Another of his designs is a “Chinese Sopha with a canopy over it, with its curtains and vallens all tied up in drapery. This design may be converted into a bed, by having the Sopha so made as to come forward, the curtains to draw to the front of the Sopha, and hang sloping, which will form a sort of a tent, and look very grand. The ornaments are designed for burnished gold.” Another “is a Chinese Sopha, intended for the same use as the former; the design is different from the other, and if well executed by an ingenious workman, it cannot fail of giving content.”
Another “Chinese sopha” is represented on Plate [XLI.], which is purely a sofa and not a bed. This has a pagoda-shaped canopy decorated with bells and the drapery arranged in formal festoons. At the back is a piece of silk ornamented in the style of Boucher, and the sofa, which is a French canapé, bears a design reminiscent of Watteau,—a “gallant scene” showing a lady in a large hat and flowing gown seated on a bank while her companion is a gentleman in a cocked hat.
Specific directions accompany four designs of Sofas. “When made large, they have a bolster and pillow at each End,” and Cushions at the Back, which may be laid down occasionally and form a mattress. The upper sofa is designed to have the Back Corners Circular, which must look well. The Sizes differ greatly; but commonly they are from 6 to 9 or 10 feet long; the Depth of the Seat from Front to Back from 2 feet, 3 inches, to 3 feet; and the Height of the Seat 1 foot 2 inches with casters. The scrolls are 18 to 19 inches high. Part of the carving may be left out, if required.
The chaise longue also appears, and of it the designer says: “This is what the French call ‘Péché Mortel.’ They are sometimes made to take asunder in the middle: one part makes a large easy chair and the other, a stool, and the feet join in the middle, which looks badly.” This, of course, is the duchesse, consisting of a fauteuil and a tabouret (see pages [208] and 209). Chippendale recommends for this a “thick mattress, 6 feet long in the clear; and 2 feet, 6 inches to 2 feet broad.”
Turning now to the chairs, a close examination will show almost double the number actually represented; because Chippendale often gives different motives for carving on the two sides of the special chair. He draws French chairs, Gothic chairs, Chinese chairs, Garden chairs, Hall chairs and his favourite “Ribband Back chairs.” The latter, one variety of which appears to the reader’s left on Plate [XXXVIII.], is one of “three Ribband-back Chairs, which, if I may speak without vanity, are the best I have ever seen (or perhaps have ever been made). The Chair on the left hand has been executed from this Design, which had an excellent effect, and gave satisfaction to all who saw it. I make no doubt but the other two will give the same content, if properly handled in the execution.”
The length of the front leg is 19 inches; the rail of the seat (upholstered with small nails touching one another) is 22¾ inches; the seat is 18 inches square; and the back from seat to top rail 22 or 23 inches high. “If the seats are covered with red morocco,” Chippendale assures us, “they will have a fine effect.”
Describing a series of eighteen chairs, Chippendale says these “are various designs of Chairs for patterns. The front feet are mostly different for the greater choice. The seats look best when stuffed over the rails and have a Brass Border neatly chased; but are most commonly done with Brass Nails, in one or two Rows; and sometimes the Nails are done to imitate Fretwork. They are usually covered with the same stuff as the Window Curtains. The Height of the Back seldom exceeds twenty-two inches above the Seats.”
Another set is thus described:
“Eight designs of French chairs, which may be executed to advantage. Some of them are intended to be open at the Back; which makes them very light, without having a bad effect.” (The Dimensions are the same as those given above, “only that the highest Part of the Back is 2 feet, 5 in.”) But sometimes these Dimensions vary according to the Bigness of the Rooms they are intended for. A skillful workman may also lessen the carving without any Prejudice to the Design. Both the Backs and Seats must be covered with Tapestry, or other sort of Needlework.
We also find: