128 
istically English than the 
designs of either Chippen- 
dale or Adam. Indeed, 
the authors of this book 
claim that they have se- 
lected such as will “convey 
a just idea of English taste 
in furniture for houses.” 
They also remark that 
“English taste and work- 
manship have, of late 
years, been much sought 
for by surrounding nations; 
and the mutability of all 
things, but more especially 
of fashions, has rendered 
the labors of our prede- 
cessors in this line of little use.’’ They also assert that 
they have avoided all whims, or fancies, and “‘steadily ad- 
hered to such articles only as are of general use and 
service,” but they also claim that their drawings are new 
and follow ‘the latest, or most prevailing fashion.” 
When this book appeared, the Chippendale style was 
entirely out of date; and as far as Heppelwhite is con- 
cerned, neither the ‘‘Chinese’ nor the 
“Gothic” styles ever existed. 
The general effect of Heppelwhite fur- 
niture is lightness and the straight line 
is insistent. The characteristic ornaments 
are the bell-flower in swags or chutes, the 
lotus, the rosette, the acanthus, the shell, 
the urn, draped and without drapery, and 
the three feathers of the Prince of Wales’s 
crest. [hese ornaments are carved, in- 
laid, painted, or japanned. To all other 
legs, he prefers the tapering and slender 
“term” leg ending in the “‘spade’’ foot, as 
shown in Fig. 12, which is very heavy for 
a genuine Heppelwhite piece. ‘The carvy- 
ing of the bell-flower chites on the legs 
is also heavy. The fluting on the drawers suggests Shera- 
ton. 
The Hepplewhite chair is famous, and two good ex- 
amples appear in Figs. 6 and 11, which show the oval 
and shield-shaped backs, of which this school was so fond. 
Both are “elbow,” or armchairs, and Fig. 11 shows a 
festoon of drapery, which falls in a graceful swag from 
Fig. 5—A wall table sold for $1,750 
AMERICAN HOMES 
Fig. 3—-A dining table sold for $400 
Fig. 4—Wine cooler 
AND GARDENS April, 1911 
the urn which forms the 
splat to the side rails, 
where it is lightly carved. 
The haircloth covering on 
the seat is correct and prop- 
erly fastened to the frame 
by brass-headed nails, 
which form an ornamental 
border. Generally speak- 
ing, the proportions of the 
Heppelwhite chair are as 
follows: Height, 3 feet 1 
inch; height, to seat frame 
a | from floor, 17 imehese 
“as depth of seat, 17 inches, 
and width of seat in front, 
20 inches. For the seats 
of open back and carved chairs silk, satin, and leather and 
horsehair (figured, checked, plain, or striped) were used. 
A table of this period appears in Fig. 5, intended for 
a sideboard-table for the dining-room. 
It was in Heppelwhite’s time that the sideboard, with 
its convenient arrangement of drawers and cupboards, with 
a large flat top for the display of silver, came into fashion. 
Up to this time the court cupboard, the 
tall enclosed buffet, and large “sideboard 
table’ had been used, but. Heppelwhite 
turns it into a very elaborate piece of fur- 
niture, with drawers and cupboards. The 
Heppelwhite sideboard stands on tapering 
legs ending in the “spade,” or ‘‘Marlbor- 
ough”’ foot, and is generally made of ma- 
hogany and inlaid with satinwood, the 
legs being ornamented with graduated 
bell-flowers. Brass ring-handles are used. 
Knife cases and an urn-shaped spoon case 
stand, as a rule, on the slab of the side- 
board with the plate. 
Tea-trays, tea-tables, candle-stands and 
tea-kettle stands are also to be found 
among his designs. The tea-kettle stand, of which an ex- 
ample of this period is shown in Fig. 7, was of great use to 
the hostess. The one in the accompanying illustration has 
gaps in the banister and rail for the sake of convenience 
in handling the kettle. 
Hepplewhite was as fond of upholstery as Chippendale. 
He loved the festoon, cords and tassels, and gave explicit 
Fig. 6—A shield-back chair 
