proportions are as follows: height, 3 feet, 1 inch; height to seat
frame, 17 inches; depth of seat, 17 inches; and width of seat in front,
20 inches. Many chairs, however, are recommended to be made “according
to the size of the room or pleasure of the purchaser.” For coverings of
drawing-room chairs, such as Nos. 1, 5 and 8 on Plate LVI., silks and
satins of light colours with printed oval medallions, or floral designs
were used, and more particularly stripes, which were becoming more and
more fashionable in France. Blue, or red, morocco leather, put on with
ornamental brass nails, is another popular method of upholstering these
articles. One of Heppelwhite’s instructions is that “leather backs or
seats should be tied down with tassels, of silk or thread.” For the open
back and carved chair, such as Nos. 2, 3, 4, 6 and 7 on Plate LVI. silk,
satin, and leather are used, and horsehair, figured, checked, plain, or
striped, is also popular.
No. 7 on Plate LVI., which may be of mahogany, or japanned, has a cane
bottom in the original design, and “should have a cushion of linen,
leather, etc.”
Some of Heppelwhite’s carved chair-backs are square, and anticipate
those of Sheraton represented on Plate LXII.; but he was fonder of the
shield form. Backs of this shape were covered as in No. 5, Plate LVI.,
or had carved and open-backs, as the other examples shown on the same
Plate.
Of chairs he writes:
“Chairs in general are made of mahogany, with the bar and frame sunk in
a hollow, or rising in a round projection with a band or list on the
inner and outer edges. Many of these designs are enriched with ornaments
proper to be carved in mahogany. Mahogany chairs should have the seats
of horsehair, plain, striped, chequered, etc., at pleasure, or cane
bottoms with cushions, the cases of which should be covered with the
same as the curtains.
“For chairs, a new and very elegant fashion has arisen within these few
years, of finishing them with painted or japanned work, which gives a
rich and splendid appearance to the minuter parts of the ornaments,
which are generally thrown in by the painters. Several of these designs
are particularly adapted to this style, which allows a framework less
massy than is requisite for mahogany, and by assorting the prevailing
colour to the furniture and light of the room, affords opportunity, by
the variety of grounds which may be introduced, to make the whole accord
in harmony, with a pleasing and striking effect to the eye. Japanese
chairs should have cane bottoms, with linen or cotton cases over
cushions to accord with the general hue of the chairs.”
The full drawing on Plate LVI. is “an easy chair,” which Heppelwhite
calls also a “Saddle Check,” the “construction and use of which is very
apparent: they may be covered with leather, horsehair, or have a linen
case to fit over the canvas stuffing, as is most usual and convenient.”
Chairs with stuffed backs he called “cabriole.” No. 5, on Plate LVI., is
labelled a “cabriole chair.” Heppelwhite assures us that it “is of the
newest fashion.” It consists of a shield-shaped back; a little cushion
upon the arm, fastened by means of tiny nails; and a leg composed of
reeds bound with ribbon, surmounted by the square patera that hides the
joining.
[Illustration: PLATE LV]
Twelve designs of chair backs, resembling chairs of the Sheraton style,
are “proper to be executed in mahogany or japan; some of them applicable
to the more elegant kind of chairs with back and seats of red, or blue,
morocco leather; in these backs, which are sometimes made a little
circular, are frequently inserted medallions, printed or painted on silk
of the natural colours; when the backs and seats are of leather, they
should be tied down with tassels of silk or thread.”
“Stools,” he says, “should match the chairs, the framework should be of
mahogany, or japanned, and of course should be covered like the chairs.”
His “window stools” are particularly graceful. They are intended to be
placed directly under the window, and their “size must be regulated by
the size of the place where they are to stand; their heights should not
exceed the heights of the chairs.” Two of his designs, which he
considers “particularly adapted for an elegant drawing-room of japanned
furniture,” are covered in “taberray or morine of pea-green or other
light colour.” The one represented on Plate LV. is of “carved mahogany
with furniture of an elegant pattern.” He assures us that this “will
produce a very pleasing effect.” Another one he recommends to be
“japanned and covered with striped furniture;” and two others are
“covered with linen or cotton to match the chairs. One is tufted and
ornamented with buttons and the other has a scalloped valance trimmed
with fringe. A tiny tassel hangs in the centre of each scallop.”
