Chapter XI: Part 11

The Pembroke Table differed little from Heppelwhite’s. It is “used for a gentleman or lady to breakfast on. The style of finishing these tables is very neat, sometimes bordering upon elegance, being at times made of satin wood, and having richly japanned borders round their tops with ornamental drawer fronts.”

The Harlequin Pembroke Table “serves not only as a breakfast table, but also as a writing table, very suitable for a lady.” This was equipped with “ingenious machinery,” and contained a “nest of drawers” that could be “raised to any height.”

A design particularly associated with Sheraton is the “kidney library table.” Of the one appearing as No. 3 on Plate LIX., Sheraton writes: “This piece is termed a kidney-table on account of its resemblance to that intestine part of animals so called. The drawers are strung and cross-banded with mahogany laid up and down. The pilasters are panelled or cross-banded, and the feet are turned.” This is intended for a writing-table. The French call this shape _haricot_. The secretary and book-case was popular throughout the whole Sheraton period. Two examples are shown on Plate LXI. One is a full drawing, which needs no description, except to say that silk, preferably green, is fluted behind the glass doors. The other, appearing as Nos. 1 and 2, Sheraton thus describes.

“The use of this piece is to hold books in the upper part, and in the lower it contains a writing-drawer and clothes-press shelves. The design is intended to be executed in satin-wood, and the ornaments japanned. It may, however, be done in mahogany; and in place of the ornaments in the friezes, flutes may be substituted. The pediment is simply a segment of a circle, and it may be cut in the form of a fan with leaves in the centre. The vases may be omitted to reduce the work; but if they are introduced, the pedestal on which the centre vase rests is merely a piece of thin wood, with a necking and base moulding mitred round, and planted on the pediment. The pilasters on the bookcase doors are planted on the frame, and the door hinged as usual. The tops of the pilasters are made to imitate the Ionic capital.” The cylinder desk and bookcase was also in use. “The style of finishing them is somewhat elegant, being made of satin-wood, cross-banded and varnished. This design shows green silk fluting behind the glass, and drapery put on at the top before the fluting is tacked to, which has a good look when properly managed. The square figure of the door is much in fashion now.” The rim around the top is brass.

A good library table is No. 1, on Plate LX.

No. 1 on Plate LX. Sheraton calls very modern (1803). He recommends it to be made of mahogany. “The toes and casters are of one piece cast in brass. The nest of drawers in the centre rise, by two small springs placed opposite to each other, which are constructed on the model of baize door springs, which cannot but be understood by any workman who is acquainted with hanging a door of that kind. In this table, there are four real drawers made with square sides.” For card-tables, he says: “The ornaments may be japanned on the frames and tongued in the legs.”

Turning now to smaller articles, we find that convex and concave mirrors with gilt frames and branches for candles and standing tripods bearing lights are very fashionable. Brackets for lamps are made usually of brass and sometimes of mahogany. They are often screwed to the handrail of the staircase. Brackets are also especially designed for clocks. Clocks are also placed upon the chimney-piece and upon the commode. In Sheraton’s _Cabinet-Maker and Upholsterers Drawing-Book_ there are a number of tall clock-cases painted and japanned with ovals and arabesques and fanciful pictures; but in 1803 Sheraton writes that the tall clock-case is “almost obsolete in London,” and from what he says we gather that no fashionable person would think of having one in his house. The footstool is stuffed with hair and covered generally with needlework. Its frame is oval, square, or octagon, with turned legs. Its height without stuffing is 6 or 6½ inches; its length 9½ to a foot, and its width 7 to 8 inches.

A group of three or four tables with very light frames made to draw out and inclosed within each other when not wanted are known as quartette and trio tables. These are used at entertainments, like the “rout chairs,” which are “small painted chairs with rush bottoms let out by cabinet-makers for hire for routs and other entertainments, whence their name.”

Among Sheraton’s latest chairs there is an arm-chair with a movable desk, having branching candle-sconces,—useful for the library; another is a “hunting-chair,” with a square back and wings “stuffed all over except the legs which are of mahogany and having a slide out frame in front to make a resting-place for one that is fatigued, as hunters usually are.” There is also a “tub easy chair,” “stuffed all over and intended for sick persons, being both easy and warm; for the side wings coming quite forward keep out the cold air.” Another is a _bergère_ with a caned back and seat, supplied with loose cushions. “The stumps and legs are turned and the frames are generally painted.”

This _bergère_ is dated 1803, when Sheraton recommends cane of “a fine light straw colour.” He writes: “Caning cabinet work is now more in use than it was ever known to be at any former period. About 30 years since, it was gone quite out of fashion. But on the revival of japanning furniture, it began to be brought gradually into use, and to a state of improvement, so that at present it is introduced into several pieces of furniture, which it was not a few years past, as the ends of beds framed in mahogany, and then caned for the purpose of keeping in the bed clothes. Sometimes the bottom of beds are caned. Small borders round the backs of mahogany parlour chairs which look neat. Bed steps are caned.

“The commonest kind made of one skain only is called bead-work and runs open. The best work is termed bordering and is of three skains, some of which is done very fine and close with the skains less than a sixteenth broad, so that it is worked as fine apparently as some canvas.”

Two of Sheraton’s original designs show the Empire influence. One is the curricle which appears on Plate LXII., No. 12. Sheraton named these chairs “from their being shaped like that kind of carriage. These may claim entire originality, and are well adapted for dining-parlours, being of a strong form easy and conveniently low affording easier access to a dining-table than the commonest kind. The size of the front may be two feet over all and nearly that from back to front.”

His other original design is the “Herculaneum,” “which I have so named on account of their antique style of composition.” They are for “rooms not only fitted up in the antique taste, but where apartments are appropriated for the purpose of exhibiting ancient or modern curiosities; and we particularly recommend them for the use of music-rooms.”

He also presents “conversation chairs,” which are exactly the _voyeuse_. (See pages 32 and 278.)

THE EMPIRE PERIOD

THE EMPIRE PERIOD

We have already seen in the Louis XVI. period indications of the approaching Empire style; and noted that Lalonde leads directly into the models of Percier and Fontaine. There was, however, a short transitional period covering the years 1795 to 1799, when, after the Reign of Terror, the Directoire endeavoured to restore order in France. It was but natural that a society that held in high reverence the memories of the ancient republics of Greece and Rome should develop the “antique taste” under the guidance of “philosophic artists.”

As early as 1790, a writer exclaims: “We have changed everything; liberty, now consolidated in France, has restored the pure taste of the antique, which must not be confounded with the old Gothic taste. Hide yourselves, Boulle marquetry, knots of ribbon and rosettes of gilt bronze _or moulu_, bright and shining! Hide yourselves, hide yourselves, marvels of Bernard! Now is the hour when objects must be made to harmonize with circumstances!” “The boudoir,—the very sanctuary of coquetry—became a political cabinet,” says de Goncourt, who goes on to inform us that the charming pictures of Boucher, Fragonard, Lawrence, and Lagrenées had to give place to caricatures and revolting prints of the hour, while pictures of the destroyed Bastille supplanted graceful mythological subjects.

“France,” he continues, “wished to dwell in the scenery of a tragedy, with a Spartan body, in Etruscan chairs made of mahogany whose backs were in the form of shovels, or two trumpets and a thyrsus bound together. After these chairs she reclined in antique arm-chairs whose framework was coloured bronze. She heard the hours strike from that civic clock representing the federative altar of the _Champ de Mars_ with columns of marble and gilded bronze, and attributes of liberty. She slept in ‘patriotic beds.’ In the place of the bunches of feathers, caps were now placed on top of the fasces of lances that formed the bed-posts; beds represented the triumphal arch erected in the _Champ de Mars_[26] on the day of the Confederation. She also slept in the ‘_lit à la Fédération_,’ of four columns in the form of fasces grooved and painted in greyish white varnished, with the stems of the fasces gilded, as well as the axes and iron supports of the canopy.”

