HANDLES, FEET, STUFFS, ETC.
In the manufacture of furniture at one time or another nearly every
variety of wood has been used, if not for the body of the frame, then
for its enrichment, and every quarter of the globe has been laid under
contribution. The island of Borneo yielded Amboyna wood, with its
beautiful mottlings and curlings, and a very splendid cabinet was made
of it for the ill-fated Marie Antoinette by the famous cabinet-maker
of her day, Riesener. Ceylon, held by the Dutch as a colony from the
middle of the seventeenth century until nearly the nineteenth, produced
splendid ebony which was used for whole pieces of furniture as well as
for decoration. The French term _ébéniste_, or worker in ebony, was
given to the French makers of fine work.
To what abundant usage oak, walnut, and mahogany was put we know.
Rosewood, too, was another of the choicer materials. Satin-wood, with
its brilliant colour; tulip-wood, more showy still; kingwood, dark and
rich; zebra wood, with its black and white effect, as well as leopard
and partridge woods,--were all in use before 1800. There were, besides,
cherry, yew, pear, walnut, cedar, fir, olive, beech, sycamore, cypress,
chestnut for timber work, poplar, acacia, with limewood and boxwood for
carving.
[Illustration: Figure 98. KITCHEN OF WHIPPLE HOUSE, IPSWICH, MASS.]
For furniture which was to be painted and gilded common deal was used.
In America hickory (nut-wood, as it was called), was very popular among
the native workers, and all the other woods were gradually imported,
except those used for inlaying, an art never much practiced by American
cabinet makers.
After the first leather coverings of cured bull-hide there followed
Spanish or Cordova leather, Turkey-work, cane, rush, tapestry, brocade,
woollen plush, etc., as styles altered from time to time and luxury
increased. In an earlier chapter mention has been made of stuffs that
were in use in the seventeenth and eighteenth centuries for bed and
window curtains, draperies and upholstery. Besides all the varieties
of English goods, large importations came from East India of such
unfamiliar materials, as bejurapants bafts, gorgorans, mulmuls,
jainwars, sallampores, and many others.
Miss Singleton in her "Furniture of Our Forefathers," gives a list
of eighty different stuffs, seersuckers being the only familiar name
among them. Presumably some of these were imported here, and Boston
merchants before 1725 advertised linceys and flowered serges, bangalls,
shalloons, Persians and fustian, kersey, silk crêpes, cherry derry
and grass. Worsted, or hair plush, plain or striped hair-cloth,
damask, furniture dimities, moreen, harrateen and tammy were all to
be bought in the larger cities. Nor were these goods by any means
cheap. Harrateen cost about four dollars a yard in the middle of the
eighteenth century, and a set of curtains of this same material was
valued at $210. Other goods were in proportion; some bedsteads without
beds coming as high as $100. But, once acquired, these household goods
were valuable assets and passed from one generation to another, often
mentioned with great particularity by will.
There are various small details which are of assistance in determining
the approximate period of a piece of furniture, and none of greater
value than the handles. The different styles of these, particularly of
brass, are quite definite. The earliest of them is the drop handle,
shown in Figure 99, and also on the old oak chest depicted in Figure
5. The escutcheons were similar, and the material of the drops on some
chests of drawers was iron, but brass was more commonly seen, and was
either hollow or solid.
After the drop handles followed bail handles of a primitive type, the
handles being fastened in with wires. These handles also were of brass
and were sometimes engraved. The shape of these handles and escutcheons
is known as willow, and appears later in a much more ornate form. See
Figures 56, 57 and 59. By this time the handles were fastened by screw
and nut. By the latter half of the eighteenth century there were in
addition to the elaborate willow brasses (see Figure 64), oval ones
of various styles. This shape was much affected by Hepplewhite on his
sideboards, and by Sheraton in his earlier style (see Figures 35 and
38).
There was a handle starting from two small plates, either round or
oval, frequently seen on swell-front bureaus and desks of 1780 and
thereabouts. One is shown in Figure 99. Beginning at the top of the
page the various handles in use in the eighteenth century are shown in
the order of their appearance.
[Illustration: _Drop Handle._ 1675-1720]
[Illustration: _Early Willow Pattern._ 1720-1760]
[Illustration: _Bail Handle._ 1760-1785]
[Illustration: _Pressed Brass oval._ 1780-1810]
[Illustration: _Rosette and Ring._ 1790-1820]
[Illustration: _Inset Ring. Rosette._ 1800-1820]
[Illustration: Figure 99. HANDLES, ESCUTCHEONS, etc.]
There was also a round handle with a ring lying close within it (Figure
37); and when the Empire style was in favour a rosette with a ring
was used on sideboards, bureaus, writing-tables, etc. See Figures 42
and 60. The rosette with a ring was not the only Empire style, but
there were round knob handles of brass (Figure 37), glass (Figure
38), and brass with medallions of china or enamel. The glass ones,
either transparent or opalescent, were held in great esteem, though
they are extremely ugly on pieces of dark furniture on which they were
usually mounted. In many cases they have been removed, and wooden
knobs substituted; yet if one desires an Empire piece to look as it
did when made, it will be necessary to hunt out, if possible, a set of
these knobs to put on it. This is not so difficult a matter as might
be imagined; for even if the handles come from divers places they will
generally match, as there was small variety in the patterns used.
There was a great demand for these opal glass rosettes. Very large ones
held back the window curtains, smaller ones were used to support the
mirrors, besides those on the furniture. About this same time (1820)
those fine handles which are so eagerly sought for to-day made their
appearance. They were china or enamel set in brass, and the patterns on
the china were often portraits of famous men like Washington, Franklin,
Clinton, and Jefferson. When mounted on a piece of furniture like a
small work-table, which had only two drawers, the four patriots named
would make a set. There were also fancy heads, and sometimes tiny
figures, but these were not so popular.
Brass was put to many other uses, ornamental as well as useful, and
wine-coolers of heavy mahogany were set off with bands of it, and
smaller articles, like pipkins, were either made or bound with it.
Narrow thread-like bands of brass were used for purposes of inlay
and in the lyre-back chairs the strings were brass, as well as the
accompanying ornaments. Brass has always been a valuable commodity in
English manufactures, and in the reign of Henry VIII. Parliament passed
an act prohibiting, under severe penalties, the export of brass, which
prohibition was not withdrawn till as recently as 1799. In 1721 over
thirty thousand persons were employed in brass-founding in Birmingham,
England, and the business has grown until it has become the industrial
feature of that city.
The handles of both French and Dutch furniture were extremely ornate,
consisting of scrolls and leaves, many of them of great beauty and
delicacy, particularly when made of water-gilt or of etched brass.
For the benefit of local cabinet-makers brass handles, escutcheons,
and false keyholes were imported and on sale in America. By 1770 many
cabinet-makers were manufacturing very handsome furniture of mahogany,
cedar, or cherry, requiring handsome brasses to go with them. A
cabinet-maker of Newburyport, R. I., had in his shop at the time of his
death in 1773 much furniture completed and some still unfinished. He
also had several thousand feet of costly timber, sixty brass handles
valued at more than one pound, desk brasses, fifty-four escutcheons,
and old brasses, locks, and screws as well. For bookcase and cabinet
doors he had panes of glass, most of it in sheets measuring 5 × 7
inches, which was the size commonly used in windows at that time.
Although glass had been made in this country for a long time we find
"Bristol crown window-glass" advertised for sale in 1771 in sizes as
large as 9 × 12 inches.
Besides these brasses of English manufacture, we find another merchant
advertising "three dozen Dutch rings and escutcheons at three shillings
a dozen." Handles came at various prices, fifteen, twelve, and eight
shillings a dozen, according to pattern and finish. The escutcheons
were at proportionate prices, eleven and eight shillings a dozen, but
locks came high, a fine-ward desk-lock bringing a guinea.
On much furniture, particularly that enriched with inlay, ivory
escutcheons were used, and sometimes those of holly or other wood used
in the inlay were set in. These were in use during the last years of
the eighteenth century, and can be found in connection with various
styles of handles.
At the "Smith's Fly" were many metal-workers who sold ironware and
goods for cabinet-makers. At the sign of the "Cross Daggers," Thomas
Brown, as early as 1745, had many metal furnishings on hand. There
were latches and bolts for doors and locks for chests, drawers, and
cabinets. He had polished brass handles, locks, escutcheons, and
handsome brass locks for parlours. Ring-drops, tea-chest furniture,
knobs and knockers for street doors, curtain-rings and chafing-dishes
were advertised in 1750, and casters and handles and escutcheons of the
newest fashion were to be found in 1751, with brass chair nails.
A few years later double and single spring chest-locks could be bought,
and these were sold by the same merchant who imported--
--"choice India and Japan gilded Tea Tables, square Dressing
ditto, of which sort none were ever seen in America before."
The rate to be charged for putting on these brasses was set down
in "The Journeymen's Cabinet and Chair-makers Philadelphia Book of
Prices," 1795, mentioned before. Common castors cost 2½_d_ each, and
1_d_ extra for letting in the plate; a set of sockets "when the legs
are tapered, to fit in, per set," 1_s_ 2_d_. Iron or brass rollers were
8½_d_ per pair. Fitting on a box lock was 1_s_ 4_d_, while a patent
lock came extra and cost 2_s_. Lifting handles could be put on for 1_s_
4_d_ per pair. Letting in an escutcheon was 2½_d_ for each one, and
letting in plates for rods in the tops of sideboards were 8_d_ for each
plate. Ivory escutcheons cost 10_d_ each, and those of holly just half
that.
If a person chose to have his furniture made on the premises it was
an easy matter, for many cabinet-makers worked in this way, and the
furniture could be built to suit exactly the prospective owner's
taste and the place it was to occupy. None of the furniture made in
America and little that was imported here, had the superb handles and
escutcheons which were put on French and Dutch pieces. These mounts
were executed and designed by artists, and made a decidedly beautiful
addition to the furniture.
Another distinctive feature of old furniture is the foot, which in many
cases points to period and country as well as if the piece was dated.
After the turned chairs with their heavy lines and clumsy construction,
the furniture which was gradually finding its way from Spain and
Holland seemed very beautiful. The Flemish foot, so called, turns
outward, and is found on very early chairs enriched with carving and
having cane, rush, or turkey-work seats. This style belongs to the last
quarter of the seventeenth century. (For illustrations see Figure 100.)
Chairs of this same period also came from Spain and Portugal, being
covered with the splendid leather of Cordova, which has now a
world-wide reputation. The woodwork of the frames was handsome enough
to correspond with the leather. These frames were carved, and the foot
turned out like the Flemish, but it was of quite a different shape and
fluted (see Figure 100).
