Yale University Lihrary 39002026377912 lllJJJIIlililliitjt']fJMi/J,Ur drooping ears of wheat, neither of which design is particularly pleasing. Besides the circular he used also the shield-shaped back. In Figure 30 are shown three of his characteristic chairs. The one on the left Las the Prince's feathers, and all of them show the si wilder leg which in two of them ends in the spade-foot. The dining-tables of this period, before the days of the extension table, had round, square, or octagonal tops, supported on a column which rested on a plinth having several carved feet. There were a number of variations of the arrangement of feet. In order to accommodate a large party several of these tables could be placed together, and when not in use could be placed against the wall to serve as side-tables. His Figure 31. HEPPLEWHITE CARD-TABLE. Figure 32. HEPFLEWHITE SETTEES. ADAM, SHERATON, EMPIRE. 79 easy chairs — and he made many of these, large and comfortable — he covered entirely with upholstery, no woodwork showing but the legs. (See Figure 56). In the Hepplewhite and Shearer pieces the notice able feature of decoration is the inlay, often of two or three coloured woods and in a variety of designs. Many kinds of wood were employed at this time in inlay or marquetry work, besides all the familiar ones Shearer mentions, — " tulip, rose, snake, panella," etc., and. later lilac-wood also was used. The husk pattern was very popular at this period for an inlay pattern, and Wedgewood also used it frequently in his splen did jasper pottery. It resembles the husks of oats when ripe, the spreading of the two halves allowing the pattern to be used over and over again. In Shearer's work, as well as Hepplewhite's, a slen der- tapering leg is much in use, inlaid down about half its length, often with satin-wood or holly, and sometimes with ebony as well. Many of the side boards made in America were on English models, and they are veneered on pine, the back and drawers being made of this same wood. There are many variations of shape, — what are known as serpentine and swell ironts being quite usual, the handles being the oval ones which are so common on all varieties of pieces with drawers, and there is also a fan-shaped piece of inlay which will frequently be seen. The position of this is not always the same, it may be found in the corners of closets, and long bottle-drawers, or it may be inserted as a sort of brace between the bottom of the sideboard and the legs. Hepplewhite was very fond of inlaying a band of holly or satin-wood around the legs of his pieces, three or four inches from the 80 THE OLD FURNITURE BOOK. ground. It will be found on his sideboards, card- tables and desks, .and is generally about an inch wide. His book was one of the most valuable ever given to English cabinet-makers. His individuality of shape is always pleasing, even if he did not concern himself about making his furniture structurally correct. He claims, and indeed with absolute correctness, " to unite elegance with utility and blend the useful with the agreeable." In Figure 31 is shown one of a pair of card-tables, Hepplewhite design, made of mahogany and inlaid with ebony and satin-wood. They belong to Mr. Wil liam M. Hoyt of Rochester, N. Y. Like Adam, Hepplewhite made great use of satin- wood for whole pieces of furniture. He used his well- known and characteristic shapes in chair-backs and little sofas, cabinets and workstands, table stands, harp. sichord cases, and commodes. Satin-wood had been but recently introduced from the East Indies and was instantly popular. Even mantel-pieces were made of it, to match the furniture, and there was a fancy to have the drawing-rooms and boudoirs very light and elegant. Clothes had shrunk in dimensions, no more hoops and farthingales embarrassed their wearers, the stiffness was banished from coat-tails, and consequently the furniture had shrunk too. Chairs were small and narrow, and window-seats, made in abundance by Hep plewhite, were deservedly popular, and the coverings were in accord with the gaiety of the woodwork. Fig ure 32 shows two Hepplewhite settees with shield- shaped backs. The upper one is of mahogany with low relief carvings on the tops, and the lower of satin- wood, with cane seat and the woodwork beautifully ADAM, SHERATON, EMPIRE. Si painted. The elegance of this painted satin-wood has long been admired. Unfortunately it has caught the popular taste, and it is now reproduced in such large quantities that it is freely offered for sale by dealers in our large cities. The pieces shown in our illustration are both fine specimens of the original maker and are owned by the Waring Galleries, London. It was no longer necessary to make the legs of chairs of such stout proportions, and as the bodies of the chairs were lighter so the legs dwindled exceedingly and were given only a semblance of solidity by the use of the "spade-foot " so much affected by Hepple white. Their appearance of fragility was farther enhanced by groovings and flutings, but they are vilways pretty. Although his characteristic chairs have shield-shaped or oval backs, he gives in his book eighteen designs of bannister-backed chairs, to be carried out in mahogany. The general dimensions given by Hepplewhite for his chairs are as follows: "Width in front, 20 inches ; depth of seat, 17 inches , height of seat frame, 17 inches; total height, about 37 inches." He gives most definite directions about coverings. Mahogany chairs should have the seats of horsehair, plain, striped, checkered, etc., according to taste ; or cane bottoms with cushions which should be covered with the same material as the bed and window curtains. He was fond of the " Duchess," which consisted of two Barjeer or armchairs with a stool between them, all three pieces fitting together at pleasure and making a lounge from six to "eight feet long. His press-beds vary little in appearance from wardrobes, but it was in smaller and daintier pieces that his particular talent 82 THE OLD FURNITURE BOOK. found play. His knife-boxes are extremely elegant, particularly when in urn shape with a rod in the centre to prevent the top of the urn from being removed. All the handles and knobs on his larger pieces of furni ture are round, but on sideboards frequently oval, his double chests of drawers have either French or block feet. Tripod reading-desks, urn-stands, beautiful tea-trays, caddies and tea-chests are richly inlaid or painted. We find him not only making very ornate and richly inlaid card-tables, but " Pembroke tables " as well, with either round or square tops. Such tables have leaves, but, instead of the legs moving out to support the leaves, small arms come out from the table-frame. His writing-tables and desks have tambour tops, that is strips of wood pasted on cloth, so that they roll back into receptacles provided for them, and are filled with secret drawers and flat cupboards for deeds or papers. Among his other small pieces which are distinguished by their grace are dressing-glasses, shaving-tables with glasses and without, " bason " stands, designs for brack ets, fire-screens, wash-hand-stands, cornices, lamps, gir andoles, and looking-glasses. His larger designs show dressing-tables and bureaus with curved and swell fronts, beds, four-posters, and field-beds with very graceful sweeps and much variety of design. His stuffed furniture is comfortable in the extreme, and the tall easy chairs with cheek pieces must have been well calculated to protect from searching draughts. Many of these easy chairs found their way to America, and as their cost was not extortionate moderate homes enjoyed them as well as wealthy ones. After the Revolution, in all the seaboard towns and Figure 33. SHERATON CHAIRS. Figure 3+ SHERATON DESK. ADAM, SHERATON, EMPIRE. S3 the more settled places near cities, there was a still greater call for all styles and luxuries popular in Eng land. Indeed the former Colonies presented very curious and marked contrasts, being, as it is tersely put, " rolling in wealth or dirt poor." In Philadelphia there had been much style and "gentility" for many years. The English officers had, no doubt, brought some comforts with them, and they found others await ing them. Major Andres letter describing supper at the " Mischianza," May 18, 1778, gives a vivid picture of the festivities of the times. — " At twelve, supper was announced, and the large folding-doors being suddenly thrown open discovered a magnificent salon of 210 feet long by 40 feet wide, and 22 in height, with three alcoves on each side which served for sideboards. Fifty-six large pier-glasses ornamented with green silk artificial flowers and ribbands; one hundred branches with three lights in each trimmed in the same manner as the mirrors ; eighteen lustres each with twenty-four lights suspended from the ceiling and ornamented as the branches. Three hundred wax tapers disposed along the supper-tables, four hundred and thirty covers, twelve hundred dishes, twenty-four black slaves in Oriental dresses with silver-collars and bracelets ranged in two lines, and bending to the ground as the General Howe and the Admiral appeared together." All the lustres, mirrors, etc., with which the room was adorned, were borrowed, says Watson, from the towns folk, and all were returned uninjured. Eighty-four families kept carriages in 1772, and writing as late as 1802, Dr. Michaud calls Phila delphia— — " At present the largest, the handsomest, and the most populous city of the United States. The streets are paved, and are pro vided with broad bricked footways. Pumps, placed on each side of them at about one hundred yards from each other, supply an abundance of water." S4 THE OLD FURNITURE BOOK. Dolly Madison, writing in 1791 of the fashions of the day in Philadelphia, says: "Very long trains are worn, and they are festooned- up with loops and bobbin and small covered buttons, the same as the dress. The hats are quite a different shape from what they used to be. The bonnets are all open on the top, through which the hair is passed, either up or down as you fancy, though latterly they wear it more up than down ; it is quite out of fashion to frizz or curl the hair." Salem, in Massachusetts, with her vessels touching at every port, was already becoming known for her luxury, her teak-wood as well as her mahogany furni ture, her china and plate. Enough of these still remain to show her importance and the elegance of her homes. But there was another side to this picture. Here is the description of the home of a settler away from any of the large centres, Charles Rich, of Ver mont, member of Congress, began housekeeping as late as 1 79 1 . All his household possessions were valued at $66.00. He writes : " I constructed at the mill a number of household articles of furni ture which have been in daily use from that time to the present." The newest styles were of small importance in such surroundings as these, and luxuries passed slowlv along pioneer roads ; yet every ship coming to Ameri can ports brought furniture, stuffs, plate, and china to tempt the wealth of those who could afford them, and among such were pieces made by Sheraton, the fashionable cabinet-maker who came on the scene late enough to profit by the designs of his predecessors. Indeed he is most frankly pleased with his own skill and artistic taste, and in his long preface sets forth the merits of his own book and discredits all those before him. He considers his book much superior Figure 36. SOFA, SHERATON STYLE. ADAM, SHERATON, EMPIRE. 85 because he gives drawings in perspective. Much of the book is a very dry dissertation on geometry. Its second half gives descriptions of furniture, of the various styles, and the uses of the pieces. He says in his Introduction : " The design of this part of the Book is intended to exhibit the present taste of furniture, and at the same time give the workman some assistance in the manufacturing part of it. " Sheraton's early furniture is distinguished by great elegance of design, fine construction, and graceful ornament. (See Figure 33.) The legs of his pieces are slender and straight, as distinguished from the cabriole leg, but are generally enriched with flutings, and they taper pleasingly to the foot. While he uses carving, it is generally applied in low relief and does not interfere with the lines of construction. His preference is, like Hepplewhite's, for ornamenting with inlay of woods of different colours and decorating with brass. The fine proportions of his early furniture, the simple shapes clearly defined, and its structural beauty where each part is doing.its work, render it admirable in every way. A simple desk of Sheraton pattern is given in Figure 34. It is of mahogany, and the doors of the upper part open, revealing pigeon-holes and drawers. The flat top over the drawers opens out on rests, mak ing a broad, flat desk top. The brasses and key- scutcheons are original, and the moulding of the drawers overlaps. After 1793 Sheraton made little furniture, but gave his time chiefly to writing his furniture books. For the patterns used in his inlay he had recourse to classic models for his inspiration, like the Adam brothers, 86 THE OLD FURNITURE BOOK. who had done much to popularize this simplicity of design. Sheraton used urns, rosettes, festoons, scrolls, and pendant flowers as his favorite decorations. The simple curves of which many of these are composed lent themselves admirably to inlay, and the harmony of the colours of the woods gave a grace to this form of ornament and suits it exactly to the furniture on which it finds a place. Sheraton wrote several works on furniture and upholstery. The first one published in 1791, was " The Cabinet-Maker and Upholsterer's Drawing Book." This was followed by " Designs for House hold Furniture " in 1804, and he had not completed his " Cabinet-Maker, Upholsterer, and General Artist's Encyclopedia" in 1807. He gave directions for ' making, among other things, folding-beds, washstands, card-tables, sideboards, and many other pieces. He frequently employed the lyre as a design for his chair- backs, as well as supports for tables. In chairs it often has strings of brass; on the tables it takes heavier and more substantial form. Sheraton's beds seem almost as impossible as Chip pendale's. He, too, made alcove, sofa, or couch beds. He also gave designs for " summer beds" made in two compartments (we should call them "twin beds,") but both are included under a frame or canopy, and the whole affair is very cumbersome and heavy. His chairs, tables, and sideboards are the pieces by which we know him best and in which he is most admirable. He says himself, in regard to drawing-room chairs, that many are finished in white and gold, or that the ornaments may be japanned, but that the French fin- ish them in mahogany with gilt mouldings. Sheraton ADAM, SHERATON, EMPIRE. S7 made very dainty designs for tripod stands, fire screens and ladies' desks, with tambour doors. Also " bason"-stands with tambour doors and writing-desks with curved cylinder tops, which tops fell into the space behind the pigeon-holes and drawers. Wash- hand tables had also these curved cylinder tops, and all furniture which was put to toilet purposes was so arranged that it would look like something else, and transform a bedroom into a boudoir. These cylinder- ¦ topped pieces were designed as early as 1792. In furniture, as in art, there are no absolutely abrupt changes, but one style is overshadowed by another as Chippendale gradually overcame the rococo and stood for an individual style. Hepplewhite influenced Sheraton very much, although the latter declares in one of his books, published two years later than Hep plewhite's, that the hitter's designs have become quite antiquated. Such a piece of furniture is seen in the sideboard-table or sideboard given in Figure 35. It was undoubtedly made by one of these two men, and it is difficult to decide which. The form of foot is more common to Hepplewhite than to Sheraton, and the inlaid border of satin-wood is wider than he was wont to use. The brass rail at the back was used to support silver or porcelain dishes. The handles are original and the wood mahogany. This handsome piece belongs to the Waring Galleries, London. Horsehair was used for covering by both makers, and in both cases gilt-headed nails put in a festoon were used to fasten it down. Sheraton's first style was much the most pleasing. It was distinguished by a delicacy and an elegance which were entirely lost in his later designs, which were so strongly influenced by the 88 THE OLD FURNITURE BOOK. Empire style. The first illustration in his " Cabinet Maker's and Upholsterer's Book " is what he calls a " Universal table," to be made of mahogany, and which at will may be converted into a dining-table, or, by pulling out a drawer, discover all the compartments necessary for storing kitchen condiments, such as sugar and spices, etc. The sofa depicted in Figure 36 shows this merging into Empire style, for the legs are heav ier than those we are accustomed to, and the carved pine-apple appears on the arm instead of the more deli cate carving seen on earlier chairs and sofas. The covering is hair-cloth fastened down with brass nails. This sofa stood for many years in the Old Manse at Concord, Mass. It belonged to the Rev. Ezra Ripley, who came to Concord as pastor in 1778. Times were unsettled and currency was depreciated, so that when his salary of five liundred and fifty pounds was paid it was found to be worth just forty pounds. To make up this deficiency Dr. Ripley did a man's work in the fields. For years he laboured at tilling the ground at least three days in a week and sometimes even more. He was an ardent man, and from his moral worth was often known as "Holy Ripley." This sofa, uneasy as it looks to modern eyes, perhaps seemed luxurious to him after a day at the plough. The cover which it wears is said to be the original one, and if this is true its condition is so good that I fear the sofa was kept permanently in the "south parlor" or the ".north par lor," as the best room was called in those days, and the good man was given nothing easier to rest on than a wooden Windsor chair, or a straight-backed rush- bottomed one, or perhaps the kitchen settle. With the introduction and extended use of the side- Q < OCO111Q 3 «: etW Figure 38. SHERATON SIDEBOARD. ADAM, SHERATON, EMPIRE. Sg board came several articles to be used in connection with it, to which Sheraton turned his attention. Among these may be mentioned knife and spoon- boxes, which were of several different designs. Shera ton apparently did not make these knife-boxes him self, but only designed them, for he says, " As these cases are not made in regular cabinet shops it may be of service to mention where they may be executed in the best taste by one who makes it his main business, i. c. John Lane, No. 44, St. Martin's-le-Grand, London." Two pretty ones, as well as two wine-coolers, are shown on the sideboard in Figure 37. This sideboard has two little closets with tambour doors at the bottom, and deep wine-drawers on the sides There is the brass rail similar to the one in Figure 35. This piece belongs to the Waring Galleries, London. One of the handsomest knife-boxes is an urn-shaped one which has been noted as made also by Hepple white. It is wrought in mahogany, the veneer made in pie-shaped pieces, each bit being outlined with a deli cate line of hollywood. The knives were held in a perforated rack inside, with the handles up, and a pair of these boxes on either end of the sideboard made a very ornamental finish. Another shape also in vogue was more box-like in shape, the cover sloping toward the front. Not only knives, but spoons also, were held in the racks with which the interior was fitted ; and as these latter were put in bowls up, the cases, when open, showed to excellent advantage the worldly wealth of the household, and were ornamental besides. Some times the covers of these boxes set back flat against a portion of the top, and made a tray on which could be placed silver cups, mugs, posset-pots, ewers, or any 90 THE OLD FURNITURE BOOK. pieces of table silver of moderate size. Then there were the wine-boxes, or wine-coolers as they were often called, handsome massive boxes of wood, generally mahogany, or whatever wood the sideboard was made of. They stood beneath it, or, if the sideboard was low, at one side. The usual number of bottles they contained was from four to a dozen. General Wash ington's wine-box has room for eighteen bottles. There are still a dozen of the original bottles in it, holding a gallon each. We should call them decan ters, for they are of handsome cut glass. There is a letter from General Washington to Col onel Hamilton in the possession of Major Church of Rochester, N. Y. , presenting him with a wine-cooler, " holding six bottles . . . one of four which I imported during my term of governmental adminis tration." A more usual style of sideboard, Sheraton pattern, is that given in Figure 38. This handsome and useful piece of furniture had its counterparts in many of the stately old houses from the Carolinas up. It is of the swell-front type and has five deep drawers and a closet. The wood is mahogany and without inlay. This sideboard is at the Whipple House, Ipswich, Mass. After the French Revolution of 1790 furniture be came markedly different. Greek models were chosen once more ; the tripod became a favorite support. Mahogjamy was freely used, but so were coarse woods, in which., ease they were carved and profusely gilded. The most valuable book, for cabinet-makers, on " Em pire " furniture, was published by the architects Per- cier and Fontaine in 1809. It was not filled with fanciful designs merely, as we have seen was the case \ AM JK < jLJ C in w E m 1 uaCO m . ¦ ¦ ¦¦¦:'>¦: I an w* , i 1 ^H ¦.. .¦^^Os ' i .' . iBk 'SH !¦» Figure .10. EMPIRE SOFA ADAM, SHERATON, EMPIRE. 91 with some of the catalogues of English makers, but every design shown in it had been carried out before it was published. Many of the drawings were adapted from classic models preserved in the Vatican. In many ways this style has not much to recommend it. It is apt to be heavy and stiff, particularly when made by English makers. The French decorated it with exquisite forms in metal (treated in another chapter), but the English contented themselves with cast brass. It was far preferable under the manipulation of Amer ican cabinet-makers, who restricted the use of brass and allowed the handsome woods to show themselves to the best advantage. The Dutch, who also were not behind hand in the adoption of this and Napoleonic style, made tables, secretaries, chairs, etc., severe and regular in form, but enriched with their admirable marquetry, and with heads and feet of animals spar ingly used. Sheraton and Shearer were swept along by the tide of fashion and drew Empire designs. Gillow, the inventor of the extension-table, whose firm was established as early as 1800, made many fine designs and had orders from the best patrons. His firm is still carried on under the same name. In 1808 George Smith was made " Upholder Extra ordinary to IT. R. IT., the Prince of Wales." He pub lished a book, of course, having a hundred and fifty- eight design-;. They included bedsteads, tables, chairs, bookcases and commodes, and other articles of furniture copied from the French, like escritoires, jardinieres, chiffoniers, showing how the fancy for French things was increasing. He gives very definite rules as to how and when to use various woods. " Mahogany, when used in houses of consequence, should be confined to the parlour and bed-chamber floors. 