Caffieri no longer designed the lustres and sconce-arms of _or moulu_; the candelabra were now of porcelain, and represented Apollo and Daphne. These figures were flesh-coloured. The body of Daphne was half covered with the bark of the laurel, her head with green leaves, and her two hands turning into branches supported two gilded sconces.

The geometrical panels of the new drawing-rooms were coloured that deep brown, mingled with several other colours, which received the name _genre étrusque_. Listen to these discords: “On the ceiling is a reddish-brown rosette in the form of a parasol; a sky-blue frieze is sprinkled with white cornucopiæ. On the sides of the mirror, sky-blue pilasters are bordered with violet and white grape-leaves for ornament. Large and small light brown panels with violet borders are ornamented with little green parasols, and cameos with blue background with white figures and brown and red ornaments. And in that loud chocolate colour where some reds and greens try to recall to your mind the forsaken hues of the past are mingled three shades of rose, amaranth, blue, lilac, grey, emerald-green, moss-green, _aventurine_, citron, straw and sulphur. That gentle scale that sang so sweetly on the furniture and walls of by-gone days! that gentle scale that miserable taste has forsaken for the tri-colour, and for wall-paper printed with the distinctive signs of equality and liberty, from Dugoure’s Republican Manufactory, _place du Carrousel_ at the so-called Hôtel de Longueville. Then the taste of the Revolution runs after the factory of the _rue Saint Nicaise, place de la Réunion_, to find some pictures with the civic inscription ready for each citizen to place above his door bearing these words: ‘Unity, Indivisibility of the Républic, Liberty, Fraternity or Death.’”[27]

The Parisian hôtels that were remodeled and newly furnished for the newly rich could not suggest the slightest reminiscence of the aristocratic life that they had witnessed. The artists, therefore, were forced to go to Greece and Rome for their models and motives. After Napoleon’s campaign in Egypt, the sphinx is frequent as a decoration, although it had long been familiar. The chairs, Nos. 1, 2, 3 and 5 on Plate LXVIII., are from a periodical of the Directoire period 1793 and 1796; also the couch No. 2, Plate LXV. These show that the so-called Empire style was in process of formation before Napoleon attained power.

The most important cabinet-maker of the period was Jacob Desmalter. He was the son of Georges Jacob, who, during the reign of Louis XVI., was famous for his furniture of gilded wood. His two sons worked together in the _rue Meslée_; and, in 1793, got the order to make the furniture for the Convention. This brought them into relation with Percier, who had been commissioned to furnish the designs. About 1804, the younger Jacob disappears from business and the elder added the name Desmalter to his own, and soon removed his workshop to the _rue des Vinagriers_. Desmalter’s fame became wide-spread: he made furniture for the courts of Spain and Russia, and many pieces found their way also to England.

The famous workers in metal were Thomire, J. B. C. Odiot and Biennais.

The _Recueil de Décorations Intérieures_, composed by C. Percier and P. F. L. Fontaine (Paris, 1812), is the recognized authority on the _Empire_ style. The authors speak of the influence engraving has had in extending an acquaintance with styles, and say they will make use of it to exhibit “those of our works in the nature of furniture, which, by the importance of the places they were destined for, or the rank of those who ordered them, may be regarded as appropriate to attest the correct way of seeing things, composing them and ornamenting them at the present period. This style does not belong to us; it is entirely the property of the ancients and as our only merit is to have understood how to conform our inventions to it, our true aim in giving these to the public is to do all that is within our power to prevent innovations to corrupt and destroy the principles which others will doubtless use better than we.

“The decoration and furnishing of houses are to houses what clothes are to people: everything of this nature becomes old, and in a very few years seems to be superannuated and ridiculous. The industrial arts, which concur with architecture in the embellishment of buildings, receive the same impulse from the spirit of fashion, and no kind of beauty or worth possessed by these articles of taste can assure them any longer existence than the interval of time necessary to find a new taste to replace them. To do everything according to reason in such a way that the reason may be perceived and justifies the means used,—this is the first principle of architecture. However, the first principle of fashion is to do everything without reason and never to do otherwise. The form and needs of the body give no reason for the forms of clothes; because people do not dress to cover themselves, but to adorn themselves. Furniture does not make a virtue of necessity with regard to the forms. We pass from the straight line to the tortuous, from the simple to the composite and _vice versâ_. This is only too well exemplified in the history of modern architecture and its vicissitudes.”

The true inspiration of this period was David, the painter; and it has been aptly said that Desmalter did little but “translate into furniture the Greco-Roman dreams of the painter of the Sabines.” Prudhon was another artist of influence. The most famous decorative artists and designers were Percier and Fontaine.

The general characteristics of the Empire style are stiffness, severity and coldness. The forms are cubic and rectangular, without projections or carvings. Round tables on tripod legs, sofas and beds with heavily-scrolled ends, secretaries and desks with secret arrangements of drawers, etc., and a great use of metal ornamentation are among the prominent details of this style. The decorative motives are rosettes, allegorical figures, mahogany columns of cylindrical shafts, without flutings and surmounted by the Doric capital (and often with a bronze gilt bracket), fasces, sphinxes, wreaths of laurel, and the swan used upon the arms of chairs and sofas, the sides of beds and for the feet of tripods. No. 1 on Plate LXV. is an interesting example of the use of the swan. The sphinx was also used for decorating the arm of a chair, as shown on Plate LXV., No. 3, and on the double chair on Plate LXVIII. Its use as a table leg is exhibited on Plate LXV., and as a support for candles on Plate LXVII. Clocks and candelabra are decorated with heroes from ancient history in preference to divinities and allegorical figures. A little clock supported by an eagle appears on Plate LXV. This is one of Percier and Fontaine’s designs.

The greater number of the designs on Plates LXV., LXVI., LXVII., and LXVIII. are taken from Percier and Fontaine. Plate LXIV. is a reproduction of one of Percier and Fontaine’s bedrooms. “The ornaments that decorate this room,” they say, “are painted in oil upon plaster; they fill, without being of any determined subjects, various compartments; and among them are pictures of fruit, fragments of ordinary objects, painted in _grisaille_ on a light background.” All the furniture—the table opposite the bed, the tripod, the toilet, the bed and the frame over the mantel-piece—is covered with bronzes, enamelled paintings and incrustations of various kinds of wood. The isolated pedestal at the head of the bed is an _armoire_, which contains conveniences for the night. On the top of the tall column is a winged goddess under which statue the letters “_La bonne déesse_,” appear. The bed is of the form of the large drawing that is shown on Plate LXVI. The two chairs on either side of the mantel-piece the designers tell us were made by Jacob. The detail No. 3, on Plate LXVII. is an enlargement of part of the mantel-piece, the fire-back of which represents the forge of Vulcan. The open-worked grate is copper gilt. The designs on Plates LXVI. and LXVII. are all by Percier and Fontaine, No. 1. on Plate LXVI., they say, is an arm-chair to stand in front of a desk; No. 2. is a lustre made of rock-crystal and bronze; No. 3 is a sofa-bed, and below it is a large sofa bed that was designed for a patron who was fond of war and sport. The hangings and the decorations of the wall behind the bed are therefore repeated here. The frame of the mirror is of gilded bronze. The glass swings forward. The rich commode with drawers on Plate LXVII. is an excellent example of the Percier and Fontaine work; above it, No. 2, is another commode and above that No. 1 the end of a bureau. Of the secretary on the same plate, they say: “This little piece of furniture, designed to preserve books, papers and money, has a clock in the upper part; below are secret drawers; in the centre a rolling cylinder and writing table. Chimæras on each side of the table support girandoles for lights. The whole is made of different kinds of wood ornamented with bronzes.”