This Spanish foot retained its popularity a long time, appearing on
many varieties of chairs almost as late as 1750. It was associated with
cane, rush, leather, and stuff bottoms, was seen on arm and side chairs
with slatted backs, and backs of cane and leather. Sometimes on the
"roundabout chairs," as those having a square seat set with one angle
pointed forward were called (see Figure 57), only the front foot was in
Spanish style, the others being turned knobs which accorded with the
turned legs and rails. Even on some of the so-called Queen Anne chairs
with spoon backs, a modified form of Spanish foot was to be found, but
this eventually gave way to the familiar ball-and-claw cabriole leg, or
the regular Dutch foot (see Figure 11). It is curious that the cabriole
leg with ball-and-claw foot was seen on pieces of furniture like both
the high and low chests of drawers before it was used on chairs (see
Figure 57), and the earliest of these Queen Anne chairs had the bandy
leg with the plain Dutch foot. This foot is used with the solid splat
and the spoon-shaped back with rounded ends to the top.
Chippendale, in his earliest work, began to use the models then in
vogue, and, with the bandy leg which was found only on the two front
legs of chairs, used also a modified Dutch foot. Very soon he used
instead the ball-and-claw foot, with or without the underbrace, and
with the more ornamental foot the splat became pierced and carved and
very ornate and rich. The later straight legged Chippendale chair (see
Chapter III) came into favour, with or without underbraces, and late
in the eighteenth century the other great cabinet-makers came along,
each with his distinctive styles and characteristics. The first of
these is Hepplewhite, who never achieved the success of Chippendale,
who preceded him, nor of Sheraton, who succeeded him, yet whose work is
often very beautiful. He did not, of course confine himself to any one
style of foot or leg, yet on many of his chairs, tables, and sideboards
he used what is called the "spade foot." This was varied in many ways,
but the most common form is shown in Figure 100.
Both Hepplewhite and Sheraton, as well as the other makers of the
eighteenth century, used a variety of shapes of feet, for bureaus,
desks, bookcases, and other pieces which were in no way distinctive.
Each maker used the bracket foot as suited him best, adding curves
to suit his fancy or the exigencies of the case, or inlay or even
carving. A plain bracket foot is shown in Figure 100. The French foot
(Fig. 100) is more ornate and slender, and comes on chests of drawers,
bureaus, etc. Inlay is very often used for its decoration, and it adds
a graceful line to the piece it is used on, which is always of choice
wood inlaid or painted.
[Illustration: _Flemish._]
[Illustration: _Spanish._]
[Illustration: _Dutch._]
[Illustration: _Dutch._]
[Illustration: _Chippendale._]
[Illustration: _Bracket._]
[Illustration: _French Foot._]
[Illustration: _Hepplewhite, or Spade._]
[Illustration: _Sheraton._]
[Illustration: _English Empire._]
[Illustration: _Pillar and Claw._]
[Illustration: Figure 100. FEET.]
The tapering fluted foot which we associate with Sheraton is also shown
in Figure 100. Under his treatment it was nearly always decorated,
either inlaid or carved, or sometimes both. Although we are most
familiar with Sheraton style furniture in mahogany, he made much other
furniture besides, as the following description of drawing-room chairs
shows:
"These drawing-room chairs are finished in white and gold, or the
ornaments may be japanned, but the French finish them in mahogany
with gilt mouldings. The figures in the tablets above the front
rails are on French printed silk or satin, sewed onto the stuffing
with borders round them. The seat and back are of the same kind,
as is the ornamented tablet at the top of the chair. The top rail
is pannelled, a small gold bead mitred round, and the printed silk
pasted on. Chairs of this kind have an effect which far exceeds
any conception we can have of them from an uncoloured engraving,
or even a coloured one."
This does not seem like the furniture we know as "Sheraton", yet
in his books are many similar descriptions. After Sheraton gave up
manufacturing furniture, and wrote only books of descriptions and
patterns, France had passed through the throes of the Revolution,
when the old _régime_ was swept away. Napoleon had been proclaimed
First Consul, and then, in 1802, confirmed for life, and took under
his charge even such minor details as furniture and dress. The styles
arranged to suit his whim found an echo in England. The English Empire,
both at its best and worse estate, could boast of nothing better than a
feeble imitation of the antique, while the French Empire was at least
an expression of the conquests and successes of one man.
Thomas Hope was perhaps the best exponent of this style in England,
and he industriously mingled emblems of the gods and goddesses,
Phrygian caps and Roman fasces, Greek amphoræ, and fabulous animals
on the furniture which he designed. In Figure 100 is shown one side
of a chair designed by him, as also an Empire pillar-and-claw leg, as
rendered by American cabinet-makers. Less ornate and ambitious, the
American treatment of this period is preferable, for the chief use to
which they put brass and bronze, the too-abundant use of which was so
characteristic of this style, was to tip columns or pillars, and, to
some extent, the feet of tables.
The best old furniture which is to be found in the United States is
of this period, which was succeeded by what may be denominated the
black-walnut age, the chief characteristic of which was abundant coarse
carving. Our cabinet-makers were very successful in their treatment
of mahogany, both solid and veneered. The latter work has never been
excelled, and shows its perfection by the good condition in which much
of this furniture, seventy and eighty years old, is found to-day.
