painting in the enrichment of his productions, and in cases where it is found some other description must be sought.
It is more than a little curious that the opportunities for the attainment of richness of effect and variety of colour afforded by the decorative media mentioned should not have appealed to, and been freely used by, this designer, but it is absolutely certain that he cared for neither. Indeed, he left them severely alone. Nor is it really difficult to account for this attitude when we remember that Chippendale was, in the first place, trained as a carver. His father was a carver of picture frames, and it was natural, perhaps, that the son should remain a carver at heart to the very end. He was more than satisfied with the effects to be obtained by the skilled and vigorous plying of the chisel and gouge, though for economy's sake, it is true, he did call the fret to his aid. The lighter, more graceful—some might say more effeminate— results to be secured by the employment of the marquetry cutter's saw, and the palette and brush, he left to others to use as they might feel disposed. What excellent use they did make of them will be fully demonstrated in succeeding chapters.
It must be clearly and unmistakably understood, then, that whenever painted (that is to say, decorated with painted enrichment) or inlaid furniture is described as " Chippendale/' no matter where or by whom, it is a million chances to one that the description is incorrect.
In conclusion, so far as "Chippendale" is concerned, to those who regard old furniture from the commercial as well as from the artistic point of view, the mention of a few prices paid for genuine old examples of the style during recent years may be of interest; though it is impossible to set up any fixed standard of market value.
At a country sale (conducted by Messrs. Robinson and Fisher, of London) at Bradfield Hall, near Reading, of the property of the Connop family, the following bids (as reported
Reference in Text
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Bookcases. Writing tables. Door tracery.
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