Four designs of vase knife cases are given. “They are usually made of satin, or other light-coloured wood, and may be placed at each end on the sideboards, or on a pedestal; the knives, etc., fall into the body of the vase, the top of which is kept up by a small spring which is fixed to the stem, which supports the top; may be made of copper, painted and japanned.”
One of these is shown on Plate [LV.], No. 4.
“Cellerets,” he tells us, “called also gardes de vin, are generally made of mahogany, and hooped with brass hoops lacquered; the inner part is divided with partitions, and lined with lead for bottles; may be made of any shape. These are of general use where sideboards are without drawers.”
Plate [LIII.] shows all of these articles except the celleret. The sideboard is similar to that on Plate [LIV.] and upon it stand knife boxes and a lustre. Pedestals supporting the vases described above stand on either side. Above is an ornate mirror.
“Candlestands are very useful in large suits of apartments, as the light may be placed in any part at pleasure—in drawing-rooms, in halls and on large staircases, they are frequently used. These designs may be executed in mahogany or wood japanned.” A very graceful example appears as No. 6 on Plate [LV.] It has five branches, three of which only are shown in the sketch here. This is to be made in mahogany or japanned wood and the branches are lacquered brass.
No. 1 on Plate [LIV.] represents a little urn-stand “to set the teapot on.” This is about 26 inches high and can be painted or varnished or inlaid with various coloured woods.
The “Pole fire screen,” a specimen of which is shown on Plate [LV.], No. 5, “may be ornamented variously, with maps, Chinese figures, needlework, etc. The screen is suspended on the pole by means of a spring in the eye, through which the pole goes.” These articles are made of mahogany or japanned wood.
The Horse fire-screen is supported by uprights standing on feet. The screen slides up and down in grooves in these uprights. The framework is usually of mahogany and the screen is covered with green silk needlework, etc. Heppelwhite’s lamps are often ornamented with brass work. He gives, however, a square one to be made in mahogany. Of great importance are his mirrors with sconce arms, which he calls “Girandoles,” and remarks: “This kind of ornament admits of great variety in pattern and elegance; they are usually executed of the best carved work,—gilt and burnished in parts. They may be carved and coloured suitable to the room.” A very graceful example is shown as No. 3 on Plate [LV.] The mirror fills the entire oval. Girandoles also hang on the walls of the room shown as Plate [LIII.]
Pier-glass frames are “almost invariably of good carved work, gilt and burnished.” The square shape is most fashionable, Heppelwhite says, and directs that “they should be made nearly to fill the pier. They must be fixed very low, and the panels of the sides are frequently made of various coloured glass.” What he means by this will be understood by referring to the large mirror over the sofa in Plate [LIII.]
Pier tables “are made to fit the pier and rise level with, or above the dado of the room, nearly touching the ornaments of the glass.”