The smaller affairs of life which go to make up the sum of necessaries
were woefully wanting in the households of pioneers who battled with
the American wilderness. The importance of the iron pot, weighing
thirty or forty pounds, which descended by will through three or four
generations, has already been pointed out. Pewter and brass ware were
equally esteemed, and pewter, while by no means expensive, was not so
plentiful but that many people managed with a small supply. Pewter
spoons bent and broke, and a substitute, at least in the Connecticut
Valley, was a small clam-shell set in a cleft stick. However much
pewter was owned, whenever the Revolutionary heroes called for
bullets, what there was was cheerfully run into those missiles of war,
and there were many "bees" held all through the Colonies where bullets
were run, and wooden trenchers were whittled out by the young lads to
take the place of the sacrificed pewter. This wooden ware later was
smoothed down by the women of the household with broken glass, and
polished with sand made of powdered limestone.
Some of these wooden articles, made of maple, poplar or apple-wood,
have descended to show with what simple appliances our ancestors were
content. How simple were their pleasures the records of the time show.
In fact, anything so enlivening as a hanging was looked upon as sport
for a holiday. The first State's prison was opened in 1797 at the foot
of Tenth Street, New York city. It was in use for thirty years, till
the structure at Sing Sing superseded it. Grant Thorburn, referring to
a man who was reprieved through the efforts of the Society of Friends,
writes as follows:
"One day I went up to the park to see a man hung. After gazing two
hours at the gallows, the sheriff announced a reprieve. I must own
I was disappointed."
Though amusements and pleasures were few, even such as came along could
not well be enjoyed if the weather were stormy, and in Washington's
diary the entry for November 29, 1789, is, "Being very snowy, not a
single person appeared at the Levee." Clothes could not be risked;
they were too valuable to be subjected to bad weather. Romalls, amens,
casserillias, and ribdilures were high-sounding but perishable. Even
while luxury was considered, health was neglected in many ways, such
valuable adjuncts as tooth-brushes not being in use until about 1782.
Many advertisements appear in the papers of men who combined several
vocations, dentistry being one of them, and in 1789 General Washington,
after much pain during the summer, went into the hands of John
Greenwood, dentist, of 56 William Street, New York, who made him a
set of "sea-horse teeth". This had been a very trying summer, and one
newspaper has it that "raw rum has been found exceeding pernicious in
this extreme," and something lighter, like a "Bishop" or "Lawn sleeves"
was recommended, and study of a book published in England called
"Oxford Night-caps" was suggested as furnishing recipes for various
healthful beverages though it was added that the rum had better be
omitted, "as it is very intoxicating, and therefore pernicious."
The President's guests could choose from among Madeira, claret,
champagne, sherry, arrack, spirits, brandy, cordials, porter, beer, and
cider, yet, with it all, unseemly intoxication seems to have been the
exception.
Domestic discipline in New York was enforced on servants, whether bound
or free, by means of an official who was stationed at the calaboose
on the common, and who, for a fee of one shilling, gave a thorough
whipping.
Education was fostered and colleges throve. By 1760 the records state
that the "King's College (Columbia) buildings were so far completed
that the officers and students began to lodge and mess therein."
This was in accordance with the terms of the charter, which further
provided that the students were to wear caps and gowns and to be
within the gates at a certain hour. The plan of education, like our
belongings, was copied from England, and our college was, in the most
material parts, to be like Queen's College, Oxford. The tuition fee
when General Washington entered his step-son, John Parke Custis, there,
was five pounds per annum, with room-rent four pounds, and board at the
rate of eleven shillings weekly.
The late Andrew P. Peabody, writing of college life at Harvard in 1820,
says:
"Coal, just then coming into use, had hardly found its way into
college. The student's rooms, several of the recitation-rooms as
well were heated by open fires. Friction matches, which according
to Faraday were the most useful invention in our age, were not
yet."
He says that the feather-bed was a valuable asset (this article had
held its own for centuries), but that ten dollars would have covered
the other contents of a student's room. It had no carpet, and a pine
bedstead, a washstand, table and desk, and three or four chairs were
all it contained, besides a cannon-ball to be heated on extra-cold
nights, and rolled down stairs on warm ones, "at such time as might
most nearly bisect a proctor's night's sleep."
Our maternal great-great-grandmothers must have had little leisure to
spare from the duties that occupied their time. Yet many of them had
still-rooms where they not only compounded the medicaments whereby
many a family was raised from infancy, but where they made extracts
and essences as well. They made, too, from the flowers and herbs that
grew in their gardens, pomander-balls, which were used instead of
vinaigrettes, the outer case being of silver or gold, and often as
large as an orange.
Those whose stock of trinkets did not boast one of these metal cases
used the rind of an orange, the inside being carefully extracted,
and a sponge with vinegar and spices being inserted in its place.
Rose-balls made of leaves beaten to pulp, mixed with sweet spices, and
rolled into a ball, soon became hard, resembling the rosaries made in
the south of France. When held in the hand they became very fragrant
from its warmth. Simpler than any of these was a rosy apple stuck full
of cloves and giving out a fragrance years after the apple had lost
all appearance or consistency of being a fruit, and awakening in the
mind an image of her who made it in some quiet garden long ago. Like
an antique spice-ball, all this old furniture that we have passed in
review has an aroma of its own compounded by the hand that built it,
the person that owned it, and the scenes that it has lived through.
Many a sober old chair could discourse of experiences ranging from
grave to gay, from lively to severe, and every one of these antiques,
whether a treasured heirloom or a reclaimed derelict, has a charm that
is not easily excelled.
INDEX.
