SIDEBOARDS, BUREAUS, TABLES, ETC.
The present interest in antiques has brought into prominence the
old-time furnishings, and as a result ancient hiding places have been
forced to give up their treasures, and hitherto little appreciated
relics are now reinstated with all their original dignity. The architect
of the twentieth century is responsible in a great measure for this, for
in his zest to give to modern homes the best that could be afforded, he
has seen fit to revert to early types for inspiration; and with the
revival in favor of these specimens, genuine antiques have come to be
appreciated, and their value has correspondingly increased.
Included among these old-time pieces are chests, which in early days did
service for numerous purposes. In America they were first fashioned by
workmen who came to this country from foreign lands, through the efforts
of the first governor, John Endicott, many of them being employed on
plantations, where much of their work was done. These chests were made
of the wood of forest trees, which then grew so plentifully, and are
rude and simple in construction, in striking contrast to the rich,
hand-carved, mahogany chests, which many of the colonists brought from
the motherland, packed with their clothing, and which, later on, were
shipped here in large numbers. Old inventories frequently mention both
these types of chests, those manufactured here generally being spoken of
as "owld pine chests." They were principally used in the chamber and at
one side of the fireplace in the general room, the larger ones to hold
family necessities, such as the homespun clothing and anything else that
needed to be covered, while the smaller ones served as receptacles for
the skeins of wool from which the handy housewife fashioned the family
wearing apparel.
Such chests were an intimate part of the home life in those early times,
and viewing their quaintness it is not hard to picture the scenes of
which they were a part, when the house mother, in her homespun gown,
busily spun at her old clock wheel, drawing the skeins from the chest at
her side, while the little ones, seated on rude benches before the open
fire, carefully filled the quills for the next day's supply. Mayhap
the eldest daughter fashioned on the big wheel, under her mother's
guidance, her wedding garments, weaving into them loving thoughts of the
groom-to-be, while the song in her heart kept time to the merry whirr of
the wheel.
Of the larger type of the "owld pine chest" is the treasured specimen at
Georgetown, known for many generations as the magic chest, and so called
from the feats it is said to have performed in the early days of its
history, such as walking up and down stairs, and dancing a merry jig
when a deacon sat upon its lid. It stands to-day quiet and demure,
giving no hint of its former hilarious tendencies, though it is no
longer used for its original purpose,--the storing of meal for the
family use.
[Illustration: PLATE XXX.--Sheraton Night Table; Block Front Bureau
Desk, owned by Dr. Ernest H. Noyes, Newburyport, Mass.; Cellarette,
1700, owned originally by Robert Morris.]
With the betterment of financial conditions, the rude pine chests went
out of fashion, and in their stead beautiful hand-carved specimens were
brought from foreign countries. Many of these show exquisite coloring,
any number of examples being still preserved; sometimes they were placed
in the chamber, but more frequently on the landing at the head of the
stairs.
[Illustration: PLATE XXXI.--Dressing Glass with Petticoat legs; Empire
Bureau, 1816.]
Chests with drawers were in fashion as early as 1650, according to the
old records, many of them handsomely carved, and all showing little
egg-shaped pieces upon the drawers. Some of the finest of these old
chests are shown in the Waters collection at Salem. Generally they were
fashioned of oak, and a frequent characteristic was a lid on top which
lifted off, allowing for the packing of large articles, while the
drawers at the front were used for storing smaller things. Sometimes
chests are found constructed on frames, but not often. This type was
probably fashioned to hold linen, being the forerunner of the high chest
of drawers which came into vogue in the later days of the seventeenth
century. Up to some time after 1700, chests continued in general use,
though it is doubtful if they were made in any great quantity after
1720. The number of legs found on these chests varies with the time of
making, some showing six, while others have but four.
[Illustration: PLATE XXXII.--Chest of Drawers, 1710; Six-legged High
Chest of Drawers, about 1705.]
With the advent of the high chest of drawers, other woods than oak, such
as walnut and cherry, and later mahogany, became popular; the use of
these woods produced a marked change in chest designs, notably in the
massiveness of build. Many specimens of both types are found throughout
New England, one very fine example of the early type showing the drop
handle, which is a characteristic of the early chest, being included in
the Nathaniel B. Mansfield collection. Another of the later type, now in
the Pickering house, carefully stored away that no harm may befall it,
shows on one side the initials of Colonel Timothy Pickering, who used it
during his army days.
[Illustration: PLATE XXXIII.--Dressing Table with Brass feet; Bureau and
Dressing Glass.]
Dressing tables were made to go with these chests, following the same
lines of design, though constructed with four rather than six legs.
