We must, of course, recognise the fact that all the models which we now classify as " Chippendale," " Heppelwhite," and " Sheraton/' were not really the creations of the designers whose names they bear, but were either borrowed by them from contemporary makers—I am not referring now to the French inspiration already discussed at length — or were borrowed in part by contemporary makers from them.
(Of the " Heppelwhite" or " Sheraton" type in lower part, but revealing " Queen-Anne" influence in the shaping of the tops of mirror frames)
As the three designers of whom I have written so much brought together the scattered fragments of style, so to speak, harmonised them, and included them in their systems, their names have become associated with them, and, doubtless, will continue to be so associated until the end of the story. It would, therefore, serve but little purpose to analyse here, even did space permit, the designs of such men as Ince, May-hew, Lock, Manwaring, Hope, Johnson, and other contem-
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