The dimensions that he gives are 6 feet, 4 inches for the length; 7
feet, 6 inches for the height; and 5 feet for the width. The long and
tightly rolled and covered bolster below the ornamental head-board is
the style he required for all his beds. Pillows never appear. This bed,
as well as the Dome Bed just described, is dated 1753. This bed can be
greatly simplified by substituting for the carved cornice and headboard
plain ones following the same general outlines covered with the same
materials as the curtains, and plain feet may be covered with a deep
valance that touches the floor. Chippendale himself suggests such
treatment when his beds are thought too difficult of execution. However,
he prefers the wood to show, as is natural to a carver, because in his
ten very handsome designs for bed pillars he says “they are all designed
with pedestals, which must certainly look better than Bases of stuff
around the Bed, and the Pillars seem to be unsupported.”
Another bed has pillars “composed of reeds with a palm branch twisting
round,” the pillars being 8 feet, 6 inches high; and the bedstead 6
feet, 7 inches long and 6 feet wide.
The “Field” or “Tent beds are heavily draped, but the curtains and
festoons are made to take off, and the laths are hung with hinges for
the convenience of folding up.”
Another, is a “Chinese Bed,” the “curtains and vallens are tied up in
drapery, the tester is canted at each corner, which makes a sort of an
elliptical ornament or arch, and if well executed will look very well.”
Another bed “may be gilt, or covered with the same stuff as the
curtains.”
Before dismissing the four-post beds, the question of cornices must be
considered. Chippendale gives numerous designs for “Cornices for Beds or
Windows.” These are carved and are supposed to be gilt, or painted, or
japanned, brightened with gold. Such designs as the scroll and leaf are
frequent, as shown in No. 1 on Plate XL. while other ornaments are the
crown, the urn, the shell, the eagle, the draped urn, the grotesque dog
or monkey’s head holding the ends of two garlands in his mouth, the
long-tailed and open-beaked bird.
Turning now to the Canopy, Couch and Sofa beds, we find Chippendale
describing a “Couch with Canopy. The Curtains must be made to draw up in
Drapery, or to let down, when it is occasionally converted into a Bed.
This sort of Couch is very fit for alcoves, or such deep Recesses as are
often seen in large Apartments. It may also be placed at the end of a
long gallery. If the Curtains and Valances are adorned with a large gold
Fringe and Tassels, and the ornaments gilt with burnished gold, it will
look very grand. The Crane at the top of the Canopy is the Emblem of
Care and Watchfulness: which I think it not unbecoming in a place of
rest. The length of the bed cannot be less than 6 feet in the clear, but
may be more if required. The Breadth is 3 feet or more, in proportion to
the length. The height may be determined by the place it is to stand
in.”
Another “Couch bed,” he tells us, “was made for an alcove in Lord
Pembroke’s house, at Whitehall.” This bed is a sofa of sweeping curve,
three short cabriole legs supporting it in front. A stiff rolled bolster
is placed at each end of the sofa crosswise. Four slender posts hold a
canopy draped and decorated with a Chinese feeling, only tassels are
used for ornaments instead of bells. The drapery is arranged in four
symmetrical festoons, caught back gracefully at the sides and falling
nearly to the short leg of the sofa. This was really a kind of _lit de
repos_ rather than a bed properly speaking; but there is one that can be
used either as a sofa or a bed. He describes it as follows: “A Chinese
Canopy with Curtains and Valances tied up in Drapery, and may be
converted into a Bed by making the front part of the seat to draw
forward, and the sides made to fold and turn in with strong iron hinges
and a proper stretcher to keep out and support the sides when open. The
curtains must be likewise made to come forward, and when let down will
form a Tent.”
Another of his designs is a “Chinese Sopha with a canopy over it, with
its curtains and vallens all tied up in drapery. This design may be
converted into a bed, by having the Sopha so made as to come forward,
the curtains to draw to the front of the Sopha, and hang sloping, which
will form a sort of a tent, and look very grand. The ornaments are
designed for burnished gold.” Another “is a Chinese Sopha, intended for
the same use as the former; the design is different from the other, and
if well executed by an ingenious workman, it cannot fail of giving
content.”
Another “Chinese sopha” is represented on Plate XLI., which is purely a
sofa and not a bed. This has a pagoda-shaped canopy decorated with bells
and the drapery arranged in formal festoons. At the back is a piece of
silk ornamented in the style of Boucher, and the sofa, which is a French
_canapé_, bears a design reminiscent of Watteau,—a “gallant scene”
showing a lady in a large hat and flowing gown seated on a bank while
her companion is a gentleman in a cocked hat.
