quently perpetrated most outrageous caricatures of, the"Louis-Quatorze" and " Louis-Quinze"; and we shall presently discover the extent to which Sheraton—the last, but by no means the least, of the great three—followed in his footsteps, that is to say so far as appropriating French ideas was concerned, though he selected different ones and made far better and more intelligent use of them than did Chippendale.
It is, however, the style which came between the two that now demands our attention, and it is not in any respect one which can be dismissed with brief comment. On the contrary, it is entitled to a respect equal to, if not greater than, that accorded to " Chippendale " itself, though it is generally set aside by most writers with but scant courtesy.
To retrace our steps momentarily a number of years; the reader may be reminded that comparative lightness and grace commenced to make themselves felt in the designs of our household gods with the advent of the " Queen-Anne," and appeared in a still greater measure when Chippendale seriously turned his attention to their reformation ; but it was lightness only when judged in comparison with the proportions of most of the furniture of the old Elizabethan and Stuart times.
It is in " Heppelwhite " really that we find the first actual attainment of that true, and altogether exceptional, delicacy and refinement which constituted the peculiar charm of the adornments of the home designed and produced in this country during the late Georgeian period, and in the earlier years of the last century.
It will doubtless be remembered that Chippendale's epoch-making book, "The Gentleman's and Cabinet Maker's Director," appeared in the year 1754, when George the Second was still on the throne of England. "The Cabinet Maker and Upholsterer's Guide, or Repository of Designs for every Article of Household Furniture in the Newest and most Approved Taste, by Messrs. A. Heppelwhite & Co., did not see the light until
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