“It appears from some of the latest specimens of French chairs, some of which we have been favoured with a view of, that they follow the antique taste, and introduce into their arms and legs various heads of animals; and that mahogany is the chief wood used in their best chairs, into which they bring in portions of ornamental brass; and, in my opinion, not without a proper effect, when due restraint is laid on the quantity.”
Of the sofa shown on Plate [LXII.] Sheraton says it may be “done in white and gold, or japanned. The loose cushions at the back are generally made to fill the whole length, which would have taken four; but I could not make the design so striking with four, because they would not have been distinguished from the back of the sofa by a common observer. These cushions serve at times for bolsters, being placed against the arms to loll against. The seat is stuffed up in front about three inches high above the rail, denoted by the figure of the sprig running longways; all above that is a squab which may be taken off occasionally. If the top rail be thought to have too much work, it can be finished in a straight rail, as the design shews.”
“Our sofas are never covered with a carpet, but with various pattern cottons and silks.”
When the commode is decorated with wire-doors, Sheraton insists that green, white or pink silk shall be fluted behind them. The cabinet on Plate [LX.] is treated in this way.
“As pier tables are merely for ornament under a glass, they are generally made very light, and the style of finishing them is rich and elegant. Sometimes the tops are solid marble, but most commonly veneered in rich satin or other valuable wood, with a cross band on the outside, a border about two inches richly japanned and a narrow cross band beyond it, to go all round. The frames are commonly gold or white or burnished gold. Stretching-rails have of late been introduced to these tables, and it must be owned that it is with good effect, as they take off the long appearance of the legs and make the under part appear more finished; besides they afford an opportunity of fixing a vase or basket of flowers, which, with their reflection when there is a glass behind, produce a brilliant appearance.
“Some, in place of a stretcher, have a thin marble shelf with a brass rim round it, supported by a light frame; in which case the top ought to be of marble also.”
There are horse fire-screens, pole screens and tripod screens.
Pole Fire-Screens “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; the feet of the two outer ones are loaded with lead to keep them steady; may be made of mahogany, but more frequently of wood japanned.”
The framework of Horse Fire-Screens should be of mahogany; the screen may be covered with green silk, needlework, etc., at pleasure.
Tripod Fire Screens he made in white and gold, mahogany or japanned. “The rods of these screens are all supposed to have a hole through them and a pulley let in near the top on which the line passes, and a weight being enclosed in the tassel, the screen is balanced to any height. The rods are often made square, which indeed best suits those which have pulleys, while those that are made round have only rings and springs.