These came to be designated as "lowboys" in distinction from the chests
mounted upon high legs, which were known as "highboys." Examples of both
were found in the old General Abbot house at Salem, until a few years
ago; while a highboy, showing bandy legs, a characteristic of the
earliest high chest, is a prized possession in the Benson home, also at
Salem.
Many highboys and lowboys show inlay work, one of the former, of English
manufacture, being found in the Warner house at Portsmouth, while
another, of different style, is shown in the Osgood house at Salem.
Lowboys were made to correspond with every style of the high chest, and
frequently they were constructed of maple, beautifully marked, after
the fashion of the chests made of walnut and cherry. Highboys sometimes
took the form of a double chest, showing drawers extending almost to the
floor, and mounted on varied-style feet, frequently of the claw-and-ball
type. These, as well as lowboys, continued to be regularly used until
well into the last quarter of the eighteenth century. Hepplewhite's book
of designs, published in 1789, shows models for chests of drawers
extending almost to the floor, but it is not probable that they were
made in any number after this date.
[Illustration: PLATE XXXIV.--Block Front Bureau Desk, owned by Nathan C.
Osgood, Esq. One of the best specimens in New England; oak paneled
Chest, about 1675.]
The desk occupied a prominent place in New England homes in the early
days of the colonies, though not to the extent of the other and more
necessary articles of furniture. It varied in size and design according
to the period of its manufacture, the earliest type being little more
than a box that locked, with flat or sloping top, and placed on the
table when used. This type was often ornamented with rich carving, and
sometimes it was arranged upon legs, with a shelf beneath.
The form in common use about 1700 was known as the "scrutoir," being in
reality a desk resting on a chest of drawers; the sloping front opened
on hinges, and afforded a writing desk. One example of this type, fitted
with ball feet, and showing secret drawers and many cupboards, is found
in the Ropes house in Salem, being an inheritance from the original
owner, General Israel Putnam. Another of equal interest is in the home
of Mrs. Guerdon Howe at Haverhill. This originally belonged to Daniel
Webster, who was at one time a law partner of Mr. Howe's grandfather.
This desk, which was brought to the house after the death of Webster, is
filled with old and interesting letters.
[Illustration: PLATE XXXV.--Secretary, showing shell ornamentation;
Highboy with shell ornamentation and ball and claw feet, 1760; Highboy
with shell ornamentation.]
The earliest "scrutoirs" were of foreign manufacture, chiefly English,
but by 1710 they were being made in this country. These early American
"scrutoirs" are very plain in form, generally made of cherry, though
occasionally one is found constructed of walnut. After the first quarter
of the eighteenth century, American manufacturers improved their output,
and made some very handsome specimens of the type known as bureau desks.
One excellent example of the very early bureau desk of foreign make is
found in the possession of the Alden family, having been brought to this
country in the _Mayflower_ by John Alden himself.
By 1750 the desk in its various forms had come to be considered an
important part of the household equipment, and in their manufacture
many woods were employed, such as mahogany, cherry, apple, and black
walnut, sometimes solid, and sometimes veneered. The following thirty
years saw the advent of many new styles, two of which were more dominant
than the rest; one of these was the development of the early "scrutoir,"
and the other the forerunner of the bookcase desk or secretary.
During this period Chippendale designed several desk models, the most
notable of which was probably his secretary, characterized by Chinese
fret designs in the glass doors, and an ingenious arrangement of secret
drawers. In 1790 Hepplewhite followed with his designs, many of which
were severe in contour, being wholly straight in front and arranged with
two glass doors above, sometimes fancifully framed. Then Sheraton's
desks and secretaries came into favor; many of his models showed
practical features and beautiful finish, and after 1793 were generally
characterized by inlay work, with the lower portion consisting of a
cupboard instead of the usual drawers.
[Illustration: PLATE XXXVI.--Dressing Table, 1760; Mahogany Commode,
collection of Nathan C. Osgood, Esq.]
During these latter days of the eighteenth century, beautiful
secretaries were manufactured in this country, ranging in form from the
very plain to the very elaborate, but after 1800, when some few
French Empire desks found their way here, serving as models for American
manufacturers, the domestic output became less graceful, depending for
beauty on the grain of the veneering used.
Many of all these types of desks are found throughout New England, one
particularly good specimen being shown in the Noyes house at
Newburyport. This belongs to a period antedating the Revolutionary War,
and shows the oval which is characteristic of its type. Among its
features are paneled doors one and one half inches thick.
Though the date of their introduction was not until well along in the
eighteenth century, sideboards are prominent among the old-time
furnishings, and in the highest state of their development they were
articles of beauty and utility. In reality they are a development of the
serving table, which came into vogue in the first half of the eighteenth
century, and in form are a combination of the serving table and its
accompanying pieces. At first they were little more than unwieldy,
unattractive chests of drawers, gradually developing to their best form,
with carved front, slender legs, and other details. In their
construction, mahogany was chiefly used, inlaid with satinwood, holly,
tulip, and maple, and veneered occasionally with walnut; and they showed
in their finished lines the best work of the skilled craftsman. The last
type of the old sideboard showed Empire characteristics, being more
massive than graceful, but yet containing features of marked beauty.