The rich sofa, or “double chair,” and the sofa-bed, on Plate LXVIII. are also by these designers. Of the tea-table on Plate LXV., they tell us: “The design of this table was sent to Russia so that it might be executed there in porcelain and bronze; the compartments and ornaments that decorate the table have to be painted in colour with the background and the parts that stand out in relief of gold. The principal subject is the birth of Amphitrite, who is surrounded by Tritons and dolphins.”

The cornice and lambrequin are unknown to the Directoire period; a pole ending in an arrow, or thyrsus, supports two curtains of calico, or silk. These curtains are relieved by a Greek border. The Empire taste demands a little more. Satins and velvets are added to the above. The drapery becomes very ample and beneath them are thin muslin curtains embroidered in dots, stars and squares. Sometimes two rods are used at each window to support the inner and outer curtains. A very fashionable method of furnishing the window was to have two curtains of silk and two of muslin. Decorative borders were used for these. The cornice is restored, and consists of the palm, the thyrsus, a bow, or a laurel wreath in gilded bronze, or painted wood. The colours of these draperies are limited. There are but five strong hues—crimson, green, blue, yellow and white—and there are no shades of these.

There was a tendency for patterns to become smaller; damask was ornamented with little figures, or stripes; Gobelin tapestries were supplanted by designs in _grisaille_ on a red, blue, or green background. These many printed stuffs had pictures derived from Greek, Egyptian, or Roman subjects, or mythology, and appeared as if printed on paper.

The bed used during the Directoire was larger than the Louis XVI. bed.

Generally speaking, the beds were low; and were furnished with one or two mattresses. Some of them had head and footboards of equal height; others had only one headboard. During the Empire, the beds, most frequently of mahogany, were ornamented with gilded bronze trimmings. The frames were also painted with decorations painted in bronze effects. Some of the beds were rounded, or scrolled at the ends, some had _pans à bateau_ and some had pilasters supporting vases, busts and even statuettes. The curtain was used. For some styles of beds, the curtains were cast negligently over an arrow. Beds were also made in forms appropriate to the calling of their owners. Some of the shapes seem to have been inspired by the models of Du Cerceau and Bérain in the days of Louis XIV.; for instance, the boat and shell. In 1792, we hear of a bed shaped like a shell, with blue and white curtains. Lafayette had a bed like this.

The beds often had ends of heavy scrolls and most of them had the headboard and footboard of equal height. The round bolster appears at each end, or a cushion that follows the form of the scroll, as shown in the full drawing on Plate LXVIII. The canopy was frequently in the shape of a crown, and from it hung the curtains. The heavy curtain was not unfrequently accompanied with a thin diaphanous curtain that was formally draped.

The dining-room is decorated in stucco, or painted in imitation of marble. The furniture is mahogany. The chairs are covered with leather. The window-curtains are of “Persian” taffeta, cloth or cotton, trimmed with ball fringe. The dining-table is round or oval, and is often supported on the pillar-and-claw.

The dining-room table also is round, and stands on four feet decorated with lions’ heads or chimæras; or again it is supported by the pillar-and-claw. The drawing-room table is frequently finished with a marble top, or it is covered with a cloth. Upon it stands a lamp with its shade.

A very ornate tea-table of porcelain brightened with gold and bronze appears on Plate LXV. Above it is shown the decorative top. This is by Percier and Fontaine. No. 6, on the same plate is another table; No. 7 is a tea-table; and No. 5 is another table. All of these are by Percier and Fontaine. Another kind of table designed by Percier was the _table à fleurs_, or _jardinière_. Some of his models, which were made by Jacob Desmalters, are quite ornate. One of these is in the shape of a vase, supported by sphinxes, and filled with growing plants. Upon this stands another basin for growing flowers, or gold-fish, and above this again is a decorative figure. Another design is a round basin or vase for flowers supported by columns, on either side of which are smaller vases.

The console was a large square table decorated with sphinxes, or other ornaments in gilded bronze. Often a mirror was placed at the back framed by the legs.

The commode, like all the rest of the furniture, became more rigid in form and decoration. It was made of walnut or mahogany; and during the Directoire few were supplied with metal ornaments. Indeed, many of them had neither rings nor handles on the drawers. The form of the commode became still heavier during the Empire; but it was enlivened by ornate metal trimmings. A richly decorated commode by Percier and Fontaine appears as No. 2 on Plate LXVII. The _chiffonnière_, which had come into fashion during the last years of the Louis XVI. period, increased in popularity. It was generally a lady’s article containing drawers for writing and needlework. The marble top was often surrounded by a railing or gallery.

During the Empire, a set of drawing-room furniture consisted of one or two sofas, six arm-chairs, six chairs, two _bergères_ and two _tabourets_. The sofas were placed on either side of the chimney-piece. One of the favourite varieties of the sofa was the _canapé pommier_, introduced during the Directoire. Its back was square and quite low, and was extended around the sides to take the place of arms. Sometimes the seat was garnished with fringe, and sometimes the wood was left plain.

The many varieties of the draped sofa disappeared. The Directoire and the Empire demanded that the forms of the settee, sofa, and _chaise longue_ should be severe to accord with the arm-chairs. The back of the sofa was stuffed, but not the sides or wings. At each end was placed a feather pillow covered with the same material as the sofa. The most popular sofa had a square back that was carried around the seat, forming wings at each side instead of the elbow or arm. The new sofas were called _Méridienne_ and _canapé pommier_. Tapestry, figured satin, worsted damask or printed cloth, put on with braid, were used for coverings. At the end of the Empire period, the divan was introduced. This seat was suggested by the Eastern travellers.

The _banquette_ was covered with velvet trimmed with gold or silk braid and fringe. The most fashionable _chaise longue_ was of the kind upon which Madame Récamier is lounging in David’s celebrated portrait. Both ends of this piece were alike. One end of a similar piece of furniture appears as No. 2 on Plate LXV. The _bergère en gondole_ was also popular. Its back was lower and more rounded than that of the _bergère_ on Plate XLVIII., No. 3. Gondola-shaped chairs and bar-backed chairs and the heavy scrolled arm-chair were the favourites, also the double arm-chair.

The framework of chairs was generally mahogany, or painted and bronzed, and, for very rich homes, gilded wood. The square form was preferred, especially for the arm-chair, which rarely had cushions. Sometimes the front feet were in the sabre, or glaive shape. The shield shape too was used for the back and was ornamented with military trophies and laurel wreaths. The back and seat were stuffed, and braids and borders framed the cushions. The material used for covering was generally of a solid colour with a design printed on it. Silk velvet, damask, or satin was used. The design was often golden yellow. Sometimes back and seat were sprinkled with rosettes or stars. Braids were used to hide the nails. Printed cottons and worsted damasks were also used for cheaper upholstery work. Ball fringe was much used to go around the back.

Desk chairs kept somewhat to the rounded and gondola form. The seats were often a half circle, the feet turned or in the console shape. Sometimes they were even carved in the shape of chimæra or lions whose heads came up to the level of the arms. The back, too, was frequently curved in the shape of a half circle. The top rail was sometimes covered like the seat,—in leather. Some of these turning up in the centre of the back like a cocked hat gave to them the name _fauteuils Bonaparte_. Mahogany was chiefly used for the frames, though oak and walnut were sometimes employed.

During the Directoire, the legs of the arm-chair were often X-shaped and the arms ended in a lion’s head. The open-backed chair was very popular. The one on Plate LXVIII., No. 2, is dated 1793; and Nos. 1, 3, and 5 are of the year 1796. The “Trafalgar” that persisted for so long was a development of No. 1. The chairs No. 1 and 3 on Plate LXV. are by Ch. Normand (b. 1765; d. 1830), who also designed the _chaise longue_, No. 2, on the same plate. Normand’s earlier work bridges the gulf between the styles Louis XVI. and the Empire.

-----

Footnote 26:

_Journal de la Mode_, 1790.

Footnote 27:

De Goncourt, _La Société Française pendant la Révolution_. Paris,
1854.

THE END

INDEX

INDEX

_A_

Adam, James, 289, 292

——, Robert, 289, 292

——, James and Robert, apartments planned by, 299–303

——, colours used by, 294

——, decorations at Osterley Park, 304–305

——, decorations at Sion House, 301–303

——, dislike of Gothic, 294

——, furniture at Sion House, 297

——, opinion of British architects, 294–296

——, ornaments of the, 298

——, social position of, 291, 292

——, taste of, 294–296

Adam style, the, 289, 291, 293–294

——, designers in the, 289–290

Adam, William, 292

Addison, quotations from, 116–117

Æsop’s Fables, 205, 225, 244, 245

Ahasuerus, beds of King, 67

Alcove, the, 90–91, 154, 353–354

—— bed, the, 154, 198–199

Amaranth, 63, 68

_Analysis of Beauty_, quotation from, 247–248

Ancient furniture, 67

Angola, quotations from, 166–167

Ante-chamber, first, 168–169

——, second, 169

Ante-room (Sheraton), 338

Anthemion, definition of, 73

Apartment, definition of, 168

—— (Louis XV.) 168–169

—— (Adams), 299–303

Architects in decorative art, 4

Architecture, changes in domestic, 114–116

—— (Early Georgian), 137–138

——, taste for classic, 135, 138

Arm-chair. See Fauteuil.

