[Illustration: CHIPPENDALE PIECRUST TABLE]
The French styles were the result of many designers working upon common
lines; but in England during the last half of the eighteenth century
certain noted individual cabinetmakers set the fashion, and for a
period of years the designs of Chippendale, Heppelwhite, and Sheraton
were each in turn recognized as the established vogue.
Thomas Chippendale began business in London on his own account about
1735, and evidently rapidly built up a very flourishing establishment,
inasmuch as the “Gentleman and Cabinet-maker’s Director,” which he
published in 1754, contains a wide variety of designs suitable only for
wealthy customers.
[Illustration: CHIPPENDALE SETTEE--FRETWORK]
The “Director” contains many designs that are fantastic, and many that
are difficult and even impossible to execute. Fortunately Chippendale’s
fame does not rest upon these designs, made to catch the eyes of his
richer patrons, but upon the pieces actually made, and it is refreshing
to see how much finer are these latter, evolved by the trained
craftsman, understanding every limitation and every possibility of his
material. Chippendale’s chairs represent by far the best expression
of his genius. Starting with the modified Dutch forms introduced by
William and Mary and Queen Anne, in which the _cabriole_ leg with
ball and claw feet and the flowing curved back with solid splat are
the prominent features, he soon developed an individual style marked
by great dignity, strength, and originality. His earliest chairs are
perhaps the finest. In these the _cabriole_ leg is always employed,
and the side frames of the back curve outward as they run up to more
or less pronounced ears at the top. The top rail takes more or less of
a cupid bow shape, and the central splat fills in the inclosed space.
It is in the design of these central splats and the inclosed framework
that Chippendale is at his best. The almost inexhaustible variety of
figure in these pierced and interlaced centers, always in the happiest
relation to the framework, gives the principal interest to these
chairs, and stamps Chippendale as one of the great masters of design.
[Illustration: CHIPPENDALE ARMCHAIR]
Chippendale’s styles represent many influences. His early work was
patterned closely upon Queen Anne models; but with the “Director”
appeared many examples of Gothic and fretted furniture. The Gothic,
unsuitable as it was for domestic use, obtained little vogue; but the
ornamentation of chairs and tables, either by open or, more commonly,
applied fretwork, was popular for a dozen years or more, and is
characteristic of some of Chippendale’s most successful if not most
showy productions.
During this same period a rage for things Chinese possessed the popular
taste, and in many latticed chair backs and canopied tops of cabinets
the versatile cabinetmaker catered to this new interest.
Besides his chairs, the name of Chippendale is closely associated with
the charming tripod tables, generally made with tilted top and often
with molded or “piecrust” border, with the flat card tables so much
used in the gaming of the period, and with the all-china cabinets and
bookcases with glass fronts, and oftentimes with a characteristic
broken pediment at the top.
The two other men who identified their names with English styles
worked under the influence of the classical revival brought about in
England largely by the influence of the brothers Adam. In the case of
Heppelwhite this influence greatly affected but did not absolutely
determine the style; for this practical cabinetmaker was a man of
independent if not original ideas, and his work bears a strong stamp
of individuality. Heppelwhite died in 1786, and the “Cabinet-maker and
Upholsterer’s Guide,” published by his widow and partners in 1788,
shows us in the form of a trade catalogue much of the spirit and
quality of his work.
[Illustration: CHIPPENDALE TABLE
_This table shows strong Chinese influence._]