about 1790. From that date until his death in 1806, he seems to have
stopped working at his trade and to have spent his time writing
practical books on furniture. His first publication, _The Cabinet-Maker
and Upholsterer’s Drawing-Book_, appeared in 1791; but he had previously
published eighty-four _Designs for Furniture_. In 1803, he issued _The
Cabinet Dictionary_; and in 1804–7, _The Cabinet-Maker, Upholsterer and
General Artist’s Encyclopædia_ appeared.
How many of the models in Sheraton’s books are his own it is hard to
tell. He claims very few of them, and remarks in the _Cabinet-Maker and
Upholsterer’s Drawing-Book_ that “it is intended to exhibit the present
taste of furniture and at the same time to give the workman some
assistance in the manufacture of it.” Sheraton, like Chippendale, whose
“designs,” he says, “are now wholly antiquated and laid aside, though
possessed of great merit according to the times in which they were
executed,” and like Heppelwhite also, therefore exhibits the fashions of
his time—fashions that came from France. From what he himself writes, it
would seem that he gathered designs from various sources and worked for
popularity. He says:
“In conversing with cabinet-makers, I find no one individual equally
experienced in every job of work. There are certain pieces made in one
shop which are not manufactured in another, on which account the best of
workmen are sometimes strangers to particular pieces of furniture. For
this reason, I have made it my business to apply to the best workmen in
different shops to obtain their assistance in the explanation of such
pieces as they have been most acquainted with. And, in general, my
request has been complied with, from the generous motive of making the
book as generally useful as possible.”
He then informs the reader of “the difficult task I have had to please
all.... I find some have expected such designs as never were seen, heard
of, nor conceived in the imagination of man; whilst others have wanted
them to suit a broker’s shop, to save them the trouble of borrowing a
bason-stand to shew to a customer. Some have expected it to furnish a
country wareroom, to avoid the expense of making up a good bureau and
double chest-of-drawers, with canted corners, etc., and though it is
difficult to conceive how these different qualities could be united in a
book of so small a compass, yet, according to some reports, the broker
himself may find his account in it, and the country master will not be
altogether disappointed; whilst others say many of the designs are
rather calculated to shew what may be done, than to exhibit what is or
has been done in the trade. According to this, the designs turn out to
be on a more general plan than what I intended them, and answer, beyond
my expectation, the above various descriptions of subscribers. However,
to be serious, it was my first plan, and has been my aim through the
whole, to make the book in general as permanently useful as I could, and
to unite with usefulness the taste of the times.”
This taste changed gradually from the Louis XVI. style to that of the
Empire. Sheraton, consequently, covers these two periods. Sheraton had
his own tastes and his own ideas, however, and his books are full of his
individual fancies and instructions. He was a great admirer of carving.
When we read: “Having possessed a strong attachment and inclination for
carving in my youth, I was necessarily induced to make attempts in this
art, and on succeeding in some degree, I was employed in the country
occasionally in it,” this explains the many graceful designs that he
gives for carved splats and bannisters of chairs. He was also fond of
inlaid and painted furniture, and greatly liked the new fashion of
inlaying with brass, especially for black woods. Satin wood, too,
particularly of a “fine straw colour,” which has a “cool, light and
pleasing effect in furniture,” he also admired, and thought tulip-wood
and zebra-wood (of the “scarce brown and white streaked variety”),
beautiful for cross-banding.
Mahogany he uses for dining-room, library and bedroom furniture, and for
chairs with carved backs. He brightens much of his mahogany with such
brass ornaments, as handles, key-plates, columns, rails and claw-feet,
and often inlays it with a few small lines of brass, as he does
rosewood. Rosewood he recommends for choice pieces, such as work-tables,
secretaries, etc. Brass beads is another form of ornament that he likes
to use. The straight line appears in the forms of the Sheraton
furniture. The chair leg is frequently reeded, or turned and decorated
with twisted flutes and fillets. The tambour shutter Sheraton makes much
use of, and he likes to introduce all kinds of mechanical devices into
his furniture.