"A Brief Description of New York", 35
Adam Brothers, 49, 68, 73, 74, 75, 80, 85
Adam, Robert, 55, 73, 74, 75, 175, James 73, 74
Addison, 56
Advertisements, 124, 125, 129, 137, 138, 144, 205, 214, 215, 228
Albany, City of, 22, 28, 29, 45
Albany Historical Society, 29, 37, 105, 135, 145, 194
Allyn, Alexander, 32
Almacks, 64
Amboise, 148
Amboyna wood, 222
Amelia Sophia, Princess, 64
André, Major, 83
"Annals of New York," Watson, 112
Anne of Austria, 149
Antiquarian Society, Concord, Mass., 114
Aubusson, 154, 158
Auction Sales, 67, 68
Ball-and-Claw, 53, 66, 70, 119, 123, 229, 230
Bancker, Gerard, 134
Bank of England, 11
Barjeer, 81
Baroque, 4
Bartolozzi, 74
Bass viol, 192, 193
Battle Abbey, 68
Bayard, Colonel and Mrs., 107
"Bear's Paw", 53, 54
Beaufait, 111
Beaumanor Park, 5
Beauvais, 156, 158, 159
Beaver skins, 38
Beds: 7, 38, 114, 115, 116, 118, 119, 126, 127, 133, 137, 138, 139,
169, 170, 223, 224
Canopy, 72
Chinese, 72
Dome, 72
Elizabethan, 8
English, 137
Field, 72, 137, 138
French, 137, 139
Flock, 27
Folding, 76
Gothic, 72
High four post, 72, 137
Low four post, 137, 139
Press, 81
Sofa, 72, 86
Summer, 86
Tent, 72
Bed-curtains, 9, 114, 137, 138, 139, 223
Bedsteads, 7, 56, 170
Bedford springs, 109, 110
Bellomont, Lord, 107
Belvoir, 117
Bergavenny, Lady Joanne, 7
Beverly, Robert, 98, 116
Bibles, 45
Bills of exchange, 11
"Bird's claw", 54
Block foot, 82
Blois, 149
Blondel de Nesle, 190
"Blue Boar Inn", 5
Bookcases, 57
Book of Sun-Dials, 197
Boston, 100, 101, 119, 121, 141
Boston Museum of Fine Arts, 23
Boucher, 156, 157
Boulle, 4
Boulle, André, Charles, 159, 160, 161, Sons 160
Bowdoin, James, 144
Bracket foot, 132, 230
Bradley, Sarah, 36
Brass, 226
Brasses, 226, 227, 228
Bricks
English, 96, 97
Dutch, 97
New England, 97, 121
Brickmakers, 97
Britten, Charles, 209
British Museum, 207
Broglie, Prince de, 126
Buchanan, President, 110
Bull-baiting, 129
Bureau, 19
Burnet, Governor, 123
Butler, Captain Lawrence, 126
Byrd, Colonel, 97
Cabinet, 42
Makers, 137, 140, 141, 146, 147, 226, 227, 232
"Cabinet-Maker and Upholsterer, and General Artists Encyclopedia,
By T. Sheraton", 86, 88
Cabriole, 53, 66, 70, 229
Caffieri, 163, 164
Cane furniture, 24, 59
Candles, 123, 124
Candlewood, 123
Cards, Dutch, 44, 45
English, 122
Card tables, 63, 80
Carpets, 44, 113
Carriages, 113
Casement, 76
Castors, 228
Catherine of Braganza, 24, 59, 63, 208
Cedar, 56
Chairs, 22, 123, 134, 187, 229, 230
French, 48, 58
Hepplewhite, 77
Leather, 23
Russia Leather, 98
Rush bottom, 106
Sets of, 106
Spanish, 23, 229
Windsor, 88, 112, 113
Chambers, Sir William, 55
Chambord, 148
"Chancelleries", 155, 157
Chapin, Abel, 142
Chapin, Mistress David, 34
Charles I, 15, 202, 203.
II, 24, 25, 26, 154, 202, 203
Charleston, 96, 180, 181, 182, 195
Chenonceau, 148
Chests, 11-21, 40, 112, 132, 141, 163
Chicopee, 34
"Chinese and Gothic Architecture", 49
Chinese designs, 48, 58
Furniture, 55, 56
Style, 43, 48, 56
Taste, 49, 55, 62
Chippendale, 48-72, 77, 86, 87, 119, 123, 135, 213, 230
Ornaments, 52, 57, 58, 66, 69
Choir singing, 184
Clavichord, 174
Clement, William, 209
Clepsydra, 199
Clocks, 71, 163, 197-221, 200
Banjo, 219
Brass works, 215
French, 214
Lantern, 202
Long case, 209, 218
Mantel, 219
Mottoes, 212
Price of, 215, 216
Springs, 216
Wooden works, 216
Clockmakers
Burnap, Daniel, 215
Carmichael, John, 213
Clark, Herman, 216
Clement, William, 209
Clowes, James, 212
Downs, Ephraim, 220
Fox, Isaac, 207
Francis, Basil, 215
Gould, Christopher, 213
Graham, George, 204
Hanks, Benjamin, 215
Harland, Thomas, 216
Harris, Richard, 201
Harrison, J., 210
Hoadley, Silas, 216
Hopkins, Asa, 216
Huyghens, 203
Ives, Chauncey, 220
Knibb, Joseph, 212
Lepante, 214
Le Roy, Julien, 214
Lownes, James, 212
Merriman, Silas, 216
Monks, 213
"N. O.", 200
Peck, Timothy, 216
Quare, Daniel, 204
Rittenhouse, David, 217
Rose, Joseph, 207
Tenny, William, 215
Terry, Silas B., 217
Terry, Eli, 215
Thomas, Seth, 216
Tompion, Thomas, 202
Vick, Richard, 213
Villiamy, 201
Willard, Simon, Aaron, Benjamin, Simon, Jr., 219
Cocoa-Tree Club, 64
Colbert, 154, 155
Cold Spring, 133
"Colonial Furniture", 201
Colonial furniture, 95-148
Colonial houses, 101
Connecticut chest, 20, 108, 141
Continental Congress, 134
Cooper Institute Museum, 31, 46, 74, 167, 172
Cornbury, Governor, 137, 138
Costume, 29, 59, 60, 100-103, 106, 107, 120, 129, 136, 142, 144, 145,
151-153, 162, 167-169, 233
Counters, 65
"Court Records of New Amsterdam", 11, 42
Cowles House, 113
Cox, William, 36
Coytemore, Widow, 100
Cressent, Charles, 161
Cristofori, 174, 176, 177
Cromwell, Oliver, 202, 203
Culpeper, Thomas, 6
Cupboards, 43, 46, 111, 136, 140
Curaçao, 30
Current moneys, 34
Curtains, 114, 223
"Cymbeline", 12
Danvers, 100
David, 170
Dedham, 100
Deerfield Memorial Hall, 99, 108, 141, 192, 193
Denton, Daniel, 35
Desks, 132, 135
"Designs for Household Furniture" T. Sheraton, 86
Desmalter, Joseph, 171
D'Estaing, Count, 143
Diggs, Mrs., 98
Dilke, Lady, 149, 159
Dining-rooms, 112
Dining-tables, 78
Domestic discipline, 234
"Domestic Life of Thomas Jefferson", 186
Dorchester, 100
Drinks, 234
Drop handles, 42
"Duchess", 81
Dudley, Robert, 98
Dutch
Cards, 44, 45
Chests, 46
Costume, 29
Foot, 229, 230
Furniture, 18, 28-47, 56, 59, 91, 99
Silver, 45
Silversmiths, 40, 41
Utensils, 34
Wills, 32
Earl of Arundel, Richard, 7
Eaton, Theophilus, 21
Easy chairs, 54, 82
East India, 48, 80, 223
Ébénisté, 222
Ebony, 43
Embroidery, 166
Empire furniture, 90, 91
Empire style, 88, 92, 135, 146, 170, 171, 172, 225, 231, 232
England, 112, 145, 197, 199, 206, 218
Epes, Colonel Francis, 17, 139
Escutcheons, 224, 226, 227, 228
Esopus, 133
Evelyn's Diary, 59, 154
"Fairfield", 104
Faneuil, Andrew, 119, 120
Faneuil, Hall, 121, 143
Faneuil, Peter, 120, 121, 122
Feet, 228, 229
Fiot, Julius, 196
Fire-buckets, 31
Fireplace, 145
Flaxman, John, 75
Flemish foot, 228, 229
Flemish Style, 25
Flock beds, 27
Fontainebleau, 148, 149, 154, 161, 169, 170, 171
Foot-bank, 24
Forks, 98, 120, 132
Fox, Charles James, 64
Fox-hunting, 128
France, 148-150, 154, 168, 169, 231
Francis I, 148, 149, 154. II, 148
French chairs, 48, 58
Court, 150
Foot, 82, 230
Furniture, 52, 148-173
Revolution, 90, 157, 169
Taste, 59, 71
"French Furniture of the XVIII Century", 149, 159
"Fret", heraldic, 208
Fretwork, 62
Frigate Brandywine, 221
Frison, John, 98
Frost, Miss Sarah, 66, 147
"Furniture of Our Forefathers", 28, 223
Gaine, Hugh, 124, 125
Galileo, 201
Gambling, 63-65, 162
Gardiner, Lion, 22
Gatty, Mrs., 197
Gautier, William, 112, 113
Geib, John & Sons, 194, 195
"Gentleman's Magazine", 199, 207
George I, 60
II, 60, 64, 65
III, 55, 74, 213
IV, 64
"Gesso", 73, 175
Gillow, 91
Glass, 226, 227
Gnomon, 197
Gobelin, 154-157
Goler, George W., 213
Graham, George, 204
Grand Trianon, 170
"Great Bed of Ware", 8
Greek and Roman Style, 73
Guildford, 100, 102
Guildhall Museum, 210
Hadley Chest, 20, 141
Halfpenny, William, 49
Hancock, John, 143, 144
Hampton Court Palace, 210
Handles, 132, 140, 146, 222-236
Bail, 224
Brass, 226
China, 225
Drop, 224
Glass, 225
Rosette, 225
Watergilt, 226
Willow, 224
Harmonica, 193
Harps, 188, 189, 190, 191
Harpists, 190, 191
Harpsichord, 174, 176, 185, 187, 188, 193
Harris, Richard, 201
Harvard College, 103
Haward, John, 174
"Hawkin's History of Music", 179
Haynes, John, 21
Hempstead, 35, 45
Plains, 128
Henrico County, 98, 139
Hepplewhite, 69, 71, 76-80, 85, 87, 119, 132, 138, 224
Hessians, 135
"Highboy", 140
"History of Boston." Drake, 179
"History of Music in Boston." Dwight, 191
"History of Music in New England." Hood, 182
"History of New England." Palfrey, 102
"History of New York." Smith, 66, 67
"History of South Carolina." McCrady, 96
"History and Present State of Virginia.", 115
"Historic Landmarks of Maryland and Virginia.", 185