Specific directions accompany four designs of Sofas. “When made large,
they have a bolster and pillow at each End,” and Cushions at the Back,
which may be laid down occasionally and form a mattress. The upper sofa
is designed to have the Back Corners Circular, which must look well. The
Sizes differ greatly; but commonly they are from 6 to 9 or 10 feet long;
the Depth of the Seat from Front to Back from 2 feet, 3 inches, to 3
feet; and the Height of the Seat 1 foot 2 inches with casters. The
scrolls are 18 to 19 inches high. Part of the carving may be left out,
if required.
The _chaise longue_ also appears, and of it the designer says: “This is
what the French call ‘_Péché Mortel_.’ They are sometimes made to take
asunder in the middle: one part makes a large easy chair and the other,
a stool, and the feet join in the middle, which looks badly.” This, of
course, is the _duchesse_, consisting of a _fauteuil_ and a _tabouret_
(see pages 208 and 209). Chippendale recommends for this a “thick
mattress, 6 feet long in the clear; and 2 feet, 6 inches to 2 feet
broad.”
Turning now to the chairs, a close examination will show almost double
the number actually represented; because Chippendale often gives
different motives for carving on the two sides of the special chair. He
draws French chairs, Gothic chairs, Chinese chairs, Garden chairs, Hall
chairs and his favourite “Ribband Back chairs.” The latter, one variety
of which appears to the reader’s left on Plate XXXVIII., is one of
“three Ribband-back Chairs, which, if I may speak without vanity, are
the best I have ever seen (or perhaps have ever been made). The Chair on
the left hand has been executed from this Design, which had an excellent
effect, and gave satisfaction to all who saw it. I make no doubt but the
other two will give the same content, if properly handled in the
execution.”
The length of the front leg is 19 inches; the rail of the seat
(upholstered with small nails touching one another) is 22¾ inches; the
seat is 18 inches square; and the back from seat to top rail 22 or 23
inches high. “If the seats are covered with red morocco,” Chippendale
assures us, “they will have a fine effect.”
Describing a series of eighteen chairs, Chippendale says these “are
various designs of Chairs for patterns. The front feet are mostly
different for the greater choice. The seats look best when stuffed over
the rails and have a Brass Border neatly chased; but are most commonly
done with Brass Nails, in one or two Rows; and sometimes the Nails are
done to imitate Fretwork. They are usually covered with the same stuff
as the Window Curtains. The Height of the Back seldom exceeds twenty-two
inches above the Seats.”
Another set is thus described:
“Eight designs of French chairs, which may be executed to advantage.
Some of them are intended to be open at the Back; which makes them very
light, without having a bad effect.” (The Dimensions are the same as
those given above, “only that the highest Part of the Back is 2 feet, 5
in.”) But sometimes these Dimensions vary according to the Bigness of
the Rooms they are intended for. A skillful workman may also lessen the
carving without any Prejudice to the Design. Both the Backs and Seats
must be covered with Tapestry, or other sort of Needlework.
We also find:
“Four designs of French chairs with Elbows and for the greater Variety,
the Feet and Elbows are different. The little moulding, round the Bottom
of the Edge of the Rails, has a good Effect.” The Backs and Seats are
stuffed, and covered with Spanish leather or Damask, etc., and nailed
with Brass Nails. The seat is 27 Inches wide in front, 22 Inches from
the Front to the Back and 23 Inches wide behind; the Height of the Back
is 25 Inches, and the Height of the Seat 14½ including Casters.
The “French chair” is the _fauteuil_, and the designs of the covers as
represented in his third edition show design, in the “Chinese taste,”
flowers, birds, pagodas, balustrades, mandarins and jars, or designs
from Æsop. For example, one dated 1759, shows the dog crossing the brook
with a bone in his mouth.
Of “Six Designs of Chairs for Halls, Passages, or Summer Houses,” he
says: “They may be made either of Mahogany or any other Wood, and
painted, and have commonly wooden Seats. The Height of the Gothic Back
is two Feet, four Inches, and the others one Foot, eleven Inches, and
the Height of the Seat seventeen or eighteen Inches. If you divide the
Height of the Backs in the Number of Inches given, you will have a
Measure to take off the Breadth of the circular Parts of each Back.
Arms, if required, may be put to these chairs.”
Again, he gives “two designs of Chairs for Gardens and a long Seat.”
One, considered “proper for Arbours,” has a branch for a leg, garden
tools crossed form the back, which is surrounded by blades of grass bent
in an oval form. The seat, which “may be placed in Walks or at the Ends
of Avenues,” is 7 feet and has in the centre a leaf or shell. The second
chair, “proper for grottoes,” is composed of two shells, one forming the
back, the other the seat, the legs are dolphins standing on their tails,
the cabriole leg formed by the arch of the dolphin’s neck.
Four plates give “a variety of new pattern chairs, which, if executed
according to their designs, and by a skillful workman, will have a very
good effect. The fore feet are all different for your better choice. If
you think they are too much ornamented they can be omitted at pleasure.
The proper dimensions of those chairs are 1 foot, 10 inches in the
front; 1 foot, 5½ inches behind; and 1 foot 5 inches from the front of
the back foot to the front rail; the back, 1 foot, 10½ inches high; the
seat 1 foot, 5 inches high; but that is made lower according as the seat
is to be stuffed.”
Two plates present “six new designs of Gothic Chairs; their feet are
almost all different, and may be of use to those that are unacquainted
with this sort of work. Most of the ornaments may be left out if
required. The sizes are the same as in the preceding chairs, and may be
lessened or enlarged, according to the fancy of the skillful artist.”
“Three Gothic chairs” “are suitable to a library and eating-parlours.”
“Nine Designs of Chairs after the Chinese Manner ... are very proper for
a Lady’s Dressing-Room: especially if it is hung with India paper. They
will likewise suit Chinese Temples. They have commonly Cane-Bottoms,
with loose Cushions; but, if required, may have slipped Seats and Brass
Nails.”
The backs and legs are of fret work. The seat is 19 inches deep, 17
inches long; the back, 20 inches high, and the legs from floor to seat,
17 inches, and those made of pierced fretwork are 2½ inches wide.
Three plates show “nine Chairs in the present Chinese manner, which I
hope will improve that taste, or manner of work; it having yet never
arrived to any perfection; doubtless it might be lost without seeing its
beauty: as it admits of the greatest variety, I think it the most useful
of any other. The sizes are all specified on the designs. The three last
I hope will be well received, as there has been none like them yet
made.”
The width of the square leg was 2½ inches, seat front rail, 1 foot, 10
inches; back of seat, 19 inches, depth, 17½; height of back, 19½ inches.
Another leg, 1½ inches wide; 17 inches high; (or 2½ if carved in
open-work fret) front seat rail, 22½ inches; back of seat, 19 inches;
depth, 17 inches; height of back from seat, 20 inches.
Four plates give “eight different designs of French Elbow Chairs, of
various patterns, which I hope will be of great use, if properly
applied. Some of those chairs are design’d to be open below at the seat,
which greatly lightens them, and has no ill effect. The common sizes are
as follows: 2 foot, 3 inches in front, 1 foot, 11 inches over behind; 1
foot, 10 inches from the front of the back to the front of the seat
rail. The seat is 1 foot, 2½ inches high; the height of the back, from
the seat, is 2 feet, 3 inches; but those dimensions differ according as
the rooms are larger, or smaller: the ornaments on the backs and seats
are in imitation of tapestry, or needlework. The carving may be lessened
by an ingenious workman without detriment to the Chair.”
[Illustration: PLATE XL]
The full drawing to the reader’s right on Plate XXXVIII. shows a Gothic
chair. Nos. 5, 6, 7 and 8 are typical chair backs, No. 5 being
“Chinese,” as is plainly shown by its fret-work and mandarin hats. Nos.
3 and 4 are the legs of “Chinese chairs,” and No. 9 the leg of a “French
chair.”
In not one of Chippendale’s drawings of chairs does the simple
ball-and-claw foot occur. In one or two instances, however, there is a
lion’s claw, or paw.
We find the straight, square leg; the straight leg carved with a chute
of husks and resting on a square base; the cabriole leg, ending in a
kind of scroll and resting upon a leaf; a leg resting upon a shell; a
leg formed of a bunch of reeds wrapped with a ribbon; a leg ending in a
hoof, with a ram’s head carved on the spring of the cabriole knee, a
lion’s claw holding a very flat ball; and a leg upon which a curious
sort of wingless dragon is crawling. (See Plate XXXVIII., No. 9.)
