File:The practical book of period furniture, treating of furniture of the English, American colonial and post-colonial and principal French periods (1914) (14778987765).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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a central section projectedsomewhat beyond the flanking wings on each side andwas frequently capped by a pediment. The pedimentsatop bookcases and other pieces of furniture wereeither straight or of the swan-neck type (Key IX, 1and 2). Chippendale mouldings are generally of a dis-tinctly architectural character and are not heavy butwell proportioned. In chairs and other pieces of furniture, also, bothcabriole and straight, square legs were used andstretchers were often employed but not invariably. Inpieces of English and Chinese type we do not findwaved, arched or ogeed aprons, while in some of theFrench pieces, on the other hand, aprons are shaped toreceive (Plate XIV, p. 148) the embellishment of carv-ing. Several kinds of bracket feet are used for cabinetwork but the ogee style is most often employed, es-pecially the sort sometimes called a Chinese foot (KeyIX, 1 and 2) which is distinguished by a peculiar curve(Plate XV, p. 154) often seen in old Chinese jars or inteakwood stands.
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CHIPPENDALE 155 CHAIRS Of all pieces of furniture, chairs are the most sensi-tive to new influences, and the quickest to indicate achange of style. How this was true in a general wayhas been previously mentioned. How it was true in aparticular way, namely in the case of Thomas Chippen-dale or the school of furniture designing called by hisname, we shall presently see. Chippendales versatility in adapting styles andcombining types of ornament, or the faculty of so do-ing, common to the chair- and cabinet-makers of hisperiod—which ever way one chooses to put it—ex-pressed itself in four distinct phases, which may beclassified as follows: (1) the early or distinctly Eng-lish phase, which grew out of, and was adapted from, thetypes in vogue (Plate XIV, p. 148) in the latter part ofthe Queen Anne-Early Georgian period (Key VI, 1);(2) the Gothic and fretted phase (Key VI, 5 and 7); (3)the Chinese phase (Key VI, 8, and VII, 1), and (4) thephase in the French taste (Key VI, 9). These phas

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