This valuable work of reference contains over two hundred copperplate engravings of chairs, sofas, bedsteads, mirror frames, girandoles, torcheres or lamp stands, dressing tables, cabinets, chimney pieces, organs, jardinieres, console tables, brackets, and other useful and decorative articles, of which some examples are given. It will be observed from these, that the designs of Chippendale are very different from those popularly ascribed to him. Indeed, it would appear that this maker has become better known than any other, from the fact of the designs in his book being recently republished in various forms; his popularity has thus been revived, while the names of his contemporaries are forgotten. For the last fifteen or twenty years, therefore, during which time the fashion has obtained of collecting the furniture of a bygone century, almost every cabinet, table, or mirror-frame, presumably of English manufacture, which is slightly removed from the ordinary type of domestic furniture, has been, for want of a better t.i.tle, called "Chippendale." As a matter of fact, he appears to have adopted from Chambers the fanciful Chinese ornament, and the rococo style of that time, which was superseded some five-and-twenty years later by the quieter and more cla.s.sic designs of Adam and his contemporaries.

[Ill.u.s.tration: _Fac-Simile of the t.i.tle Page of Chippendale's "Director."

(Reduced by Photography.) The Original is in Folio Size_.

THE GENTLEMAN and CABINET-MAKER'S DIRECTOR: Being a large COLLECTION of the Most ELEGANT and USEFUL DESIGNS OF HOUSEHOLD FURNITURE, In the Most FASHIONABLE TASTE.

Including a great VARIETY of

CHAIRS, SOFAS, BEDS, and COUCHES; CHINA-TABLES, DRESSING-TABLES, SHAVING-TABLES, BASON-STANDS, and TEAKETTLE-STANDS; FRAMES for MARBLE-SLABS, BUREAU-DRESSING-TABLES, and COMMODES; WRITING-TABLES, and LIBRARY-TABLES; LIBRARY-BOOK-CASES, ORGAN-CASES for private Rooms, or Churches, DESKS, and BOOK-CASES; DRESSING and WRITING-TABLES with BOOK-CASES, TOILETS, CABINETS, and CLOATHS-PRESSES; CHINA-CASES, CHINA-SHELVES, and BOOK-SHELVES; CANDLE-STANDS, TERMS for BUSTS, STANDS for CHINA JARS, and PEDESTALS; CISTERNS for WATER, LANTHORNS, and CHANDELIERS; FIRE-SCREENS, BRACKETS, and CLOCK-CASES; PIER-GLa.s.sES, and TABLE-FRAMES; GIRANDOLES, CHIMNEY-PIECES, and PICTURE-FRAMES; STOVE-GRATES, BOARDERS, FRETS, CHINESE-RAILING, and BRa.s.s-WORK, for Furniture,

AND OTHER ORNAMENTS, TO WHICH IS PREFIXED, A Short EXPLANATION of the Five ORDERS of ARCHITECTURE; WITH

Proper DIRECTIONS for executing the most difficult Pieces, the Mouldings being exhibited at large, and the Dimensions of each DESIGN specified.

The Whole comprehended in Two HUNDRED COPPER-PLATES, neatly engraved.

Calculated to improve and refine the present TASTE, and suited to the Fancy and Circ.u.mstances of Persons in all Degrees of Life.

By THOMAS CHIPPENDALE, CABINET-MAKER and UPHOLSTERER, in St. Martin's Lane, London.

THE THIRD EDITION.

LONDON:

Printed for the AUTHOR, and sold at his House, in St. Martin's Lane; Also by T. BECKET and P.A. DeHONDT, in the Strand.

MDCCLXII.

[Ill.u.s.tration: Fac-simile of a Page in Chippendale's "Director." (The original is folio size.)]

[Ill.u.s.tration: Tea Caddy, Carved in the French style. (From Chippendale's "Director.")]

