The second period embraces the fine creations which have the celebrated Louis XVI. ribbon ornamentation in the backs. From one of the designs in Chippendale's book, here illustrated, the elegance of the style is shown. It is exuberant enough, but the author complains in his volume that "In executing many of these drawings, my pencil has but faintly carved out those images my fancy suggested; but in this failure I console myself by reflecting that the greatest masters of every art have laboured under the same difficulties." The ribbon-backed chair illustrated (p. [223]) is one of the two given to an ancestor of the present owner by the fourth Duke of Marlborough in 1790. They were formerly at Blenheim, and there is an added interest in them owing to the fact that the seats were worked by Sarah, the great Duchess of Marlborough.
By permission of the proprietors of the "Connoisseur."
RIBBON-BACKED CHIPPENDALE CHAIR, FORMERLY AT BLENHEIM, THE SEAT WORKED BY SARAH, DUCHESS OF MARLBOROUGH.
The latest style of Chippendale's work is the Gothic. There are many pieces in existence which he probably had to produce to satisfy the taste of his fashionable clients, but the style is atrocious, and the less said about them the better. The illustration (p. [225]) of a chair-back from his design-book shows how offensive it could be.
By permission of the proprietors of the "Connoisseur."
CHIPPENDALE CORNER CHAIR, ABOUT 1780.
(Reproduced by kindness of the Hon. Sir Spencer Ponsonby-Fane, G.C.B., I.S.O.)
The fine corner-chair, here illustrated, exhibits the strength and solidity he could impart to his work. His chairs were meant to sit upon, and are of excellent carpentry. The square, straight legs are a feature of much of his work. The examples belonging to the India Office and the Governors of the Charterhouse illustrated (pp. [226], [227]) show the type that he made his own and with which his name has been associated.
GOTHIC CHIPPENDALE CHAIR-BACK.
(From the "Director.")