Among his favourite ornaments are the husk, or bell-flower, the swag, or
festoon, the column, the lyre, the lotus, the acanthus, the urn, the
vase and the patera, the latter being used especially to hide the screws
of beds and joining of chair-frames (see Plate LXIII. and Nos. 10 and
11, Plate LXII.). Like Chippendale, he gives an immense number of
book-case doors composed of panes arranged in ornamental designs, and
behind these he flutes green silk curtains. During his last period, the
wire door appears for commodes, cabinets and other pieces.
Sheraton’s drawing-room furniture was of white and gold, of satin-wood,
wood painted and japanned, or of rosewood. The coverings for the
drawing-room chairs were silk or satin, the designs being stripes or the
oval medallion. In 1803, he advocates cane.
Sheraton has very little to say about textiles or colours. He speaks of
printed cottons, and silks and taffeta of all colours, plain, striped,
checked, flowered and mixed with gold and silver. The only colour about
which he has any thing to say is blue: “Blue and white, blue and black,
very light blue and yellow will harmonize. Blue kills some colours; and
on which account before any be used to join with another colour, they
should be compared together; and if the more brilliant colour to which
it is joined becomes therefore less vivid, some other colour should be
chosen.”
He gives many directions, however, regarding the arrangement of rooms.
“As the entrance, or hall, of any well built house ought always to be
expressive of the dignity of its possessor, so the furniture ought to be
designed in a manner adapted to inform the stranger, or visitant, where
they are, and what they may expect on a more general survey of every
apartment.
“As the hall is a general, or ought to be a general opening to all the
principal apartments, it should be furnished so as not to be mistaken
for the most superb division of the structure, or where they may expect
to meet the nobler person who resides in it. The furniture of a hall
should therefore be bold, massive and simple: yet noble in appearance
and introductory to the rest.”
It is interesting to note that the Adam stucco-work has had its day and
that there is a return to the Boucher treatment of the ceiling. Sheraton
remarks: “Plastered ceilings are supposed to be more common in Britain
than in other countries. The manner of finishing ceilings has been
various, at different times, in this country. A sort of very heavy
ornamented plaster work was formerly introduced, together with pannelled
work in heavy mouldings. Within about thirty years since, this kind of
ceiling work has been composed in a much lighter style, and variegated
with painted panels, often from the heathen mythology, or other poetical
subjects. At present some of the most elegant rooms have no plastered
ornaments in their ceilings, but are painted to imitate an open sky,
with some faint scattering of clouds.”
The walls were hung with paper.
The window generally reached to the floor, with small panes of glass,
from four to eight in a sash. The window was also furnished with a
blind. “The most fashionable blinds,” Sheraton assures us, “are of wood
painted green all except the frame which is of mahogany. The blind part
is either composed of upright or horizontal narrow laths ⅛ of an inch
thick painted a bright green and which move by means of a lever to any
position for admitting more or less light.”
The cornice was painted and japanned, or carved and gilded, and from it
hung the draperies.
“Festoon window-curtains,” says Sheraton, “are those which draw up by
pullies, and hang down in a swag. These curtains are still in use in
bedrooms, not withstanding the general introduction of the French rod
curtain in most genteel houses. A festoon window-curtain consists
generally of three pulls, but when a window is extensive they have four
or five.”
[Illustration: PLATE LVIII]
An example of the French rod is shown on Plate LIX., No. 1, dated 1803.
Sheraton says: “The French window rod is made of brass about ¾ of an
inch diameter, having a pulley at the left end and two at the right, one
of which is fixed on a pin perpendicular to the rod. At present, they
frequently make the French rods of satin wood two to a window to lap
past each other about three inches in the centre; so that the curtain
draws half on each side separately, or only half of it may be drawn at
once; and when they are both drawn out they lap over each other.” The
chimney is invariably furnished with a glass. Sheraton says:
“In elegant rooms, the chimney-glass is usually carried to the under
side of the cornice of the ceiling; but to reduce the expense of the
plate, sometimes a broadish panel is introduced at the top of the glass
with a frieze and cornice above all, included in the frame of the glass.