Hitchcock, Deacon Justin, 192
Hitchcock, Thomas and John, 174
Hobbs, Richard, 98
Hochbrücker, 188
Hogarth, 59
Hollingbourne Manor, 6
Hooker, Robert, 203
Hope, Thomas, 231
Horologe, 209
Horse-racing, 128, 129
Hotel Montmorency, 1
Hour-glass, 199, 200
Hoyt, William M., 80, 107, 139, 213, 219
Ince & Mayhew, 48, 49
Independence Hall, Philadelphia, 112
Inns, 142
Inventories, 17, 21, 22, 26, 32, 33, 37, 38, 41, 45, 98, 100, 102,
103, 105, 108, 109, 117, 122, 123, 133-136, 139, 142, 187
Italian Work, 150
Italy, 148
Jacobean Furniture, 9, 10, 12
James I., 9, 11, 15, 205
II., 64
Jamestown, 95
Japanning, 5
Jefferson, Thomas, 48, 186
Joined Work, 5
Johnson, Thomas, 48
Johnson Hall, 187
Josephine, Empress, 169, 170, 171
"Journal of the Pilgrims at Plymouth", 26
"Journeyman's Cabinet and Chair-Makers Philadelphia Book of Prices", 109
Kauffmann, Angelica, 73, 74
Kidd, Captain William, 37
Killgore, A., 92
Misses, 93, 111
King's Chapel, 179, 180
King's College, 234, 235
King David, 189
"King Hooper House", 114
"King Richard's Bed", 6
Knife-boxes, 82, 89
Kitchen Utensils, 122
Lacquer, 4, 145, 210
Lady Joanne Bergavenny, 7
Lady Moody, 13
Lake, Mrs., 21, 119
Lamb, Charles, 199
Lamberton, George, 26
Lamps, 123, 124
Lanterns, 120
Le Brun, 154, 155
Lemaire, 156
Le Notre, 150
"Letters of Pacification", 183
Library, 118
Lignum-vitæ, 122
"Lining-out", 182, 183
Little Trianon, 165, 169
Lloyd, Cornelius, 97
Lock, Matthias, 48
Lockwood, 141, 201, 219
London, 97, 120, 122, 141
London Cabinet-Maker's Society, 76
London Clock-Maker's Company, 201
Long Island, 45
Long Island Dutch, 34
Looking Glasses, 43, 70
Louis XII., 149
XIII., 148
XIV., 71, 150-155, 157-159, 161, 172
XV., 52, 57, 161-163, 165, 172, 173, 176
XVI., 158, 165, 167, 172, 173
Louvre, 148, 160
"Lowboy", 143
Luynes, Duc de, 157
Madison, Dolly, 84
Mahogany, 43, 44, 51, 54, 58, 61, 81, 84, 86, 90, 91, 109, 117, 123,
132, 138, 140, 172, 232
Maintenon, Madame de, 151
Manwaring, Robert, 49
Mansart, 151
Marie Antoinette, 165, 166, 169, 172, 188, 222
Marlborough, Duke and Duchess, 67
Marquetry, 3, 46
Martin Brothers, 164, 165
Maryland, 96
Massachusett's General Court, 101
Memorial Hall, Philadelphia, 15, 56, 61, 70, 196
Metal mounts, 55, 139, 146, 163-167, 171-173, 211
Metropolitan Museum, New York, 46, 177, 188
"Mischianza", 83
Michaud, Doctor, 83
Monticello, 186, 187
Montgomery, General, 164
Morris, Mrs., 126
Moulding, 19
Mount Vernon, 116, 117, 185, 197, 219
Mott, Charles, 33
"Music in America." Ritter, 184
Musical glasses, 193
Musical Instruments, 174-196
Musical Societies, 195
Naderman, 188
Napoleon, 146, 149, 170, 171, 231
Napoleonic style, 91
New Amsterdam, 28, 31, 35, 36, 45
Court records of, 11, 42
Newbury, 101
New England, 26, 28, 99, 103, 108, 141, 180
New Haven Colony, 20, 26, 201
New Jersey, State Library, 135
New York, City of, 32, 34, 44, 45, 126, 128, 198, 215
"New York Gazette and Weekly Mercury", 109, 113, 129, 144
"New York Records of the Revolution", 134
Newport, 218, 219
Nutwood, 31, 223
Oak, American, 18
English, 10
Spanish, 59
Oeben, 165
"Old Manse", 88
"Old Palace Yard", 200, 201
Old Songs, 185, 186, 195
"Old State House", Boston, 111
"Old Stone House", 100
"Olden-Time Music", Brooks, 185
Olive-wood, 14, 15
Oliver, Mrs. B. H., 105
Oort, John, 36
Organs, 178-182, 184, 191
Organists, 179, 181
Ormolu, 4, 163, 164, 169, 211
"Overdoors", 49
"Over-mantels", 71
Panelling, oak, 2
Peabody, A. P., 235
Pembroke Tables, 82
Pendulum, 208-211, 215, 217
Penn, William, 104, 105
Pennsylvania, 104
"Pennsylvania Stoves", 113
Pepys's Diary, 63, 175, 191, 205, 207, 208
Percier & Fontaine, 90
Percy, George, 97
Pergolese, 73, 74
Pesaro, Domenico di, 175
Pewter, 232, 233
Philadelphia, 83, 84, 103, 106, 109, 112, 126, 127, 134, 215, 217
Piano, 174, 176-178, 191, 193-196
Pickering, Rev. Theophilus, 108
Pomander Balls, 235, 236
