior decorations
seems based on the Louis XV.
W. and J. HALFPENNY. FIREPLACE and "CHINESE" PALINGS.
No. I is a Chinese Single-braced Paling.
No. 2 is a Chinese Double-braced Paling.
No. 3 is a Chinese Acute-angular Paling.
No. 4 is a Chinese Obtuse and Diamond Paling.
No. 5 is a Chinese Half-diamond-braced Paling.
No. 6 is a Chinese Diamond-braced Paling.
 
W, and J. HALFPENNY. SIDES OP ROOM. Middle 18th Century
104 W. and J. HALFPENNY. SCREENS and PIERS. Middle isth Century,
^ mention some of the
^ ways of
*3
f ^ decorating rooms about this time.
^
*4r riaECgl \im
An ordinary living room had a dado of
wainscot, the height of a chair ; the upper
part had a wall-paper, which latter mode
came into fashion about the year 1700, and
was usual about this time (1750). This
room would have a plain plastered cornice,
the chimney-piece round the opening
having a marble slab, or sometimes a slab
of Portland stone. The rest of the chim-
ney-piece would be of wood—more or less
carved according to the means of the
wain-
owner. A better room would be
scotted right the way up to the cornice, with
quarter-round and fiat panels, and the
chimney-piece with plain marble slabs
round the opening,with ornaments in wood.
Another way for a best room, say asaloon,
would be to have a wainscot,chair high, and
the remaining height to be stuccoed in
panels with enriched ornaments and cor-
nice ; the chimney-piece of marble enriched
(carved) in wood with flowers and festoons.
out in diamonds, etc.
The hall was still marble
paved, as in earlier times, with Portland Stone and black planned
The floors in the saloon would be wainscot, or best deal, dowelled.
The library was wainscotted to the top, with wood cornice.
is for
Some of the best wall-papers, tapestry
rooms were wainscotted dado height, and battened for hangings—that
or silk panels. Billiard rooms had
second - best deal
floors ; the walls
wainscotted dado
height, and stuccoed
with black modil-
lion plaster cornice.
Mahogany was
mostly used about
this time for hand-
rails of stairs, and
sometimes for the
balusters of same.
It was the school
of Chippendcile that
used mahogany so
extensively.
Of course, excep-
tions must be made
in the case of man-
sions of wealthy
noblemen, etc.,
where mahogany
was more exten-
sively used, but the
exceptions are rare.
CHIPPENDALE'S TITLE PAGE. 105
THE
GENTLEMAN AND CABINET-MAKER 'S
DIRECTOR:
BEING A LARGE COLLECTION OF THE
MOST ELEGANT AND USEEUL DESIGNS
OF
HOUSE MOLD FURNITURE,
IN THE MOST FASHIONABLE TASTE.
INCLUDING A GREAT VARIETY OF
Chairs, Sofas, Beds, and Couches ;
Dressing-Tables, China-Tables,
kettle Shaving-Tables,
Stands Bason-Stands, Tea-
; Frames for Marble
Dressing-Tables, Slabs, Bureau
and Commodes ;
Library-Tables Library Writing-Tables and
;
Private Book-Cases, Organ Cases
Rooms for
or Churches, Desks, and
Dressing and Book-Cases
Writing-Tables, ;
with
Cabinets, and Book-Cases,
CIoaths-Presses Toilets,
; China
Shelves, and Cases, China
Book Shelves,
Busts, Candle-Stands, Terms
Stands for
for China Jars, and Pedestals
for ; Cisterns
Water, Lanthorns, and
Brackets, and Chandeliers.
Clock Fire-Screens,
Cases, Pier
Frames Glasses, and
Girandoles, Tables,
;
Frames, Chimney-Pieces, and Picture-
Stove-Grates, Boarders, Frets, Chinese
and Brass Work, for Railing,
Furniture.
AND OTHER ORNAMENTS,
TO WHICH IS PREFIXED
A SHORT EXPLANATION OF THE FIVE
ORDERS OF ARCHITECTURE ;
WITH
PROPER DIRECTIONS FOR EXECUTING THE MOST
DIFFICULT PIECES.
THE MOULDINGS BEING EXHIBITED AT LARGE»
AND THE DIMENSIONS OF EACH DESIGN
SPECIFIED.
THE WHOLE COMPREHENDED IN TWO HUNDRED
COPPER PLATES, NEATLY ENGRAVED.
CALCULATED TO IMPROVE AND REFINE THE PRESENT
TASTE, AND SUITED TO THE FANCY AND
CIRCUMSTANCES OF ALL PERSONS IN ALI. DEGREES OF LIFE
BY THOMAS CHIPPENDALE,
CABINET-MAKER AND UPHOLSTERER, IN
ST. MARTIN'S LANE, LONDON.
THE THIRD EDITION.
LONDON ;
PRINTED FOR THE AUTHOR AND SOLD AT HIS HOUSE,
IN ST. MARTIN'S LANE ; ALSO BY
T. SECRET AND P. A. DE HONDT, IN THE STRAND.
MDCCLXII.
The title page has already called the
'• following Work,
The Gentleman and Cabinet-Maker's Director." as
being calculated to assist the one in the Choice, and the
other in the Execution of the Designs ; which are so
contrived, that if no one drawing should singly answer
the Gentleman's Taste, there will yet be found a Variety
of Hints, sufficient to construct a new one.
Borders for Paperhangings.
See Page 108.
CHIPPENDALE CHANDELIERS. Middle 18th Centu,
CHIPPENDALE CABINETS and TABLES. Middle I8th Ceniury.
108
should be useful for a variety of other
Borders for Paperhangings on page 105 purposes.
The have six sides.
The Lanterns on page 106 are for halls, and staircases. Some are square, and some They
passages
are generally made of brass, cast from wooden moulds.
four sides, others six. Both Nos. 5 and 6 are solid, but I think the
have open
Of the Chandeliers on page 107 some
if done in and gilt with
ones preferable. They are generally made of glass, and sometimes of brass, but neatly wood,
burnished gold, would look better and come much cheaper.
The two Cabinets on page 108 are made in mahogany.
and the feet are canted and sunk
Nos. 3 and 4 on page 108 are designs for Breakfast-tables. One has a stretching-rail,
is a
other has a shelf inclosed with fret work ; sometimes they are inclosed with brass wire-work. In the front
in. The
the knees, etc. No. 5 is a design of Table for holding a set of china, and be used as a Tea-table. A
may
recess for
to between the feet.
shows the plan of the top ; B is fret to round rim of top ; and C is an ornament
a go go
03 o
o
P Pi 8g
;2; )-< P3 ^ 13
C to ct ,jr
C
O P 109
<ü <U
ra ,C! to
H
00 0) ¡2 J5 rt
<0 ,2 £
ï CuO -40
Oh (U rO o3
<U
to 05 J
O ^ 8 'bi)
s c3
'H c
rt «u to"
0 Qj
fe lO -s > to"
o 01 c3
c OJ O W)
03
S rt cti to
C
0) ín rt
X Oí ;s q; <U tO
o o: O
o bí)
Íí C
< c
• r o; <ü
LU <u £ C/)
o
Q¿ to hO
rt
:d _c
02 <ü
to c
rt bjo
^ c^/í•a t'í
<1^ s 0)
ho
c i_ 5P to
CQ e .s "•o o
, i? <ü
Oi ^
w no JA ^
fe r£ >1 tlX) <0
CA) -O .s ^ (-•
ÍU cJ 'O 2 to iO
U ^2? ^ o
^ríí O o c
QÛ Í-l ^6 ctf
<U D hO
< Oh -Í-»
X5 to
U ^C
H ^
2n-H "i oJ O
tl 3
bX) trrOl·l
0 <1^ 2 ^
r- rC I
Oí fe
z H 2 d) H
~ ^
(/) to g ^ .5Ë
o ,„• oj to
<u
c/3 </5 .Íi2 "5 ^
01 0» > O
2^ 2
rt 'S™ C^ Ë hO "o H
O O (5
Q "V (5
to H O O rt
tuO -oí <U j_í
■ ■
tí 3 o; 05 bo
ÜJ •fe O,
® tuO O O)
íí^ 03 ^ Ití 'Oi <u
Oí ^ fe
< X
^ <r¡ ®
Q 'th
^ Xj
Z ro
rt .2 "bí) ^
íU O) ^
fe ^ 6 hfi 2
cu iz; ■S
Q. W *c^ Jo °
C/3 0) cti o
<u
E C/í n3 Oí
^ ^
Q U í/^
u 'H fe tuD
tO C
^ i o
rO (/5
(-1 Oí --1
C/2 rO O -M
.S) ë
ífí O to
'O 'rr2H Oh
o 15
<0 tO
U* c '
oí fe Oh
?.s (U
hO
^ 55 tO
o; <X3 C
0) Jo rt
bû ™ ^
2 w d
be rt pq
^ -fe to C Oí
.S C/3
o 2^ o (/) C
o -♦-> Íh
CD 0
N 13 _g bû bX)
C
to o <u
to (-4 O)
o ^ "rS
S hO
4->
15 •
u <u r
o; >
C lO
o B
>, Cí bx)
Ï5 rt 15 C
s O
ifi
 
Ill
IRONWORK from Various Sources. Middle i8th Century.
No. 4 on page 109 is a design for a Toilet or
hinges, Dressing-table for a
is in lady. The glass, made to come forward
a carved with
frame, and stands in folding
a compartment that
The rests
drapery upon a plinth, between which are
is small
supported drawers.
by cupids, and the petticoat behind the feet of the
ornamental goes table, which looks better.
part The
may be in burnished gold or
The japanned. The drapery may be silk damask, with
designs for gold
Fire-grates fringes and tassels.
on page no may have the ornamental
so be easily parts in wrought brass, nd made to take
cleaned. off, and
The designs for ornamental Ironwork on page m are from various
balconies, sources, and represent iron for
overdoors, stair balusters, uprights
brackets signs,
for lanterns, etc., and are
Mayhew, from
and other designs Manwaring, Crunden, Ince and
contemporary sources. In nearly every instance they betray the French Louis XV. style.
112
classical design, suitable lor marble. The columns may be whole, the plans
The two Chimney-pieces on this page are of a of
shewn on this should be in brass. No. 4 should be made
of which are given above. The four cisterns, also page,
solid the others may be made in parts, and joined with brass work.
wood or marble, and cut out of the ;
" The Correction of the Judicious and Impartial I shall always
that
Chippendale says, in the Preface of his work, were more perfect
receive with Diffidence in my own Abilities, and Respect to theirs. But though the following Designs
I should yet be far from expecting the united
them, Approba-
than Fondness for ever
my own Offspring could suppose
my Claim be regarded for a thousand accidental Circumstances
to ;
tion of ALL those whose Sentiments have an undoubted it difficult to
in dividing the Opinions of the most improved Judges, and the most unprejudiced will find
to some
may concur disengage himself from a partial Affection
of his
particular Beauties of which the general Course
Studies, or the peculiar Cast of his Temper may have
rendered him most sensible. The Mind, when pro-
nouncing Judgment upon any Work of Taste and
''gilSlllf those
R lif fGenius, is apt to decide of its Merit according as
f Circumstances which she most admires either prevail
III If " Upon the whole I have here given no Design, but
I ] /
eji what may be executed with Advantage by the Hands
I f Hi
i ^ skilful Workman, though some of the Profession
II I l
have been diligent enough to represent them (especially
jV ^ those after the Gothic and Chinese Manner) as so many
off
aS^sL 2- specious Drawings, impossible to be worked by any
Mechanic whatsoever. I will not scruple to attribute
^
^ ^
ff who will honour me with their Commands, that
as to
V 11WmÊl i^wÊÈfÊ ^very Design in the Book can be improved, both
' Beauty and Enrichment, in the Execution of them."
''
"
Chippendale further says, Of all the ARTS which
WW either improved or ornamented by Architecture,
i'/ CABINET-MAKING is not only the most
as
^ useful and ornamental, but capableof receiving great
Assistance from it as any whatever. I have therefore
prefixed to the following Designs a short Explanation
' r-jL \
-^ Five Orders. Without an acquaintance with this
science, and some knowledge of the Rules of Perspective,
the Cabinet Maker cannot make the Designs of his Work
Conduct and Effect of the Piece. These, therefore, ought to be
I
intelligible, shew, in a little Compass, the whole
nor
Branch, since they are the very Soul and Basis of his Art."
studied by everyone who would excel in this
carefully of the Ancient Architecture with the Modern.
have thought it best to include his Five Orders, also a Parallel
 
 
<U "+-I (U
G o tí <V
> 3 3 a; (u
g i-» lió
fe fe <1> «4H
O tí fe fe tí fe -tí
rt;3 ^ T3 Gí tí i^-E2 CO
•4—' fe g
r .2 o ctí ^ fe ^ H g u
o3 O tío X a -p-í
3 G fe fe
D
tó c/) fe G Ò P [> 'otí tí O d ^ • S fe
o T3 O o fe CO
w fe fe u
ffee fe o cu H fe
b (A o; o fe fe
Q fe tí g
Q 'S § cu -5 u g' fe
'(n cu d >
fe fe fe W fe O fe tí fe
"13 fe fe <v P cr G w g fe tí °
r2 PU o G CO
o í fe fe (U O cu d) cg ■s
fe S > fe d
tí fe
^ 2 fe ^ tío gI 'E
fe fe í>~ï xi fe e Q <v
fe G ^ <u (1) CO fe g u
O m-( fe
<U (/) fe g u <u U tío tí fe
fe d a;
« SOC)O u -ti X c/3
(U o 'g >
OJ (U O
cu fe fe fe .a o .ÇÍJ
^
> <v tí
fe fe tí tí fe cu tí g fe
<í (U X (f)
fe d tí w feS fe CQ O tío
o u
o o >—( o fe il •^"g d
u G CJ o fe e
fe fe -g
CO tí fe (D cj
co ffee > Ti Î-I G-l I—I "2
P ■+-> tí u
-M G
D , '2 ° G /i% 'E
<u "g o p o fe a
fe .2 I co fe a tí Tí
bjo g fe fe tí tí u g
H G 1-1 ^ G a
G ^ ^ £ § Q _G •n S +-> tí O cu ^ d
o tu tD tuO qH VH tí" o h-H Tí a p
fe G g
G G en CO o3 CO Ti fe CO r3 u u
. ^ u
o W <u >
en ha d tí
fe W P cu o o fe
.
fe s I 03 O >1 G fe m fe "2 ^ W [> fe ^
cu fe a
CQ « [> fe (U H +-> m
Gí CO
H O 03 fe _>< fe G cu 'g fe H Hf fe "> tío 2 fe K fe I
^ u
fe en fe u O 2 03 UH
hh H Tí u ,
G
CA) _ _ G S -M .2 fe 'tí S a, fe g í8 S fe
"
•v fe O ô co
tí O G 2 M-H
fe -M ri H s
o o3
(D CO H
4-> 'o fe P-i O fe fe fe fe s cu
O ^ ^ fe _g "g G fe fe G CU tí fe p
' ' [tí
g ^ oj <U lU UH tí O ^ tí
HH +-> "fe fe p
fe CO O u G
CO ü *4-1 fe
co W fe 0)
h tí fe fe fe fe .g fe co d G "2
G tí co Tí P o fe
< ^ ^
fe ^ fe tí o w Tt cu
o <u u
tí tío
< fe fe g "fe u u
Q O tí 1-1 O) fe 'fe ^ H oT 42 a O o Iz;
o w ^o u fe G g s *s
fe o fe tí H-i fe O <íi
UH G
O) tí CO cj oj o h -G
Z V-H
H fe ^ CLi tío fe o CG
—I d M 2 p
fe o cu fe a tí
u ^
fe tí fe "S o fe
g H fe P fe u H a u
fe o o <U CT) s G fe fe o _
-M ¿ 'o fe
a -^-' > •-' C/) H-> O fe g p fe fe
O +-> 1-1 tío
2 tí tío g fe
(U <u fe d
a fe s-i fe !_, s'i fe tío CG o o U <+-, -in tí .3 u
o ÜjO
O rS s a fe fe 2 o ■
fe ^
fe fe CO
-M rE^
C.) O d o f"Ge tí Tí
O)
tío Ui o o
s fe fe X
• 2
X 'S fe i-E tí 3 fe fe co fe fe p tí O
<u
u fe ^ CJ fe to _g fe
c¡2 fe cj tí fe tío g
d fe
Ti "fe fe _g
cG
o g fe S S cu .2 u
G U 2 tí 'S P2E 03 Tí r2
(U
fe ° ? OJ fe
S p d fe tí tí U 'g
fe fe +-' tí
co <d o '2 fe p
u p Tí Tí
<1 Vh O) 4-J ^ u O
Ph fe <u ■> -1-'
fe o3 tfeo 5P 2 fe
fe [> fe fe u ■>
o U-i G G fe
fe tí
fe fe ■4-> en fe > fe
fe <u fe fe o d
03
fe tío '~d tío fe fe
fe fe 'fe cu p
tío tío o3 G2 fe ;z; fe
tu ' fe fe
fe cu ot fe G fe tí "2 "tí 2 G fel 'u fe < G d
G S o tí fe
W tí 2 ^ p .2*
o ? W fe ip tí CJ 'u d o Gí d fe
m o S '2 cG .2 -M p lé G •fe co o Cj U o
^ G tí tí M-( G Q P fe U fe co
0^ fe fe
o fe fe _g "_OT o
O) '> fe S u
CG p 2 Tí
Ui . u
tí d G G ^ G H u •E Oj p f>V, CO § :> d U (U
fe tí M _tíD tí 00
G fe E fe G lu CO
^ tí u"
H fe -g 'S fe fe 2 Q <U G "tj i-j (V 2 '2
ü Q H fe p tí
o3 ^ U CL, fe t) fe
CO
H O tí M cu u
d > en fe H •4-» U 3 tí
^
G CO en
fe -J-> " fe <v fe CG fe fe co u
O í—• -t-" ^ d tí s TÍ" tí fe G? 2 P fe
cu tí G CO O tí O o fe
U U-t ^ H S -M g G p -g
iph -6 S ^ tí H u ■ íf
H ^ W E 'u
•-
o (/} gC P
E
U
■ Ut
o
CsT
tu
Q
o
u
>
tu
m
E
H
«
fit 1 j;» »/r loi
^ - J
Bases for the Columns of each Order,
The Bases and the Caps of the Pedestals of each Order,
ormtAimv
THE VOLUTE 117
OF THE IONIC ORDER.
THE GENERAL PROPORTIONS OF THE
CORINTHIAN ORDER.
Plate IV.
The whole Height is divided into five Parts ;
one of them must be for the Pedestal, the other
four remaining Parts must be divided into six ;
one of them will give the Height of the Entabla-
ture, the other five, betwixt the Pedestal and
Entablature, must be divided into ten Parts, one
of which is the Diameter of the Column, or
Module, which divide into sixty equal Parts as
before ; the Base is in Height a Semi-diameter
of the Column ; the Capital is one Module, and
ten Parts, in Height. The other Dimensions
are as in the IONIC Order.
THE GENERAL PROPORTIONS OF THE
COMPOSITE ORDER.
Plate V.
Take any determined Height, as in the
CORINTHIAN Order, and divide into five
Parts, one Part shall be the height of the
Pedestal, the other four Parts must be divided
again into six Parts as before ; one of them is the
Height of the Entablature ; The Height of the
Capital is one Module and ten Parts ; The Column
diminishes one-sixth of its Semi-diameter on each
Side, from one-third Part of the Height. The
dimensions are as in the CORINTHIAN Order.
THE BASES FOR THE COLUMNS OF
EACH ORDER.
Plate VI.
The Bases are in Height a Semi-diameter of the
Column ; their projections are one-third of the
Height ; their Members are of an easy Form,
being most of them a Semi-circular, except the
Scotia, which is a Mixtilinear drawn from two
Centers, in this rnanner, as in the IONIC Base.
Having drawn and divided the Bigness of each
Torus, Member, and the Centers of the
then let fall upper and lower
a Perpendicular from the Center of the upper Torus and divide it within the Space of the
seven Parts, the Scotia into
three uppermost will be the Segment of the Circle drawn to the
drawn oblique Line ; the other
by fixing the is
Center where Segment
the Oblique cuts the
The Mouldings Perpendicular ; the other Scotias are drawn in the same Manner.
are all the same as pricked or marked in the Orders.
THE BASES AND CAPS OF THE PEDESTALS OF EACH ORDER.
Plate VIL
The Projection of the Base of the Pedestal is equal to its Height, and the Caps project the same the
pricked off ;
as they are drawn in Mouldings are
the Order before. ,
See Page 120 re lomo Volute.
 
 
l-20
X X 45 -M <V Td 42
42 c no 3 > a
(H —1 l-< 02 rt? 02 u XSi a 02 3 2 K 3
rd (u (U cu a; x! r3 ^ a X 3 3 3 a a X tí
I
"^23 X3 .3 ^ t3 ■♦-' 3 •2
^Íj altí
§ X cd
X 02
C/D ^ a
o fc£) o O O 0 bC H P Si Si
"-t-i O a
S S ^ > •rt cd tí"
^ S W2 8 ^
OJ ^ 31 01 •- P ° -4-> a 02 bË 8 3 ^
Ü '-73 ^ ^ 02 bi S
-U> _Q2 X o •> d) 2 X
"o a, a w XJ H 31 3 -M ^
o 2 +-' X
3 3 bx) p C/) 3
^ Td S a Si to ^a
no
S O) tí 02 3 a 2 3 O 02 3 02
S ^ « 12
> a cd
TO 3 —
1-1 >
3 •
*c w ^ (/) oj 31 o (SDo 3 3
a 32 02 02 3 « y 2 ^ 02 3 -M
(U c; ° '3 ^ i-I X o a o 02 a a
Vh TS -i-T d) -J_» 'r32 -M tí
O) -í-> 'S 3 u
•- (U S arfi .S § X bjO 3 tí X 02
3 -
^ "3 I ^ 'o ío Q 02
> X c/)
'2 2 a Td
^ s .Ë
L3 o
.Hü. 02" ^ a Ti tí tí 3 no
3 •- a ^ I tí ^ x -8 tí 02
O 32 .Ü o
>-> -í—' :§ ^ Si 3 « 02 .3 —I X
(_) c^d o" X X 3 X >
CO W ír¡ 1^
a 31 o 31 X X 3 2 ^
bjO bî 3 o 3
W > ^ 02 X X 02 ^ a >
O +-■ ^ o
02 3) o 3 tí o 42 1 S 2 a
«
'3; ÛJ
W ■M H 02
o 3 '>> 3 02 .S 2 (f)
, a CO H ^ ^
s ^ bjo a to 02 a 2 a
h~i Q o
31 X 31 ^ 3 .S 3 3 X ■2 ® a
o 02
U (fí O 3 3
C2 <U Oi 3312C 02 s, cj 02
e 0^ tí P2 cd X
X a >
LU U O Tí
O) W S P ^ 3 > r
. cd
< HH 8 - 3 X 8 Tl a P 2 o
Q I 3
- O ^ 02 2 2 3 a •2 X to o X
P2 O 5 3 02 a ^ 3 HH T2 TP cd !-i 02
O hH ^ i ®-o 02 tí
^ s ^ ^ 42 02 02 02 o 3 x be a
02 n' X CO 3 42 2 CD
Cu 5 w o
il ^ W Ò ^ > CO \n X CD
02 3 X
o 3 02 cd
CO s > 3 4-Í
o _o" 3" be o
i s 3 02 X 42 X 3
2 3 3 -t-'
UJ W c '3 3 O a o a rE H
-M 3- X ^ ^ d)
K J 3 tí -u
31 o ^ i-i 3 a tí
O H ^ cd 4-» X
W ^ <V r-c 02 3 02 "1 a X 'U 42 02
E 02
C/) S >2^ 3 o X
■
X 42 3 •*- o
ffi X 'o X
tí 'tí 2 CJ to
h- 02 -¿3! c/} bjo 3 ■u> O i-i Td H be
cd 3 CO "a ^ a
H 8 cd r5 a .2 3 02 OT a X ^
3
nd ■> a 3
Í.N O o oi ti 3 tí 02
O w tí ••
E a a rtí O ^
X ^ 2 02 3 3 cJ Td a 3 X
3 a O O 'o > X
a w 42 ■;;; -M 3 ^ x" 3, 42 X a -M
^ U
Í— o a w 3 3 o w
2 I 02 3 02 3
(1) <v X 02 o o .2 g 3 o Td
(/) 3 o
"á X X 42 02 .X to 0 cd 3
^ ^
^ Si <V 7^ X çj CO 3 a
02 -M X tí Si r|^ cd
t/i w X ai ^42 X a^ 2 CO ^
o c/) CO *c 0 ^ 02
3 rM a •-
2 X o tí M-, a X cd Ü X
3 02 a 2 ü 02 a ° X "5 ^ 2 3 1 >
O
o ü O ^ 02 X X b -ë^ 8
U 3 s >> ^ < Ti .2 X 02 Id
—,
a 31 2
u X cd
o s
o ^_r a 3 X 3 8 02 .2 C/2 02 a I
42
3 ^ CJ tí 45 4^ m ^ X X rtí 02
o U -8 r¿ r^l·l
330
E 02 3 ë 2 1-1 X X no X X -M cd
o 02
^ _i_» 02 EÍ <V 3 a be
W X o X
H ^
X _3 -I-» a a 3 CD tí u
ío 3 S" a <-i-i W M 3 02 T 02
^ <D tí :) cd O
O a 'o .2 3 3 o
X 02
o 3 2 42 o Ë X X
02 Td > a a a
LU a o y a 02 a 3 YT 3 o
2 _
<12 rn 02 3 02 X X 3 S
-2^ 3 2
2 X ^ a 02
X 02 02 a "tl H a? o .2 2 X .3
o ^ i>
^ ^ tí "42 cd
42 02 s X •u» X > X 3 P
tí
<! cd ^ 2 3 cd
E H > cd a
02 o 3 Ò 3 a X X
^.2 a CJ o o 2 <
O a o? a 02 H Oi|o o > a a ^
121
O
ü
u
a
o
UJ
c
H
K
H
H
U
LU
h"
E
U
H
if
u « *♦
.• oC -----
ü
z
----- »» ^
<
UJ
E
H
LU
O
LU
<
Oí
<
CU ■-J^
Ct
í^v.
o
? i n
Ô
o
?'*■
 
 
 
 
 
 
1-28 CHIPPENDALE. ]^Iiddle 18th Century.
a
the personal history of Chippendale or his sons. It is supposed that he was descended from
Little is known of
" "
is shown by the Rococo carving on so much of his
as
family of carvers. He copied the French fashion extensively,
"
Furniture in 1762, which he called The Gentleman and Cabinet-makers'
furniture, etc. He published a work on
being large collection of the most elegant and useful designs of household furniture in the most fashionable
Director," a
taste. He dedicated it to the Right Honourable Hugh Earl of Northumberland.
the wood he fly used also Rosewood, set off either with carving—which was sometimes gilt, or
Mahogany was mos ;
or and
brass and silver mounts richly chased. But a good deal of his work is made of a soft wood and japanned, painted
partly gilt. He also used copper mounts.
" Five Orders," which I reproduce on page 113 to 117 in
with this work.
He prefaced his work
on
It was usual during the 18th Century for authors of works Architecture, Furniture, etc., to preface their books
" not
with a disquisition on the Five Orders." Anyone knowing this, and taking up an original copy of say
and after mastering the Preface, and then proceeding to the Designs in the Books—and, of course,
Chippendale, the had little or nothing
anticipating to benefit by his previous study—would be disappointed by finding Designs
to do with the Preface ; in fact, in many
cases were the very opposite to any-
thing classical. This mystery can be
partly cleared up when he calls to mind
that the architects designed their build-
ings on a classical model ; although the
furniture manufacturers did not follow
them very closely—as in the case of
Chippendale, who was influenced by
the Gothic at one time, by Chinese
Ornament at another, and by the
XV. "
Louis Rococo " style at another
time ; it is by the last that he is
mostly known. But exception must
be made with regard to some of
the designs of Book-cases, Ward-
robes, etc., where the mouldings are
certainly based on a classical model,
while the carvings on the panels,
etc., are not so.
It has been asserted that there being
so great a difference in some of the
pieces of furniture, for instance, between
the gilt frames and the wardrobes, that
there must have been more than one Of
the family superintending the execution
of Chippendale's designs ; but if so, it is
somewhat curious he has not mentioned
the fact in the preface or elsewhere, but
seems rather to infer that an intelligent
workman could always give full scope
COTvHVTODHl
to his capacity."
That part in the middle
The Bas Rehef in the middle or on wood.
may be carved in wood, or cast in brass, painted
Commode is a
be a door, with ornament on it, and the end in the same manner. On the top of the design
may parts
I would advise to model this design
for is
a Surtout, to be made in Silver. A Candle-stand at each end very proper.
before execution, as it will save time, and prevent mistakes.
a m
o ro
s H
"ô;
c/) rô
ro
H
u
c3
G2 ci
CO
a 0) H 129
03 GG »s
-M H en
ro
"o H
03
^-> C/) GG
GG (V
àjD O
.5? o
"S 03
GH
G=l 'rS
tí
0) o O
G=l o
H en
Ui
^ (U
s ^
2 o
-M
2 §
ro :3
•rJ "
rl oj
ai jD
>. 2 ^
C^ bo ^
3 ^
<u Xi
c/}
o CJ
rC; ^
H H'
OJ d)
^ X5
gG
rC ■J-'
CO W)
tí
2) ^
H ^
o ^íí
<U o
^ ai
S ^
.S O
■
ço ■>
• íí 03
rt ^
G o
c^ G::
Td !2j0
<U «U C
bo ^ <Ll
rt M '—'
Cii 5 <u
í2 M
S 1S
<ü
G c/i CO
^ « rt
 
CHIPPENDALE CHAIRS. ISth Century. l-'il
See Page 129.
 
