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remains, and can be felt distinctly by just putting the hand under the seat. Of course the stuffing should be removed, and the original caning uncovered. The reader may be interested to hear that three of the walnutwood high-backed chairs from Mr. Ashby Sterrys collection were originally the property of Albert Smith, which shows that there were some literary men with taste even in the early sixties.

What is usually looked upon as the great chair period began about 1728, when Chippendale started making use of mahogany. A particularly interesting specimen of an early period of Chippendale stuffed chair is given in the illustration (Plate 79). The shape of this differs very little from the Queen Anne one belonging to Mr. Lucas (Plate 73). Like his, it is shallow, i.e. its seat is wider across the front from arm to arm than it is from back to front. Its legs are the cabriole shape, with club feet, but it has no struts, and the carving is quite different in style from the bolder work of the earlier period. When I bought this chair, it was covered with several layers of dirty materials, but underneath them all was the original orange woollen rep, finished all round with brass studs, giving

CARVED MAHOGANY STUFFED EASY CHAIR. Early Chippendale. (In the possession of F. Fenn, Esq.) This chair, which is very delicately carved, is of a particularly elegant shape, with a serpentine front. It had its original woollen covering fixed all round with brass nails when it came into its present owner's possession.

MAHOGANY STUFFED ARM-CHAIR. Late Chippendale. {In the possession of F. Fetin, Esq.) A characteristic chair of the late Chippendale period.

CHIPPENDALE RIBBON-BACK SETTEE. (From the collection of James Orrock, Esq.)

CHIPPENDALE RIBBON-BACK CHAIR. HEPPLEWHITE CHAIR.

(From the collection of fames Orrock, Esq.)

a good idea of what the chair was like when it left the maker's hands. This woollen rep, though one hundred and fifty years old, is still so strong that it is untearable, and its colour is hardly changed. I know no covering so harmonious or so durable, but though I have tried all the largest firms in London, I am unable to get the material reproduced. I intend to go on trying, however, for I believe most possessors of old furniture would, like myself, be thankful to be able to obtain a reproduction of one of the characteristic coverings of the period for their chairs or settees, which are often almost spoilt by incongruous modern upholstering.

Another example of a Chippendale stuffed chair is illustrated on Plate 80. This one is in Chippendale's later manner, with fretwork rails and carving to match on the arms. Though fine of its period, its shape is quite commonplace beside the earlier one, though this is not so evident in the reproduction as it is when one sees the actual chair. It is not very likely that the ordinary searcher after moderate-priced chairs will find such fine examples as these, but any stuffed chairs approaching them in shape are worth buying at the full price of any good modern "easy-

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