In studying the various periods into which different makes of furniture may be divided, the accentuating of one point, say of ornaments or the structural peculiarities, is noted, not as being sharply defined, but as being a gradual growth. Chippendale did not originate at first. Indeed, he hardly adapted, for the East India trade had brought to market Chinese designs which he used, and French furniture was so popular that he copied bodily in his book such designs as pleased him, although the term "French chairs," as employed at this time, referred to their being upholstered and not to the style or decoration. Thomas Johnson published a book about the middle of the eighteenth century, in which was a medley of French, Gothic and Chinese designs, many of which have a strong family likeness to Chippendale's. There was also Matthias Lock, who began to publish his books as early as 1740, dedicated to such "nobility as would stand for him." These books included one on Pier Frames, Girandoles, Tables, etc., also, one on Ornaments and Sconces, all of which were characteristic of what was considered desirable at this time, and which style Chippendale followed too. Ince & Mayhew published what they called a "Universal System of Household Furnishing." They made many designs, over three hundred, and not only set forth the fine taste in which they were conceived, but gave the workmen directions for executing them. They positively ran wild on "Chinese taste," their fretwork and combination of Chinese and Gothic being perfectly extravagant. Like Chippendale they designed terms, or as we should call them pedestals, for busts, toilet-tables, bookcases, many mirror-frames, and chairs most intricate in their carved backs, with ribbon-work, scrolls, and elaborate patterns in brass nails.
Figure 18. KITCHEN, WAYSIDE INN, SUDBURY, MASS.
What were known as "overdoors" were very carefully designed by Chippendale, Ince & Mayhew, Robert Manwaring, and later by the Adam Brothers. These overdoors were the wood or leadwork into which glass was set, to go above front doors.
William Halfpenny, carpenter and architect, as he called himself, published many works on Furniture, Temples, Garden Seats, Windows, Doors, Obelisks, etc., beginning in 1719. Among the many books are these two, "Twenty New Designs of Chinese Lattice and Other Works for Staircases, Gates, Failings, etc.," and also, "Chinese and Gothic Architecture." So fond were the Halfpennys (for the son was later associated with the father) of Chinese work that they seldom missed an opportunity of putting in a Chinese figure. On their ceilings, above the chimney-pieces—everywhere that decoration could be crowded in,—one is apt to find a Chinese mandarin with pigtail and umbrella.
The originality of Chippendale soon spoke for itself. He worked in so many styles, and has so grown in estimation, that his name is made to cover the greatest variety of designs. When he first came before the public his work met with much adverse criticism. Isaac Ware, a contemporary, writes of him thus:
"It is our misfortune at this time to see an unmeaning scrawl of C's inverted and looped together, taking the place of Greek and Roman elegance even in our most expensive decorations."
But the early extravagances of his designs were soon modified, and even they were touched with a grace which made them pleasing to the eye while wholly extravagant. His better and more familiar work is to-day the model upon which cabinet-workers rely, no one having arisen who can improve on his designs. Thousands of pieces of furniture are called by his name, both in this country and England, which were not even contemporary with this maker and bear no resemblance either to his designs or to work known to be his.
About the time that Chippendale came on the field (1750) it had become the custom for architects and designers to publish catalogues of their designs. Thomas Chippendale, a progressive business man, was not behind his contemporaries, so in 1754 he published his catalogue, which he called "The Gentleman's and Cabinet-Maker's Director." It was a very successful publication, passed through several editions, and brought him added name and fame. It sold for £3 13s. 6d., and had fine copper-plate engravings. The title page of Chippendale's "Director," specifies designs for the following pieces of furniture:
"Chairs, Sofas, Beds and Couches, China-Tables, Bason-Tables and Tea-Kettle Stands, Frames for Marble Slabs, Bureau-Dressing-Tables, and Library-Tables, Library Bookcases, Organ Cases for Private Rooms or Churches, Desks and Bookcases, Dressing and Writing-Tables with Bookcases, Toilets, Cabinets, and Clothes-Presses.
China-Cases, China-Shelves, and Book-Shelves, Candle-Stands and Terms for Busts, Stands for China Jars and Pedestals, Cisterns for Water, Lanthorns, and Chandeliers, Fire-Screens, Brackets and Clock-Cases, Pier-Glasses and Table-Frames, Girandoles Chimney-Pieces and Picture-Frames, Stove-Grates, Boarders, Frets, Chinese-Railing and Brass-Work for Furniture."