“The most generally approved pilasters for chimney and pier-glasses are
those of 3, 5, or 7 reeds, worked bold; but which, in my opinion, still
look better by being parted with a ground one-third of the width of the
reed which may be matted to relieve the burnished reeds. It is not
unusual to have a twisting branch of flowers, or a ribband round the
reeds rising upwards, and terminating in some sort of Composite,
Corinthian, or Ionic capital. The panel above the glass is sometimes
made quite plain and covered with silk as a ground for drapery, tacked
under the cornice of the glass to match that of the windows.”
“Glasses for chimney-pieces run various, according to the size of the
fire-place, and the height of the wall above. To save expense, they are
sometimes fitted up in three plates, and the joints of the glass covered
with small gilt mouldings or pilasters. At other times with the naked
joint only. When they are of one plate, the frame in general is made
bolder and more elegant.”
The floor is completely covered with a carpet having a border which has
to be neatly mitred at the corners.
“The kitchen, the hall, the dining-parlour, the ante-room, the
dining-room, the library, the breakfast-room, the music-room, the
gallery of paintings, the bedroom and dressing apartments, ought to have
their proper suits of furniture, and to be finished in a style, that
will at once, show, to a competent judge, the place they are destined
for.
“The library should be finished in imitation of the antiques; and such
prints as are hung in the walls ought to be memorials of learning, and
portraits of men of science and erudition.
“The music-room may be conducted in a more gay style; and the paintings
or prints of the muses and masters of music may consistently make a part
of furnishing; and chairs and stools of a richer variety of colours may
be admitted with propriety.”
“The ante-room is an introduction to the drawing-room and partakes of
the elegance of the apartment to which it leads, serving as a place of
repose before the general intercourse be effected in the whole company.
Here may be placed a number of sofas of a second order with a pianoforte
or harp or other matters of amusements till the whole of the company be
collected.
“The tea-room, or breakfast-room, may abound with beaufets, painted
chairs, flower-pot stands, hanging bookshelves or moving libraries and
the walls may be adorned with landscapes and pieces of drawings, etc.,
and all the little things which are engaging to the juvenile mind.
“The lodging-room admits of furniture simply necessary, but light in
appearance, and should include such pieces as are necessary for the
accidental occasions of the night. Here should be a small book-shelf
with such books as should tend to promote our pious resignation of body
and soul to the care of the great author of the universe and divine
superintendent of human happiness.
“The dressing-room exhibits the toilet-table and commode with all the
affairs requisite to dress as bason stands, stools, glasses, and boxes
with all the innocent trifles of youth.
“The drawing-room is to concentrate the elegance of the whole house, and
is the highest display of richness of furniture. It being appropriated
to the formal visits of the highest in rank, and nothing of a scientific
nature should be introduced to take up the attention of any individual,
from the general conversation that takes place on such occasions. Hence,
the walls should be free of pictures, the tables not lined with books,
nor the angles of the room filled with globes; as the design of such
meetings are not that each visitant should turn to his favourite study,
but to contribute his part towards the amusement of the whole company.
The grandeur then introduced into the drawing-room is not to be
considered as the ostentatious parade of its proprietor; but the respect
he pays to the rank of his visitants.” He also informs us that:
“The furniture used in a drawing-room are sofas, chairs to match, a
commode, pier-tables, elegant fire-screens, large glasses, figures with
lights in their hands and bronzes with lights on the cap of the
chimney-piece, or on the pier-tables and commodes, and sometimes a
mirror with lights fixed at the end of the room, or the side, as may
best suit for the reflection or perspective representation of the room,
on the surface of the mirror.”
“A drawing-room is of that sort which admits of the highest taste and
elegance; in furnishing of which, workmen in every nation exert the
utmost efforts of their genius. To assist me in what I have here shewn,
I had the opportunity of seeing the Prince of Wales’s, the Duke of
York’s, and other noblemen’s drawing-rooms. I have not followed any one
in particular, but have furnished my ideas from the whole, with such
particulars as I thought best suited to give a display of the present
taste in fitting up such rooms.”
“In the drawing-room here (see Plate LVIII.), everything will appear
easily understood to a workman in town, who is accustomed to see such
apartments; but for a stranger, and those workmen who reside in the
country, it will be proper to point out a few particulars.
“The pier tables have marble tops and gold frames or white and gold. The
glasses are often made to appear to come down to the stretcher of the
table; that is, a piece of glass is fixed in behind the pier table,
separate from the upper glass, and by reflection makes the table appear
double. The small piece of glass may be fixed either in the dado of the
room, or on the frame of the table.
[Illustration: PLATE LIX]
“The arches above the windows are merely artificial, being only wooden
frames put up, strained with canvas; after which the same kind of stuff
which the curtains are made of is formed to appear like a fan, and
drapery tacked on to it.
“Panelling on the walls are done in paper with ornamental borders of
various colours.
“The figures above the glasses are paintings in clare-obscure. The sofas
are bordered off in three compartments, and covered with figured silk or
satin. The ovals may be printed separately, and sewed on. These sofas
may have cushions to fill their backs, together with bolsters at each
end. In France, where their drawing-rooms are fitted up in the most
splendid manner, they use a set of small and plainer chairs, reserving
the others merely for ornament.
“The commode opposite the fire-place has four doors; its legs are
intended to stand a little clear of the wings; and the top is marble to
match the pier tables. In the frieze part of the commode is a tablet in
the centre made of an exquisite composition in imitation of statuary
marble. These are to be had of any figure, or on any subject, at Mr.
Wedgewood’s, near Soho Square. They are let into the wood, and project a
little forward. The commode should be painted to suit the furniture, and
the legs and other parts in gold to harmonize with the sofas, tables,
and chairs.”
“The dining-room is one of the principal apartments of a house, and
ought always to be of a bold and an accommodating proportion. In
noblemen’s dining-rooms, where the windows are all on the side opposite
to the fires, there may then be a recess at each end of the room in
which a sideboard may stand, with columns before it placed at the
extremities, which produces a very august appearance and renders the
service considerably more easy at dinner than where there is but one
sideboard. The furniture of a dining-room ought to be bold, substantial
and magnificent, in proportion to its dimensions.
“The dining-parlour must be furnished with nothing trifling, or which
may seem unnecessary, it being appropriated for the chief repast, and
should not be encumbered with any article that would seem to intrude on
the accommodation of the guests. The large sideboard, inclosed or
surrounded with Ionic pillars; the handsome and extensive dining-table;
the respectable and substantial-looking chairs; the large face glass;
the family portraits; the marble fire-places; and the Wilton carpet are
the furniture that should supply the dining-room.”
The Prince of Wales’s dining-parlour in Carlton House is recommended as
a good type.
“The Prince’s has five windows facing St. James’s Park. His windows are
made to come down to the floor, which opens in two parts as a double
door, leading to a large grass plot to walk in. If I remember right,
there are pilasters between each window, but this is intended to have
grass. In his is a large glass over the chimney-piece. To these glass
frames are fixed candle branches. At each end is a large sideboard,
nearly twelve feet in length, standing between a couple of Ionic
columns, worked in composition to imitate fine variegated marble, which
have a most beautiful and magnificent effect. In the middle are placed a
large range of dining-tables, standing on pillars with four claws each,
which is now the fashionable way of making these tables. The chairs are
of mahogany, made in the style of the French, with broad top rails
hanging over each back foot; the legs are turned, and the seats covered
with red leather.”
[Illustration: PLATE LX]
The curtains are “of the French kind.”
“Many dining-rooms of the first nobility have, however, only two columns
and one sideboard, and those of less note have no columns.”