 
 
CHIPPENDALE 135
CHAIRS and SOFA. Middle 18th ('enturv.
of inches given, you will have a measure to take off of the breadth of the circular parts of each back.
be put to those Arms, if
may Chairs. These required
relate to Nos. 28, 29, 30, 31, 34, 35, 36, 37, on page 133.
 
 
bjO 'T3
H rt
Oj ¿}
ctí w
c/5
(D O
£ 'u
tí
rt '4^
oí
^
5b
crj
Cü c/} oj
o 0) ^ o;
OJ
S-H
CJ
•+■>
t3
C
03
^ o
m oj
ro X ^ S
H 0) o
OJ 0)
b/) ^
oj -M
c "7!
O
 
CHIPPENDALE WRITINQ TABLES, BOOK-CASES, etc.
Chippendale shows a great variety of Writing Tables, Bureaux, Commodes, etc. No. i has a writing-drawer, which
tern feet to support it, details of which are to be found at No.
has 6,
and page 142.
draws out at one end,
in Gothic style, it has three-quarter pillars fixed on the edges of the doors,
The first Writing Table on page 138 is
and they with them. For details of this Table see
open page 142.
are fixed. A is the Plan
In the plan of the above Table, with its mouldings ; a, a, a, are the places where the pillars
of the })illars, and a scale Figure 2, page 142.
B a of a
Figure 2, page 142, is a method for working and mitreing mouldings of different projection. Suppose quarter
the B and D, and divide it
circle, or moulding, divided into nine parts, and the last division into two ; then plan moulding
intersect in draw the
into the same number of parts, and draw the diagonal, L, L ; and where the divisions L, L,
suppose
COMMODE BUREAU TABLES.
 
 
DETAILS OF CHIPPENDALE WRITING TABLES, etc.
 
 
146
117
t3
(V
o,
Cj
cj
1 OJ
1 (D U
rû
OJ
:=í
Suo S
o '3
> O Ch
J=1 Oh
c (/) .;:? QJ
.f-i
Tí o
o; tí
,c| 03
H-»
CJ tí
í3 cu
tí
-M c
CJ ctí
<v tí
o tí'
CJ _o
ÛJ
d tí
cu -4-> CJ
lU
X
(U 0)
jn >
CJ 03 <-f-(
-M o
c3
g (U C/)
o rtí c3
-+-J -4-» <ü
 
 
CHIPPENDALE PUENITUEE.
150
CONSOLE TABLE,
VASE STANDS,
AND CHAIRS OF A
LOUIS XV. CHARACTER.
For particulars see Page 155.
For particulars see Page 155.
T. CHIPPENDALE, SHERATON, HEPPELWHITE, and others.
152
?Timimnnnnmnrn
n
Tv IDC
11 iwk(
ik/^
i/\r
BOOKCASE DOORS, etc.
For particulars see Page 155.
T. CHIPPENDALE, SHERATON, HEPPELWHITE, and others.
V
'
¡GnnnHnfl"
SinfflTniiiliiimtffnTi
U S*
BOOKCASE DOORS, etc.
For particularsjsee 'Page 155.
154
CHIPPENDALE, SHERATON, HEPPELWHITE, and others.
For particulars see Page 155.
1.Í5
CHIPPENDALE, SHERATON, HEPPELWHITE, and others.
Pages 152, 153, 154, 155.
Page 152.—Nos. 9, 44, 48, are from Chippendale's book.
„ 153.—Nos. 4, 7, 12, 13, 14, 16,18, 19, 20, 26, 29, 31, 32, 34,
48, are from Chippendale's book.
,, 153.—Nos. 21,22,23,24 are from Ince and Mayhew's book.
,, 152.—Nos. 38,41,42,46 are from Ince and Mayhew's book.
,, 152.—No. 27 is from Sheraton's book.
,, 154.—Nos. 2, 3, 4, 5, 6, 7, 10, II, 12, 25, 27, 28, 29, 30, 31,
32, 33, 34, 35, 36, 37, 3^, 39, 4o, 42, 43, 44, 45, 4^,
47, 48, are from Sheraton's books.
//> //
,, 155.—No. 16 is from Sheraton's book.
Page 152.—Nos. 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25 are from Shearer's book.
,, 154.—Nos. 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24 are from Shearer's book.
,, 152.—Nos. 28, 29, 30, 33, 34, 35 are from Heppelwhite's book.
,, 155-—Nos. 9, 10, II, 12, 13, 14, 15 are from Heppelwhite's book.
Pages 150 and 151.—No. 3 (page 150) is ^vhat Chippendale calls a Pier Glass and Table, but what we
now a Console should call
Table. It is carved and gilt with marble top, and is of a Louis XV. design.
Page 150.—The two chairs. Nos. 4 and 5, are what Chippendale calls French chairs. The seats are inches wide in
front, 22 inches 27
from the front to the back, and 23 inches wide behind. The height of the seat is
castors. I4|- inches
The height of the back including
is 2 feet 5 inches. But sometimes these dimensions vary
A according to the size of the
room. skilful workman can also lessen the carving without any prejudice to the design. Both the backs and
must be seats
covered with tapestry or other sort of needlework. The patterns on the seats and backs are after the Chinese
style, which was fashionable about that tim.e.
Nos. I and 2 (page 150) are Candle-stands 3 feet 6 inches to 4 feet 6 inches high, which, if finely executed with burnished
looking-gla^,'to die front^w^ joint
hinges, and over it a compartment ; and on each
\\nth gold'fringes and m
Pipkins in Copper and Brass. No. 3 (Page 15') is a Pea-table, or table to
hold china.
 
T. CHIPPENDALE, J. CRUNDEN, and others.
FRETS.
The hanging mirrors on page 145 were common daring the earlier part of the i8th Century. They were made in
mahogany, sometimes with inlaid shells as Nos. i, 2, and 3, and sometimes with gilt
the pediments. The round
mirror moulding
was usually a gilt leaf, and the edges of the glass had a bevel, much slighter and smaller than is used now.
Pages 148 and 149.—These were the sideboards of the period (middle i8th Century), often made to go in recesses of
walls, and were sometimes of a good length. Nos. i, 2, 6, 7, 8, 13, 15, and 17, on page 148, and No. 7, on page
Chippendale's. 149, are
The side tables, having cut through rails and legs, should have wood tops, as they are hardly for the
marble strong
tops, which enough
they generally had. C
Nos. I, 2, 5, 6, 10, and 16 are Ince and MayheW's, whose work, published about the same time as
dedicated Chippendale's, was
to a nobleman—as was usual during^l^is period, and in this case to George Spencer, Duke of
]\Iarquis of Marlborough,
Blandford. "
The wine coolers often had brass bands round them—like No. 9, on page 148, which is at Locock Abbey.
The side tables on page 149, Nos. 3, 11, 12, 13, and 18 are by Manwaring, who published his w;prk in 1766 ; he calls
them slab tables.
Pages 156 and 157.—Nos. i, 3, 4, 11, 14, 25, 27, 31, 32, 34, 35, 36, and 37, on page 156 ; and Nos.' i, 3, 4, 5, 6, 7, 8,
22, 23, and 26, on page 157, are from Crunden's book-of frets, the rest are Chippendale's.
J. Crunden was born in Sussex, and was the pupil of Henry Holland. He published several works
" ; among others,
Designs for Ceilings," 1765 "
; Convenient and Ornamental Architecture," 1768 ; "The Joiner and Cabinet-Maker's
Darling," "
1770 ; and The Carpenter's Compositions for Chinese Railings, Gates, etc.," 1770. From the title of this last
work, which was dedicated to His Grace the Duke of Newcastle, readers will learn the source of his inspiration in
the frets here designing
illustrated. He died in 1828. Among his designs for ceilings are ornamental centres
" illustrating such
subjects as Fame sounding her Trumpet," "
Cupid and his Bow and Arrow," trophies, birds, squirrels ; a complete
sporting ceiling, including the " Death of the Fox," etc., etc., and fables of the " Fox and the Grapes" and "
Stork,
Crow and Goose."
 
159
CA)
LU
CA)
<
O
O
o
ûû
O
u
0:2
ûO
•a
s
03
CA)
m
CA)
<
O
O
CO
UJ
-J
<
Q
z
LU
Û-
û.
tmmm
30
 
GRANDFATHER CLOCKS
Black and Gold Case,
One-Year Clock at Clock
Court Hampton Èight-Day by
Palace; late lytb J.
Cen- Harrison, of Burrow,
tury, by In
Daniel Quare. possession of Baron Rothschild.
H. English make, 1715, Guildhall Museum,
by E. Batterson, London. London.
See page 170.
 
1G3
T3
QJ
-Ŝ
S
' OÍ
G G
uj CG
-M ^u.
'C 'S
m
6 vT
S
h rG
Cd
k>~l
GU a
r.
UJ
a;
QJ
-M
Cd
33
_5H «H—.
'S 0
rG -M
H-» Í2
T)
G cd
Cd
CO .wwwWvV^
C/3 G
QJ .>
G:3 "Ei)
m 0
cd G
ffi
o
O 13
G cô
Cd rG
o CO 0
0
<u
LU u 2 13
*co <v
K H-J
13 G çd
H 0 G i/i
< - rG
•4-'
LU >> 0
Q G
Z rU 33
>
< 2 cd CO
Cd G
0 *0 G
0) d;
a rG p- H->
CO CO X
-f-» u G
3 CO CO
<v
cd K/j
0 U
2 0
íá:
CJ
G G
Cd
V-. G
32 H
CO G
0
0 (J
H-»
Gi_( <u
î«) O
•G O
in 13
«-)—( c
13—1 o
_G
o
3G
O 3:1
w -
C/)
o î2jO "Ei:!l
w a
eu
>
O
O) 13 V-»
13 t; (Gh
cd
D a
M s
 
 
 
See Page 170.
 
 
CHIPPENDALE MIRRORS.
Page i6i.—No. i is at
Hampton Court Palace,and
was made by the famous
Daniel Quare, the contem •
porary of the equally
famous Tompion. It is a
one-year clock in light
wood (maple), with de-
gantlychased brass workon
plinth, and figures in brass
on top. It has the herring-
bone band round panels—
an ornament peculiar to this
period (late 17th Century).
The large centre one,from
the collection of Baron J.
Rothschild, is of English
make, and of the time of
George I. It is in walnut
wood, enriched with copper
mounts. Someofthesmaller
figures are allegorical. The
dial is surrounded by a
carved copper border, and
is surmounted by a figure
of Abundance. There are
several pieces of ornament in the Chinese style, which was fashion-
able about this period (1720). The maker's name is H. E.
Patterson, London.
No. 3 is a long eight-day clock m the Guildhall Museum, London,
by J. Harrison, of Burrow. It is dated 1715, and has a black and
gold case.
Page 162.—No. I is in South Kensington Museum, London (now
called Victoria and Albert Museum). It is in walnut, the inlay dark
on light ground; early i8th Century; marqueterie of various woods.
No. 2, Clock in marqueterie case, by Henry Poissons, London,
early i8th Century. The ground work of the marqueterie is in
light walnut, the marqueterie being both darker and lighter than
the ground, but the whole is light in effect. From Victoria and
Albert Museum, London.
No. 3 has a marqueterie case, and the twisted column, which is
a legacy from the Jacobean period, although the twist was used
during the reign of William III. and Mary, and Queen Anne ; but
it was not this straight twist, but one thin at the top and much
thicker at the bottom, as is seen in the altar rails in Sir Christopher
Wren's churches. This clock is by Mansell Bennett, of Charing
Cross. The marqueterie is of Dutch design (pinks, tulips, quaint
birds, etc.) and is on dark ground. In Victoria and Albert
Museum, London.
No. 4 has a walnut case with geometric bands of inlay ; late 17th
Century. The Clock with Chinese designs in panels belongs to
the early part of i8th Century.
PICTURE FRAMES and MIRRORS.
CHIPPENDALE CHIMNEV=P1ECES and FIRE SCREENS.
172
For particulars see Pages 175 and 176,
 
 
CHiPPENDALE PICTURE FRAME and DESIGNS FOR SHIELDS.
The four large Girandoles on page 167 are based on the Louis XV.
style, and show groups emblematical of war, etc.
I The oval Girandoles paintings,
on page 168 are also of the Louis XV.
with the exception of No. which is style,
3, based on the "
Taste," as the Gothic
makers of partly
that day called it. The Brackets on
are of the period. No. 6 page 168
same shows the
side irregular shaped shelf, one
being different to the other.
The large Girandole, or Mirror, on left of
the "
Chinese page 169 has a m
Taste." The long mirrors group
on
with page 170 were favourites
Chippendale, and seem to be elaborate
older copies
Florentine Mirrors. suggested by the
The Picture Frames on page 171 are very elaborate, with emblem.s
suggestive of the French designs of Le Brun.
The Screens on pages 172 and 173 are of the usual Louis XV.
with needlework centres mostly in the " " style,
Chinese Taste some
flowers, and ; with
others with nymphs in the " French Taste." No. i
page 173 is on
meant to have another wing or wings on straight-edge.
Eight Shields, which, as they are often placed
'^ery high, should be very bold. They may serve
LS ornaments to pediments.
CHIPPENDALE PIER GLASSES.
These Pier-Glasses were sometimes placed over tables somewhat similar to our modern Console Tables.
The Chimney-pieces on 172, 173, and 174 were mostly carved in pine and gilt, and have the usual mixture of
pages " in the
" " "
ornaments in the Chinese and Gothic Tastes." Chippendale, speaking of these, says a skilful carver may,
were filled with .
..
execution of these designs, give full scope to his capacity." The space in Over-mantels glass.
"
of No. Chimney-piece which requires great care in the execution. The embossments
Chippendale says 5, on page 173,
as likewise
must De very bold, and the foliage neatly laid down, and the whole properly relieved. The top may be gilt,
some other ornamental parts.
The lower part would be in
marble."
Of No. 1, on page 174, he says,
"
a Chimney-piece of Architec-
ture intermixed with trophies,"
etc.
"
Of No. 2, on page 174, a
Chimney-piece of Architecture.
Sculpture, and Ruins. Great
care will be necessary in exe-
cuting the upper part. The
ornaments must be carved very
bold, so that the Ruins may
serve as bas-relief. The under
part should likewise be very
bold, and the dog entirely free.
It would not be amiss if the
Marble Slabs. whole was mmdelled before it
Three Brackets for
began to be executed."
No. be the Iront rail to of them. It must be remembered that marble- The Picture-frame on page 175
4 may any
is called "A Frame for-a Picture
tops were extensively used about 1760, and earlier.
of an Engagement at Sea."
 
178
CHIPPENDALE BUST STANDS. Middle ]8th Century.
are
in
Eight Girandoles on page 177.—These can be made pine and gilt, or could be made in mahogany. They designed
to hold candles. No. 2 is a piece of ruins intermixed with various ornaments. These designs help to show Chippendale's
wonderful versatility.
book. No. 2 is emblematic of Music, and Nos. 3
The six Pedestals illustrated on this page are from Chippendale's
and 4 of War.
" "
there in France, England,"Holland, etc., a taste for Chinese
During the early part, of the 18th Century sprang up
ornament, and one of our most noted architects of that time. Sir William Chambers, published a book on it—he having
" " "
travelled in China. There also came into fashion a revival of the Gothic Taste," as it was then called. Authors of
" for
that period seem to have been very particular to describe their designs as being in the fashion." Chippendale
to
instance, his title describes his designs as being in " the most Fashionable Taste." He thinks it prudent
on page,
I have here given no Design but what may be executed with
add—" the whole, Advantage by the hands of a
Upon the
Skilful Workman, though some of the Profession have been diligent enough to represent them (especially those after
be worked off Mechanic whatsoever.
Gothic and Chinese Manner) as so to
many Specious Drawings, impossible by any
I will not scruple to attribute this to Malice, Ignorance, and Inability ; and I am confident I can convince all Noblemen,
in the Book can be improved, both
Gentlemen, or others, who will honour me with their Commands, that every Design
Thomas Chippendale."
as to Beauty and Enrichment, in the execution of it, by Their Most Obedient Servant,
 
CHIPPENDALE CANDLE=STANDS Middle 18th Century
The Candle-stands on pages
179 and 180 are all from Chip-
pendale's book. They are from
3 ft. 6 in. to 4 ft. 6 in. in height,
and have three arms and three
feet each ; the sides are mitred
together. If finely executed
and gilt with burnished gold,
will have a very good effect.
No. 3 on page 180 is in the
" Chinese Taste," and will hold
seven candles. The four Candle-
stands on page 179 may be
converted into Terms for Busts.
No. I is intended for a glass
globe, fixed at the bottom in a
piece of ornament. The socket
for the candle may be fixed on
a piece of wood, which may go
down the term, and be so con-
trived as to be raised by a small
line and pulley.
CHIPPENDALE SHELVES FOR BOOKS, etc. Middle 18th Century, isi
Nos. I and 2 on this page are two Shelves for Books or China. No 2 is
has intended for
no doors, in the
nor frets doors and
on the glass ends. No. i
edges of the shelves, but
good may, if desired ; under the end
finishing. parts are
Nos. and brackets which make a
3 4 are Book or China Shelves with Canopies. No. is a
canopy is pierced, 5
and China
the fret Cabinet
at bottom Hanging ; the
may be two drawers.
No. I on page 182 is a Shelf intended for japanning ; the fretwork on the
of the sides is
canopies for
of doors.
the ends The
stand designed
at the supporters
corners, and are
cupboards joined in the middle ; the feet are
at sides. No 3, Shelf No.
for pierced
China. The through.
canopy is a kind 2,
of
section dome,
are on the right. pierced through. The plan, profile, and
 
 
The three Stands on page 185 are for china vases, and may be either gilt or japanned.
The four Terms for Busts would look well in Mahogany.
for
On 151 there is a similar design to the last stand with cherubs on page 185. These are suitable
vase gilding,
page
"
and recall the French " fashion.
"
Chippendale and his contemporaries designed some very beautiful Tea Caddys." Tea, no doubt, in those days
great deal more expensive than it is to-day, and was, for that reason, kept under lock and key by the mistress of
was a
its
the house, and the Caddy was put on the side table an ornament ; but now it appears to have lost
as importance
or silver ornaments.
with its reduction in price. The above six designs for Tea-chests should have brass
 
¡D Tí D
c3 "Ŝ DO
D
t! DO CD <r<
>0 -M o tu ^
I—I CD <
CA >. fed t/2
t3 CD V> fe O)
C d ÜjO fe 'rd
h .
oj ^ -M
o P 'd
CD d ^3 (D OJ °
186 OJ D <U ■§
Î-I -4-» z 03 c¡o
C/) oT ^ C cu
^ o
o ° tu d c M
T^O (U d í e fe D4 d m
00 d oi
fe CD
TO tu fe
^ d 1O 1
rd C O d ^^
(D CA o CJ
•tlj
^ CA .d o d
o
rd tu 'd o
TD CD ÍD D DO CO
d >
+J o
l-t O) 53
£ fe d fe >
H 3 p _aj
D ^ .d 'o
^ CO
D 03 03
H fe d fe O, 1-
D
> fe _tlD
-53 :S P
O) (U O
fe 03 03
■
►> 0) t3
o3 o3
p fe .
>^ 03 fe
fe-> "í di
C;:ü; 03 fe CU ^ 03
C/3 fe fe u, 03
D-' fe fe
U c« ^ W) d
02 o3
03 d o3 TO
fei CA -M
< o3 1dd Oj d
-J bjO fde
■fe fe
o3 ^ p
(j ^
CA) •S p
fe tuO "tt I d > fe
d O 5 •!D 03
tu d 03
u d P So fe
D
oj 03 cl
(72 oj
d 03 d
CÛ M—«
CA TO M-H
d 0
2^ (73 ^ 'H P
cti D P -5
_ D
fe d fe - o
d C3 S
Oj ï CA ■s Í
fe :2 ^ ;/;
W) o <u d í
•¿
Í-I o3 o3 ü
CA
0^ d tu S s 2 -4_)
tO P
O o3
'n. 03 p fe S
uu fe I2 ?d sfe „ fe
oj O fe o o
H I2 ^ S p O ^ -p
CA) ^ 6 S d 03
LÜ d r,H -&fe D >
fe fe fe fe-
O CJ 1 fe
(U *u :: O 03
< C 03 d 03 d
CA d fe
_r 03 d 03
O bjo E: ri CA fe do >
UU fe
Cd ^ "^> fe d ■« d
d) +-» TO d
P
CA tTiO 03 üp c« o
_ Q
UJ o; Lh 'Tu C.)
d o P
03 > '
fe Pt
TO 0^2 <U tí fe
.-CA E -M ÍsP
< P fe
d d -P
03
O !fe
TO S +to7 X
z fe s s TO CA
d o d 2 W 2
UÜ >,
03 TO
d
CL CD d CA
O. 'cA ^CA 2 o o
D
Eb tuD TO cS fe d D
fe fe fe d ^ CA d
- . ^
O !-( C CA D >~i ct3 o3 o3
E CD .CD O O
-4-J o3 'd
<L> TO ^
D fe •r-i
fe fe rTO O P„ 03
."d 03 O
^ .P Pí ^
o3 O
CA TO
fe
TD Q
(U .
■
d do ÍT ^
n
03 d ^ do P 2 ^
PH ír^ P p
" d .2
2 P ■B $
X fe p
DO 03 S .íí) " fe o p «r
TO Eí
CJ > O Ï
^ fe fe
D X f2e 03
d t/3 y CA 03 fe L-<
o d -t-( 03
d -P 2 03" fe
fe ÎS0
- fe o
-P -. p 9 03
fe t/) o 1—I
H D O fe
d CD "fe
03 02 C/3
3 03
TO CD D
O o3 O Ò « 9^ -p
r.
Tt" TO CA
CA
03 ^ P .5 4-> (U
C 03
tí TO TO ^ CD Ph
03 & o o" 2
. , p
o
'2 03 .2 2'^ 2
D ^ CA 'fT*
fe fe p 2
9 > o 03 J3 1/3
D2 c3 03 fe
o3 DO fe d O fe
 
18S
o
S-H
o H
o X)
xi
o ii "S
0)
(f) m
OJ
GO u
cd
bjo oj VI m
^ .Si X
— G
i) 0) GH a;
S § X
X oj G
•G O cd
^ OJ) -M
<L) Gh G
X! o
^ M-f
o
O
U(
Qh u
D
,í:3 II
H îor!j u
í>> Ph o
G Gh >
ai G
"g ¥
M GH
CTj G cd
in eu c/}
■
X a <V
UÜ hc
0
in
>. 1 ^
> d)
C -M
> Oj X
«H—( Cd
o ÍX o
oT Cl,
;h GH -
G •
E !2J0 X
m:Î o X
o -M
<u p
C/} X -x rG
<u
UJ 5 G G
G G G OJ G
CJ <u ^
rG X
.Gtío d O
>.
z s s G
cd
UJ 0) X
>,
Oh ÜHH
2: o 0)
G o
G
E cd S
G g Ë
o S
O X
_
V-. O o
.' G
ÍH C/î
X
0)
X p
jn X X
X
cd -G
X3 Ë
r—1 ►—i G X
xi Cd G "G
ù
<v d) d)
OJ s
X
rG , X
G "cj
X bX)
O O
<u -4->
O) X X G .Si
>. di ''-' X
0) X d) o
rO <v X X G
> cd -M G
-LJ O
^
1 d)
u
cd cd
d)
o m m
cd d) X <+H
cd CJ GD O
G G
cd
!g G X
d)
CJ G
X X G
O X d)
cd a X
H
cî dj
X
o o -M
:z; :z; X
G cd
cd ËX!
For particulars see Page 190.
190 CHIPPENDALE CABINETS. Middle 18th Century.
"
No. I on page 189, Chippendale calls A China-case.
The canopy projects more at the ends than the front."
No. "
2, A Cabinet with Term-feet." The middle part is a
door, with Gothic pillars fixed on, which open with the door,
and hath a glass, which may be either silvered or trans-
parent. The ornaments are carved wood. The under
drawer at D goes the whole length, is pierced through, but
may be solid, and relieved or sunk, with a small moulding
wrought round.
Nos. 3 and 4 are China-cases with glass in the front and
ends to show the China. The feet are cut through, but may
be solid, and the frets glued on as on the rails. The rail in
front is divided into three drawers.
Nos. 5 and 6 is what Chippendale calls "
an India Cabinet,
with drawer in the centre, and difíerent doors at the ends.
The frame is pierced through, but may be solid, and the fret
glued on."
No. "
7 are Shelves for China, and is intended for
japanning."
No. "
8, A Gothic Cabinet, The Gothic work at bottom
is intended for a drawer. The middle part at B is open, and
hath shelves with frets on the edges."
For plans and sections of China-cases, etc., see page 192.
On page 190 is a China-case.
On page 192 are three Tea-kettle Stands, also two
Cabinets. No. 2 "hath folding doors, the ornaments which are
âllliif «3»^ on them will conceal the joining. These ornaments may be
brass, or .silver, finely chased and put on ; or they may be cut in filigree-work in wood, bra.ss or silver. No. i has one
door in the middle and drawers on each side. All the ornaments which are on the middle door, at top, bottom and two
sides, must be fixed fast, and to with it. The feet, as well as all the ornamental parts, must be cast in
open brass or
silver, etc."
The sections are on page iq2. No. i section belongs to Cabinet on page 190.
No. 2 belongs to No. 8 on page 189.
No. 4 „ No. 2
No. 6 „ No. I „ „
No. 7 Nos. 3 &
„ 4 „
No. 8 & 6
,, Nos. 5 ,, ,,
No. 9 No. 2 ,, 188.
,,
r
"
Chippendale in the preface of his work ; I have been encouraged to begin and carry on this Work not
says only by
Persons of Distinction, but of eminent Taste for performances of this Sort ; who have, upon many Occasions, signified
some Surprise and Regret, that an Art capable of so much Perfection and Refinement, should be executed with so little
Propriety and Elegance. How far the following Sheets may remove a complaint, which I am afraid is not altogether
groundless, the judicious Reader will determine ; I hope, however, the Novelty, as well as the Usefulness of the Perform-
ance, will make Atonement for its Faults and Imperfections. I am sensible, there are too many to be found in it ; for I
frankly confess, that in executing many of the Drawings, my Pencil has but faintly copied out those Images that my
Fancy suggested ; and had they not been published till I could have pronounced them perfect, perhaps they hacj never
seen the Light. Nevertheless, I was not upon that Account afraid to let them go abroad, for I have been told that the
greatest Masters of every other Art have laboured under the same Difficulty."
CHIPPENDALE TEA=KETTLE=STANDS and CABINETS. ^riddle 18th C'enturv.
Chippendale further adds :—
" I am not afraid of the Fate an
Author usually meets with on his
first Appearance from a Set of
Critics who are never wanting to
shew their Wit and Malice on the
Performances of others ; I shall
repay their Censures with Con-
tempt. Let them unmolested deal
out their pointless Abuse,and con-
vince the World they have neither
Good-nature to commend, Judg-
ment to correct,nor Skill toexecute
what they find Fault with."
See Page 190
See Page 190.
Details of CHIPPENDALE CHINA CASES, etc. Middle ISth Century.
102
See Page 190.
 
CHIPPENDALE BOOK=CASES. Middle 18th Century.
See Page 196.
 
