under discussion. But how is the "Heppelwhite" tracery to be distinguished from others? We shall find that even a careful comparison of these with those that came from the pencil of Sheraton, many of which are illustrated in the following chapter, will leave the reader in a position of no small difficulty when he has to distinguish between the two styles ; for the details in both are puzzlingly similar—indeed, not infrequently precisely the same.
Subtle differences, however, in their disposition or arrangement will become apparent if we place side-by-side those belonging to each style respectively, and submit them to a careful and thoroughly comparative examination. To give a broad and general definition, the designs of Heppelwhite's traceries were more angular in character, and consequently less graceful, than those of Sheraton. That this should be the case, is most remarkable, for, as I have already stated, the reverse was the rule in Heppelwhite's chair-backs, and the recollection of that fact is calculated to mislead many when judging his works in which these traceries play a part. But some measure of inconsistency is to be discovered in the work of every genius, and the furniture designer is not exempt from that failing, if indeed a failing it be.
The remaining illustration on Plate IV. (Fig. 2) shows the end of a library, or study, table, on which no particular comment is needed save that we may remark its sturdy and sensible proportions, which were obviously designed for use more than for ornament. Writing-tables of this type were popular from the very first, and their manufacture has never been seriously interrupted since their introduction almost a century-and-a-half ago.
We may now proceed to discover what were Heppel-white's ideas with respect to the furnishing of the bedroom, and in commencing to deal with these I may say, without \ further preamble, that they were characterised by far greater a simplicity in every way than those which he applied to other
Reference in Text
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