Style In Furniture

Plate IV.; though the "stripe" was also popular, as in Fig. 2, Plate II., and Fig. 4, Plate III.

In a previous chapter I have said that Heppelwhite and Sheraton were not influenced to any very great extent by the " Louis-Quinze " ; but that they were amenable to its fascination now and again may be gathered by another look at some of the chair and sofa arms employed by them, and by a glance at the arms which predominate in the accompanying examples. The reader may also refresh his memory on the question of the relationship between the three styles—" Louis-Quinze/' " Heppelwhite," and "Sheraton"—by again referring to the chapter on " Heppelwhite," and noting the chair-back, Fig.6, Plate I., Fig. 9, Plate II.; the pier-table, Fig. 10, Plate III.; the stool, Fig. 2, and the sofa, Fig. 7, Plate VIII.; and the dressing-chest on Plate IX. Sheraton was, to all intents and purposes, guiltless in this respect, though by no means in others, as we have already noted, and shall note again.

While dealing with the furniture of the reign of Louis the Fifteenth, we must not omit to call to mind the fact that when the reign was nearing its close there appeared in the field of art industry one of the greatest fondeurs-ciseleurs the world has ever seen or is likely to see—I refer, of course, to Gouthiere. This great artist-craftsman was born in 1740, and was therefore only thirty-four years of age at the time of the king's decease; but he displayed rare ability early in life, and when but a stripling was working hand-in-hand with the most notable cabinet makers of his time. To him are to be attributed some of the most magnificent mounts that ever graced cabinet, chair, or table; but as he proved his skill more extensively in the " Louis-Seize " than in the preceding style, lengthy comment upon his work is not called for here. M may, however, be mentioned in passing that among the innovations which he brought about Gouthiere laid claim to having been the first to introduce the " dead gold " finish that endows

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