Chippendale

so was much less than might reasonably have been anticipated. Indeed, it was evidently his fixed and unalterable determination to get as far away from the " Queen-Anne" as possible—whatever use he may have been inclined to make of other styles—and it must be admitted that he generally succeeded in so doing. What few features he did retain for a time will be duly noted as we proceed.

Though Chippendale did not copy, to any appreciable extent, from the contemporary or prior productions of his own countrymen, I must repeat that he was not averse to borrowing from other sources. As a matter of fact, he was seldom sufficiently self-reliant to depend solely upon his own genius for the origination of new ideas; and, bold as it may appear to be on my part to make the assertion, I should class him as one of the greatest appropriators—if I may employ the term—of his own, or, for the matter of that, of any other time.

At that period in his career when he was of an age to decide what course he should adopt and pursue, there were two styles in furniture and decoration which shared the . favour of the public on the other side of the Channel—the " Louis - Quatorze," the popularity of which was gradually waning, and the " Louis-Quinze," which was supplanting it by leaps and bounds. It is evident to all who have closely followed the development of his work, that this master set himself, with fixed determination, to make a careful study of both those old FYench modes, and that he did so to such an extent as to become completely enamoured of them. So great indeed was the fascination they exerted upon his mind, that everything he did for a time revealed their influence in a most marked degree. In his complete mastery of the " Louis-Quatorze " and " Louis-Quinze," particularly of the latter, the secret of both Chippendale's strength and weakness, and success and failure, is to be found. On the one hand, it endowed many of his designs with a piquancy and

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