 
 
<-M d)
o o o >
-f-» q=¡
C/í C/l CT) .
Q <u tí
H-» -M
d bO
*03 'c; "w ^
u
vC vo o o
ON ^ o^ o a^ H H tí tu
H ^ H H oo
ro H oo ro 0") <u
o^ c^ <D c-< c^ a^ lO 0) rtí
<a OJ
(D H 0) H H bX) H E-^
H H H H
tuO bx) bX) H
tlO bX) 03
cj 0) CJ <0 0)
<l) c5 (D G3 OJ 0) p. 1.
bn CP. bjo CP. b£) bX) P. bx) CP. bx) bX)
crj oj ctí oj tí tí oó
cj oj tí tí CP. tí CP. o PH o :/)
PL, tí CPH CP. CP.
o o o o H
tí tí tí tí tí tí o tí
m o rO m
o o o o H O
O tu rtí
d 0-Î d CM d CM d lO
H d ^ P-I
TrtíJ~ ^ ■§ °
•
d d d :z; :z¡ O) -1-'
d d d :z¡ d PH , tí
(U y. bí)
>. c
:z; :z¡ :z; ;z; PQ tííStí! í/) .ÍH
'§
^ 'tí
rtí
tí-l UI
O)
(D -M
eS|
OJ
• Íh O
cr\ §
CJ
g c
o -t-"
c-ï ^
o 'tí
iz; I
d
 
CHIPPENDALE CANOPY COUCH and BEDSTEAD.
Proportion, and Harmony. If the Pedestals of the Bedstead, the Pillars, Cornice, and Top of the Dome,
Magnificence,
and the Furniture is suitable, the whole will look
burnished Gold, extremely grand, and be fit for the most
are gilt with
The ingenious Artist may also, in the Execution, give full scope to his Capacity. The Bedstead should
stately Apartment. fourteen or fifteen feet. A Workman of Genius
be six or seven feet broad, whole
seven or eight feet long, and the height
make first a Model of the
will easily comprehend the Design. But I would advise him, in order to prevent mistakes, to
same at large ; which will save both Time and Expense."
is Couch with a Canopy. The curtains must be made to draw up in drapery, and to let down
No. I on page 200 a
is fit for alcoves, or such deep recesses as are often
sort of couch
when occasionally converted into a bed. This very
are adorned
apartments. It may also be placed at the end of If the curtains and valances
a
seen in large long gallery.
The Crane at
with large gold fringes and tassels, and the ornaments gilt with burnished gold, it will look very grand.
The
and
the of the canopy is the emblem of Care Watchfulness, which is not unbecoming a place of rest. length
top
less than six feet in the clear, but may be more if required the breadth is three feet or
; more, in
of the bed cannot be
proportion to the length ; the height must be determined by the place it is to stand in.
of the
200.—A Bed which has been made for the Earls of Dumfries and Morton. One pillars is composed
No. 2 on page
tester is covered, and the bottom edge of the cove is cut into the shape
of reeds, with a palm branch twisting round. The
fixed to it. In the middle of the
nearly that of the ccrnice. and a thin slight ornament fixed on, and the inside valances
 
CHIPPENDALE FIELD BEDS, and COUCH BED with CANOPY.
ornament ft. in. by 2 ft. 8 in. ; and from that to each corner is a piece of foliage and flowering.^:.
tester is a carved oval 3 9
are 8 ft. 6 in.
The corner-pieces which come down from the cornice are wood, and the valances fixed to them. The pillars
ft. wide.
high, and the bedstead 6 ft. 7 in. long, and 6
Bed with its Head-board. Both the curtains and valances are to draw up
No. I on page 201 is a design for a Canopy
in drapery.
In Nos. 2 and 3 the curtains may be made either to be tied in drapery, or to draw on a rod. The pedestal looks
up
bitter uncovered.
CHIPPENDALE FIELD BEDS AND CHINESE SOFA. 203
Nos. 6 and 7 on
page 201 are what
Chippendale calls
"Chinese Beds."
No. 9 is a design for
a Dome Bed. It is
6 ft. wide, 6 ft. 7 ins.
long, and the whole
height without the
vase is 10 ft. 4 ins.,
and the vase itself
18 or 20 ins.
Nos. 10 and 11 are
designs for Gothic
Beds, with a flat
tester.
Nos. 12 and 13 are
designs for Beds, with
carved cornices, which
may be gilt,or covered
with the same stuff as
the curtains. The
cornice must rise as
high as it can, to hide
the top of the tester.
The bed-pillars have
pedestals and the
bases are fitted
between.
Nos. I and 2 on page 202 are two designs for Field Beds.
No. 3 is a design for a Couch-bed, with a Canopy. The curtains must be
made to draw up in festoon, with pulleys properly fixed to the pillars. The
dimensions are—6 ft. 8 ins. long, and 5 ft. broad ; but there is no necessity
for its being so broad. This Couch was made for an alcove in Lord
Pembroke's House, at Whitehall.
Nos. A, B, C, and D on page 203 are four designs for Tent and Field
Beds. The furniture of all these bedsteads is made to take off, and the laths
are hung on hinges for convenience of folding up. T
On page 203 is a design for a Sofa with a Chinese canopy, with curtains
tied up in drapery, and may be converted into a bed by making the front
part of the seat to draw forward, and the sides made to fold and turn in
with strong iron hinges, and a proper stretcher to keep out and support the
sides when open. The curtains must likewise be made to come forward»
and when let down will form a tent.
Details of Bedsteads on page 204 :—
No. I belongs to No. i on page 201.
Nos. 2 and 3 belong to Nos. 2 and 3 on page 201.
,, 4 5 " 4 5 »> *»
„ 6 and 7 6 and
„ „ 7 „ „
204
Details for CHIPPENDALE BEDSTEADS.
Details of Bedsteads on page 204 continued :—
No. 8 belongs to No. 8 on page 201.
'
}> 9 j' >) 9 '
" j>
Nos. 10 and 11 belong to Nos. 10 and 11 on page 201.
12 and 13 and
„ 12 13 „ ,,
„ ,,
The twelve designs 205 are Cornices for Beds, or Windows. There is also one on page 206. Ihe Fendeis
on page
not all from Chippendale, but are from Manwaring's and Ince and Mayhew's books, and from other
here shown are
contemporary sources. I have thought it best to keep them together as more easily available for reference.
No. I on page 207 is a Clothes-press. The under part is in shape, with carved ornaments for the feet, which go up
the corners.
No. 3 is similar to above but more ornate.
No. 2, a Clothes-press in shape of a commode.
•No. 4, similar in shape to No. 2.
 
200 CHIPPENDALE DRAPERY and FENDERS. Middle IStli Century.
On page 207 are three designs for
Basin-stands. No. i has four feet
and four Gothic pillars, and an arch
on every side. The others are so
easy to understand that they want
no description.
Also on page 207 is a Basin-stand
with a glass to rise as a shaving-
table.
The other one is a design for
Shaving-table with a folding-top, and
a glass to rise out with a spring-catch.
A-A are places for holding soap and
other necessaries, and behind them
are places for razors. B-B are places
for bottles. D is a scheme to bring
the glass forward when a gentleman
is shaving. G is the glass brought
forward with a brass frame. F-F-F are
the joints as it is hung. C is a small piece
of brass which slides up and down in a
groove, as may be seen by the dotted
line.
The dimensions are fixed.
Nos. I and 2 on page 208 is a Chest
of Drawers, and a Clothes-press with
sliding shelves. The fret in the middle
may be two drawers.
Nos. 2 and 3 is a Clothes-chest. It may
open in front, and have sliding shelves.
The mouldings at large is on the right.
No. 4 is a Clothes-press and a Clothes-
chest. The press has sliding shelves,
which should be covered with green
baize to cover the clothes;
Nos. 5 and 6 are Clothes-chest upon
feet. They may be open in front, and
have sliding shelves. Mouldings for
this underneath.
No. 7 is a Clothes-press in two parts.
The under part has drawers for linen.
Mouldings at side.
No. 8 is a Clothes-press with sliding
trays.
For particulars of Brass Fenders see
page 204. Some of these designs were
elaborately chased, as in Nos. 14, 16
and 24.
20',
 
 
Q, RICHARDSON. CEILINGS. Period 1 776.
210
"
"
George Richardson published in 1776 A Book of Ceilings composed in the style" of the Antique Grotesque ; in 1781
"
" of Chimney-pieces, ornamented in the style of the Etruscan, Greek, and Roman Architecture ;
A New Collection
" Series of
also in A of Original Designs for Country Seats or Villas, containing Plans, Elevation Sections Principal
1795, in
Apartments, Ceilings, Chimney-pieces, Capitals of Columns, Ornaments for Friezes, and other Interior Decorations
the Antique style." Richardson had travelled in Italy.
No. I on page 210 is a Ceiling for a Dressing-room. This design was executed in stucco for Lord Montalt in Dublin. The
picture is a representation of Hercules and Omphale. The profiles in the eight small circles may be painted inchiaro oscuro*
for Bed-chamber. This picture represents the interview between Mars and Venus
No. 2 on page 210 is a Ceiling a
attended by Cupid. The trophi es in the circles on the diagonal lines of the-Ceiling should be painted in chiaro oscuro.
Q. RICHARDSON. CHIMNEY-PIECES. Period 1776. 211
No. 3 on page 210
is a Ceiling for a
Dressing-room. The
oval picture represents
Diana bathing attend-
ed by her Nymphs.
The small circles con-
tain figures represent-
ing hunting pieces and
sacrifices, which may
be painted in chiaro
oscuro, or executed in
stucco in the manner
of antique bas-reliefs.
No. 4 on page 210.
Richardson describes
this as a Ceiling suit-
able for Ante-room.
The picture or bas-
reliefs in this ceiling re-
present three Nymphs
preparing a sacrifice.
No. I on page 211
is a Chimney-piece
suitable to an Ante-
chamber or Dressing-
room ; it is in wood,
except the facia of the
architrave,which in all
chimney-pieces should
be done in stucco or
marble.
No. 3 on page 211 is
suitable for a Parlour
or Dining-room, The
ornaments of the frieze
may be of white marble,
laid on dark grounds.
If the cornice, with
the frieze and back
pilasters, be carved in
wood, the mouldings
of the architraves, in
marble, might be quite
plain.
No. 4 on page 211.
As the emblems of
Neptune are displayed
CHAMBERS, CH1MNEY=P!ECES, CEILINGS, ORNAMENTS & MOULDINGS.
Sir WILUAM
throughout the whole of this design, it might
be properly situated in the apartments of an
admiral, or other naval officer, and would he
suitable for an elegant Hall or Dining-room. In
the centre of the tablet Cupid is represented
riding in a coach drawn by Dolphins, accomi-
panied by different genii sporting with Tritons
and sea monsters. The pilasters are ornamen-
ted with sea Nymphs standing on shells ; in the
panels below them are Dolphins, and in those
above is Neptune's trident encircled with sea-
weeds ; the heads in the circles are intended
for River Gods.
"
No. 4 on page 2ii.~"A Triumph of Venus
is represented in the tablet of this design for an
elegant Gallery or Drawing-room. She is sitting
in a shell drawn by Dolphins, guided by Cupid
in the air, and accompanied by a Triton blow-
ing his shell trumpet, and
holding Neptune's trident.
The plain ground round the
pilasters,with termes, may
be of variegated colours,
but all the rest should
be of pure white marble.
Richardson, speaking of
another Chimney - piece,
"
says : The plain ground
round the pilasters and
architrave may be of
jasper, or antique green ;
and the ornaments of the
frieze and pilasters might
be done of scagliolia, and
should be executed in
wood ; the ornaments will
produce a fine effect if
painted in the Etruscan
manner, in various colours.
Sir William Chambers
was born in Stockholm,
and educated at Ripon
School. At an early age he
went to China, where he
saw and admired the
picturesque buildings and
gardens of the Chinese.
He made sketches of some
of these, and on his return
published them. He went
to Italy and studied the
works of the great archi-
tects of the Renaissance
 
2H THOMAS MILTON. CHIMNEY-PIECES, etc. Period 1766.
THOMAS MILTON. CHIMNEY=PIECES. Period 1766, 215
216 PLACIDO COLUMBANI. CHIMNEY=PIECES. Period 1766.
The Table given below is from "The Chimney-
piece Maker's Daily Assistant, or, A Treasury of
New Designs for Chimney-pieces," by Thomas
Milton, John Crunden, and Placido Columbani.
This work begins with the most plain and simple,
and gradually ascends to the most grand and
magnificent in the Antique, Modern, Ornamental,
to be executed in the
and Gothic Tastes, proper
following rooms :—
Halls, Saloons, Vestibules, Guard-rooms,
State-rooms, Parlours, Dining-rooms,
Drawing-rooms, Ante-rooms, Music-rooms,
Dressing-rooms, Bedrooms, Cabinets, &c.
A TABLE shewing the true size that Chimney-
feet
pieces ought to be, to rooms from g square
to 30 feet square. If the Room be longer one
than the other, add one long side and one
way
short side together, take half that product for
the the
square of the room, and proportions
are as follows :—
of The Height of
If the Square of The Width of The Height
the Cornice.
the room be the opening will Opening
be
Ft. In. Ft. In. Ft. in.
Feet.
2 5 2 II 4
9
2 7 2 11^ 4
10
2 8 3 0" 4
11 oi 4
12 2 94 3
I 3 I
2 I 4
13
3 oi 3 H 4i
14
3 2 3 2 4i
IS
16 3 4 3 3 4I
3 S 3 3l ■ 4i
17
18 3 7 3 5 4i
19 3 8 3 5+ 4l
20 3 9i 3 64 4I
3 II 3 7 5
21
4 I 3 7Û- 5i
22
2 3 8 Si
23 4
3t 3 84 sf
24 4
25 4 5 3 9
si
26 4 64 3 9i
8 3 10 si
27 4
4 9h 3 loi si
28
II 3 " 6
29 4 61-
30 5 I 4 0
Architraves to Chimney-pieces should be about
of the
one-sixth one-seventh of the width
or
opening. The height of friezes are various,
to the several ornaments with which
according
decorated if a swelling frieze, it
they are to be ;
may be about three-fifths of the width of the
less than
architrave : fiat friezes should not be
four-fifths of the width of the architrave.
"
Placido Columbani published in 1775, A New
Book of Ornaments," containing designs for
modern panels, commonly executed in stucco,
wood or painting, and used in decorating principal
"
rooms. In 1776 he also published A variety
of Capitals, Friezes, Cornices, and Chimney-
PLACIDO COLUMBANI. CHIMNEY=PIECES.
pieces." I have not illuslraled any
of the friezes as they are after the
style of Pergolesi (see pages 227, 231,
and 245 to 256), and do not aj)pear
so good.
For particulars of John Crunden,
see page 157.
In 1771, N. Wallis published " A
Book of Ornaments in the Palniyrene
Taste," containing upwards of sixty
new designs for ceilings, panels,
pateras, and mouldings, with the
Raffle leaves at large also "
; The
Carpenter's Treasure," a collection
of designs for temples, with their
plans, gates, doors, rails, and bridges,
with centres at large for striking
Gothic curves and moulding, and
some specimens of rails in the Chinese
taste, forming a complete system for
rural decoration. He also published
" The Complete Modern Joiner," in
1772, reprinted in 1792—a collection
of original designs in the taste of that
period, for chimney-pieces and door-
cases, with their mouldings and en-
richments at large. Friezes, tablets,
ornaments, for pilasters, bases and
sub-bases, and cornices of rooms.
Tablets are the centre pieces in
chimney-pieces and door-cases; these,
about this time, were mostly of
groups, of figures—such as Cupids,
allegorical subjects of the gods, etc.
The words " Raffle leaves " above
were leaves used in ornamental
foliage in Italian work, the edge of
which have small indentations such
as the Acanthus leaf.
It is curious to note that the
Chimney-pieces, more than any other
articles, were mostly of a classical
design throughout the century, but of
course this was not always the case,
for instance, in Johnson's or Chippen-
dale's designs, etc. This is no doubt
partly attributed to those articles
being designed by architects of the
buildings which were mostly based
on classical lines.
N. WALLIS. CHIMNEY-PIECES, MOULDINGS, etc. Period 1772.
Chimney-pieces.
Brass Handles. Cornice Mouldings.
Tioji
Mouldings for above Chimney-pieces.
 
 
 
 
 
I'eriod 1774
2: J. CARTER. SHOP FRONTS, DOORWAYS and OVERDOORS.
R. and J. ADAM. CEILING. Last half 18th Centurv.
Robert and James Adam,
who established the style
known "
as The Adam
Style," came of a family of
architects, their united in-
fluence being felt right
through the i8th Century.
Their father, William Adam
of Maryburgh,near Kinross
and Kirkcaldie, designed,
renovated, and rebuilt a
vast number of Scottish
mansions. He was ap-
pointed Master Mason in
Scotland. He had four
sons who followed his pro-
fession ; his eldest son,
John, inherited his busi-
ness, and most probably
had a large share in the
carrying out of the various
buildings attributed to his
father. There was another
son, William Adam, who
died in 1822, and who
probably managed the
winding up of the various
enterprises entered into by
his more famous brothers
Robert and James Adam.
Robert Adam, f.r.s., f.s.a.,
was the second son of
William Adam (the father),
and though associated with
his brother James in part-
nership, undoubtedly took
a leading part, which is
proved by anyone reading
the text of their " Works
on Architecture " wherein
he continually speaks in the
" First person. Singular."
He was born at Kirkcaldie,
in Fifeshire, in 1728, and
died after the bursting of a
blood-vessel in 1792, and
was buried in Westminster
Abbey, where a slab in the
south transept records the
above dates. He visited
Rome in 1756, and made
many drawings of antique
buildings. After his re-
turn in 1751, he made
designs among other things
O
R. and J. ADAM. Second half 18th Century.
Decoration at Goodwood, the seat of the Duke of Richmond.
of temples, garden seats, etc., which at that time
"
seemed quite the rage," most architects at that
time being similarly engaged. Below will be
found a chronological list of some of his and
his brother's principal buildings ; but, it must
be kept in mind, the}^ designed a prolific number
of buildings, as independent of their commissions
"
from the nobility and gentry, they were specu-
lative builders "
on a large scale.
Screen in front of Admiralty,- about 1760.
Landesdowne House, on the south side of Berkeley
Square, London, 1767.
Kenwood House, Lord Mansfield's, 1764-67.
Adelphi, begun about 1768.
Mansfield Place, Portland Place, about 1770. This
street contains good specimens of the skill of the
interior decoration of the Adam Bros. (R. and J.)
Sir Watkins William Wynn's house in St. James's
Square, London, 1770.
Portland Place, begun about 1778.
Harewood House, at the south-east corner of Hare-
wood Place, Hanover Square, about 1776.
White's Club in St. James's Street, London, 1787.
In 1790 they began the east and south sides of Fitzroy
Square.
They are the builders of Stratford Place, Oxford Street,
and Grafton Street (Bond Street), London.
John, Robert, James, and-William Streets, in the
Adelphi, - London, are named after the four
Commode in the Countess of Derby's Dressing-room. brothers
R. and J. ADAM. Second lialf 18th Centurv.
PriLzes for rooms, probably designe d by for
tne Adam Bros. Pergolesi Commodes
James Adams died of an apoplectic fit at his residence, 13, Albemarle Street, London, in 1794.
R. and J. ADAM. COMPARTMENTS FOR CEILINGS. Last half 18th Century.
Ceiling of the Library in Sir Watkin William Wynn's House
in St. James's Square, London.
Design for Panels,
R and J. ADAM. CEILING and GIRANDOLE. Last half I8tli Century. 229
Design for Girar dole.
] Speaking of the Ceiling of the Great Room at
Kenwood, Robert Adam "
says : It is in the form
and style of those of the ancients. It is an imita-
tion of a flat arch,which is extremely beautiful,and
much more perfect than that which is commonly
called the coved ceiling, when there is height
^Éf®iÍPp^ sufflcient to admit of it, as in the present case.
The coved ceiling, which is a portion or quadrant
of a circle around the room, and
Myjyin rising to a flat
in the centre, seems to be
^SutSüSI^ altogether of modern
tfMàXitiwa invention, and admits of some elegance in the
decoration. It is a sort of middle way, between
the flat and horizontal ceiling, and the various
forms of arched ones practised by the ancients.
As it does not require so much height as the latter
mode,ithasbeen found of great use in the finishing
of modern apartments, but neither is its form so
grand, nor does it admit of so much
wn _-' of
w _ ^fcïïiSHiliiiiili^ beauty
■diÜitóllüi decoration as the ancient arched ceilings, which
Ceiling in Lady Wynn's consist £)f
Dressing-room three
in kinds-—the
her house in dome, the groin, and
St. James's Square, London. the plain trunk arch, such as that now before us.
R and J. ADAM. Second half li^th
280 Century.
not
with their various combinations. All the ceilings of the ancients, which continue still to be the objects of admiration,
of
account of their beauty, but also for their duration, were executed in one or other of these modes. Stucco work
only on
these ceilings, and other decoration, is finely executed b}^ Mr. Joseph Rolfe. The paintings are elegantly performed by
and friezes are coloured with
Mr. Antonio Zucchi, a Venetian painter of great eminence ; and the grounds of the panels
This
light tints of pink and green so as to take off the glare of the white, in every ceiling till of late.
so common
once to relieve
always appeared to me so cold and unfinished, that I ventured to introduce this variety of grounds at
the side walls with
the ornaments, remove the crudeness of the white, and create a harmony between the ceiling and
their hanging decorations."
i
232
R. and J. ADAM. CHIMNEY=PIECES. Last half 18th Century.
 
R. and J. ADAM (or period about 1780).
Chimney-pieces in Wood and Marble. The larger ones, in Marble, from mansions built by the Adam Brothers.
Nos. I and 2 on left hand side, in pine wood, are from the Bethnal Green Museum, London. Nos. 2 and 3 on right hand side are from Lady
Maria Tonsonby's, Stratford Place, London. No. I on right hand side is from Mrs. James' Boudoir at West Dean.
R. and J. ADAM. Last half IStli Century. 235
Girandole in the Etruscan Eoorn ai
Ohhnney-piece from Finsbury Square, London. the Countess of Dej'by's.
Table from Sir Watkins William Wynn's Hall, G-irandoles at Lady Maria Ponsonby's,
Designs for Oornices and Draperies. Stratford Place, London.
great objects ; all which served to dimmish and lighten the effect of these coinpartments. But on the inside of their
edifices the ancients were extremely careful to proportion both the size and depth of their compartments and to
the distance from the panels
eye, and the objects with which they were to be compared ; and with regard to the decoration of
their private and bathing apartments, they were all delicacy, gaiety, grace, and beauty. Michael and
other Angelo,
Italian architects of Raphael,
the Renaissance boldly aimed at restoring the antique. But in their time the of
became rage
so prevalent in Italy, that instead of painting
following these great examples, they covered every ceiling with fresco
compositions, large
which, though extremely fine and well painted, were very much misplaced, and must from
the attitude in which they are beheld, tire necessarily,
the patience of every spectator. Great compositions should be so as
to be viewed with placed
ease. Grotesque ornaments and figures, in any situation, are perceived with the of an
require little glance and
examination. Inigo Jones introduced e3'e
them into England (see page ii) with as much
with but
less fancy and embellishment. weight,
Vanburgh, Campbell, and Gibbs followed too implicitly the authority of this
great naine. Kent's genius for the picturesque, and the vast reputation he deservedly acquired, made him in some
measure withstand this prevalent abuse ; he has much merit in being the first who began to lighten the compartments.
R and J. ADAM. COMMODE and CHANDELIER. Last half 18th Century,
236
Design for Girandole.
Drawing-room Glass and Table j designed for the Earl of Bute. Design for Candelabra.
R. and J. ADAM, COMMODES and CHANDELIERS. Last half ISth Century
Two designs for Brackets and Vases with branches
for Candles.
Design of Glass and Commode Table upon
which is placed a Clock and Vases with
branches for Candles. Two designs for Tripods and Vases with branches
for Candles.
R. and .1. ADAM. CHAIRS. Period about 1780.
and to introduce grotesque paintings with his ornament in stucco ; his works, however, are evidently those of a
beginner. Mr. Stuart, with his usual elegance and taste, has contributed greatly towards introducing the true
style of the antique decoration ; and it seems to have been reserved for the present times to see compartment
ceilings, and those of every kind, carried to a degree of perfection in Great Britain, that far surpasses any of the
former attempts of other modern nations."
R. and J. ADAM. SETTEES. Period about 1780.
The Drothers Adam decorated the dining-room in large houses with stucco, and adorned them with statues in
and with niches,
paintings, that they might not retain the smell of the victuals, etc. The ornaments of the ceilings,
etc., were of stucco, and side-walls,
were picked out with different tints, sometimes different tints of green, which they claim to have
a simple and elegant effect. The chimney-pieces in a best room was of statuarymarble, and the overmantel carved in wood
and gilt, sometimes painted; where there were medallions in the centre of pediment they were painted. The
they varied from other drawing-room
rooms by having a coved ceiling and painted it in compartments. The rooms were sometimes
divided into compartments by pilasters, and the ornaments of these, with the arches
and panels of the doors were painted. The ornament of the friezes of the room were
of stucco, and the ornaments on the door carved. Sometimes the ornaments in the
niches were gilt, as were also the girandoles and stucco ornaments of the ceilings and
sides of rooms. Drawing-rooms were hung with damask, tapestry, etc., but not the
eating rooms. Of the different things I have illustrated in this book of the Adam
Brothers, the Folding-Doors on page 242 have the ornaments painted on 'papier
maché, and so highly japanned as to appear like glass. The Ceilings and Pilasters on
pages 225, 241, 242, and 243 have what Robert Adam calls "
Grotesque Ornament," by
which is meant that beautiful light style of ornament used by the ancient Romans ;
and has what artists call the " Rainceau Ornament," by which they mean to express
the windings and twistings of the stalk or stem of the acanthus plant, which flowing
round in graceful turnings, spreads its foliage with great beauty and variety, and is
often intermixed with human ñgures, animals and birds—imaginary and real, also
with ffowers and fruit executed in stucco or painting. Stoves were executed in brass
and steel combined. Ormolu ornaments were extensively employed by the Adam
Brothers. The Escutcheon and Knocker in centre of page 230, for the outer door of
Sir Watkins William Wynn's house in St. James's Square, London, was executed in
brass water gilt.
a)
O ^
x;
240
•4-»
P
oá
OJ
rû
■rî
S bjo
CÜ̂ ^
o
g 1
TJ "Ti ,5
r-H (U cu Ctí
roo-'-'
o çi
^^ - -j-S>
CD
CO
s
cS
Ti
<
+->
u
<U
rû
O
P^
R. & J. ADAM, SIDEBOARDS, ORNAMENTS & GIRANDOLES. Second lialf .18tli Century.
Sideboard by R. Adam.
Sideboard, PlatOj and "Wine Cooler by R. / dam.
Girandole in the Etruscan Eoom at Lord Derby's
242 R and J. ADAM. CEILING and DOORWAY. Second half 18tli Century.
Folding Doors in the Countess of
Derby's Third Drawing-room.
Among the various ornaments used by the
brothers Adam were octagons, hexagons, ovals,
rounds, lozenge shaped panels, husks, fans,
sphinx, Greek and Roman vases, wreaths,
honeysuckle, medallions with figures—the
medallions sometimes draped—festoons, fauns,
cupids, goats, eagle-headed grotesques,
drapery, ribbons, caryatides, mythological
subjects, rams' heads, lions' and eagles' claws
for feet, griffins, sea-horses, winged sphinx,
pateraes. Greek and Roman ornaments, etc.,
and draped figures.
 
 
'-a
CO
Tj oj
^ S3 -
ANGELICA KAUFMAN, PERQOLES!, and BARTOLOZZI. Late isth Centun.
" Cupid Bound," by Angelica Kaufman. Engraved by Bartolozzi.
Panel by Pergolesi,
I ANGELICA KAUFMAN, PERGOLESI, and DELATTRE. Late I8th Century. 247
"Beauty Governed by Reason, Rewarded ^by Merit," by'Angelica Kaufman.
24S
ANGELICA KAUFMAN, BARTOLOZZI. and PERQOLESI. Late i8th Century.
Panel by Pergolesi.
'' Judgment of Paris," by Angelica Kaufman.
ANGELICA KAUFMAN and PERQOLESL
Maria Anna Angelica
Kaufman was born in
1741; she painted ceilings
for Adam Brothers. The
ceiling of the Council
Chamber at Burlington
House, London (Royal
Academy), also the Read-
ing Room at the Arts
Club were painted by her.
She came to London in
1766. The chief attribute
of her compositions is
The Shepherdess," by Angelica Kaufman.
Panel for Ceiling by Pergolesi.
250 CIPRIANI and PERGOLESI. Late 18th Gentuiy.
of Prit I t.srr« ef t
Decorative Paneli^ by^ Cipriani.
 
PERGOLESI. Late Î8th Century.
" Grace." A few only of
her compositions are
shewn in this work. She
was a prolific painter ;
besides painting ceilings,
she painted furniture,
table-tops, etc.
PERQOLESI. I^ate 18th Century.
Cipriani published
a work on the " Rudi-
ments of Drawing,"
engraved by Barto-
lozzi, on January ist,
1786 to 1792. It has
some most charming
drawings for eyes,
noses, ears, hands,
feet ; also for head
groups, cupids, etc.
Francesco Barto-
lozzi, the engraver,
was born in 1727 in
Florence, where he
was a fellow pupil
of Cipriani at the
Florentine Academy.
He came to England
in 1764. Any reader
wishing to study
" Bartolozzi and his
work," should buy
Andrew W. Teur's
work thereon. Teur
mentions that "his
name is generally re-
membered as that of
the engraver of the
fanciful, and stippled
prints now so keenly
sought after, in which
 
PERQOLESI. Late 18th Century,
graceful maidens, cherubs,
cuplds and sportive children
play prominent parts ; whereas
he achieved his lasting reputa-
tion as a line engraver." Barto-
lozzi engraved a great number
of Angelica Kaufman's and
Cipriani's productions.
These old engravings go very
well with Adam, Sheraton, and
Heppelwhite, etc., furniture.
Antonio Zucchi was employed
in conjunction with Angelica
Kaufman on the painted decora-
tions of the buildings of the
Adam Brothers. He married
AngelicaKaufman,and returned
with her to Italy. He designed
the frontispiece to Adam
Brothers' work on architecture,
and the is "
subject A Student
conduct edtoMinervawhopoints
to Greece and Italy, as ll.e
countries from whence he must
derive the most perfect know-
ledge and taste in elegant archi-
tecture." It was engraved by
Bartolozzi. Robert Adam men-
tions Zucchi in his work in
ratherflatteringterms. In many
of the houses in Soho and neigh-
bourhood are to be seen speci-
mens of Pergolesi's interior
work, and the reader will find a
side of a room in this style a few
pages before this ; it has a low
dado rail, plain plaster walls,
panelled round with a moulding,
25G
PERQOLESI. Late 18th Century.
and subject over the mantel-piece, a narrow ornamental
a pine mantelpiece, mounted \\ith compo ornament, a compo
seen on 245.
compo frieze and plain ceiling. Of course this is only a small room, a better class room can be page
HEPPELWHITE CHAIR=BACKS, SETTEES, etc
TTrr:
Chair Ba^ks, Hall Chairs,
Drawing-room Stools.
Gouty Stool,
Heppelwhite is probably best'
known by his designs for Chairs,
i and I have added on page 260 a
sheet of Chairs, the designs of
which have been taken from ex-
isting examples ; the similarity
of design, may claim for them
that they were probably made
about his time. Several of them,
as Nos. 5, g, 10, 19 and 20, are
painted. On page 274 will be
found some of his designs for
Window Seats, Settees, etc.
The Settees were made a great
length about this time, and the
tops of the backs and fronts of
the seats take a gentle curve.
The Grandfather's Chair is
Grandfather Chair, from Heppelwhite's book.
 
