consequent charm which they would not otherwise have possessed; on the other, it led him to indulge in extravagances which, as we shall see later, were altogether unpardonable. (When I speak of Chippendale's "success" and "failure," the former must be taken in a commercial and the latter in an artistic sense; for many of his greatest atrocities sold far better in his own times, and sell far better to-day, than did examples which were characterised by better taste. It is, unfortunately, not at all uncommon for such to be the case.)
It was not, however, from the French alone that Chippendale borrowed. The " Gothick " came in for a share, though not a great share, of his attention. He also tried to, and, as a matter of fact, did improve upon the futile attempt strenuously made by Sir William Chambers to adapt Chinese forms and ideas to our Western requirements; endeavouring to create a sort of "Anglo-Chinese" style which would not be out of place in the British home.
Thus, as will be apparent already, there are at least three distinct phases of "Chippendale," each equally authentic, and each of which will be duly considered in turn ; while mention must be made of a fourth later. We will commence with the " French," as being the most important.
If any justification be demanded by the reader for my assertion that Chippendale became, so to speak, saturated with the spirit of the " Louis - Quatorze" and Louis-Quinze," it will easily be found not only on one but on all the plates included in this chapter. The designs here given furnish ample proof, for the satisfaction of all who may object to my "point of view," that my judgment has not merely been formed after the examination of a few solitary and exceptional examples discovered here and there. It must be noted, moreover, that the models illustrated are absolutely characteristic in every respect, are reproduced from "The Gentleman's and Cabinet Maker's Director" itself,
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