Plate Li Cheval Glass

large urn-shaped member as i§s predominating feature. The urn is sometimes plain, more often carved with acanthus or reeded. The base moulding about the urn is frequently carved. Another of these turned shafts (Plate XXXVI) is undecorated except for a broad reeded drum near its base. The legs—three or four—are either carved with acanthus and reeding on their top surfaces or are moulded. The feet are lion's paws, usually brass, although sometimes of wood. The tables with this form of base include drop-leaf tables and those card tables with three legs, with or without skirting, containing a mechanism by which, when the flap is lowered, the rear leg swings out and forms with the other two an accurate tripod (Plate XXXII). The small sewing stands with rounded ends are often supported on this type of base, while the little tripod stand with tip-top (Plate XXVIII) is a rare example in the type.

The tops are curved in single curve or clover-leaf pattern. A border of veneer usually surrounds them. The edges are sometimes reeded, the skirtings veneered, and in the drop-leaf tables the corner blocks—relict of the straight-leg Pembroke—are veneered in designs and finished with a delicate turned drop. These tables are among Phyfe's most characteristic product. This type includes card and console, sewing, writing, and dining tables, such as those illustrated in Plates XXXIII and XXXV.

In the second group of the pedestal tables, a platform upon which vertical supports rest is upheld by curved legs. This group must be subdivided into two kinds. The first division comprises those tables whose super-structure is supported upon four posts which rest upon the little plat form. The sepond division includes the tables in which crossed lyres act as the immediate support of the portion above.

Of the type with four posts, the chief variations result from differently turned balusters which follow several forms, such as those shown in the drawings in Plate E. The sides of the platforms are either plain, panelled, fluted, or carved with a rectangular rosette made up of acanthus and plain leaves radiating from a centre. These tables are illustrated in Plates XXXIII to XLI, and include sewing and writing stands, drop-leaf centre tables, side tables with a flap, and dining tables.

The lyre-base tables have few varieties. The one in Plate XLVI has the rope motive on the tops of the curved legs and on the edges of the lyre. The second one, in Plate XLV, would appear to be from Phyfe's later period. The lion's feet and legs are a trifle clumsy, while the overloading with acanthus deprives the lyre of much of its delicacy. This table resembles in so many ways the work of a certain Philadelphian contemporary of Phyfe that its inclusion would be confusing without definitely mentioning it as a late piece whose attribution is chiefly based upon structural details not part of its stylistic quality.

The last general type of table, that whose supports are at the end, includes library, sofa, and dressing tables. The type is rare, but excellent as a new solution of the problem.

In Plate XLIII is shown a library table, supported on coupled colonettes at each end, from whose fluted baseblock spread out two legs. The top contains a drawer, while a shelf for books is placed below. This is a good

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