FURNITURE 



2355 



FURNITURE 



Louis XVI 



four Georges, from about 

 1715 to 1830, mahogany 

 took the place of walnut 

 and oak, previously used, 

 and the furniture of the 

 period shows a decided 

 contrast to the massive, 

 square types especially 

 characteristic of the Eliza- 

 bethan Age. Grace and 

 beauty mark the work of 

 the three great masters of 

 the Georgian period 

 Thomas Chippendale, "the 

 master of line," George 

 Heppelwhite, "the expo- 

 nent of elegance," and 

 Thomas Sheraton, "the purist." Each of these 

 cabinet-makers set a fashion in furniture which 

 has become an established vogue. 



Chippendale's chairs best represent his gen- 

 ius (see illustration). These are characterized 

 by the curved leg (cabriole), with ball and 

 claw foot, the outward-curving side frames of 

 the back, and the top rail shaped more or 

 less like a cupid's bow. Especially beautiful 

 in design are the centers of the backs, which 

 he filled in with carved ribbon or lattice work, 

 showing an almost limitless variety of figures. 

 Chippendale's name is also associated with 

 china cabinets and bookcases with glass fronts, 

 writing desks with glazed doors, settees beauti- 

 fied by fretwork, and tables of various designs. 

 His furniture is notable both for its solidity 

 and its delicacy. 



In the construction of his chairs, Heppel- 

 white, like Chippendale, prdduced his most 

 characteristic designs. The backs are usually 

 oval or shield-shaped, with decorative middle- 

 pieces, and the legs are square and tapering. 

 Exquisite proportion gives these chairs an ef- 

 fect of remarkable elegance and refinement. 

 Heppelwhite also perfected the sideboard in its 

 modern English form, and his furniture shows 

 the most tasteful use of inlay and veneers in 

 the history of English cabinet-making. To 

 him also are attributed many choice urn stands, 

 tea trays, chests and caddies. 



Sheraton's name is associated especially with 

 furniture decorated with painting. He worked 

 both in mahogany and in satinwood, and in 

 his tasteful use of inlay he was almost the 

 equal of Heppelwhite. Practicability as well 

 as beauty distinguishes his furniture. He in- 

 vented a summer bed di- 

 vided in the center in such 

 a way as to permit a better 

 circulation of air, a hollow- 

 front sideboard and the 

 work table with a pouch of 

 silk on each side, which is 

 still popular with house- 

 wives. His satinwood fur- 

 niture consisted mainly of 

 commodes, bureaus, small 

 writing desks, toilet tables 

 and other boudoir furnish- 

 ings, many of which were 

 exquisitely decorated with 

 painted designs. 



Louis XVI 



XVI 