Arm-chairs (Louis XV.), 204–205, 208

—— (Louis XVI.), 276, 277–278

Armoire (Boulle), 75–76

—— (Louis XIII.), 9–10, 17

—— (Louis XIV.), 87

—— (Louis XV.), 203

Arrangement of rooms, (Sheraton), 335

Arras, 42

Artist decorators (Louis XIII.), 4–5

Assyrian furniture, 66

Aubert, 164

Aubusson tapestry, 205, 277

Aumale, apartments of Mlle. d’, 96–97

Auricular style, 5

Aurora, 68

Avril, 267

_B_

Babel, 164

Babin 164

Bachelier, 164, 257

Baillon, J. B., 215

Ballin, Claude, 66

Banc à lit, 80

Banquette (Empire), 378

Banquettes, (Louis XV.), 204

Barjier Chairs, 316

Bason-stands, (Chippendale), 241

Bathroom, (Louis XV.), 183–184

Bazanne, 280

Beaufait, 130–131

Beauvais, 257, 263, 277

Bed, alcove, 154, 198–199

——, Mlle. d’Aumale’s, 78

——, à bateau, 375

——, camp, 355

——, Chinese, 228–229

——, couch, 230–231

——, Cromwell’s, 55

——, duchess, 355

——, field, 154, 229, 318–319, 355

——, French, 352

——, Gothic, 228

——, Hogarth, 152

——, Lafayette’s, 376

—— (Louis XIII.), 19

——, Madame de Maintenon’s, 78

——, Marie Leczinska’s, 196

——, by Marot, 120–121

——, Mazarin’s, 77–78

——, Mme. de Pompadour’s, 187–188

——, press, 319

——, (Queen Anne), 120–121

——, rhymes about the, 56

——, by Schübler, 199

——, shell-shaped, 376

——, sofa, 355–356

——, tent, 229

——, truckle, 56

——, Tudor, 55–56

——, of Ware, Great, 55

——, see Lit

——, curtains (Jacobean), 57–58

Bedroom, description by Shakespeare, 53–54

—— (Early Georgian), 154, 155

—— (Empire), 373

——, furniture (Jacobean), 58

—— (Jacobean), 54–55

——, Mme. de Pompadour’s, 186–189

——, spangled, 55

Bedrooms (Louis XV.), 170–171, 183, 185–186

Beds (Chippendale), 227–231

—— (Directoire), 368, 375

—— (Early Georgian), 153–154

—— (Empire), 375–376

—— (Heppelwhite), 317–319

—— (Jacobean), 56–57

—— (Louis XIII.), 19–29

—— (Louis XIV.), 76–80

—— (Louis XV.), 185–186, 189–190, 193–194, 196–200

—— (Louis XVI.), 267–270

——, patriotic, 368

—— (Sheraton), 351–356

——, sofa, 267

Bellicart, 257

Beneman, 262, 267

Bérain, Jean, 66, 68, 73, 84

Bergère (Empire), 378

——, fauteuil (Louis XVI.), 278

——, en gondole, 378

—— (Louis XV.), 208

—— (Louis XVI.), 279

—— (Sheraton), 362

Bernard, 166

Berquin, 252

Bertren, 257, 263

Biennais, 370

Billiard room, 176

Bimont, quotation from, 196

Blanchard, 165

Blenheim, Pope’s satire on, 138

Blondel, 164

——, quotation from, 174–177

Boffrand, Germain, 164, 178

Bombé form, 74

Bonheur du jour, 214

Bonnes grâces, 20, 89–90

Bookcase (Chippendale), 241–242

—— (Heppelwhite), 325–326

—— (Louis XV.), 213

_Book of Designs in Cabinet and Chair-Work_, 224

Bosse, Abraham, 4, 7, 9, 19, 60

Bouchardon, 164

Boucher, 164

Boucher, J. F., fils, 257, 261

Boudin, 166

Boudoir, 177–178

—— (Louis XV.), 180–181, 184–185

Boulanger, 257

Boulle, André Charles, 66, 74

——, clocks, 88

——, furniture, 74–76

Bourgogne, Duc de, clock of, 215

Boyle, Richard, 135

Brackets (Chippendale), 244

—— (Sheraton), 360–361

Braids (Empire), 379

—— (Louis XV.), 201, 205

—— (Louis XVI.), 277

Brass mounts (Chippendale), 227

Bridgman, 136

Brisseux, 164

Breakfast-room, 338–339

British architects, Adam on, 294–296

Bufet, 130–131

Buffet (Queen Anne), 130–131

—— (Louis XV.), 169–170

—— (Sheraton on), 350

——, credence, 10

Buontalenti, Bernardo, 17

Bureau (Jacobean), 59

——, Mme. de Gaudry’s, 85

——, Mme. de Maintenon’s, 85

——, Duchess of Orleans’s, 85

——, Duke of Orleans’s, 85

——, cylinder, 212

——, à la Kaunitz, 212

——, Louis XV.’s, 212–213

——, table (Louis XV.), 212

Bureau. See Desk

Bureaux (Louis XVI.), 275

Burjair, 208

Burlington, Earl of, 135, 137

Burlington House, Piccadilly, 137

Buroe dressing-tables (Chippendale), 239

_C_

Cabinet, 10, 172

—— (Jacobean), 49–50

—— (Louis XIV.), 87–88

—— (Louis XV.), 182

—— (Queen Anne), 128

——, en niche, 175

——, à la Poudre, 202

_Cabinet des Modes_, furniture in, 284–285

_Cabinet Dictionary, The_, 331

_Cabinet-maker’s Real Friend and Companion, The_, 224

_Cabinet-maker and Upholsterer’s Drawing Book, The_, 331

_Cabinet-maker, Upholsterer and General Artists’ Encyclopædia_, 331

_Cabinet-maker and Upholsterer’s Guide, The_, 309–310

Cabinet-makers, Arms of English, 120

Cabinet-makers (Louis XV.), 165–166

Cabinet-makers (Louis XVI.), 267

Cabinet-making, books on, 223–224

Cabinets, 12–17

—— (Louis XIV.), 87–88

—— (Louis XIII.), 12

—— (Queen Anne), 128

——, à portes, 15

Cabriole chair, 314

Cabriolet, the, 204

—— (Louis XV.), 205

—— (Louis XVI.), 276

Caffieri, Jacques, 165

——, bras de lumière by, 194–195

——, commodes by, 202

Calembour wood, 127

Callimanco, 58

Camaïeux, 204

Camlet, 154

Campbell, 295, 296

Canapé confident, 209

—— (Louis XIV.), 81–82

—— (Louis XVI.), 278–279

—— (Meissonier), 209

——, Pommier, 378

Canapé. See sofa

Candelabra (Louis XIII.), 34

Candlestands (Chippendale), 245

—— (Heppelwhite), 322

Candlesticks (Jacobean), 45

—— (Louis XV.), 212

—— (Sheraton), 360

Cane, 334

Caning, Sheraton on, 362

Canterbury, the, 351–352

Cantonnière, 89

Canuc, 165

Carlin, 267

Carpet (Sheraton), 338

——, bedside, 58

——, foot, 44

——, table, 52

Carter, J., 290

Cartouche (Louis XIII.), 8

Carving, 38, 39

Case-of-drawers, 49, 59, 154

——, double, 154

Causerie, 270

Cauvet, 257, 262, 263

Cavendish, quotation from, 46

Caylus, 164

Ceiling (Sheraton), 335–336

Ceilings, Ware on, 139, 140, 141

Celadon, 253

Celleret (Heppelwhite), 322

—— (Sheraton), 349

Chair, cabriole, 314

——, conversation, 363

