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In the chapter on Louis XV. and Louis XVI. furniture, it has been shewn how France went through a similar change about this same period. In Chippendale's chairs and console tables, in his state bedsteads and his lamp-stands, one can recognise the broken scrolls and curved lines, so familiar in the bronze mountings of Caffieri. The influence of the change which had occurred in France during the Louis Seize period is equally evident in the Adams' treatment. It was helped forward by the migration into this country of skilled workmen from France, during the troubles of the revolution at the end of the century. Some of Chippendale's designs bear such titles as "French chairs" or a "Bombe-fronted Commode." These might have appeared as illustrations in a contemporary book on French furniture, so identical are they in every detail with the carved woodwork of Picau, of Cauner, or of Nilson, who designed the flamboyant frames of the time of Louis XV. Others have more individuality. In his mirror frames he introduced a peculiar bird with a long snipe-like beak, and rather impossible wings, an imitation of rockwork and dripping water, Chinese figures with pagodas and umbrellas; and sometimes the illustration of Aesop's fables interspersed with scrolls and flowers. By dividing the glass unequally, by the introduction into his design of bevelled pillars with carved capitals and bases, he produced a quaint and pleasing effect, very suitable to the rather effeminate fashion of his time, and in harmony with three-cornered hats, wigs and patches, embroidered waistcoats, knee breeches, silk stockings, and enamelled snuff-boxes. In some of the designs there is a fanciful Gothic, to which he makes special allusion in his preface, as likely to be considered by his critics as impracticable, but which he undertakes to produce, if desired—

"Though some of the profession have been diligent enough to represent them (espescially those after the Gothick and Chinese manner) as so many specious drawings impossible to be worked off by any mechanick whatsoever. I will not scruple to attribute this to Malice, Ignorance, and Inability; and I am confident I can convince all Noblemen, Gentlemen, or others who will honour me with their Commands, that every design in the book can be improved, both as to Beauty and Enrichment, in the execution of it, by

"Their most obedient servant,


The reader will notice that in the examples selected from Chippendale's book there are none of those fretwork tables and cabinets which are generally termed "Chippendale." We know, however, that besides the designs which have just been described, and which were intended for gilding, he also made mahogany furniture, and in the "Director" there are drawings of chairs, washstands, writing-tables and cabinets of this description. Fretwork is very rarely seen, but the carved ornament is generally a foliated or curled endive scroll; sometimes the top of a cabinet is finished in the form of a Chinese pagoda. Upon examining a piece of furniture that may reasonably be ascribed to him, it will be found of excellent workmanship, and the wood, always mahogany without any inlay, is richly marked, shewing a careful selection of material.


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