92 THE OLD FURNITURE BOOK. " In furniture for these apartments the less inlay of other woods, the more chaste will be the style of work. If the wood be of a fine compact and bright quality, the ornaments may be carved clean in the mahogany. Where it may be requisite to make out panelling by inlay of lines, let these be of brass or ebony. " In drawing-rooms, boudoirs, ante-rooms, East and West India satin-wood, rosewood, tulip-wood, and the other varieties of woods brought from the East, may be used. With satin and light-coloured woods the decorations may be of ebony or rose wood ; with rosewood let the decorations be ormolu and the inlay of brass." Figure 39 shows a handsome sofa of carved mahog any, Empire style, before it had arrived at its heaviest stage. The carving is extremely handsome, both rails of seat and back being decorated with dolphins. The foot is of the bear shape, and the arms are grace ful in curve. This piece is of English make. While we miss in the late Empire styles — say from 1810 to 1825 — much of the lightness and grace which had been contributed by the carving and inlay which were so freely used in the preceding period, yet there was a solidity and massive dignity which was not without a certain charm. Then, too, these pieces were generally veneered, and in them the beautiful grain of the mahogany, which was the favorite wood, showed to greatest advantage. The sofa in Figure 40 is such a piece. It is of unusual length, the top of the arm is stuffed, thus doing away with " squabs," as the cushions which were used on sofas, long and narrow, were called. The wood, which is largely shown, is of that dark rich hue inclined to red, with veining many shades darker, and it is in a fine state of preservation. This piece belongs to Anthony Killgore, Esq., Flemington, N.J. Figure 41. PIER-TABLE. Figure 42. EMPIRE SIDEBOARD. ADAM, SHERATON, EMPIRE. 93 To about the same period does the pier-table belong (Figure 41), which is not usual in design, because of the third pier which starts from a circular shelf in the middle of the base. The swan piers at each end are very graceful, and the handsome grain of the mahog any is shown to great advantage. This piece belongs to the Misses Killgore, of Flemington, N. J., as does the sideboard shown in Figure 42. The doors of the lower part, with the fan, are solid mahogany, the carving on the legs and ornamental scrolls is fine. The middle of the top is raised to permit the insertion of a looking-glass, and the capitals at the tops of the pil lars are of fine brass-work. Above the middle drawer, a shelf draws out for use in serving meals. The whole sideboard sets back on a little shelf above the bear's feet, a feature not unusual in the finer boards of this period. The surroundings of this fine old piece of furniture are in keeping with its importance, the china showing above it on the wall being the Staffordshire blue made during the first quarter of the nineteenth century, while the mirror directly above it is of equal age. Environment has a great deal to do with bringing out the true beauties of this stately old furniture. It must be surrounded with objects of approximate age and of equal dignity, otherwise it looks as unseemly as an ancient dame with a pink rose in her hair. The work-table shown in Figure 43 belongs to the same period, but of a little earlier date than the last pieces shown. The legs are richly carved, as is the central pillar. This also belongs to the Misses Killgore. Not many pieces of such solidity were required in a room, and in those days overloading did not 94 THE OLD FURNITURE BOOK stand for elegance. In 1800, when the spacious Tayloe house in Washington was built, the furniture of the great drawing-room was a set of ash, sixteen pieces. There were twelve chairs with chintz cushions, and two card-tables ; there were also a centre table and one upholstered couch, and a settee, but not one so-called easy-chair. Much furniture like that shown in Figures 40-43, is to be found in the old houses of such places as Cherry Valley, N. Y., where there is little changing about, and furniture has descended from one generation to another and still stands in its old familiar home. Figure 43. EMPIRE WORK-TABLE, CHAPTER V. COLONIAL AND LATER PERIODS. UNDER the broad head of Colonial Furniture may really be classed all the " movables and chattels " which belonged to the early settlers, while to be entirely correct, this characterization belongs only to such furniture as was brought in or made before 1776. As the pioneers came from many lands, so many differ ent kinds of furniture will be included in the list. We must begin at the South, with the melancholy little plantation at Jamestown. Through evil times the feeble colony struggled, harassed by poverty, disease, savage foes, and internal dissensions. There in 1607 were planted the first beginnings of the settlements which were in three hundred years to cover a continent. Traces of the little colony have almost disappeared now by the action of the James River, high tide covering the brick foundations of the ancient buildings. Walking along the shore one may find little red and white clay pipes, in smoking which, filled with the fragrant weed, the pioneers forgot their woes. Glass beads striped like gooseberries, to take the eyes of the Indians in barter, pieces of water- soaked brick from these toil-built houses, and even traces of the days of Smith, sword-hilts, bits of armour, balls, etc., and — more pathetic mementos of James town's trials — human bones and coffin-handles. 96 THE OLD FURNITURE BOOK. Yet in 1639, thirty-two years after the foundation of the colony, there were in Maryland some planters called " rich," who measured their worldly goods by their value in tobacco, the raising of which weed had proved their only salvation. The laws regarding its cultivation, particularly in Massachusetts, were very stringent. It was only to be grown as medicine and used privately. It was considered a more harmful indulgence than liquor, and the " Creature called Tobacko" was hemmed and hedged about with rules and restrictions. It circumvented them all, was planted and grown, and finally became a commodity of much value and a medium of exchange. About ninety years later we find an item which shows how universal had become its use. The will of May Bick- ley, attorney general of the province of New York, filed April 27, 1724, directs that he "wishes to be buried without pipes and tobacco as is usual." To Maryland and Virginia were transplanted almost bodily rich homes from the mother country, filled with the luxuries to which their occupants had been accustomed. It has been said that many ofthe grand old homes in the South were built of " English brick." While this is true in the letter, it is entirely mislead ing to the reader in general. The bricks were not brought from England, because at that time there were few ships afloat capable of bearing any such quantity as would have been necessary for a house of any considerable size. Mr. McCrad)', in his " History of South Carolina," has taken considerable pains to explain how this error arose. The historic Miles Brewton house, now called the Pringle house built about 1770 in the city of Charleston, is one of the COLONIAL AND LATER PERIODS. 97 best known houses in the State. It was used as military headquarters during both the Revolutionary and the Civil wars. It has been computed, by actual measurement, that the house contains 1,278,720 bricks. Each of these weighs eight pounds, the whole amount ing to 4,566 tons. No vessels then afloat could carry more than 500 tons, so it would have taken nine of such vessels to bring over the bricks for this house alone. Josiah Quincy says in his Journal that this house cost about $50,000, which sum would hardly have covered the expense of so many vessels from London. Mr. McCrady's solution is that there were two styles of brick made, one, large and heavy, known as " English " the other called " Dutch " which were very small. There were, however, bricks brought from England, for the prices of brick, both of British and New England make, were fixed by statute. As early as 1662 brickmakers and bricklayers were paid by each thousand bricks made and laid by them. The first material brought into Virginia for building purposes was in 1607, for the use of George Percy. Brickmakers were twice advertised for in 1610, and joiners were at work on the furniture needed for the new homes. The houses late in the seventeenth century were by no means so large as one would expeet. Six or eight rooms was the usual size, and many had even fewer. The house of Cornelius Lloyd, whose estate was valued at 131,044 pounds of tobacco, contained a chamber and hall and a kitchen with loft and dairy. The windows were often but sliding panels, but in houses of any pretensions glass was used. In 1684 Colonel Byrd sent to London for 400 feet of glass, 9S THE OLD FURNITURE BOOK. w ith drawn lead and solder in proportion. Robert Beverly, Sr., one of the richest men in the Virginia colony prior to the opening of the eighteenth century, had in his dining-hall one oval and one folding table, a leather couch, two chests, a chest of drawers and fifteen Russia-leather chairs, value ,£9 gs. His supply of table linen was abundant, and the table-ware was pewter, with wooden trenchers and some earthenware. Richard Hobbs, of Rappahannock, who died in 1667, owned, among much household stuff, but a single fork, John Frison, of Henrico County had one of tortoise-shell. Robert Dudley, of Middlessex County who died in 1 700, had several forks made of horn. To show some of the luxuries for sale in Virginia prior to 1670 the inventory of the store of John Frison, mentioned above, is given. " Holland night-caps ; muslin neck-cloths ; silk-fringed gloves , silver shoe-buckles; embroidered Holland waistcoats ; 2 doz. pr. white gloves; 1 lace cap; 7 lace shirts; 9 lace ruffles; holster- caps of scarlet embroidered with silver and gold ; gold and silver hat-bands ; a parcel of silver lace ; and a feathered velvet cap." There were also many valuable furs. Mrs. Diggs, widow of the governor of Virginia, died in 1699. She was a person of much consequence in the colony, and her inventory is interesting on that account. In her hall parlour were — ¦ — " 5 Spanish tables ; 2 green and two Turkey-worked carpets , 9 Turkey-worked chairs, and 1 1 with arrows woven on the seats ; 1 embroidered and 1 Turkey-worked couch ; 5 pictures (valued at five shillings) ; 2 pairs of brass andirons ; 3 pr. old tongs ; and 1 clock." Not only did English ships bring on every voyage the best that England afforded, but Dutch traders, too, crowded in with their own goods, and other.*-- t1 igure .; WILLIAM PENN'S TABLE. Figure 46, RUSH-BOTTOMED CHAIRS. COLONIAL AND LATER PERIODS. 99 besides from the East. The inventories mention " Dutch cases ", and " Dutch turned chairs ", before 1680; and as these rich planters had tobacco to trade, they obtained all the luxuries to be had. It is seen that New England had her rich and prosperous men also, and some fine homes were built as early as 1639. Figure 27, facing page — , shows a room in the famous old Whipple House, Ipswich, Mass., built about 1642. The solidity of these houses is exemplified by the beams, with their finely moulded edges. The furniture is both interesting and beautiful, one of the most attractive pieces being the desk made on Sheraton lines which stands on the right-hand side. A handsome bookcase and desk fill the corner, and a little Pembroke table holds much glass. The picture (Figure 44) facing page — , shows a typical New England kitchen in Colonial times. It has been arranged in the Deerfield Memorial Hall, and all the furniture and utensils shown herein were gathered in the neighbourhood. These primitive homes did not have mantelpieces as a rule, but the heavy wooden beam fashioned with an axe was called the mantel-tree. The one shown here did duty for a hundred and sixty-eight years. The wide chimney- piece could easily accomodate the small children of the family sitting on billets of wood, while the elders were comfortable on the settle with its high back- joard. It has a convenient candle-bracket which could be adjusted to suit the reader, and if more light were needed the candle-stand was convenient. The back of this settle is sixty inches high, more than is usual. It was owned by Jacob Rich, who settled in the neighbourhood of Deerfield, Mass., in 1777. ioo THE OLD FURNITURE BOOK. A famous house was known as the "Old Stone House" at Guilford, Conn., while at Boston, Salem, Danvers, Dedham, and Dorchester was built many a sturdy dwelling still standing to show with what solidity these pioneers did their work, In the earliest days of the Colony's struggles too much luxury was not deemed good for those battling with the wil derness. Governor Winthrop writes with some grati fication in 1630 of the burning up of some fine table linen, brought by a "godly woman of the Church of Boston " from London, and of which she was very proud." But it pleased God that the loss of this linen did her much good, both in taking off her heart from worldly comforts, and in preparing her for a far greater affliction by the untimely death of her husband, who was slain not long after at Isle of Prov idence." Yet in 1647, when he married the widow Coytemore, he seems to have had no hesitation in accepting with her a rich dowry, her share of the estate of her former husband, and valued at ,£640 isSd. Among the items were such frivolities as " a silver girdle and a silk iacket." There must have been also other choice garments in the many chests and trunks enumerated. One of these chests is specified as " spruce." The widow had a brave stock of pewter, worth ^135, and among other goods unusual at this period were, " 1 chest of drawers ^1 a copp. furnace £1 10s A parcel of cheney platters and soucers £1 2 flaskets A bedstead, trundle bed with ropes and mats." It is a matter of wonder how the governor recon ciled h.'s conscience to the silver girdle and " iacket," COLONIAL AND LATER PERIODS. 101 for in 1634 the Massachusetts General Court had par ticularly prohibited the wearing of either "gold or silver girdles, hattbands, belts, ruffs, and beaver hatts." Also they forbade the purchase of " any appell, either wollen, silke, or lynnen with any lace on it, silver golde, silke or threed." They were only allowed one "slash" on each sleeve and one on the back. These rules were operative for many years, for in Salem, in 1653, a man is haled before the court for excess "in bootes, rebonds, gould, and silver lace." In New bury, Mass., in 1653, two women were brought before the court for wearing " a silk hood and scarfe," but both were discharged for proving their husbands were worth over .£100. John Hutchin's wife was also dis charged " upon testimony of her being brought up above the ordinary ranke." These items show that both rank and property were saving grace even among the Puritans, and no doubt Mrs. Winthrop escaped censure under this rule. Boston, about 1650, had houses partly of brick and partly of stone, as well as plainer wooden ones. In 1640 John Davys built for William Rix, a weaver, a house "16 feet long and 14 feet wide, with a chamber floare finished with summer and ioysts." There was also a cellar, the walls were covered with clapboards, and the chimney was made of hewn timber, daubed. The whole house cost £21. This was a typical house of a workingman, and must have required little furni ture besides the loom to fill it. The fine houses with ample halls and large rooms were but the forerunners of that comfortable style we call by the name Colo nial. But they were precious things when once built, and it is by no means uncommon to find them par- to2 THE OLD FURNITURE BOOK. celled out to different relatives. In 1658 John Greene of Warwick, R. I., gives to his beloved wife— — " a large hall and chimni with a little chamber adjoining to the hall as also a large chamber with a little chamber within yt, with a large garret and with a little dary room which buttes against ye ouleliouse during her life ; also half ye orchard." It seems as if this bequest might have been open to different interpretations among the heirs. He does not specify if he left the " goods " which were in the hall and rooms, — quite important items. The widow Francis Killburn's house at Hartford, whose estate in 1650 was valued at £349> had in her hall " tables, formes, chaires, stools, and benches," all valued at £1. Mr. Palfrey says in his " History of New England " that Whitfield's house at Guilford, Mass., built in 1639, is the oldest house standing now in New Eng land. There were three stone houses built at Guild ford this same year, and it is now asserted that there are quite a number of houses still standing which were built before that of Whitfield. Tlie Barker house at Pembroke, Mass., built in 1628, is said to be the most ancient. Tlie walls of the Whitfield house are of stone ; it is two stories high with garret, and the tim ber is oak. There are two secret closets which were found by removing a board in the attic. This house was ample and commodious, and the household fur nishings were of corresponding value. In the colonies during the seventeenth century the doublet was worn by women as well as by men. Men wore it over a sleeved waistcoat. The sleeves were elaborately slashed and embroidered. There were falling bands at the neck for those who wished, while COLONIAL AND LATER PERIODS. 103 the sedately inclined wore white linen collars. Trunk hose were used, and shoes plainly tied or with rosettes. A beaver or felt hat was a necessary adjunct, and all those who could afford it wore gloves, embroidered if possible. These gloves had gauntlets, worked or fringed, and such an important item of dress were the gloves that in 1645 the glovers peti tioned the Council to prevent the export of undressed goat-skins. In many inventories the item of leather breeches appears, and in connection with them the comment "half wore out." Henry Webb, of Boston, who died in 1660, left an estate much of which descended to Harvard College. His wearing-apparel was unusually limited for a man of means. In women's inventories the most important item is always linen or plate, a " ring with a diamond " valued at eight shillings being an unusual piece of luxury belonging to Mistress Anne Hibbins in 1656. The best articles which New England exported, and for which England was most greedy, were masts, thirty-three to thirty-five inches in diameter, selling for from ^"95 to ,£115 each. These and salt fish proved of more value to the colonies than any other commodity possessed at that time. Much of the furniture of the old homes has dis appeared. Some is still retained by the descendants of its original owners, and there are other pieces now gathered in museums, nearly every city endeavouring to retain the mementos of her early history. By 1700 Philadelphia was quite a flourishing town. The life of the country magnates was elegant and dignified. Many rich men had both town and coun- 104 THE OLD FURNITURE BOOK. try houses complete in every detail. Before the Penn sylvania Colony was five years old, (the grant was given March 24, 168 1) William Penn had set the example of having a town and country house, the latter being completed in 1685. He owned a coach and a calash, and had, besides, a fine barge with oars men who rowed him between his house and Philadel phia. Fairfield, the home of the Norris family, was finished in 1717, and was at that time the most beauti ful home in Philadelphia. The sashes for the win dows and most of the interior woodwork was imported from England, as was the furniture. The hall was considered wonderfully elegant, being paved with mar ble. There were substantial houses of brick, the latter of which were home-made, and many artizans of all trades, Dutch as well as English, were coming over. William Penn wrote to his agent of such a one, and said that he was to be set to work making wains cot and tables and chairs, as Penn himself was to bring much furniture with him. His house in Bucks County was of brick, two stories and a half high, and was comfortably filled with furniture, some, as we see, made before he arrived, but most of which he brought with him. There was much silver plate, pewter dishes, cisterns, etc., beds, tables, stands and chairs. In the best parlour were two tables, one great cane chair, four small cane chairs, one couch, and many cushions of divers materials. The great hall where they dined had "one long table, two forms, and six chairs." The dining-room was a later development, and not until the eighteenth century was well advanced do we find rooms so called in even the better class of houses. Figure 45 shows an oak table, of what is called the Figure 47. CONNECTICUT CHEST. Figure 48. MAHOGANY DESK, COLONIAL AND LATER PERIODS. to5 thousand-legged pattern. It belongs to Mrs. B. H. Oliver, of Chester, Pa., and has an interesting history. It is circular in shape, five feet in diameter, and is in good order. It is said to be part of the furniture brought to America by William Penn, from whom it descended to the Bradfords, a well-known Philadel phia family of printers. It was given by them to a young clerk in their office, named McGowan. In 1849 ^ came into the possession of Mrs. Oliver's father, and when he died he bequeathed it to his son, Dr. John Hepburn, of Warren, Pa., who gave it to his sister, Mrs. Oliver. This style of table dates to the first half of the seventeenth century, as may be seen by the drawer which all these early tables had. The brass handle is a late addition, and the drawer has about it the over lapping edge, this style immediately succeeding the drawers with mouldings like those shown in the chest on frame in Figure 5. The legs fold together, fitting into the lower braces, and the leaves drop. This make of table was always considered of value, so we find them selling at Philadelphia in 1705 at £2 ; at Boston, 1699, at £2 ; in 1690 at Salem, " a round, black walnut table, £2 z,s." Such a table as this was used by Sir William Johnson, so potent a factor in the settlement of the Mohawk Valley. His table is of mahogany, the leaves drop on hinges, and it has one more leg on each side than our example. It is oval in shape instead of round, six feet six inches long, and five feet eleven inches in its shortest diameter. In 1776 this table was confiscated, and was bought by the Hon. John Taylor. His descendents have lent it to the Albany Historical Society. 106 THE OLD FURNITURE BOOK. The social life in Philadelphia in Revolutionary times was easy and agreeable, consisting of the origi nal Quaker families and another class connected with the government, and these two gave the tone to society. The pleasures of the table were the only luxuries which the sedate Quakers allowed themselves, and the city was famous for the quality of its Madeira and French wines, and the wonderful cooking of West India turtle. In 1778 differences in rank were strongly marked. The labourer wore his leather breeches, checkered shirt, and neat's-hide shoes. The queue or club was still worn by men of fashion ; so were rich broadcloth coats of every colour except scarlet, which was seen only on the " backs of soldiers, Carolinians, and dancing-masters." Winthrop Sargent, a Philadel- phian himself, writing of this time, says: " Silver tankards and china punch-bowls were evidences of prosperity, as were the small mirrors in wooden frames, and the mahogany tea-boards that are still sometimes met with in the lumber-rooms of old-time houses. Glass tumblers were rarely seen, a dipper for the punch-bowl, or gourd or cup for the water- pail supplied those who did not have recourse to the vessel itself." This latter statement seems hardly compatible with " elegance," but there were certainly great extremes to be met with even in the Capitol City, as Philadelphia was at that time. When it became fashionable to have tables round or oval, it was no longer possible to use forms or settles at them. So chairs took their place, and we notice with greater frequency in the inventories " sets " of chairs, six, twelve, and occasionally twenty-four. These early chairs, straight-backed (Figure 46), with rush or bass bottoms, or of carved wood or leather, COLONIAL AND LATER PERIODS. 