While Chippendale is often credited with having made sideboards, no
record of this fact is found among his designs, though he makes frequent
mention of several large tables, which he calls sideboard tables. No
doubt, many of the sideboards credited to him were made by Shearer, a
designer to whom belongs the credit of originating the sideboard, and
who included in his designs pieces with curved and serpentine fronts, a
style which was later perfected by Hepplewhite. There is no doubt that
Hepplewhite made sideboards, for in his book of designs he shows a
sideboard model, with a deep drawer at each end and a shallow one in the
center, as well as four different designs in the table form, without the
drawers, which are similar to Chippendale's work. Hepplewhite's
sideboards are characterized by square legs, often ending in the
spadefoot, the ends sometimes square and sometimes round, the front
swelled, straight, or curved, affording a great variety to his work.
Generally his sideboards are made of mahogany, and almost invariably
they are inlaid, though occasionally they show carving.
Sheraton also designed sideboards, and while in general appearance they
somewhat resemble Hepplewhite's designs, in many respects they are
superior. They were equipped with any number of devices, such as
cellarets, closets for wine bottles, slides for the serving tray, and
racks for plates and glasses, and many of them are lavishly ornamented
with inlay work, though few show carving.
[Illustration: PLATE XXXVII.--Sheraton Sideboard; Simple form of
Sheraton Sideboard, with line inlay around drawers and doors. Date
1800.]
Examples of all these types are found in the colonies, one of
Hepplewhite design showing the fine inlay work and graceful proportions
typical of his pieces and originally owned by Governor Wentworth, being
in the possession of a Salem family. Another, of Sheraton make, is
preserved in the Stark home, having been brought here from the Governor
Pierce house at Hillsboro. Another of like make is found in the Howe
house, having originally belonged to an ancestor of the present owner,
Governor John Leverett, governor of Massachusetts during the time of
King Philip's War.
Shortly after 1800, the style of sideboard greatly changed, becoming
more massive, with the body placed nearer the floor, and the legs
shorter. French Empire styles influenced the manufacture in this country
to a great extent, though carving and the grain of the wood were still
depended upon for ornament, rather than the French features. The best
examples of this type are to-day found in the South; 1820-1830 saw the
advent of a plainer model, being in reality an adaptation of one of
Sheraton's types; in the following years other variations were made, all
showing the heaviness of the Empire style in a more or less degree,
until about 1850, when the architectural merits of the sideboard
disappeared.
Intimately associated with the sideboard is the table which probably
shows more variety in design than any of the other old-time furnishings.
From the table board or top used in 1624, square, oval, or round in
contour, evolved the butterfly table popular about 1700, many examples
of which are found throughout Connecticut. These followed in form the
outline of a butterfly, and were supported by pieces of wood shaped much
like the rudder of a ship. Other types popular here were the Dutch
table, the hundred-legged table, the dish-top table, and the tea table.
The first table used in this country was the table top, which was
literally a board made separate from its supports, which was taken off
and placed at one side of the room after meals. This showed different
forms, and was known by different names, one called the chair table, and
so constructed that when not in use it served as a seat, being probably
the most unique. It was invariably fashioned with drawers.
Included in the later designs were writing tables fashioned by Sheraton,
showing elegant carving at the back, the most decorative of these, known
as the "Kidney" based table, being used either for writing or as a
lady's worktable. Another model of Sheraton's was a worktable known as
the Pouch Table, arranged with a bag of drawn silk. These were often
fitted with drawers and a sliding desk, which drew forward from beneath
the table top.
The dining table of this period showed the pillar and claw style with
central leg fixed to a block, on which the table hinged. This principle
received the support of the English people for many years, and Sheraton
tables of this make had four claws to each pillar, and castors of brass.
So much did Sheraton designs resemble those of French artisans that only
close inspection will decide as to which cabinet-maker a certain piece
belongs.
Following this type came the telescopic table, showing extensions fitted
through slides moving in grooved channels.
Other later tables were card tables, which closed and could be stood
against the wall when not in use, the pie-crust table of the Dutch style
of make, and the table with scalloped moldings carved from solid pieces
of wood, with legs terminating in claw-and-ball feet. Tables of Empire
design often have brass feet and lyre supports, while others show the
rope carving and acanthus leaf.
Popular types of the later days of the eighteenth century were Pembroke
tables, small and of ornamental design, with inlaid tops and brackets to
supply the two side flaps, as well as Pier tables, circular or
serpentine in shape.