 
 
HEPPELWHITE MOULDINGS, KNIFE BOXES, and CELLARETS. Period 1788. sgi
VUlltl
ntMjgXjniClllUlXIUIUHHS A.lJllllAAlJTld X—
^iiiiiiiiiiiiuiiiiiiiiiiiiiiiniiiiiiiHiiiiiiff
'yiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii;iiiiiiimiMiiiii
k ^ if: L lí
imiiiniiiiiiniiiiiiiniiMiiiiUMiiiiiiiiniiiij
,h{iiu|iiiil|i(iiMíi'M iMiNiiiMMiiiniu'ln
illlHI HiHimuMiiHumiiiiiiimniiiimnum iMiiiitiiiimnui')
lU II MiU ((H
wimuini'MitiiininmiMfin
g/ ^
)|iHjummniiiiUuini un'niMi l'i'O I u"Hnm m»n n. I. • ~ J
" '
/ó i !
.. 2./
MoLilding.s.
232 HEPPELWHITE SIDEBOARDS and URN=STANDS. .Period about 1788.
■n
o
o
<u
OJ CO
u
oS O
•M
OJ E
C/) o
"a U
c/T H-i
c u
oj <v ^d
PH CD
C¿ rP
(D CO
rP 'd 'p
b-0
CO
P _p
u
o +-»
oj ^co
x;
;d
c5 H-H p
o <u
'p ■+-Í
•r-t fO
-M "o
P CD
O
C/) ÍH
o M-H 3
S CO
OJ Ul
CO cj
PU
m P CJ
O
p CO
tuO "oj
"p _P H-J
U
P
«-(-H j3d
0) o "o
P Oh
Oh
(V
O
'QJ K
Oh 0)
O CJ
h
OJ p
<v
CO
p is
 
HEPPELWHITE TABLES, SCREENS, etc. Period 17«8.
Card and Pier Tables.
The Girandoles shewn on this
page are, like all the compo
work of this period, of a beauti-
ful design and workmanship.
This was brought about by such
designers as Pergolesi, and such
architects as the Adam Brothers,
but the workmen seem to have
been Italians. Reading Stands
 
 
HEPPELWHITE COMMODES and CHESTS OF DRAWERS. Period about 1788.
267
268 SHEARER. WRITING TABLES, COMMODES, etc. Period 17SS.
Design for interior fitments of Secretaire Writing Table.
 
Heppelwhite Pedestal Cupboards, Bidets, Basin Stands, Dressing Tables, etc.
Period a'oout 17 88.
Heppeiwhite Library & Tambour Tables, Terms for Busts & Reading Stands.
It will be noted that Heppeiwhite, like
Sheraton, designed a good dea] of combination
furniture like designs on page 270,which, in some
cases, might be taken for designs by Chippendale,
SHEARER. SIDEBOARDS. Period 1788.
Shearer published a work about 1788, and was therefore a contemporary of Heppelwhite and Sheraton. His furniture
was plain, carved, inlaid and painted. In the Sideboard shown below there is a small bead round the edges of the doors
and drawers. Some more of his designs will be found on pages 268 and 269. The panels with figures on Sideboard No.
6, and the basket of flowers on back of the same, were probably painted. Shearer's designs for Dressing Tables, etc., on
page 269, have the combination arrangements so common in designs of this period. Shearer's designs seem to be
between the style of Chippendale and Sheraton, but nearer to the latter.
Sideboards by Shearer.
 
 
275
HEPPELWHITE and SHERATON (Period) TABLE=TOPS. Century.
==^--^ Toilet-Glasses on
^ page 273 are thoroughly
^ \ \ \ Jf ^ representative of this class
of articles—which was in
vogue during the greater
part of the century. There
are shown the ovals and
shield - shape glasses so
much patronised by
Heppelwhite, Sheraton,
and contemporary makers,
and in such examples as
No. 19 one gets the Dutch
feeling of the early part of
the century, while the
squarer ones are more
suggestive of the Chippen-
dale style.
On page 274 are Win-
dow Seats of a very taste-
ful design. These seem
to have been very fashion-
able about this time ; they
were sometimes carved,
but more often painted and
"picked out" with leaves,
ivy, rosettes, husks, rib-
bons, etc., etc. In No. 6
we have a Centre Otto-
man, which takes to pieces
and makes separately two
Settees and two Easy-
chairs—the Settee is No.
10. In No. II we have an
arrangement of two Easy-
chairs and a Stool in the
centre—which makes a
sort of lounge. In No. 12
we have a design of a
Settee, a class of pattern
which is very often seen in
Heppelwhite and Shera-
ton's work.
The Table - Tops on
^ y pages 275 and 276 were
either inlaid with mar-
queterie or decorated ; these Table-Tops were in mahogany or satinwood, which last had just come into fashion. The
designs were of a most dainty description, some of the finest artists of the day being employed to paint them—
among others, Angelica Kaufman (the friend of Sir Joshua Reynolds) and Cipriani. The effects of the
of grain in some
the satinwood veneers are extremely beautiful, in some instances like a glorious sunset.
iNos. I, 2, 3 and 4 on this page were designs for the tops of Butler's Trays.
The Girandoles on page 277 were gilt, and the influence of the classic taste is here distinctly discernible. Some of
276
HEPPELWHITE & SHERATON (Period) CARD, OCCASIONAL & COMMODE TABLE=TOPS.
HEPPELWHITE GIRANDOLES. Last halt of ISth Centuiy.
277
See Page 275.
these designs might be taken to be by the Brothers Adam, so light and tasty are they. The Pediments on page 278
belong to the Heppelwhite and Sheraton period ; Nos. i to 8 are Sheraton's, the rest being taken from Heppelwhite's
book. The Pediments on page 279 are Heppelwhite's. See also page 281.
The Panels and Drawer Fronts on page 279 should prove extrtîmely useful, as showing the manner of veneering ;
readers will notice that these Fronts all "
are flush "—no mouldings on them. T/hese are taken from other con-
temporary cabinet makers besides Sheraton and Heppelwhite. The Feet at the bottom of this page (279), are
likewise taken from contemporary sources.
T. Sheraton published a work on Furniture, etc., late in the "
century ; he called it The Cabinet-maker and
Upholsterer's Drawing Book." In it he gives instructions relative to the art of making perspective drawings and treats
of such geometrical lines as ought to be known by both Cabinetmakers and Upholsterers. He also gives the " Five
Orders "—as was usually done by authors of this period—but he complains in his preface that Chippendale only gave a
few details relative to the Orders, while he (Sheraton) had given a great many. He further on speaks of Chippendale's
furniture "
as now wholly antiquated and laid aside, though possessed of great merit according to the times in which they
were executed." He lays great stress on the merit of his "
own work, though the lessons on Perspective" which it has in
HEPPELWHITE & SHERATON (Period) PEDIMENTS Last half 18th Century
\VV^\XV\S\\\
See Page 277.
it—and which other contemporaries works had not. Sheraton divided his work into four parts. The first part provides
the workman with geometrical lines, applied to various purposes, in the cabinet branch ; the second part applies to
perspective; the third part contains designs for furniture; while the fourth part contains mouldings and various
ornaments. The work runs into over 440 pages.
T
279
HEPPELWHITE and SHERATON (Period) PEDIMENTS, PANELS, FEET, etc.
= g
lo '¡■¡I
No. I on page 280 is an Ornament or a Painted
Panel Sheraton says of this, " the whole springs from
a spreading leaf at the bottom, from which a serpent
attempts to come at the doves on the fruit. In the
centre is a temple not dedicated to the interests of the
cupids, for which reason they are burning it with their
torches. The figure on the top of the column, in
resentment, means to pelt them with stones ; and the
280 SHERATON, Late 18th Century.
geniuses above are pouring down water to quench the flames.
these mischiefs
The owls season
are emblematic of Night, at which
are generally carried on." I have inserted this as a sample of
" "
Sheraton's interpretation of classic taste. Another sample as
"
below—Ornament for a Tablet. The subject is a faint moon-
light representing Diana on a visit to Endymion, who, as
scene,
the condemned
story was
goes, having offended June, by Jupiter
to a thirty years' sleep."
On page 281 are eight Bed-pillars by Heppelwhite ; the three
"
Pilasters underneath are for commodes. These may be painted,
inlaid, or gilt in gold behind glass, and the glass being then beaded
6
in the pilaster, it is secure and has a good effect." Nos. 4, 5,
Sheraton
and ;
7 on lower part of page 281 are Bed-pillars, by
be painted or carved in mahogany. Nos. 4 and 5 are
they may
intended for rich State Beds, carved in white and gold. The
pateras which cover the screw-heads are on loose panels let into
pillars, and which settle down into a groove at the bottom, by
which means they are kept in their place and easily taken out.
"
On page 282 is an English State Bed," with dome top, and
crown supported by Justice, Clemency, and Mercy; the cornice
pillars, etc., are adorned with various symbolical figures.expressive
of the different branches of the British Government. There are
various figures supposed to represent, or be symbolical of Demo-
cracy. Aristocracy, and Monarchy ; the crown is supported by
Justice, Clemency, and Liberty; and other figures are Law,
Obedience, Authority, Counsel, etc., etc.
On and French
page 283 is a Sofa-Bed, with Dome top drapery.
The frames of these beds are sometimes painted in ornaments to
suit the furniture, but when the furniture is of rich silk, they are
done in white and gold, and the ornaments carved. The drapery
under the cornice is of the French kind ; it is fringed all round,
and laps on to each other like unto waves. The roses which tuck
up the curtains are forrped by silk cord, etc., on the wall, to suit
the hangings ; and observe, that the centre rose contains a brass
hook and socket, which will unhook, so that the curtains will come
forward and entirely enclose the whole bed. The sofa part is
sometimes made without any back, in the manner of a couch. It
must also be observed that the best kinds of these beds have
behind what the upholsterers call a fluting, which is done by a
slight frame of wood fastened to the waU, on which is strained,
in straight puckers, some of the same stuff of which the curtains Ornament for a Painted Panel
are made.
No. 2, an Alcove Bed, is represented on
ascending steps covered with carpet, and,
with drapery round the arch of the alcove.
No. 3 is an Elliptic Bed, dome top, with
drapery, ornamented cornice, medallion-
valence, and couch ends. The circular part
at the top is intended to be panelled out in
gilt mouldings, which cannot fail in pro-
ducing a fine effect^—particularly so if the
furniture and the covering be light blue.
Ornara,ent for a Tablet,
i I i
281
Last half 18th Centiiiy.
The foliage ornament which runs round the under-
cornice may be either of composition metal or cut in
wood, and fixed on wire, in the same manner as the
tops of ornamented glasses are managed.
With respect to the pediments on page 278, No. i
is from Sheraton's book ; it should have the facia, or
ground board, glued up in three thicknesses, having
the middle piece with the grain right up and down.
The foliage ornaments are cut out along with the
astragal, and planted on ; and the whole may easily
be nîéde, to take off with the cornice, by having a
tenon at each end and one in the centre.
'
No. 2.—The Tablet is intended to have a cross band
round it, and the drapery may be japanned. The
astragal on the top of if is meant to return over the
ogel. The square of the ogel may come forward level
with the Tablet, to prevent too great a projection.
Of the Cornices on page 284, No. i is intended for
carving and gilding,. No. 2 for japanning, and Nos. 3
and 4 may be either carved or japanned. The circular
ends of this cornice are sometimes formed of a faintish
curve, and sometimes of a quick one. When they are
of a faint sweep, they ought to be made somewhat
longer at each end than thç outside of the architraves
282 SHERATON. Late 18th Century
to give place to the curtain rods,
so that they may be brought
sufficiently forward on the lath,
and not leave too great a
vacancy between the rod and
the cornice leaves, otherwise
the lath will be seen when there
is no drapery. In making these
cornices it is best to plough and
tongue in the leaves to the
under-side of the facia of the
cornice. The ends may be
formed by gluing blocks of deal
one on another till they come
nearly to the sweep ; and after
having formed the outside curve,
I would advise to gauge on for
the plough groove for the leaves,
before the wood in the inside is
brought to its form, that the
pieces for the leaves may be put
in without splitting off the
groove. After these are well
dried, then the superfluous
wood on the inside can be taken
away. When the cornices are
made at each end with a quick
curve, the whole is first worked
in straight mouldings, and
mitred together at each end, the
same as if intended to be square
according to the old fashion.
When they are glued in the
mitres,, get out blocks of deal
about 2| ins. square, and cut
them down angle-wise, and let
their length be equal to the
width of the cornice and length
of the leaves. After these
blockings are dry, cut off as
much of the old mitre as is
sufficient to form the curve, and
work the mouldings again by
hand ; and observe, that as the
State Bedstead.
block was left long enough, the
curved leaf is intended to rest
against it, by which it will be
much strengthened. The cornices made thus, with a quick curve need not be made longer than usual, because the
quick curve admits the rod to come forward more easily than the other.
As regards the sheets of Bookcases, the first sheet. No. 286, belongs to about this period (Sheratcn), and has been
gleaned from various sources. No. 2 on page 287 is from Sheraton's book. He "
says the use of this piece is to hold
books in the upper part, and in the lower it contains a writing-drawer and clothes-press shelves. The design is intended
to be executed in satin-wood and the ornaments japanned. It may, however, be done in mahogany ; and in place of the
a
O 283
-JO
rH <D
,P
Í4-(
<u
,û
o
■ Ph
S
>
ct
rP
S
- P
tu o
o
O. ,p
<
Oíí
a <u ^ .5
«Î
p,
CA)
o
< (U
u Td
H* •Td
t/:
o
LU
00
z nd ^ o
o
H P4
O
O
00 o rt W
tu ^ bo
r3 >>
c
C
in ^ c a
'Ph
nd
<u
CO
yT c
rt
0) rP
J4 nd ^ QJ U)
Ĥ rn
oc
00
01
Ph u
4)
bO
Ph
o ^
.ti
O
^ Td nd
É
284
SHERATON WINDOW CORNICES. Last half 18tli Century.
'furnished with plain sliding shelves for books only. The circular wings of the upper part may be glazed, or finished
without glass, by a green silk drapery only, with its drapery at the top. The diamond part is intended to have looking-
glass inserted, which has a pretty effect. The panels of the lower doors do not come flush with their framing by a
strong eighth of an inch, which looks both better, and is more calculated to hide the defects if the panels should shrink.
The workman must observe that the plinth, surbase, and cornic 2 frames are made and finished entirely separate from
the carcasses, and are screwed to them to keep the whole together.
On page 285, Nos. i, 2, and 5 are intended for Spfets of Parlour Chairs, carved in mahogany. Nos. 3 and 4 are for
Painted Chairs.
Bookcase No. 3 on page 286 shows the brass fretwork on the upper doors that they used to put in front of curtains
about this time.
Nos. 4 and 6 on page 286 are from Shearer's book, which was published about 1787, and whose class of cabinet work
is somewhat similar to Heppelwhite's.
No. 5 on page 286 is rather of a Chippendale character ; it is in mahogany. It was exhibited in the Bethnal Green
Museum some time since, and was lent by the Under-Secretary of State for India.
No. I on page' 287 was formerly in the Honourable East India Company's House in Leadenhall Street, London, E.C.
No. 4 on page 288 is of a Chippendale character ; it is in mahogany, with a beautiful cut through pediment. Formerly
in the Honourable East India Company's House in Leadenhall Street, London, E.C.
"
Sheraton speaking of a Bookcase Door somewhat similar to No. 8 on page 287 says: In the execution of these doors,
the candid and ingenious workman may exercise his judgment both by varying some parts of the figures, and taking
other parts entirely away, when the door is thought to have too much work." This door relates to No. 36 on page 154,
u
o
u
oj o
nd
V) l·-l
fi O 285
O
O u
£
o I
"oj <u
in
lu
rM
03
-M
rfi 13
o o
o
T3 ^
fe- '2fi
rrí ^
> M-H
(U r-l
C d;
 
s
287
HEPPELWHITE and SHERATON (Period) BOOKCASES and BUREAU BOOKCASES.
 
289
SHERATON SECRETARY CABINETS. Late 18th Century,.
The door being framed quite
square, without any moulding at
the inner edge, proceed to put in
the rabbet pieces. Put, first, an
entire half oval, and screw this to
the inner edge of the door, and
level with it ; then jump up the
other half oval to it, and screw
it as before ; which completes the
centre oval. Next, fix the square
part, having been before mitred
round a block, and keyed to-
gether ; after which, half lap the
other quarter ovals into the entire
oval where they cross each other,
and into the square part, lipping
it into the angle of the door ; put
in the horizontal bars for the
leaves to rest on ; glue on the
astragals, first on the entire oval,
tying it with pack-thread, to keep
A Gentlemau's Secretary. it on ; then the straight one on
the edge of the framing, fitting it to the oval lastly, mitre the astragal on the square part, and every other
; particular
will follow of course.
No. i on page 288 is in mahogany. The pediment is carved with
quadroon and bead ornament, with fir cones and vases turned and
•carved on the top ; the projecting lower part has a revolving cover
and draw-out desk, which forms a writing table, with drawers and
pigeon-holes at back. Paintings
of floral ornament, and brass
handles. From Felday, Dorking.
Nos. i, 2, 4 and 5 Bookcases
on page 28g are Heppelwhite's,
No. 3 is Sheraton's. Particulars
as under.
The Library Case.—The ellip-
tic breaks of this Bookcase will
produce a good effect in the whole.
The doors in the upper part are
intended to have fluted green silk
behind, and a drapery at top.
The pilasters are supposed to
be glued to the style of the door,
and are hinged as in common.
The lower middle part contains
clothes-press shelves, and every
other part may be fitted up for
books ; or the lower elliptic
breaks may be formed into a nest
of drawers, as there is depth
enough.
The half columns on the lower
doors are glued to the style, and
See Page 292
the doors hinged
as in common ; but
for the sake of
shewing the de-
sign to advantage,
the open door is
drawn as if the
columns were sep-
arate.
The young work-
man should ob-
serve that the
whole is to be
made in six car-
casses, and screwed
together, and then
the plinth should
be made to fit it,
of one entire frame
and screwed down
on to the car-
casses ; as also is
the cornice and its
frieze.
292 SHERATON BEDSTEAD, ORNAMENTS and PEDIMENTS.
Borders for Pier Tables,
is supported by that means ; for the hinge is made
very strong, about three-quarters thick at the
dove-tail end, and tapered ofí to about a quarter
thick at the joint, and where it is screwed to the
fall. The hinge is made in two parts, as D and h.
D has a centre pin, and is screwed on to the inside
The Gentleman's Secretary on page 290 is
Sheraton's, particulars of which are as follows :
This piece is intended for a gentleman to write
at, to keep his own accounts, and serve as a
library. The style of finishing it is neat, and
something approaching to elegance, being
at times made of satin wcod, with japanned
ornaments.
The Manufacturing Part.—The great thing
to be observed in this, is the management of the
fall A, or writing part, which is lined with green
cloth. This fall is hung by an iron balance
hinge B, so that when the fall is raised up by
the hand a little above an angle of forty-five
degrees, or in the position it is shown at A, it
falls to of itself by the balancing power of B.
When A is in a horizontal position, B is at F,
the inside of the pilaster, on which is glued a
piece of cloth to prevent the iron from rattling. Pediments.
B stopping at F, it is evident how firmly the fall
See Pages 301 and 302.
293
SHERATON ORNAMENT. LateMStli Century.
of the pilaster, as at i ; h
is all in one piece, and is
screwed on to the fall,
having a centre hole to re-
ceive the above-mentioned
pin in the other part of the
hinge.
It is necessary to oh-
serve that there is a
vacuity behind both the
upper and lower pilasters,
in which the iron balance
operates, so that nothing
is seen but the mere joint
of the hinge.
Again, it is requisite to
observe,that a hollow must
be worked on the upper
side of the under carcass,
to give place to the cir-
cular motion of the under
angle of the fall, as it turns
upon its hinge from a per-
pendicular to a horizontal
form. This hollow may be
observed in the plate. The
space I contains the fall
when it is up ; 2 is an
open space, which affords
room for the rings on the
small drawers ; and 3 is
the pilaster. The orna-
mented frieze under the
cornice is, in reality, a
drawer, which springs out
when the bolt of the fall
lock is relieved. This is
done by a spring bolt let
into the partition under
Ornament for Copying. drawer, which is forced
up by the bolt of the fall
lock into the under edge of drawer ; and when the fall is unlocked, this spring bolt returns to its place in the
tition, and par-
a common spring screwed on to the drawer back sends it forward, so that it may be drawn out
dent indepen-
of a ring or handle.
 
SHERATON ORNAMENTS and WINDOW DRAPERY. Late IStli Centiii'y. 295
Secondly, the
passage gives op-
portunity for cur-
tains to enclose
each compart-
ment, if necessary
on account of any
sudden change of
rQ weather.
(D
M Thirdly, it
O
Sh
rQ makes the whole
a
0 considerably more
Ph ornamental, uni-
form and light.
The manufac-
turing part may
easily be under-
stood from the Centre for Pier Table.
design by any workman I shall, however, point out a few particulars. The arch which springs
from the Ionic columns should be glued up in thickness round a caul, and an architrave put on
each side afterwards. The arch should be tenoned into the columns, with iron plates screwed
on, so that it may be taken off when the bed is required to come down. In this arch a
drapery is fixed, with a tassel in the centre, and a vase above. The head-board is framed.
gee Page 302,
2ÜG
the end of tlie bed, it being
all in one length, and the two
inner sides of the bed tenoned merely a geometrical elevation.
into the head-rail, and screwed. The Duchesse on page 291 is
The tester is made in one, in Sheraton's.
which are two domes, one over
The Duchesse.—The French
each compartment. It may, have what they term duchesse
however, be made without
beds, whence I suppose we have
domes, but not with so good derived our ideas of a duchesse.
effect. In the middle of the
What is sometimes named a
tester, perpendicular to the
duchesse amongst us, is merely
sides of the passage, are fixed
two chairs fastened to a
two rods, for the curtains above barjier
mentioned. These rods are hid
by valances, and between the
valances is formed a panel, by
sewing on variegated margins
to suit the rest of the uphol-
stery work. The ornamented
margins, and the oval with
crests in the centre of the coun-
terpanes, may all. be printed to
any pattern at a manufactory
which has ' been lately estab-
lished for such purposes.
The scale shews the sizes
which apply to every part of See Page 303
SHERATON INTERIORS.
Stool in the middle; sometimes, indeed, we add a slight tester and covering, but even this is very different from theirs. The
French duchesse beds are more stately. The tester is full and fixed to the wall, with drapery hanging down to the bedding
and floor. The head part is formed something like the back of a chair ; at the foot there are short stump pillars ; and the
whole frame of the bed being detached from the tester, may be moved to any part to loll upon. The duchesse which is here
given is intended to answer three different purposes. The end, when detached from the middle stool, may serve as small
sofas. When they are connected together without the tester, and a squab or cushion made to fit over the whole, it will
then serve to rest or loll upon. When it is used as a bed, four short pillars are screwed to each back foot, and a straight
lath extends across from pillar to pillar at each end. From these pillars are fixed the sweep iron rods which form the tester
and which support the drapery and covering which is thrown over the whole. The little dome or top is made separate and
See Page 303.
O)
d
298 >,
c
d
4-í
:=!
o
>.
rO
13
O)
S
0) u
o
S-H
<D
d rû
o O
,0
C¿
xí
tuO
<v tuo
'o .S
Ô
^(U X
^ O)
Íh
tí ^
tí í oJ
s y <u
"
g).^ tí4
tí H
CO
O)
Td ;_i,
tíll ^ ^
O)
fe 4->
tí ^ tí
BOJ •
tíH
tí w tí O
^
O
OJ Í=1H ^ 0)
tíï bJO
ai
lU (D CO
>
o
d B g
Ti
^ ro
o
'S a
2 tíí
13
X <ü CJ
qtí ^ tí=! +->
cO
(fi Ti tíí
to tsí q53
CO
oT íq OJ Ctí
13 rtí
OJ -tí en
tíd ^
0) _oo
13 CJ o
o; rt tí
tí c^
d _o
(M
o; %->
- o, OJ «D d
Tj v-i
tí bjo tí
^ ^ d
13 o, 'E,
s tí X
oí O)
O
tí
o
O
8 s •§ 13 ctí
tí
4^
13 tí
u, 2 fH d
oj oj rP
o ^
CO
(D Ph
tíll d 'S) fe
"t 13
rP
Ti H
tí
tí3 "tíS I
aj tí .Üc3
j-
D 'S m w
tí ^
oj W
>. tí Xi W
0) 0) H H
H B
299
 
301
SHERATON SIDEBOARDS. Late iBtli Century.
I shall, therefore, omit it here,
and proceed to give some hints
relative to the manufacturing
part. The dome is supported
with iron rods of about an inch
diameter, curved regularly down
to each pillar, where they are fixed
with a strong screw and nut.
These iron rods are covered and
entirely hid by a valance which
comes in a regular sweep, and
meets in a point at the vases on
the pillars, as the design shews.
Behind this valance, which con-
tinues all round, the drapery is
drawn up by pulleys, and tied up
by a silken cord and tassels at the
head of the pillars. The head-
boards of these beds are framed
and stufíed, and covered to suit
the hangings, and the frame is
white and gold, if the pillars and
cornice are. The bed-frame is
sometimes ornamented, and has
drapery valances below.
The swags of silk line that
appear on the drapery should be
fastened to the back part of the
cornice, in order that they may
hang easy. The pillars are to be
japanned. The panel that hides
the screws is made to slip into a
groove at the bottom, and being
bevelled off behind at the top,
when raised up a little from their
place, by pressing the front, can
easily be taken away to come at
the screws. The valance and
drapery both together slip on to
a lath as in common.
The French State Bed on page
292 is Sheraton's.
The French State Bed.—
Beds of this kind have been
introduced of late with great
success in England.
The '
style of finishing them
with the management of the
domes, is already described in
general terms, in preceding page. See Page 305.
30S
SHERATON (Period) CLOCKS. Late 18th Century.
Observe that grooves are made in the pidars to receive the head-boards, and screwed at the top, by which means
the whole is kept firm, and is easily taken to pieces. Square bolsters are now often introduced, with margins of
various colours stitched all round. The counterpane has also these margins ; they are also fringed at bottom, and
have sometimes a drapery tied up in cords and tassels on the side.
The Drapery on page 295.—Little can be said of this, as every part explains itself, as represented in the drawing.
It is however, necessary to observe that the French strapping and tassels in the right hand design is no part of the
cornice, as some cabinet-makers have already mistaken it to be. It is the upholsterer's work, and is sewed on within
the valance or ground of the drapery.
These curtains are drawn on French rods. When the cords are drawn the curtains meet in the centre at the same time,
but are no way raised from the floor. When the same cord is drawn the reverse way, each curtain flies open, and comes
to their place on each side, as they are now represented. The cord passes on a side pulley fixed on the right-hand.
To effect this, the rod is made in a particular manner, having two pulleys at one end, and a single one at the
other, which cannot well be described in words without a drawing of it.
The Ornament for Copying on page 293.—K, is the thistle leaf, sharply pointed and irregular. G, is the
roman leaf, round and massy. F, the parsley leaf, light and rather sharp pointed. E, the rose leaf, formed into
groups. D, the oak leaf, broad and massy, scalloped on the edge with small partings. A, is a fancy leaf, rather
sharp, with large partings. C, roses and leaves alternately.
<1
SHERATON LONG CLOCKS.
The Interior on page 296.—In the
drawing-room which is here shewn,
everything will 303
appear easily under-
stood to a workman in town, who is
accustomed to see such apartments :
but for a stranger, and those workmen
who reside in the country, it will be
proper to point out a few particulars.
The pier-tables have marble tops and
gold frames, or white and gold. The
glasses are often made to appear to
come down to the stretcher of the
table ; that is, a piece of glass is fixed
in behind the pier-table, separate from
the upper glass, which then appears
to be the continuation of the same
glass, and by reflection makes the
table to appear double. This small
piece of glass may be fixed either in
the dado of the room, or in the frame
of the table.
The arches above the windows are
merely artificial, being only wooden
frames put up, strained with canvas ;
after which the same kind of stuff of
which the curtains are made is formed
to appear like a fan, and drapery
'acked on to it.
The pannelling on the walls are
done in paper, with ornamented
borders of various colours.
The figures above the glasses are
paintings in clare-obscure. The sofas
are bordered off in three compart-
ments, and covered with figured silk
or satin. The ovals may be printed
separately, and sewn on. These sofas
may have cushions to fill their backs, together with bolsters at each end. In France, where their drawing-rooms
are fitted up in the most splendid manner, they use a set of small and plainer chairs, reserving the others merely
lor ornament.
The commode opposite the fire-place has four doors ; its legs are intended to stand a little clear of the wings ;
and the top is marble, to match the pier-tables. In the frieze part of the commode is a tablet in the centre, made
of an exquisite composition in imitation of statuary marble. These are to be had, of any figure, or on any subject,
at Mr. Wedgwood's, near Soho Square. They are let in thè' wood, and project a little forward . The commode
should be painted to suit furniture, and the legs and other parts in gold to harmonize with the sofas, tables, and
chairs.
The Interiors on page 297.—With respect to the section, it is only necesssary to observe that the pier-table
under the glass is richly ornamented in gold. The top is marble, and also the shelf at each end ; the back of it is
composed of three panels of glass, the Chinese figure sitting on a cushion is metal and painted. The candle branches
are gilt metal, and the panels are painted in the style of the Chinese ; the whole producing a brilliant effect.
contains ottoman, or long seat, extending the whole width of the room, and returning at each end about
The view an
The work is very
five feet. The Chinese columns are on the front of this seat, and mark out its boundaries. upholstery
satin, with extremely rich borders, all worked to suit the style of the room. Within this
richly executed in figured
ottoman are two3gr0an4d tripod candle stands, with heating urns at the top, that the seat may be kept in a proper
before the columns are two censers containing perfumes, by
temperature in cold weather. On the front of the ottoman
part of the room preventing that of a contrary nature, which is the
which an agreeable smell may be diffused to every
consequence of lighting a number of candles.
The chimney-piece is rich, adorned with a valuable time-piece, and two lights supported by two Chinese figures ;
each side of the fire-place is also a Chinese figure, answerable to those which support a table on the opposite side
on
of the is a
under which is seated a Chinese the centre
figure. Over each table, the fire-place, and in ottoman, glass,
the whole. The subjects painted on the panels of each wall are Chinese
enliven views
which by their reñections greatly
and little scenes. The carpet is worked in one entire piece with a border round it, and the whole in effect, though it
but suitable to the of the proprietor.
may appear extravagant to a vulgar eye, is dignity
The Sideboards on pages 298 and 299 have been gathered from various contemporary sources.
made
The Sideboard with Vase Knife-cases on page 301.—The pedestal parts of this sideboard may be separate
screwed the sideboard. The top extends the whole length in one entire piece, and is screwed down to the
and then to
pedestals. The hollow plinths of the vases are worked in one length and mitred round. The top of the plinth is then
that the vases be taken off.
blocked on at the under side, and the vase part is made to screw into it, so may occasionally
A cross band is meant to be mitred all round the hollow plinths, coming forward to the edge of the top ; so that if the
a
be veneered, it will only require the length between the two plinths. Within the front is tambour cupboard, which
top that I
is both useful and has a good effect in its appearance ; almost every workman will know how to manage this, so
need not explain it. The ornament behind is brass, intended as a stay to silver plate, and has branches for three lights.
The circle in the centre have a glass lustre hung within it as an ornament.
may
Sideboard Tables, and Tables of this kind in general.—The sideboard. No. 3 on page 301, has a brass rod to it,
The
when
which is used to set large dishes against, and to support a couple of candle or lamp branches in the middle, which,
brilliant effect to the silver ware. The branches are each of them fixed in one socket, which slides
lighted give a very
and down on the same rod to any height, and fixed anywhere by turning a screw. These rods hâve sometimes
up
returns at each end of the sideboard and sometimes they are made straight, the whole length of the sideboard, and have
;
a narrow shelf in the middle, made of full half-inch mahogany, for the purpose of setting smaller dishes on, and some-
times small silver ware.
The right-hand drawer, as in common, contains the cellarette, which is often made to draw out separate from the
rest. It is partitioned and lined with lead, to hold nine or ten wine bottles, as shown in Nos. i and 2.
The drawer on the left is generally plain, but sometimes divided into two ; the back division being lined with baize,
hinged to enclose the whole. The front division is lined with lead, so that it may hold water
to hold plates, having a cover
to wash glasses ; which may be made to take out, or have a plug-hole to let off the dirty water. The left-hand drawer
is, however, sometimes made short, to give place to a pot-cupboard behind, which opens by a door at the end of
very
the sideboard. This door is made to hide itself in the end rail as much as possible, both for look and secrecy. For
which reason a turn-buckle is not used, but a thumb-spring, which catches at the bottom of the door, and has a
communication through the rail, so that by a touch of the finger the door files open, owing to the resistance of a common
spring fixed to the rabbet which the door falls against, as is denoted by figure A. F is for the finger, B is the brass plate
let into the rail, L is the lever, p is the spring that presses the lever upwards, and c is the end of it which catches the
s is screwed to the
under edge of the door as it passes over it and strikes into a plate with a hole in it, and the spring
rabbet which throws the door out when F is pushed upwards.
But the reader must here observe that the shape of this sideboard will not admit of a cupboard of this sort in the
end rail. Those which are square at the ends, and only a little shaped in front, are fitted for this purpose.
In large circular sideboards, the left-hand drawer has sometimes been fitted up as a plate-warmer, having a rack in
the middle to put the plates in, and lined with strong tin all round, and on the underside of the sideboard top, to pre-
vent the heat from injuring it. In this case the bottom of the drawer is made partly open, under which is fixed a small
narrow drawer to contain a heater, which gives warmth to the plates the same as in a pedestal.
SHERATON. Late 18th Century.
In spacious dining-rooms the sideboards are often made without drawers of any sort, having simply a raü a little
ornamented, and pedestals with vases at each end, which produce a grand effect. One pedestal is used as a
and plate-warmer,
is lined with tin ; the other as a pot-cupboard, and sometimes it contains a cellarette for wine. The vases are used 305
for water for the use of the butler, and sometimes as knife-cases. They are sometimes made of copper, japanned, but
generally of mahogany.
There are other sideboards for small dining-rooms, made without either drawers or pedestals ; but have generally
a wine-cooler to stand under them, hooped with brass, partitioned and lined with lead for wine bottles, the same as
the above-mentioned cellarette drawers.
The sideboard Nos. i and 2 shows two patterns, one at each end. That on the left is intended to have four marble
shelves at each end enclosed by two backs and open in front. These shelves are used in grand sideboards to place the
small silver ware on. The pattern on the right is intended to have legs turned the whole length, or rounded so far as the
framing and turned below it, with carved leaves and flutes. The division beyond the cellarette drawer is meant for
a pot cupboard.
It is not usual to make sideboards hollow in front, but in some circumstances it is evident that advantages will arise
from it. If a sideboard be required nine or ten feet long, as in some noblemen's houses, and if the breadth of it be in
proportion to the length, it will not be easy for the butler to reach across it. I therefore think, in this case, a hollow front
would obviate the difficulty, and at the same time have a very good effect by taking off part of the appearance of the
great length of such a sideboard. Besides, if the sideboard be near the entering door of the dining-room, the hollow
front will sometimes secure the butler from the jostles of the other servants.
A Sideboard.—This design is intended to have a brass rod behind containing lights in the centre and at each end.
There is also a narrow mahogany shelf about three inches and a half wide fixed against the middle of the rod at the
back ; on which shelf a channel is worked by a plane, for the purpose of keeping up small dishes placed in the spaces
between the larger ones which rest on the sideboard top.
The frame of this table is richly carved out of solid wood, and the ornament of that part of the legs which cross
the frame is formed in imitation of a truss leaf.
The vase under the table may be of mahogany and fitted up in the inside to hold wine bottles, or it may be
considered merely as ornamental.
The sideboards on page 300 are from Sheraton's book.
The Pulpit.—The design of introducing a pulpit into this work was to afford some assistance to the cabinet-maker,
who in the country is generally employed on such occasions. In erecting a pulpit of this kind three particulais ought
principally to be regarded. First, the plan ; secondly, the manner of conducting the steps and hand-rail round
the column ; and, lastly, to fix the whole firm, so that it may not by shaking produce a disagreeable sensation to the
preacher.
The plan of this pulpit is a regular hexagon, which to me is the most beautiful and compact of any. One of its sides
is occupied by the door, and one for the back of the preacher, another to rest his arm, and the remaining three for the
cushion. The plan of the steps is a circle, which is most convenient when there is a want of room. The plan should
be divided according to the number of steps necessary for attaining to a proper height, which in this case is twelve,
as I, 2, 3, etc., in the plan.
A section should then be drawn, and the height of the risers adjusted to the number of the steps, as in the section
a, 6, c, etc.
Draw the semi-plan P, and divide the circumference into eight equal parts, as i, 2, 3, 4, etc., because, that in the plan
there are so many steps contained in its semi. Draw from i, 2, 3, 4, etc., lines perpendicular, and continue them to the
uppermost steps. From a, the first step, draw a line to a on the plan to P. Do the same from htoh,c to c, and so of all the
others, which will describe the steps and risers as they revolve on a cylinder. The face mould for the hand-rail, when it
is cut out of the solid, is found as follows (see page 301) : Draw a quarter plan as there described, divide the chord line
into any number of equal parts, as i, 3. 5 i from which raise perpendiculars to intersect the circumference ; drawnext the
rake or pitch-board of the steps at Figure R, by taking the breadth of the step on the plan, and repeating it 1,2,3,4 > then
take the height of four risers, as from .v toj^, and draw the linej' 4, which line will be the chord for the face mould;
T
SHERATON. Late 18th Century.
3
thereforè take 4, and divide it into six, as in the plan of the handrail. Take the perpendicular heights as i, 2, 3, 4
y which will points
and 5, 6 of the face give
plan, and transfer them to the corresponding perpendiculars on the mould,
through which the cu3rv0e6is to shows. Three of these will be wanted
pass, to form the face mould, as the figure lengths
to complete the hand-rail, including the ramp and knee.
These hand-rails, round a in one entire length, after which
are, however, sometimes glued up in thin pieces cyUnder
a cross banding is put on the top, and rounded off. In this case a cylinder is formed of deal, and the hne of the steps
is traced out as described, which is the guide for the thin mahogany to be bent round. In fixing the steps, I presume
and dovetail the risers of each step into the pillar ; this may be done
found the best method to mortice by
it will be
making the mortice so much wider than the breadth of the riser as the dovetail is intended to be in depth, so that when
in at the under of the riser.
the riser is driven
put into the mortice it may be forced up to its place by a wedge edge
The soffits of the
By this means it will be impossible for the steps to work when they are tongued and blocked together.
in the form of answerable to the brackets, and are fitted up separately afterwards.
steps are an ogee,
In fixing the pillar it must be noticed that it is first tenoned into transverse pieces of oak timber, which are sunk a
work it is to
good depth into the ground, that when the clay is beat in solidly about the pillar it cannot
so ; yet easy
conceive that in the pulpit it will be liable to spring when the preacher is in it ; to prevent which I have introduced
light small column, situated in the centre of the pulpit, and connected with it by a cove, on which the pulpit rests.
a
to the
sound-board is made as light as possible, which finishes in an octave cove at the top, and is fixed pillar by
The
screw and nut, together with a tenon, which is sunk into the sound-board. The banisters of the hand-rail
a strong
and let into a of thin iron
may be straight bars of brass made very light, dove-tailed into the ends of the steps, plate
at top, which is screwed to the under side of the hand-rail.
Observe that on the left side of the plate is a scale of feet and inches, from which the various measurements may
be taken.
SHERATON PULPIT. Fate 18th Century.
txixuf
SHERATON CHEVAL GLASSES, DRESSING TABLES, and WASHSTANDS.
308
the pencil mark to at pleasure. Take the side i I of
on the arch of the instrument, and from i draw a straight line across g
then will h show how
the hexagon, and place it from i to h. Draw g h parallel to the base of the protractor, or to 6 c ; g
Examine then the other side of the hexagon by the same rule, and if there be any
much i I is out of square, as required.
from the opposite side, it will easily be discovered. Proceed to the windows, and find the rake of the jambs m
variation architraves because of their
the same manner as before ; only observe, that the protractor cannot be placed to the
from the at m.
irregularity ; and therefore it must be placed on the line a & at m, after the line / is drawn jamb cutting
See Pages 312 and 316,
SHERATON LADY'S CABINET DRESSING TABLE, etc. Late 1 th Century.
I ^
-Ti r-H tfl •+-> (U ^
^ SP
I ^ ^ ^
^ s;
-.
^ ^ g, -a -1
^ I .-S -g tí ,s -5 I
°
H .S ^ g ^
tíü
g-s s ""frig
+j(U
"y '■+■> tí .S fe
-4-) -N CÜ rH »r C
^ ^ -5^8 O
o
bo
Td''' °^Sa)("u<u
tí -d tí
^ C"i
^ «s <u d
.£2
rû ^
tl·l tí tCí<u
<u t-l Vh
T3 Td
Ph
>v •Td
'd c.' P
,tí fe ^
tí 1 S S
■ ' d ë ^
o
cx, S O) ••
p^.c ^
^ ^^<u82ü TS (U
Q, tí ^3 •+:; .^ .iS [jtH "C
+->
OJ <u
T5 >
Oi^h-I'^'^ O"^ (U
i -tí tí S
tLi^Cttíí i i
«títídtíí-M
 
SHERATON WASHSTANDS, STEPS, etc. Late 1 8th Century,
by the rule, and trans-
ferring them to the paper 311
by the scale ; so that at
length the paper will have
all the lines and shapes
which the room has, by
which means it is evident
that the most exact
measurement will be
obtained.
The next thing to be done
is to provide a place large
enough to lay down the full
size of the room again. The
order will now be reversed ;
for those measurements
which were before taken
from the room by a rule,
and transferred by the
scale on the paper, must
again be taken from the
paper by the same scale
and replaced on some con-
venient place, by the same
rule that_ was used in
taking the plan.
See Page 321.
312 SHERATON SPLADS and CHAIR ARMS.
 
