DOORWAYS, MANTELS, AND STAIRS
[Illustration]
NOWHERE in this country can the interiors of the old houses and
their woodwork be studied as in Salem. The splendid mansions around
Philadelphia and in Maryland and Virginia are detached and not always
accessible, but in Salem one may walk through the old streets with a
certainty that almost any of the houses passed will prove to contain
features of interest to the student. The town was the home of wealthy
ship-owners and East India merchants, who built there the houses which
we study, for their homes. They did not spare expense—the Derby house
cost $80,000; and they were fortunate in having for a fellow citizen
a wood-carver, and designer, Samuel McIntire, whose work will bear
comparison with that of men whose names have been better known. Within
the last few years, however, McIntire’s name and work have attracted
more attention, and his mantels and doors in Salem have been shown to
the reading public in the book “The Woodcarver of Salem,” by Frank
Cousins and Phil M. Riley.
McIntire built the eighty thousand dollar Derby house, which within a
short time of its completion was torn down, owing to the death of Mr.
Derby, none of the heirs wishing to keep so costly a mansion. Just at
that time, in 1804, Captain Cook was building the house now known as
the Cook-Oliver house. McIntire, who was the architect also of this
house, persuaded Captain Cook to use much of the fine woodwork which he
had made for Mr. Derby, and it was embodied in the Cook house, which
was, when finished, given to the daughter of Captain Cook, who married
General Oliver, the composer of the hymn, “Federal Street,” named for
the street upon which this house stands.
Illustration 395 shows a doorway in the hall of the Cook-Oliver house,
which was taken from the Derby mansion. The wood is pine, as in most
of the Salem houses, painted white, and the ornamentation is all
hand-carved. The design is thoroughly classical, with its graceful
drapery across the top, and the urns, also ornamented with drapery.
Through the doorway may be seen the mantel, which was taken from the
Derby mansion, with the fine hob-grate, and a little of the old Zuber
paper, which extends around the room, with scenes of the Paris of
1810-1820.
[Illustration: Illus. 395.—Doorway and Mantel, Cook-Oliver House,
Salem, 1804.]
The doorway in Illustration 396 is in a very different style from that
of McIntire, with its delicate and graceful ornamentation.
[Illustration: Illus. 396.—Doorway in Dalton House, Newburyport, 1720.]
This doorway is in the house built in 1720 by Michael Dalton, in
Newburyport, Massachusetts, and now occupied by the Dalton Club. It
was Michael Dalton who built this house, but its golden years were
during the ownership of his son, Tristram Dalton, who married the
daughter of “King” Hooper, and who might well be called by the same
name as his father-in-law. In evidence of his wealth and lavish manner
of life is the story of his splendid coach, lined with white satin,
drawn by six white horses, and attended by four outriders, all in white
and mounted upon white steeds. In this dazzling equipage the various
brides of the family left the house, and the same royal splendor
probably attended the arrival at the house of famous guests, of whom
there were many. All this display does not agree with the common notion
of sober New England, but smacks rather of the aristocratic Virginians
who built mansions on the James River. The doorways and mantels in
the Dalton house tell of great wealth, for those early years of 1720.
They are made of pine, painted white, and all of the woodwork is hand
carved. The doorway in Illustration 396 is in the same room with the
mantel in Illustration 397 and is designed in the same classical style,
with fluted columns and Ionic capitals. The cornice is the same, and
the egg and dart moulding upon it extends with the cornice entirely
around the room. The immediate frame of the door has the same carved
moulding as the lower part of the cornice, and the window frames.
The door itself is very fine with eight panels. The knob is new. The
original knob was of iron.
Illustration 397 shows the mantel in the room with the doorway, and at
one side is a glimpse of the cornice and frame of the window with its
deep seat. The fluted square pilasters of the doorway, in the mantel
are changed to round detached columns, and there is a plain panel with
simple mouldings over the narrow shelf.
[Illustration: Illus. 397.—Mantel in Dalton House, 1720.]
Illustration 398 shows another mantel in the Dalton house, of a plainer
form, without columns, but with a heavy moulding, a variation of the
egg and dart, around the fireplace and the plain centre panel.
[Illustration: Illus. 398.—Mantel in Dalton House, 1720.]
The narrow shelf is curiously set between the panel and the moulding.
There is a panelled door upon each side of the chimney, opening into a
cupboard, and below each cupboard may be seen a tinder box, in early
days a useful adjunct to a fireplace.
[Illustration: Illus. 399—Hall and Stairs in Dalton House, 1720.]
The stairs in the Dalton house are shown in Illustration 399. The newel
is carved with a detached twist around the centre post, and each of the
three balusters upon every stair has a different twist, in the fashion
of the seaport staircases of the eighteenth century.
[Illustration: Illus. 400.—Side of Room, with Mantel; Penny-Hallet
House, 1774.]
[Illustration: Illus. 401.—Parker-Inches-Emery House, Boston, 1818.]
Two of the Dalton chairs stand at the foot of the stairs, and above
them hangs the portrait of Tristram Dalton, a fine gentleman in a white
satin waistcoat. Over the stairs hangs a “hall lanthorne” like the one
in Illustration 333.
Illustration 400 shows the side of a room in the Penny-Hallett house at
685 Centre St., Jamaica Plain. It dates to 1774, and is all elaborately
carved by hand, with scrolls, birds, garlands of flowers and fruit, and
a head over each arch at the side of the mantel. All of this woodwork
has been removed, and embodied in a Boston house.
The house known by the names of past occupants as the
Parker-Inches-Emery house is now occupied by the Women’s City Club of
Boston, which is fortunate in being able to preserve this house from
changes for business purposes.
[Illustration: Illus. 402.—Mantel in Lee Mansion, Marblehead, 1768.]
[Illustration: Illus. 403.—Landing and Stairs in Lee Mansion,
Marblehead, 1768.]
The woodwork is probably the finest in Boston, and is attributed, with
the building, to Bulfinch. The doorway in Illustration 401 is from the
back parlor of the house. The door is mahogany, and the carved woodwork
of the frame is in a severely classical design. The anthemion figures
upon the pilasters and in the capital, and the design of the frieze is
beautiful in its severity. The house was built in 1818.
In his “Complete Body of Architecture” Isaac Ware says of the
chimney-piece: “No common room, plain or elegant, could be constituted
without it. No article in a well-finished room is so essential. The eye
is immediately cast upon it on entering, and the place of sitting down
is naturally near it. By this means it becomes the most eminent thing
in the finishing of an apartment.”
The mantelpiece in Illustration 402 is in the banquet hall of the house
built in 1768, upon generous plans, by Col. Jeremiah Lee in Marblehead.
The depth of the chimney is in the rear, and the mantel is almost flush
with the panelled walls. It is painted white like the other woodwork,
and is richly ornamented with hand carving, in rococo designs, with
garlands of fruit and flowers in high relief, after the fashion of the
time, and has a plain panel over the narrow shelf, which rests upon
carved brackets.
Illustration 403 shows the beautiful landing at the head of the
stairway in the Lee mansion, with the large window and Corinthian
pilasters, and the wonderful old paper, all in tones of gray. The turn
of the stairs is seen, and the finely twisted balusters.
