' arrangement was coming to be regarded as inadequate for the needs of the times. He advanced several steps further ; and, indeed, played a most important part in the inauguration of the true and typical late eighteenth-century sideboard, which attained its highest point of development under the hands of Thomas Sheraton ; and which, though it has been superseded, has never yet been excelled for combined grace and utility. It is true that Heppelwhite did not go very far in this direction ; but the few attempts he did essay wTere of great moment when they were made, and were, withal, eminently successful, as may be seen by reference to Figs. 9 and 10, Plate VIII.
In connection with these, a special note should be taken that the designer with whose productions I am now dealing always employed the concave corner. He was possibly actuated in doing so, on the one hand, by the grace of the line so obtained, in conjunction with the elliptic, or "bow," and " serpentine " centre ; and by the consideration, on the other, that it occupied far less space than would a perfectly straight front. The " Sheraton " sideboard, on the contrary, always has the convex corner (see Fig. 8, Plate IV., " Sheraton "). This is a notable difference that should not be lost sight of by the student and collector, for it is quite sufficient to settle finally and conclusively the sometimes vexed question of authenticity. In other respects many " Heppelwhite" and " Sheraton " sideboards are almost identical.
Before concluding this chapter I must touch upon yet another section of the work of this designer—the one which includes seats of various descriptions other than chairs. Among these, sofas naturally come first in importance, and four most characteristic types are presented in Figs. 1, 6, 7, and 8, Plate VIII. The frames in these cases were almost •
invariably of mahogany, though sometimes of beech, or some other less expensive wood, japanned. The coverings were of the same materials as those used in the upholstering
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