piicity. Exactly the same spirit inspired the designs which are presented on pages 322 and 323, and on Plate III. ; but it is that spirit interpreted by one who has made a lifelong study of the task in hand, and who is, therefore, able to avoid the pitfalls that beset the simple amateur. The last Plate (II.) that calls for notice illustrates a number of suggestions for dining-room furniture in which natural forms, skilfully and tastefully conventionalised, constitute the sole enrichment. This series of studies in what might almost be described as English " New Art," is from the pencil of Mr. Henry Pringuer, an artist in writing of whose work I could, with the greatest enjoyment, fill many pages did circumstances permit, but unfortunately they do not.
In conclusion, it must be pointed out that, side by side with this cultivation of the " Quaint," designers have studied more and more deeply the best work of the past, learned its lessons, and adapted the cardinal principles of historic styles with such rare skill as to bring them into harmony with present-day requirements. The result has been that, in addition to the faithful copying of old models, the most tasteful novel renderings of old styles have, for many years past, been produced, and continue to be produced, on every hand. To sum up the situation, if I were asked to give my opinion upon the work of the modern British cabinet maker as a whole, I should unhesitatingly affirm that there never was a time in the history of our country when so great a degree of good taste was to be found in the furnishing showrooms as is to be seen there to-day ; and that there is not the slightest excuse for anyone, however limited may be his resources, to admit into the home ugliness in the form of furniture.
FL ut ls
"Stopped Flutes" Breeding"
"UNDER Framing" "¿pin
EGG-AND-TONGUE." 'GUI LLOCH tf MOULDING
Simple Parchment or'Linen Panel"
rosette or patera
AN ILLUSTRATED TABLE OF TECHNICAL TERMS UNAVOIDABLY EMPLOYED FREQUENTLY IN THE TEXT
"Adam," 213-215 Adam, James, 213 Adam, Robert, 213 M Adelphian Brothers," 213 M Chippendale," 41 Heppelwhite," and "Sheraton," in relation to Adam» 213, 215
Enrichment, character of, 214, 215 Inspiration, source of, 214 Quatrain on the brothers, 213 Studies in Italy, 213 ••Arts and Crafts" Society, the, 323-327
Books on Georgeian furniture, 207-212
Boulles, the, 224
Bow Palace, room from, 66, 67
Cabinet makers, London Society of, 210 Caffieri, 247
Character of 14 carcase work." 110 Characteristics easily distinguished, 102
Chippendale continued 41 Chinese " designs, 113 „ chairs, X15 „ cabinet work, 116 44 Chippendale/' art '4 authorities "
and, 97, 99, 101 44 Chippendale mahogany," 99, 100 Chippendale and 41 Queen-Anne," 102, iu8, 123
44Chippendale " and 41 Queen-Anne"
chair backs compared, 108 44 Chippendale," inexpensive, 122 Chippendale's shop, 98 Clocks, 125 Commodes, 112
Conditions, ancient and modern, contrasted, 94-97 Enrichment, heterogeneous character of, 110, 1x7 Fancy furniture, increase of, 125 Frets, 116, X17, 118 in friezes, 124 Girandoles, 111 44Gothick," xi8
Individual artists and craftsmen recognised, 94 Individuality of 44 Chippendale," 105 Inlay, Chippendale and, 127 Interior, 44 Chippendale," 127 Inspiration, sources of, 102-104. 109,
Lattices, 1x5 Legs, characteristic, 121 Mahogany, introduction of, 125 Marquetry, Chippendale and, 128 Mirrors, 1x1
Misapplication of name 41 Chippendale," 99» 101 Mouldings, dentil, 124 Painting, Chippendale and, 128 Pediments, 110, 111, 117» 123 Pierced work, objection to, 111 Prices, market, 128-130
Was this article helpful?