[Illustration: Illus. 404.—Stairs in Harrison Gray Otis House, Boston,
1795.]
Illustration 404 shows the rear of the stairway, with the front door,
in the house built in 1795 by Harrison Gray Otis, in Boston. It is
now the property and headquarters of the Society for the Preservation
of New England Antiquities, having reached that safe haven after the
descent from an elegant and fashionable residence to a lodging house.
It has now been restored with great care to much of its original
appearance. The illustration shows the fine boxing of the stairs and
the ornamentation of the stair-ends. The balusters are twisted and end
in a turn without a newel post.
[Illustration: Illus. 405.—Mantel in Harrison Gray Otis House, Boston,
1795.]
Illustration 405 shows a mantel in the Otis house of painted wood, with
the space above the shelf taken by two sets of doors, one sham, of
wood, and the other of iron, which opens into a safe. It is difficult
to imagine why this transparent device was placed in such a conspicuous
place.
[Illustration: Illus. 406.—Stairs in Robinson House, Saunderstown.]
Illustration 406 shows a very good stairway in the Robinson house in
Saunderstown, R. I. It has two turns, and the panelling on the side
wall has a mahogany rail which turns with the one above the twisted
balusters.
[Illustration: Illus. 407.—Stairs in Allen House, Salem, 1770.]
[Illustration: Illus. 408.—Balusters and Newel of Stairs at “Oak
Hill,” Peabody.]
The return of the stairs is panelled beneath, and at each corner of the
turn of the balusters is a large post like the newel, which extends
below the stairs and is finished in a twisted flame-like ornament.
The beautiful stairway with panelled ends and boxing in Illustration
407 is in the Allen house in Salem. The balusters are particularly good.
A section of the fine stairway at “Oak Hill,” Peabody, Massachusetts,
in Illustration 408, gives the detail of the twisted balusters
and newel so often seen in the old seaport towns. Each one of the
balusters, of which there are three upon a stair, has a different
twist, and the newel is a twist within a twist, the outer spiral being
detached from the inner one. The balusters are painted white, and the
rail and newel are of mahogany.
[Illustration: Illus. 409.—Stairs in Sargent-Murray-Gilman House,
Gloucester, 1768.]
Illustration 409 shows the staircase in the Sargent-Murray-Gilman house
in Gloucester, and Illustration 410 shows a mantel in the same house,
which was built in 1768, by Winthrop Sargent, for his daughter when
she married Rev. John Murray, who was the founder of the Universalist
church in America. Later, the house was occupied by the father of Rev.
Samuel Gilman, the author of “Fair Harvard.”
[Illustration: Illus. 410.—Mantel in Sargent-Murray-Gilman House,
1768.]
[Illustration: Illus. 411.—Mantel in Kimball House, Salem, 1800.]
The mantel is of wood, hand carved, with a broken pediment supported
by plain columns with Corinthian capitals, while those below the shelf
have Ionic capitals. The stairway is very fine, with panelled boxing
and ends, and twisted balusters and newel. There is a good window upon
the landing, with fluted pilasters at each side.
A McIntire mantel is shown in Illustration 411, from the Kimball house
in Salem. The carving is done by hand and is very elaborate, with urns
in the corner insets, and a spray in the ones over the fluted pilaster
which completes the return of the mantel. A curious row of little
bell-shaped drops is beneath the shelf, the edge of which has a row of
small globes set into it, like beads upon a string.
[Illustration: Illus. 412.—Mantel in Lindall-Barnard-Andrews House,
Salem, 1800.]
Another McIntire mantel is shown in Illustration 412, the parlor
mantel in the Lindall-Barnard-Andrews house in Salem. The carving is
done by hand, and the sheaves of wheat, the basket of fruit, and the
flower-filled draperies are delicate and charming.
[Illustration: Illus. 413.—Doorway in Larkin-Richter House,
Portsmouth, about 1800.]
It was put in the house in 1800, but the paper dates to 1747, the time
when the house was built, and it was imported for this room from France.
[Illustration: Illus. 414.—Doorway in the “Octagon,” Washington.]
A very charming doorway is shown in Illustration 413, from the
Larkin-Richter house in Portsmouth. It has urns and festoons of flowers
and wonderfully fine carvings upon the cornice. Illustration 414 shows
a doorway leading into the hall in the “Octagon” in Washington, D.
C. The house derives its name from its shape, built to conform to a
triangular lot. Col. John Tayloe built it in 1800, and for twenty-five
years the entertainments given in the Octagon were famous. It is now
occupied by the American Institute of Architects. The entrance to the
house is in a circular tower of three stories in height, thus utilizing
the shape of the triangle. This gives a large, circular vestibule from
which a wide, arched doorway leads into the hall with the stairs, which
are very simple, with plain small balusters, and a mahogany rail. The
doorway is very fine, with fluted columns and carved capitals and on
the inside of the arch a row of carving, making a beautiful entrance to
the house.
[Illustration: Illus. 415.—Mantel in the “Octagon,” Washington.]
The mantel in Illustration 415 is in the “Octagon” house, and is made
of a cement composition, cast in a mould, and painted white. The
cement is fine and the effect is much as if it were wood or stone.
The designs are graceful and well modelled. This style of mantel with
figures at the sides was used more in the South, and one would hardly
find in a Northern home a mantel the motif of which was a frankly
portrayed praise of wine, with the centre panel quite Bacchanalian in
its joviality.
[Illustration: Illus. 416.—Mantel in Schuyler House, Albany.]
The mantel in Illustration 416 is in the Schuyler mansion in Albany,
New York, which has been wisely and thoroughly restored to its
original beauty, and stands a monument not only of the Albany life
of the eighteenth century, but to the early efficiency of woman, for
it was built in 1760 by the wife of Gen. Philip Schuyler, during the
absence of her husband in England. This mantel is in the room called
the Hamilton room, because it was here that the daughter of the house,
Elizabeth Schuyler, was married to Alexander Hamilton. The wood of
the mantel is, like that in the other rooms, pine, painted white, and
the room is handsomely panelled, with a heavy cornice. The shelf is
narrow with a panel above it which is surmounted by a cornice, with a
broken pediment. The mantel is very dignified and does credit to the
excellent taste of the colonial dame who chose it and superintended its
instalment.
Illustration 417 shows a mantel in Philipse Manor in Yonkers, New York.
The original house was built in the seventeenth century, but in 1745 it
was greatly enlarged by Judge Philipse, the second lord of the Manor,
and it was probably at about that time that the fine woodwork in the
house was installed. Judge Philipse was the father of Mary Philipse, to
whom in 1757 Washington paid court—unsuccessfully. She married Roger
Morris in 1758, and in 1779 fled with him to England, attainted as
Royalists, together with her brother, the third and last lord of the
Manor, which then passed from the Philipse family.
[Illustration: Illus. 417.—Mantel and Doorways in Manor Hall,
Yonkers.]
It was purchased in 1868 by the village of Yonkers, and remained in
the possession of the city until 1908, when the title to the Manor was
taken by the State of New York, and the American Scenic and Historic
Preservation Society was appointed custodian, thus insuring the
preservation of this historic house.
[Illustration: Illus. 418.—Mantel and Doorways in Manor Hall, Yonkers.]
The mantel in Illustration 417 is in the East parlor, where Mary
Philipse was married, and is, like all of the woodwork, painted white
and very finely hand carved, with flowers in high relief. The iron
fire back which was originally in the fireplace is still there, but the
tiles are new.
[Illustration: Illus. 419.—Mantel in Manor Hall, Yonkers.]
The pilasters have composite capitals, and are used as a part of the
decoration of the side of the room with the mantel. The ceiling in
this room, a glimpse of which may be seen in the illustration, is
elaborately decorated with rococo scrolls, framing medallions, in two
of which are portrait heads. The entire house bears evidence of the
wealth of the lords of the Manor.
[Illustration: Illus. 420.—Doorway and Stairs, Independence Hall.]
Illustration 418 shows the mantel in the chamber over the East parlor,
also beautifully carved with flowers and fruit and scrolls, after the
fashion of the period. The three feathers above were an indication
of loyalty to the crown, as they were placed there years before the
division of parties for the King and the Prince of Wales, when the use
of the three feathers meant allegiance to the latter. Over the doors
is a carved scroll with the broken pediment, and a small scroll in the
centre.
Illustration 419 shows another mantel in Manor Hall of a less ornate
type, very dignified and fine with its simple pilasters and the smaller
ones at the sides of the panel. The cornice over the doors is one
that was used often in fine houses. These doorways and mantels are
restored, but the greater part was intact or simply out of repair.
Illustration 420 shows the beautiful panelled arch to the doorway, and
the stairs in Independence Hall in Philadelphia, with a glimpse of the
frame of the window upon the landing.
[Illustration: Illus. 421.—Stairs at “Graeme Park,” Horsham.]
The balusters are plain and substantial, with a mahogany rail, and the
rise of the stairs is very gradual. The thickness of the wall allows
wide panels in the inside of the arch, and the doorway and the pillars
at the side are of imposing height.
[Illustration: Illus. 422.—Mantel and Doorways, Graeme Park.]
Illustration 421 shows the stairway at “Graeme Park,” the house built
in 1722 by Sir William Keith, Governor of Penn’s Colony, at Horsham,
Pennsylvania. The place is named from Dr. Graeme, who married the
step-daughter of Gov. Keith, and occupied the house after 1727. Gov.
Keith lived here in great style, with a large household, as his
inventory implies, with “60 bedsteads, 144 chairs, 32 tables and 15
looking-glasses.” The discrepancy between the number of bedsteads
and looking-glasses is accounted for by the price of glass, and the
probability that many of the sixty occupants of the bedsteads were
servants or slaves, whose toilet was not important, and who did not
live in the mansion, but in the outbuildings around it. The house
was built in accordance with the manner of life of the Governor,
and contained large rooms, handsomely panelled and finished in oak,
unpainted. The stairs in Illustration 421 are all of oak, stairs,
balusters, and rail, and are of an entirely different style from the
twisted balusters and newels of the northern seaport towns, but of a
solidity and simplicity that is attractive.
Illustration 422 shows the side wall of a chamber at Graeme Park, also
of oak. The fireplace is surrounded by tiles, and the chimney-piece is
panelled above, but there is no shelf. The doorways at each side of the
mantel are charming, with the arch above and the semicircular window.
The old hinges and latches are still upon the doors.
The doorway in Illustration 423 is from the Chase house in Annapolis,
Maryland, and is in a room with several doors and windows, all with
their deeply carved frames, painted white, with solid mahogany doors,
and hinges and latches of silver. The heavy wooden inside shutters have
large rosettes carved upon them, and the effect of all this carving is
extremely rich. The Chase house was built in 1769, by Samuel Chase,
afterwards a Signer of the Declaration of Independence, and Associate
Justice of the Supreme Court.
[Illustration: Illus. 423.—Doorway in Chase House, Annapolis.]
It was sold soon after its completion, but in 1847 came back into the
possession of Chase descendants, and finally, in 1888, it was left by
will to found the Chase Home for Aged Women, together with furniture
and china, much of which still remains there. A looking-glass from this
house is shown in Illustration 374. The door latch of solid silver is
of the shape of handles shown in Illustration 11, letter F.
[Illustration: Illus. 424.—Entrance and Stairs, “Cliveden.”]
Illustration 424 shows the noble entrance from the outer hall to the
inner hall with the stairs, at “Cliveden,” in Germantown, Pennsylvania.
[Illustration: Illus. 425.—Mantel in Cliveden, Germantown.]
The house was built in 1761 by Chief Justice Benjamin Chew, and is now
owned by Mrs. Samuel Chew. Cliveden was famous for its entertainments,
and during the Revolutionary War was the scene of the Battle of
Germantown, when the house was seized by the British.
[Illustration: Illus. 426.—Fretwork Balustrade, Garrett House,
Williamsburg.]
The marks of bullets may still be seen in the wall at the right of the
illustration. One of the daughters of Chief Justice Chew was the lovely
Peggy Chew, who was one of the belles of the Mischianza fête, where
Major André was her knight.
[Illustration: Illus. 427.—Stairs, Valentine Museum, Richmond.]
Cliveden had many famous guests—Washington, Lafayette, John Adams,
and others, who came to Philadelphia while it was the seat of the
administration. The door at the right of the stair in Illustration 240
opens into a parlor, the mantel in which is shown in Illustration 425.
It is plain, but attractive for its simplicity.
The balustrade in Illustration 426 is in the house of the Misses
Garrett in Williamsburg, Virginia, and is in a Chinese fretwork design.
There is one with the same fretwork in the Paca house in Annapolis,
and probably of the same date, about 1765. The winding staircase in
Illustration 427 is in the house now occupied by the Valentine Museum,
in Richmond, Virginia. It was built about 1812, and was given to the
city for a museum, by the Valentine family. It is a very good example
of the stairway known as a “winder.” Illustration 428 shows a beautiful
mantel in the residence of Barton Myers, Esq., in Norfolk, Virginia.
[Illustration: Illus. 428.—Mantel in Myers House, Norfolk.]
The mantel is in the Adam style, with festoons of flowers and scrolls
beneath the shelf, in applied ornaments, and long lines of the
bell-flower, looped in graceful lines upon the panel. The chandelier is
brass, of about 1850-1860.
GLOSSARY OF TERMS USED IN CABINET WORK
A
=Acanthus.= The conventionalized leaf of the acanthus plant.
=Anthemion.= A Greek form of ornament made from the conventionalized
flower of the honeysuckle.
=Apron.= The ornamental wooden piece extending between the legs of a
table, below the body frame.
=Applied ornament.= One which is carved or sawed separately and
fastened upon the surface.
=Armoire.= The French term for cupboard.
B
=Bail.= The part of a handle, in ring or hoop shape, which is taken
hold of.
=Bandy= or =Cabriole leg=. One which is made in a double curve.
=Banister back.= A chair back made of vertical pieces of wood
extending between an upper and lower rail.
=Baroque.= A term applied to a style of extravagant over-ornamentation.
=Bead= or =Beading=. A small convex moulding, sometimes divided and
cut like beads.
=Beaufat= or =Bowfatt=. A corner cupboard, extending to the floor.
=Bergère.= A French chair with a very wide seat.
=Bible box.= A box, usually of oak, for holding the Bible.
=Block front.= A term applied to the front of a desk or chest of
drawers, to indicate the blocked shape in which the drawer fronts are
carved or sawed.
=Bombé.= Kettle-shaped.
=Bonnet top.= A top made with a broken arch or pediment.
=Bracket.= The piece of wood of bracket shape, used in the angle made
by the top and the leg.
=Bracket foot.= A foot in bracket form.
=Broken arch= or =Pediment=. One in which the cornice is not complete,
but lacks the central section.
=Buffet.= A sideboard, or piece of furniture used as a sideboard.
=Buhl.= A form of inlaying engraved brass upon a thin layer of
tortoise shell, over a colored background. Named from its inventor,
Buhl, or Boulle.
=Bureau.= In early time, and even now in England, a desk with a
slanting lid. Now used chiefly to indicate a chest of drawers.
=Bureau-table.= A small chest of drawers made like a desk, but with a
flat top.
=Butterfly table.= A small table with turned legs and stretchers and
drop leaves, which are held up by swinging brackets with the outer
edge curved like a butterfly wing.
C
=Cabinet.= The interior of a desk, fitted with drawers and
compartments.
=Cabriole leg.= Bandy leg, curved or bent.
=Capital.= The upper part of a column or pillar.
=Carcase.= The main body of a piece of furniture.
=Cellaret.= A low, metal-lined piece of furniture, sometimes with the
interior divided into sections, used as a wine cooler.
=Chaise longue.= The French term for a day bed or couch.
=Chamfer.= A corner cut off, so as to form a flat surface with two
angles.
=Claw-and-ball foot.= The termination of a leg with a ball held in a
claw, usually that of a bird.
=Comb back.= A Windsor chair back, with an extension top, shaped like
a comb.
=Commode.= A chest of drawers.
=Console table.= One to be placed below a looking-glass, sometimes
with a glass between the back legs.
=Court= or =Press cupboard=. A very early cupboard with doors and
drawers below and a smaller cupboard above, the top being supported by
heavy turned columns at the corners.
D
=Day bed= or =Chaise longue=. A long narrow seat used as a couch or
settee, usually with four legs upon each side, and a chair back at the
head.
=Dentils.= An architectural ornament made of a series of small
detached cubes.
=Desk.= A piece of furniture with conveniences for writing.
=Desk box.= A box similar to a Bible box, made to hold books or papers.
=Diaper.= A small pattern or design, repeated indefinitely on a
surface.
=Dish top.= A table top with a plain raised rim.
=Dovetail.= Fastening together with mortise and tenon.
=Dowel.= A wooden pin used to fasten sections together.
=Dresser.= A set of shelves for dishes.
=Dutch foot.= A foot which spreads from the leg in a circular
termination.
E
=Egg and dart.= A form of ornament made of egg-shaped pieces with
dart-shaped pieces between.
=Empire style.= A style which became popular during the First Empire,
largely formed upon Egyptian styles, found by Napoleon during his
Egyptian campaign. Later the term was applied to the heavy furniture
with coarse carving, of the first quarter of the nineteenth century.
=Escritoire.= A secretary.
=Escutcheon.= The metal plate of a key-hole.
F
=Fan back.= The back of a Windsor chair with the spindles flaring like
an open fan.
=Fender.= A guard of pierced metal, or wire, to place before an open
fire.
=Field bedstead.= One with half high posts which uphold a frame
covered with netting or cloth.
=Finial.= The ornament which is used at the top of a pointed effect as
a finish.
=Flemish foot= or =leg=. An early scroll form with one scroll turning
in and the other turning out; found upon Jacobean furniture.
=Fluting.= A series of concave grooves.
=French foot.= In Chippendale’s time, a scroll foot terminating a
cabriole leg; in Hepplewhite’s time, a delicate form of a bracket foot.
=Fretwork.= A form of ornament in furniture, sawed or carved in an
open design.
G
=Gadroon= or =Godroon=. A form of ornament consisting of a series of
convex flutings, chiefly used in a twisted form as a finish to the
edge.
=Gallery.= The raised and pierced rim upon a table top, usually in
Chinese fretwork.
=Gate-legged=, =hundred-legged=, or =forty-legged table=. An early
table with drop leaves and stretchers between the legs, of which there
are six stationary upon the middle section, and one or two which swing
out to hold up the drop leaves.
=Girandole.= A mirror with fixtures for candles.
=Guéridon.= A stand to hold a candelabra,—a candle-stand.
=Guilloche.= An ornamental pattern formed by interlacing curves.
H
=High-boy.= A tall-boy or chest of drawers upon high legs.
=Hood.= The bonnet top of a high-boy.
=Husk.= The form of ornament made from the bell-flower, much used by
Hepplewhite.
J
=Jacobean.= A term applied to furniture of the last quarter of the
seventeenth century, although properly it should apply to the period
of James I.
=Japanning= or =Lacquering=. In the eighteenth century a process
copied from the Chinese and Japanese lacquer; in Hepplewhite’s time a
method of painting and gilding with a thin varnish.
K
=Kas= or =Kos=. A Dutch high case with drawers and doors, made to hold
linen, and extending to the floor, from which it was sometimes held up
by large balls.
=Kettle front= or =bombé=. A form of chest of drawers or secretary, in
which the lower drawers, toward the base, swell out in a curve.
=Knee.= The term applied to the upper curve, next the body, of a bandy
leg.
=Knee-hole desk.= A desk with a table top, and an open space below
with drawers at each side.
L
=Lacquer.= A Chinese and Japanese process of coating with many layers
of varnish.
=Ladder back.= A chair back of the Chippendale period, with horizontal
carved or sawed pieces across the back.
=Low-boy.= A dressing-table, made to go with a high-boy.
M
=Marquetry.= Inlay in different woods.
=Mortise.= The form cut in a piece of wood to receive the tenon, to
form a joint.
=Mounts.= The metal handles, escutcheons, or ornaments fastened upon a
piece of furniture.
O
=Ogee.= A cyma, or double curve, as of a moulding.
=Ormolu.= Mountings of gilded bronze or brass, used as ornaments.
P
=Pie-crust table.= A table with a raised edge made in a series of
curves.
=Pier-glass.= A large looking-glass.
=Pigeon-hole.= A small open compartment in the cabinet of a desk or
secretary.
=Patina.= The surface of wood or metal acquired by age or long use.
=Pediment.= The part above the body of a bookcase or chest of drawers,
with an outline low at the sides and high in the middle, similar to
the Greek pediment.
=Pembroke table.= A small table with drop leaves, to use as a
breakfast table.
R
=Rail.= The horizontal pieces across a frame or panel.
=Reeding.= Parallel convex groovings.
=Ribband= or =Ribbon-back=. A chair back of the Chippendale period,
with the back formed of carved ribbon forms.
=Rococo.= A name derived from two words, rock and shell—applied to a
style of ornamentation chiefly composed of scrolls and shells, used in
irregular forms, often carried to extremes.
=Roundabout= or =Corner chair=. An arm-chair, the back of which
extends around two sides, leaving two sides and a corner in front.
S
=Scroll-top.= A top made of two curves broken at the center, a bonnet
top.
=Secretary.= A desk with a top enclosed by doors, with shelves and
compartments behind them.
=Serpentine= or =Yoke front=. A term applied to drawer fronts sawed or
carved in a double curve.
=Settee.= A long seat with wooden arms and back, the latter sometimes
upholstered.
=Settle.= A seat, usually for two, made with high wooden arms and
back, to stand in front of a fire. Often the back turned over upon
pivots to form a table top.
=Slat-back.= A chair back very commonly found, with plain horizontal
pieces of wood across the back in varying numbers.
=Spade foot.= A foot used by Hepplewhite and Sheraton, the tapering
leg increasing suddenly about two inches from the end, and tapering
again forming a foot the sides of which are somewhat spade-shaped.
=Spandrels.= The triangular pieces formed by the outlines of the
circular face of a clock and the square corners.
=Spanish foot.= An angular, grooved foot with a scroll base turning
inward.
=Spindle.= A slender, round, turned piece of wood.
=Splat.= The upright wide piece of wood in the middle of a chair-back.
=Squab.= A hard cushion.
=Stiles.= The vertical pieces of a panel, into which the upper and
lower rails are set, with mortise and tenon.
=Strainers= or =Stretchers=. The pieces of wood extending between the
legs of chairs or tables to strengthen them, and in early times to
rest the feet upon, to keep them from the cold floor.
=Swell front.= A front curved in a slightly circular form.
T
=Tambour.= A term applied to a door or cover made from small strips
of wood glued to a piece of cloth which is fastened so that it is
flexible.
=Tenon.= The form of a cut which fits into a mortise so as to make a
firm joint.
=Torchère.= A candle stand.
V
=Veneer.= A very thin piece of wood glued upon another heavier piece.
=Vernis Martin.= A French varnish with a golden hue, named for its
inventor.
W
=Wainscot chair.= An early chair, usually of oak, with the seat and
back formed of solid panels.
INDEX OF THE OWNERS OF FURNITURE
A
Albany Historical Society, Girandole, 395;
forty-legged table, 247.
Alexander Ladd House, Portsmouth. Chair, 161;
double chair, 224.
Allen House. Stairs, 427.
American Antiquarian Society, Worcester. Desk, 127;
double chair, 225;
high chair, 156;
looking-glass, 376;
slate-top table, 245;
tall clock, 354.
American Philosophical Society, Philadelphia. Chair, 177.
B
Barrell, Mrs. Charles C., York Corners. Looking-glass, 380, 382.
Baxter, James Phinney, Portland. Sideboard, 97;
dressing-glass, 50.
Bigelow, Francis H., Cambridge. Andirons, 319;
candelabra, 345;
cellaret, 111;
chairs, 183, 185, 197, 206, 207;
clock, 359;
desk, 129, 151;
lamps, 344;
looking-glass, 41, 403, 406;
secretary, 150;
sconce, 340;
settee, 228;
sideboard, 104,105;
sofa, 230;
table, 251, 253, 269;
time-piece, 368;
washstand, 60.
Bigelow, Mrs. H. H., Worcester. Looking-glass, 10.
Bigelow, Irving, Worcester. Clock, 362;
table, 266.
Blaney, Dwight, Boston. Andirons, 318;
bureau, 52;
chair, 163, 198;
desk, 133;
high chest, 26;
looking-glass, 400;
music-stand, 303;
settle, 215;
sideboard, 108;
table, 243, 244, 245, 246, 253, 262, 276;
what-not, 267.
Boston Art Museum. Clock, 354;
looking-glass, 402.
Bostonian Society. Clocks, 356.
Burnside, Miss H. P. F., Worcester. Looking-glass, 64;
table, 275.
C
Carroll, Mrs. Elbert H., Worcester. Bureau, 48.
Chase Mansion, Annapolis. Doorway, 445;
looking-glass, 389.
Chickering & Co. Piano, 302, 310.
Clark, Charles D., Philadelphia. Clock, 357.
“Cliveden,” Germantown. Entrance and stairs, 446;
mantel, 447.
Coates, Miss Mary, Philadelphia. Chair, 161, 176, 187, 189, 204;
table, 253.
Colonial Dames of Pennsylvania. Bedstead, 79;
sideboard, 110;
sofa, 220.
Concord Antiquarian Society. Bedstead, 69;
chair, 190;
couch, 217;
looking-glass, 242;
settee, 234;
table, 262, 264.
Connecticut Historical Society, Hartford. Chest, 14.
Cook-Oliver House, Salem. Mantel and doorway, 413.
Corbett, George H., Worcester. Bedstead, 82.
Crowninshield, Frederic B., Marblehead. Settee, 233.
Cutter, Mrs. J. C., Worcester. Chair, 209.
D
Dalton House, Newburyport. Doorway, 414;
mantel, 416, 417;
stairs, 418.
Darlington, Dr. James H., Brooklyn. Piano, 294, 327.
Deerfield Museum. “Beaufatt,” 90;
chair, 182;
chest, 11, 15;
dulcimer, 304;
settle, 214;
spinet, 282.
Dyer, Clinton M., Worcester. Table, 258;
table and chair, 267.
E
Earle, Mrs. Alice Morse, Brooklyn. Chair, 187;
desk, 138.
Essex Institute, Salem. Chair, 158;
cupboard, 88;
settee, 216.
F
Faulkner, Dr. G., Roxbury. Clock, 363.
Flagler, Harry Harkness, Millbrook. Andirons, 320;
candle-stand, 343;
chair, 164, 186, 188, 195;
clock, 359;
double-chair, 222;
dressing-table, 39;
fender, 320;
high chest, 37;
lantern, 346;
looking-glass, 39, 386, 404;
side table, 93;
settee, 221;
table, 254, 255, 256, 258, 261;
writing table, 136.
G
Gage, Mrs. Thomas H., Worcester. Bureau, 53, 56;
case of drawers, 55;
desk, 152;
looking-glass, 398;
sofa, 239.
Gage, Miss Mabel C., Worcester. Desk, 120.
Garrett, The Misses, Williamsburg. Mixing table, 116;
stairs, 448.
Gay, Calvin, Worcester. Clock, 372.
Gilbert, J. J., Baltimore. Bedstead 71;
bookcase, 143;
chair, 199;
table, 256;
music-stand, 306.
Gilman, Daniel, Exeter. Chest of drawers, 36.
Girard College. Settee, 229.
Graeme Park, Horsford. Mantel, 443;
stairs, 442.
Grisier, Mrs. Ada, Auburn. Piano, 295.
H
Harrison, Mrs. Charles Custis, St. David’s. Mixing-table, 115.
Henry, Mrs. J. H., Winchendon. Desk, 153.
