represent many influences. His early work was patterned closely upon Queen Anne models; but with the “Director” appeared many examples of Gothic and fretted furniture. The Gothic, unsuitable as it was for domestic use, obtained little vogue; but the ornamentation of chairs and tables, either by open or, more commonly, applied fretwork, was popular for a dozen years or more, and is characteristic of some of Chippendale’s most successful if not most showy productions.

During this same period a rage for things Chinese possessed the popular taste, and in many latticed chair backs and canopied tops of cabinets the versatile cabinetmaker catered to this new interest.

Besides his chairs, the name of Chippendale is closely associated with the charming tripod tables, generally made with tilted top and often with molded or “piecrust” border, with the flat card tables so much used in the gaming of the period, and with the all-china cabinets and bookcases with glass fronts, and oftentimes with a characteristic broken pediment at the top.

The two other men who identified their names with English styles worked under the influence of the classical revival brought about in England largely by the influence of the brothers Adam. In the case of Heppelwhite this influence greatly affected but did not absolutely determine the style; for this practical cabinetmaker was a man of independent if not original ideas, and his work bears a strong stamp of individuality. Heppelwhite died in 1786, and the “Cabinet-maker and Upholsterer’s Guide,” published by his widow and partners in 1788, shows us in the form of a trade catalogue much of the spirit and quality of his work.

CHIPPENDALE TABLE

This table shows strong Chinese influence.

HEPPELWHITE—THE EXPONENT OF ELEGANCE

HEPPELWHITE CORNER CABINET

The most characteristic designs of Heppelwhite are his chair backs. These are commonly shield or oval shaped, with open center splats, in the center of which were often introduced the ostrich plumes of the Prince of Wales. Another form of back frequently employed by Heppelwhite was that with slightly curved sides and strongly bowed top, known as the “camel back.”

The legs of Heppelwhite’s chairs are almost always tapering and square in sections and end in a spade foot. The proportions of these chairs give an effect of extreme elegance and refinement. They seem almost fragile; but the material is disposed with such skill and the workmanship is so excellent that in reality they are far stronger than might appear.

EXAMPLES OF HEPPELWHITE CHAIRS

From the time of the Middle Ages the buffet has existed as an important article of furniture; but to Heppelwhite is due the credit of perfecting the sideboard in its present English form. He combined the pedestal cellaret and side table of Robert Adam in one structure, and effected a union of utility with elegance, which he executed in many pleasing designs of bow and serpentine front.

To Heppelwhite we must also give credit for the most refined and tasteful use of inlay and of veneers to be found in English furniture. On the doors of wardrobes and on the front of drawers he employed veneers of the beautiful curl mahogany that came into favor about 1760, and on the front of his solid mahogany tables, sideboards, and bookcases he substituted for carving the inlay of low-toned colored woods in the form of lines and narrow bands and other ornamental