Space will not permit me to illustrate more than three other examples of this type. The first of these is the " lady's cabinet and writing-table/' Fig. 4, Plate VI., which is a light and graceful article, replete with handy conveniences for the reception of stationery, papers, small books, and the like. Fig. 3, on the same plate, is " a cabinet ... to accommodate a lady with conveniences for writing and reading and holding her trinkets and other articles of that kind;" and is to be " veneered with the finest satinwood and Fig. 9 is another "cabinet," the front of the upper part of which falls down to furnish a surface for writing purposes. Sheraton is careful to point out that "the flower-pot at the top and that on the stretcher are supposed to be real, not carved. . . . The candle branches turn to any form in a socket, and the whole may be taken away, as they are only screwed into a nut fixed into the legs of the table/' Fig. 6 is a library table that calls for no explanation; and Fig. 7 a simple and most graceful card-table, to be made in mahogany, inlaid or japanned, and carved.
Reverting, for a moment or two, to bookcases, a word must now be said on the subject of traceried doors, and we must endeavour, if possible, to determine finally the respects in which those of Sheraton differ from the traceries of Heppelwhite, and dccide by what details or characteristics one may be distinguished from the other. Typical " Sheraton " traceries are shown in Figs. 5, 6, and 7, Plate IV., and in Figs. 1 and 2, and, to an enlarged scale, in Figs. 3, 4, 5, 6, Plate V. These traceries, as I have previously pointed out, were most usually carried out in mahogany or in satinwood, but brass, lacquered or painted, was not infrequently, and with excellent effect, introduced in place of wood. Similar traceries were, of course, employed in carcase work other than bookcases, but not very often.
In my chapter on " Heppelwhite," I have emphasised the fact that a certain amount of similarity exists between the
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