which will be seen by reference to the backs illustrated in this chapter and those appearing in the chapter on " Queen-Anne." A comparison of the two series will show that the outlines of the centre " balusters/' or " splats," in some of the "Chippendale" backs are nearly related to many which were common to the preceding style, though the details with which they are enriched, and, indeed, the general treatment, are vastly different.
As regards our preliminary summing-up of the " Chippendale" chair, it must be noted finally that the frame of the seat seldom, if ever, forms a rectangular figure, but is wider at the front than at the back. By the adoption of this form, ample seating accommodation is provided without necessitating a back of clumsy and ungainly width—a most important point where grace of shape is a desideratum. Coming now to the "Chippendale" cabinet wTork which shows the strongest evidence of French influ ence, we find that, in truth, there is very little Plan of typical which does not reveal this designer's passion "Chippendale'
for the Rococo in one guise or another, though there are some few pieces—to be considered later — which are altogether innocent of it. Those, however, as we shall see presently, are simple almost to the point of severity. In the construction of his " carcase work" Chippendale did not adopt French lines to any very great extent; that is to say, not so far as general outward shaping was concerned. Instances in which he departed from that rule, however, and emulated the " Louis-Quatorze" and " Louis-Quinze" in that direction are not unknown; indeed, two are illustrated in Plate I., where we have a chest of drawers, or " commode," and wardrobe, in which the bombé form is introduced. Such examples, however, are most rare, and command very high prices when obtainable at all.
This designer more generally, in fact almost invariably,
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