107 were hard to sit upon, so cushions were provided in large numbers and of- varying degrees of elegance. These rush-bottomed chairs with turned wood frames remained in use for many years. They were made with different degrees of elaboration, one of the two in Figure 46 showing a more ornamental banister back (/. e., the vertical slats) than the other. These two chairs have seen much service, but are uncommonly well preserved, and belong to Mr. William M. Hoyt, of Rochester, N. Y. They were frequently painted dark green, a fashion said to have come to us from Holland. As chairs grew more comfortable the decrease in the number of cushions is very marked. With the increase in comfort in household belong ings a corresponding increase in the elegance of dress was visible. There was a " cou-rt circle " in America as well as in England. Broadway, as early as 1700, presented a brilliant sight at church time. Lord Bel- lomont was governor, and Colonel Bayard and his wife were citizens of wealth and importance. On such an occasion as church-going, on a fine spring morning, Mrs. Bayard wore no bonnet, but a " frontage ", a sort of headdress of rows of muslin stiffened with wire. She also wore a "steenkirk", or voluminous necktie, which fell over her bodice. The skirt of her purple and gold atlas gown was cut away to show her black velvet petticoat edged with two silver orrices, and short enough to show her green silk stockings and fine embroidered shoes. Her hair was powdered and her kerchief scented with rosewater. The furniture in use at this time has been already shown in Chapter I. Oak chairs, leather chairs, and tliose of cane are all mentioned. We find entries of ro8 THE OLD FURNITURE BOOK. " 12 cane chairs with black frames" (1712); "6 Span ish leather chairs " (1703) ; " one fine chest of drawers," of maple (1703) ; "a fine chest of drawers of olive and walnut wood " (1705) and other similar items. Furniture was now being made in the Colonies in quite large quantities, and New England was acti/ely engaged in the furniture business, which employed many cabinet-makers. Salem had James Symond as early as 1714, and others, with each succeed ing year. Lynn had John Davis by 1703, and Marble- head, which was expected to become a grea,t commer cial centre, had at least a dozen more or less celebrated between 1729 and 1780. Figure 47 is an example of home-made furniture. It is known to collectors as the Connecticut chest, because this design is found only in that vicinity. Quite a number of such chests are in existance, all bearing the same pattern carved on the panels. They are of oak, often with pine tops, backs, and bottoms. The one shown has the top of oak; the turned drops and ornaments are of pine stained black; its height is 40 inches, width 48 inches, and breadth 22 inches. It is at Deerfield, Mass. In the eighteenth century ministers were often glad to turn their hands to some work which would eke out their slender stipends. We have seen how Mr. Ripley of Concord increased his. The Rev. Theophilus Pick- ering, of Salem, in 1724, made furniture. Pieces are still in existance which he made, sturdy and in good order, showing that he put his best work and best wood into this business, as he put his best thought into his pulpit labour. The woods used by these cabinet-makers embrace all kinds, walnut, maple, cherry, nut-wood (hickory), Figure 49. CORNER CUPBOARD. Figure 50. BANQUET-ROOM, INDEPENDENCE HALL, PHILADELPHIA. COLONIAL AND LATER PERIODS. 109 poplar, ash, and pine. American dealers imported mahogany also in quantities, and it was for sale in planks as well as made up into furniture. " New York Gazette and Weekly Mercury " for 1774 published the following advertisements. " To be sold by Leonard Kip, A quantity of New Beef by the bar rel. Honey by the barrel or half barrel, Albany boards and planks, Highland butter in firkins and European Goods. Which he will sell very low for cash or short credit, at his store in Dock Street opposite Mr. Gerardus Duyckinck's." The following also appeared in many issues of the paper." Mahogany Furniture, 3 elegant desks & book cases, 1 chest upon chest of drawers, 1 lady's dressing-chest & bookcase, 3 desks & 1 pr. card tables, 2 setts of chairs, 3 dining-tables & 5 breakfast tables, I clock-case furnished with a good plain 8 day clock, Sun dry stands, etc. The above articles are well made and most of them are of wood of the first quality and will be sold as low as any furniture of equal value in the city by Willett & Pearsey, cabi net & chair-makers, at the sign of the clothes-press nearly opposite the Oswego Market, at the end of Maiden Lane.'' In Philadelphia, renowned for its manufacture of household goods, the trade was so large and important that the "Journeyman's Cabinet & Chair-maker's Phil adelphia Book of Prices" was issued. In a second edition (1795) are given the prices of many local furni ture-makers, such as : " A plain mahogany high-post bedstead £1. 4s. 6d. " A plain sofa 6 ft. long, with 6 legs, fast back & no low rails. £1. 8s. o." The desk shown in Figure 48 is a piece found at Bedford Springs, Pa., a place which was known as a " resort " as early as 1778, and had houses with plas tered walls, quite an unusual luxury in country no THE OLD FURNITURE BOOK. regions, though as these Springs were frequented by the fashionable society of Philadelphia and New York, who went for the waters, special effort was used to make the place attractive. The desk is mahogany and solid, not veneered. It has a roll-top of the style made by Sheraton, which falls back behind the drawers and cupboards. The brasses are new, and the lid has been restored ; otherwise the desk is as it was made. It stood for many years in one of the little outside houses near the main hotel, and when, a number of years ago, a visitor asked to buy it, the proprietor told him the piece was known as " Jimmy Buchanan's desk." Mr. Buchanan was in the habit of spending his sum mers at Bedford Springs and always occupied the room where this desk was. In 1857, when as President Buchanan he arrived at Bedford, the proprietors in his honour had refurnished his room. They were congrat ulating themselves that the President would be grati- fied at what they had done for him, when he suddenly came into the room and demanded in a rage what had become of the desk. If it was not forthcoming he would go elsewhere. He could use it, he said, to write on, and then the drawers were roomy and just suited him for his clean shirts. It is needless to say that the desk was brought down from the garret, and was never removed from the room when* President Buchanan visited there. The desk is in company suited to its age, the largei powder-horn hanging above it being a veteran also. It is seventeen inches long and ten inches broad at the largest end. It bears the following inscription cut in quaint old letters on lines drawn so that they should go straight ' COLONIAL AND LATER PERIODS, m " This is William Norton's Horn made at Qubeck ye 10 day of Aprill 1776. I powder with my Brother Ball we wound them all that in Our way may chance to fall." The smaller horn bears tlie date 18 10, and the two swords were used in the General Training days of the first quarter of the nineteenth century. All these relics belong to Anthony Killgore, Esq., of Fleming- ton, N. J. During the first quarter of the eighteenth century, and even a little earlier, houses were built with wain scoting and panelling, and it was the fashion to build into walls cupboards for the display of china and plate. Frequently they were placed in the corner of the room, and were either with or without doors. Such a cupboard was called a"beaufait," which was some times shortened to " bofet," or " buffet," according to the taste of the owner. Figure 49 shows a specimen. The house from which this beaufait came. was built in 1696 in Vernon Place, Boston, Mass., by William Clough. Two years later he sold it, and it passed through several hands by inheritance and sale till in 1758 it was bought by Captain Vernon, who with vari ous members of his family held it for seventy-five years. The cherub's heads which ornament the cup board are somewhat unusual on a piece of furniture of this kind, and it has also a very handsome shell at the top. It is now at the Old State House, Boston. Mention is also made in many inventories of " Court cupboards," and " livery cupboards." The former were light movable shelves, making a kind of side board, and used to display plate and porcelain. A livery cupboard was somewhat similar. It had usually but three shelves and stood upon four legs. It some- M2 THE OLD FURNITURE BOOK. times had a drawer for linen, but no doors. Mugs and cups were hung from the bottom of the shelves, and a ewer stood below. These were put in what was called the dining-parlour, a stately room on the second floor never used to dine in. (See Figure 50 showing the banquet room at Independence Hall, Philadelphia, with the beautiful moulding, wainscot, and over-man tel which were seen in handsome houses in the middle of the eighteenth century.) It was many years before the dining-room was set apart for meals. At first only a screen gave privacy, but gradually the dining-room grew in favour. The early dining-rooms held beds, as well as the parlours, they being given to guests on account of the warmth. Joint stools were there, and Flanders chests, in which the mistress often rummaged, so that the guest should see the goodly store of clothes and linen owned by the family. As was the custom in England, many wealthy men had their furniture made to order, often in their own houses, where the cabinet-makers came and worked. Sometimes they imported their own woods, as in the case of Mr. Champlin,a merchant of Newport, R. I., who brought home with him in 1762, from a voyage in the West Indies, some logs 'of mahogany, from which he had several pieces of furniture made. Wat son, in his '' Annals of New York," says that the use of what was foreign and modish was noted earlier in New York before the Revolution than elsewhere. " They earlier used carpets, wall-papers, foreign milliners, dress makers, Windsor chairs, glass utensils, jewelry, dentistry, watches, umbrellas, stage-playbills, etc. Windsor chairs were advertised in 1768 as made and sold by William Gautier in New York. He also had Figure si. WINDSOR CHAIRS. _._ COLONIAL AND LATER PERIODS. 113 high-backed, low-backed, sack-backed chairs and set tees, and dining and low chairs. A pair of Windsor chairs are shown in Figure 51. Carriages were imported in 1766 from Dublin, as also men to keep them in repair. They were landaus, cur ricles, sedans, and even sleighs with gildings, carvings, and japan to suit. In 1774 there was advertised for sale " A handsome Riding Chair with full set of har ness," and an announcement was made that there was "To be sold a Genteel Post-chaise." The carpets referred to above were imported ones, Turkey and Scotch. " Persian and plat carpeting" was offered for sale in 1761 by H. Van Vleck. A later advertisement announced : " There- will be sold at Public Auction, April 7, 1777, Two very handsome Turkey carpets. " Rag carpets were used as early as 1660, and private families who could afford it owned their own looms. Sometimes those who wished extra elegance bought the yarn and paid for the weaving. In 1 761, " Pennsylvania Stoves newly invented, both round and square, to be sold by Peter Clopper" were advertised in the " New York Gazette." These were, no doubt, what became known as Franklin stoves. This same year were also advertised wall-papers by quite a number of firms in various cities : " A variety of paper-hangings imported from London." " Flow ered papers," "printed papers," and "printed papers for hanging rooms," were imported as early as 1752. Figure 52 shows the fashionable wall-paper of about this period. It is in the Cowles House, Deerfield, Mass., and is in an excellent state of preservation. The sofa below is of the late Sheraton or early Empire, similar to the one belonging to Rev. Mr. n4 THE OLD FURNITURE BOOK. Ripley and shown in Figure 36. Some wall-paper of equal elaboration is shown in the Frontispiece, which gives the hallway of the famous " King Hooper House," built at Danvers, Mass., now occupied by Francis Peabody, Esq. Wall-paper, however, was not very generally used, — just why one cannot tell, but some of the gaily flow. ered papers were used for window-shades. Curtains for windows and beds were at this time very popular, and it was the fashion of the time to have the window- and bed-curtains alike. The materials were very numerous and their names have a most unfamiliar sound. There was perpetuana, Kitterminster, serge, darnick (a coarse damask,) silke darnick, camlet, mohair, fustian, seersucker, camac or camoca, bancour, red and green paly-(vertical stripes of equal size,) printed calico, checked and striped linen, India and Patma chintzes, corded dimities, harrateen, lutestring, moreens of all colours, fine French chintzes, Pom padour chintzes, " fine laylock and fancy callicoes," and " muzlins." There were bed-cords, and fringes to edge and trim all these materials, and the bed in full dress was a very ornamental affair. Beds varied in size and height in quite a remarkable degree. The one shown in Figure 53 has a very wide reputation, and is now to be seen at the rooms of the Antiquarian Society, Concord, Mass. It is of mahog any, with bandy legs and ball-and-claw feet. The curtains are the original ones that came with the bed and are worn in many places. They are very curious showing agricultural scenes and domestic animals in large numbers. These curtains were not intended to be drawn, but to hang permanently in place, and there Figure 53. BED AT CONCORD. MASS. Fisrure 34. BED AT MOUNT VERNON. COLONIAL AND LATER PERIODS. 115 were to be inner curtains of " muzlin " or " callico " to draw and keep out drafts. One peculiarity of this bed is its extreme narrowness ; it is intended for a double bed and yet its width is only four feet, it was included in the wedding outfit of Miss Martha Tufts, who was married at Concord in 1774. The cabriole leg and style of curtain lead to the supposition that the piece is Dutch. In February, 1768, Miss Harriott Pinckney was married to Daniel Horry in "Charles Town," South Carolina. This was one of twelve weddings that took place that year, all the bridegrooms being wealthy lice-planters. The furniture to fill the houses of these rich couples was all brought from England, and the beds were lofty mahogany ones, four-posters with tester, can opy, curtains, and valances complete. The large heavy posts for all twelve beds were said to be alike, and were carved with rice-stalks, the heavy clustering heads forming the capitals. So tall were these beds that steps were necessary to climb into them, and the ones belonging to Mrs. Horry were in existence a few years ago. In the " History and Present State of Virginia," 1705, is the following paragraph relating to the homes : — " The private buildings are of late very much improved ; several Gentlemen having built themselves large Brick Houses of many Rooms on a floor and several stories high, as also some Stone- Houses; but they don't covet to make them lofty having extent enough of Ground to build upon. They always contrive to have large rooms that they may be cool in Summer. Of late they have made their Stories much higher than formerly, and their windows large and sasht with distal Glass, and within they adorn their apartments with rich furniture," n6 THE OLD FURNITURE BOOK. The eighteenth century was rightly called the Golden Age of Virginia. The planter in his manor. house, surrounded by his family, served by a vast. army of retainers, was like a feudal patriarch, though his rule was milder. On the plantation itself were produced all the necessaries of life ; it was a little community in itself. Wool was woven into clothing, flax was spun, shoes were made, and blacksmithing done. Luxuries such as books, wines, silks, laces, and the more elegant household plenishings were brought to the very wharf from London in the planters' own ships in return for tobacco. The writer previously quoted goes on to say, about the people themselves : — " They are such abominable ill husbands that, though their country be overrun with wood, yet they have all their wooden ware from England, their cabinets, chairs, tables, stools, chests, boxes, cart-wheels, and all other things, even so much as their bowls and birchen brooms, to the eternal reproach of their lazi ness."Although Beverly calls himself an " Inhabitant of Virginia", it is curious that he was not aware that the southern colonies were interdicted by special act of legislature from trading with the Dutch or English colonies. " Wooden ware " is especially mentioned as being subject to "imposicon." A typical bed of the last quarter of the eighteenth century is shown in Figure 54. This bed belonged to George Washington, and is in his bedroom at Mount Vernon. It is said to be the one he used in his last illness. Unlike the bed shown in Figure 53, this bed is of unusual proportions, being nearly as wide as it is long. The small table between the doors shows an excellent example of the Dutch foot. Upon it COLONIAL AND LATER PERIODS. 117 stands a small dressing-glass, so much in use at this period, of very handsome black and gold lacquer. Whenever General Washington had the opportunity he added to the furniture and appointments of Mount Vernon. Belvoir, the home of the Fairfax family, was one of the most splendid of the mansions on the Potomac. In 1774 its ccntents were sold at auction, and Colonel George Washington bought goods to the value of £200 sterling. Among the most important lots were the following : "1 mahogany shaving desk, 1 settee bed and furniture (,£13), 4 mahogany chairs, 1 chamber carpet, 1 oval glass with gilt frame, 1 mahogany chest and drawers in Mrs. Fairfax's chamber, (^12. 10s) 1 mahogany sideboard, (,£12. 5s) 1 mahogany cistern and stand, I mahogany voider, 1 desk and 1 knife tray, 12 chairs &3 window curtains from dining room (£31), I mahogany wash desk, (£1. 2s 6d)." Among the smaller articles were several pairs of andirons, tongs and shovels, bellows, brushes, toasting- forks, and " 1 hot rache in cellar," with many blankets, 19 coverlids, pillows, bolsters, bottles and pickle-pots, wine-glasses and pewter water-plates. There were also two tables, one " a mahogany spider-make tea-table, .£1 iu." and " 1 mahogany table £11," showing that articles of this wood obtained good values even then. The list of the goods in all of the rooms of Belvoir is far too long to be given here, but in the dressing- room connected with Colonel Fairfax's bedroom were " 1 oval glass in burnished gold, (£5 10s.), i mahogany shaving-table, I mahogany desk {£16 16s.), 4 chairs and covers, I mahogany settee bedstead, Saxon green, covers for same, 1 mahogany Pembroke table, dogs, shovel, tongs and fender." It is also a matter of interest to see of what books a nS THE OLD FURNITURE BOOK, library consisted among people wdio were considered to have a literary bent and to be extensive readers. There is nothing "light" about it, and would to-day be accounted very dull reading. Batavia illustrated London Magazine, 7 vols. Parkinson's Herbal Knoll's History of the Turkish Empire Coke's Insitutes of the Laws of England, 3 vol. England's Recovery Laws of the Colony of Massa chusetts Bay Laws of Merchants Laws of Virginia Complete Clerk and Convey ancer Hawkin's Pleas of the Crown Gunnel's Offences of the Realm of England Ainsworth's English and Latin Dictionary Haine's Dictionary of Arts and Sciences Blackmore's Prince Arthur History of the Twelve Cassars by Suetonius John Calvin's Institution of Religion Fuller's Church History from its Rise Locke on the Human Under- A New Body of Geography Croope's Law Reports Heylin's Cosmography, in 4 vols. Collection of Voyages and Travels Political Discourses by Henry. Earl of Monmouth Wooten's State of Christendom Hobart's Law Reports Johnson's Excellency or Mon archical Government Latin and French Dictionary Langley's Pomona, or Garden ing A Political Piece Strada's History of the Low Country Wars Spanish and English Diction ary Latin Bible A Poem on Death Judgement & Hell Knox's Martyrology Jacob's Law Dictionary Chamberlayne's Great Britain Hughes's Natural History of Barbadoes Laws of His Majesty's Planta tions." standing A bed showing better the handsome solid posts is given in Figure 55. This is also associated with the Father of his Country, for it is in the house at Somer- Figure 56. CARVED OAK BEDSTEAD. COLONIAL AND LATER PERIODS. 119 ville, N. J., occupied by him as headquarters during one of his campaigns in the Revolutionary War. In Chapter la" bedsteade of carven oak " was referred to as having been sent for to England by Mrs. Lake, as a wedding-present for her daughter. It could hardly have been such a. very splendid piece of furniture as that shown in Figure 56, with its coat of arms on the headboard, and the two beautiful foot- posts. The draperies were intended to cover the two head-posts, so that they were left plain. The old easy-chair standing beside the bed has unfortunately lost its feet, but they were the well-known ball-and- claw pattern generally seen on this style of chair, which was well calculated to keep off swirling draughts from the head and back of the occupant. These chair were popular for a century or more, and were made not only by English cabinet-makers like Chippendale and Hepplewhite, but by the Dutch and Flemish makers'- as well. They all have the bandy leg, but the Dutch foot is sometimes used instead of the ball-and- claw. But all the luxury and elegance were not absorbed by the South and New York. Boston kept well to the front. In 1700 Andrew Faneuil, Huguenot, came to Boston and engaged in business. His brother was in this country, too, and, he dying not long after, Andrew assumed the care of, and took into business with him self, first one and then a second nephew. They were merchants and the following entries of consignments, taken from their old ledgers, which are still in exist ence, show the nature of their business. Besides crapes, poplins, lawns, and silks, they had for sale dur- ants and duroys, osnaburgs, camblets, narrow, double 120 THE OLD FURNITURE BOOK, and cherry, with ingrains, silk druggets and calaman coes. They also imported dishes, pans, and kettles, " wooden lanthorns and tin ditto " (1725). Nor did they neglect to provide amusement for their fellow towns men, for they imported " one-half gross man-in-the- moon cards." Among other goods in this same invoice were " 1 chest muskets and one large pair looking- glasses." Andrew Faneuil died in 1738, and his favourite nephew and chief heir, Peter Faneuil, did not hesitate, on account of the cost, to have an elaborate and seemly funeral. Three thousand pairs of gloves were distributed, and later two hundred mourning-rings were given to intimate friends. Peter Faneuil, now a wealthy young man by inheritance as well as by his own exertions, lived in the old house with his maiden sister. This same year, 1738, he sends to London for " a handsome chariot with two setts of harness," and a coachman warranted to remain sober. A few months later he writes for china and glass from England, for table-cloths and napkins from France, and he sends for silver spoons, " forks with three prongs," all to have upon them the Faneuil crest. " Let them be very neat and handsome," says he. The next order is for silver candlesticks and a punch-bowl of silver holding two gallons, also to be decorated with the family crest. His clothes were also a matter of concern, and he sends to London a pattern of a piece of Duncy, orders buttons of the newest fashion to match it, of mohair silk, and knee- straps. Nor is he less scrupulous about his sister's affairs, and sent all the way back to London six pairs of stockings which had been sent of worsted instead COLONIAL AND LATER PERIODS. 