“A Library table” has “drawers and doors on both sides with upright Partitions for Books and Drawers for Works.”
Of another Library table he says: “The ends form an oval with carved terms fixed to the Doors and which must be cut at the astragal, base mouldings to open with the Doors.”
Another writing-table has drawers in the under part, small drawers and “pigeon-holes” and a place for books in the upper. In another writing-table “half of the front feet come out with the Drawer,” and in one corner is a “quadrant drawer for ink and sand.”
Another has a “flap on hinges in the top that rises to write upon.”
Frames and brackets for marble slabs, picture frames and frames for looking-glasses, girandoles, sconces, etc., etc., appealed very naturally to the carver. The very charming bracket, No. 1 on Plate [XLII.] with its frets, its scrolls, shells, roses, and leaves, which was, of course, intended for gold leaf, is very simple when compared with the girandoles and mirrors, of which Chippendale has given so many examples. One frame for a marble slab (really a console table) he evidently likes. It is “supported by two piping Fauns, leaning against two vines, intermingled with foliage, etc. It will have a grand appearance,” he adds, “if executed with judgment and neatly gilt.” Æsop and mythology and Chinese subjects afford Chippendale plentiful suggestion for other consoles. The pier glass on Plate [XLII.] shows Chippendale when he is most himself. This is 44 inches high and 28 inches wide, and the frames fairly bristle with spiky tufts of grass, scrolls, leaves, flowers, dripping water and long-tailed, open-mouthed, excited birds, while at the top under a small canopy stands a Chinese holding a tray of fruit. The mirror is in three panels: a large central one with a smaller one on each side.
The girandole was also subject to the most fantastic kind of carving, out of which the sconce arms emerged in graceful sweeps. One of great interest is carved with the fox and grapes from Æsop while another represents a piece of ruins intermingled with various ornaments, and another shows a squirrel eating nuts.
No sideboard nor buffet appears in any edition of Chippendale’s designs. He gives a number of sideboard-tables, however, which are long, heavy tables that stand on four legs. These he carves ornately in either the Gothic or Chinese style, and specimens are shown on Plate [XLI.], Nos. 1, 2, 3 and 4.
“Chandeliers,” Chippendale says, “are generally made of glass and sometimes of brass. But if neatly done in wood and gilt in burnished gold, would look better and come much cheaper.”
A standing-candlestand appears on Plate [XLI.] This is delicately and gracefully carved in wreathing leaves and scrolls, blossoming flowers and dripping water. Other articles for illumination are “lanthorns” for halls, passages and staircases; some of them are square, some have six sides and others are egg-shaped. These he directs to be “made of brass cast from wooden moulds.”
The chimney-piece afforded Chippendale the greatest scope. He published many designs far more ornate than the one that appears in Plate [XXXVII.] Indeed, it is sometimes difficult to follow out all the details of carving bestowed upon them. One very ornate example, he says, “requires great care in the execution. The Imbossments must be very bold and the Foliage neatly laid down, and the whole properly relieved. The top may be gilt, as likewise some other ornamental parts.”