SHERATON SETTEES. Late 18th Century.
c
<u
314 d O
!=! Ph
O
0) o
>
5 rt >-l rP
rÛ
d P
O
o
CA) d
O)
•+->
■ ^ rP p
> o
P
,
^ Pí
•>-» O
Suo rt
c ^
O) p
—I o
OJ
<V rp •o P
I—^ -4-» (U <u
I ^ fcP
3 p
* s -P +-
^ o
(V
.t/5
<u
:=! rP d
.í2 d
d) B
o| P3
05 O
-§ W
+j "C5>1 u
o; C/)
(v p p
«j rP
Ui in ^
o; <v
P P P
í>
bc ^
o
iD j_, p
d o 'fi
05 p
o (/) Suo
c3 a ^
.p ib-[ ^n P
P P -P
05
P3 P
Pí
22 ^ S
c/)
. ^
'p ^
• P P Sf ^ ^
p
-S 8 î=î
P rP "b
o rP
O 05 Í5J0
P •-■
^
p p tuO p
•
O o P
Oh
S-H
bJD
Pí p
p
p -U>
xi
H tiX)
> Td
bjD t« -Pp 05
.p i-H Ul
P
T3 ^ Oh 1«
-M
p5 C/5
p
p *-l
P -M i a tp
5 C/) fUJ-
CU ^-) 05
P. o Ul M-l
P Cfl o o P
^ B, «SB
o tU5 05 P "
a ^ ."b
S T3 -P ^
•>
O H-) p
be P P :S o
Ph
_
Td +->
> ^
§ p" P
.s o
¡D P P
I ^ p a
^ _o
O P
^ C/)
S P .. p
•
'7! 'p - P >
p S P
o
TlJ ¿ P B
<ü >—1 H
Ul eu
p t:; ^> P!
tuo
p p 05
C/) p
p c; ^
..,
S ^
p p +3
ô P .Si> P
O P P
SHERATON CHAIRS. 18th Cent.ry.
315
See Page 322.
316 SHERATON LEOS OF PIER & CARD TABLES, & TRIPOD CANDLESTANDS.
opened to form the knee-
hole. The top which covers
and encloses the dressing
part slides down behind. A
bottle of water, and a pot
to receive it when dirty,
can both be kept in th(;
cupboard part.
The Dressing-table (No. 2)
requires no explanation.
The size from front to back
is eighteen inches, height
thirty - four inches, and
twenty-eight inches the
length of the front.
The drawer in the Wash-
hand Stand (No. 3) is lined
with lead, into which the
basin is emptied. The upper
part, which contains the
cistern,takes ofí occasionally.
Below the drawer is a cup-
board. Observe that in the
design the drawer-back is
supposed to be behind the
basin ; but before the drawer
convenience for writing is wholly taken away the basin must be taken out-
The other Dressing-glass has a as
which convenience rises by little The Pot Cupboard (No. 4) is used in better class bed-
well as for dressing, a
made with close rooms, and is sometimes finished in satin-wood. There
horse. The dressing-boxes are covers,
and slider encloses the whole, so that when the whole is are two drawers below the
a cupboard as shown. The
turned up nothing can come out of its place. The glass partitions may be cross-banded and a string round the
does not rise as the other, but fixes
in centres, so as to move in any
})osition either back or forward.
When the dressing-flap is turned
up it locks into the top-rail, and the
glass of course falls to its own place-
The under-side of the flap being the
front when turned up, it may be
japanned and banded. The lower
parts of the standards are shaped
like a lyre, and to form the strings^
brass wire is let in, which has a
pretty effect.
Dressing Commode, Page 308.—
The dressing part of this Commode
(No. i) may be made either fixed
fast or to be brought forward in the
manner of a drawer with leapers to
keep it to its place. If it is made to
be fixed fast, the doors may be See Page 323.
ni 7
SHERATON SCREENS. Lnte 18th Centuiy.
corners of the drawer. These feet are
turned, but sometimes they are made
square. Sometimes there are no folding
doors to the cupboard part, and sometimes
a curtain of green silk, fixed on a brass
wire at top and bottom ; but in this design
a tambour door is used, as preferable. The
upper cupboard contains shelves, and is
intended to keep medicines to be taken in
the night, or to hold other little articles
which servants are not permitted to over-
See
look. Page 323
31S SHERATON WRITING TABLES, etc, late 18th Century.
See Page 324.
Page 309. Lady's Cabinet Dressing Table (No. i).—This table contains every requisite for a lady to dress at. The
style of finishing them is neat and somewhat elegant. With respect to the manufacturing part, and what it contains, these
may be learned from the design itself, which here shows the parts entirely laid open. I shall, therefore, only mention two
or three particulars. When the washing drawer is in, a slider which is above it may be drawn out to write on occasion-
ally. The ink and sand are in the right hand drawer under the centre dressing-glass. Behind the drapery, which is
tacked to a rabbet, and fringed or gimped to cover the nails, is a shelf on which may stand any vessel to receive the
dirty water. Above the drapery are tambour cupboards, one at each end, and one in the centre under the drawer.
Above the tambour at each end are real drawers, which are fitted up to hold every article necessary in dressing. The
drawers in the cabinet part are intended to hold all the ornaments of dress, as rings, drops, etc. Behind the centre
glass is drapery ; it may be real to suit that below, or it may only be painted in imitation of it. The glass swings to any
position, on centre pins fixed on the shelf above the candle branches. The side glasses fold in behind the doors, and
the doors themselves, when shut, appear solid, with ovals in the panels, and ornamented to suit the other parts. Observe,
SHERATON WRITING TABLES. Late 18th Centurv. 319
the whole plan of the top is not in the plate, it being required to be two feet over. The perspective lines shown at the cir-
cular end are as follows :—When the plan is made, divide the curve into parts, as shown, and from these divisions on the
ground line draw lines to the centre s. Then turn up the ordinates to the ground line, and from the points where they
are cut on that line, draw lines to the distance, as shown, which will cut the visuals, at 6, 7, 8, g, and so on, finding points
to direct the curve by.
The Table on the left (No. 2) is intended to afford conveniences for writing, by having apart of the top hinged in
front to rise up. This rising top when it is let down locks into the frame, and secures the bag where the work is. The
standards on which the frame rests have transverse pieces tenoned on, which screw to the under side of the frame.
The drapery which hides the work-bag is tacked to a rabbett at the under edge of the frame all round.
The design on the right (No.3) is simply a Work-table. The upper frame, to which the top is hinged, is about
two inches broad, and is made separately. The pillar is fixed to the bottom of the bag, which is a round frame
made of wainscot, with a stretcher across each way, for the purpose of fixing the pillar to it, and to strengthen the
frame. The upper frame already mentioned, is connected with the lower one by small upright pieces tenoned in, after
which the bag is formed of silk and tacked to each frame, and ornamented on the outside with drapery.
See Page 324'.
B20
SHERATON. Late 18th Century.
The middle part of the Wardrobe on page 309 contains six or seven clothes-press shelves, generally made about
upper with. The lower
six or six inches and a half deep, with baize tacked to the inside of the front to cover the clothes
green
part consists of real drawers. The wings have each of them arms, to hang the clothes on, made of beech, with a swivel in
their centre, which slips on to an iron rod fixed by plates screwed on to each side of the wings as expressed in the design.
The whole is made in four separate carcases ; the wings by themselves, and the upper and lower middle parts separate.
and likewise the cornice with its frieze, and beingscrewed to each carcass, the whole is
The plinth is made all in one frame,
kept firm. Observe, that in the wings a bead is put up for the doors to fall against when they are shut to ; by which
means are cleared the knuckles of the hinges on the doors of the middle part. It should also be observed that as the sur-
the
base cannot go round the out ends of each wing on account of opening the doors, the moulding is returned against
and the on
front of each door. The surbase on the middle part returns, and stops against the inner end of the wing; edge
the door of each wing, with the surbase which is on them, are scribed on to the aforesaid return, which then appears as
an internal mitre, and gives place to the opening of the door. The scale, applied to the middle part, gives its height and
about
length. The middle
wings of the
are two feet and sixteen or seventeen inches deep ; and the depth part twenty-
three inches.
a
Page 310.—Corner B.asin Stands (Nos. i, 2 and 3).—The right-hand basin stand contains cupboard and a real
drawer below it by the top folding down the basin is enclosed and hid when it is not in use. The left-hand top is fixed
;
are
to the side of the basin stand by a rule joint, the same as the flap of a Pembroke table, but instead of iron the hinges
it fold
made of will
brass. The right-hand top is hinged to the other by common butt-hinges, by which means against the
other, and both be turned down together. When the tops are in their place, there then appears a rule join ton both
may
sides. The front edges of the tops are hollowed and beaded, which hang a little over, so that the fingers may get hold
the end
to raise them up. Short tenons on
are put to the under edge of the right-hand top, to keep in its place of
the lower part.
The Basin-stand the left has rim round the top, and a tambour door to enclose the whole of the
on a upper part, in
which is a small cistern. The lower part has a shelf in the middle, on which stands a vessel to receive the dirty water
conveyed by a pipe from the basin. These sort are made large, and the basin being brought close to the front gives
plenty of room. The advantage of this kind of basin-stand, is, that they may stand in a genteel room without giving
offence to the eye, their appearance being somewhat like a cabinet.
and
Lady's Dressing Table (No. 4). —The style of finishing these tables is neat. They are often made of satin wood,
banded but sometimes they made of mahogany. The size of this table, which is here three feet, should be increased
; are
in its length near six inches when these folding side glasses are introduced. The reason for this is, that a lady may have
more room to sit between them to dress. It should, in this case, be made about two inches wider. The size here
of
given is that which is used when only the rising back glass is introduced. This has been the common way finishing!
them. These side glasses are an addition of my own,which I take to be an improvement; judging that, when they are
finished in this manner, they will answer the end of a Rudd's table, at a less expense. The glass behind rises up like
that of a shaving stand. Those on the side fold down past each other, being hinged to a sliding stretcher, which is capable
it fold and the
of being pushed backward or forward. If the right-hand glass be pushed to the back will then down,
other keeping its place will do the same. A and B in the plan show these glasses in their places ; e is the back glass and,
t is the top, which is hinged to a piece of wood which runs in a groove at each end, so that when the top is drawn fully
up, it will fall down on the frame. The other folding top on each side have each of them a small tenon near the front, as
be at the edge of the left-hand one. These tenons being let into the middle part are the means of securing each
may seen
side-top when they are folded down, and the middle part is put down upon them, ¡so that the lock in the middlessecures
the three tops. The drawer on the right is the depth of two fronts, as is easily-seen ; the use of which is to put caps in.
The left-hand fronts in two real drawers for the purpose of laying small things in. The cupboard in the knee-hole
are
has its front reeded in the hollow part to imitate tambour, and the circular door in the centre is veneered and quartered..
This cupboard will take a lady's hat as they wear them now. The other dressing conveniences are obvious in the plan. .
Bed Steps (Nos. 5 and 6).—The design on the right contains a bidet behind, which runs in as a drawer. For the
purpose of raising the bidet drawer to a proper height, the case is made double, one fitting within the other as shown in.
the plate; for provided the outer case is made nine inches deep, the inner one, being at least eight, would when raised up,
make it eighteen inches high, which is sufficient. The inner case is kept up by a couple of wooden springs, one at each
end, which are so made and fixed to the inside of the outer case, that the thumb may relieve them so that the bidet will
settle down even with the edge of the case. The second step, which forms the night table part, draws out, and the step
which covers it rises up and falls against the upper step, which forms a pot cupboard. The steps and risers are usually
covered with carpet and the sides caned,
SHERATON. Late 18tli Century.
fae design on the left, when the top is down, forms only two steps. The front of the upper step is hinged to the top,
and the top to the back ; and to keep it in its place when down, the workman will observe that a groove is cut in both 321
ends, not in a straight direction, but near the bottom ; the groove is perpendicular to the seat ; a pin is then fixed to
the under side of the front at each end, which works in the aforesaid grooves, and the perpendicular part of the groove,
which is obvious in the design, assists in throwing the front upright when it is down upon the seat.
Of the Corner Night Tables (Nos. 7 and 8) on page 310, that on the right requires no explanation, except that the
doors may be hinged to turn in, if it is thought most convenient. The table on the left is intended to answer the purpose
of a wash-hand stand occasionally. To answer this end the top part is framed together of itself, and fixed by an iron or
strong wooden pin into the back corner of the lower part, which contains a socket, so that the top part can be turned
to one side, as shown in the design, or as much further as is necessary to clear the hole. Observe also, that on the front
is fixed a groove, in which a pin passes that is fixed to the front of the bottom of the upper part, and prevents the top
part from turning quite off from the bottom, which would endanger the pin on which the top part turns ; it should
have castors at the brackets, that when the night table is wanted it may be drawn a little forward from the corner of
the room to give place for turning round the upper part. It should be about thirty-four inches to the top of the basin itself ;
the height of the seat sixteen inches and a half ; and its other dimensions are known from the plan. The bottom
drawer may be made neat, and drawn out by means of a dovetail groove in the middle of the drawer, and a piece
to fit it fixed across the bottom of the carcass.
Page 311.—The Bidet Dressing Table has a real drawer under the cupboard part, and the rest are sham. The right-
hand cupboard door opens by a spring catch communicated to the patera handle in the centre. The water bottle is sup-
ported by a round box, made of very thin wood, glued and canvassed over to strengthen it, and fixed to the top. The
bidet legs turn up with a joint. The design shows only legs at one end, but the other legs are supposed to be folded up till
the whole is taken out ; and when used, the legs are kept in their place by iron hooks and eyes. The scale shows the
size of the front, and its depth from front to back is sixteen inches and a half. The frame, to which the glass is
hinged is fourteen inches in width.
The Night Table (No. 2) requires no explanation, and I shall only observe that the covers with rings on them are
meant for a toothbrush, and the ivory boxes on the right for tooth-powder. The scale for the dressing table shows
the size of the night table applied to the front, and its depth from front to back is eighteen inches.
Page 311.—The design of the Library Steps and Table was taken from steps that have been made by Mr. Campbell,
Upholsterer to the Prince of Wales. They were first made for the King, and highly approved of by him, as every way
answering the intended purpose. There are other kinds of library steps which I have seen, made by other persons, but,
in my opinion, these must have the decided preference, both as to simplicity and firmness when they are set up. The
steps may be put up in half a minute, and the whole may be taken down and enclosed within the table frame in about
the same time. The table, when enclosed, serves as a library table, and has a rising flap, supported by a horse, to write
on. The size of the table is three feet ten inches long, thirty-three inches high, and two feet one inch in width. When the
steps are out they rise thirty-three inches perpendicular from the top of the table-frame, and the whole height of the
last step is five feet five perpendicular from the ground. The perpendicular height of the hand-rail is three feet one
inch above the last step ; and observe, that on g, which is iron, is fixed a small flap on which a book may rest, so that a
gentleman, when he is looking at any book in his library, may note down a passage from it without the trouble of going
down again. The method of folding the whole up is as follows :—-The triangular iron bracket g is unlocked by a catch
which keeps it firm to the hand-rail, and the desk flap is fixed to it being turned over to the inside, the whole comes for-
ward and lies level upon the upper steps. The standard b may then be raised out of_its socket, and having a joint at the
top, it turns up to d, as shown by the dotted curve line. The short standard d eis then, by relieving a spring, pressed down
below the edge of the table top ; and the hand-rail and standard h having been folded together, as mentioned before, they
both rest on the iron socket fastened to the front edge of the upper steps. The horse 0 is folded by the side of the upper
steps, and then both they and the horse fall down within the table frame ; and it must be observed, that in folding down
the steps the hand-rail and standard, which rested for a while on the socket fastened to the front of the steps, fall into an-
other socket of the same kind fastened to the under side of the table top, where they remain, and fall within the table
frame when the top is folded down. Lastly, the lower steps a are turned up to a horizontal position, and being hinged to a
slider which runs in a groove, the whole slips in as a drawer, and is enclosed by the flap p, which turns up and appears as
the front of a drawer.
U
SHERATON. Late 18th Century.
The Library Steps are considerably more simple than those already described ; and though not so generally useful
in
will and slide
come vastly ch3ea2pe2r. The flight of steps turn down upon the under ones, both of which rise
upper up
as a drawer, after which a flap, which is shown in the design, is turned up, and has the appearance of a drawer front
that the resting post at the top folds down to the side of the steps by means of an iron joint. The horse has
Observe,
green cloth under its feet to prevent it scratching the top. The design shows that the two steps are connected together
by hinges, so made as to clear the edge of the table top ; and also, that there is a sliding board to which the underflight
is hinged, which sliding board runs in a groove. The length of the table is three feet six inches, its 'width twenty-two
inches. The table is thirty inches high, the upper flight is thirty perpendicular, and the resting post thirty-three.
Page —The figure of the Chamber Horse shows the inside when the leather is off, which consists of five
311. upper
wainscot inch boards, clamped at the ends ; to which are fixed strong wire twisted round a block in regular gradation,
that when the wire is compressed by the weight of those who exercise, each turn of it may clear itself and fall within
so
each other. The top board is stuffed with hair as a chair seat, and the leather is fixed to each board with brass nails,
tacked all round. The leather at each end is cut in slits to give vent to the air, which would otherwise resist the motion
downwards. The workman should also observe that a wooden or iron pin is fixed at each end of the middle board for
the of guiding the whole seat as it plays up and down. This pin runs between the two upright pieces which
purpose
framed into the arms at each end, as the design shows. The length of the horse is
are twenty-nine inches, the width
twenty, its height thirty-two. To the top of the foot-board is eight inches, and to the board whereon the seat is fixed
thirteen.
Page —The Splads are all intended for japanning, except No. 4, which may be worked in
312. mahogany. The
Elbows are meant chiefly to be carved and gilt ; but the mere outlines of any of them will serve as patterns either
for painted or mahogany chairs, by leaving out the ornaments for the mahogany, and retaining some of them, or even
all of them be adapted for painting. It may be proper to observe that as high as the stuffing of the seat a rabbet should
may
be left the stump to stuff against ; which is easily done, as the stump is made smaller above the rail. The cushions
on
the formed by cutting a rabbet in the arm, or leaving the wood a little above the surface.
arms are Some, how-
on
ever, bring the rabbet square down at each end, covering the wood entirely, except a fillet, which is left at the
bottom and continues round the cushion.
Page 313.—Chair Backs .—Little needs to be óbserved respecting Nos. 16, 17, 18, 22, 23, 24, as the plate of itself
sufficiently expresses what they are ; if, however, any of these be thought too crowded with work, they may be
reduced to a state sufficiently plain without doing the least injury to the outline of the whole, as in the following
manner :—
No. 16 is intended for painting, but may have the drapery left out under the top rail, by means of substituting a
plain upright bar in the middle.
No. 17 may be reduced by taking away the side foliage, and making the bottom of the banister plain.
No. 18 may be either a drawing-room chair painted, or it may be made a handsome parlour chair, by taking out
the top drapery and making the bottom of the banister plain ; if for a parlour chair, the top rail is intended to be
stuffed and covered with red or green leather, or it may be entirely of mahogany panelled out of the solid ; but if a
drawing-room chair it may be stuffed and covered to suit the seat.
No. 22 is a painted chair, with the back feet at top, formed in imitation of the Ionic capital. The drapery in this
also may be taken away without hurt done to the general outline.
No. 23 is a painted chair, and may be subject to a variety of alterations ; it may be executed with good effect with-
out anything except the three composite columns, and two arches in the top rail. The remaining part of the rail
on each side of the basket of flowers may be neatly panelled in the painting; or the diamond part may be retrenched,
and the two smaller pillars with their arches retained.
No. 24 cannot well be subject to any alteration excepting that the ornament in the arch maybe turnedinto a straightbar.
'
Page 315.—These drawing-room Chairs are finished in white and gold, or the ornaments may be japanned, but the
French finish them in mahogany, with gilt mouldings. The figures in the tablets above the front rails are on French
printed silk or satin, sewed on to the stuffing, with borders round them. The seat and back are of the same kind, as
is the ornamented tablet at the top of the left-hand chair. The top rail is panelled out, and a small gold bead mitred
round, and the printed silk is pasted on. Chairs of this kind have an effect which far exceeds any conception we can
have of them from an uncoloured engraving, or even a coloured one.
qoo
ozo
SHERATON. Late 18tli Century.
Page 316.—The Tripod Candlesticks are used in drawing-room?, fjr the convenience of affording additional light to
such parts of the room where it would neither be ornamental nor easy to introduce any other kind. The style of finish-
ing these for noblemen's drawing-rooms is exceeding rich. Sometimes they are finished in white and gold, and some-
times all gold, to suit the other furniture. In inferior drawing-rooms they are japanned answerable to the furniture.
Persons unacquainted with the manufacturing part of these stands may apprehend them to be slight and easily broken;
but this objection vanishes when it is considered that the scrolls are made of strong wire, and the ornaments cemented
to them. I could not show to advantage more than three lights, but, in reality, there are four ; one at the centre, and
one at each angle. The top of the left stand is a round vase, which can be turned and have the square handles put on
afterwards. The handles should be placed parallel to two of Ihe feet. The top of the right one is a concave spherical
triangle, having all its sides equal. As to any other part, the workman's own notions will suggest everything neces-
sary in their manufacture.
Page 317.—The Lyre Fire Screen is constructed on an entire new plan, it being designed to turn upon a swivel,
which fixes to the vase and passes through the bottom rail, so that the screen may be turned to any position without
moving the stand. The screen part, which rises between the standards or pillars, is suspended by a weight in the tas-
sels, which are communicated to the screen by a line passing through the pillars and over a pulley fixed to their top.
There must be a dovetail groove in each standard, and the screen made to fit into these ; so that the standards may
keep their proper place, and not fiy open at the top. Observe that the ornament on the tops of the pillars or stand-
ards rise up with the screen being fixed to it, and detached from the pillars. It is intended that the lyre ornament be
carved in bas relief, gilt and burnished ; which, when planted on to a blue silk or satin ground, cannot fail to produce
a fine effect.
The other screen (No. 5) being common needs no explanation, only that it is suspended by little springs fixed in
the dovetail grooves of the standards. In respect to the general size of horse fire screens, about eighteen or nine-
teen inches may be allowed for the breadth, and three feet six or seven inches for their height.
The Tripod Fire Screens (Nos. 2, 3 and 4) are so termed because they have three feet or legs. The middle screen
may be finished in white and gold or japanned ; and the other two of mahogany or japanned, The rods of these
screens are all supposed to have a hole through them, and a pulley let in near the top, on which the line passes, and a
weight being enclosed in the tassel, the screen is balanced to any height. The rods are often made square, which indeed
best suits those which have pulleys, while those that are made round have only rings and springs. Such screens as
have very fine prints, or worked satin, commonly have a glass before them. In which case a frame is made, with a
rabett to receive the glass, and another to receive the straining frame, to prevent it from breaking the glass ; and to
enclose the straining frame a bead is mitred round.
Page 318.—Library Table with a Writing Drawer.—This Table (No. i) is intended either to sit or stand and
write at. The height of the secretary drawer is adjusted for sitting, and the top of the table is high enough to stand and
write on, especially if the middle top be raised by a horse, as shown in the design. This table will also prove very use-
ful to draw on ; for when the middle part is up for drawing upon, there remains sufficient room at each end of the table
on which to place the necessary implements for drawing. The upper drawers at each end may be fitted up to hold
colours of various kinds. There are drawers quite down to the plinth. The drawers under the secretary will hold the
large sheets of drawing paper, together with the tee squares ; and as it will not be necessary to make the drawers under
the secretary the entire width of the table, the opposite front being made sham to have the same appearance, the whole
of it may be hinged at bottom and locked at the top, and the inside will allow depths for books. This sham front being
a considerable width, it would hazard the hinges to let it rest wholly on them when turned down, and therefore there
should be iron rule-joints at each end as stays. To these conveniences there are also four cupboards enclosed with doors
as shown in the design ; and the whole finished in this manner, I venture to affirm, will prove as useful a table as has
ever been devised or published. In respect to the manufacturing part, it will be best to make it in two parts. The
upper part containing the secretary, and two drawers at each end ; and the lower part, four drawers under the secretary,
a bookcase behind, and four drawers at each end, the lowermost of which is shown in the design. The top should be
framed of inch-and-a-quarter wainscot, containing a well for the desk part, which may be made to rise on the front as
well as at the back by forming a double horse; but in this design it is only intended to rise at the back by a single horse,
and hinged to the cross-band at the front. The cupboard doors may either be framed and panelled, or glued up to
their sweep in narrow slips of inch mahogany, and clamped ; not by tonguing, but by a square joint, and pins driven
through the clamps. The management of the circular base-moulding and plinth may be learned in page 332.
SHERATON. Late 18tli Century.
No. 2, page 318, is a Kidney Table, on account of its shape. Its use, however, is the same as that already described.
The drawers which appear in the design are all real, and are strung and cross-banded, with the grain of the mahog-
laid and dow3n2. 4The pilasters are panelled or cross-banded, and the feet below turned. The view of it above
any up
shows the end panelled, and the back may be so too, or it may be plain. "With respect to the manufacturing part, I
need not say anything after what has been said on the other, except to explain the reading desk, which slides out, as
shown above. Observe, B is the profile of the frame which slides out, in the edge of which there is a groove shown by
the black stroke, and a tongue is putdnto the edge of the well part to suit it. F is the desk part which rises at the
same time to stop the book; ¿ is a tumbler hinge let in fiush with the top, and hid by the cloth or leather; c is a common
butt-hinge let in the edge of F, and upon the frame B, so that when F falls to B, A does also. The length of the
table is four feet, its width two, and its height thirty-two inches.
The left-hand Table (No. 3) is to write and read at. The top is lined with leather or green cloth, and cross-banded.
To stop the book there are two brass plates let in, with key holes ; and in the moulding, which is to stop the book, ar e
two pins, with heads and shoulders, by which the moulding is effectually secured.
The right-hand Table (No. 4) is meant to write at only. The top part takes off from the under part, which having a
bead let in at the back and ends cf the top, prevents the top part from moving out of its place. This table being made
for the convenience of moving from one room to another, there is a handle fixed on to the upper shelf, as the drawing
shows. In the drawer is a slider to write on, and on the right-hand of it, ink, sand, and pens.
The Lady's Travelling-box (No. 5) is intended to accommodate conveniences for writing, dressing, and working.
The front is divided into the appearance of six small drawers ; the upper three sham, and the under real. The writing
drawer takes up two of these fronts in length, and contains an ink drawer, and a top hinged to the front, lined with
green cloth. The top being hinged at front, Ky pushing in drawer, will rise to any pitch. The other drawer on the
left, which only takes up one front, holds a kind of windlass or roller, for the purpose of fixing and winding up lace as
it is worked. The middle, which holds the scissors and other articles of that nature, takes out, which gives access to
a receptacle below it for holding small things. The boxes on each side hold powder, pomatum, scent bottles, rings, &c.
The dressing-glass, which is here represented out of the box, fits into the space above the scissor-case.
Page 319.—The Drawing Table (No .i) will be found highly useful to such as draw, it being designed from my own
experience of what is necessary for those who practise this art. The top of this table is made to rise by a double horse,
that the designer may stand if he please, or may sit, and have the top raised to any direction. As it is sometimes neces-
sary to copy from models of fiower-pots, &c., a small flap is made to draw out of the top, which may be raised by a little
horse to suit any direction the top may be in, so that the model or flower-pot may stand level. The sliders at each
end are necessary for the instruments of drawing, and for a light to stand on. The long drawer holds paper, square, and
board, and those drawers which form the kneehole are fitted up for colours.
The use of the Cylinder Desk and Bookcase (No. 2) is plain, both from the title and design. The style of finishing
them is somewhat elegant, being made of satin-wood, cross-banded and varnished. This design shows green silk fluting
behind the glass, and drapery put on at top before the fluting is tacked to, which has a good look when properly man-
aged. The square figure of the door is much in fashion now. The ornament in the diamond part is meant to be carved
and gilt, laid on to some sort of silk ground. The rim round the top is intended to be brass ; it may, however, be done
in wood.
The manufacturing part of this piece is a little intricate to a stranger, for which reason it wiU require as particular a
description as I can-give to make it tolerably well understood. First, observe the slider is communicated with the cylinder
by an iron trammel as I, so that when the former comes forward,the latter rises up and shows the nest of thesmall drawers
and letter holes, as appears in the design. "When, therefore, the slider is pushed home even with the front, the cylinder is
brought close to it at the same time. In this state the lock of the long drawer under the slider secures both the drawer
itself and also the slider at the same time in the following manner:—D is the long drawer under the slider, P the partition
above it, and S is the slider ; G is a spring bolt let into the partition. When, therefore, the drawer lock-bolt is out, as it
rises it drives C, the spring bolt, into the slider ; and when the drawer is unlocked,Then G falls down to its place in the par-
tition, and the slider can be pulled out. The trammel I is a piece of iron near a quarter thick, and inch and quarter broad,
with grooves cut through, as shown at I. S, in the profile, is the slider ; and g, 12, h, the cylinder. The trammel T is fixed
to the cylinder at A by a screw, not drove tight up, but so as the trammel will pass round easy. Again, at the slider S a
SHERATON. Late 18th Century.
screw is put through the groove in the trammel, which works on the neck of the screw, its head keeps the trammel in
its place ; so that it must be observed that the grooves or slits in the iron trammel are not much above a quarter of an inch
in width. When the slider is pushed in about half-way, the trammel will be at u, and its end will be below the slider, as
the plate shows ; but when the slider is home to its place, the trammel will be atTand g. The centre piece with four holes
is a square plate of iron, having a centre pin which works in the upper slit of the trammel. It is let into the end of the
cylinder, and fixed with four screws. To find the place of this centre lay the trammel upon the end, as T h, in the position
that it will be in when the slider is out, and, with a pencil, mark the inside of the slits in the trammel. Again, place the
trammel on the end as it will be when the slider is in, as at T g, and do as before ; and where these pencil marks intersect
each other will be the place of the centre plate. The figures i, 2, 3, 4 show the place of the small drawers. The triangular
dotted lines with three holes is a piece of thin wood screwed on to the end, to which is fixed the nest of small drawers,
forming a space for the trammel to work in. F is a three-eighth piece veneered and cross-banded, and cut behind to give
room for the trammel. This piece both keeps the slider to its place and hides the trammel. The next thing to be observed
is, that the lower frame, containing two heights of drawers, is put together separate from the upper part, which takes the
cylinder. The ends of the cylinder part are tenoned with the slip tenons into the lower frame and glued. The shaded part
at A shows the rail cut out to let the trammel work. The back is framed in two panels, and the back legs are rabbeted out
to let the back framing come down to the lower drawer. The slider is framed of mahogany, with a broad rail at each end
about nine inches, and one at the front about three and a half. In the inside of the framing a rabbet is cut to receive a thin
bottom. The bottom being fixed in, a slip is put at each end to receive the horse which supports the desk part. The ink
and pen drawers at each end of the slider have a small moulding mitred round them to keep them fast, without their being
glued on. Observe, there is a-sham drawer front fastened on to the slider, which, of course, goes in with it, and which
contains the depth of these ink and pen drawers, so that they are not required to be taken out when the slider goes in. The
cylinder is jointed to its sweep in narrow slips of straight-baited hard mahogany, and afterwards veneered. If the veneer
be of a pliable kind it may be laid with a hammer, by first shrinking and tempering the veneer well, which must not be by
water, but thin glue. If the veneer be very cross and unpliable, as many curls of mahogany are, it is vain to attempt the
hammer. A caul in this case is the surest and best method, though it be attended with considerably more trouble than the
hammer. To prepare for laying it with a caul, proceed as follows Take five or six pieces of three-inch deal, and sweep
them to fit thejuside of the cylinder. Fix these upon a board answerable to the length of the cylinder. Then have as
many cauls for the outside of the cylinder, which may be made out of the same pieces as those for the inside. Take then
quarter mahogany for a
caul to cover the whole
veneer and heat it well.
Put the caul screws across
the bench, and slip in the
board with the round cauls
screwed to it; and proceed
in every other particular,
as the nature of the thing
will necessarily dictate.
The Table No. 3 on
page 319 is intended for
writing on, and to hold a
few small books in the
back of the upper part.
Within the door at each
end, under the domes, are
formed small cabinets of
drawers, etc. The front
of the upper part, which
encloses thenest of drawers
and letter holes, slides in
under the top, and when
drawn
See sufficiently out
Page 329. falls down in the curve
/ g, and locks, into
Á
" 1. /L
I
' 1 •a
-/T/V*" /7\
^ X /\
1 ■'
^
/
1 ! 1 ! ;
/Ti J « tí '•1 ^ N
326 SHERATON TABLES and WRITING TABLES. Late I8th Century.
the folding top. The method of hinging this
front is thus :—Suppose B D to show it up as
it is in the design, ready for pushing home.
Then observe, D i is a slip which runs in a
groove cut at each end. The front B is rab- j
beted out, and also the slip D. These are
hinged together, and are both of one thick-
ness, so that when B is drawn out, the slip, '
having a tenon at d, stops it from coming
entirely out. The other figure shows the
front when it is let down, which cannot fail
of making it understood. The dotted curve
line 0 P shows that the under side of the top
must be hollowed out, so that the angle of
the falling front may clear itself as it turns.
Observe, the writing part falls over like a ►
card table, and when it is open is supported
by the drawer in the frame. Every other
part must be plain to the workman.
See Page 331.
SHERATON CABINETS and TABLES liate 18tli Centui'v
cpyváíTí
For particulars see Page 333,
^The convenience of this Lady's Writing Table (No. 4 on page 319) is, that a lady, when writing at it, may both receive
the benefit of the fire, and have her face screened from its scorching heat. The style of finishing them is neat, and rather
elegant. They'are'frequently made of satin-wood, cross-banded, japanned, and the top lined with green leather. The
manufacturing part is a little perplexing to a stranger, and therefore I have been particular in showing as much as I well
could on the plate. Observe, that in the side boxes the ink drawer is on the right, and the pen drawer on the left. These
both fly out of themselves, by the force of a common spring, when the knob on which the candle-branch is fixed is pressed,
'
Figure A is the spring which is let in under the candle branch C is a lever which is pressed to B the end of < he drawers.
SHERATON PIER TABLES and KNIFE BOXES. Late I8th Century.
by a spring rising from D ; N is a part of the candle
branch, and e is the knob just mentioned,. which is
capable of being pressed down ; therefore if P be
screwed into E by pressing e, C rises and relieves B,
which immediately starts out, by a common spring
fixed on the inside of the boxes. Observe a patera in
the centre of the back amidst the ornament. This
patera communicates to a spring of precisely the same
kind as A ; which spring keeps down the screen when
the weights are up ; and by touching the said patera,
which has a knob in its centre like e, the spring is re-
lieved, and the weights of course send up the screen,
being somewhat assisted by a spring at the bottom,
which may be seen in the design. Figure T shows the
See Page 334.
lead weight, how the pulleys are fixed, and the manner
SHERATON TABLE. Late IStli Century.
of framing the screen before it is covered with stuff.
The workman will observe that a thin piece of
mahogany slides out in a groove, to afford access to
the weights, and afterwards enclose them. There is a
drawer under the top, which extends the whole of the
space between the legs. The scale shows the length of
the table h its height, a the depth of the drawer, h c the
depth of the side boxes, and e d the height of the swell
of the screen part. The width of the table is 20 inches.
Page 325.—The Nature and Construction of
Hip and Elliptic Domes for Bedsteads.—Domes
of various kinds have for many ages past been intro-
duced into elegant and magnificent buildings, on
account of their graceful effect and majestic appear-
ance. I am of opinion that the notion of employing
domes for the roofs of grand buildings was first sug-
gested by the appearance of the hemisphere surround-
ing our earth or horizon, forming a canopy or roof to
the globe. See Page 334.
If this theory is correct, domes had their origin in a truly Sublime and magnificent idea. The use of domes for the tops
of bedsteads is of much later date than for buildings ; but it is certain, whoever was first to employ domes for this
purpose must have been a person of enlarged ideas as no other form of top or roof for a genteel bedstead can equal it
We see them generally used for state beds, where both grandeur and effect are essential. The term dome generally
implies a vaulted, arched, or spherical roof. Some derive it from domus, a house ; and others from the barbarous Latin
doma, a roof or open porch. When an arched roof is raised from a square or oblong plan, it is called a Hip Dome,
because it requires mitre ribs at each angle, uniting in a centre at top. A dome which takes its rise from an oval plan
is called Elliptic ; and lastly, one which has an octagon, or hexagon for its plan may be styled a Polygonal Dome.
To construct a Hip Dome :—Let A B C D (Fig 35) be the under tester, upon which another tester is to be fixed to
receive the ribs of the dome. Draw the diagonals D B and A C, and their intersection will be the centre for the dome.
Draw a right line through line centre parallel to A B ; draw another line through the centre at right angles with it, then
will the diagonal lines be the plans of the hip ribs, and those at right angles to each other will be the plans for the centre
ribs. Draw a circle from the centre of the dome of about eight inches radius, as the figure shows, which is intended as
a ground for ornament in the centre of the dome at the inside, and also to combine together the hip and centre ribs.
Proceed next to consider the height of the dome as may be required. Let 7.6 at No. i be the perpendicular height of it,
and let mnhe the width of the dome. Then draw a semi-ellipsis to pass through the points m6 n. Divide half of this
semi-ellipsis into as many equal parts as it may be thought necessary to have ribs in that space, which in this example, is
six. Draw on these sub-divisions perpendicular lines, as the figure shows, and sub-divide the last space, from which raise
a perpendicular as before. Proceed to No. 2, and divide half the length of the dome, as / 0, into the same number of equal
parts as half the width was divided into. From the divisions raisè perpendiculars at pleasure. Take the length of the
several perpendiculars from No. i, and place them on the corresponding perpendiculars at No. 2, and draw a curve line
through each point ; then will the ellipsis thus produced by the outside shape of all the long ribs, the same as No. i is of the
short ribs. Lastly, proceed to No. 3, which is for the four hip ribs. Draw the dotted lines from 8, 9, 10, 11, 12 at No. i,
till they cutjthe diagonal line ghd± the corresponding numbers. From these intersections, raise perpendiculars at pleasure,
as before. Transfer the length of each perpendicular line from either No. i or 2 to No. 3 on each perpendicular as numbered
and drawing a curve line through each point as before, it will produce an ellipsis for the outside shape of each hip rib.
The next thing to be considered is the length required for each rib, according to their distance from each angle of the
dome. A little thought will make this easily understood ; for if No. 3 was placed in an upright position, being considered
as a frame, and if the portion of the curve from w to i at No. i was placed upright to it, the two points, i in No. i, and i in
No. 3, would coincide, and the point 2 of No. i would coincide with 2 at No. 3, and so of all the rest Hence from nio 1
of No. i is the length of the first short rib, whose plan is at a ; from w to 2 is the second short rib, whose plan is at h ; from
w to 3 is the third short rib, its plan at c ; from w to 4 is the fourth short rib, its plan at d ; and from n to 5 is the filth short
rib, its plan at e. The long ribs are taken from No. 2, in the same manner, each of which has its plan laid down at No. 3,
as a, b, c, d, e, f, so that I need not say anything more on this part of the sut ject. For the length of the hip ribs, take
from to 5 at No. 3, and allow three-quarters of an inch for dovetailing into the centre block.
330 SHERATON DRESSING CHESTS and WASHSTAND. Late 18th Century.
every rib, excepting the one that is upon each semi-diameter, must have
a winding form, both inside and outside, in proportion to the length of
the oval with its breadth. Determine, next, how much the dome is to
rise from the tester, which, in this example, I consider to be equal to half
the short diameter ; and therefore the arch of the rib B is a quadrant of a
circle drawn from the centre h. This arch will serve for two ribs, that is
B and its opposite. Likewise from the arch B we determine the outline
of every other rib thus ; divide the semi-diameter a h into five and a half
equal parts, and raise perpendiculars till they touch the arch B. Divide
the plan of rib a ò at No. 2 into the same number of equal parts, and
raise perpendiculars at pleasure ; to which perpendiculars transfer the
several lengths of those at No. i to the corresponding ones at No. 2 as
a c d e f g-,\)y which the rib A will be formed. The ribs h i j and k
are formed in the same manner, and therefore it is unnecessary to des-
cribe these. Observe : C, on the plan of the elliptic tester, is for the long
centre rib and its opposite, as will easily be understood by inspecting the
figures, and a little reflection on the subject. These domes may be made
in four parts, the same as hip domes, if required. The ribs of these domes
are all dovetailed into a centre block, which may be circular or elliptical
to suit the dome, and which serves for the ground of a carved and gilt
patera for the inside of the dome, as has already been mentioned on hip
domes. When the ribs are all completely fixed, the spaces between them
may be filled up by glueing white deal in ; and when the pieces of deal are
worked down to the ribs, the whole will form an agreeable dome, which
should be covered with canvas, and painted to suit the furniture, or
To construct an Elliptical Dome :—Let A B
D E (Fig. 36), be the plan of the tester, whose
inside forms a true ellipsis by the help of angle
pieces framed in, which must be evident to every
workman. The oval being thus formed accord-
ing to the inside length and breadth of the
tester, and the two diameters being already
drawn, proceed with one quarter of the dome
thus : Draw the plan qf the upper tester, into
which the ribs are to be fixed, as the second
elliptic line shows. Divide then the portion of
the ellipsis between 0 ard ¿ into as many equal
parts as it is required I0 have ribs in one quarter
of the dome, as at 0 a h i j k I, tending to the
centre h. From these centre lines draw
parallel lines on each side, which shall deter-
mine the thickness of the ribs, and at the same
time show how broad each rib will be required,
in order to give its proper twist so as to suit
its ellipsis ; for here it must be observed, that
See Page 334.
SHERATON BEDSTEAD Late 18tli Centary.
otherwise covered with the same kind of stuff. And, if so, it will be unneces-
sary to cover it with canvas ; but as the stuff must be put on the dome in so 331
many breadths, cut so as to answer its shape, a gimp may be stitched on to
hide the tacks, and give the dome a more rich appearance. But if the dome
be large, it may have a small gilt moulding in place of the gimp, which is fixed
to the dome by gilt-headed screws. For the inside of the dome, it will be
requisite to have a gilt moulding, to hide the joining of the under and the
upper tester, and to serve as an architrave to the dome. 1 he triangular com
part ments at each corner of the tester occasioned by the manner of framing
it to suit the d' me, should have small mouldings put on to suit that shape,
which will take off the fiat appearance it would otherwise have, and add to
the effect of the whole. As for any other particular with respect to orna-
ments, what has already been observed on hip domes may be applied here-
With respect to the dome described by Fig. 37, I do not think it necessary
to go through an explanation of it after what has been said on Fig. 35, which
if the reader has fully understood, he cannot fail to be acquainted with the
lines laid down in Fig. 37, merely from inspection, • especially as I have
marked each corresponding line with similar letters and numbers.
Page 326.—The Library Table (No. 2) is intended for a gentleman to write
on, or to read at, having desk drawers at each end, and it is generally em-
ployed in studies or library rooms. The style of finishing it ought to be in the
medium of that which may be termed plain or grand, as neither suits their
Bedstead in Sheraton's Empire Style;. situation. Mahogany is the most suitable wood, and the ornaments should
be carved or inlaid what little there is ; japanned ornaments are not suitable, as these tables frequently meet with
somewhat harsh usage. The strength, solidity, and effect of brass mouldings are very suitable to such a design,
when expense is no object. Tor instance, the pilasters might be a little sunk, or panelled out, and brass heads mitred
round in a margin, and solid flutes of the same metal let in. The astragal which separates the upper and lower parts
might be of brass ; and likewise the edge of the top, together with the patera in the upper panel, as shown on the left
hand. The top is lined with leather or green cloth, and the whole rests and is moved on castors hid by the plinth.
The top should be framed in inch and quarter wainscot, in the figure of a long hexagon, which best suits the shape
of the oval. The panels, which are tongued in, should be of at least three-quarters hard mahogany, about nine inches
square, and the stiles three and a half broad. The top being thus framed of very dry wood, it should be planed over,
and stand for some time at a moderate distance from a fire, after which it may be glued together, and when hardened it
ought to be planed over again, and remain in that state till the lower part is finished. If these methods are not pursued,
the panels will shrink, and their joints will draw down the leather or cloth, so that the figure of the framed top will
appear, especially when it is lined with leather. Next, it must be considered how to glue on the mahogany to the framing
30 as to make the surbase moulding appear of solid wood. First, plough the four short sides of the hexagon, and then
tongue in suitable mahogany lengthways meeting in a straight joint in the centre of the top ; and lastly, after the
tonguing is dry, glue in straight joint pieces on the two long sides of the hexagon, and when dry, the top will be
prepared for cutting to its elliptic shape.
The manner of framing the upper and lower parts of the carcass must be learned from the plan. The upper part,
framed in an entire oval, contains the desk drawers ; and, if thought necessary, two short ones may be obtained over the
side niches. The cupboard part is framed in two, each of which has a niche at the end, and one third of the side niches-
for the niches are all of them divided into three panels, and the middle panels of the side ones serve as doors by which
an open passage is gained through the table. There are four cupboards in the whole, divided in the manner specified
by the dotted lines in the plan, one or two of which may be fitted up in a nest of small drawers and letter-holes. The
plinth is framed entire of itself, and the base moulding stands up a little to receive the whole and hide the joint
In putting on the base moulding there are two or three methods which I would offer as the best I know of. The frame
being made so thick as to take the projection of the base, it must then be rabbeted out of the solid to receive it. This
SHERATON. Late 18th Century.
being done, proceed to glue the base in three or four thicknesses, confining them to their place by hand screws, or other
the
devices of that n3ature but observe to let the base project further out than the deal plinth that it may receive
32 ;
mahogany veneer which is to be glued on lengthways to hide the deal. After the whole is glued fast to its place, the
veneer on the plinth and the base must be cleaned off level with each other. The convex parts of the base moulding
may be worked with hollows and rounds ; and after these are finished, the niches should be worked down to them by
a tool made on purpose.
Another method of gluing the base mouldings is as follows :—Prepare the inch deal, and make the cauls to fit the
end and niches of the plinth, after which take straight baited three-eighths Spanish wood, and work the hollow part
the
of the base from the torus ; then, from quarter stuff of the same kind, cut off slips for the torus ; heat
separate
caul well, and both wet and heat the slips which will then easily bend. When the hollow part is well tempered, and
also the torus, begin at one end and by a thin chip run glue in between them ; and as you go on drive in nails about
every inch, having between the nails and the moulding a thin slip of wainscot v/ell heated. Observe to let the
moulding pass beyond the caul at each end that a pack-string may be tied to keep it to its place when it is taken out.
The torus may then be worked before it is glued on the plinth.
A third method is to make the plinth itself the caul, and first work the hollows, and soak them in water a whole night.
Next morning take a hand-iron and heat it well, and over the curved side of which bend the hollow as near as may be
to sweep. Having already a stop screwed on to the plinth, jump one end of the moulding to it, and glue as you go on,
at the same time fixing small hand screws to draw it to, or brads may be put through the square part to assist in this
business, if necessary, for these will be covered by the torus. After the hollow is sufficiently dry, the torus being
worked off and well soaked, and bent round the iron as above, it will glue fo the hollow without the smallest difficulty,
by first jumping it against the stop before mentioned ; and after it is brought pretty near, take another stop and screw
it against the end of the torus, which will draw it down without further trouble. These two methods are founded on
should
experiment ; for, at my request, it was performed by some cabinet-makers to my full satisfaction ; therefore,
either of these methods fail in the hands of any, it must be owing to some defect in the management.
The Pembroke Table (No. i at bottom of page 326) is for a gentleman or a lady to breakfast on. The style of finishing
these tables is very neat, sometimes bordering upon elegance, being at times made of satin-wood, and having richly
japanned borders round their tops, with ornamented drawer fronts. The manufacturing part of this table differs but
very little from those in common use. The fiy brackets which support the fiaps are made and fixed in the same manner
as any other, only I think it best to make a dovetail groove in the front for the drawer sides, at a distance from each
end of the drawer front equal to the thickness of the bracket and the inner lining, so that the front laps over and covers
the whole as appears in the design. In this case the lock-bolt shoots up into the top of the table. The top and frame
may be connected to the pillar and claws either by a square block glued up, or by a couple of pieces about four inches
broad, half-lapped into each other at right angles, and double tenoned into the pillar, and screwed to the bottom of
the frame, as the profile of the pillar and claw is intended to suggest. The workman should observe that the top of
the table, as shown in the design, is not meant to represent a regular ellipsis, as they are generally made a little fuller out
at each corner of the bed. The reason of this is that the flaps, when turned down, may better hide the joint rail.
The title of the French Work Table (No. 2 at bottom of page 326) sufficiently indicates its use. The style of finishing
is neat, being commonly made of satin-wood with a brass moulding round the edge of the rim. The front part of
the rim is hinged to the top, in the same way as the front of a secretary or desk drawer ; so that when it is turned
up it fastens by two thumb springs as they do. The brass moulding is mitred upon the edge of the rim when the
front is up, and after it is hinged ; which being cut through with a thin saw, the moulding, on the return of the front,
will be fair with that on the end. The shelf below is shaped something like a boat. The bottom of it is made of
inch stuff, and double tenoned into the standards, as the profile plainly shows. The top of each standard has also
double tenons, to which cross bars are morticed and screwed to the under side of the top. The scale shows the
proportions of the standard and the height of the table ; its breadth is fourteen or fifteen inches. The boat part,
which serves as a convenience for sewing implements, is six inches over the middle and three at each end.
The Lady's Secretary (No. 4, page 326) is sometimes finished in black rose-wood and tulip cross-banding, together
with brass mouldings, which produce a fine effect. The upper shelf is intended to be marble, supported with
brass pillars, and a brass ornamented rim round the top. The lower part may be fitted up in drawers on one side,
and the other with a shelf to hold a lady's hat or the like.
SHERATON. Late 18th Century.
The Screen Table (No. 3) is intended for a lady to write or work at near the fire ; the screen part behind securing her
face from its injuries. There is a drawer below the slider, and the slider is lined with green cloth. The back feet are 333
grooved out for the screen to slide in ; in each of which grooves is fixed a spring to balance the screen by. The top is
first cross-banded all round ; then a border is put on, broad enough to fall exactly where the joint of the screen will be
jn the top. Beyond that again is put a narrower cross-banding. When the screen is down the top appears uniform,
without any joint. The straining frame of the screen is made of thin wainscot, and framed in four panels. When the
said frame is covered in the manner of any other screen, slips are got out and grooved and mitred round, and a part of
the top which rises up with the screen is glued on to the slip. The top will project behind, affording hold for the hand
to raise the screen by.
Page 327.—The Lady's Cabinet (ist article) is made entirely in one part. The legs and columns are therefore all in
one piece. The inside of the cabinet is made separate, and slips in between the legs, and a piece of narrow wood, as a
band, is fitted to fill the space to the column, as the design shows. The marble shelves, with frets at each end, are for
a tea equipage. Above and below these shelves are drawers which turn out by a hinge. Above and below the front
are also drawers. The drawer below may be made to support the front when turned down to write on, or may be
supported by brass joints, as shown in the design for the inside of the cabinet. The plans of each cabinet show their
length and breadth. Their height is respectively four feet, and four feet two inches.
Page 327.—The Cabinet in the top right-hand corner is, I presume, as new as the fire screen, and will have a better
effect in the execution than in the design. The front of the cabinet is hinged to a sliding piece which runs in a groove,
upon the same principle as the writing table No. 2 on page 318. The front being turned down to a horizontal position,
may then be slipped in till it stops. To support the front thus turned down, there are two sliders which come out of the
plinth on which the cabinet rests. These sliders come out by relieving a spring which is fixed in their side, and having
a common spring behind, they are forced out so that the fingers may lay hold to draw them quite out. They are lined
with green cloth both at top and bottom to prevent them from scratching both the front and top of the cabinet. The
inside of the front is also lined with green cloth to write on. The inside of the cabinet is fitted up in a manner shown in
the cabinet next to it. Above the falling front is a drawer, to the under side of which the front locks, so that the drawer
and front are either locked or opened at one time. Above the drawer is an ornamented frieze, japanned ; and round the
top, whxh is marble, is a brass edging. The flower pots at the top'and on the stretcher are supposed to be real, not
carved. The columns stand clear as shown by the plan ; and are intended to have brass bases and capitals, with wooden
shafts fluted. The candle branches turn to any form in a socket, and the whole may be taken away, as they are only
screwed into a'nut fixed into the legs of the table. There is a brass fret fixed at each end, which finishes[at the standards
of the candle branches. The lower frame contains a drawer in front, and the legs, being octagon, are intended to
be veneered crossways as far as the carving, which may be gilt to suit the bases and caps of the column.
The Cabinet in the lower left-hand corner (page 327) is to accommodate a lady with conveniences for writing, reading,
and holding trinkets and similar articles. The style of finishing is elegant, being often richly japanned, and veneered
with the finest satin-wood. The manufacturing part is not very diificult. The middle drawer over the knee-hole,
has a slider to write on, and those on each side are plain. The doors under them are hung with pin-hinges, and there
is one shelf in each cupboard. The cupboard within the knee-hole is fitted up with small drawers, and sometimes only
with a shelf. The pilasters or half-columns are put on after the carcass is made. The corner pilasters are planed
square first, and then rabbeted out to receive the angle of the carcass, and afterwards deal is glued in a slight manner
into the rabbet, that it may be easily taken out after the column is turned. The centre door of the upper part is square
at the top, opening under the astragal which finishes the cove part. The pilasters on the door frame and the drapery
are formed and sewed to the silk, and both are tacked into a rabbet together. Behind the silk door are sliding shelves
for small books. The wings are fitted up as shown in the design on the right or with more small drawers, having only
two or three letter holes at the top.
The centre Secretaire on page 327 is a small one for a lady's use, and has a falling front and writing drawer.
Page 328.—The two Pier Tables at the top of the page are merely for ornament under a glass. They are generally
made very light, and richly and elegantly finished. Some times the tops are solid marble, but mostly commonly veneered
in rich satin or other valuable wood, with a cross-band on the outside, a border about two inches richly japanned, and a
narrow cross-band beyond it to go all round. The frames are commonly gold, or white and burnished gold. Stretching-
rails have of late been introduced in these tables, and it must be owned that it is with good effect, as they take off the
SHERATON. Late 18th Century.
of fixing
long appearance of the legs and make the under part appear more furnished. They afford also an opportunity
a brilliant
a vase or baske3t o3f 4flowers, which, with their reflection when there is a glass behind, produce appearance.
in of stretcher, have a thin marble shelf, with a brass rim round it, supported by a light frame ; in which
Some, place a
case the top ought to be of marble also.
Of the Card Tables shown on page 328, it is scarcely necessary to say anything, especially as the quarter plans show
how they must be framed. T shall, therefore, only observe that the ornaments may be japanned on the frames and
to be the best to deal, or faulty
carved in the legs. As to the method of managing the tops, I take it rip up dry
four-inch widths, and joint them up. It matters not whether the pieces are whole
into lengths provided
mahogany,
the jump-joints be crossed. Some tongue the jump-joints for strength. After the tops are dry, hard mahogany is
solid
tongued into the ends of the deal, then slips are glued on to the front and back, that the whole may appear
mahogany, if a moulding is to be worked on the edge ; but if the edge be cross-banded, there is in this case no need
for tonguing in mahogany.
the Knife Cases little need be said. The corner pilasters of the left-hand case have small flutes of white holly
Of
other coloured wood let in, and the middle pilasters have very narrow cross-bands, all round, with the panels japanned
or
The half columns of the
in small flowers. The top is sometimes japanned, and sometimes has only an inlaid patera.
right-hand case are sometimes fluted out, and sometimes the flutes are let in. The feet may be turned and twisted,
which will have a good effect.
Page 329.—This Lady's Drawing and Writing Table is finished neatly, either in mahogany or satin-wood, with a
brass rim round the top. The upper part is made separate from the under part, and fixes on to it by pins. The rising
below
desk in the middle be made to slide* forward, which will then serve to draw upon ; and the small drawers
may
at each end will be found convenient for colours. The drawer in the middle of the front serves to put the
the coves
size in the and the
drawings in. The top is lined with green leather or cloth. The scale shows the of every part front,
breadth is two feet three inches. The height of the upper part is eight inches.
Page 330.—These Dressing Chests are also on a new plan, the common slider generally used for merely writing on
being turned into a shallow drawer containing a little writing flap which rises behind by a horse, and also has places
for ink, sand, and pens, and also dressing boxes. When the drawer is in, it appears like a common slider, with a partition
above and below, as that with the convex front. There is therefore no slip under the top, as the drawer sides must
run close up to it. The drawer below of course must lock up into the under edge of the dressing drawer, and the
dressing drawer into the top, which is done at one time, by the bolt of the under lock forcing up that of the upper
The height of these chests is always governed by the slider, which runs thirty-two or thirty-three inches from
one.
the floor ; and their breadth is twenty-two or twenty-three inches.
These Cylinder Wash-hand Tables (page 330) are always made of mahogany, and having a cylinder to rise up to hide
the washing apparatus, they look neat in any dressing-room. They also contain a bidet on the right near the front, and
D a water-drawer on the left near the back, so that when the two are pushed home they pass by each other. The drawer
on the front, which appears partly out, runs above the bidet and the water-drawer. The two heights of sham drawers
above contain the cylinder, and the two heights of sham drawers below contain the bidet and water-drawer. The basin
has a plug hole at the bottom, by which the water is conveyed off into the drawer D, which is lined with lead. The top
of the cistern is hinged, and can be turned up at any time to fill it with fresh water. The glass rises up behind, in the
same manner as that of a shaving stand, and when the glass is down, the top can be turned down also ; the cylinder being
raised to meet it, the whole is enclosed. The motion of the cylinder is guided by two quadrant pieces, one at each end,
which are hinged to the top in which the basin hangs. This is shown by A in the profile, which, when the cylinder is
let fall to its place, will be at B. When the cylinder is raised up to A, it catches at C, which is a spring of the same
kind as those put on secretary drawers. The bidet drawer is sometimes made to take quite out, having four legs to rest
on. The end of the piece of work is cut out so that feet can go in without being folded up. This, in the design, is
stopped from coming quite out, and the framed legs, which appear, fold under the drawer and slip in along with it.
The use of the Universal Table on the next page is both to answer the purpose of a breakfast and a dining table. When
both the leaves are slipped under the bed, it will then serve as a breakfast table ; when one leaf is out, as in this view, it
will accommodate five persons as a dining table ; and if both are out, it will admit of eight, being near seven feet long, and
* See the directions given for the Kidney Table, Page 324.
SHERATON UNIVERSAL TABLE Late 18th Century.
three feet six inches in width. The drawer is
divided into six boxes at each side,as in the 335
plan, and are found useful for different sorts
of tea and sugar, and sometimes for notes,
or the like. In this drawer is a slider lined
with green cloth to write on. The style of
finishing them is plain and simple, with
straight tapered legs, socket castors, and an
astragal round the frame. This table should
be made of particularly good and well-
seasoned mahogany,as a great deal depends
upon its not being liable to cast. In the
best kind of these tables the tops are framed
and panelled ; the bed into two panels, and
the fiaps each into one, with a white string
round each panel to hide the joint. The
framing is three inches broad, and mitred
at the corners ; and the panels are sometimes
glued up in three thicknesses, the middle
piece being laid with the grain across, and
the other two lengthways of the panel to
prevent its warping. The panels are, how-
ever, often put in of solid stuff, without this
kindof glueing. When thepanels are tongued
into the framing, and the mitres are fitted,
the tops should stand to shrink as much as
possible before they are glued for good.
There are different methods of the
mitres of the securing
framing. Some make simply a straight mitre, which they can shoot with a after which a
couple of plane, they put
wooden pins in. Others, again, having fitted the mitres by a plane, slip into a tenon. But the method
is to mortice strongest
and tenon the mitres together, having a square joint at the under and a mitre joint at the
method, upper side. This
however, is the most tedious of the three, and where the price will not allow of much time, the above methods
are more ready, and, if managed with care, are sufficiently strong. In glueing the mitres, it will be proper, first, to
the outside glue
on of each mitre a piece of deal in the shape of a wedge, which will take a hand-screw, so that when
being they are
put together the glue may be brought out, and the mitres made close. The frame, as shown in the plan, is made
exactly square, either of faulty mahogany or of wainscot veneered. In making this frame a box is formed at each end
about three inches in width, containing two sliders apiece, which run past each other in the said box, as shown in the
In the bottom plan.
of each box are put two pieces, with plough grooves in them, and raking contrary to each other. In the
line N O on these raking pieces the sliders run, and are stopped from coming too far out a fixed in under the
of by pin
the slider edge
; which pin runs in the plough grooves already mentioned, denoted in the plan a dark line. The
line of by
the sliders is raking
found by taking the width of the flap, as from S to M, and making the line incline in that width
to the thickness equal
of the flap. This may be easily understood by placing a rule from the outer point M of the flap to S in
the inner point, which then will be parallel to the raking line. The sliding pieces being in a right line their whole
at the under length
edge, of course their upper edge must be bevelled off, so that when they are drawn fully out they may be
even and in an exact line with the top of the frame. The frame and tops being thus prepared, they are connected
by iron together
an screw and nut, as at A, which is about the substance of a bed screw. This screw is jointed into a plate, which
plate is let into the under side of the bed, level with it ; though I have described it at A with its thickness out,
that the merely
plate might be shown. At B the bed A is represented on the frame, and the iron screw passing through the rail
of the table, is confined to its place by the nut, which is let into the under edge of the rail by a centre-bit. In
this centre-bit making
hole for the nut, it must be sunk deeper than its thickness, that the bed may have liberty to rise a little,
and so give place to the flaps when they are wanted to be pushed in. It must be noticed also, from the plan of the frame,
that there is a middle piece about five inches broad, and of equal thickness with the flaps, screwed down to the frame
SHERATON. Late 18tli Century.
at each end. This middle piece answers three purposes : secures the frame, stops the flaps when they
with four screws
Before the bed is fixed to its place, there must be four
are pushed in, and3p3re6vents the sliding pieces from tilting. finally
of cloth let into the under side of it to prevent the flaps from rubbing as they slide under. Upon the edges
pieces green
of inch for no other purpose than to take off the
of the flaps a hollow is worked all round, leaving a quarter an square,
must be
clumsy appearance of the two thicknesses when the flaps are under the bed. At the other side of the flaps
is next to be considered. This is sometimes made with two
gouged out finger-holes for drawing them out. The drawer
in the plan. On each front of the drawer is a lock for the convenience of securing
fronts and to draw out both ways, as
it either end for in case one flap be drawn out, then the drawer can be locked or pulled out at the contrary front,
at ;
the drawer. The of each box before mentioned may have
covers
without the trouble of pushing the flap in to come at
of dark wood and the alphabet cut out of ivory or white wood let into them, as in plan ; or they may be white
an oval
on is made
ovals and black letters ; the use of which is to distinguish the contents of each box. Lastly, the slider to write
access
exactly half the inside length of the drawer ; so that when it is pushed home to either front, there is immediately
the bed so well when
to six of the boxes. Sometimes the flaps of these tables have round corners, but they do not answer
been found to the purpose in solid wood, without being framed.
in. To the tops have answer
they are save expense,
made in this manner, particular regard should be had to placing the heart side of the wood outward, which
When they are
naturally draws round of itself, and may therefore be expected to keep true, notwithstanding its unfavourable situation.
traces of the
(N.B.—The heart side of a board is easily known by planing the end, and observing the circular grain,
which always tend outwards.)
To find the lines for working the Mouldings of a Clock Bracket, &c., when the front moulding
Page 337.—Fig. 33.
From the centre oí a 0 draw
projects more than the ends. Operation—Let a 0 h dhe the plan of the clock bracket.
the mitre lines to h d, and from the centre" let fall a perpendicular, as at /. From this perpendicular draw a profile
for the ends of the bracket. From the spring of the
of the cavetto and astragal, according to the projection intended
of the as
cavetto on the top of the necking raise a perpendicular up to the line a 0 ; then, from the upper part cavetto,
raise another perpendicular up to i on a 0. Divide the intermediate space into any number of equal parts, as
from i,
to the mitre line, and continue them downwards till they touch
at i, 2, 3, 4, etc. From these draw perpendiculars
of the or a perpendicular, cutting
the cavetto at necking,
2, 3, 4, etc. Lastly draw from the utmost projection astragal,
draw parallels out at pleasure to No. i. Take in your com-
the mitre line at 5 then from 5, 4, 3, 2, i, on the cavetto
;
d from the plan of the bracket, and place it from d to p, No. i. From p let fall a perpendicular : then from
passes 0
the plan, as before, take i.i and place it from i on the perpendicular line p to i on the parallel line. Again, take the
from the plan, and place it on the parallel line 2 to 2 at No, i, and so of all the rest, forming so many points,
line 2.2
which will mitre in with the end cavetto, if the mouldings
by which a profile of the front cavetto may be formed, and
and the mitres be
are exactly worked to these profiles, accurately cut. How the mitres are to^be cut is^jseen by the
the plan. In Plate XL Fig 12, an example of the same kind is shown, as it may^be performed by the
mitre lines on
of the cavettoes to be mitred Then let it be proposed that
sector. Let the quadrant A D be considered as one together.
cavetto is to mitre to the former, whose projection shall be equal to i.io. Proceed then to draw this cavetto
another
directions as are give in page f for drawing an oval : after which the cavettoes are to be worked according
by the same
least cavetto is from to 10, and that of the largest pro-
to these curves. The length of the mitre for the projecting 99
A, and the mitre line is 9.10. By these methods it is evident that of different
jecting cavetto is from to to any moulding
'
^
of various members, may be worked, and cut so as to mitre
and consisting exactly together.
projections,
Make its
Of working and mitring raking mouldings. Let No. i. Fig. 34, be a level ovolo in a broken pediment. pro-
to its height. Divide the height of the ovolo into any number of equal parts, and from these divisions draw
jection equal
is shown in the figure. Next from 1.2, the extreme points of the ovolo, draw two parallel lines, according
parallel lines, as
of the pediment described below, which will of course increase the height of the ovolo as 3.4. Draw then the
to the rake
line from either of the raking lines, as at No. 2. Divide this line into the same number of equal
perpendicular or a square
them out at
and from these divisions draw lines parallel to the raking part, and continue pleasure. Take^then 5.5
parts,
and transfer this opening of the compasses to 5.5 on No. 2, and also at No. 3, marking where it extends to.
from No. i,
take in 4.4 from No. i, and transfer this also to 4.4 on Nos. 2 and 3, marking it as before ;
compasses proceed-
Again, your
ing in the same manner with the rest ; by which, points will be found to enable us to draw the raking ovolo, so that it will
at No. thus will mitre in with the
mitre with the level one at No. i ; and also the returning ovolo 3, found, raking
t Sheraton's Directions or Drawing Ovals, etc., have been left out for want of space.
SHERATON. Lato IStli Century.
moulding No. 2. In the
same manner may be
found the raking and 337
returning cyma - recta
mouldings described in
Fig- 35, which it is un-
necessary to say anything
about, after what has
been said on the ovolo.
Fig, 36.—As I have in
this Section described the
methods of drawing and
mitring mouldings of
different projections, and
also of drawing and
mitring raking with level
mouldings, it may be
proper here to describe the
proportion of the Tuscan
raking Pediment, and the
manner of drawing it. It
is true, according to an
orderly arrangement, the
Pediment should come
after the column ; but
this is of small conse-
quence, if it can as well be
understood in this place.
The intention of a close
pediment, whether raking
or circular, is not only to
ornament the front door
or entrance of any build-
ing, but likewise to shelter
such as seek admittance
from inclement weather.
For this purpose the
raking close pediment of
any order is best calcu-
lated ; for whilst we are
sheltered from rain or snow by the bold projections of the several members of each order, especially the Doric, the
descending showers easily and quickly glide off on each side, on account of the rake of such pediments. It is therefore
improper to have open pediments of any order at the exterior entrance of buildings : and it is considered by architects
as improper to have close ones over interior entrances or door-ways, where they are only employed as ornamental.
The pitch of the Tuscan pediment is the same with the other Orders, for in this respect they are all uniformly the same ;
but their intercoluminations, or spaces between the pillars, or pilasters, together with other particulars, vary according
to the respective order to which they belong ; which I shall mention afterwards, in treating on the Orders. To pro-
portion, and draw the Tuscan order, proceed thus :—Observe that Fig. 36 is exactly half the pediment only ; therefore,
in drawing a whole pediment, the divisions specified in the figure must be laid on each way from the central line.
Observe likewise that the frieze and architrave are not drawn to the cornice, because they are not wanted in
the describing
pediment. Lay down three diameters from the centre of the pediment to the centre of the shaft, as at i, 2, 3 in
the figure. Divide a diameter into eight equal parts, and take three of these and place them each way from the centre
line of the shaft, which gives the upper diameter of the column, as the figure shows. Again divide a diameter into four,
as that distinguished by the writing in (he figure, and take three of those parts for the perpendicular height of the
V
3 8 SHERATON CORNICES and SURBASES. Late 18tli Century.
draw a parallel line at pleasure sufficient for the whole length of the pediment as the upper line
cornice ; at this height
of the
the numbers. Then take the perpendicular height cornice, and place it from the outside line of the shaft
with
from the under edge of the cornice, which will determine its projection, as is easily seen by
on the line continued out
till it cuts the upper parallel line .
line from the whole projection, as g,
the level scale line h. Raise a perpendicular
scale for the heights of each member in the cornice, the proportions of which are easily
then this line will serve as a
the reader may suspend his judgment till the
not
seen by the aliquot parts on the scale ; but if rightly understood,
which is to one half of the whole length, into nine
Tusjan Order is described. Divide the upper parallel line, equal
line
four of these for the pitch of the pediment, as the figures i, 2, 3, 4 show. Draw then a right
equal parts, and give
to draw each member of the level cornice, as the scale
from 4 to the utmost projection of the level cornice, and proceed
the nine
direct. Note the two upper lines, containing divisions, represent the upper fillet of the level cyma-recta.
lines
members of the
The next thing to be done is to proportion the raking cornice by those of the level one. To do this draw
the level cornice. Then take the skew
a line square from the pitch of the pediment, and continue it till it passes through
fillet of the level cyma-recta, as a h, and transfer this to the
lower raking cyma-recta downwards
measurement of the
aioh. Again take h c from the level corona, and transfer it from h toe for the raking corona. Lastly, take c, d, e, /,
fro.n
and transfer them one after another for the raking mouldings, as before ; after which, draw lines
in the same manner, will be for if required.
through the several points parallel to the pitch or raking line, and the pediment completed shading,
In the Cornices on this page
the spring is shown, and the
proper gauging is pointed out.
The width and thickness also of
the mahogany is shown. The
astragal, in Nos. 3 and 5, can be
worked separately, and glued
on afterwards. The pateras, in
No. 6 are turned and plated on.
Method of Gauging and
Working Cornices.—^The ex-
planation of this may be
thought, by some, an un-
necessary business ; but from
the bungling manner in which I
have seen many workmen pro-
ceed to stick cornices, I am
certain that a few hints will be
of service, especially to the in-
experienced. For this purpose I
have, in No. i, lettered each
gauge-point, and I shall pro-
ceed, as supposing that it is
necessary that the whole should
be taught. When the pattern of
any cornice is given to be
worked, take the drawing and
strike a line an to touch as near
as may be each member. From
this front line strike one at each
end square from it, so as to take
in the whole extent of the
Cornice. Then draw another
line parallel to that on the front,
to show the necessary thickness
of the mahogany, and proceed
as follows :—Let the stuff be
sawn out broad enough to plane
to Ô 0 ; after which plane it true
on both sides, and glue on
deal of the breadth of c p, and
339
SHERATON. Late 18th Century.
thick enough to make out the whole spring of the cornice. After the glue is dry, plane the mahogany to the exact breadth
of h 0. After striking a square line across the mahogany, extend the compasses from a to a, and to c, /, g, etc., and lay all
these points on the square line, and run a gauge through each of them. Run then a gauge from a to h, and from m to o
and ;
taking a bevel, fix the handle of it exactly by the front line, and let the inside of the blade of it correspond with o
With the bevel thus p.
fixed, plane down the wood behind till it fit the bevel in every place, and be brought down to o. Take
then a square, and plane down the wood at h and e till the square fit in every place, and the wood is brought down to h.
After this lay the cornice on the side o p, and shoot off the wood a, a, h -, then lay it on the side h e, and shoot ofí the wood
at w 0 to m. The cornice being thus properly sprung, fasten it down on the side a p, and proceed to rabbet out the several
squares. Begin at c and rabbet down to / ; at A run on a side gauge, and entering in by a snipe's bill, work down to i, the
fluting being laid on afterwards ; at q run on a side gauge each way for the square of the ovolo. From i rabbet down to
and k,
at I down to m ; and thus it is evident that the whole cornice, of whatever kind, cannot fail to be correctly worked.
Method of Contracting and Enlarging Cornices.—Suppose A to be a cornice already drawn or worked, and it be
required to draw and work one a third, fourth, or any other proportion narrower than A, and at the same time, to contract
its projection in proportion to its height. Take the compasses and extend them to a o, the whole height of the cornice A,
and with this opening sweep an arch each way, and where they intersect, to that point draw right-lines from o and a
forming an equilateral triangle. In the same manner proceed with the projection of A, as shown in the figure. To the
summits of those triangles draw lines from the several heights and proj ections of each member. If the cornice tobe drawn
is to be one-third less, then divide any one side of the triangles into three equal parts, and take one part from o to and
let fall p,
a perpendicular from p ; and from where this perpendicular cuts each line draw parallels, which will give the
of each member in height
exact proportion. For the projections : o qis one-third of the side of the triangle, as before ; draw a
parallel line at q, which will give the several projections sought. Take q t, and transfer this to p r, and so of the rest, till
you have laid on each projection : after which let fall perpendiculars, as shown at No. 7, and proceed to draw the outlines
of each member within their proper squares, and the Cornice will be contracted in the most accurate manner.
Enlarging Cornices.—Suppose now the Cornice A is required to be higher than what it is at present. Draw parallel
lines from each member, and having fixed the compasses to the height proposed, fix one foot at 0, and move the other till
it touch anywhere on the line a A, as at A ; draw a line from c to A, and where this line intersects with each parallel before
drawn, will be the several heights of the mouldings as réquired. To find the projection proceed thus :—Sweep the arch a c,
cutting 0 A at è ; take a h and place it from c to d, and from d draw a line to 0, and 0 m will then be the whole projection
of the Cornice proportionable to the height 0 A ; consequently where the line 0 m intersects, each perpendicular raised from
the several projections of A will be the several projections sought -,0 mis then a scale line for the projections, and 0 A for
the heights of each member ; and having these, the Cornice can then be drawn on a separate paper, in the same manner as
A was drawn at first. By continuing the parallel lines of A to the right, as shown in the plate, by letting fall its perpen-
diculars to any length, it is evident that A may be enlarged as much as we please, by drawing the line 0 A more oblique,
as at e, which then makes it rather more than one-third higher. Then, by extending the compasses from a to where 0 e
cuts the arch, and by replacing this opening from c to g, and striking a line from 0 to g through to f, of will be its projection
as before ; on which principles 0 f will be in a ratio with 0 e. This the workman can prove, for by comparing 0 f with the
length of the projection of A, he will find it rather more than one-third longer ; and by comparing 0 e with 0 a, he will find
it rather more than one-third longer also. Thus it is evident that any Cornice or moulding whatever, and however
complex, may be contracted and enlarged as we please, and that with the greatest mathematical nicety.
The Harlequin Pembroke Table on page 342 serves not only as a breakfast, but also as a writing table, very suitable
for a lady. It is termed a Harlequin Table, for no other reason but because, in articles of that sort, there is generally
a great deal of machinery introduced. Tables like this have already been made, but not according to the improved
plan of the machinery here proposed. In this, however, I assume very little originality or merit, except in manner of
showing and describing the mechanism of it ; the rest is due to a friend, from whom I received my first ideas of it.
The particular advantages arising from the machinery are as follows : First, the nest of drawers, or till, shown in the
design, can be raised to any height, gradually, until at length the whole is out. Second, when the whole is out, as
represented in the design, it cannot be taken away, because of three stops which keep it in, two at one end and one at
the other, according to the grooves in No. i. Thirdly, if necessity requires that the till should be taken quite away
from the rest of the table, in order to come at the machinery, then one of these stops at one end is so constructed that it
can be slipped back, and, the till being raised at the same end where the stop is slipped back, the two at the other end of
course will relieve themselves, and the till can be taken quite away. Fourthly, when the till is replaced, the stop can
SHERATON HARLEQUIN TABLE. Late 18tli Century.
340 be pushed into the groove again by the
finger, returning again into the groove by
the force of a small spring. Fifthly, the
till being let down again until it is perfectly
even with the rest of the table-top, can
then be secured in its place by means of
another stop at the bottom, so that if the
whole table were turned upside down the
till would still keep its place. Sixthly,
although the till be raised and lowered by
turning the fly bracket which supports the
flap, yet the bracket is made to lose this
effect or power by the turn of a key, and
the bracket may then be drawn out to
support the flap without raising the till,
and the table can then be used to breakfast
upon. These are all the advantages that
are necessary, or that can be looked for
jn tables of this sort, to render them
complete, and to obtain the approbation of
the ingenious. It will now be requisite
to show in what manner the machinery
operates ; likewise to give some description
of its parts, so that the workman may be
able to form a proper idea of the whole.
The first and most important matter is
the manner of raising the till by turning
the fly bracket. To accomplish this, I
have given a perspective view of the whole
machinery at No. i. Supposing the till to
be taken out, and the fly brackets and inner lining away from the framing a ¿ is an upright iron axis, made in two parts,
and connected together by a round pin at the joint h ; of course, if the winch c be turned round, the axis a will turn round
with it by the above pin, without moving the lower part of the axis h. Whence it is evident, that if the winch c be screwed
to the under edge of the fly bracket, which bracket is shown in the design, it will turn round without affecting any part of
the machinery. This is the cause why the flap of the top can be up whilst the till is down. But if the square socket a be
pressed down past the joint h, the two pa; ts of the axis will then be confined together, and therefore if the winch c be
moved this way, it is evident that the machinery will instantly be put in motion in the following manner :—The winch c
being screwed to the fly bracket, and turned square out, it describes by its passage a quadrant of a circle ; and the arm s
of the crank rod R is jointed into its arm at s and at ¿ ; in moving the arm the rod R is pushed forward to /, and the
horizontal cog wheel H turns to the left hand on the centre C. It being then turned to the left, as expressed by the dotted
line at q, it follows that the upright cog wheel N must be turned to the right hand ; and if this be turned to the right
hand, then must also the quadrant cog wheel Q on the left turn to the right with it ; and, the axis A being fixed fast in
the wheel Q, and the crooked levers e e into A, the rollers L L, fixed by the rod o to these levers, will describe a quadrant
of a circle, as denoted by the dotted line on the roller 9, the connecting cog rod 5 making Q move in the same curve as
N. Again, if N, the upper part of the upright cog wheel, move to the right, then must M, the lower part of it, move
to the left ; and being connected with the cog rod 6, and it again to the right hand quadrant cog wheel Q, it follows, as
before, that the levers / / and the roller L will describe a quadrant of a circle to the left hand, as at 8. The reader
must easily see now, that when the winch c is turned by the fly bracket, every part of the machinery will be put in
motion, and the levers and rollers, in approaching gradually to 8 and 9, must necessarily raise up the till. It must also
be observed, that the motion of the levers / / and e e is greatly promoted by the power of the common steel springs
341
•SHERATON Late Ibtli Century.
S S ; for when the till is down these are always charged ; that is, the sides of the springs are nearly close to each
and these being connected other,
with what may be termed the auxiliary, or assistant cog rods, 4 and 7, and
pressing against their ends, the consequently
quadrant cog wheels Q Q are thereby made to revolve, and the levers and rollers are
raised almost as much by this means as by the other machinery. It must also be noticed, that as these and
auxiliary rods greatly assist springs
the other power in raising the till, so do they also check the sudden fall of
resistance it, by a constant
against the pressure of it, so that the passage of the till downwards is made by this means smooth and
Observe p p p pdcre brass easy.
pulleys fixed to keep the cog rods in their place, and w w are pieces of wood to
firm keep the
to their centre. The springs
reason why there are but three rollers, and two of them at one end, is because the till must
rest truer on three points than on four. It cannot totter on this account when it is fully raised, because there are two
stops at that end where there is only one roller, which run in the grooves G G ; and if the stops chuck up to the end
the of
grooves when the till is up, it is impossible that it can totter, considering that the other end is
Here let it be noted, if upon two rollers.
the workman find any inconvenience owing to the double roller 0 being at the same end with
axis h the
h, it can be removed by putting the double roller where the single one is, which makes no difference with
other part of the machinery. When any
the rollers are nearly perpendicular to their axis A A, they enter upon an inclined
plane, or on thin pieces of wood planed ofi like a wedge, of the width of the rollers, and whose thin
the rollers edge is glued to meet
as they rise, so that the till can thereby be raised as high as we please. These
under side of wedges
the till being glued on the
to suit exactly the place of the rollers, the projection of the wedges below the till makes it
that there should be necessary
a space in the axis A A, for them to fall into when the till is down ; because, in this situation, the
till rests on the three rollers, which are nearly on a level with the axis A A. As the wedges above mentioned must lie
across the axis A A when the till is down, every workman must see the necessitv of this, or otherwise the till would not
settle to its place.
The next thing in order is to show how one of the stops can be relieved, or slipped back, so that the till be taken
quite away. The construction may
of this stop is shown by No. 4, which supposes that we see the under side of the till. A
hole is cut through the till, which hole is drawn by a compass, having one foot at G the centre. P is a round pin, which
comes through to the inside of the bottom of the till. K is a tin key which hooks this pin. In applying this key to the
the writing slider, shown in pin,
the design, must be pushed in, and the front part which covers the letter holes turned to
its place ; and there up
being a groove across the under side of the slider, exactly where the pin comes, and the slider
little for the thickness giving
a way of the aforesaid key, the groove just mentioned admits the key over the head of the
then when the pin P;
key is drawn back again, P moves towards A by the centre G ; and S, the stop which projects the
till, is by this beyond
means drawn within. B is a plate screwed on to the till to keep the stop firm. Again, when the till is down
to its place, it is necessary that it should be stopped there also, as has been already said. The apparatus for this is shown
at No. 3, which is a different view of the same lock as at No. 2. i, 2, 3, 4, is supposed to be a part of the bottom, not of
the till, but that whereon the machinery is placed at No. i. ¿ 5 is a kind of trammel with slits in it, moving on a centre at
s. A pin is fixed to the bolt of the lock, and there being a passage for the pin cut out of the lock plate, as shown in the
Sheraton Tables. Late 18th or early IÇfh Century,
342
SHERATON. Late IBth Century.
and down, according the key is turned, a is a kind of lever, with two arms, moving at the
design, this pin moves up as the
centre a. c c are staples which are fastened to the under side of the till, and as the bolt of the lock shoots downwards,
which means
trammel t s throws the arms of the lever out of the staples which are fixed to the under side of the till ; by
the workman must be careful to observe,
the till is relieved, and can then be raised by drawing out the fly bracket. Here
relieved, and the bracket at the same time has power
when the bolt h No. i is shot, as it now appears, the till is always
No. and the socket a to h,
to raise the till ; because the fork D works in the groove d of the axis ah aX i, thereby presses
the bolt h at No. 2 is up, as it is shown at
and gives the winch c power over the machinery. Observe, further, that when
at the under side
No. 3, then it is evident that the arms of the stop lever will pass through the before-mentioned staples
over the ; because the socket a,
of the till and secure it, while at the same time the bracket will lose its power machinery
crank rod s and
at No. i, is thereby raised above h, and of course as h turns on a pin, the winch c cannot affect the R,
and
therefore no part of the machinery is moved. Thus it is, I think, sufficiently clear that the till can be stopped
out to the flap, while at the
relieved when it is either up or down, and also that the bracket can be drawn support
breakfast table. It remains
same time the till is both down and stopped, a common
so that the whole may be used as
now to give some hints respecting the manufacturing part.
four feet, and two feet seven inches long ; and the rails eight and
The Table Top.—The size of the table when opened is
these com-
a quarter deep. The whole top is divided into four compartments, to answer the opening for the till. Round
the till. The border must
partments is a japanned border, to fill up the space which lies between the end of the table and
framed
be continued all round alike, to make the panels appear uniform and of equal size. The bed of the top should be
of the stiles to suit the opening of the till. A
in two panels of three-quarters mahogany well seasoned, and the breadth
should be does not rise. for the sake
panel of half-inch stuff tongued into the other part of the bed where the till Then,
of the
of the astragal which is to be worked on the edge of the top all round, a piece should be tongued, the long way
have to be taken off in the course of the work,
grain, into each end of the bed. As the bed of the table will frequently
it is best to put small tenons into the under side of it, and mortices into the rails all round, by which means the bed will
of
be kept to a certain place, and easily taken off at any time. A black string is put next the till, all round the inside
of the till the inside of the mahogany-frame
the border to hide the joint. In putting this black string on at the opening
should be rabbeted out to take a slip of black veneer, about three-eighths wide ; and it being left to stand above the
of a neat
framing the thickness of the veneer, this black slip cannot be shot by a rabbet plane to the thickness string,
not take of the
and the veneer must be jumped to it. The use of this is, that when the till rises it may any part string
away with it, which it certainly would do if it were put on merely as a corner string.
and letter holes of thin stuff,
The Till.—The of the till is made of half-inch mahogany ; the partitions quarter
carcass
of which must be kept back about half an inch from the edge of the to
black beads their edges, all carcass, give
and put on
in it and
place to the writing slider, part of which turns front to the inside of the till, and part of it remains
as a ;
up
the there must be a joint in the
as part of the writing slider remains in the bottom of the till below drawers, consequently
is on for the
slider to it, which joint is hinged at each end before the cross-band put green cloth. The workman
answer
make the hinges himself to suit that purpose. They may be made as common desk-fall hinges, only the knuckles
may band
of the hinge are made a little higher than to receive a thin veneer. When screwed on, the veneer for the
common
The ends of the
of the cloth lies and covers the straps, so that a part of the knuckle is only seen. veneer, each
upon
the knuckle, must be cut in a sloping direction, so that they and the brass knuckle between them will be
meeting at
exactly in the form, and of the same nature, as the rule joint of a fly bracket for a Pembroke table. Therefore it must
till a of
be evident to workman that the front will turn up square. The slider is stopped into the by couple pins
every
and when it is pushed home, before it can turn up, a hollow must be worked in the bottom of
which run in grooves ;
the till, to give room for the angle of the rising part of the slider to turn in. When the slider is turned up, it is kept in
its place by a spring catch, which strikes into a plate put on at the under side of the top of the till. When the front
the till down and to
is up, it should be rather within the carcass of the till, both for the purpose of letting go easily
of thin cloth at each end, so that when the front is turned upon the top of the Pembroke
admit of slip table,
a green
it may not scratch it. Another method may, however, be proposed, and which will be attended with less trouble, only
with the disadvantage, that it takes off little of the height of the drawers. The slider, being made in two
a parts, may
to its The under
be hinged in the can be
manner of a card-table top, which, when it is folded over, pushed place. top
the to admit of its being stopped in after the manner of the so that when
must be made broader than one, other,
upper
it is drawn out the top will rise and clear the drawer fronts. If the slider be made in this manner, the drawers
upper
can then be brought within a little of the front edge, and what remains serves to give place to a couple of thumb-nail
holes to draw out the slider by.
SHERATON. Late 18tli Century.
(N.B.—The prospect door is made to run in at the top, like a drawer, upon the same principles as the front of the
cabinet on page 327.)
The Frame of the Table.—The legs are made a little stronger than usual,because the table is pretty heavy altogether.
Both the end rails are divided into four drawers each, in appearance ; but, in reality, there are but two in the whole ; as
for the sake of strength in the frame, the lower drawer of the left hand is made real and that above is a sham ; but at
the other end, which is not seen in the design, the upper drawer is real, and the under one a sham. A middle rail is
tenoned, of inch stuff, into each end rail. Against this rail the upright part of the machinery is fixed, as shown at
No. i ; and as this rail stands within the edge of the top framing about an inch, it contains the whole projection of every
part of the machinery, so that the till passes without obstruction. The inner lining for the fly brackets to fall against, is
not less than three-quarters thick when planed ; and it must be the whole breadth of the end rails, i.e.,eight and a quarter.
The fly bracket makes up the remaining thickness of the foot, and comes down low enough to answer the height of the
upper cross band of the lower drawer. The part remaining below the bracket is veneered the whole length with satin-
wood, and cross-banded to match the drawer-fronts. The workman, in making the fly bracket to which the winch c is
screwed, must make a shoulder pin on the turning part of, it at the under edge ; and this shoulder will require to be
double the usual thickness, so that the iron winch c may be let into the bracket without injuring the rule joint, or inter-
fering with the wire of its centre. The lock at No. 2 or 3 is put on at the inside of the inner lining, so near to the axis
a 6 at No. i, that the fork D of the lock extends to the groove d in the socket of the axis a b, which will then determine
the place of the key-hole, as shown in the design.
The Pediments .—With respect to these pediments little can be said, as the designs themselves show in what manner
they should be executed. No. i should have the fascia, or ground board, glued up in three thicknesses, having the middle
piece with the grain right up and down. The foliage ornaments are cut out along with the astragal, and planted on ; and
the whole may easily be made to take off from the cornice, by having a tenon at each end and one in the centre. No. 2 ;
the tablet part is intended to have a cross band round it, and the drapery may be japanned. The astragal on the top of it
is meant to return over the ogee. The square of the ogee may come forward, level with the tablet, to prevent too great a
projection. No. 3: in the centre there are two pilasters to project a little from the ground, which are fluted. The panels
at each end are intended to be fanned the reverse way, or with the rounds out.
We now come to Sheraton's later style. In 1803 he published " The Cabinet Dictionary "
; also in 1804-1807 " The
Cabinet Maker, Upholsterer, and General Artists' Encyclopaedia "
(with coloured plates). Nos. i and 2 on page 244 he
calls " Curricule " Chairs. The word curricule he describes in his dictionary "
as a chaise of two wheels drawn by two
horses." No. 2 on page 344 may be thirty-two inches high in the back, and to slope a little lower to the front of the arm,
and in the front two feet over all. No. i on the same page is not more than twenty-eight inches high, and should be made
narrow in front ; but the depth from back to front must not be less than two feet. No. 7 on page 347 he describes as an
"
Easy Chair, stuffed all over ; it is intended for sick persons, being both easy and warm, for the side wings coming quite
forward keep out the cold air, which may be totally excluded from the person asleep by laying some kind of covering over
the whole chair." He calls Nos. "
9 and 10 on page 344 Herculaneums." " Hall Chairs," he mentions, "
are generally
made of mahogany, with turned seats, and the crest of arms of the family painted on the back."
"
Sheraton, in his Cabinet Dictionary," makes the following remarks about Chair-makers :—" In the chair branch it
requires a particular turn in the handling of the slopes, to make them agreeable and easy. It is very remarkable the
difference of some chairs of precisely the same pattern, when executed by different chair-makers, arising chiefly from the
want of taste concerning the beauty of an outline, of which we judge by the eye, more than the rigid rules of geometry."
"
He further adds : The kind of mahogany employed in chair making ought to be Spanish or Cuba, of a clean straight
grain ; wood of this quality will rub bright, and keep cleaner than any Honduras wood. Yet there is wood of the last
quality, if properly selected for chair-making, to which there can be no material objection ; and where lightness is pre-
ferred, as is sometimes the case, it will demand the preference." And again he adds "
: It appears from some of the later
specimens of French chairs, some of which we have been favoured with a view of, that they follow the antique taste, and
introduce into their arms and legs various heads of animals ; and that mahogany is the chief wood used in their best
chairs, into which they bring in portions of ornamental brass ; and, in my opinion, not without a proper effect, when
due restraint is laid on the quantity."
No. 4 on page 347 is a Conversation Chair. The manner of conversing lounging on a chair amongst some in the highest
circles is copied from the French. It should be observed that they are made extraordinarily long between back and
front, for the purpose of giving space for the fashionable posture ; and also that they are narrow in front and back,
as an accommodation to this mode of conversing.
SHERATON CHAÎRS, Early loth Century.
344
 
Late I8th Century HALL CHAIRS and Larly I9th Century SHERATON SOFAS
¥ V y w y 3.
Hall Chairs
SHERATON CHAIRS, SOFAS, etc. Early 18th Century.
Sofas on pages 346 and 347-—The chief difficulty in these designs is the stuffing part,
and doubtless requires an upholsterer of taste and ability to finish them properly. The
frames may be finished either in white and gold or carved in mahogany.
The Sideboards on page 348 are those that are used for a dining-room equipage, on
which the silver plate is placed. No. i is a Cellaret Sideboard with a cupboard at each
end, which may be either plain or have drawers. The fronts of the Cellarets are hung on
a centre, which is connected with a square case within, where the bottles of wine are kept, except those in immediate use,
which are placed in a circular case on the inside of the front, as expressed in the design. The most fashionable sideboards
at present, are those without cellarets or any kind of drawers, having massive ornamented legs and moulded frames.
Buffet on page 348.—The Buffet was anciently an apartment separated from the rest of the room by small pillars or
balusters. Their use was for holding china and glass, with other articles of a similar nature. The lower part of the Buffet
on page 348 is enclosed with doors, having silk curtains with worked brass or wire before them. The upright border round
the top of lower part is of brass, together with those round the china shelves. These shelves are supported at each end
SHERATON SIDEBOARDS. Early 19th Century.
Buffet.
with four brass columns made very light ; the lights at
each end^ may be of brass and taken away occasionally.
As these Buffets would suit well to be placed one on each
side of the fireplace of a breakfast room, they might
very conveniently hold such branches. There is a
Sideboard Tables.
Gothic drapery under the cornice, and a fringe above it.
The Sofa Table, No. 5 on page 351, is used before a sofa, and is generally made between five and six feet long, and from
twenty-two inches to two feet broad. The one with a rising top is a Sofa Writing Table.
In cabinet making "Commode" applies to pieces of furniture, chiefly for ornament, to stand under a glass in a drawing-
room. It is sometimes used more agreeably tb its derivation,and signifies such Commodes as are used by ladies to dress at,
 