In the chapter on Louis XV. and Louis XVI. furniture, it has been shewn how France went through a similar change about this same period. In Chippendale's chairs and console tables, in his state bedsteads and his lamp-stands, one can recognise the broken scrolls and curved lines, so familiar in the bronze mountings of Caffieri. The influence of the change which had occurred in France during the Louis Seize period is equally evident in the Adams' treatment. It was helped forward by the migration into this country of skilled workmen from France, during the troubles of the revolution at the end of the century. Some of Chippendale's designs bear such t.i.tles as "French chairs" or a "Bombe-fronted Commode." These might have appeared as ill.u.s.trations in a contemporary book on French furniture, so identical are they in every detail with the carved woodwork of Picau, of Cauner, or of Nilson, who designed the flamboyant frames of the time of Louis XV. Others have more individuality. In his mirror frames he introduced a peculiar bird with a long snipe-like beak, and rather impossible wings, an imitation of rockwork and dripping water, Chinese figures with paG.o.das and umbrellas; and sometimes the ill.u.s.tration of Aesop's fables interspersed with scrolls and flowers. By dividing the gla.s.s unequally, by the introduction into his design of bevelled pillars with carved capitals and bases, he produced a quaint and pleasing effect, very suitable to the rather effeminate fashion of his time, and in harmony with three-cornered hats, wigs and patches, embroidered waistcoats, knee breeches, silk stockings, and enamelled snuff-boxes. In some of the designs there is a fanciful Gothic, to which he makes special allusion in his preface, as likely to be considered by his critics as impracticable, but which he undertakes to produce, if desired--

"Though some of the profession have been diligent enough to represent them (espescially those after the Gothick and Chinese manner) as so many specious drawings impossible to be worked off by any mechanick whatsoever. I will not scruple to attribute this to Malice, Ignorance, and Inability; and I am confident I can convince all n.o.blemen, Gentlemen, or others who will honour me with their Commands, that every design in the book can be improved, both as to Beauty and Enrichment, in the execution of it, by

"Their most obedient servant,

"THOMAS CHIPPENDALE."

[Ill.u.s.tration: A Bureau, From Chippendale's "Director."]

The reader will notice that in the examples selected from Chippendale's book there are none of those fretwork tables and cabinets which are generally termed "Chippendale." We know, however, that besides the designs which have just been described, and which were intended for gilding, he also made mahogany furniture, and in the "Director" there are drawings of chairs, washstands, writing-tables and cabinets of this description.

Fretwork is very rarely seen, but the carved ornament is generally a foliated or curled endive scroll; sometimes the top of a cabinet is finished in the form of a Chinese paG.o.da. Upon examining a piece of furniture that may reasonably be ascribed to him, it will be found of excellent workmanship, and the wood, always mahogany without any inlay, is richly marked, shewing a careful selection of material.

[Ill.u.s.tration: Fac-simile of a Page In Chippendale's "Director." (The original is folio size.)]

[Ill.u.s.tration: "French" Commode and Lamp Stands. Designed by T.

Chippendale, and Published in His "Director."]

[Ill.u.s.tration: Fac-simile of a Page in Chippendale's "Director." (The original is folio size.)]

[Ill.u.s.tration: Chimneypiece and Mirror. Designed By T. Chippendale, and Published in His "Director."]

[Ill.u.s.tration: PARLOUR CHAIRS BY CHIPPENDALE.]

The chairs of Chippendale and his school are very characteristic. If the outline of the back of some of them be compared with the stuffed back of the chair from Hardwick Hall (ill.u.s.trated in Chap. IV.) it will be seen that the same lines occur, but instead of the frame of the back being covered with silk, tapestry, or other material--as in William III.'s time--Chippendale's are cut open into fanciful patterns; and in his more highly ornate work, the twisted ribands of his design are scarcely to be reconciled with the use for which a dining room chair is intended. The well-moulded sweep of his lines, however, counterbalances this defect to some extent, and a good Chippendale mahogany chair will ever be an elegant and graceful article of furniture.

One of the most graceful chairs of about the middle of the century, in the style of Chippendale's best productions, is the Master's Chair in the Hall of the Barbers' Company. Carved in rich Spanish mahogany, and upholstered in morocco leather, the ornament consists of scrolls and cornucopiae, with flowers charmingly disposed, the arms and motto of the Company being introduced. Unfortunately, there is no certain record as to the designer and maker of this beautiful chair, and it is to be regretted that the date (1865), the year when the Hall was redecorated, should have been placed in prominent gold letters on this interesting relic of a past century.

