I have now given several illustrations of modes of forming chairs. I might have given many more, but it is not my duty to try and exhaust a subject. What I have to do is simply point out principles, and call attention to facts. It is the reader who must think for himself—first, of the principles and facts which I adduce; secondly, of the illustrations which I give; thirdly, of other works which he may meet with; and fourthly, of further means of producing desirable and satisfactory results than those set forth in my illustrations.
As it cannot be doubted that a well-constructed work, however plain or simple it may be, gives satisfaction to those who behold it—while a work of the most elaborate character fails to satisfy if badly constructed—we shall give a few further illustrations of structure for other articles of furniture, besides chairs, which have become necessary to our mode of life.
Fig. 36 is one of my sketches for Greek furniture, designed for a wealthy client. It was formed of black wood. Here the frame of the seat is first formed, and the legs are inserted beneath it, and let into it, while the wood-work of the end of the couch stands upon it, being inserted into it. This appears to have been the general method with the Greeks of forming their furniture, yet it is not so correct structurally as Fig. 37, another of my sketches, where the end and the leg are formed of one piece of wood. The first formation (that of Fig. 36) would bear any amount of pressure from above, but it is not well calculated for resisting lateral pressure; while the latter would resist this lateral pressure, but would not bear quite the same amount of pressure from above. The latter, however, could bear more weight than would ever be required of it, and would be the more durable piece of furniture.
Fig. 38 gives a legitimate formation for a settee; the cutting-out, or hollowing, of the sides of the legs is not carried to an extreme, but leaves a sufficiency of strong wood with an upright grain to resist all the pressure that would be placed on the seat, and the lower and upper thickened portions of the legs act as the brackets beneath the seat in Fig. 33. The arch here introduced is not used structurally, but for the sake of a curved line, and acts simply as a pair of brackets. This illustration is also from Mr. Talbert's work. Fig. 39 is a table such as we occasionally meet with. I see no objection to the legs leaning inwards at the top; indeed, we have here a picturesque and useful table of legitimate formation. Fig. 40 is the end elevation of a sideboard from Mr. Talbert's work. Mark the simplicity of the structure. The leading or structural lines are straight and obvious. Although Mr. Talbert is not always right, yet his book is well worthy of the most careful consideration and study; and this I can truly say, that it compares favourably with all other works on furniture with which I am acquainted.
The general want which we perceive in modern furniture is simplicity of structure and truthfulness of construction. If persons would but think out the easiest mode of constructing a work before they commence to design it, and would be content with this simplicity of structure, we should have very different furniture from what we have. Think first of what is wanted, then of the material at command.
