by means of the brush, furniture designed for the homes of the wealthier class of patrons; but with their labours in this direction I shall deal in another chapter.
The "pole" fire-screen, now but rarely seen, was just becoming popular at this period, and two examples of Heppelwhite's treatment of it are given in Figs, i and 5, Plate III. Screens of this type, says this designer, "may be ornamented variously with maps, Chinese figures, needlework, etc.," and, with regard to their construction, he continues : "The screen is suspended on .the pole by means of a spring in the eye through which the pole goes." (We shall see in the next chapter how Sheraton, with his love for mechanics, improved upon this arrangement; as he did upon many of a similar nature.) "The feet of the screen are loaded with lead to secure immunity from sudden upsets."
The wood employed in their manufacture was often mahogany, but generally they were of some softer and less expensive wood, japanned. The "horse" screen, of the type shown in Fig. 11, was also a common accompaniment of the cosy fireside; the framework was invariably of mahogany, the panels being filled with rich silk, needlework, and the like. As to the working of the "horse" screen, the centre part slid in grooves made, in the inner sides of the supporting uprights, being suspended by weights attached to it by a line which passed over a pulley in the top of the frame. Figs. 7 and 9 are candle-stands, which, according to this authority, "are very useful in large suites of apartments, as the light may be placed in any part at pleasure— in drawing-rooms, in halls; and on larger staircases. . . Their place, I need hardly point out, has now been taken by the metal, telescopic, standard floor lamp, with its tortuosities, spirals, leafage; and rosettes in wrought iron, brass, and copper. The modern article, it must be admitted, serves the purposes for which it is intended satisfactorily enough, and is not infrequently an attractive demonstration
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