—— “Cromwell,” 29, 60

——, crown-back, 153

——, curricle, 362–363

——, double, 62

——, Herculaneum, 363

——, Hogarth, 152

——, hunting, 361

——, low leather, 29

——, saddle check, 314

——, Trafalgar, 380

——, tub easy, 361–362

——, Voyeuse, 32, 278, 363

—— (Chippendale), 232–237

Chairs (Chinese Chippendale), 235–236

——, dining-room (Louis XVI.), 278

—— (Directoire), 379–380

——, drawing-room (Sheraton), 343

—— (Empire), 379–380

—— (French Chippendale), 233, 234

——, Garden, 234–235

——, gondola (Louis XV.), 207

—— (Gothic Chippendale), 135

——, hall (Chippendale), 234

—— (Heppelwhite), 312–315

—— (Jacobean), 60–62

——, japanned, 314

—— (Louis XIII.), 29–32

—— (Louis XIV.), 81–84

—— (Louis XV.), 204–209

—— (Louis XVI.), 275–276

—— (Marot), 119

—— (Meissonier), 209

——, painted, 314

—— (Queen Anne), 118–120

——, rout, 361

—— (Sheraton,) 343–344, 361–363

——, at Versailles (Louis XV.), 205–207

Chaise longue, 32, 81, 279, 380

—— (Chippendale), 232

—— (Empire), 378

—— (Jacobean), 53

—— (Louis XV.), 209

—— (Sheraton), 356

Chaises cacquetoires, 29, 31–32

——, comfortables (Louis XV.), 208

——, meublantes, 29

——, perroquets, 29

Challe, Simon, 257, 263

Chamber, The, 170

——, The Great, 41

Chambers, Sir William, 149

Chambers, Sir William, quotation from, 148

Chambre en alcove, 173–174

——, en niche, 173, 176

——, de parade, 171

Chandeliers (Chippendale), 245

—— (Louis XIII.), 34

Chardin, 161

Charpentier, 285

Charton, 257, 263

Chedel, 164

Cherub, 11

Chest (Jacobean), 59

——, trussing, 58

Chests-of-drawers, 59, 325

Chests-of-drawers (Heppelwhite), 325

—— (Queen Anne), 128–129

Chest-upon-chest, 154

Chest-with-drawers, 59

Chevillon, 164

Chesterfield, Lord, quotation from, 137

Chiffonnière, 372, 377

——, secrétaire, 266

Chimney-back (Jacobean), 44

Chimney-glass (Sheraton), 337–338

Chimney-piece (Carter’s), 290–291

—— (Chippendale), 245–246

—— (Jacobean), 44

—— (Louis XIII.), 9–10

—— (Louis XIII.-Louis XIV.), 67–68

—— (Queen Anne), 116

——, Ware on, 146–147

China as a decoration, 116–117

China cases (Chippendale), 237–239

Chinamania, The, 116–117, 237

China-shops in England, 113

Chinese designs (Chippendale), 228, 229, 231, 235–236, 237–239, 242

Chinese fad, The, 148

Chinese furore, 135

Chinese style, craze in England for, 138

Chinese subjects, 141

Chinese subjects, designers of, 142

Chinese art, taste for, 73, 114, 166–167, 221

Chinoiserie, 73, 161

Chintz, 43, 154

Chippendale, Thomas, 135, 142, 149

——, carver and decorator, 225

——, Chinese designs, 228, 229, 231, 235–236, 237–239, 242

——, fondness for japanned furniture, 225

——, fondness for Louis XV. style, 226–227

——, furniture, 222

——, Gothic designs, 228, 235, 241–243

——, little known about, 223

——, ornaments, 227, 229–230, 237, 247

——, style erroneously understood, 221

——, taste of, 225

——, theft from Meissonier, 226–227

——, use of brass mounts, 227

——, use of mahogany, 225

Choffart, 257

Cipriani, 292, 305

Cisterns, 246

City and Country Builder’s and Workman’s Treasury of Designs, The, 142

Classic architecture, love of, 135, 138

Claw-and-ball foot, 118

Clock, Regency, 214

——, tall, 154

Clocks (Chippendale), 246

—— (Empire), 372–373

—— (Louis XIV.), 88

—— (Louis XV.), 214–217

—— (Marot), 120

—— (Queen Anne), 119–120

—— (Sheraton), 361

——, at Versailles, 215–217

Cochin, 164

——, quotation from, 162

——, reply to, 163

Colbert, 66, 69

Colbert, industrial system of, 69

Colours (Directoire), 369

—— (Louis XIV.), 68, 70

—— (Louis XV.), 200

—— (Sheraton), on, 335

Columbani, Pietro, 290

Comfort, increase in, 7

Commode, 84–85

—— (Empire), 377

—— (Louis XVI.), 271–272

—— (Sheraton), 344

—— (Boulle), 74

—— (Chippendale), 239–240

—— (Cressent), 201–202

—— (Heppelwhite), 325

—— (Louis XV.), 188, 190, 201–203

Confidante (Heppelwhite), 316

Console, 33

—— (Empire), 377

—— (Louis XIV.), 87

—— (Louis XVI.), 272–273

——, for porcelain (Louis XV.), 211

——, tables (Louis XV.), 212

Conversation chairs, 363

Corneille, quotation from, 6

Cornices (Chippendale), 229–230

—— (Heppelwhite), 318, 319–320

—— (Louis XVI.), 271

—— (Sheraton), 336

Cornucopias, 8–9

Couch (Jacobean), 53

—— (Marot), 120

—— and Squab, 53

Counterpane, 20

Courtepointe, 20

Courture, l’ainé, 263

Couverture de parade, 20

Credence, 10

Credenza, 130

Cremer, 166

Crepy, 164

Crespine, 18

Cressent, Charles, 160, 161

Cressent, commodes by, 201–202

Cromwell Chair, 60

Cromwell, Oliver, 55, 113

Crunden, John, 290

Cupboard, “bread and cheese,” 45

——, court, 45–47, 48–49

——, livery, 45–48

——, press, 59

Curricle, 362–363

Curtains, 20–21, 57

—— (Directoire), 374

—— (Empire), 374–375

—— (Louis XIII.), 19, 20

—— (Sheraton), 336

Curve (Louis XIV.), 71

Curve, the broken, 141

Cushion, the, 44

Cussey, Domenico, 13

Cuvilliés, 164

Cuvilliés, console table by, 212

Cuvilliés, fils, 257, 261–262

Cymbeline, quotation from, 53–54

_D_

Damask, 154

Darly, M., 225

Dauphine, the, 263

D’Aviler, quotations from, 116, 118, 131, 169–170, 173, 174

Debonnaire, 66

Decker, Paul, 199–200

——, mirrors by, 210

De Goncourt, quotation from, 369

De La Cour, 165

Delafosse, 257–258, 267

De Lalonde, 257, 258–260, 277, 279

Delany, Mrs., quotations from, 151–152

Delaunay, 66

Demarteau, 164, 257

Demontigny, 256

Designers of transitional style (Louis XV.—Louis XVI.), 256–257

Designers (Louis XVI.), 257

Desk (Jacobean), 59

Desk and Bookcase (Heppelwhite), 325–326

Desk. See Bureau.

