last-named publication does contain mention of Chippendale, and goes so far as to inform us that the furniture designed by him was decorated with u marquetry . . . laid out with diapers of two woods, or with medallions and pattern work/' a statement which we know to be entirely wrong. In addition to this, the names merely of Heppelwhite and Sheraton are given. So it is useless for us to look for much assistance in that direction.
Our endeavour for the moment must be to discover, as far as possible, all that is connected with the career of the designer and cabinet maker—for he, too, " doubled the parts " —whose name heads these pages. In so doing we shall find ample food for reflection. In the first place, there can be no possible doubt that his artistic — not financial — success in after life as a designer is to be accounted for by the fact that from early childhood he was endowed with a strong bent for v drawing, the steady cultivation of which, supplemented by a thorough practical training at the bench, provided a solid foundation for his future work. It seems, as I have indicated, that his career, from the outset, was nothing more nor less than one long-continued and bravely-sustained struggle. We find a saddening picture of the environment of his closing years in the Memoirs of Adam Black, who visited him on more than one occasion when a boy seeking his fortune in London, and, indeed, found employment under him for a time. In these Memoirs the writer says: 44 He (Sheraton) lived in a poor street in London, his house half-shop, half-dwelling-house, and looked like a Methodist preacher worn out, with threadbare black coat. I took tea with them one afternoon. There was a cup and saucer for the host, and another for his wife, and a little porringer for their daughter. The wife's cup and saucer were given to me, and she had to put up with another little porringer. My host seemed a good man, with some talent. He had been a cabinet maker, and was now author, publisher, and teacher of drawing, and, I believe,
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