The general characteristics of the stuffed Heppelwhite sofa appear in
the full drawing on Plate LIV., which also shows the correct covering
fastened to the frame by a border of gilt nails. The dimensions of the
sofa vary according to the size of the room, but the “proportion in
general use” is as follows: length from 6 to 7 feet; depth about 30
inches; height of the seat frame, 14 inches; and total in the back, 3
feet, 1 inch. “The woodwork should be either mahogany or japanned, in
accordance to the chairs, and the covering also must be of the same.” A
long square sofa he calls “the newest fashion,” and recommends that “the
frame should be japanned, with green on a white ground and the edges
gilt; the covering of red morocco leather.”
French forms and names were just as popular with Heppelwhite as with
Chippendale. On Plate LIV., No. 5, is shown a confidante of
Heppelwhite’s design. He writes:
“This piece of furniture is of French origin, and is in pretty general
request for large and spacious suits of apartments. An elegant
drawing-room, with modern furniture is scarce complete without a
Confidante, the extent of which may be about nine feet, subject to the
same regulations as sofas. This piece of furniture is sometimes so
constructed that the ends take away and leave a regular sofa; the ends
may be used as Barjier Chairs.” The last name refers to the _bergère_.
Heppelwhite writes of the _duchesse_:
“This piece of furniture also is derived from the French. Two Barjier
chairs of proper construction, with a stool in the middle, form the
Duchesse, which is allotted to large and spacious ante-rooms; the
covering may be various, as also the framework, and made from 6 to 8
feet long. The stuffing may be of the round manner as shown in the
drawing, or low-stuffed with a loose squab, or bordered cushion, fitted
to each part; with a duplicate linen cover to cover the whole, or each
part separately. Confidantes, sofas and chairs may be stuffed in the
same manner.”
[Illustration: PLATE LVI]
Another variety is the “bar back,” which appears as if four open-back
chairs (similar to No. 7, Plate LVI.) are placed side by side, the two
end ones being supplied with an elbow, the general outline of which
follows that of No. 8, or No. 5, on Plate LVI. We are told that this
kind of sofa is of modern invention; and “the lightness of its
appearance has procured it a favourable reception in the first circles
of fashion. The pattern of the back must match the chairs; these also
will regulate the sort of framework and covering.”
Heppelwhite’s beds are much lighter in general appearance than
Chippendale’s, both with regard to framework and the hangings. “Beds are
an article of much importance,” he thinks, “as well on account of the
great expense attending them as the variety of shapes and the high
degree of elegance which may be shown in them. They may be executed of
almost every stuff the loom produces. White dimity, plain or corded, is
peculiarly applicable for the furniture, which, with a fringe or
gymp-head, produces an effect of elegance and neatness truly agreeable.
The Manchester stuffs have been wrought into Bed-furniture with good
success. Printed cottons and linens are also very suitable, the elegance
and variety of patterns of which afford as much scope for taste,
elegance and simplicity as the most lively fancy can wish. In general,
the lining to these kinds of furniture is a plain white cotton. To
furniture of a dark pattern, a green silk lining may be used with a good
effect.” One of Heppelwhite’s beds on the general model of the one
represented as Nos. 1 and 2 on Plate LVII. was hung with dove-coloured
satin curtains with a lining of green silk. “The Vallance to this bed,”
he writes, “is tied up in festoons. The cornice of mahogany may come so
low as to hide the curtain rods.” He also gives designs of “Venetian, or
waggon top beds,” “dome top beds,” “square dome top beds,” “press beds”
and “field beds,” and gives the following instructions with regard to
the richest kinds:
“In staterooms where a high degree of elegance and grandeur are wanted,
beds are frequently made of silk or satin figured or plain, also of
velvet with gold fringe, etc. The Vallance to elegant beds should always
be gathered full, which is called a Petticoat Vallance. The Cornices may
be either of mahogany carved, carved or gilt, or painted and japanned.
The ornaments over the cornices may be in the same manner; and carved
and gilt, or japanned, will produce the most lively effect.
“Arms or other ornaments to Stuffed Head Boards should be carved in
small relief, gilt and burnished. The Pillars should be of mahogany,
with the enrichments carved.”