121 of " 3 pairs thread hose, and 1 pair Galous hose, and 2 pair of thread ditto." Boston at this time (1738) seems to have had some luxuries demanded by New York, for an order comes to Peter Faneuil to send there "a dozen red Turkey or Morocker leather chairs." One of these easy-chairs cost £14 14 s. In 1742 Peter Faneuil gave to the city of Boston the hall called by his name. It was built of home-made brick (Salem had a brick-kiln as early as 1629), but the glass in the windows was brought from England in Mr. Faneuil's own ships. The first furnishings bought by the selectmen for Faneuil Hall were " two pairs of brass candlesticks with steel snuf fers, and a poker,, for the town's use." Peter Faneuil's inventory, filed in 1742, contains items under 158 heads, and makes quite a volume of manuscript. It includes not only his and his uncle's gatherings in the way of household goods, but the contents of warehouses, cellar, coach-house, and stables. The house was handsomely furnished. In the best room were, " 12 carved vineered chairs & couch, ^105 ; I pier glass, _£ioo." Other costly articles were, "I buffet with parcel of china delph & glass, ^199." There were, besides, — •• t chimney glass and arms ; i marble table , I large Turkey carpet; 1 compleat brass sett, hearth-dogs, tongs, shovel, and bellows ; 1 copper tea-table ; cups, saucers, tea-pot, stand, bowl and sugar-dish ; 3 alabaster bowls and stands ; 1 large oval mahogany table, 12 plain walnut-frame leather-bottom chairs; I prospect of Boston, 2 landskips on copper, and the Temple of Solomon." The " Great Centre Hall " must have made a quaint appearance, since here hung the fire apparatus; "1 122 THE OLD FURNITURE BOOK. large entry lantern ; 12 baggs and buckets, and books £50." The sleeping-rooms were handsomely equipped, and each was furnished with its appropriate colour. The list includes : " 1 harrateen bed, bedstead and window curtains, matrass and two green silk quilts and feather-bed, £65 3 scones with arms 1 bureau, 1 table, 1 pr. brass-faced dogs, 1 fire-shovel, tongs bellows, and one Turkey carpet, £ioj. Peter Faneuil's own room was not lacking in comforts, as is shown by the enumeration of : — " 1 silver-hilted sword. 1 pair of pistols and 1 powder-flask, ^15 ; 1 case 6 razors, bone penknife, strap, 2 bottles, looking- glass tipt with silver ; yellow mohair bed-counterpane, feather-bed, bolster, 2 false pillows, false curtains, 6 chairs, 1 great chair, 2 stools, window curtains," etc. The furnishings of this room, exclusive of the small- arms, was valued at .£245. He had "6 lignum-vitae chocolate-cups lined with silver ", which were probably Dutch, for among the goods of Sara Van der Vulgen, of Schenectady, at about this same period, was a great " saler " or salt-cellar, made of lignum-vitae, bound with silver and standing on three little silver feet. In Mr. Faneuil's kitchen were many utensils of copper, pots, pans, and kettles, together with an " engine and cistern." He had many jewels, 1,400 ounces of plate, including a shaving-basin worth ,£40. There were silver snuff-boxes, seven gold rings, and " chrystall buttons set in gold." Just before he died he sent to London for " six gross of the very best London King Henry's cards ", for his store no doubt, for cards were becoming more popular among the descendants of the Puritans than they had been. COLONIAL AND LATER PERIODS. 123 In 1729 Governor Burnet, of New York and Mass achusetts, died, leaving behind him a long list of val uable personal goods. He owned as many as seventy chairs and twelve tables. The chairs were of maho gany and walnut, with leather or bass bottoms, and one easy-chair was covered with silk. Twenty-four chairs had seats of red leather, a noble set, and there are two chairs now in the Yale University Library wdiich belonged to Governor Burnet, and which are of the exact style of what we call Chippendale. They were made more than twenty-five years before the " Direc tor " was published, but are made of mahogany with richly carved knees, ball-and-claw feet, with carved and ornamentally pierced splats, handsome upper rail curved and ending in the little ears before mentioned. In all the inventories of wealthy and poor alike there is mention of candlesticks, sconces, girandoles, etc. The "entry lanthorns," as well as the perforated tin ones, were made to hold bits of candles and lamps are few and far between. It was not till 1783 that the flat-wick lamp was invented, the lamps before that time being pewter and glass, with small, round, string wicks, burning whale oil. When the question of lighting was so difficult, it is no won der that the pioneers were in the habit of going to bed at dark and rising with the sun. The bayberry or candleberry was of recognized value, and the laws of Brookhaven, as early as 1687, forbade the gathering of the berries before September 15, under a penalty of a fine of fifteen shillings. Candlewood, as pine knots were called, was burned in the fireplace on long winter evenings. The manu facture of home-made candles was one of the tests by i24 THE OLD FURNITURE BOOK. which the careful housewife was distinguished, dozens of candles being made and laid away in the candle- box. In 1753, in the "New York Gazette," were advertised " Green mould candles for sale, at the Old Slip Market." The old moulds, generally of tin, were passed around among neighbours in country districts and villages. " Dipping " candles was a trying busi ness, and required skill and experience on the part of the dipper. Lustres holding many candles were used on festive occasions, and four or six lights were often set in branches on either side of mirrors. Many candlesticks with cut-glass prisms are still to be found, and betty-lamps, crude little metal lamps, were often used for bedrooms or in sick-rooms. " Glass lamps and chamber lamps" were advertised as early as 1759, and "' fine large lamps at 20 shilling each " in 1752. Candle-screens, " red, green, gilt and black japanned candlesticks with snuffers and extinguishers", were on sale in 1773, and no card-table was complete with out at least a pair of tall massive candlesticks of Sheffield plate. By 1760 the newspapers contain advertisements of what are really luxuries. James Gilliland, dealer in earthen, delf, and glass in Wall street, New York, has the following named articles : " Enamelled and cab bage teapots [Wedgwood, no doubt], cut and ground glass decanters, tumblers, punch and wine glasses." The fair sex is by no means forgotten, and even during the stress of the great struggle for freedom her appearance is considered. Many times the following announcement appears : " The Venetian Paste so well- known to the ladies for enameling the Hands, neck and face of a lovely white " is for sale by Hugh Gaine. COLONIAL AND LATER PERIODS. 125 printer. Nesbit Deane offers hats " to exceed in fine ness, cut, colour, and cock." He also has " Ladies' white riding hats." " Goods for the approaching sea son " are duly set forth in the spring advertisements, and " Sagothies, Hairbine, white silk embroidered and tambour with gold shades '' are recommended for waistcoats. There was also to be bought " gold and silver vellum lace, gold and silver bullion fringe, silk sashes and hat feathers for the gentlemen of the mili tia and army." " Spittlefield corded tabbey, pene- affcoes and peling sattens " were to be had in all colours for ladies' use, while " Prunells and Oxford crape " were provided for the " Rev'd clergy." The servant question was a burning issue even at that time, and there are quantities of rewards offered for runaway slaves and apprentices. Some desperate householder advertised in March, 1777 : " Wanted. A cook, black or white, male or female. Such a person will meet with good encouragement by applying to Hugh Gaine, printer." Those who did not wish to be annoyed by the labour of housekeeping could be accommodated with " Diet and Lodging," also, by applying to Hugh Gaine, printer. Other advertisements read : [1761] " Morrison, peruke maker from London, dresses ladies and gentlemen's hair in the politest taste. He has a. choice parcel of human, horse, and goat's hairs to dispose of." [1768] "James Daniel, wig-maker and hairdresser also operates on the teeth, a business so necessary in this city." Wigs were an important feature in the costume of the men. They were subject to tax and were a good source of revenue. The Treasurer of the Colony of 126 THE OLD FURNITURE BOOK. New York, as early as 1732, reported that he had received from the tax on wigs the sum of £9 ijs 6d. This tax was called — — " a wise and prudent measure, because it was the fashion for even young boys to conceal their own hair under large and spa cious wigs. To repress a custom so absurd, or to make a source of revenue has been the object of the legislature." So we paid, and gladly, for our wigs, even though visiting Englishmen spoke of us thus: " The people, both in town and country, are sober, industrious, and hospitable, though intent upon gain." All travellers mention our hospitality. Prince de Broglie writes in 1782 : " M. de la Luzerne took me to tea at Mrs. Morris, wife of the Secretary of the Treasury of the United States. Her house is small, but well ordered and neat, the doors and tables of superb well-polished mahogany, the locks and andirons of polished brass, the cups arranged symetrically, the mistress of the house good- looking and very grey." Mrs. Morris was considered to have one of the hand somest houses in Philadelphia, and it was not at all the mode to display one's own hair if it had turned grey, so the fact of Mrs. Morris doing so seems to have impressed the volatile Frenchman. Another traveller, Captain Laurence Butler, writes from Westmoreland, Virginia, in 1784, to Mrs. Crad- dock, an Englishwoman, as follows : " When balls are given, which is very frequent, the company stay all night (not as in your country), for every gentleman has ten or fifteen beds, which is sufficient for the ladies, and the men shift for themselves.'' These beds were the high four-posters, carved and draped, and ten or fifteen seems a liberal allowance COLONIAL AND LATER PERIODS. 127 for every household. One Alexander Mackraby, visiting Philadelphia in 1768, before the Revolution, writes home : " I could hardly find myself out this morning in a most elegant crimson silk damask bed." Poor indeed was the householder who did not manage to have one " feder bed," or one of flock, or something soft, and there were always pillows, bolster, coverlids, and blankets, though sometimes, judging from the inventories, the owners did not care particularly about sheets. CHAPTER VI. COLONIAL AND LATER PERIODS — Continued. We have seen by the middle of the century, 1750, how many comforts were obtainable at the large cen tres, and how many cabinet-makers were at work \\\ the Colonies. About 1756 the ways and people are described thus : " New York is one of the most social places on the continent. The men collect themselves into weekly evening clubs. The ladies in winter are frequently entertained either at concerts of musick or assemblies, and make a very good appearance. They are comely and dress well, and scarce any of them have distorted shapes. Tinctured with a Dutch education they manage their families with becoming parsimony, good providence, and singular neatness," Twenty-five years later the British officers quartered in New York made life there very gay. Fox-huntingwas practiced till 1781, and was advertised in the " Royal Gazette " as taking place on Ascot Heath, in Brook lyn. Horse-racing took place on Hempstead Plains, Long Island, for life in general was a full copy of what was going on in England. The " New York Gazette " of June 4, 1770, tells us that — — " a Great Horse-Race was run off on Hempstead Plains for a con siderable wager, which engaged the attention of so many in the city that upward of seventy chairs and chaises were carried over the ferry from hence, and a far greater number of horses, so that it was thought that the number of Horses on the Plains at the Races far exceeded a thousand.'' Figure 57. ROOM IN WHIPPLE HOUSE, IPSWICH, MASS. Figure 58. CARVED AND GILDED MIRROR FRAME. MAHOGANY MIRROR FRAME WITH BRASS ORNAMENTS. COLONIAL AND LATER PERIODS. 129 The comparatively peaceful sport of horse-racing was not the only one indulged in. Bull-baiting was not at all unusual. The posters for this amusement were headed " Pro Bono Publico," and in the " New York Mercury" for August, 1774, John Cornell announces that there will be "a Bull Baited on Town Hill at 3 o'clock every Thursday during the season." Town Hill was Columbia Street, near Cranberry Street, Brooklyn Heights. On March 24, 1777, in the " New York Mercury " was the following advertisement: " On Thursday At the Theatre in John St. On next Thursday evening will be performed a Tragedy called Venice Preserved. With an Occasional Prologue. To which will be added a Farce called 'The Lying Valet.' The Characters by the Gentlemen of the Army and Navy." As for clothes, of course the people followed the English styles, and copies of such magazines as " The Maccaroni Magazine or Monthly Intelligence of the Fashions & Diversions," found their way to America. Here is an extract from the issue October, 1772: " Hats are rising behind and falling before. The blazing gold loop and full-moon button is now totally exploded, and succeeded by a single narrow looping, broad hatband, and pin's-head button. In full dress the three buttons zigzag with the foretop a la Grecque. Roses are entirely confined to Cheapside, and bags are increasing daily. The late stunting of coats having promoted the growth of skirts, the pockets are capable of holding conveniently a tolerable- sized muslin handkerchief and smelling bottle. Shoes are decreased in heels two inches, and cut like a butter-boat to show the clocks of the stockings." " The Magazine a la Mode, or Fashionable Miscel lany," particularly adapted to the People of both Sexes, and calculated to convey early and useful 130 THE OLD FURNITURE BOOK. information to those who are in any way concerned in furnishing articles of Dress, either in Town or Coun try," appeared in 1777. From one of these useful repositories we learn under date of 1786 that grass- green was the fashionable colour for gentlemen's suits, that the hair was dressed a la Taureau, and that watch- keys were remarkable for size and weight. In 1760, pattern-books published in London were to be found in America for the benefit of native cabinet makers, as the following advertisement duly sets forth : "John Rivington of Hanover Square has for sale many books for cabinet makers, joiners, etc., and calls particular attention to a new work called Household Furniture for the year 1760, by a society of Upholsterers, Cabinet-makers, etc., containing upwards of 180 Designs consisting of Tea-Tables, Dressing, Card, Writing, Library and Slab tables, Chairs, Stools, Couches, Trays, Chests, Tea-Kettles, Bureaus, Beds, Ornamental Bed Posts, Cornishes, Brackets, Fire-Screens, Desk and Book Cases, Sconces, Chimney- Pieces, Girandoles, Lanthorns, etc., with scales." Not a paper but had advertisements of furniture offered for sale. Thus in 1774 we find : " To be sold at private sale a large black walnut cupboard with a set of Delft, a large pier looking-glass, one pair of sconces, 3 large gilt frame pictures, and sundry other articles." In the same number of the " Weekly Mercury," and in many succeeding issues appears the following notice : " A scheme for the disposal of a large quantity of silver-plated furniture by lottery. The owner is a Philadelphian." In Figure 58 are shown two looking-glasses of styles that were fashionable about the middle of the eigh teenth century. One of them is dated 1749, of mahog any handsomely carved, and further embellished with COLONIAL AND LATER PERIODS, ijr ornaments of chiselled brass, a beading of it being next to the glass. It rests upon two mirror-knobs, which were screwed into the walls to support looking- glasses, and the collection of which is such a pleasing hobby to-day. The central ornament on the top is missing. The other glass is of carved wood gilded, and is now in Memorial Hall, Philadelphia. It hung for many years in the fine old house " Belmont," and is of the very finest style. The broken-arch cornice is finished with rosettes, and the central ornament is not the usual urn, but something more ornate. There are constant notices of mahogany for sale, such as : "A cargo of fine mahogany for sale by Anthony Van Dam, Jan'y 17, 1774." In May of the same year John Morton advertises — — " the largest and most elegant assortment of mahogany or gilt oval looking-glass frames ever imported in this city." William Melbourn advertises also, in 1774, over a hundred items, among them are the following, show ing that "small wares" were easily to be obtained : ¦' White and green ivory table and desert knives and forks. Ditto with silver caps and ferrils. Ditto black ebony with caps and ferrils. Also Black horn, camwood, centre-bone split buck, sham stag table knives and forks. Carving and oyster knives. Neat mahogany and fish skin knife boxes. Mahogany and fish skin razor cases. Plated coffee pots and spoons. Mahogany tea chests. Merry Andrew, Harry, and Mogul's playing cards, Pearl and ivory fish and counters, Mustard and Marrow spoons." In Memorial Hall, Philadelphia, is a set of table knives with green ivory handles, like those advertised in the first item, and looking at the end of the blades we can no longer doubt that the use of two-pronged 132 THE OLD FURNITURE BOOK. forks was supplemented by a dexterous manipulation of the knife-blades. Writing-desks or scrutoirs, or desks and bookcases, or even desks fitted into the drawers of a bureau, had become pieces of furniture that were found in every well-to-do home. In Figure 59 is shown one of the early styles of make, about the middle of the eighteenth century. This particular desk was brought from England, is of mahogany, and is in good condition except that the front feet have been restored. It still has the original brasses and the overlapping drawers. It has several secret drawers where during the Revolution the pri vate documents of the owner were concealed. During the Civil War its secret drawers were again in use, and effectually concealed papers of value. It has never passed out of the possession of the family whose an cestors brought it over, and it belongs to Miss Hite, of Waynesboro, Va. The two-drawer chest be side it is of a much earlier period. The mouldings make the chest part resemble two drawers, but the top opens as is usual. The handles on the desk are of the shape used so much by Hepplewhite on his bureaus and sideboards, while those on the chest are an earlier form of the well-known willow pattern of brasses and are fas tened in by wires. The earliest patterns of handles were the knob and drop, which were used on furniture before 1700. These were succeeded by others which were fas tened in by wire, and these again were replaced by han dles which were affixed with nut and screw. On page 224 are shown the different styles of handles, and their approximate dates. The chest is of mahogany, with bracket foot. This is a most unusual and interest ing piece, Figure 59. MAHOGANY DESK AND CHEST OF DRAWERS. Figure 60. COMBINED BOOK CASE AND DESK. COLONIAL AND LATER PERIODS. 733 At the time of the Revolution there was comfort generally in most of the large cities at least. In 1776 there were sent to Cold Spring, for the use of the army, the following : " 2 Mah'y tables, 6 Rush Bottom chairs, 4 Mah'y Rush Bottoms, and 2 small bedsteads, a kitchen table, a new case of bottles, a Coffee Mill, Brass Scales and Waights, 2 Kitchen Tramels, 2 pickel Tubs and 2 Wash Tubs, an Iron hooped Pail and a soap barrel mostly full of soap and the Ticke of a Stra bed. Value £ 20." The works at Cold Spring were destroyed, and the goods were never used, but the Government's strong box paid for them. Cornells Van Santvoordt, who lived at Esopus, near Kingston, N. Y., when it was burned by the British October 16, 1777, put in a claim for damages for ,£54 \js 3d. The items which made up this account cover a large variety of goods, as may be seen from the follow ing list : bed 1 Bedsted 2ar.-i Green Rug 55.? 2 large Rose Blanckets . 1 large lookinglass 2 chaina Teapots 8 Burnt China Chocolate Cups | Doz Teacups and Saucers 4 tea plates 2 large Cream Couler sauce cups J doz blew chaina plates . J " cream couler " 1 dining-table black cherry wood 1 Teble larg I large Copper Kittle ulster, 1 Pillow, £ 1 Cover s. lin d. to H 0 0 3 1 15 8 00 6 0 16 10H 44 6 2 0 00 0 0 0 0 6 1 4 0 1 0 0 • ¦ 3 13 9 ¦34 THE OLD FURNITURE BOOK £ s. d. i 12 0 i 16 o 10 o o 1 12 o 6 0 6 o 1 IO o 3 0 o i 12 o i 12 o IS o I 4 2 o 2 IO 16 o 6 o I Brass Kittle ..... 6 Flat back chairs ..... I Holland cubberd neatly adorned with Waxwork I Barrel soap ..... 3 Wine Canters ..... 4 " glasses ..... l chest wt. Clothing and linen I " " Sundry books & I large Dutch Bible. i large Kibbe, i Sermon book some of the others Divinity & some History I New Spinning Weale 12 pictures w't Glass over I larg Knot Bowl Cost 2 " *' *t tt 2 beds with Straw 2 fine worked Baskets , i Tapend Water Crane 54 '7 3 This inventory is somewhat unusual from the num ber of " Chaina" articles enumerated, and among all the items there are but six chairs and not a stool. This claim, with many others, is recorded in the "New York Records of the Revolution," and it was paid out of the " strong-box." This box was not a mythical object at all, but a veritable chest. Gerard Bancker was State Treasurer for twenty years. During the Revolution the iron chest moved about from one place to another like the Continental Congress, and the Treasurer went with it. According to a custom of the times Mr. Bancker took the chest with him when he retired from office. His family kept it for a hundred years, but with many other relics it was sold in Philadelphia, in 1898, by one of his descendants. There were various patterns of combinations of r-OTlo COLONIAL AND LATER PERIODS. 