porary cabinet makers and chair makers, which resembled, in a greater or less degree, those we have studied. The names, however, of the men themselves, who helped to attain the end towards which the great trio were working, each in his own way, must needs be placed on record ; and a list of their principal publications is given at the end of this chapter for the information and guidance of those who desire to go further into the matter.
With so many brains active, many variations in style naturally occur, and it is my duty to refer briefly to some of them. As regards classification, we cannot do better than fall back upon the "heads" we already have in our minds. The chair illustrated in Fig. i, Plate I., is of a type common in the more modest homes of the "Queen-Anne" period, and was, by the way, selected more than once by Hogarth for presentation in his renderings of interiors of the humbler class. It is generally found with the plain wooden seat, with simpler turning in the legs, and sometimes without under-framing. The particular example shown looks rather like a more modern rendering of the original, but whether it is so or not I am unable to say with any degree of certainty, not having seen the piece itself. Fig. 2 may be classed either as late " Queen-Anne " or early " Chippendale," for though the frame as a whole is in the former style, the "splat" in the back distinctly heralds the advent of the latter. Precisely the same remark applies to the back, Fig. 6, Plate II. Fig. 3, Plate I., is, of course, "Queen-Anne," and we can fix its date pretty well, as it was the property of the great Hogarth himself; but Fig. 4 carries us on to much later in the century. The arms and lower part of this are to all intents and purposes " Chippendale," but the back has much of the grace, and all the delicacy, of "Heppelwhite/' Most probably it was made somewhere between 1770 and 1790, or possibly earlier; the later estimate appears to me to be the more likely. We cannot go far wrong in describ-
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