Many beautiful clothes-presses were made by Chippendale, either chest like affairs on four legs, or having drawers below and wardrobe above, some of these latter bearing a strong resemblance to the French pieces from which they were copied.
Scant mention is made of Chippendale, in contemporary literature, but he has the distinction accorded to but few of having a large class of furniture design called by his name, instead of being designated by the period in which it was made. Mr. Clouston, in his book on "Chippendale Furniture" says that there were two Chippendales, father and son, and alludes to the author of the "Director" as "the elder Mr. Chippendale". The son, like many sons of great men, seems to have lost his identity in the reputation which has been gradually gathering about his father's name. He seems to have produced nothing of moment, and the family has sunk again into the obscurity from which one man had the genius to raise it.
CHAPTER IV.
ADAM, SHERATON, EMPIRE.
The increased market offered to English merchants in the colonies, now more prosperous, produced in quick succession several cabinet-makers who worked in a different style from Chippendale, and made much very handsome furniture. Robert and James Adam, by training and profession architects, turned their attention to furniture which would be appropriate in rooms of Greek or Roman style. Their designs were all on classic lines, and were beautifully painted besides by the popular artists of the day, like Angelica Kauffmann and Pergolese, who, like Alma Tadema in our day, did not hesitate to expend their art upon fine pieces of furniture.
The Adam brothers introduced the use of composition ornaments coloured and gilded, which were really a revival of the Italian process of "gesso," and which they had learned during their years of study in Italy. They designed many mantelpieces, also decorated in classic style, and had a decided influence in moulding the taste of their contemporaries and successors. Satin-wood was introduced by them, or at least at this period, and was used for inlaying as well as for the manufacture of whole pieces of furniture. Most of it, when used as the wood of the entire piece, is decorated with medallions of marquetry of some darker wood, as tulip, rosewood, or mahogany.
The Adam brothers did not make any furniture themselves, but had it made by popular makers under their personal direction. In [Figure 29] are shown three chairs of Adam design. The side chair retains its original covering of a heavy wool plush, with classic figures stamped in it of wreaths and maces. Its covering was also designed by Adam. This chair and the arm-chair like it are very delicately carved in low relief with a small leaf pattern. The legs are fluted and end in a form of spade-foot. The arm-chair on the top is very richly carved, and the entire woodwork is gilded. The covering has been restored. These three chairs are in the Museum connected with Cooper Institute.
In 1764 Robert Adam published his book dedicated to George III., and illustrated with most elaborate engravings by Bartolozzi and other fashionable engravers. For this graceful act Robert Adam was appointed architect to the king, and his rise was rapid and brilliant. James Adam had now completed his studies and was taken into partnership by his brother. In 1773 they began to publish engravings of their architectural works in serial parts. They continued to issue these until 1778, when the entire work was published under the title of "Works in Architecture by Robert and James Adam Esquires." It contains quite as many designs for furniture as some of the so-called furniture catalogues. While the outlines of the furniture are very graceful and delicate, their beauty is much increased by the skilful and artistic paintings of Angelica Kauffmann and Zucchi by which they are embellished. Pergolese was brought from Italy to add still further to the beauty of their work. John Flaxman, at this time creating lovely classic designs in various kinds of wares for Wedgwood, also contributed to their success, and many of his plaques and panels were set in their furniture to its further adornment. They were used not only in satin-wood, but in other furniture as well which was painted in the same colours as the Wedgwood ware. Whole rooms, walls, ceiling, and furniture were coloured to match, even the harpsichord and candle-stands being painted and decorated with Wedgwood plaques. Of the second book, furniture designs fill one volume, mirrors another, and girandoles a third.