135 desks and bookcases, and of desks and bureaus. There were the high, wide ones of Chippendale or Sheraton, that would almost fill one side of a room. There were small ones with desk below and shelves above, and occasionally there were such great ones as that shown in Figure 60. This piece of furniture is so tall and massive that it could not have been accommodated in any save a large house. It is over eight feet tall and five feet three inches wide. It is of a light mahogany, with pillars of Empire style and very handsome bras ses. The lid of the desk folds back on itself and below it is a drawer and cupboard. The handsomest things about the bookcase are the glass doors with Gothic tracery. The date of this piece is about the first decade of the nineteenth century. The four legs on the front are of unusual elegance. It belongs to the Historical Society at Albany. Quite as interesting as the inventories of property left by will are some old records in the State Library, New Jersey, called a " Record of the Damages done by the British and their adherents to the Inhabitants of Middlesex Co., New Jersey." This contains the inventories made by six hundred and fifty persons who suffered from the depredations of the plundering Hes sians and the English soldiery. The lists extend over the years from 1776 to 1782 inclusive, but the worst mischief was done in the time from December, 1776, to June, 1777. There were eighteen hundred horses taken, and these form a single item. That the settlers were good livers the following inventory of one patriot shows. He lost — — ¦' 4 hogsheads of cider, f pipe of madeira, 10 gallons brandy, 7 gallons Jamica brandy, £ barrel cherry Rum, barrel Porter." 1 36 THE OLD FURNITURE BOOK. The inventory does not state his business, but we trust from appearances that he kept a " public." Another list reads : " Three cupboards of Dutch make as good as new, also three large Bibles i Dutch and 2 English." David Harriott, of Middlesex County, was comple tely stripped by the enemy. Among many items were — " a set of Homespun curtains wove with damask flowers, one ditto of white in large damask flowers, and one ditto of double dimons." Napkins, quilts, bedspreads, and sheets, as well as large-flowered damask table-cloths and linen covers testify to the industry of the women of the family. The good wife lost her long gowns and short gowns, her " shifts of 500 linen," handkerchiefs of gauze, lawn, and linen, aprons of new flowered lawn, fine linen and homespun, 3 caps of cambric and lawn, all new, and even two bibs for a child. They 'took all of David's clothes and his silver teaspoons and buckles, smashed his windows and doors, broke down his partitions, drove off his cattle, and did not leave him so much as " a bed, a piggin, a trammel, or a gridiron." Jacob Hyer was another sufferer. His house must have been one of considerable size and well furnished. There are many items, among them — — " 5 fluted brass candlesticks, 2 pr. common ditto, 1 doz. iron ditto, 10 pr. snuffers ; 11 feather beds with bolsters and pillows, etc." The enemy left him nothing, even taking his " Iron chain for Smoke Jack." Much of the furniture listed in these inventories was evidently of American make, for the woods mentioned are bilstead, gum pine, wal COLONIAL AND LATER PERIODS. '37 nut, cherry, or red cedar. The last was the favorite. " Bilstead" was maple. The beds were chiefly of three styles, field beds, high four-posters with testers and valance, and low four-posters, with an occasional " English" or " French" bed. There were beds much plainer than the carved ones we so much admire, but in any case the bed was the most valuable household possession, as it had always been. In 1640 William Southmead's house in Gloucester, Mass., is valued at £8, and his feather-bed, bedstead, and appurtenances at the same sum. In 1628 a pair of sheets was furnished to each Massachu setts Bay Colonist. Linen and flannel sheets were the ones in use. After spinning became universal and flax abundant, homespun sheets abounded, — " 20 and I pr." is not an unusual number ; and where there were several daughters whose chests had to be filled, the number was many times greater. Table linen also was of domestic manufacture. One of the fashionable patterns of beds shown in the English books imported into the Colonies, and made by American cabinet-makers, was known as the " field bed." The one shown in Figure 61 is in the Whipple House, Ipswich, and is draped with the net ting curtains, heavily dotted and fringed, which were customary in its day. Early in 1700 there was an auc tion sale of Governor Cornbury's effects in New York, and the following advertisement concerning them : '* A fine yellow Camblet bed lined with silk and trimmed with fine lace, which came from London. One fine field bedstead and cur tains. Some blue cloth lately come from London for liveries and some broad gold lace. A very fine medecine chest with a great 138 THE OLD FURNITURE BOOK vai riety of valuable medecines. A parcel of sweetmeats and jehy glasses. A case of 12 knives and 12 forks with silver handles. A large iron fireplace and iron bars all to be seen at the Fort. It seemed as if the field bed had been made here, as it is specified that several of the other articles came from London. " The Journeyman's Cabinet & Chair-makers Philadelphia Book of Prices" gives in 1795 the price of a mahogany field bed, with sloped roof, at £1 7s., while one of poplar, with the roof sloped each way, cost but one pound. The carving of the posts" was of course extra and was to be paid for according to time. Each inch that the bed was longer than six feet and wider than four feet was to be charged for at the rate of two pence per inch. This may be the reason why many of the beds were so narrow. It is often stated that the field bed was in use for a few years only, about the middle of the 18th Century, while in fact it was here, imported and of domestic make for fully one hundred years, and I am by no means sure that Gov ernor Cornbury's was among the earliest. Great attention was paid to the draping and arrang ing of the curtains, valances, and testers of the high four-posters. Heavy materials of silk and woollen were used, as well as cotton stuffs. Men paid great atten tion to the colourings of their bed furniture, as we have seen in several inventories, and Horace Walpole chose for his own bed at Strawberry Hill purple cloth lined with white satin, and bunches of feathers on the tester. Hepplewhite spent much pains on the details of his beds, and recommended that the valance be made very full, in which case it was called the " petti coat valance." There were also elaborate details for tying back the curtains and trimming them with gimp Figure 63. FRENCH BED. TtWi III 'igure 64. HIGHBOY. COLONIAL AND LATER PERIODS. 139 and fringe. The bed-drapings, even in early days, were often very valuable. Col. Francis Epes, of Hen rico Co., Va., has in his inventory dated October 1, 1678: " One large new feather bed with camlett curtains and double vallins lind with yellow silke, bolster, pillow, counterpane, Rodds and hooks tops and stands, 1 curtaine and some Fringe damnified £14 5s od." The low-post bed was also a very handsome piece of furniture, and in many cases the post was surmounted by a pineapple, like the example shown in Figure 62. This bed has passed through a career of violent con trasts, and it is only within a year that the four posts were rescued from a barn, where they afforded conven ient roosts for poultry. The side and head and foot boards had passed entirely out of sight, no doubt in some moment of stress they had fed the family cook ing-stove. The missing parts have been restored in solid mahogany, and it makes a very handsome piece of furniture. It belongs to Mr. William M. Hoyt, of Rochester, N. Y. The acanthus leaves on the lower parts of the legs are unusually handsome. The posts are 63 inches high, and the brass drops which conceal the screw-holes have been restored from a bed of the same period. An unusually elegant example of the French bed is the one given in Figure 63. This bed is of rosewood, with legs of splendidly carved dolphins, and on the side rails and rolling ends are very rich ormolu decora tions cut from solid brass. The medallions directly over the legs show Fame blowing her trumpet, and the rams' heads terminating the head and foot boards where they rest upon the wood above the stars are i4o THE OLD FURNITURE BOOK. solid brass also. This bed has been many years in this country, and stood in the bridal chamber or guest room of the old Van Rensselaer Manor House at Al bany, N. Y. This room was situated on the ground floor to the right of the front door. A most necessary piece of furniture which every housekeeper endeavoured to own was some form of " highboy," as it has come to be called, or a chest-on chest of drawers. Figure 64 depicts a fair example of the highest style of perfection to which these articles reached. Few are found more ornate than this. The wood is mahogany, and is richly carved on the knees, with the upper and lower drawers ornamented with shell and scrolls. The escutcheons and handles are origi nal, and the only defect is the loss of the two ornaments which decorated either side of the top. The date of this chest of drawers is anywhere from 1750 to about 1780, the overlapping drawers making it more likely to approximate the earlier date. Belonging to about the same period is the corner cupboard shown in Fig ure 65. This is of cherry, with the broken arch-cornice and Gothic door. It has turned posts with rosettes which Sheraton often used, and the cupboard doors overlap and are panelled. The back of the cupboard is of pine, as are the shelves. The wood is a rich dark colour and unpolished. Similar pieces, though not exactly in this form, are to be met with in Virginia and are doubtless of native manufacture. American makers used not only mahogany, cedar, ash, elm, pine, maple, cherry, poplar, and walnut, but could inlay with " King, tulip, rose, purple, snake, zebra, Alexandria, panella, yew, and maple." There were cabinet-makers in every town, and many of them Figure 6t. CORNER CUPBOARD. Figure 66. INLAID AND LACQUERED TABLE AND CHAIR. COLONIAL AND LATER PERIODS. 141 put out as handsome work as their contemporaries in London. In Chapter V mention has been made of the cabinet-makers of the eighteenth century, but fur niture was made in the Colonies even before that. The native joiners began to work as early as 1622, for Phineas Pratt, of Weymouth, Mass., was what we now call a cabinet-maker, and before 1700 Boston had at least 25 cabinet-makers whose names appear in various records. We have also spoken of Connecticut chests, and their manufacture somewhere in that State. There is also another style known as the Hadley chest. Mr. Lockwood, in his fine work on furniture, places the date of these chests as ranging from 1690 to 17^0. They come in one-, two-, and three-drawer patterns, varying in height from 32^ inches in one-drawer size to 46 inches for the three-drawer style. The peculiar ity of these chests is their decoration, their shape being similar to other chests of the same period. In addition to being carved they are stained as well, — red, mul berry, and black being the colours chosen. On the central panel of the front the initials of the owner were usually roughly carved ; the decoration of the chest, confined to the front, being a rude vine, while the sides are panelled. The top, body of drawers, and back of chest are always pine, the thrifty New Eng land craftsman saving his hardwood for places where it would show. There is a very fine specimen of these Hadley chests in the Museum at Deerfield, Mass. Several more are in collections gathered in Massachu setts or adjoining States. The black-stained pine ornaments do not always mark a piece as of domestic manufacture, for pear-wood was used by the Dutch, and even occasionally by the English, stained black i42 THE OLD FURNITURE BOOK. to imitate ebony, which was always more or less costly. After 1725 there was considerable travel by mer chants, and to a small extent by others bent on pleasure. Inns became of importance, and brought in good incomes to their owners. Abel Chapin kept a tavern at Chicopee, Mass., in 1730, and some few leaves of his account-book still remain. The records of the bar are the most numerous entries, and he sold there " Rhum & Cyder ", bowls of punch and mugs of flip, and sometimes " Shugar, seed-corne, salt, and molasses." When this prosperous innkeeper died he left personal property valued at ^400, and his real estate was worth .£1,300. There were six hundred items mentioned in his inventory among the house hold furnishings, including iron, pewter, and brass ware with some china and glass. There is also special mention of " 36 linen sheets, sixteen blankets, eleven woolen sheets, 6 table cloths and 21 towels." The inventory of his wardrobe shows richness for those days, and justifies his mother's statement that she had one son who was too rich. The inventory begins with ; " 2 Great Cotes, 1 srait Body Cote, 1 pare Iether Britches, 1 pare shues, 4 pare pumps, 1 hat, a black Velvet Vest, 1 pare Velvet Britches, 9 pare hose, 4 fine shirts, 6 common shirts, shoe Buckles." His brother, a bachelor, died in 1747, and also had much worldly geer. He had "cotes and jackets of Camlet, serge and Broadcloth ", and " some shirts, some more shirts, and some fine shirts." There was no longer such great stress for the nec essaries of life, in the Connecticut Valley at least, though there was still hardship and danger a plenty. Figure 67. LACQUERED TABLE. Figure 68. MAHOGANY BUREAU COLONIAL AND LATER PERIODS. 143 Game and wild fowl abounded in the woods, and the rivers were full of fish. There is on record a single catch in one night of 6,000 shad and 90 salmon, six men being at work. Each householder was required to keep at least three sheep, and these, with the fields of flax, supplied bedding and clothing. The Wayside Inn, South Sudbury, Mass., is still standing to show what a handsome and hospitable dwelling one of these old-fashioned inns was. In Figure 18, facing page , is shown the old dining- room, looking to-day pretty much as it did a century ago. On the left is a handsome lowboy with carving, and from the little alcove on the right many a steam. ing glass of flip or negus was served to cold and weary travellers. The dining-room was the centre of hos pitality in the later Colonial days, as the kitchen had been in the earlier*period. There was no handsomer or more hospitaple entertainer than John Hancock, of Boston. In September, 1778, he gave a dinner to Count D'Estaing, the French Admiral, and his officers and other dignitaries. There was such a large com pany that the spacious ball-room at the Hancock House was not large enough, so Faneuil Hall was engaged for the occasion. All contemporary accounts agree that it was a very splendid affair and went off with great eclat. The following amusing glimpse behind the scenes shows Mr. Hancock's anxiety about the provisions for this same dinner. " Monday Noon, 30 Aug. 1778. Dear Sir— The Phillistines are coming upon me on Wednesday next at Dinner. To be Serious, the Ambassador, etc., etc., are to dine with me on Wednesday, and I have nothing to give them, nor from the present prospect of our Market do I 144 THE OLD FURNITURE BOOK. see that I shall be able to get anything in Town. I must beg the fav of you to Recommend to my man Harry where he can get some chickens, Ducks, Geese, Hams, Partridges, Mutton or any thing that will save my reputation in a dinner, and by all means some Butter. Be so good as to help me and you will much oblige me. Is there any good Mellons or Peaches or any good fruit near you ? Your advice to Harry will much oblige me. Excuse me, I am very troublesome. Can I get a good Turkey ? I walked in Town to-day. I dine on board the French Frigate to-morrow, so you see how I have Recovered. God bless you. If you see anything good at Providence, do Buy it for me. " I am Your Real Friend "John Hancock." Apparently the friend came to his assistance. The appearance of the company must have been very gay, for bright apparel was not confined to ladies alone. Seven years later James Bowdoin, the Governor of Massachusetts (1785) on a review day at Cambridge, wore a grey wig, cocked hat, white broadcloth coat and vest, red small-clothes, and black-silk stockings. Thomas Jefferson wore a white coat ane red breeches. The ladies were looked out for also, and — " a neat assortment of women's and children's stays, also hoops and quilted coats, also men's and women's shoes from England " were advertised in the " New York Mercury." As early as 1761 Mr. H. Levy offered for sale Hyson tea, coffee and chocolate, and English-made shoes. The " New York Gazette " of May 15,1 789, describes a gown of the prevailing mode as follows : "A plain but celestial blue satin gown over a white satin petticoat. Over the neck was worn a large Italian gauze handkerchief. Head dress a pouf of gauze in form of a globe, the head-piece of which was made of white satin having a double wing which was trimmed with a wreath of roses. The hair was dressed in detached curls and a floating chignon." Figure 69. AMERICAN-MADE CHAIRS. 1 )' 1 1 V J Ii Figure 70. AMERICAN-MADE ROSEWOOD CARD TABLE. COLONIAL AND LATER PERIODS. 145 At this same period in winter weather the gentlemen wore muffs of bearskin with knots of scarlet ribbon, while .the hats of the ladies were so immense that it was suggested that- a larger style of umbrella be invented so as to protect them. From 1750 the decoration of the fireplace became of importance, and marble chimney-fronts, blue and white tiles, and beautifully variegated marble hearths in dif ferent colours are freely advertised. Carved and open- •work mahogany mantelpieces could be had by 1765, and elegant grates and Bath Stoves are imported from England. Fire-dogs or andirons of many patterns are advertised for sale. In Figure 57, facing page — , there will be seen in the fireplace a pair representing march ing soldiers. We have seen in many inventories how the elegances of the East crept in among stouter and more practical goods. In Figure 66 are shown two fine examples of Oriental lacquer-work ornamented with gold and inlaid with mother-of-pearl flowers. The chair is lacquered on some exceedingly light and porous wood, and has a cane seat. The table, which is of a very ornate design, has a heavy base to prevent its tipping over. Both belong to the Erastus Corning Estate, and are now at at the Albany Historical Society Rooms. Music- stands were also made of lacquered wood and decorated with gilt patterns and mother-of-pearl. Another very beautiful example of lacquer-work is shown in Figure 67. This is gold lacquer on black and special attention should be given to the Oriental rendering of the pillar and claw feet of the table. The carving is very fine, the dragon's head in which each foot terminates being quite a work of art. 146 THE OLD FURNITURE BOOK. The vase which stands on the table is Sevres, made under Napoleon's direction as a gift to the Emperor of Russia. It never reached its destination ; for Napo leon himself went to Russia, and his mission was not to give, but to take. The vase was secured in Paris by Mr. William Bayard, and presented by him to his brother-in-law, General Stephen Van Rensselaer, the eighth patroon of Rensselaerwick. Bureaus with flat tops, upon which stood either lacquered or wooden dressing-glasses, were in use dur ing the latter part of the eighteenth and in the early part of tlie nineteenth centuries. Sometimes the glasses were attached to the bureau itself, which then had an extra set of small drawers above the larger ones, set back so as to leave a shelf in front of them. Such a piece of a very ornate character is shown in Figure 68. It is of mahogany with gilt mountings of very beautiful design on the pillars ofthe front. The drawer which swells out has on it a splendid Empire gilt orna ment. Above this the rail across the front is painted black and has a pattern in gold upon it. The curved supports to the mirror are carved and then painted with gold, as is the mirror-frame itself. The handles are glass, with bosses of gilt, completing an unusually handsome piece of furniture. The glass handles place the date of this bureau as not earlier than 1820. The work of domestic furniture-makers has often been referred to in this work, and in Figure 69 are given examples of three chairs, all of them mahogany the two on the left being in Sheraton style, and the one on the right rather later, and coming under the head of Empire. The latter has the curved back and legs which were very popular, and a very distinctively COLONIAL AND LATER PERIODS. 147 American touch in the finely carved eagle which orna ments the cross-bar of the back. All three chairs are well carved, and the panelled back of the middle one has a thread of brass moulding. The carved design is adapted from some well-known patterns by Sheraton The one on the extreme left has some very delicate carving above the three arrows. In the little open panel are a bow and quiver quite out of proportion, in their size, to the large, heavy arrows below it. All three chairs had the covering nailed down with brass nails in the popular style, and the middle one still has the original stuff. American cabinet-makers also excelled in making and carving very beautiful rosewood furniture which was held in high estimation down to the middle of the century. A piece of such work is shown in the handsomely carved card-table represented in Figure 70. The legs are gracefully curved and embellished with fine carving. The top turns, and then opens, a circular portion of the center being covered with cloth. Within the frame the table is finished with handsome curled maple, and has numerous little compartments for holding cards and counters. This specimen belongs to Miss Sarah Fro.'.t, of Rochester, N. Y. CHAPTER VII. FRENCH FURNITURE. The glory of the French Renaissance had begun to wane when Louis XIII. came to the throne in 1614, and by the time of his death it 1643 it had become hardly more than a tradition. It strongest period had been during that century which embraced the reigns of five sovereigns, Francis I., and II. , and Henry II. , III., and IV. This was from 15 15 to 1610, and, of all monarchs who held the throne of France, Francis I., who sat upon it thirty-two years, did more for it in raising the standard of art than had been done by his predecessors in a century, though Henry II. and Henry IV. had made their reigns notable. Rich, ambitious to have France as great in art as Italy, Francis was a liberal patron, and invited to Paris, the centre of all literature and art in France, painters, sculptors, and architects. Italy had difficul ties to contend with from the fact that she was divided into many small principalities and dominated by many schools. Florence, Milan, Sienna, Naples, — each had their distinctive styles ; but in France the court of Francis was the pivot upon which all the arts turned. He built that series of chateaus which remain among the wonders of the world, — Chambord, Chenonceau, and Fontainebleau. He left traces of his taste on medi aeval Amboise, remodelled the Louvre, and finished the .. .¦*.- Figure 71. BEDROOM OF ANNE OF AUSTRIA AT FONTAINEBLEAU. Figure 72. BED OF LOUIS XIV AT VERSAILI ES. FRENCH FURNITURE. 