Another leg shows a dolphin’s tail gracefully carved upon a cabriole
curve, while his head is used for the foot. In another chair the
dolphin’s tail is used for the foot. Fret-work is used in the Gothic and
Chinese designs.
The Chinamania had by no means subsided in Chippendale’s day. The case
or shelf full of choice bits of porcelain was to be met with in many
rooms, and always in the lady’s boudoir and dressing-room. In
Chippendale’s first book, a number of china cases, Chinese cases,
Chinese hanging shelves and Chinese shelves standing on feet appear, and
even one labelled “India cabinet” shows the same style of treatment,
which is, of course, either fret-work or a conglomeration of pagodas,
mandarin hats, Chinese figures, bells and turned-up edges mingled with
leaves and scrolls and dripping water. In the first edition of
Chippendale’s book (Plates CV., CVI., CVII., CVIII. and CIX.) are china
cases. “The latter,” he says, “is a very neat china case upon a frame,
with glass doors in the front and ends; betwixt the middle feet is a
stretcher, with a little canopy which will hold a small figure. This
design must be executed by the hands of an ingenious workman, and when
neatly japann’d will appear very beautiful.” This is the china case that
is shown on Plate XXXVIII., and is dated 1753. The glass doors are
enriched with ornate vines thick with leaves and flowers and dripping
water. The ornaments of the top and sides are decorated with little
bells, and there is a generous use of fret-work. Plate CX. of the first
edition also shows a “china case with glass doors;” and Plate CXI.
another, of which Chippendale seems to be very proud. He says it is “not
only the richest and most magnificent in the whole, but perhaps in all
Europe. I had a particular pleasure in retouching and finishing this
design, but should have much more in the execution of it, as I am
confident I can make the work more beautiful and striking than the
drawing. The proportion and harmony of the several parts will then be
view’d with advantage and reflect mutual beauty upon each other. The
ornaments will appear more natural and graceful, and the whole
construction will be so much improv’d under the ingenious hand of a
workman as to make it fit to adorn the most elegant apartment.”
[Illustration: PLATE XLI]
China cases on which to place the china are most elaborately carved; one
of these in the Chinese style “may be soft wood and japanned, or painted
and partly gilt.” A china case very proper for a lady’s dressing-room
may “be made of any soft wood and japanned any colour.”
Hanging shelves for china are shown in Nos. 3 and 4 on Plate XLII. The
latter is confessedly “in the Chinese taste.” In some of his highly
ornamental cabinets the ornaments are intended to conceal the joining.
He says: “They may be brass or silver finely chased and put on, or they
may be cut in filligree work in wood, brass or silver.”
Chippendale fills four plates with a variety of Chinese railings, “very
proper for gardens and other places, and may be converted (by the
ingenious workman) to other uses.”
It is not likely that any confessed admirer of the French would neglect
the commode. Sometimes he labels them “buroe dressing tables,” “commode
bureau tables” and “French commode tables.” This is what he calls one
design, dated 1753, which appears on Plate XLII., which has drawers at
the top and in the middle and doors at the ends. “The ornaments should
be carved very light,” he remarks, and these are a delicate kind of
fret-work below the three top drawers and a profuse display of dripping
water with leaves in the ovals of the doors, while the bottom is
ornamented with leaves and the feet are leafy scrolls. Nos. 6 and 7
(Plate XLI.), are also portions of French commode tables, the former has
drawers at the side and is enriched with the _rocaille_ work of which
Chippendale was so fond and the favourite dripping water. No. 7 shows
only the leg.
The lady’s dressing-table received much attention from Chippendale. As a
rule, he made it of rosewood ornamented with rich brass-work, and
further decorated it with festoons of drapery. One, dated 1761, is
described as a kind of commode. On top was a glass that came forward on
hinges, on either side was a cupboard plain or silvered (i. e.
quick-silvered); inside were drawers and pigeon-holes. “Two have been
made of rosewood, which have given entire satisfaction,” adds
Chippendale. All the ornaments were gilt and the dressing-drawer was
full of compartments for all the little trinkets that are so necessary
to women.
A Toilet, or Dressing-Table, for a lady is described as follows: “The
Dressing Drawer under the glass should be divided. On the top is a large
looking-glass which comes to the front with joint hinges, and over it a
compartment, and on each side, and parts with doors that represent
drawers. The ornaments should be gilt in burnished gold, or the whole
work may be japanned and the drapery may be silk damask with gold fringe
and tassels.”