Herreshoff, J. B. F., New York. Double-chest, 33.
Historical Society of Pennsylvania. Chair, 173, 201;
desk, 112.
Hogg, Mrs. W. J., Worcester. Settee, 227.
Holmes, George W., Charleston. Bookcase, 144;
looking-glass, 409;
side-table, 94.
Hosmer, The Misses, Concord. Couch, 218;
sofa, 235;
table, 268.
Hosmer, Walter, Wethersfield. Chair, 180;
couch, 218;
cupboard, 88;
desk, 125, 126;
dressing-table, 35.
Huntington, Dr. William R., New York. Desk with cabinet top, 130.
Hyde, Mrs. Clarence R., Brooklyn. Comb-back rocker, 175;
chair, 202;
knife-box, 100;
settee, 232;
table, 275.
I
Independence Hall. Doorway and stairs, 441.
Ipswich Historical Society. Bedstead, 67;
chair, 170, 171.
J
Johnson-Hudson, Mrs. Stratford. Bedstead, 66;
bureau, 47;
candle-shades, 332;
kas, 91;
looking-glass, 332;
screen, 338;
table, 259.
K
Kennedy, W. S. G., Worcester. Chair, 190, 203;
clock, 364;
desk, 149;
looking-glass, 392;
piano, 293;
sideboard, 113;
sofa, 230.
Kimball House, Salem. Mantel, 431.
Knabe, William & Co., Baltimore. Harpsichord, 285.
Kohn, H. H., Albany. Looking-glass, 315.
L
Ladd House, Portsmouth. Chair, 161;
settee, 224.
Lang, B. J., Boston. Piano, 308.
Larkin-Richter House, Portsmouth. Doorway, 433.
Lawrence, Walter Bowne, Flushing. Chair, 208.
Lawton, Mrs. Vaughan Reed, Worcester. Harp, 313.
Lee Mansion, Marblehead. Bedstead, 70;
fireplace, 316;
mantel, 422;
stairs, 425.
Lemon, E. R., Sudbury. Chest of drawers, 19;
fire-frame, 328;
looking-glass, 349, 374.
Lincoln, Waldo, Worcester. Chair, 209, 210;
sideboard, 109.
Lindall-Barnard-Andrews House, Salem. Mantel, 432.
M
MacInnes, J. C., Worcester. Side-table, 106.
Manor Hall, Yonkers. Mantel, 438, 439, 440.
Marsh, Mrs. Caroline Foote, Claremont-on-the-James. Chest, 13.
Meggatt, William, Wethersfield. Lantern clock, 349.
Metropolitan Museum of Art. Basin-stand, 59;
chair, 191;
dressing-table, 24;
high-boy, 27;
looking-glass, 393, 411;
table, 262, 277.
Moffett, Charles A., Worcester. Clock, 369.
Moore, D. Thomas, Westbury. Clock, 371;
chair, 196.
Morse, Charles H., Charlestown. Bureau, 58;
clock, 366;
dressing-table, 54.
Morse, Mrs. E. A., Worcester. Bedstead, 77;
chair, 194, 208;
clock, 361, 364;
table, 279;
washstand, 62.
Morse, Miss Frances C., Worcester. Andirons, 324;
bedstead, 78, 81;
bureau, 45, 51;
candlesticks, 333;
chairs, 166-168, 169, 172, 174, 178, 184, 193, 200, 212;
clock, 350, 357, 360, 362, 364;
coasters, 102, 252;
desk, 146;
high chest, 30;
lamps, 329;
looking-glass, 84, 280, 378, 392, 396, 407, 410;
low-boy, 30, 40,378;
mirror-knobs, 394;
night-table, 62;
piano, 290;
piano-stool, 298, 300;
secretary desk, 147;
settee, 321;
sideboard, 102;
sofa, 236;
table, 250, 252, 260, 265;
washstand, 61, 63.
Mount Vernon. Lamp, 335;
mantel, 324.
Myers, Barton, Norfolk. Mantel, 450;
settee, 232;
table, 274.
N
Newburyport Historical Association. Cradle, 65;
desk with cabinet top, 137;
table, 244.
Newman, Mrs. M., New York. Sofa, 241.
Nichols, The Misses, Salem. Chair, 205;
looking-glass, 399.
O
“Oak Hill.” Peabody. Stairs, 428.
“Octagon,” Washington. Doorway, 434;
mantel, 435.
Ogle House, Annapolis. Looking-glass, 300.
Orth, John, Boston. Clavichord, 288.
Otis, Harrison Gray, House, Boston. Mantel, 425;
stairs, 424.
P
Parker-Inches-Emery House, Boston. Doorway, 420.
Pendleton Collection, Providence. Hall lantern, 348;
knife urn, 99.
Pennsylvania Historical Society. Chair, 173, 183, 184;
desk, 124.
Penny-Hallett House, Boston. Mantel, 419.
Philadelphia Library Association. Looking-glass, 384.
Pilgrim Society, Plymouth. Chairs, 157;
cradle, 65.
Poore, Ben: Perley, Byfield. Bedstead, 72, 75;
candle-stand, 330, 342;
cellaret, 111;
chair, 159, 160, 162, 172, 181, 186, 204;
chest on frame, 18;
clock, 352;
looking-glass, 117, 154;
screen, 342;
sofa, 240.
Potter, Mrs. M. G., Worcester. Looking-glass, 213.
Pratt, Miss Emma A., Worcester. Miniature tall clock, 360.
Prentice, Mrs. Charles H., Worcester. Dutch chair, 179.
Preston, Mrs. William, Richmond. Looking-glass, 397.
Priest, Mrs. Louis M., Salem. Piano, 296.
Pringle House, Charleston. Chandelier, 336.
Prouty, Dwight M., Boston. Andirons, 322;
chair, 166, 192, 202;
chest, 17;
chest of drawers, 20;
clock, 368;
bureau, 42;
hall lantern, 347;
looking-glass, 375, 384, 388, 408;
music-stand, 307;
screen, 341;
settee, 219;
side-table, 107;
stool, 167;
table, 248, 263, 270.
R
Rankin, Mrs. F. W., Albany. Desk, 119, 120;
table, 249.
Rines, Albert S., Portland. Chair, 192;
secretary, 135;
settee, 226.
Robart, F. A., Boston. Dressing-table 23;
high-chest, 22.
Robinson House, Saunderstown. Stairs, 426.
Rogers, Mrs. N. F., Worcester. Cheval glass, 405.
S
Sargent-Murray-Gilman House Gloucester. Mantel, 429;
stairs, 430.
Schoeffer, Dr. Charles, Philadelphia. Sofa, 212.
Schuyler House, Albany. Mantel, 436.
Shapiro, L. J., Norfolk. Sideboard, 114;
table, 272.
Sibley, Charles, Worcester. Bureau, 46.
Smith, John, Worcester. Table, 273.
Stevenson, Cornelius, Philadelphia. Screen, 341.
T
Tappan, Mrs. Sanford, Newburyport. Piano, 292.
Tilton, Miss M. E., Newburyport. Table, 251.
Turner, Frank C., Norwich. Clock, 369.