SHERATON DUMB=WA1TBRS, PIER-TABLES, etc. Early 19th Century.
in which there
is a drawer
fitted up with
suitable con-
veniences for
the purpose.
The Com-
mode No. i
on page 362
is adapted to
stand under
a large glass
either in a
Dumb Waiters. pier or at the
end of a
room. The orna-
ments in the top
and at the bottom
frieze are brass in-
laid, which on a
dark ground, will
have a good effect.
The upper frieze is
of cross - banding,
and is formed into
drawers, or it may
be without, which
is commonly the
case when such
Commodes are used
chiefly as orna-
ments. The doors
may be framed,
first square, and
curved pieces of
thin mahogany
put in after, and
then the hollows mitred round of the same stuff
afterwards, and veneered and cross-banded. The
trellis-work before the silk curtains is of brass,
either wrought wire or cut from sheet brass, and
half-lapped in the intersections and soldered.
Nos. 2 and 4 at bottom of page 352 are Pouch
Tables.—Sheraton thus describes a Pouch Table
in his " Cabinet "
Dictionary :—" A table with a
bag, used by ladies to work at, in which bag they
deposit their fancy needlework. The work bags
of both these tables are suspended to a frame
which draws forward, in which frame is a lock
which shuts its bolt up into the under edge of the
Pier-Tables.
SHERATON LIBRARY and SOFA TABLES, etc. Early 19th Century.
rail of the top. They are
also used as chess tables
occasionally ; the design on
the right shows the top
with the chess-board down,
contrary to that on the
left, which is also capable
of being drawn out and
turned down." Sheraton
further adds, "The frets on
the edges of both tables are
of brass, and the ground
ought to be of black rose-
wood when they are re-
quired to be elegant, other-
wise they may be very
neatlymade of mahogany."
The Library Table, No.
5 on page 352, is in the
" Antique Style." It has
only three real drawers ;
one in the centre between
each leg. If, however,
the sides of the drawers be
3Ôâ
SHERATON WRITING TABLES, CABINETS, and WORK TABLES.
W. & J PAIN. CH!MNEY=PIECES, Late IStli Century.
made to incline to the centre of the table,
and made to run on slips grooved into the
bottoms, there is room for six drawers. This
table is best suited for gilding, on account
of the carving introduced into the design.
No. 3 on page 341 is a Library Table. The
toes and castors are cast in one piece of
brass. The nest of drawers in the centre
rise by two small springs placed opposite to
each other, which are constructed on the
model of baize door springs, and cannot but
be understood by any workman who is
acquainted with hanging a door of this
kind. In this Table there are four real
drawers made with square sides.
No. 3 on page 351 is called a Pembroke
Table, a name given to a kind of breakfast
table from the name of the lady who first
gave orders for one of them. The size of
such tables is from three feet eight inches to
four feet wide, that is when open ; and from
two feet ten inches to three feet long when
the fiaps are down. The width of the bed
should never be less than one foot nine
inches ; but in general they are from one
foot ten inches to two feet one inch, and
their height never more than two feet four
inches, including castors.
The Sisters' Cylinder Bookcase, No. 2 on
page 352, is intended to stand in the centre
of the room for the use of two ladies who
may both write and read at it together. The
upper part is fitted up for books all round ;
but in order' to receive the depth of the
books on each front, the ends must be made
sham books as far from the fronts as to
receive the depth of a small volume. From
these backs must be a partition, which will
part the shelves the other way, so that each
bookcase, front wise, will hold two depths
of books, allowing for each in the clear five and a half inches, which is as much as is required for a volume seven and a half
inches, or crown octavo, which these bookcases are intended for, and the size chiefly used by young ladies.
No. 2 on page 341 is a Lady's Cylinder Writing Table.—This cylinder is only a quadrant, i .e., that part of it which
moves is so. But it is intended to stand in the centre of the room. It is made to appear alike on each side. Therefore
the cylinder is parted in two at the top, and the front one falls down to let the slides come forward. The lock of this
table is in the edge of the Cylinder, and when it is down in its place there are two flush plate rings let into it by which
it is raised up ; and the link plates being on the edge of the back cylinder, they meet together and lock at the top. The
brass rod extending to the two ends of the cylinder is for a candle branch, as is represented. This branch, if required,
may be taken off occasionally by unscrewing the nut at each end of the rod. Lastly, the circular flaps at each end are
made to coincide with the lower part of the cylinder ends, which are made to receive them, so that when they are let down
they appear to be the ends themselves. They are supported by brass joints in the form of a bracket, made for the purpose,
and must be let into the end to keep clear of the flap when it is let down.
 
355
WILLIAM PAIN, CHIMNEY-=PIECES, etc. Late 18tl, Century
William Pain published many works on architecture, etc. ; among others, " The Practical Builder," in "
British 1776 ; The
Palladio, in 1786; The Carpenter and Joiner's Repository"; "The Carpenter's Pocket
The Practical House Dictionary";
Carpenter," in 1805. His designs are decidedly classic, one of the Adam
His reminding
sons carried out style
a great many buildings in Ireland.
 
357
358
bjO o -4-> V-í
tí Tri ^ u CO
s-> O) CO o
«nj o "c! 'tí tí
SD ^
o tí tíl·l o
o
oj H-» *co
tí toí^ bjO rTÍ «5 S tí tí
o O í-· ° M-H
a3 Cü _tí •G 'tí
«í ^ o rtí
o '—'
a C/) d) <U '■+■> J f 0) rM y .Í2 tuO
_tí " X O tí m tí-, tJ u rd
'o oj 'r! 03 o o ni y p
"tí tíí x¡ * o
>. CO ci
ci tí
c/T b >, a tí
o >X u típ tí ■nJ
-M a
ü oJ <D ci
O-i Tj o
S d jtí
<1> O Tí -J-J en
O ftí, o It oí
<! p >. <v
S oj U j
a d o 'tí bo i-i
a, S ctí O
oí
O, y tí tí 9tí. -M 03
 
360 SHERATON BOOKCASES. Early IBth Century.
Triangular Basin Stand, No. i on page 363.—Supposing the line cloth to be taken away, which it is supposed to be when
it is not in use, the top would appear to be in shape to suit the basin itself, as in reality it is made to fit with it, and to show
a regular bead projecting quite round thewhole. To make this top rise to a convenient height, the back leg is glued up in
the form of a long box, leaving a space of about an inch and one-eighth square, into which an upright piece is fitted, as the
design shows. In this piece a groove is cut to admit of a suspar leg, that is hinged to it, and falls into notches made in the
under side of the top ; and when this leg is pressed into the groove, the top will settle down to its place. In raising it, it is
stopped to any height by means of a rack and spring, fixed in the manner of a shaving stand glass. In fixing the sliding
SHERATON BOOKCASES. My igth Century. 361
piece to the top, it will be advisable to take away the round to the depth of a
veneer ; and after a double tenon is let through the top, and wedged from the
top side, to cover the whole by laying down a circular veneer, which will scarce
been seen ; and if the front corners be veneered also, there can be nothing
objectionable in it. It is to be noticed that the back leg is straight down to the
ground; and I think it will prove the best method to dovetail the back angle
together in half-inch mahogany, then to make a frame for the front,and to glue
and screw the angular ends to the front frame, to be of three-quarter stuff; and
lastly, to cut away the leg in an angle to fit on this carcase, and glue it to
and screw them from the inside. The shelf below must be fixed to the legs by
iron plates, as in
common, and the
pot cupboard, or it
may be called the
bottle cupboard, is
made separately,
with a tambour
door, and screwed
fast from the bot-
tom of the shelf.
Lastly, it may be
noticed that the
tops of the legs are
ornamented with
a turned patera,
glued on, which
also serves to hide
the joints occasioned by the preceding manner of working.
The Octagon Library Table on page 351 is suited to the centre
of a large library room,and is furnished for the accommodation
of four gentlemen to write at together. In the management of
the doors of the niches, it is advisable to glue them up in styles
of hard and dry mahogany, one inch thick and two inches in
width ; and, after being worked to their exact curve, to pin a
slip of one inch thick mahogany lengthways, at top and bottom;
or, if the doors be got out the full length, let a lath be ploughed
into the ends of some kind of tough wood, and veneer be laid
over it. The veneer being laid all over the ground, and the work
362 SHERATON CABINETS, etc. Early 19th Century.
suitably cleaned ofi, proceed to lay on the
banding in thick veneer, to form the appear-
ance of the stiles, with the square break in
each corner, as shown in the design. Lastly,
by a plane made for the purpose, work two
black beads together, and mitre them round,
which will produce a good effect. This
method forms a gently sunk panel, which
in such situations, always looks well in
mahogany work. It is needless to say that
the same panelling continues uniform round
the lower part. The diamond panel in the
centre is composed of small reeds, let in flush
with the veneer, alter which a black line is
let in. It is to be observed, with respect to
the hollow doors in the niches, that, as their
opening in the centre is very oblique to the centre of the hinges on which they turn, the edges of the left hand doors must
be bevelled towards the front, and those of the right in a reverse direction.
Sheraton, speaking of Tambour work, says that " in French it means a drum. Tambour Tables, among cabinet-makers,
are of two sorts—one for a lady or gentleman to write at ; and another for the former to execute needlework by. The
Writing Tambour Tables are almost out of use at present, being both insecure and liable to injury. They are called Tam-
hour from the cylindrical form of their tops, which are glued up in narrow strips of mahogany and laid upon canvas, which
binds them together, and suffers them, at the same time, to yield to the motion their ends make in the curved groove in
which they run, so that the top may be brought round to the front, and pushed at pleasure to the back again when it is
required to be open. Tambour Tables are often introduced in small pieces of work when no great strength or security is
requisite, as in Night Tables and Pot Cupboards. The Tambour Tables used by the ladies are on pillar and claws ; and at
the top of the stand or pillar is a wooden ball inclosed in a concave sphere, to which is fixed a circular rim of wainscot
about a quarter of an inch thick and two inches broad. To this rim the ground for the needlework is fixed by lacing it
over ; and as the whole frame moves by the ball fixed as above, the work may be turned to any position, as the worker
may require."
 
The following are a few particulars from Thomas Hope's work, published in 1807 : Mahogany Chairs, inlaid in metal and
ebony. These species of inlaying in metal on a ground of ebony or dyed wood, seem peculiarly adapted to the nature of the
mahogany furniture so much in use in that country (France), which^they enliven, without preventing it, by any raised
THOMAS HOPE. English Empire Style (?). Early 19tli Century.
ornaments from being constantly rubbed, and kept free from dust and dirt. 'At Paris they have been carried to a great
degree of elegance and perfection. The metal ornament, and the ground of stained wood in which it is inserted, being there
THOMAS HOPE. Early Empire Style (?). Early I9tli Century.
yJlcLsJr-rayCò
€/rrUj-Ù/YY^
oi OíAA^
.
stamped together and cut out, through dint of the same mechanical process, they are always sure of fitting each other to
the greatest degree of nicety. Hope "
says : The French Revolution commenced in 1792 ; freedom, now consolidated in
France, has restored the pure taste of the antique reproduction of ancient Greek forms for chairs, etc. The mouldings
represent antique Roman fasces, with an axe in the centre ; trophies of lances, surmounted by a Phrygian cap of Liberty ;
winged figures emblematical of freedom ; and antique heads of helmeted warriors arranged like cameo medallion. First
consul, 1799 ; confirmed for life in 1802. Vases found in tombs have been placed in recesses, imitating the ancient colum-
baria, or receptacle of Cinerary urn. Indian or bearded Bacchus ; the scenic mask ; the Thyrfus, twined round with ivy
3fi7
THOMAS HOPE and others. Early Englisli Style (?). Early 19th Century.
WíHiimuM.
leaves ; the panther's muzzle and claw, together with other insignia of Bacchus,
decorate in several places the furniture of this room."
" A Ta.ble supported by chimeras in bronze, similar to some limbs of ideal animals,
adapted to the same purpose, which have been found among the remains of Pompeii,
bronze lamp, bronze candelabra, and a few other utensils."
368 ACKERMANN'S REPOSITORY OF ARTS. Early 19th Century\
Plaques.—"Aurora visiting Cephalus on ^
Mount Flaxman "
Ida," by ; The Owl, dedi-
cated to Cephalus." The prevailing colours of
both, as well as of the furniture, are that pale yellow and that bluish green which hold
so conspicuous a rank among the Egyptian pigments,here and there relieved by masses
of black ahd gold. In the front of a Table in the room dedicated to Aurora, females
emblematic of the four horae, or parts of the day, support its rail, the frieze of which
contains medallions of the deities of night and sleep. On the table stands a clock
carried by Isis, or the moon, adorned with her crescent ; and the head of Jupiter, Serapis, or Pluto, emblematic of death,
 
'AS.;-
•>,áí1
■S^j
 
 
CHIPPENDALE MIRRORS.
PICTURE
Page i6i.—No. i is at FRAMES and MIRRORS.
Hampton Court Palace,and
was made by the famous
Daniel Quare, the contem •
porary of the equally
famous Tompion. It is a
one-year clock in light
wood (maple), with de-
gantly chased brass work on
plinth, and figures in brass
on top. It has the herring-
bone band round panels-y
an ornament peculiar to this
period (late 17th Century).
The large centre one,from
the collection of Baron J.
Rothschild, is of English
make, and~of the time of
George I. It is in walnut
wood, enriched with copper
mounts. Some of the smaller
figures are allegorical. The
dial is surrounded by a
carved copper border, and
is surmounted by a figure
Page 175.