78 
House & Garden 
rinoka 
Guaranteed Sunfast 
Draperies & Upholsteries 
P\0 you realize that the 
charm of a room may 
be completely marred by the 
wrong draperies? 
Review your windows crit¬ 
ically. The hangings should 
be of fabrics softly toned, 
falling gracefully in continu¬ 
ous folds. And they should 
be permanently sunfast fabrics 
so that they will not fade, 
streak, or get bedraggled. 
The beautiful Orinoka 
Guaranteed Sunfast 
Fabrics last. They stand the 
tests of the strongest sun, the 
chance “raining-in,” and the 
most frequent tubbings with¬ 
out the slightest change of 
color. Every color is absolutely 
guaranteed not to fade . 
Insist upon the name 
Orinoka —the genuine sun¬ 
fast. Guarantee tag attached 
to every bolt. Write for our 
booklet, “Draping the 
Home,” and name of your 
nearest dealer. 
Our Guarantee .• Theje goods are guaranteed absolutely fadeless. If color 
changes from exposure to the sunlight or from washing, the merchant is hereby 
authorized to replace them with new goods or refund the purchase price. 
ORINOKA MILLS, Dept. G Clarendon Building, New York 
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Collecting Couches, Settees and Sofas 
(Continued from page 26) 
headpiece appears to have been station¬ 
ary, but no doubt comfort soon sug¬ 
gested the later movable headpiece, a 
device more popular with the English 
than with the Continental day bed or 
couch makers, in so far as I have been 
able to observe. 
In height the best day beds were 
slightly lower than chair seats. The 
Jacobean pieces have the characteristic 
carved or turned legs. Undoubtedly 
many of these couches found their way 
to the Colonies during the early period 
of American history. Captain William 
Tinge (1653) had inventoried such a 
[ couch, and a cane bottomed one be¬ 
longed to the Bulkelys and is now in 
the Antiquarian Society, Concord, Mass¬ 
achusetts. John Cotton (1652) was an¬ 
other early Colonial couch owner, and 
one might call attention to many others 
who made mention of such household 
objects in their carefully drawn inven¬ 
tories now preserved to us by the various 
antiquarian societies throughout the 
country. 
William and Mary and Queen Anne 
The couches of the William and Mary 
period (1688-1702) conformed to the 
simpler forms that succeeded the Ja¬ 
cobean carved furniture. Not only were 
the rarer woods employed in their manu¬ 
facture, but as the couch had come 
to be looked upon as a necessity in the 
cottage as well as in the mansion, the 
I more ordinary woods were utilized also. 
Many of these couches were exported 
to the American Colonies which, in their 
turn, copied their forms and otherwise 
adopted them. Upholstered couches now 
began to come more commonly into use 
than the earlier couches which were de¬ 
signed to be fitted with cushioned seats. 
During the period of Queen Anne 
(1702-1714) the houses of the rich were, 
as a rule, beset by ultra-decorative fash¬ 
ions and in them luxury was expressed 
in much of the furniture as well as in 
other furnishings. However, such de¬ 
lightful specimens of the walnut furni¬ 
ture of the period, simple, elegant and 
tiuly beautiful in line exist that we may 
rest assured that good taste was enjoyed 
in the homes of the middle classes. 
C ouches of this period will, therefore, 
be found to reflect the extremes. 
The cabriole leg, the leading char¬ 
acteristic of Queen Anne furniture, soon 
made its appearance in the couch sup¬ 
port. The word cabriole, which was 
adopted from the French cabriole, or 
goat-leap, was chosen to suggest the 
form of the support which was thought 
to resemble the leg of an animal in the 
act of leaping. 
Upholstery became even more popular 
than ever as enormous quantities of silks 
and velvets were being produced during 
Anne’s reign. Chintzes and printed cot¬ 
tons, too, were in demand for couch 
covers. Lacquered couches and mar- 
queterie couches were also in vogue dur¬ 
ing this reign, but few of these appear 
to have survived, and such as have are 
treasured accordingly. 
About 1720—two years after Anne’s 
death—mahogany came into general use 
in furniture making. Cabinet-makers 
lost no time in employing this wood in 
the making of couches. Seven years 
after this, Thomas Chippendale and his 
father were established in London. In 
1749, Chippendale opened his Conduit 
Street shop in the Longacre section. 
Here he worked until his removal to St 
Martin’s Lane. A year after, in 1754, 
he brought out his famous book, “The 
Gentleman and Cabinet-Maker’s Di¬ 
rector.” 
The Master Makers 
The couches were being supplanted to 
a gi eat extent by the sofa during the 
time of the Georges in which Chippen¬ 
dale lived, but such couches as remain 
show the various Chippendale lines. 
The Brothers Adam (1672-1792), fol¬ 
lowing their taste for Italian things, and 
designing for lighter woods and forms, 
gave more attention to the couch perhaps 
than Chippendale had done. Unlike the 
Chippendale couches, the Adam couches 
were without the end support. George 
Hepplewhite, who died in 1786, gave to 
English furniture a well defined style. 
The fust edition of his “The Cabinet 
Maker and Upholsterer’s Guide” was 
published by his widow, Alice Hepple¬ 
white, in 1788. Hepplewhite, as had the 
Brothers Adam, came strongly under the 
influence of the classic. Hepplewhite 
couches employ an end such as that 
which upholstered sofas had suggested. 
Also the Hepplewhite couches received 
inspiration from the French furniture 
of the time. In his book Hepplewhite 
(Continued on page 80) 
A Chippendale double 
chair-back settee of 
the period of 1735-50. 
The breadth of the 
chairs was exaggerated 
to produce the desired 
proportions. Courtesy 
of the Metropolitan 
Museum of Art 
A dam settee of 
carved mahog¬ 
any. 1775 -80. 
Courtesy Metro¬ 
politan Museum 
of Art 
