inlaid or painted bases, has almost disappeared, consequently the articles themselves, for the most part, also have been banished. True, a few are still made, but they are a mere "drop in the bucket."
As a final illustration of bedroom furniture, on Plate VII. is presented a typical example of the " Heppelwhite " " four-poster " bedstead (Fig. 13), together with three characteristic bed-pillars (Figs. 9, 10, and 11). A comparison of these with those designed by Sheraton will furnish demonstration of the fact that, though some similarity exists between the work of the two designers, that of Heppelwhite was far less ornate than that of his contemporary, greater reliance being placed on carefully considered proportion, and the harmonious disposition of the various turned members, than on elaboration of detail. (See bed-pillars, Figs. 5, 6, 7, 8, Plate VII., " Sheraton ").
With regard to the draping of his bedsteads, Heppelwhite gives the following advice: " It may be executed of almost any stuff which the loom produces. White dimity, plain or corded, is peculiarly applicable for the furniture, which, with a fringe with a gymp head, produces an effect of elegance and neatness truly agreeable." The designer continues: "The Manchester stuffs have been wrought into bed furniture with good success. Printed cottons and linens are also very suitable, the elegance and variety of patterns of which afford as much scope for taste, elegance, and simplicity as the most lively fancy can wish. In general, the lining to these kinds of furniture is a plain white cotton. To furniture of a dark pattern a green silk lining may be used with good effect." (The word " furniture " as used here by Heppelwhite applies to the hangings, it is an old-fashioned trade term.)
I need hardly point out that there is a considerable difference between the " Chippendale" and the " Heppelwhite" bedstead, the latter being much lighter and more " elegant" in every respect than its forerunner. The top-heavy and
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