Before dealing with Sheraton in detail, the names of some lesser known makers contemporary with him may be mentioned. Matthias Lock, together with a cabinetmaker named Copeland, published in 1752 designs of furniture which derived their inspiration from the brothers Adam, which classic feeling later, in conjunction with the Egyptian and Pompeian spirit, dominated the style of the First Empire. Josiah Wedgewood, with his Etruscan vases, and Flaxman, his designer, filled with the new classic spirit, are examples in the world of pottery of the influences which were transmitted through the French Revolution to all forms of art when men cast about in every direction to find new ideas for design.
Ince and Mayhew, two other furniture designers, published a book in 1770, and Johnson outdid Chippendale's florid styles in a series of designs he brought out, which, with their twisted abortions, look almost like a parody of Thomas Chippendale's worst features. There is a "Chairmaker's Guide," by Manwaring and others in 1766, which contains designs mainly adapted from all that was being produced at the time. It is not easy to tell the difference between chairs made by Manwaring and those made by Chippendale, as he certainly stands next to the great master in producing types which have outlived ephemeral tastes, and taken their stand as fine artistic creations.
Among other names are those of Shearer, Darly, and Gillow, all of whom were notable designers and makers of furniture in the period immediately preceding the nineteenth century.
Thomas Sheraton, contemporary with William Blake the dreamer, shares with him the unfortunate posthumous honour of reaching sensational prices in auction rooms. There is much in common between the two men. Sheraton was born in 1751 at Stockton-on-Tees, and came to London to starve. Baptist preacher, cabinetmaker, author, teacher of drawing, he passed his life in poverty, and died in distressed circumstances. He was, before he brought out his book of designs, the author of several religious works. Often without capital to pursue his cabinetmaking he fell back on his aptitude for drawing, and gave lessons in design. He paid young Black, who afterwards became Lord Provost of Edinburgh, half a guinea a week as workman in his cabinetmaker's shop in Soho. In a pathetic picture of those days the Lord Provost, in his Memoirs, tells how Sheraton and his wife and child had only two cups and saucers and the child had a mug, and when the writer took tea with them the wife's cup and saucer were given up to the guest, and she drank her tea from a common mug. This reads like Blake's struggles when he had not money enough to procure copper-plates on which to engrave his wonderful visions.
That the styles of Chippendale and Sheraton represent two distinct schools is borne out by what Sheraton himself thought of his great predecessor. Speaking in his own book of Chippendale's previous work he says: "As for the designs themselves they are wholly antiquated, and laid aside, though possessed of great merit according to the times in which they were executed." From this it would appear that the Chippendale style, at the time of Sheraton's "Cabinetmaker's and Upholsterer's Drawing Book," published in 1793, had gone out of fashion.
The woods mostly employed by Sheraton were satinwood, tulip-wood, rosewood, and apple-wood, and occasionally mahogany. In place of carved scrollwork he used marquetry, and on the cabinets and larger pieces panels were painted by Cipriani and Angelica Kauffman. There is a fine example of the latter's work in the Victoria and Albert Museum.
Sheraton borrowed largely from the French style under Louis XVI., when the lines had become severer; he came, too, under the influence of the Adam designs. He commonly used turned legs, and often turned backs, in his chairs. His later examples had a hollowed or spoon back to fit the body of the sitter. When he used mahogany he realised the beauty of effect the dark wood would give to inlay of lighter coloured woods, or even of brass. The splats and balusters, and even the legs of some of his chairs, are inlaid with delicate marquetry work.
Ornament for its own sake was scrupulously eschewed by Sheraton. The essential supports and uprights and stretcher-rails and other component parts of a piece of furniture were only decorated as portions of a preconceived whole. The legs were tapered, the plain surfaces were inlaid with marquetry, but nothing meaningless was added. In France Sheraton's style was termed "Louis Seize à l'Anglaise."
By permission of Messrs. Hampton &. Sons.
OLD ENGLISH SECRÉTAIRE.
Rosewood and satinwood. Drop-down front.