U
Unitarian Church, Leicester. Chair, 200.
V
Valentine Museum, Richmond. Stairs, 449.
Verplanck, Samuel, Fishkill. Desk with cabinet top, frontispiece.
W
Warner House, Portsmouth. Bedstead, 76;
bill of lading, 139;
bookcase, 142;
bureau, 43;
chandelier, 334;
double chest, 32;
dressing-table, 34;
high chest, 28;
sofa, 337;
stove, 327.
Waters, Charles R., Salem. Bedstead, 74;
bureau, 44;
candelabra, 325;
chair, 155, 160, 194, 196, 203;
chest, 16;
chest upon frame, 18;
cupboard, 87;
desk box, 118;
desk with cabinet top, 128;
hob grate, 325;
looking-glass, 383;
lantern clock, 350.
Wing, Mrs. John D., Millbrook.
Music stand, 303.
Woodward, Mrs. Rufus, Worcester.
High chest, 29.
Woodward, Mrs. Samuel B., Worcester.
Bedstead, 80;
bureau, 57;
table, 268.
Worcester Art Museum. Table, 274.
GENERAL INDEX
A
Adam, Robert and J., 4, 5, 99, 184.
Adam leg, 235, 241.
Adams, John, quoted, 284.
Allen house, 427.
Andirons, 317.
Argand lamp, 334.
Astor piano, 292.
B
Baldwin, Christopher Columbus, quoted, 314.
Banister-back chair, 168.
“Banjo” clock, 366.
Basin-stand, 58.
Beaufet or beaufatt, 89, 90.
Bedstead, claw-and-ball foot, 69;
cording of, 73;
coverlid for, 78;
early, 65;
field, 67;
French, 82;
Hepplewhite, 73;
low post, 80;
ornaments for concealing bed screws, 77;
press, 66;
sleigh, 83;
steps for, 73, 79.
Bell-flower, 197.
Belter, John, 290.
Betty lamp, 328.
Bevelling, 375.
Bible box, 118.
“Biglow Papers,” quoted, 31.
“Bilboa” looking-glass, 401.
Bill of lading, 189.
Bird-cage clock, 349.
Bliss, Rev. Daniel, 190.
Block, front, 42, 128, 129.
Blythe, Samuel, 286.
Bolles collection, 25, 26, 155, 242.
Bonaparte chair, 209.
Books on furniture, 4.
Bowley, Devereux, 355.
Bracket clock, 352.
Brass beading, 237.
Brewster chair, 157.
Broadwood harpsichord, 287.
Brown, Gawen, 355.
Brown, John, Joseph, Nicholas, Moses, 34, 195.
Bulkeley, Rev. Peter, 217.
Bureau, 41, 113, 146.
Burney, Dr., quoted, 281.
Burnt work on chest, 12.
Butterfly table, 245.
C
Candelabra, 373, 375.
Candle beam, 337.
Candle extinguisher, 334.
Candle shades, 332.
Candle-stand, mahogany, 343;
iron, 331.
Candlestick, 327, 333.
Carroll, Charles, 235.
Carver chair, 157.
Cellaret, 111.
Chair, bandy-leg, 177;
banister, 168;
cane, 159;
Carver and Brewster, 157;
comb-back, 175;
Dutch, 178;
easy, 182;
fan-back, 175;
Flemish, 160;
leather, 158;
Queen Anne, 167;
rocking, 173;
roundabout, 170;
slat-back, 171;
turned, 156;
Turkey work, 160;
wainscot, 157;
Windsor, 175;
writing, 177.
Chair table, 243.
Chaise longue, 217.
Chambers, Sir William, 4.
Chandelier, 334, 336.
Chandler, John, 225, 355.
Charters, John, 300.
Chase, Samuel, 444.
Chase house, 444.
Chest, 10.
Chest of drawers, 19.
Chest on frame, 18.
Cheval glass, 405.
Chew, Benjamin, 447.
Chickering & Co., 301, 310.
China steps, 25.
Chinese taste, 193, 223, 379.
Chippendale, Thomas, 4, 184.
Clavichord, 287.
Claw-and-ball foot, 178.
Clementi, 291.
Cleopatra’s Barge, 233.
Cliveden, 446.
Clocks, 348.
Coasters, 103, 251.
Comb-back, 175.
Commode, 41, 66;
table, 41.
Cook-Oliver house, 412.
Cording a bed, 73.
Corner chair, 170.
Cornucopia sofa, 238.
Couch, 217.
Cradle, 65.
Creepers, 321.
Cupboard, almery, 84;
corner, 90;
court, 86;
livery, 86;
press, 84.
Cupboard cloths or cushions, 89.
D
Dalton, Tristram, 415.
Darby and Joan seat, 220.
Darly, Matthias, 4.
Day bed, 217.
Dearborn, General Henry, 167.
Derby house, 411.
Desk, 107, 108.
Desk-box, 108.
Dish-top table, 252.
Dodd & Claus, 289.
Double chair, 222, 225.
Double chest, 32.
Drawing-table, 243.
Dressing-glass, 50.
Dulcimer, 304.
Dutch marquetrie, 46.
Dutch tea-table, 251.
E
Easy-chair, 182, 183.
Edwards and Darley, 379.
Emerson, Rev. William, 190.
Empire bureau, 56, 57, 58;
sideboard, 114;
dining-table, 272.
Erben, Peter, 297.
Extension-top chair, 191.
F
Fan-back, 175.
Fancy chair, 210.
Faneuil, Peter, 347.
Fender, 320.
Fireback, 323.
Fire-frame, 326.
Fireplace, 316, 319.
Flemish chairs, 160.
Flucker, Lucy, 49.
Foot, claw-and-ball, 178;
Dutch, 171;
Flemish, 163;
French, 48, 222;
spade, 210;
Spanish, 163.
Forms, 139.
Forty-legged table, 248.
Franklin, Benjamin, 306, 326.
Franklin stove, 326.
French foot, Hepplewhite, 48;
scroll, 186, 222.
Frets, 288.
Friesland clock, 341.
Fringe, netted, 68.
G
Gas, 344.
Gate-leg, 248.
Gibbon, Dr., 3.
Gilman, Rev. Samuel, 431.
Girandole, 395.
Girard, Stephen, 229.
Graeme Park, 442.
Guilloche, 200.
H
Hadley chest, 16.
Haircloth covering, 204, 241.
Hall lantern, 346, 347.
Hamilton, Alexander, 437.
Hancock, John, 126, 225, 267, 211, 346, 353.
Hancock, Thomas, 353.
Handles, 21, 49.
Harmonica, 305.
Harp, 313.
Harp-shaped piano, 311.
Harpsichord, 286.
Harris, John, 286.
Hassam, Stephen, 365.
Haward, Charles, 281.
Hawkey, Henry, 312.
Hawthorne, Nathaniel, quoted, 38.
Heaton, J. Aldam, quoted, 9.
Hepplewhite, 4, 6, 196.
Hessians, 318.
High-boy, 24, 31.
Hipkins, A. J., 283.
Hitchcock, John, 284;
Thomas, 281, 283.