The field-bed, of which a design dated 1787 appears on Plate LVII., is
the French _lit à tombeau_ and _lit à double tombeau_. In England it was
known as the single-headed and double-headed field-bed. A single-headed
bed of this kind appears on Plate XXXVI., No. 8; and this Louis XV.
model was copied by Chippendale for his later plates, in which many
varieties of the field-bed appear. The bed represented on Plate LVII.
needs no explanation. The cornice, or “sweep,” is delicately carved.
Urns surmount the bed-posts. Below it, on Plate LVII., are “sweeps for
field-bed tops” dated 1787 (Nos. 3, 4, 5, 6 and 7). Another design in
Heppelwhite’s book for a bed with a sweep top is intended to be made of
plain mahogany or with gilt ornaments. The headboard and draperies are
quite elaborate. “The drapery may be the same as the furniture or the
lining, the ornaments gilt, the headboard is stuffed and projects like
the back of a sofa. The addition of stuffed headboards gives an elegant
and high finish to the appearance of beds.”
The “press bed” is nothing more or less than a folding-bed in the shape
of a wardrobe, with two big doors beneath which are drawers. Heppelwhite
says:
“Of these we have purposely omitted to give any designs: their general
appearance varying so little from wardrobes, which pieces of furniture
they are intended to represent, that designs for them are not necessary.
“The upper drawers would be only sham and form part of the door, which
may be made to turn up all in one piece, and form a tester; or may open
in the middle, and swing on each side; the under drawer is useful to
hold parts of the bed furniture; may be 5 feet 6 inches high, 14 feet
wide.
“Nine designs for Cornices which are suitable for beds or windows are
here shewn; these may be executed in wood painted and japanned, or in
gold. A mixture of these two manners produces an elegant and grand
effect. The foliage may be gilt, and the groundwork painted; or the
reverse.” One of these appears as No. 4 on Plate LIV. This exhibits the
curtain and toothed lappets, or points, of the lambrequin below the
cornice.
The sideboard with Heppelwhite is quite different to that of
Chippendale. The latter merely designs a long plain table with carved
legs and no drawers. Heppelwhite’s sideboard is a far more highly
developed piece of furniture. Sometimes the drawers were arranged in
compartments, for various uses, and the sideboard had a cavity between
the front legs to accommodate a wine-cooler. Pieces of plate and
knife-cases stood upon its wide slab. The sideboard represented on Plate
LIV. has Heppelwhite’s characteristic inlay of the husk or bell-flower
done in satin-wood and the characteristic “spade” foot. An inlaid floral
ornament decorates the corners below the front drawer.
Heppelwhite remarks:
“The great utility of this piece of furniture has procured it a very
general reception; and the conveniences it affords render a dining-room
incomplete without a sideboard.” The one represented on Plate LIV. has
several drawers. The right-hand drawer “has partitions for nine bottles.
Behind this is a place for cloths or napkins, occupying the whole depth
of the drawer.”
“The drawer on the left hand has two divisions, the hinder one lined
with green cloth to hold plate, etc., under a cover; the front one is
lined with lead for the convenience of holding water to wash glasses,
etc., there must be a valve-cock, or plug, at the bottom, to let off the
dirty water; and also in the other drawer, to change the water necessary
to keep the wine, etc., cool; or they may be made to take out. The long
drawer in the middle is adapted for table linen, etc.
[Illustration: PLATE LVII]
“They are often made to fit into a recess, but the general custom is to
make them from 5½ to 7 feet long, 3 feet high, and 28 to 32 inches
wide.”
He also gives designs for “sideboards without drawers; the ornaments to
the front of which may be carved, painted, or inlaid with various
coloured woods.” This kind is merely the old sideboard table.
Of pedestals he writes:
“Pedestals and vases are much used in spacious dining-rooms, where the
last-described kind of sideboards are chosen; at each end of which they
are placed. One pedestal serves as a plate-warmer, being provided with
racks and a stand for a heater; and is lined with a strong tin; the
other pedestal is used as a pot cupboard.
“The vases may be used to hold water for the use of the butter, or iced
water for drinking, which is inclosed in an inner partition, the ice
surrounding it; or it may be used as knife-cases, in which case they are
made of wood, or of copper japanned. The height of the pedestal is the
same as the sideboard and 16 or 18 inches square; the height of the vase
about 2 feet, 3 inches.”