149 restoration of Blois which had been begun by Louis XII. The throes through which France has passed has swept away some of her choicest historic monuments, but Fontainebleau remains a true example of French Renaissance. With this fine old palace are connected some of the most critical moments of French history. In one of its rooms was signed the revocation of the Edict of Nantes; Cond6 was murdered here in the library, or Gallery of Diana. On the great curved staircase Napoleon bade adieu to what remained of the Old Guard before he went to Elba, and on a little table in one of the six rooms which might be called the suite of the First Empire, extending back of the gallery of Francis I. he signed his act of abdication. The decorations of this palace are superb, the very flower of the French Renaissance. Oak, carved and gilded, wainscots the walls in many of the rooms, but in the chamber of Anne of Austria, shown in Figure 71, the wainscoting consists of carved panels framed in marbles, and above them carved figures stand out from the painted walls, which are divided by oak mouldings into sections, wdiile a beautiful carved cor nice of scallop-shells on a gold ground surrounds the room. The French, as no other nation has ever done, set in a fitting shrine the beautiful furniture which they made ; the decoration of walls, doors, ceilings, and fire place always playing an important part in the whole scheme. The French " style," a word on which Lady Dilke strongly insists in her great work on "French Furniture of the XVIII Century," was un mistakably impressed on all they attempted. The woodwork was lighter and more openly carved than 150 THE OLD FURNITURE BOOK, Italian work of the same period. Even when made by Italian workmen who swarmed to the French court under promise of abundant employment and rich emolument, the work was imbued with the French spirit and an elegance with which even Italy could not vie. The noble appreciation which had grown up in France was fostered by Louis XIV. when he came to the throne, not so much for art's sake as for his own aggrandizement, and to make his court the most elegant in the world. Louis contemned the style of elegance and luxury begun in an earlier reign, and artists of even superior merit were set to work to make beautiful the homes of those uncrowned queens on whom the " Grand Monarch " lavished such immense sums of money. Versailles was enriched, the lovely ga dens planned by Le Notre, with their superb flower beds and fountains, the " green carpet " of turf down which the monarch loved to walk, were all made with enormous outlay of money. The hotels and buildings at Versailles set apart for the service of the king and his attendants were numbered by hundreds. There were the royal stables, the new hotel of the Governor of Versailles, the green rooms of the actors who performed at the palace, the hotel of the keeper of the wardrobe, the hotel of the guardsmen, the English garden, the riding-school, the king's icehouses, the houses of the body-guard, and so on. Street after street was filled with these build ings, besides those devoted to falconry, boar-hunting, the kennels, the little stables, and those filled with shops, vegetable gardens, etc., and in addition that great habitation occupied by more than two thousand FRENCH FURNITURE. 151 persons, with other buildings called " Louises " where the king assigned temporary or permanent lodgings. The great stables built in 1682 and costing 3,000,000 francs are some of the few buildings left to show the magnificence of old Versailles. They were so ample and beautiful that under the direction of the great Louis himself they served sometimes as a ball room, sometimes as a theatre, and more often as a circus for the princes. There is a bound volume extant, bearing the name of Mansart, in which the cost of the palace is given at 153,000,000 francs. This was but the casket itself without any of its furnishings. Louis preferred to live in the open air, and the gardens were merely out door drawing-rooms, where people conversed and exchanged the compliments of the day. Round his person the king loved to group his retinue, and down the broad staircases of the gardens sixty ladies with hoopskirts measuring twenty-four feet in circumference could move easily. On the outskirts were a swarm of courtiers and servants in uniforms, costumes, and liveries as brilliant as the rainbow. Consider the life of one of these courtiers under the reign of Louis XIV. Here is the routine of the Due de La Rochefoucauld, Master of the Hounds : ¦ — " He never missed the king's rising' or retiring, both changes of Jress every day, the hunts and promenades likewise every day, for ten years in succession. Never sleeping away from the place where the king rested, not able to stay away all night, and yet obliged to dine away from court." Even after the court etiquette became more stiff and precise, and the formal manners arranged by Louis and Madame de Maintenon were in daily practice, 152 THE OLD FURNITURE BOOK. the smaller details of life remained as elegant as possi ble. Hoopskirts of such size as has been mentioned were too enormous for chairs, so a sort of stool with out arms or back became a necessary article of furni ture. One sofa, two armchairs, and nine stools were a proper proportion for a set to furnish a room, and these were stiffly set about the walls, leaving the middle of the room quite bare. In Figure 72 is shown part of the bedroom of Louis XIV. at Versailles, with the elaborate decorations which were lavished on that palace, and the furniture which accompanied it. Tapestry-covered chairs and hangings of the richest embroidery were all in harmony with the splendid walls. The tall bronze girandoles were Cupids supporting branches of flowers in ormolu to hold candles. Over the doors were por traits or mirrors surmounted by carved and gilt figures with garlands of flowers. The decorated Boulle cabinet on the right is very different in its lines from those articles as seen in the succeeding reign, when everything assumed a lighter air. The curtains to the bed could completely enfold it, and to their sheltering depths the great Louis is said to have retired before removing his wig. The chairs shown in Figure Ji are of this period, the one upon the right retaining its original covering, the woodwork being carved and gilt. The cane chair on the left is of walnut, and the one in the centre, carved and gilt, is a French adaptation of a Flemish design. It is difficult to re-people one of these splendid rooms and consider a period when, as M. Taine says, " life was wholly operatic." The grandee lived in a BEAUVAIS, LOUIS XVI GOBELIN, LOUIS XIV. AUBUSSON, LOUIS XIV Figure 7+. TAPESTRY FURNITURE. FRENCH FURNITURE. 153 state of luxury and grandeur. ITis trappings were as magnificent as he could make them, and his household was filled with military as well as civil appointments, approaching as nearly to that of the king as possible. The king must have a stable, so at Versailles were 1,875 horses, 217 vehicles, and 1,458 men who were clothed in liveries costing 540,000 francs a year. This is but a single item in the great total considered under fifty or sixty heads. To wait on the king him self, 198 persons were required ; some fetched his mall and balls ; some combed his hair ; others watched his dogs; and there were those who tied his necktie after it had been properly folded. Some there were whose sole business it was to stand in a corner which was not to be left empty. The policy which prescribed the custom at court was all for ostentatious display. St. Simon says : " He (Louis XIV.) was pleased to see a display of dress, table, equipages, buildings, and play ; these afforded him opportunities for entering into conversation with people. The contagion had spread from the court into the provinces and to the armies, where people of any position were esteemed only according to their table and magni licence." Louis had so dominated the whole court life that he had brought his courtiers to believe that the main thing in life for layman and churchman, and for women and men alike, was to be at all hours and in even1 place under the king's eye and within reach of his voice. With all this army of personal attendants to feed, clothe, and shelter, the repairs to houses and furniture represented immense sums yearly, and many establish ments were taken under royal patronage in order to t54 THE OLD FURNITURE BOOK. command their products and to reduce the expen ditures. The history of French furniture is quite closely connected with the history of tapestry, for after a time it was used as a covering. Francis I., who appre ciated the value of this textile as an ornament as well as a covering for his walls, and unwilling to buy all his pieces from the skilful looms of Flanders, started a factory in 1 53 1 at Fontainebleau. In 1603 a new factory was started at Paris, under royal patronage, in the workshop of a family of dyers named Gobelin. The first workers were Flemish weavers who were brought over to teach the craft to Frenchmen. Louis XIV. protected the factory through the mediumship of that great financier, Colbert, who appointed Le Brun, the artist, director of the works. In 1667 the factory became the property of the Crown, and most artistic and elegant productions were made. Not only in France did the Gobelins find patronage, but in England as well their work was in great demand. Evelyn writes in the last years of the reign of Charles II. : — " Here I saw the new fabriq of French tapisstry ; for designe, tendernesse of worke, and incomparable imitationn of the best paintings beyond anything I ever beheld. Some pieces had Ver sailles, St. Germain's, and other palaces of the French King, with huntings, figures, and landskips, exotiq fowls, and all to the life rarely don." The golden age of Louis XIV. saw also the golden age of tapestry, for it was during his reign that the proud and royal factory at Aubusson was at its high est estate. The tapestries sent out from this factory were not mere imitations as close as possible of painted FRENCH FURNITURE. 155 pictures. The limitations of the process were ever considered, and the number of gradations in every tint was limited so that the dangers of unequal fad ing reached their lowest point. The beautiful borders which surrounded the central picture were designed and executed with the same care that was bestowed on the centre, and formed a part of the whole that could ill be spared. The tapestries worked late in the seventeenth cen tury and early in the eighteenth, before the spirit of commercialism had been suffered to encroach on what up to that time had been carefully fostered art work, were all examples of great beauty and merit. In 1694, Louis having lost interest in the manufactory, and Colbert and Le Brun being dead, the works at the Gobelins' factories declined, and they became financially embarrassed. Still the great name was in high esteem, and its more than national reputation was retained. The splendid works which had been sent out from the loom, " The Triumph of Alexander," " The History of the King," " The Elements," and " The Seasons," were no longer in demand. Fon taine's fables and " The Adventures of Don Quixote" took the place of the more dignified designs, and at last sets of chairbacks and sofa covers were woven where previously historic subjects of heroic size had been demanded. Every year there were " Chancelleries " made, — series of hangings adorned with the royal arms, which the king gave to his chancellors. " The Adventures of Don Quixote" consisted of a set of from twenty to twenty-eight pieces, and so pleased the public taste that sets were being contin ually woven from 1723 till the times of the Revolu- 1 56 THE OLD FURNITURE BOOK. tion. They were varied by the different colours of the background, and also by having different borders, some of them designed by artists like Lemaire the younger, and of great beauty. By 1736 the manufac tory once more received assistance and patronage from the Crown, and famous old models were renewed, and two new sets, from " The Story of Esther," and " The Story of Medea and Jason," were designed. About the middle of the century came the fatal desire to copy paintings as they came from the hand of the artist, and the traditions which had governed the labor of the tapestry-worker for centuries were thrown aside. In vain the workmen protested : good taste and the principles of decoration were sacrificed, and the artist triumphed. The only check to the artist's exactions was the immense cost of production, for the painter was totally ignorant of the practical difficulties which had to be overcome in carrying out his designs ; and as the tapestry-workers were paid by the piece they could no longer calculate or limit the cost of execu tion. The Beauvais tapestries were long granted superior excellence in flower forms, trees, etc., and for figures also, and they held to the styles in which they excel led. But the Gobelins after 1740 no longer did work which was not fashionable and profitable. In 1755 Boucher, the well-known artist, was appointed director of the Gobelins, and, like his predecessors, believed in simulating, as far as possible the painter's art. There is tragedy in the history of the devoted band of workers who, ill-paid, and not sufficiently recog nized, laboured at the looms and in the dye- house to carry out the artist's ideas. One of them Figure 75. COMMODES OF THE TIME OF LOUIS XV. Figure 76. GARDEROBE, PERIOD OF LOUIS XV. FRENCH FURNITURE. 157 Quimiset, a chemist of undoubted ability, committed suicide. Neilson and Audran were both ruined finan cially ; and yet these servants of the crown were not allowed to leave Paris to better their fortunes. The Gobelins began to produce tapestry for furni ture only during the last half of the eighteenth cen tury. This work was undertaken in hopes of financial profit, for the competition of woven and embroidered stuffs from England, as well as the novelty of English paper-hangings, had crippled them excessively. The very first pieces made were for four chairs and a sofa, in 1748. These furniture tapestries became immedi ately popular. Screens, seat, sofa and chair backs, showing scenes, figures, ribbon-work, and garlands brought up the failing fortune of Gobelin and made, Beauvais wealthy. From this latter factory came those coverings, with designs after Boucher, set in wooden frames of the richest carving and gilt. The cost of these works was as great as brocade and velvet, and crowded out the embroiderers, who in turn aimed, with the means at their command, to rival the efforts of the tapestry-workers. Then came that most sumptuous combination of painting with em broidery, and in 1743 the Due de Luynes describes a new set of furniture for the queen's bedroom. " It is of white gros de Tours, embroidered and painted, and is quite complete, consisting of the bed, its hangings, the fauteuils, and curtains." During the Revolution, in 1793, a bonfire was made in the courtyard of the Gobelin factory, and a set of hangings with designs of " The Visit of Louis XIV. to the Gobelins," several portieres, and a set of " Chancel leries" were burned. On another visit the cartoons of 1 58 THE OLD FURNITURE BOOK. Raphael were destroyed, those of "Esther" and " Medea " thrown out, and everything with a tendency toward aristocracy discarded. The terms " Beauvais," " Aubusson," etc., do not give their names to any particular style of tapestry. The various factories wove according to their requirements, and used silk, woolen, silver and gold thread as the design called for it. In Figure 74 are given examples of work from these famous establishments. The Louis XIV. screen is a silk panel, the pattern being Flora, surrounded by Cupids and wreaths and garlands of flowers. The design is by Berain, and was made at the Gobelins ; the frame is richly carved and gilt. The Louis XVI. chair is covered with Beauvais tapestry — baskets of flowers and scrolls. The lovely tints are hardly faded, or they have so faded in har mony that it resembles the changing hues of mother- of-pearl. The wooden frame is carved and gilded, a fit setting for the beautiful tapestry. The sofa and chair are but two of a set, the other pieces being nine more chairs. These are of the Louis XIV. period and are covered with Aubusson tapestry, — crimson peonies on a pale-green ground. The bow leg and carved knees are similar to those shown in Figure 73, and, like the one on the right in that illustration are gilded. At a recent sale held in Paris, when the great collection of Madame Lelong was dispersed, the prices obtained for these old tapestries, whether wall-cover ings or on furniture, were absolutely astonishing.. A screen with four panels of Beauvais tapestry illustrat ing La Fontaine's fables brought $3,700. One seat, of carved and gilded wood, covered with a piece of Beauvais, brought $2,000, and four chairs in carved FRENCH FURNITURE. 159 and gilded wood with Beauvais tapestry coverings brought $41,000. These prices, while sensational, give some idea of the esteem in which these antiques are held. The tapestry covered pieces shown belong to the Waring Galleries, London. The best-known name of any one man who worked in furniture during the splendid reign of Louis XIV. was of Andre-Charles Boulle, b. 1642, d. 1732. The superb marquetry work he made, composed of brass, ivory, tortoise-shell, gold, and a choice selection of woods from India, Brazil, and other tropical countries, took the fancy of the king by reason of its sumptuous nature. Boulle was given an apartment in the Louvre and for his great master the celebrated e'beniste com posed his choicest work. A cabinet of this work can be seen in Figure 72 to the right of the bed. In 1672 Louis XIV. had made Boulle engraver-in- ordinary of the royal seals. The patent conferring this appointment calls Boulle " architect, painter, carver in mosaic, artist in cabinet work, chaser, inlayer, and designer of figures." The most important works of Boulle which records show were at Versailles, like those he executed for foreign princes, have disap peared. His workshops and studios were of vast extent; he employed many workmen, and consulted for his models a priceless collections of drawings, medals, and gems, comprising drawings by Raphael, and that " manuscript journal kept by Rubens during his travels in Italy and elsewhere, which contained his notes and studies in painting and sculpture, copiously illustrated by pen-and-ink sketches." In "French Furniture of the XVIII Century," by Lady Dilke, this priceless collection belonging to 160 THE OLD FURNITURE BOOK. Boulle is described at length, and also the immense loss to which this worker was subjected when, in 1720, his entire warehouses and shops were burned down. Boulle was an old man at this time, and for the rest of his life ill-fortune followed him, and he died wretchedly poor, leaving nothing but debts which for years he had been forced to put off by every variety of makeshift. His four sons, one of whom bore his father's name, never accomplished works of such ele gance and solidity as those of their father. They, too, had endless misfortune, were ejected from the apart ment in the Louvre which had descended to them from their father, and died, as he did, in poverty and misery. Yet the splendid and showy style of furniture to which Boulle gave his name remained in fashion and was made during the whole of the eighteenth century. After the death of the younger Boulles, pupils who had studied with their father and themselves carried on the work, and of course there were imitators as well. Boulle did not invent this style of decoration, for ebony cabinets ornamented with tortoise-shell and copper were known in France long before Boulle was born. He simply perfected the method of making it. Nor did lie confine himself to this particular style of marquetry, for he made works, mentioned in his cata logue, of wood inlaid with other woods of various col ours and ornamented with bronze mounts. Under the Regency, fashions changed, not only in manners and clothes, but even in furniture and belong ings as well, though this latter change came slowly. The Due d'Orleans and his daughter, the Duchesse de Berri, conducted entertainments of so scandalous a Figure 77. BEDROOM OF MARIE ANTOINETTE AT THE LITTLE TRIANON. Figure 78. CHAIRS AND TABLE OF LOUIS XVI STYLE. FRENCH FURNITURE. 161 nature that even the French public was horrified ; and gaming, which under Louis XIV. had risen to pro digious extremes, became more furious still, and, pos sessing all classes of society, spread ruin everywhere. The use of looking-glasses for ornaments had become very much the vogue during the period of Louis XIV.'s reign. They were introduced into walls opposite win dows, and in places where reflection would carry out the idea of windows. The court beauties, both male and female, had the walls of their bathrooms lined with them, and the frames in which they were set were lavishly carved and gilded. While Boulle's is associated with the reign of Louis XIV., with the Regency the name of Charles Cressent rose to eminence. His work was much like that of Boulle in character, but he gradually gave more impor tance to the mounts of metal as a means of ornament, and used less marquetry. He not only used floral forms for these metal decorations, but modelled beau tiful little groups of Cupids or Loves with garlands and roses, and these ornaments were applied directly to the rosewood frames of wardrobe or cabinet, which ever was chosen for such embellishment. Nor was he content with such charming subjects only, for he modelled children swinging a monkey, or monkeys swinging themselves, or dancing a tight rope, and invested even these grotesques with style and charm. With the reign of Louis XV. even more sumptuous surroundings were desired. At Fontainebleau the luxury was unparalleled, and when the king held a reception, at which there were both cards and dancing, the spectacle, according to records left in the copious memoirs of the times, was one of sumptuous elegance. 162 THE OLD FURNITURE BOOK. Four or five hundred guests surrounded the tables where cards and cavagnole were played. Hanging from the ceiling painted with Cupids garlanded with flowers, were many blazing chandeliers, their brilliancy reflected a thousand times in the tall mirrors. Every thing was flooded with light, — the painted walls, the rich gilding, the diamonds sparkling on white necks and in the hair of the women, whose dresses gleamed with gold, silver, pearls, and artificial flowers and fruits, all in the most gorgeous hues. The men were almost as gay. Their hair was powdered, curled, and dressed. Their coats of sky-blue, rose, peach, pearl- or puce-colored satin, velvet, or brocade, were embroi dered with silks and gold, and ornamented with ruffles and cravats of lace. The dress of a man, with his jewelled sword, shoulder-knots with diamond tags, and buckles of brilliants on shoe and knee, might have cost a small fortune. Gold and silver thread made stiff and costly, stuffs already rich in themselves, while the money lavished on lace had no limit. When a princess of France married it was no un common thing for the laces on her bed-spreads and linens to reach the sum of $100,000. The frills on her personal linen added $25,000 moie. The ruffle on a handkerchief was cheap at $50, and a laced nightcap might easily double that. All this elaboration of ele gance had fitting surroundings, and the case was worthy of its contents. Like his predecessor, Louis XV. lavished vast sums on buildings, and Madame de Pompadour, an un crowned queen, spent millions more. The Hotel d' Evreux, begun in 1718, was many years later finished under her personal direction. She had the virtue of FRENCH FURNITURE. 