File:The practical book of period furniture, treating of furniture of the English, American colonial and post-colonial and principal French periods (1914) (14776707844).jpg

Identifier: practicalbookofp00eber (find matches)
Title: The practical book of period furniture, treating of furniture of the English, American colonial and post-colonial and principal French periods
Year: 1914 (1910s)
Authors: Eberlein, Harold Donaldson McClure, Abbot, 1879-
Subjects: Furniture
Publisher: Philadelphia, London, J.B. Lippincott Company
Contributing Library: Wellesley College Library
Digitizing Sponsor: Wellesley College Library

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s both followed the lead t)f Shearer and de-signed pieces in practically the same style, but Sheratoncarried the sideboard to a fuller development than didHepplewhite. One essential item of contrast, however, will alwaysserve to differentiate clearly the individual styles ofHepplewhite and Sheraton, no matter how many pointsof resemblance they may display in other respects—Sheraton admired and emphasised the straight linein every possible place, while Hepplewhite, on the con-trary, was a faithful exponent of the curvilinear ten-dency that became so popular in the late seventeenthand early eighteenth centuries. In his chairs, sofas,and sideboards, curving lines were everywhere notice-able, and though straight lines were by no means absent,particularly in some of the cabinet-work, the verticaland horizontal angularity that distinguished so many - r-; — c 2 ■J. l-« ■J. ■J. ~ > W 00 H ST ► >- p — p. Z - <; _ Ps r^ r : 1-1 a p 3 3 — 2 •c c E i-3
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GEORGE HEPPLEWHITE 205 of Sheratons designs were not a preponderatinginfluence. Sheratons work also exhibits a greater slen-derness and narrowness throughout. Some of theHepplewhite work, particularly his chair-backs, were ofgreat refinement and grace but, notwithstanding someindebtedness to Continental models, there always re-mains that fine English characteristic of sturdinesswhich alone among English furniture designers Shera-ton abandoned for French refinement and delicacy. During the period of Hepplewhites greatest activ-ity, the architectural influence of the Brothers Adamwas paramount. The classic style, as they interpretedit, attained the widest popularity, and the prevailinginterior decorations consisted largely of urns, reeding,wreaths of flowers, festoons of drapery or husks caughtup by rams heads, fan ovals, swags and drops ofbell flowers and knots of ribbon. The Adelphi suppliedinspiration to other architects who copied their stylewith varying success. It was natural, und

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