Desks (Louis XIV.), 87

—— (Louis XVI.), 275

Desmalter, Jacob, 370, 372, 377

Desvoyes, 257

Diana of Poitiers, 3

Dining-parlour (Sheraton), 342

——, Prince of Wales’s, 342–343

Dining-room (Empire), 376

—— (Louis XV.), 177, 182

—— (Sheraton), 341–342, 343

Dining-table (Empire), 376

—— (Sheraton), 346–347

Directoire style, 285, 367, 370, 374, 375, 379–380

Divan, the, 378

Doré, 263

Draperies (Louis XV.), 200–201

—— (Louis XVI.), 270–271

—— (Empire), 377–378

Drawing-room (Sheraton), 339–341

Drawing-table, 60

Dressing-drawers, 325

Dressing-room (Sheraton), 339

Dressing-table (Chippendale), 240–241

—— (Early Georgian), 154

—— (Jacobean), 60

—— (Heppelwhite), 324–325

—— (Louis XIV.), 85–86

—— (Queen Anne), 128–129, 129–130

—— (Sheraton), 357–358

Dubois, 164, 166

Du Bois, quotation from, 115

Du Cerceau, 4

Duchesse, the, 209, 278, 279

—— (Heppelwhite), 316–317

Duchess bed, 355

Dugourc, 262

Dumb-waiter (Early Georgian), 153

—— (Louis XVI.), 274

—— (Sheraton), 350–351

Dumont, 256

Duplessis, 165, 213

Duplessis, fils, 257, 263

Dupuis, 263

Dutch influence in England, 110

Duvaux, 165

Dyche, quotation from, 130

_E_

Ear motive in decoration, 5, 210, 212

East, influence on furniture, 160–161

Ebéniste, 11

Ebénisterie, 66

Ebony, 11, 38

Edict of Nantes, Revocation of, 110

Edwards and Darly, 148

Eisen, 164

Elizabeth, Queen, 46

Empire style, characteristics of, 372–374

——, growth of the, 370

——, ornaments of, 372–374

——, wood used, 379

Encoignure (Louis XV.), 212

England, Dutch influence in, 110

——, French art in, 110–111

——, French workmen in, 110–111

——, relations with the Netherlands, 37–38

Engravings, 155

Escritoire (Hogarth), 152

Evelyn, John, quotations from, 50–51, 112–113, 114–115

_F_

Falk, quotations from, 253–255

Far East, commerce with, 111–112

Fauteuil, 29–30, 81–82, 83

—— (Louis XV.), 205

——, bergère, 207–208, 278

——, de commodité (Louis XV.), 208–209

——, confessional, 278

Fauteuils Bonaparte, 379–380

Fay, 257, 264–265

Feathers in decoration, 263

Festoon window curtains, 336

——, Heppelwhite’s fondness for the, 312

Floor (Jacobean), 44

Folding chair-bed, 152–153

Fonlanieu, 257

Fontaine, P. F. L., 370

Footstools (Sheraton), 361

Forms (Louis XVI.), 203–204

Forty, 257, 258

Fossier, 257

Fouquet, 4

——, alcove of, 91

——, entertainment of, 70

Fragonard, 257, 258

Fraisse, 142, 165

Frames (Chippendale), 244

—— (Early Georgian), 155

Frederick the Great, 168

French art in England, 110–111

—— decoration, influence on Langley, 143

—— furniture, most perfect period, 160

—— style, craze in England for, 138

—— style, Heppelwhite’s admiration of, 316

—— rod, the, 336–337

—— workmen, in England, 110–111

Fringe, 18

—— (Louis XIV.), 82–83

—— (Louis XV.), 201

Furniture (Chippendale), 222

—— and costume, analogy between, 7–8

—— (Louis XV.), descriptions of, 185–194

——, metal, 67

——, sets of, 89–90

_G_

Gachet, 263

Gallery, 176

Garde-robe, 168, 172, 176

Gardes de vin, 322

Garlands (Louis XIII.), 8

Gamier, 166

Gate-legged table, 51

Gaudry, Mme. de, 85, 98

Gay, quotation from, 137

Genre étrusque, 369

_Gentlemen and Cabinet-Maker’s Director, The_, 135, 222, 223, 224, 247

Georgian (Early) Architecture, 137–138

Germain, 164

Germain, P., mirror by, 211

Gibbs, 136, 295, 296

Gilded wood, 67

Gillot, 161

Girandoles (Chippendale), 244, 245

—— (Heppelwhite), 323

Gobelin, 277

Gobelins, manufacture des, established, 66

Gobelins, artists and artisans employed at the, 66

Gobelin tapestry, 205

Godin, 216

Goldsmiths, in decorative art, 4

Gondola chairs, 207

Gothic, Adam on, 294

Gothic Architecture (Langley), 149

——, designs (Chippendale), 228, 235, 241–243

——, Mrs. Delany on, 150–151

——, Evelyn on, 114

—— revival, 135

——, Langley’s influence, 150

——, Ware on, 149–150

Gothic taste, the, 138, 221

Gouthière, 266

Gouvernet, La Marquise de, inventory of, 121–126

Grate, 155

Gravelot, 164

Grecian squab, 356

Gribelin, Samuel, 111

Gros de Tours, 264

Grotesque, Adam on 299–300

Guéridon, 33

Guiffrey, Jules, quotation from, 180

Guimard, Mlle., apartments of, 282–284

_H_

Halfpenny, 148

Hall, the, 40–41, 335

Hampton Court, 46

Hancock, wall-paper of, 141

Handles (Jacobean), 59

—— (Queen Anne), 130

Hangings, leather, 42

Harlequin Pembroke Table, 359

Harrateen, 154

Hatfield House, 46

Havard, quotation from, 75

Hearth furniture (Early Georgian), 155

Heinhofer, Philip, 16

Henri II. style, 3

Hentzer, Paul, 55

Heppelwhite, A. & Co., firm of, 309

——, characteristics of, 312

——, fondness for the straight line, 312

—— furniture, 309–310

——, ornaments of, 312

——, quotations from, 310–311, 326–327

—— room, 326–327

Herculaneum, 352

—— chair, 363

Hervey, Lord, quotations from, 137

Hervieux, 213

Hexagon, 9

High-boy, 154

Huet, 161, 257, 265

Huguenot refugees in England, 111

Huquier, 164

Hogarth chair, 152

—— furniture, 152

——, quotation from, 247–248

——, satire of Kent, 136–137

——, table by, 152

Horse fire screens (Chippendale), 246

Houdan, 257, 263

Houel, 257

House (Louis XV.), description of, 182–185

Houses, decorated by the Adams, 292–293

_I_

Illumination (Jacobean), 45

Ince and Mayhew, 224

India houses 113

_Industrious Apprentice_, escritoire in, 152

_J_

Jacob, Georges, 370

Jacobean furniture. Tudor and Flemish mixture in, 37

Jacquemart, quotations from, 178, 256

Jacques, 263

Janel, 257

_Janua Linguarum_, quotation from, 45–46

Japanese art, taste for, 166–167

Japanned furniture, 154–155

Jardinière (Empire), 377

Jardinières, 273–274

Jewels, Age of, 70

Johnson, 148

Jombert, 164

Jones, Inigo, 37, 146, 295

_Journal de la mode_, quotation from, 367–368

Juhel, 215

_K_

Kauffman, Angelica, 292, 305, 306

Kent, William, 135, 136, 295, 296

Kent, Hogarth’s opinion of, 136

Kenwood, Adam’s decorations at, 304

Kidney library table, 359

Knife cases (Heppelwhite), 321–322

—— (Sheraton), 349

Knole, Sevenoaks, Kent, 38, 61

——, bed at, 57

——, bedrooms at, 54–55

_L_

La Barre, 66

La Bruyère, 67

La Collombe, 164

Lacquered furniture, 154–155

Lacquers, old, 168

Lady’s Cabinet Dressing-table, 357–358

Lafayette, bed of, 376

La Joüe, 142, 164

La Live de Juilly, 263

Lalonde. See De Lalonde.