Of the knife-case, he says:
“The universality of this piece of furniture renders a particular
description not necessary. It may be made of mahogany inlaid, or of
satin or other wood at pleasure.”
Four designs of _vase knife cases_ are given. “They are usually made of
satin, or other light-coloured wood, and may be placed at each end on
the sideboards, or on a pedestal; the knives, etc., fall into the body
of the vase, the top of which is kept up by a small spring which is
fixed to the stem, which supports the top; may be made of copper,
painted and japanned.”
One of these is shown on Plate LV., No. 4.
“Cellerets,” he tells us, “called also _gardes de vin_, are generally
made of mahogany, and hooped with brass hoops lacquered; the inner part
is divided with partitions, and lined with lead for bottles; may be made
of any shape. These are of general use where sideboards are without
drawers.”
Plate LIII. shows all of these articles except the celleret. The
sideboard is similar to that on Plate LIV. and upon it stand knife boxes
and a lustre. Pedestals supporting the vases described above stand on
either side. Above is an ornate mirror.
“Candlestands are very useful in large suits of apartments, as the light
may be placed in any part at pleasure—in drawing-rooms, in halls and on
large staircases, they are frequently used. These designs may be
executed in mahogany or wood japanned.” A very graceful example appears
as No. 6 on Plate LV. It has five branches, three of which only are
shown in the sketch here. This is to be made in mahogany or japanned
wood and the branches are lacquered brass.
No. 1 on Plate LIV. represents a little urn-stand “to set the teapot
on.” This is about 26 inches high and can be painted or varnished or
inlaid with various coloured woods.
The “Pole fire screen,” a specimen of which is shown on Plate LV., No.
5, “may be ornamented variously, with maps, Chinese figures, needlework,
etc. The screen is suspended on the pole by means of a spring in the
eye, through which the pole goes.” These articles are made of mahogany
or japanned wood.
The Horse fire-screen is supported by uprights standing on feet. The
screen slides up and down in grooves in these uprights. The framework is
usually of mahogany and the screen is covered with green silk
needlework, etc. Heppelwhite’s lamps are often ornamented with brass
work. He gives, however, a square one to be made in mahogany. Of great
importance are his mirrors with sconce arms, which he calls
“Girandoles,” and remarks: “This kind of ornament admits of great
variety in pattern and elegance; they are usually executed of the best
carved work,—gilt and burnished in parts. They may be carved and
coloured suitable to the room.” A very graceful example is shown as No.
3 on Plate LV. The mirror fills the entire oval. Girandoles also hang on
the walls of the room shown as Plate LIII.
Pier-glass frames are “almost invariably of good carved work, gilt and
burnished.” The square shape is most fashionable, Heppelwhite says, and
directs that “they should be made nearly to fill the pier. They must be
fixed very low, and the panels of the sides are frequently made of
various coloured glass.” What he means by this will be understood by
referring to the large mirror over the sofa in Plate LIII.
Pier tables “are made to fit the pier and rise level with, or above the
dado of the room, nearly touching the ornaments of the glass.”
“Tables in general,” we learn, “are made of the best mahogany. Their
size is various but their height should not exceed 28 inches.”
“Card-tables may be either square, circular or oval: the inner part is
lined with green cloth; the fronts may be enriched with inlaid or
painted ornaments; the tops also admit of great elegance.”
Specimen card-tables are shown on Plate LIV., Nos. 2 and 3. Pembroke
tables are the most useful of this species of furniture; they may be of
various shapes. The long, square and oval are the most fashionable.
These articles admit of the greatest elegance in the workmanship and
ornaments. The tops “are inlaid, painted or varnished.” A beautiful
example is shown on Plate LV. This table is supplied with a drawer below
the top, the leaves of which fall at the two sides of the drawer.
Heppelwhite made a great variety of other tables, such as “tambour
writing tables,” “night-tables” shaving-tables, and dressing-tables of
all kinds. His dressing-tables were the result of much thought. In them
we see the convenient mechanical and folding arrangements that Sheraton
carried so far in his various devices. In one of Heppelwhite’s
dressing-tables, the drawer is divided into compartments for pins,
combs, essences, etc., and the looking-glass rises from the drawer on
hinges, or it can be made to lie flat. “Rudd’s Dressing Table” also
appears, which Heppelwhite says is “the most complete dressing-table
ever made, possessing every convenience which can be wanted; or
mechanism, or ingenuity supply. It derives its name from a once popular
character, for whom it was reported it was invented.” Here the drawers
can be made to swing around in any desired position, and the
looking-glasses also swing on pins after they are elevated.