[Ill.u.s.tration: Clock Case, by Chippendale.]

Apart from the several books of design noticed in this chapter, there were published two editions of a work, undated, containing many of the drawings found in Chippendale's book. This book was ent.i.tled, "Upwards of One Hundred New and Genteel Designs, being all the most approved patterns of household furniture in the French taste. By a Society of Upholders and Cabinet makers." It is probable that Chippendale was a member of this Society, and that some of the designs were his, but that he severed himself from it and published his own book, preferring to advance his individual reputation. The "sideboard" which one so generally hears called "Chippendale" scarcely existed in his time. If it did, it must have been quite at the end of his career. There were side tables, sometimes called "Side-Boards," but they contained neither cellaret nor cupboard: only a drawer for table linen.

The names of two designers and makers of mahogany ornamental furniture, which deserve to be remembered equally with Chippendale, are those of W.

Ince and J. Mayhew, who were partners in business in Broad Street, Golden Square, and contemporary with him. They also published a book of designs which is alluded to by Thomas Sheraton in the preface to his "Cabinet Maker and Upholsterer's Drawing Book," published in 1793. A few examples from Ince and Mayhew's "Cabinet Maker's Real Friend and Companion" are given, from which it is evident that, without any distinguishing brand, or without the identification of the furniture with the designs, it is difficult to distinguish between the work of these contemporary makers.

It is, however, noticeable after careful comparison of the work of Chippendale with that of Ince and Mayhew, that the furniture designed and made by the latter has many more of the characteristic details and ornaments which are generally looked upon as denoting the work of Chippendale; for instance, the fretwork ornaments finished by the carver, and then applied to the plain mahogany, the open-work scroll-shaped backs to encoignures or china shelves, and the carved Chinaman with the paG.o.da.

Some of the frames of chimney gla.s.ses and pictures made by Ince and Mayhew are almost identical with those of Chippendale.

Other well known designers and manufacturers of this time were Hepplewhite, who published a book of designs very similar to those of his contemporaries, and Matthias Lock, some of whose original drawings were on view in the Exhibition of 1862, and had interesting memoranda attached, giving the names of his workmen and the wages paid: from these it appears that five shillings a day was at that time sufficient remuneration for a skilful wood carver.

Another good designer and maker of much excellent furniture of this time was "Shearer," who has been unnoticed by nearly all writers on the subject. In an old book of designs in the author's possession, "Shearer delin" and "published according to Act of Parliament, 1788," appears underneath the representations of sideboards, tables, bookcases, dressing tables, which are very similar in every way to those of Sheraton, his contemporary.

A copy of Hepplewhite's book, in the author's possession (published in 1789), contains 300 designs "of every article of household furniture in the newest and most approved taste," and it is worth while to quote from his preface to ill.u.s.trate the high esteem in which English cabinet work was held at this time.

[Ill.u.s.tration: China Shelves, Designed by W. Ince. (Reproduced by Photography from an old Print in the Author's Possession.)]

[Ill.u.s.tration: Girandoles and Pier Table, Designed by W. Thomas, Architect, 1783. (Reproduced by Photography from an old Print in the Author's possession.)]

"English taste and workmanship have of late years been much sought for by surrounding nations; and the mutability of all things, but more especially of fashions, has rendered the labours of our predecessors in this line of little use; nay, in this day can only tend to mislead those foreigners who seek a knowledge of English taste in the various articles of household furniture."

It is amusing to think how soon the "mutabilities of fashion" did for a time supersede many of his designs.

A selection of designs from his book is given, and it will be useful to compare them with those of other contemporary makers. From such a comparison it will be seen that in the progress from the rococo of Chippendale to the more severe lines of Sheraton, Hepplewhite forms a connecting link between the two.

[Ill.u.s.tration: Toilet Gla.s.s.

Urn Stand.

(_From "Hepplewhite's Guide"._)]

The names given to some of these designs appear curious; for instance:

"Rudd's table or reflecting dressing table," so called from the first one having been invented for a popular character of that time.

"Knife cases," for the reception of the knives which were kept in them, and used to "garnish" the sideboards.