Lamballe, Princesse de, 263

——, apartments of the, 280–282

Lampas, 19

Lambrequin (Louis XIII.), 19

—— (Louis XV.), 200–201

—— (Louis XVI.), 271

Lamps (Heppelwhite), 323

Lange, 164

Langley, Batty, designs by, 142, 144–145

——, quotations from, 143–145, 149, 150

——, influence on Gothic revival, 150

——, Walpole opinion of, on, 151

Lanthorns (Chippendale), 245

La Rue, 257, 263

Lassurance, 164

Lauzan, Comte de, 112

Law, John, 159

Leather, use of, 192, 209, 313, 314

Le Brun, 4, 66, 68, 69, 159

Le Canu, 257

Le Geay, 257

Le Grand, 164

Leland, quotation from, 43

Leleu, 267

Le Lorrain, 257

Lepautre, Jean, 66, 72, 84, 91

Le Prince, 257

Le Roux, 164

Levasseur, 267

Liard, 257

Library (Sheraton), 338

—— table (Sheraton), 360

Line, the straight, insistence of the, 253–254

Lit d’ange, 77–78, 79–80, 196

——, à l’Anglaise, 267

——, d’Anglaise, 196

——, à arc, 197

——, de baldaquin, 27

——, en baldaquin, 197–198

——, à chassis, 198

——, à la Chinoise, 277

——, à couronne, 267

——, en dome, 79

——, à double tombeau, 197

——, à la duchesse, 77, 80

——, de duchesse, 196

——, à la fédération, 285, 368

——, à flèche, 197

——, en housse, 19–21, 76, 267

——, à impériale, 28

——, à l’Impériale, 80

——, en niche, 197

——, en ottomane, 197

——, à la polonaise, 196, 277

——, à pavillon, 77

——, de repos, 32, 81, 197, 198, 270, 279

—— (Chippendale), 230

—— (Louis XV.), 192

——, à romaine, 197

——, à tombeau, 197

——, à tulipe, 197

——, à la Turque, 197, 277

——, vu de pied, 77

Lit. See Bed

_Livre de Légumes_ (Meissonier), 227

_Livre d’ornements_ (Meissonier), 227

Lodging room (Sheraton), 339

Loir, Alexandre, 66

Loir, Guillaume, 66

London, a dépôt for Oriental art, 112

Louis XIII. style, beginning of, 3

Louis XIV., magnificence of, 66

——, takes Court to Versailles, 65

——, style, characteristics of, 70–73

——, ornamentation, 71–73

Louis XV. style, 195

——, transitional from, to Louis XVI., 195

——, great masters of the, 164

——, style, small masters of the, 164–165

——, ornaments of, 164

Louis XVI. style, 195, 196, 251–252

——, cabinet-makers, 267

——, furniture of last years, 284–285

——, ornamentation of, 252–253

Low-boy, 154

Lucotte, 256

Lutestring, 55

Luti, Chevalier, 135

Luxury, in reign of Louis XIV., 70

Luynes, Duc de, quotation from, 196

_M_

Mademoiselle, La Grande, quotations from, 91, 111–112

Mahogany, 11, 118, 334, 379

Maintenon, Mme. de, 78, 80, 85, 86

——, apartments of, 92–96

——, tables of, 86

_Maisons de Plaisance_ (Blondel), 174

Mansart, 65

Marchand, 263

Martinet, 164

Martins, The, 167–168

Marie Antoinette, 255, 263

Marie Leczinska, bed of, 196

Marillier, 257, 262

Marot, Daniel, 91, 111

——, furniture by, 119, 120–121

——, use of china in decoration, 116

Marquetry, 11, 50, 87

Marquetry (Riesener’s), 265, 266

Marquetry (Queen Anne), 127–128

Marquise, The, 208

_Marriage à la Mode_, Bed in, 152

Marsenois, 165

Marvye, 164

Mascaron, 8, 120

Mazarin, Cardinal, 4, 12, 13, 18, 21, 28, 30, 32

——, bed of, 77–78

——, fondness for Oriental art, 111–112

——, lottery of Oriental goods, 70, 112

Medici, Francesco de’, 17

——, Marie de’, 3, 6, 12

Meissonier, J. A., 160, 162, 163

——, canapé by, 209

——, chairs by, 209

——, curves of, 194

——, designs by, 226–227

——, exponent of the Louis XV. style, 164

——, ornaments, 227

——, pier-table by, 211

Mercier, quotation from, 264

_Mercure de France_, quotation from, 69

Méridienne, The, 378

Metal furniture, 67

Mezzotints, 155

Michel, 164

Middle Ages, rich furniture of the, 67

Milanaise fringe, 18–19

Milton, Thomas, 290

Mirabeau, 168

Mirrors, 68

—— (Chippendale), 244

—— (Heppelwhite), 323

—— (Jacobean), 45, 60

—— (Louis XIII.), 34

—— (Louis XIV.), 89

—— (Louis XV.), 190, 210–211

—— (Queen Anne), 119

—— (Sheraton), 360

Mississippi Bubble, The, 159

Moithey, 257, 263

Molière, alcove of, 91

Mondon, 142, 164

Monkeys in decoration, 141, 142, 161, 211

Monnoyer, J. B., 111

Montigny, P. C., 267

Moreau le jeune, 257

Moreau, 257

Mortlake tapestry, 42

Mouldings (Louis XIII.), 9

_Much Ado About Nothing_, 42

Murray, quotation from, 131

Music-room (Sheraton), 338

_N_

Napolitaine fringe, 18–19

Nest-of-drawers, 59

Netherlands, influence of, on Jacobean furniture, 37

Neufforge, 257

Niche, 192

Nicolet, 263

Nile, Shipwreck of the, 168

Nimeguen, Treaty of, 65

Normand, C., 257, 263, 380

Nottingham, Lord, quotation from, 113

_O_

Octagon, 9

Odiot, J.B.C., 370

Œben, 165

——, bureau, begun by, 212

Olive-wood, 45, 60

Ollivier, 166

Oppenord, 160, 163

Orfèvrerie, 66

Orient, L’, 112

Oriental art, Evelyn on, 112–113

Oriental art, 111

Orleans, Duchess of, 85, 87

Orleans, apartments of the, 100–102

Orleans, Duke of, 85, 86

——, apartment of the, 98–100

Ornamentation (Elizabethan), 39–40

—— (Louis XIV.) style, 71–73

—— (Louis XVI.) style, 252–253

—— (Queen Anne), 119–120

Ornaments (Adam), 298–299

—— (Chippendale’s), 227, 229–230, 237, 247

—— (Empire), 372–374

—— (Heppelwhite), 312

—— (Louis XV. style), 164

—— (Louis XIII.), 11–12

—— (Meissonier’s), 227

—— (Sheraton), 334

Osterley Park, Adam decorations at, 304–305

Ottoman à la reine, 279

Oudry, 164

_P_

Pafrat, 166, 267

Painted cloth, 42

Palais de porcelaine, 73–74

Palais Royal, The, 4

Palais Soubise, 178–180

Palladio, 135, 137

——, new edition of, 115

Panache, 21

Panelling (Jacobean), 41

Panels (Early Georgian), 146, 147

—— (Queen Anne), 117

Pannier, 263

Panseron, 257

Parent, Aubert, 257

Paris, changes in, 5–6

——, sets the fashions for Europe, 65

Pariset, 257

Parizeau, 257

Parlour, the, 41

—— (Jacobean), 52–53

—— (Tudor), 52

Parquetry, 68

Passe, Crispin de, 4

Pastoral subjects, 252, 253

Pavilion bed, 28

Pear-wood, 11, 38

Péché Mortel (Chippendale), 232

Pedestals (Heppelwhite), 321

Pelham, Henry, 136

Pembroke tables, 324

—— (Sheraton), 358–359

Pepys, quotations from, 43

Perault, 263

Percenet, 257, 263

Percier, C., 370, 373

Percier and Fontaine, 367, 372, 377

——, bedroom by, 373

——, examples from, 373–374

——, quotation from, 371–372

——, tables by, 376–377

Percy, quotation from, 41–42

Pergolesi, M. A., 292, 305–306

“Persian,” 191

_Petite Maison, La_, 181

Petitot, 257, 261, 263

Peyrotte, 164

Philippon, Adam, 4

Picau, 143

Pictures (Louis XIII.), 34

—— (Queen Anne), 118

Pier-glass (Chippendale’s), 244

—— (Heppelwhite), 323

Pierre, J. B., 256, 263

Pier-tables, 32

Pier-table (Meissonier), 211

—— (Sheraton), 344–345

Pillement, 164, 263

Pinaud, commodes by, 202

——, consoles for porcelain by, 211

——, console table by, 212

——, mirrors by, 210

Pineau, 164

Placards, 17

Play-room, 175

Pollen, quotation from, 255

Pomeranian Art Cabinet, 16–17

Pommes, 21, 27, 57, 196

Pompadour, Mme. de, 165, 168, 264

——, bed of, 187–188

——, bedroom of, 186–189

——, fondness for Louis XVI. style, 252

Pompeii, 252, 254

Ponce, Gardette, 257

Pope, quotation from, 136, 138

Porcelain as a decoration for furniture, 256

—— in decoration, 73–74

—— in England, 113

Portières (Louis XV.), 187, 191, 194

Pouch table, 357

Pouget, 257

Poulleau, 165

Press, 59

Prevost, 164

Prieur, 257, 262

_Principes de l’art du tapissier_, quotation from, 196

_Principles of Gardening_ (Langley), 150

Prudhon, 372

_Q_

Quartette tables, 361

Queen Anne, 110–111

——, furniture, 121, 126

——, house, 121–126

—— style, 109–110, 116, 118

——, characteristics, 119–120

——, ornamentation, 119–120

——, panels, 117

——, tapestry, 117

Queen Mary, 113

Queverdo, 257

Quinze seize, 264

_R_

Radel, 277

Raffle leaf, the, 290

Rainceau, Adam’s definition, of, 300

Rambouillet, Madame de, 7

——, blue parlour of, 68

——, Hôtel de, 91

Ranson, 257, 260, 267, 279

——, examples from, 260

Rebel, ornaments of, 5

Récamier, Mme., 378

Recueil, de Décorations Intérieures, 370

Regency, The, 110

——, art of the, in America, 141

——, art of the, in England, 135, 141

—— style, characteristics of the, 141–142

——, examples of, 211, 213–214

Reign of Terror, 367

Renaissance, The, 3

Renard, 257

Revolution, The Glorious, 110

Ribband-back chairs, 232–233

Richelieu, Cardinal, 4, 6, 14, 15

Richardson, George, 289

Riesener, J. H., 165, 213, 265–266, 267

Robert, 257

Rocaille, 162

——, decoration, 141

Rochefort, Mme. la Maréchale, cabinet of, 97–98

Rock-and-shell work, taste for, 221

Rococo, 150

Roentgen, David, 265, 266, 267

Rohan, Anne Julie Charbot de, 178

Rohan, Duc de, 178

Romans d’aventure, 67

Rose, Joseph, 304

Rosewood, 225, 334

Roubo, 166, 256

Roumier, 142, 164

Rousseau, J. J., 252

Rubens, 3

Rudd’s Dressing-table, 324–325

Rueil, Castle, of, 4

Ruins, fad for, 150

——, Langley on, 150

_S_

Saint Non, 257, 363

Saint-Pierre, Bernardin de, 252

Saint-Simon, quotation from, 31

Salembier, 257, 261, 267, 277

Salon, the, 168

—— (Louis XIV.), 104–105

—— (Louis XV.), 171–172, 174–175, 182–183

——, petit, 177–178

Saly, 263

Satin-wood, 334

Saunier, 267

Scagliola, 291

Scheemakers, 263

Schübler, J. J., 199–200

Schwerdfeger, 267

Screens (Chippendale), 246

—— (Heppelwhite), 322–323

——, horse fire, 323, 345

—— (Louis XIV.), 88–89

——, Pole fire, 322–323, 345

——, Regency, 211

—— (Sheraton), 345–346

——, tripod fire, 345–346

Screetore, 59

Secretary and bookcase (Sheraton), 359–360

Serre-papiers, 212, 213

Settee (Jacobean), 62

—— (Queen Anne), 119

Shakespeare, quotations from, 38–39, 53–54, 55

Shaving-tables (Chippendale), 241

Shell in Cabinet-maker’s arms, 120

Shell, decorative use of, 120

Shelves (Chippendale’s), 237–239

Sheraton, Thomas, 331

——, arrangement of rooms, 335

——, books by, 331

——, cane, use of, 334

——, carving, love of, 333