Hob-grate, 323.
Holmes, O. W., quoted, 1, 132, 155.
Howard, Edward, 364.
Hundred-legged table, 2, 248.
Huntington, Dr. William R., 133.
I
Ince and Mayhew, 4, 184, 379.
Independence Hall, 441.
Irish Chippendale, 93.
J
Jacobean furniture, 159.
Japanning, 24, 123, 204.
Japan work, 24, 123, 376.
Jefferson, Thomas, 177, 334.
Johnson, Dr. Samuel, 91;
Dr. William Samuel, 258, 338.
Johnson, Thomas, 4, 5, 379.
Joint or joined furniture, 10.
Jones, William, 4.
K
Kas or kasse, 91.
Keene, Stephen, 281, 282.
Keith, Sir William, 443.
Kettle-shape, 44, 135.
Kettle-stand, 257.
Kimball house, 431.
Knife-boxes, 99, 100.
Knobs for looking-glasses, 394.
Knox, General, 50, 98.
L
Lacquered furniture, 24, 123.
Lafayette, 238.
Lamp, betty, 328;
mantel, 345;
silver, 335.
Langdale, Josiah, 162.
Lantern, 346.
Lantern clock, 348.
Larkin-Richter house, 433.
Lee, Col. Jeremiah, 423.
Lee mansion, 317, 423.
Light-stand, 257.
Lindall-Barnard-Andrews house, 432.
Lock, Matthias, 4, 5, 379.
Logan, James, 110.
Looking-glasses, 374.
Low-boy, 24, 31.
Lowell, James Russell, quoted, 21.
M
Macphaedris, Archibald, 140.
Mahogany, 3, 4.
Manor hall, 437.
Mantel lamps, 345.
Manwaring, Robert, 4, 184.
Marie Antoinette, 97, 227.
Marquetrie, 46.
McIntire, 207, 411.
Mather, Richard, 156.
Mayhew, Ince and, 4, 184.
Melville, David, 344.
Miniature bureau, 53;
sofa, 239.
Mirror knobs, 394.
Mischianza fête, 385, 448.
Mixing table, 115, 116.
Morgan, Lady, 308, 314.
Morris, Robert, 116.
Mouldings, 19, 47.
Mount Vernon, chair, 205;
fireplace, 324;
lamp, 335.
Murray, Rev. John, 431.
Musical clock, 361, 363.
Musical glasses, 305.
Music-stand, 303, 306, 307.
Myers, Barton, house, 450.
N
Newport chest, 33;
bureau, 45;
writing table, 136.
Night table, 62.
O
Oak, 3, 19.
Oak Hill, 428.
Octagon house, 434.
Oliver, Gen. 412.
Osborne, Sir Danvers, 122.
Otis, Harrison Gray, house, 424.
P
Parker-Inches-Emery house, 420.
“Parson Turell’s Legacy,” quoted, 155.
Pembroke table, 262.
Pendleton collection, 100, 347.
Penn, William, 125.
Penny-Hallet house, 419.
Pepperell, Sir William, 160.
Pepys, Samuel, quoted, 281.
Philipse, Mary, 437.
Philipse Manor house, 437.
Phyfe, Duncan, 275.
Piano, 289.
Piano-stool, 298, 300.
Pie-crust table, 252.
Pillar-and-claw table, 272.
Pipe-case, 36.
Pollen, Hungerford, quoted, 375.
Popkin, Dr. John Smelling, 129.
Portuguese twist, 168.
Preston, John, 245.
Prince of Wales feathers, 197.
Pringle house, 337.
Province House, 332.
Putnam cupboard, 86.
Q
Quadrille, 258.
Queen Anne chair, 167.
Quill work, 339.
Quincy, Eliza Susan Morton, quoted, 335.
R
Ripley, Dr. Ezra, 190, 234.
Rittenhouse, David, 358.
Robinson, G. T., quoted, 3.
Robinson house, 426.
Rockers, 173, 177.
Roundabout chair, 170.
Rumford, Count, 320.
S
Sally, ship, 96, 226.
Sargent-Murray-Gilman house, 429.
Satinwood, 6.
Schuyler, Gen. Philip, 437.
Schuyler house, 437.
Sconce, 377.
Screen, 338, 341.
Scrutoir, 118.
Secret drawers, 132, 136.
Settee, 216, 221.
Settle, 214.
Sewall, Judge Samuel, 280, 321, 377.
Shaw, Miss Rebecca, 137, 189.
Shearer, Thomas, 5, 96, 264.
Sheraton, Thomas, 4, 184, 205.
Sheraton quoted, 3, 7, 106, 146, 150, 295.
Sherburne, John, 28.
Sideboard, 91;
Shearer, 96;
Hepplewhite, 101;
Sheraton, 105;
measurements of, 106;
woods used in, 99.
Side table, Chippendale, 93, 94.
Slat-back chair, 171.
Slate-top table, 245.
Slaw-bank, 66.
Smoker’s tongs, 331.
Spade foot, 210.
Spandrels, 353.
Spanish foot, 165.
Spindle-leg, 249.
Spinet, 281.
Splat, 179, 184.
Squabs, 238.
Stand, candle, 343;
Dutch, 251;
kettle, 257;
light, 257.
Stein, André, 398.
Stenton, 110, 221.
Steps for beds, 73, 79.
Storr, Marmaduke, 355.
Strong, Governor Caleb, 190.
Swan, Colonel, 96.
T
Table, butterfly, 246;
card, 257, 264;
chair, 243;
dish-top, 252;
drawing, 243;
Dutch tea, 251;
framed, 248;
forty, gate or hundred-legged, 243;
joined, 243;
Pembroke, 262;
pie-crust, 252;
pillar-and-claw, 272;
slate-top, 245;
spindle-legged, 249;
work, 268.
Table borde, 242.
Table piano, 301.
Tall clocks, 354.
Tambour, 150.
Taylor, Col. John, 434.
Tea-tray, mahogany, 264;
Sheffield, 249.
Terry, Eli, 370.
Thomas, Seth, 370.
Turkey work, 159, 216.
U
Unitarian church, Leicester, 200.
Upright piano, 309.
V
Valentine Museum, 449.
Vanderbilt, Mrs., quoted, 72.
Van Rensselaer, Killian, 120.
Van Rensselaer, Philip, 120.
Virginal, 280.
W
Wainscot chair, 157.
Walnut, 3.
Ware, Isaac, quoted, 423.
Warner, Colonel Jonathan, 140.
Warville, Brissot de, quoted, 289.
Washington, George, 103, 151, 201, 205, 323, 378.
Washstand, 57.
Watson’s Annals, quoted, 306.
Wendell, Elizabeth Hunt, 283.
Wentworth, Governor John, 223.
What-not, 267.
Whipple house, 171, 319.
Wig stand, 58.
Willard, Aaron, Benjamin, Simon, 362.
Windsor, chair, 174.
Wood, Small & Co., 300.
Work-table, 270.
Writing-chair, 177.
Writing-table, 136.
Printed in the United States of America.
End of Project Gutenberg's Furniture of the Olden Time, by Frances Clary Morse