respective periods dealt with. To show, therefore, in some measure, how " Chippendale" really appeared in the home in the days of its prime, the window corner of a dining room, or morning room, true to style in every particular, is portrayed on Plate VII. Here, in the table by the window, we have a simple and dignified reading of the " Louis-Quatorze," together with a less faithful rendering of the same style in the somewhat unsafe-looking pedestal which supports the fern pot; the arm-chair is, of course, inspired by the " Louis-Quinze," and is a refined example ; while the pelmet of the window drapery partakes of the same character, as do the "small" chairs also, but in a lesser degree. The bookcase and table are " Chippendale" pure and simple, hardly touched at all by French influence, and are, I think, none the worse for that.
Before leaving the consideration of the style, I must mention one other point which remains to be noticed in connection with it, and upon which emphasis must be laid. The importance of not turning to another branch of our study without referring to this may be indicated by the brief relation of an incident which came within my experience not so very many years ago. I spent an evening at one of a series of lectures 011 the history of furniture, arranged by a highly respected educational body specially for the benefit of young workers in the London cabinet making industries, and the lecturer, during the course of his remarks, gravely informed the students that it was his intention to deal with "'Chippendale' inlaid and painted furniture!" This lecturer, be it noted, was a man of no mean ability in other branches of art, enjoying a coveted reputation and one fairly won. He was not, however, "great" on the subject in which he had been appointed to instruct the rising generation. Yet, I fancy some one may enquire : " But why do you take exception to his statement which you have quoted ? " I take exception simply because Chippendale did not cultivate either inlay or
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