Correct drawing-room seats are shown on Plate LXII. The central one is
purely Louis XVI. in style, painted in any colour and is covered with
silk, but Sheraton recommends that the chair-frame be “finished in
burnished gold, the seat and back covered with printed silk. In the
front rail is a tablet with a little carving in its panels. The legs and
stumps have twisted flutes and fillets done in the turning, which
produce a good effect in the gold.”
Another parlour arm-chair, which he says can be made of carved mahogany
or of black rosewood and gold, “will produce a lively effect,”
particularly if “a brass beading is put round the stuffing to hide the
tacks.” Specimen backs of chairs that may be of carved mahogany or
painted are shown on Plate LXII., Nos. 1 to 9. These are dated 1792,
Nos. 10 and 11 are specimen chair legs.
“It appears from some of the latest specimens of French chairs, some of
which we have been favoured with a view of, that they follow the antique
taste, and introduce into their arms and legs various heads of animals;
and that mahogany is the chief wood used in their best chairs, into
which they bring in portions of ornamental brass; and, in my opinion,
not without a proper effect, when due restraint is laid on the
quantity.”
Of the sofa shown on Plate LXII. Sheraton says it may be “done in white
and gold, or japanned. The loose cushions at the back are generally made
to fill the whole length, which would have taken four; but I could not
make the design so striking with four, because they would not have been
distinguished from the back of the sofa by a common observer. These
cushions serve at times for bolsters, being placed against the arms to
loll against. The seat is stuffed up in front about three inches high
above the rail, denoted by the figure of the sprig running longways; all
above that is a squab which may be taken off occasionally. If the top
rail be thought to have too much work, it can be finished in a straight
rail, as the design shews.”
“Our sofas are never covered with a carpet, but with various pattern
cottons and silks.”
When the commode is decorated with wire-doors, Sheraton insists that
green, white or pink silk shall be fluted behind them. The cabinet on
Plate LX. is treated in this way.
“As pier tables are merely for ornament under a glass, they are
generally made very light, and the style of finishing them is rich and
elegant. Sometimes the tops are solid marble, but most commonly veneered
in rich satin or other valuable wood, with a cross band on the outside,
a border about two inches richly japanned and a narrow cross band beyond
it, to go all round. The frames are commonly gold or white or burnished
gold. Stretching-rails have of late been introduced to these tables, and
it must be owned that it is with good effect, as they take off the long
appearance of the legs and make the under part appear more finished;
besides they afford an opportunity of fixing a vase or basket of
flowers, which, with their reflection when there is a glass behind,
produce a brilliant appearance.
“Some, in place of a stretcher, have a thin marble shelf with a brass
rim round it, supported by a light frame; in which case the top ought to
be of marble also.”
There are horse fire-screens, pole screens and tripod screens.
Pole Fire-Screens “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; the feet of the two
outer ones are loaded with lead to keep them steady; may be made of
mahogany, but more frequently of wood japanned.”
The framework of Horse Fire-Screens should be of mahogany; the screen
may be covered with green silk, needlework, etc., at pleasure.
Tripod Fire Screens he made in white and gold, mahogany or japanned.
“The rods of these screens are all supposed to have a hole through them
and a pulley let in near the top on which the line passes, and a weight
being enclosed in the tassel, the screen is balanced to any height. The
rods are often made square, which indeed best suits those which have
pulleys, while those that are made round have only rings and springs.
“Such screens as have very fine prints or worked satin, commonly have a
glass before them. In which case a frame is made, with a rabbet to
receive the glass, and another to receive the straining frame, to
prevent it from breaking the glass; and to enclose the straining frame a
bead is mitred round.”
There were various sorts of dining-tables in use. “The common useful
dining-tables are upon pillars and claws, generally four claws to each
pillar, with brass castors. A dining-table of this kind may be made to
any size, by having a sufficient quantity of pillar and claw parts, for
between each of these there is a loose flap, fixed by means of iron
straps and buttons, so that they are easily taken off and put aside; and
the beds may be joined to each other with brass fork or strap
fastenings.”