163 being a liberal patron of the arts and an encourager of artistic merit wherever she found it. Her taste, her sincere love for art, enabled her at least to secure works of absolute perfection, and during the twenty years of her reign it was mainly her fostering guidance which developed so many of the applied arts. She not only assumed the direction of work at her cha- teaus and hotels, but she encouraged the manufactory of the beautiful porcelain of Sevres ; she assisted engravers, and essayed to learn the art herself; and by taste, natural and acquired, she was looked upon by the group of artists of her time as a final court of appeal in all critical matters. Her successors were no less extravagant, but they lacked her exquisite and artistic judgment, which amounted almost to genius. It was during this period of Louis XV. that the evolution of chests of drawers, writing-tables, and cabinets — that is chests upon trestle-work — was accomplished. The ornament changed constantly, but the form of the articles remained much the same. The changes wrought in Paris affected the country slowly, and provincial artists working at the period of Louis XV. might have been using the models that had been popular in a previous reign, In Figure 75 are depicted rosewood commodes with curved fronts and ends, handsomely decorated with ormulu work in leaves and scrolls. A French clock of the period, with ormolu mounts, stands on the marble top of one, and on the other is one of black and gold lacquer, with very choice water-gilt mounts. In this period the names of the Caffieri, father and two sons, who were workers' in metal, became famous. They executed bronze mounts for furniture like those 164 THE OLD FURNITURE BOOK. on the commodes shown in Figure 75> a style which they may be said to have created and by their genius rendered popular. The mounting on these pieces is very simple, and takes the subservient place that or nament always should. But in some of the work ex ecuted by the Caffieri the wood became merely the vehicle on which a wealth of ornament was hung. They made not only mounts for furniture, but giran doles, branch-lights, mounts for vases and clocks, and chandeliers — working in bronze and silver as well as in brass. This taste for metal mounts was carried to an extreme, even pieces of richly carved furniture being further ornamented with chiselled brass. It is an item of interest that the monument to General Montgom ery which is placed on that side of St. Paul's Chapel, New York city, which faces Broadway, should have been designed and executed by Caffier in Paris in 1777. The General was buried first in Quebec, and afterward removed to New York by act of Con gress. In Figure 76 is given what is called a garderobe, that is wardrobe, with a basket of flowers at the top, this and the two bunches of flowers at the tops of the doors being in ormolu. Even as early as the middle of the previous century there had been imitators of the splendid lacquer-work of the Orient. By 1723 the three Martin Brothers, Julien, Robert, and Simon-Etienne, had become quite famous for their use of a transparent varnish, which, as " master painters and varnishers," they had per fected in their business. They pushed their trade, and by 1748 were under national protection, so popular had their wares become. In 1742 they perfected a certain Figure 79. EXCOIGXURE, PERIOD OF LOUIS XVI. Figure 80. BED OF JOSEPHINE AT FONTAINEBLEAU- FRENCH FURNITURE. 165 green varnish which was immensely popular, and for which they had many orders, some of them from the king himself. They never, excelled as painters, but the beauty of this famous green ground, powdered with gold, is very charming. Very little of this fam ous work remains, a few fire-screens and some splendid coaches, with some small boxes for snuff or patches, are all that exist. But in these small pieces like the boxes, which were considered worthy of gold and jewelled mounts, we can see this famous work to the best advantage. There were ribbings, stripings, waves, and flecks which gleam wonderfully through the varnish. Sometimes there are a few flowers or a Cupid scattered on the surface, but usually, when the green ground was employed, no decoration was considered necessary. With the death of Robert Martin in 1765 the skill necessary to continue this work was lost, and this charming style of decoration dropped back mere ly to a trade, and " Vernis-Martin " became hardly more than a name. Among the other great workers of this period were Oeben, whose marquetry in coloured woods was of extreme elegance, and Riesener, who began to exe cute his beautiful pieces of furniture under Louis XV. in what is known as his earlier style, but who finally created the straight-legged types of Louis XVI. style with which his name became associated. In the work which he did for Marie Antoinette at the Little Tria non in 1777, the pure Louis XVI. style is carried out. The earlier pieces, delivered as early as 1771, still betray the influence of a previous period. In Figure "j"j is shown the bedroom of Marie Antoin ette at the Little Trianon. Here we see the later 166 THE OLD FURNITURE BOOK. style set by Riesener, with the straight carved legs, the woodwork being painted and gilded. The silk factories at Lyons were no longer as well patronized as they had been, and to revive interest in them new furniture was ordered for the queen, to be upholstered in brocade, and with curtains and hangings to match. Everything in these rooms breathes of dainty ele gance —the carvings of the mantelpiece, the walls decorated with garlands ot flowers and Cupids, even the metal mounts, chiselled wreaths and rosettes, were wrought with the beauty and finish of goldsmith's work. In the small chair by the bedside is seen a style with gilt framework and embroidered cushions, a kind of covering which was always in demand. In 1770 two coaches were sent to Vienna for Marie Antoinette. The work of the embroiderer was select ed to embellish their interiors, and the description of them is given by Bachaumont ; " They were two berlins, much larger than usual, but yet not so large as those of the king. One is lined with rose velvet and the Four Seasons are embroidered on the largest cushions, with all the attributes of a festival. The other is lined with blue velvet, and on the cushions of this are worked the Four Elements. There is not a touch of painting about them, but the work of the artist is so perfect and finished that each one is a complete work of art." The name of the embroider was Treaumau, and so celebrated did the beauty of these royal cushions make him that he received large orders, the most important being one from Madam de Berri for a vis-a-vis. The two berlins for Marie Antoinette were placed on ex hibition before they were sent to her, and constituted an event of the day. The three pieces shown in Figure 78 are pure types FRENCH FURNITURE. 167 of Louis XVI. style. They are at the Cooper Institute, New York. The chair on the right has its original embroidered cover, and the straight carved leg so much in evidence. All three pieces are entirely gilt wher ever the woodwork shows. The top of the table is marble. The chair to the left is very prettily carved with a torch and bow and arrows, according to the con ceit of the times, when everything was to be joyous and gay, all suffering and sorrow being resolutely thrust out of sight. Rose, blue, and gold were the colours affected, nothing sombre being allowed. The whole life was careless and without responsibility. The letters of the day, Saint-Beuve, Comte de Tilly, Due de Lauzun, and Madam d' Oberkirk, draw graphic pictures of the life of pleasure. The Due de Lauzun says that one of his mother's lackeys, who could read and write tolerably well, was made his tutor. " They gave me the most fashionable teachers besides, but M. Roche (the tutor) was not qualified to arrange their lessons, nor to qualify me to benefit by them. I was, moreover, like all the children of my age and station, dressed in the handsomest clothes to go out, and naked and dying with hunger in the house." This was not through unkindness, but because of dissipation and carelessness, all the time and attention being given elsewhere. Even in the last days of the ancicn regime little boys had their hair powdered and dressed in ringlets and curls. They wore a sword,- carried a chapeau under the arm, wore laces and frills, and coats with cuffs heavy with gold lace. The small girls were their mothers in miniature. At six one of them would present her hand for a little dandy to kiss, her little figure would be squeezed into a stiff corset, her huge hoopskirt supported a skirt of brocade 1 68 THE OLD FURNITURE BOOK. enwreathed with garlands of flowers. On her head was a structure of false curls, puffs, knots, and ribbons, held on by pins and topped with plumes ; and if she was pale they would put rouge on her face. By force of habit and instruction she bore herself like a mature woman. Her most important instructor was the dancing-master, her never-ending study deportment. In the eighteenth century drawing-room women were queens. They prescribed the law and fashion in all things. There was no situation, however, delicate, that they did not save through tact and politeness. This was the time when first Watteau, and later Lan- cret and Fragonard, painted the Fetes galantes, when pretty picnics and dancing in a woody dell were great diversions. It was an idealized life of the bril liant world of France which early in the eighteenth century Watteau painted. Scattered all through the land were sumptuous dwellings of the rich, upon which fortunes were lavished. Beaus and belles alike dressed themselves a la Watteau. He became the lover's poet, a painter of an ideal pastoral which hardly existed, but to which his hand gave beauty and value. This was one side. On the other, besides heavy taxa tion, poor crops, flood, famine, and the devastation of war, there was always the pest. This terrible con tagious fever, with the smallpox, was a scourge to the people. Hundreds fell victims to these twin plagues, for the usual treatment was copious bleeding. But the court, while it might suffer at times from sickness and death, never allowed itself to think of such things. It amused itself with balls and masques, plays, and even with blindman's-buff. The gardens at Versailles were always in gala dress, and at night Figure 81. BED OF NAPOLEON AT GRAND TRIANON. • Sure 82. ROOM AT FONTAINEBLEAU, WITH HISTORIC TABLE. FRENCH FURNITURE. 169 musicians played among the trees, and thousands of lights sparkled among the flowers; Fifty years later they played at simplicity too, these great ladies and elegant cavaliers, laying aside the silks and brocades of which a surfeit had wearied them, and wearing picturesque gowns of simple material and cut. Marie Antoinette herself set the example in her retreat at Little Trianon, with the muslin gown and fichu crowned with a straw hat, in which she ran across the gardens. Beneath all this elegance, amiability, and extravagance the Revolution seethed and boiled and finally overran and destroyed. Till almost the very end extravagance increased, and in Figure 79 is shown an encoignure, or corner cupboard with commode be low, and cabinet above, of the most elaborate inlaid work, with very rich ormolu mounts. This work is by David de Luneville, and is a marvel of the intricacy of inlaying, many different woods being used in that jum ble of ornament which forms the decoration of the door in the cabinet. At each intersection ofthe lattice work inlay is a little rosette. The divisions of the lower part have an edging of satin-wood, which in the centre panel is made more ornate with an inlay of ebony. This piece is at the Waring Galleries, London. The new conditions in France wrought changes in every detail of life. Simplicity, so called, was becom ing the watchword, and once more antique models were sought for forms and decorations. Under the Empire the style was much less graceful, the lines coarser, and the elaboration of ornament heavy. Could anything be less pleasing than Josephine's bed at Fontainebleau, shown in Figure 80? It is one of the few unsightly things in that beautiful palace, where 170 THE OLD FURNITURE BOOK. are now gathered so many works of art. The bedstead is covered with heavy chiselled ornaments in brass, and surmounted by a canopy held on pillars. This canopy is partly of carved wood and partly of embroid ered satin. There are strings of gold beads hanging from this satin, and in addition iieavy satin curtains very richly embroidered. These are edged with a long and clumsy fringe. The whole room is in keeping with the bed, for the floor is covered with a carpet bearing the imperial insignia all over it, and tlie hang ings on the walls have countless spots in lieu of a pattern. It was at Fontainebleau that the sentence of divorce was passed on Josephine, and it seems possible that the sleepless nights which the poor lady endured must have been rendered more miserable by the unlovely character of her surroundings. It is with pleasure that one turns to Figure 8l. showing the bed of the great Emperor himself, at Grand Trianon, Versailles. It is a good example of the best Empire work, and is mahogany ornamented with ormolu mounts in classic style. It was now the fashion to decry the furniture or costumes which had prevailed during the latter half of the eighteenth century, and to seek the Athenian models for gowns and furniture. Nor were these models used in their simple shapes, but transformed into quite other guise by the touch of French hands. Marquetry was no longer considered good taste, and David the painter was largely responsible for much of the theatrical effect which was noted both in cos tume and household belongings. After the fall of the monarchy, sales had been held, ancl what had not been destroyed had been sold. It was now necessary to FRENCH FURNITURE. 171 fill again the palaces that had been denuded, and Percier, the architect, and Joseph Desmalter, the cabinet-maker, were the men chosen to do it. Des malter is responsible for the use of mahogany com modes embellished with bronze and gilt like those which flank the bed in Figure 81. After the expedi tion to Egypt, Sphynx figures were introduced in bronze or brass to uphold tables and as arms for chairs. These, however, did not become popular, and soon were replaced by classic heads. In Figure 82 is shown a room in Fontainebleau fur nished in Empire style. The imperial N may be seen on the corners of the console tables and on the com mode. The walls are covered with damask woven in geometric forms, and the rooms once so light and brilliant with their dainty arabesques and flowers, Cupids and birds on the ceilings, are now dark and severe. The splendid chandelier of Venetian glass is the sole reminder of a previous reign. The only piece of furniture in the room which is absolutely plain is the small mahogany table in the foreground. Upon this Napolen signed his abdication. In one of the rooms adjoining the leave-taking between Josephine and Napoleon occurred, after which he went to St. Cloud and she to Malmaison. The commode shows as well as anything the marked change which took place in the styles under the Empire. The graceful curves of front and sides are gone ; the feet are stumpy, and so short that the pleasing proportion between the parts is quite lost. The constant repetition of the laurel-wreath on chairs. walls, mantelpieces and furniture is very monotonous, and we miss the graceful curves of the acanthus and celery leaves. 172 THE OLD FURNITURE BOOK. In Figure 83 is a mahogany reading and writing desk combined. The brass ornaments are beautifully chiselled, and, though some are lost, enough remain to show what a splendid piece of furniture it once was. They partake, in their delicacy, of the metal work of the previous century, particularly the escut cheons and the groups of flowers and musical instru ments which are on the tops of the side pillars. The desk top lifts up, and inside there are pigeon-holes and drawers finished in satin-wood. The hole in the rail above the doors is not a key-hole, but in it fits a handle by which the whole upper part of the desk is raised on an iron rod so as to suit the height of who ever uses it. This piece is at the Museum of the Cooper Institute. The rage for furniture in Empire style was not confined to France alone, but crossed the channel to England, where it became even less attractive, and was also used by our own cabinet makers, as has been shown in previous chapters. The changes in the styles of French furniture, like those which took place in England in the same cen tury (the eighteenth), were not any more definitely marked. One period overlapped another, certain characteristics were retained and put to new uses, so that a perfect style was arrived at only after years of growth. With the name of Louis XIV. is associated the furniture of Boulle, with its wealth of wonderful inlay. The metal mount in its most correct and elegant form marks the period of Louis XV. The reign of Louis XVI. and Marie Antoinette shows the change from the graceful curves of leg and construction lines to straight lines and less generous proportions, while Figure 83. EMPIRE READING AND WRITING DESK. Figure 84. ORGAN IN ST. MICHAEL'S CHURCH. CHARLESTON, S. C. FRENCH FURNITURE. 173 the use of the metal mount is brought to the greatest extreme. The beauty of form taken from leaf and shell, wrought in metal and placed on the lines of fine construction which had marked the epoch of Louis XV., ran wild under the workers in the next era, and the fancy for overlaying with costly ornament blinded the eyes to the poor shapes employed, which were in spired by a search among classic forms. Even the se verest form may become vulgar when overloaded with ornament, and with the reign of Louis XV. passed the production of some of the finest furniture ever made. What was poor under Louis XVI. became poorer yet under the Napoleonic era, and the men employed, instead of drawing from the choice models which still remained, still farther debased what in previous times had risen to the dignity of high art. CHAPTER VIII. MUSICAL INSTRUMENTS. The evolution of the piano from the clavichord occupied the attention of musicians for over three hundred years, or from 1404, when the earliest record occurs, to 1720, when Cristofori's piano was completed in Florence. The next instrument in the upward development after the clavichord was the virginal, a parallelogram in shape, with a projecting keyboard. Then came the spinet. The earliest of these now in existence is in Paris, and was made at Verona in 1523. By 1703 two Englishmen, Thomas and John Hitch cock, father and son, had made a great advance in the construction of spinets, giving them a wide compass of five octavos from G to G. It was not until about 1660, after the restoration of the Stuarts, that the name "harpsichord" was given to the long wing-shaped instrument, similar to our grand piano, which had hitherto been called claveccmbalo in Italy, flugel in Germany, and clavecin in France. Early in the sixteenth century the progressive Dutch had put into use double keyboards and stops. These were imported into England, and to John Haward is due the credit for the idea of pedals for the harpsi chord. This was in 1676. This Haward was a fashionable instrument-maker in the davs of the lively Pepys, who mentions him several times. Thus in April, 1668, he records : MUSICAL INSTRUMENTS. 175 — " Took Aldgate Street in my way, and then did call upon one Haward, who makes virginals, and there did like of a little espinette, and will have him finish it for me ; for I had a mind to a small harpsicon, but this takes up less room." The little espinette took some time to finish ; for in July he says : — "while I to buy my espinette, which I did now agree for, and did at Haward's meet with Mr. Thacker, and heard him play on the harpsicon so as I never heard man before, I think." On the 15th of July the bargain is concluded; for he states, under that date: " At noon is brought home the espinette I bought the other day of Haward; cost me £$." A few days later he combines business with pleasure, for he notes : " To buy a rest for my espinette at the ironmonger's by Holborn Conduit, where the fair pretty woman is, that I have lately ob served there." Figure 85 shows a very beautiful spinet made by Domenico di Pesaro, in Italy, in 1661. The instru ment can be taken from its outer case, is of cedar wood, has a projecting keyboard, and is decorated with ivory studs. The outer case is very handsome, decorat ed with gesso work , (wdiich was so much copied by Ro bert Adam after his return from Italy) this work being gold on a pale-green ground. The decoration on the inside of the cover is a boating scene, the keys are of light wood, the sharps being black. The instru ment, triangular in shape, rests on three richly carved and gilt legs, and is four feet eight inches long, by nineteen inches wide. It looks very tiny, even beside a " baby grand." The beauty and enrichment of the cases in which 176 THE OLD FURNITURE. BOOK. these instruments were placed shows with -what care and reverence they were regarded. Harpsichords varied much in having one, two, or occasionally three banks of keys, and being placed in upright cases, the covers of which opened like a bookcase, or in a hori zontal case, as in the one shown in Figure 86. Each of the three banks of keys has a compass of five octaves, from F to F. The entire case is gilt Louis XV. style, decorated with elaborate carvings and with paintings of flowers and figures in medallions and borders. On the outside of the cover is the coat of arms of the Strozzi family. The name of the maker is engraved on an ivory plate above the keyboards, and reads — Vicentius Sodi Florentius Fecit. Anno Domini 1779. The length of the case is seven feet ; it is three feet wide, and nearly ten inches deep. The harpsichord held its own for fifty years after the invention of the pianoforte, for Bartolommeo Cristofori published his invention as early as 171 1, although he did not perfect his piano till 1720. His action has the escapement, without which there can be no vibrating note, and the " check," which was an all-important step toward repeating notes. There are preserved at Potsdam, Germany, three pianos which belonged to Frederick the Great, and which were made by Silberman, who exactly copied the action as well as the structure of Cristofori's invention, In Figure 87 is shown the first piano made by Cristofori. Above the front board is the following inscription : Bartholom/eus de Christophoris Patavinus Inventor Facierat Florentine mdccxx This instrument, as well as the two previously shown, belong to the collection of musical instruments given MUSICAL INSTRUMENTS. 177 by Mrs. Crosby Brown to the Metropolitan Museum, New York. This crude instrument bears testimony to years of patient endeavour. Like so many old and valuable treasures this one was harboured many years for senti mental reasons only, and because it had been given to an only daughter by her father. The story of the dis covery of its value came about as follows, as told in a letter by Signor Martelli, to whose mother the piano belonged.'' For the sake of economy during the time that Florence was the capital of Italy, we rented the first floor of our house. No. 3, Via del Melarancio, and occupied the second floor. In 1872 Signora Martelli (my mother) again changed her apartments from the sec ond to the first floor, and at the moment the transfer of our furni ture was taking place from one floor to the other, Prof. Cosimo Conti, a scholar and intimate friend of ours, came to visit us. The professor, who was in close correspondence with Cavaliere L. Pul- iti, who was spending a great deal of his time in trying to discover the origin of the piano, discovered on it to his great surprise an inscription which attested that it had been made by Bartolomeo Chnstofori. He immediately informed Cavaliere L. Puliti of this fact, and he came at once to examine it. Then it was ascertained that it was one of the rarest and most valuable pianos in existence. We sent at once for a tuner and had it put into good condition." The piano was bought by Signora Martelli's father, about 1819, from the Grand Ducal Palace at Siena, at an auction sale, held by order of the Minister of the Household, of all such things as he considered worth less and of no use. The piano was shuffled out of the Ducal Palace, much as some of our interesting relics have been shuffled out of the White House, and offered at auction.