106 
House S' Garden 
Furnace Coil 
Takes Every IthShovelJiil 
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A CABINET-MAKER of 
jCOLONIAL AMERICA 
{Continued from page 104) 
J (highboys) and the secretary desk are the pulpit of St. Peter’s Church, Phila- 
I of mahogany, as is the tripod stand and delphia. The original owner for whom 
the tilt table. Here one may be re- the high chest was made appears to have 
I minded that although the high chests of been James Moulder, a captain of ar- 
drawers and the dressing tables such as tillery in the Revolutionary War, one of 
these pieces by Savery are commonly the soldiers who crossed the Delaware 
called highboys and lowboys, the true for the Battle of Trenton, 
highboy and the true lowboy known in 
English furniture in the latter part of the search for savery pieces 
the 17th Century, had long before 
! passed out of fashion (early 18th Cen- Second Street in old Philadelphia ap- 
j tury) and these “highlaoys” and “low- pears to have been especially affected by 
j boys” of the last half of the 18th Cen- Colonial furniture makers. In addition 
tury were really indigenous to America, to Savery’s address card which has been 
’ creations of our own cabinet-makers referred to, there is extant one of 
i and in their construction retained the “James Gillingham Cabinet and Chair 
cabriole legs that superseded the twined Maker in Second Street between Wal- 
legs of the true highboy and lowboy of nut and Chestnut Streets Philadelphia”, 
the English cabinet-maker. a label discovered pasted on the back of 
An examination of the accompanying the seat of a chair constructed after a 
reproductions of photographs of Sav- design shown on Plate X of Chippen- 
ery’s furniture will show how strong dales “Director.” Gillingham’s card re- 
were French and Chippendale influences calls to one that in earlier years Ameri- 
in Savery’s high chests of drawers. On can furniture makers were divided into 
the tables the carving of the skirts is chair-makers, cabinet-makers, carvers, 
fully worthy to be placed along with joiners, etc., later coming to combine 
the best work of the English cabinet- these crafts as probably did Savery and 
makers of the Chippendale period. In as did such still later cabinet-makers as 
Chippendale’s “The Gentleman’s and Duncan Phyfe. That Savery’s shop ap- 
Cabinet-Makers Director”, plate CLXI, pears to have been known as “The Sign, 
is described and pictured an “Inigo of the Chair” cannot be held to indi- 
Jones Bookcase” which seems to have cate conclusively that his earlier efforts 
been studied with good effect by Savery were entirely directed to chair-making, 
as regards some of his carved ornament, but it is possible that they were. There 
Robert Manwaring's designs, “The Cab- is much, we hope, which time will dis- 
inet and Chair-maker’s Real Friend and cover to us concerning William Savery’s 
Companion” (London, 1775) contains a handiwork. It may be that a more 
plate of designs (Plate XXXI) which widespread interest awakened by calling 
Savery referred to in working out the attention to this early master may un¬ 
fretwork of his secretary desk in the cover many pieces bearing the ear-marks 
Mertopolitan Museum. (In connection of Savery’s genius. We may, at some 
with this piece, which Mr. Palmer dis- later day, be able to confirm our belief 
covered in Camden, New Jersey, one that the pier table in the Metropolitan 
may note that the original flat brass collection is Savery’s, and that perhaps 
handles had given way to ones of later a second pier table in this museum, one 
pattern). found in a Baltimore house, was fabri¬ 
cated in Savery’s atelier. 
early AMERICAN FLAMBOYANCY William Savery was fifty-eight when 
his name was placed on the Militia 
After 1760 the American high chests muster roll of Philadelphia in the 4th, 
assumed a much more ornate character 6th and 8th classes. Mr. Halsey tells us 
than in earlier years. The superb high that these militia classes of the Chestnut 
chest with the central foliate and rococo Ward, Philadelphia were under corn- 
carved cartouche and finials of urns mand of Thomas Bradford, and that 
with flames and the one with cartouche opposite Savery’s name as his excuse 
missing are fine examples of this elabor- from complying with the muster call 
ate style. It is more or less a tragedy the explanation has been written in the 
that the cartouche and finials, once seen word “old”. Whether age or Quaker 
by Mr. Palmer on the high chest, when tenets kept him at home we do not 
it was in a former owner’s possession, know, but if he was not at the front, 
now without them, should have dis- he was not behind in his civic obliga- 
appeared. tions for this is the year in which he 
There is scarcely as much as a forlorn paid his £149 16s 6d tax so cheerfully, 
hope that they will ever turn up. Mr. Seven years later he breathed his last, 
Lockwood suggested that the central not guessing, perhaps, that he would 
cartouche of the Savery high chest was pass to an enviable immortality in the 
inspired by the carved cartouche over history of American art craftsmanship. 
HOW to BUILD a POOL 
{Continued from page 102) 
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overhang to create a shadow, the over¬ 
hang being 1" on an average. Then, to 
complete the fine effect of a flush coping 
the water level should come to just un¬ 
der the coping or, if the coping is un¬ 
usually deep, to within 2" of the top. 
The cultivation of plant and animal 
life in a pool is another story, or sev¬ 
eral; but it may be said that tadpoles 
and goldfish help to keep the water 
clear and discourage mosquitoes. 
The winter care of the pool is im¬ 
portant. It should be emptied if it 
can be given a waterproof covering. It 
is common practice, also, to leave the 
water in it, put boards over the top, 
and on the boards pile a quantity of 
manure. Seepage through this cover¬ 
ing will then produce a valuable supply 
of liquid manure that may be bucketed 
out in the spring and used to a splendid 
advantage in the garden. All supply 
and drain pipes that are not below 
frost line should be drained off. After 
all of which, as winter sets in, one can 
only hope for the best. 