[Illustration: PLATE XLII]
Another toilet for a lady’s dressing-room is thus described: “The glass,
made to come forward with folding Hinges, is in a carved frame, and
stands in a compartment that rests upon a plinth, between which are
small drawers. The drapery is supported by Cupids, and the Petticoat
goes behind the Feet of the Table, which looks better. The ornamental
parts may be gilt in burnished gold or Japanned. A China case in the
Chinese style, may be of soft wood and Japanned, or painted and partly
gilt.” A china case “very proper for a lady’s dressing-room may be made
of any soft wood and Japanned any colour.” Chippendale’s convenient
shaving-tables, and basin-stands, dressing-boxes and all other furniture
for the dressing-room with their folding glasses and compact arrangement
of drawers and partitions, prove that many years before Sheraton’s time
there was a demand in England for such articles. Clothes-presses,
wardrobes, chests, etc., also show that in Chippendale’s book nearly
every article of furniture for every kind of a room is to be found.
One of his shaving-tables has rigid, simple lines, very like Sheraton,
with “a folding top and a glass to rise out with a spring catch.” “There
are places for soap, razors, bottles,” and there is a device “to bring
the glass forward when the gentleman is shaving.” With it is a bason
stand with a glass to rise on the shaving table. Three other bason
stands are merely frames for the bason to stand in.
The bookcase received a great deal of attention from Chippendale. The
“Gothic Library Bookcase,” a good example of which is shown on Plate
XXXIX., seems to be one of his favourite types. Others he describes as
“a rich Gothic Library Book-Case, with Gothic columns fix’d upon the
doors to open with them; the doors are different, but may be made alike
if required. This design is perhaps one of the best of its kind and
would give me great pleasure to see it executed, as I doubt not of its
making an exceeding genteel and grand appearance. The upper doors are to
be glazed.”
Again we have “a Desk and Book Case in the Chinese taste: the doors are
intended for glass, and will look extremely well. The small columns on
the canopy above the cornice project forwards. The fret-work at the
bottom of the Book-Case is for two small drawers.” There is also “a
small desk and Book Case in the Gothic taste.”
For these he gives numerous designs of trimmings for ornamental
glass-doors, a specimen of which appears on Plate XLII., No. 2. Other
bookcases were combinations of bookcases and writing-desks. Some of them
he calls “bureau desk and bookcase.” Two examples of the desk and
bookcase are shown as Nos. 2 and 3 on Plate XXXIX. One of these has many
of the so-called “Gothic” characteristics, with its pinnacles and
crockets, although the inverted C and shell-like scroll is in evidence,
while the other is quite “Chinese,” with its fretwork and
umbrella-shaped ornaments despite the dripping-water decoration upon the
glass doors. Sometimes another combination appears of a dressing-table
with a bookcase, and a table and bookcase is not uncommon either. A
writing-table and bookcase for a lady has “the middle feet come out with
the drawer, which hath a slider covered with green cloth or Spanish
leather for writing upon.”
Chippendale designed convenient library furniture, the forms of which
are solid and intended for comfort. His “buroe tables” usually consist
of two square tiers of drawers hollowed out in the centre and covered by
a large slab. Sometimes he makes a sweeping line as in No. 1 on Plate
XXXIX. On the same Plate, No. 5 exhibits the knee-hole of another “buroe
table” ornamented with a little carving. No. 5 on Plate XLI. shows one
end of a “library table.” Other tables are described as follows:
“A Gothic Table with different feet, the one solid, the other cut thro.”
“A Gothic Writing-Table, with one long drawer at the top, doors at each
end, drawers in the inside, and a recess for the knees.... The columns
are fixed to the doors and open with them.... This table has been made
more than once from this design, and has a better appearance when
executed than in the drawing.”
“A Gothic Library Table, the corners canted, and a Gothic column is
fixed at each corner; that fixed upon the doors, and opens with them.”
Another writing-table “hath a writing Drawer which draws out on one end
and has Term feet to support it.” The top “rises with a double horse to
stand to read or write upon.” Another plate shows a Library Table with
circular doors at each corner.
A writing-table in the Gothic taste has a “recess for the knees, and the
pillars are fixed to the Doors and open with them.”
“A Library table” has “drawers and doors on both sides with upright
Partitions for Books and Drawers for Works.”
Of another Library table he says: “The ends form an oval with carved
terms fixed to the Doors and which must be cut at the astragal, base
mouldings to open with the Doors.”