Pompadour, Madame de, 162
Pratt, Phineas, 141
Pringle House, 96
Psaltery, 189
Quare, Daniel, 204, 210
Queen Anne, 59, 64, 211, 229
Queen Caroline, 60
Queen Catherine, 63
Quincy, Josiah, 97, 181
Rails, 18
Raleigh, Sir W., 51
Rappahannock, 98
"Record of the Damages done by the British," etc., 135
Regency, 160, 161
Renaissance, French, 148, 149
Furniture, 10, 14
Revolution, 82, 97, 127, 132, 133
Rich, Charles, 84
Richard Coeur de Lion, 190
Riesener, 165, 166, 222
Ripley, Rev. Ezra, 88, 108, 114
Rittenhouse, David, 217
Rochefoucauld, Duc de La, 151
Rococo, 3
Roelantsen, Adam, 35
Rosewood, 54, 147
Salem, 84, 108, 121
Santvoordt, Cornelis Van, 133
Satin-wood, 73, 80, 81
Schenectady, 28
"Set-work.", 22, 27
Sèvres, 146, 163
Sewall, Rev. Samuel, 17
Shaw, Henry, 6, 8
Shearer, Thomas, 69, 76-78, 91
Sheets, 137
Sheraton, Thomas, 69, 71, 77, 78, 84-91, 99, 113, 140, 146, 147,
224, 230, 231
" foot, 85
Sideboards, 69, 77, 78, 86, 90
Silver Furniture, 10
Singleton, Miss, 28
Singing-schools, 183
Sleeping-bunk, 42
Smith, George, 91
Smith, Captain John, 15, 95
South Carolina, 180, 181
South Carolina College, 53
South Kensington Museum, 8, 25, 54, 188
"Spade-foot", 74, 81, 230
Spandrels, 212, 213
Spanish chairs, 23
Foot, 23, 229
Leather, 22, 23, 223
Style, 25, 229
"Specimens of Early Furniture", 6
"Spectator", 59
Spinet, 174, 175, 185
Splat, 53, 58, 66, 77, 123, 229, 230
St. Cecilia Society, 181
St. Martin's Lane, 52
St. Paul's Chapel, 164, 183
St. Philip's Church, 181
St. Simon, 153
Staffordshire, 93
Steenwych, Madam, 30
Stiles, 18
Stillrooms, 235
Stools, 10
Stoves, 145
Strawberry Hill, 56, 75, 138
"Strong-box", 134
Stuarts, 15
"Style" French, 149
Sun-dials, 197, 199
Table, old oak, 9
Tadema, Alma, 73
Taine, M., 152
Tapestry, 154, 159
Tayloe House, 94
Tea, 62, 144
Caddies, 57
Tables, 61, 62
Temple, Sir William, 198, 199
Terry, Eli and Silas, 215, 220
Testers, 8
"The Cabinet-Maker & Upholsterer's Guide, or Repository of Designs for
Every Article of Household Furniture, etc." By A. Hepplewhite, 77, 78
"The Cabinet-Maker & Upholsterer's Drawing Book.", By T. Sheraton, 86
"The Decorative Part of Civil Architecture", 55
"The Gentlemen's & Cabinet-Maker's Director", 50, 52, 54, 65, 72, 123
"The Journeyman's Cabinet and Chair-Makers Philadelphia Book of
Prices", 138, 228
"The London Cabinet-Maker's Book of Prices", 76
"The Maccaroni Magazine or Monthly Intelligence of the
Fashions & Diversions", 129
"The Magazine a la Mode, or Fashionable Miscellany", 129
Tinder and Steel, 42
Tobacco, 96
Tompion, Thomas, 202, 208, 211, 213
Trundle-bed, 42
"Turkey-work", 23
Turned-wood work, 24
"Twenty New Designs of Chinese Lattice and other Works for Staircases,
Gates, Pailings, etc.", 49
"Universal System of Household Furnishing", 48
Upholstery stuffs, 223
Van Rensselaer, 40, 41, 45, 140, 146
Vatican, 91
Veneering, 3
Venetian paste, 124
Vernis-Martin, 164, 165
Versailles, 150-153, 159, 168, 170, 171
Virginal, 174
Virginia, 96-98, 115, 116, 126, 140, 185, 219
Wainscot, 51, 111, 112, 149
Wall papers, 113, 114, 157
Walpole, Horace, 56, 64, 138
Wardrobes, 72, 164
Ware, Isaac, 50
Waring Galleries, London, 19, 25, 42, 47, 81, 87, 89, 159, 169
Washington, D. C., 94
Washington, General, 90, 116, 117, 197, 220, 233, 234
Watches, 200-202, 206
Watches, striking, 206
Watteau, 168
Wayside Inn, 143
Wedgwood, Josiah, 75, 124
West India Company, 35
West Indies, 112
Weymouth, 141
Whipple House, 90, 99, 137
Whitfield's House, 102
Wigs, 125
William III., 211
Willards, Simon, Aaron, Benjamin, Simon, Jr., 219
Wine coolers, 61, 89, 90
Winthrop, Governor, 100
" Mrs., 101
"Wooden ware", 117, 233
Woods, 108, 136, 137, 141, 222, 223, 226
Worcester, 52
"Works in Architecture by Robert and James Adam, Esquires", 74
Yale University Library, 123
Youghal, 51
Zucchi, 74
End of Project Gutenberg's The Old Furniture Book, by N. Hudson Moore