Another ladies’ dressing-table is a simple table, the slab of which
lifts up or can be opened out. In the centre of it is the dressing-glass
which can be made to rise and stand. Around it are little compartments
for articles of the toilet. Then he makes also what he calls
dressing-drawers. This is an “ordinary chest-of-drawers, one drawer of
which is fitted up as a dressing-drawer.” Some varieties have serpentine
fronts. Two of his mahogany bason-stands appear as Nos. 1 and 2 on Plate
LV. Hanging-shelves for books or china are made of mahogany and are
suitable for ladies’ rooms.
Commodes are often richly inlaid; some of them indeed are made of
satin-wood and are shaped like half a drum. Chests-of-drawers, double
chests-of-drawers and wardrobes are of the plainest forms and made of
plain mahogany with a simple ring handle or knob.
The long bookcase of the type on Plate XXXIX. Heppelwhite calls library
case. Describing these, he says: “They are usually made of the finest
mahogany; the doors of fine waved or curled wood. May be inlaid on the
panels, etc., with various coloured woods. The ornamental sash bars are
intended to be of metal which, painted of a light colour, or gilt, will
produce a light, pleasing effect.” The dimensions are determined by the
place where it is to stand.
The dimensions of Heppelwhite’s desk and book-case are length, 3 feet, 6
inches; depth, 22 inches; height of desk, 3 feet, 2 inches, including 10
inches for the inside of the desk; total height about 6 feet; depth of
bookcase, about 12 inches. These are “usually made of good mahogany. The
drawers and internal conveniences admit of much variation. The designs
show three different ways of making them: the patterns of the book-case
doors may also be very much varied. On the top, when ornamented, is
placed between a scroll of foliage, a vase, bust, or other ornament
which may be of mahogany, or gilt, or of light-coloured wood.”
A tambour writing-table and bookcase appears on Plate LVII. This
requires little explanation except to note that it has three drawers and
a cylinder tambour shutter that rolls back and reveals all the
pigeon-holes, nests of drawers and writing-table, while the upper part
consists of shelves enclosed by two doors.
Of the latter, Heppelwhite says: “Tambour writing-table and bookcase,
the doors to which are intended to be made of and ornamented with metal
frames; these painted of a light, or various colours, produce a lively
and pleasing effect. The reeds are here drawn forward to shew the
appearance when shut.”
The library table is from 3 to 4 feet long and 3 feet deep. It is of
mahogany, and covered on top with leather or green cloth. Some of them
have cupboards in front for books, papers, etc.
The room on Plate LIII. is an arrangement of Heppelwhite’s own plan,
regarding which he remarks: “Having gone through a complete series or
suit of Household Furniture, we were strongly advised to draw out a
plan, which should shew the manner of properly disposing of the same:
with this intent, aided by the advice of some experienced friends, we
here shew, at one view, the necessary and proper furniture for a
Drawing-room, and also for a Dining-room or Parlour, subject to the
following variations: If the object of this plan was a Drawing-room
only, on each side of the chimney-piece there should be a sofa, and on
the opposite side, instead of a sofa, should be a confidante: the
sideboard also should be removed, and an elegant commode substituted in
the place. The remaining space may be filled up with chairs. For a
dining-room, instead of the pier-tables, should be a set of
dining-tables. The rest of the furniture, and the general ordonnance of
the room is equally proper, except the glass over the sofa, which might
be omitted; but this is mere opinion, many of the Dining Parlours of our
first nobility having full as much glass as is here shewn.”
The proper furniture for a Drawing-room and for a Dining-room or
Parlour, being thus pointed out, it remains only to observe, that the
general appearance of the latter should be plain and neat, while the
former, being considered as a State-room, should possess all the
elegance embellishments can give.”
The side of the room which the reader cannot see contains four windows,
furnished with window stools and lambrequins; and, between each window,
pier-glasses and pier-tables stand. These semi-circular tables were
used, when necessary, to extend the square table in the centre of the
room: one being placed at each end, for the extension table had not come
into fashion.
THE SHERATON PERIOD
[Illustration]
THE SHERATON PERIOD