* *The writer has seen a very beautiful carved and gilt round mir ror, once the property of Dolly Madison, which was bought at a sale of White House furniture for twenty-five dollars. 178 THE OLD FURNITURE BOOK. The Christofori piano has a case of cedar, which is painted black on the outside. It stands on three clumsy turned legs. The keys are light-wood naturals and black sharps. The ivory knobs on the side blocks may be withdrawn, and the action removed from the case. There are two strings to each note, and the length of the instrument is seven feet seven and a half inches. It is three feet three inches wide at the front and nine and a half inches deep. Keyed instruments at first found little favor in the ears of the Italians, who much preferred the violin with its " singing voice " and its superior capacity for expres sion. Yet they contributed much to the early history of this branch of the art, though the Germans culti vated more highly these instruments, which were, in their first state, very defective in producing melody. It was Domenico Scarlatti who laid the foundation of modern music for keyed instruments, and his music for the harpsichord was not confined to fugues and fan tasias, as was most of the harpsichord music of early times. The real centre, however, in the line of prog ress for music for this instrument proved to be Ger many, and Graun, Hasse, and John Christian Bach all wrote for the harpsichord. In America some of the first instruments to come into use were small organs. They are mentioned as early as 171 1. Although large church organs, with three rows of keys and pedals, were in use in Europe by the opening of the sixteenth century, it was long before they were found here. The rivalry which church music seems to inspire in the breasts of those who render it has long existed, and extends even to those who make the instruments. Figure 85. SPINET. Figure 86. HARPSICHORD. MUSICAL INSTRUMENTS. 179 The following story from " ITawkin's History of Mu sic " bears out this statement. " Bernard Smith, or more properly Schmidt, a native of Germany, came to England with his nephews Gerard and Bernard, and to distinguish him from them obtained the name of ' Father Smith.' He was the rival of Harris from France and built an organ at Whitehall too precipitately, to gain the start of them, as they had arrived nearly at the same time in England. Emulation was pow erfully exerted. Dallans joined Smith, but died in 1672, and Renatus Harris, son of the elder Harris, made great improvements. The contest became still warmer. The citizens of London, profit ing by the rivalship of these excellent artists, erected organs in their churches ; and the city, the court, and even the lawyers were divided in judgment as to the superiority. In order to decide the matter, the famous contest took place in the Temple Church upon their respective organs, played by eminent performers, before emi nent judges, one of whom was the too celebrated Jeffreys. Blow Si Purcell played for Smith, and Lully. organist to Queen Catha rine, for Harris. In the course of the contest Harris challenged Father Smith to make, by a given time, the additional stops of the vox humana, the cremona or viol stop, the double courtel or bass flute, etc., which was accepted, and each exerted his abilities to the utmost. Jeffreys at length decided in favor of Smith, and Harris's organ was withdrawn. Father Smith maintained his reputation and was appointed organ-builder to Queen Anne. Harris went to Bristol." In the first half of the eighteenth century the sala ries paid to organists were small indeed, and it was customary for them to add to their modest stipend in various ways. In Charleston, S. C, in 1739, the organist taught the art of psalmody. A dozen years before this the organist at King's Chapel, Boston, Mass., taught dancing. Mr. Drake, in his " History of Boston," says that King's Chapel was enlarged and rebuilt in 17 1 3, and an organ was presented by Mr, Thomas Brattle. In 180 THE OLD FURNITURE BOOK. 1756 the King's Chapel Society imported a new organ from London, and the old one was sold to St. Paul's Church, Newburyport, It was used there for eighty years, and then sold to St. John's Church, Portsmouth, N. IT. The original pipes and wind-chest remain to-day in perfect condition. The second church organ in New England was one in a case of English oak, presented by Bishop Berkeley to Trinity Church, Newport, R. I., in 1733. It had twenty-three gilded pipes and was fourteen and a half feet high, eight feet front, and eight feet deep. It was made by Richard Bridge, London. This organ was used for a hundred and eleven years by Trinity Church, till 1844, and after a sojourn of a few years in Brooklyn, N. Y., it was bought for a church in Portsmouth, R. I., where it still is, in excellent condition. South Carolina, with her riches and her close com munication with England, had abundant masters to teach not only the more elementary branches, but accomplishments as well. By 1774 there were two hundred persons in the colony engaged in teaching, and according to advertisements a knowledge of English, Latin, and Greek could be obtained at any time after 1712. French and music were constantly taught after 1733. Lessons on the harpsichord, spinet, violin, violoncello, guitar, and flute were all to be had after 1733, and the boys could be perfected in fencing and the girls in needlework before the middle of the century. By 1734 a dancing-school was opened at Charleston, and in 1760 Nicholas Valois gives notice that he still receives* pupils in dan'cing, and that he has received "40 of the newest country dances, MUSICAL INSTRUMENTS. 1S1 J'ggs. rigadoons, etc., from London, which he proposes to teach. " In 1752 the vestry of St. Phillip's Church, Charles ton, sent to London for an organist. The parish guaranteed him ^50 sterling. He was to have the privilege of teaching the harpsichord or spinet, which would add 150 guineas more per annum, and also to have " benefits of concerts which his obliging behav iour to the gentlemen and ladies of the place may amount to 300 or 400 guineas more." The years between 1728 and 1763 were a time of unprecedented prosperity in South Carolina. The luxuries of the day were within reach of modest fortunes, and British modes and manners were eagerly followed. Josiah Quincy, in describing his visit to " Charles Town " in 1774' speaks ofthe famous St. Cecilia Society, which began as a musical club, all the performers being amateurs. He writes; " The music was good, the two bass viols and French horns were grand. There were upwards of two hundred and fifty ladies present and it was called no great number. In loftiness of head dress these ladies sloop to the daughters of the North ; in rich ness of dress surpass them. The gentlemen, many of them dressed with richness and elegance — uncommon with us; many with swords on." The Carolinians travelled often to England. They were lively and expensive in their dress, and an Englishman visiting Charleston in 1782 writes home that it "was the pleasantest and politest as it isoneo' the richest cities in all America." The charming old city still retains its two first recommendations, though, alas, the riches have flown. In 1768 the organ seen in Figure 84, (p, ) was imported from England for St. 182 THE OLD FURNITURE BOOK. Michael's Church, Charleston. Within a little frame on one side of the organ is an inscription as follows. Jno Snetzler fecit, Londoni, 1767. This inscription was found on one of the pipes of the organ when it was taken down during the bombard ment of Charleston in the Civil War. At this time the organ was stored away in the Sunday-school room of St. Paul's Church, Radcliffeboro, for safe keeping. This is said to be the largest old church organ in the country, and this church probably had tlie first surpliced choir of boys. They are mentioned in the vestry books as early as 1794. The photograph of this organ was procured through the courtesy of Mr. Charles N. Beesley, of Charleston. In the homes in various parts of the country, besides the virginal, were found the hand lyre, large and small fiddle, the recorder, flute, and hautboy. Some of these were imported, some were home-made. The first church organ built in New England was made for Christ Church, Boston, by Thomas Johnson, in 1752, and indeed by this time music in churches was pretty general all over the country. The puritans, with their hatred of anything secular, or, as it seems now, of anything that could ornament or beautify this none too joyous stay on earth, condemned music. In his " History of Music in New England ", Mr. Hood says that before 1690 music was mostly written in psalm-books, the number of tunes rarely exceeding five or six. At the beginning of the eighteenth century New England congregations were rarely able to sing more than three or four tunes, and even these were sung by the doleful process of " lining out ". The deacon would read one line of a Figure 87. CRISTOFORI PIANO. Figure 88. HARP. MUSICAL INSTRUMENTS. 183 psalm, and the congregation would sing it. Then he would read the next, and so on. About 1 720 an effort was made to improve this method of singing, but it met with violent opposition. Some of the objections advanced were that " it grieved good men and caused them to behave disorderly ; " that it was "Quakerish and Popish"; that "the names of the notes were blasphemous ; " etc. Yet after a while the congregations were soothed by the publication of several " Letters of Pacification ", written by min isters, and some books were published like that of the Rev. Thomas Walter of Roxbury, Mass., entitled; " The Grounds and Rules of Musick Explained. Or, An Introduc tion to the Art of Singing by Note Fitted to the Meanest Capacity By Thomas Walter. A.M. Recommended by Several Min isters, 'Let everything that hath truth praise the Lord.' Ps.150. 6. Boston." Singing-Schools for the instruction of the young were opened, and music, the only science allowed, crept into the church, "The Newport Mercury" for Jan uary 8, 1770, contains the following: " The Puplic are hereby informed That a Singing-School will be opened at Mt. Bradford's Schoolhouse next Thursday evening by a Person who has taught the various Branches of Psalmody in the Provinces of New York, Massachusetts Bay and Connecticutt, and those Gentlemen and Ladies who have an inclination to improve in this Excellent Art may expect all that Care and Dilligence which is necessary to their being rightly instructed in the same." William Tuckey of New York was a schoolmaster in that city about 1753, and taught singing to children. In 1766 the trustees of Trinity Church paid him £15 for performing the music for the opening of St. Paul's Chapel in New York. By 1775 choir singing had become more general, 184 THE OLD FURNITURE BOOK. and the old system of lining out was dying, but dying hard. In several parishes the singers, male and female, were requested to sit in the gallery and " carry on the singing in public worship." Many anecdotes are given in Dr. Ritter's " Music in America ", showing how the choir, once called into being, soon became a thorn in the ministers flesh, sometimes being rebuked from the pulpit, and in retaliation refusing to sing. That the music was bad goes without saying, for the singers were ill-trained under incompetent teach ers, and the music was often incorrect. Dr. Ritter gives the proportion of women voices to men as about twenty to one hundred and thirteen. The proposition to let women sing the air was not to be considered for a moment, since men had a "prescrip tive right to lead, and women were forbidden to take the first part in song or any other religious service." S. Howe published in 1804 the " Farmer's Evening Entertainment ", and in it gives directions for beating time : "To beat crotchets in common Time, let the fingers fall on the table six inches, then bring the heel of the hand down gently, then raising it a little higher, throw open the fingers to begin the next bar. For triple Time, let the fingers fall on the table, then the heel of the hand, then raise the whole hand six inches, keeping the fingers straight, which fills the bar." But while religious music was undergoing violent changes, secular music was having a more peaceful time, and instrument-builders were becoming more numerous and successful. In 1774, in the " New York Gazette" is this advertisement. "John Shybli, Organ-builder at Mr. Samuel Princes' Cabinet- MUSICAL INSTRUMENTS. 185 makers in I lorse-and-Cart St. Xew York. Makes, repairs and tunes all sorts of organs, harpsichords and Fortepianos, on the most reasonable terms. N. B. He has now ready for sale one neat chamber organ, one hammer spinet, one common spinet. Mr. Samuel Blyth of Salem, Mass., made "spin- netts " (they spelled them with two n's in those days) and then gave instruction upon them. He did not require cash payment either, as witness the following bill, now in tlie possession of Mr. Henry Brooks, author of " Olden-Time Music." Mrs. Margaret Barton to Sam Blyth Dr. To making a spinnett for her daughter ;£l8 o o Supra Cr. By 34 oz i f dwt of Old silver a. 6. pr. oz. £\o 4 1 1 By cash to Ballance £7 15 1 Salem 7th Feb'y 1786 Rec'd payment Sami Blyth X18 o o. At Mount Vernon is still to be seen the harpsichord bought for Nellie Custis by General Washington. In 1798, writing to a young friend at Philadelphia, she s lys : " I am not very industrious, but I work a little, read a little, play on the harpsichord, and find my time fully taken up with daily employments." There is an old song given in " Historic Landmarks of Maryland and Virginia " as being one which Nellie Custis used to sing, accompanying herself on the harpsichord. We wonder who selected for her. " The Traveler at The Widow's Gate. " A traveler stop't at a widow's Gate, She kept an Inn and he wanted to bait ; 186 THE OLD FURNITURE BOOK. She kept an Inn and he wanted to bait ; But the widow she slighted her guest, But the widow she slighted her guest, For when nature was forming an ugly race, She certainly moulded the traveler's face As a sample for all the rest, as a sample for all the rest. The chambermaid's sides they were ready to crack When she saw his queer nose and the hump on his back ; A hump isn't handsome, no doubt ; And though t'is confessed the prejudice goes Very strongly in favor of wearing a nose, A nose shouldn't look like a snout. A bag full of gold on the table he laid, ' T had a wondrous effect on the widow and maid, And they quickly grew marvelous civil; The money immediately altered the case, They were charmed with his hump and his snout and his face. Though he still might have frightened the devil. He paid like a prince, gave the widow a smack. And flop'd on his horse at the door like a sack, While the landlady, touching his chin, Said, ' Sir, should you travel 'this country again, I heartily hope that the sweetest of men Will stop at the widow's to drink.' " The names of some other popular songs of this period were "The White Cockade," "Irish Howl," " Hessian Camp," " Nancy of the Mill," " Every Inch a Soldier," " When Nichola First to Court Beg-an," " Baron Steuben's March," " Sweet Village of the Valley," " King of Sweden's March," etc. The Revo lutionary echoes seemed to be still reverberating. In the " Domestic Life of Thomas Jefferson " there is a description given of Monticello, which he built in 1770 — 1772, and a diagram of the lower rooms showing where each piece of furniture stood. It seems very sparsely fitted out, yet it had a great repu- MUSICAL INSTRUMENTS. 187 tation for elegance. The house was but a story and a half high, and on the ground floor was a great hall, drawing-room, dining-room, tea-room, sitting-room, and two bed-rooms besides the one occupied by Jeffer son himself. In this latter room was a couch upon which Jefferson rested when studying, a dressing- table and mirror, a chair near the wall, and beside it a small bookcase. There was no closet, so in one corner was a rack upon which his clothes where hung. The chief ornament to the drawing-room was his daughter's, Mrs. Randolph's, harpsichord. Standing about were many busts, of Alexander of Russia, Ham ilton, Voltaire, Turgot, and Napoleon, and portraits of Washington, Adams, Franklin, Madison, etc. The house was at least abundantly furnished with chairs, for Jefferson himself leaves an inventory which states that there were 36 of mahogany and 44 of gold leaf. Of small tea and card tables there were 13. In the dining-room, well toward its centre, stood Jefferson's chair and a candlestand. His particular hobby was blooded horses, and he used only the finest Virginia stock. This same harpsichord was, as early as 1785, in Jefferson's thoughts, and he writes to his daughter, Polly, from France, that she shall be taught to play on it, as well as to draw and dance, to read and talk French, " and such other things as will make you more worthy of the love of your friends." Even in remote places like Monticello, where everything had to be transported by cart, or at Johnson Hall, Sir John Johnson's home in the Mohawk valley, harpsi chords, as well as other expensive luxuries, were to be found. Sir John's harpsichord was confiscated by the iSS THE OLD FURNITURE BOOK. government in December, 1777, at the same time with the table which is now at the Historical Rooms in Albany. While musical instruments are only rarely mentioned in the inventories of the great body of the people, yet we have seen that they were here both of domestic manufacture and imported. Thomas Harri son, organist of Trinity Church, advertises in the " New York Mercury" for. 1761 that he has "harpsi chords and spinets imported and for sale." The harp was not so often seen as other instruments, on account both of the great cost of the instrument and of the difficulty of tuning it. It was not until 1720 that the pedal harp was invented by a Bavarian named Hochbriicker. By means of the pedal working a small plate set with projecting pins, the performer was able to raise the pitch of each string a semitone. The mechanism was concealed in the front pillar, and each note was affected in all its octaves. Erard made farther improvements. The harp shown in Figure 88 is in the Metropolitan Museum, New York. It is a very handsome one, painted blue, and resting on four claw feet. The pillar is fluted, and the orna ments, three medallions of dancing girls, with wreaths below, are executed in brass. It has forty-two strings of gut and seven pedals. It was made by Naderman, Paris, France, late in the eighteenth century. Nader- man perfected the action of the first pedal harp invented by Hochbriicker. In the South Kensington Museum, London, England, is a harp which belonged to the ill-fated Marie Antoinette ; it also was made by Naderman in 1780. The harp in its various forms is an instrument of great antiquity. The Greeks and Romans, ever alive Figure 89. BASS VIOL. Figure 90. GLASS HARMONICA. MUSICAL INSTRUMENTS. 189 to the possibilities of everything that tended to grace and beauty, admired this instrument not only for its sweet sound but for its pleasing form. We must look to Egypt for the origin of the harp, as there are rep resentations in their picture writings of stringed instruments of a bow-form that support the idea that the first conception of a harp was drawn from the tense string of a warrior's bow. This very primitive instru ment was borne on the performer's shoulder and played horizontally. Between this crude instrument and the splendid vertical harps shown in the frescoes of the time of Rameses III., painted more than three thousand years ago, there is a chain of pictures show ing so many varieties of forms that the growth from the bow-form into the triangular harp is explained. The Assyrians, like the Egyptians, had harps without a front pillar, but differing from them in using sound- holes, and having the sound body uppermost. We assign to King David the harp, but mediaeval artists more frequently depicted him with the psaltery, a hor izontal stringed instrument, the parent of the piano. The harp has always been the instrument of the Celtic race, and harpists were held in peculiar venera tion. For many a long year harpists traveled from one castle to another, sure always of a welcome and seat in a warm corner. In return they not only amused the company with their songs, but brought the news, and isolated and remote families often heard from the outer world by such uncertain means as these. For centuries the English harpers were pro tected in many ways, and no one has taken advantage of such a picturesque class with the skill of Sir Walter Scott. The most renowned one he introduced as a i9o THE OLD FURNITURE BOOK. character was Blondel de Nesle, in the " Talisman,' that wonderful picture of the days of the Crusades. The first greeting to 'the youth when he appeared at Richard's camp shows the estimation in which these knights of the harp were held. "Blondel de Nesle!" Richard exclaimed joyfully "welcome from Cyprus, my king of minstrels ! Welcome to the King of England, who rates not his own dignity more highly than he does thine. . . And what news, my gentle master, from the land of the lyre ? Anything fresh from the trouveurs of Provence ? Anything from the minstrels of merry Normandy ? Above all, hast' thou thyself been busy ? " It is also said that Richard Cceur de Lion's place of confinement in Germany on his return from the Holy Land was discovered when Blondel sung beneath the Tower Tenebieuse a tenson which they had jointly composed, and to which the king replied. Edward I. and his Queen were fond of music and encouraged musicians, as the following entries in their accounts of the household expenditures show: " To Melioro, the harper of Sir John Mantravers, for playing on the harp when the king was bled, twenty shillings ; likewise to Walter Luvel, the harper of Chichester, whom the King found playing on his harp before the tomb of St. Richard at Chichester Cathedral, six shillings and eight pence." Henry V. was a performer on the harp at an early age, and his wife, Catherine of Valois, shared his taste, as an entry in the Issue Rolls reads: " By the hands of William Menston was paid .£8 13.? 43- U 2 i, 25 , 26, 154 202, 203 Charleston .... 96, i8o, 181 182, 195 Chenonceau .... . 148 Chests .... 11-21 40, 112, '32 141, '63 Chicopee .... . 34 " Chinese and Gothic Architecture " . 49 Chinese designs . , , . . 48,58 Furniture . . , • 55, 56 Style .... , 43. 48, 56 Taste .... • 49, 55. 62 Chippendale . . 48-72, 77, 86, 87, H9. 123, '35 , 213, 230 Ornaments . . 52> 57. 58, 66, 69 Choir singing . . • . 184 Clavichord . . • 174 Clement, William • 209 Clepsydra . . . • . 199 Clocks • 71 163 197-221, 200 Banjo . . • 219 Brass works . . * . 215 French • 214 Lantern . . • 202 Long case . , • 209, 218 Mantel # 219 Mottoes • 212 Price of . . • • 215, 216 INDEX 241 Clocks, Continued. SpringsWooden works Clock-makers Burnap, Daniel Carmichael, John Clark, Herman Clement, William Clowes, James Downs, Ephriam Fox, Isaac Francis, Basil . Gould, Christopher Graham, George Hanks, Benjamin Harland, Thomas Harris, Richard Harrison, J. Hoadley, Silas Hopkins, Asa . HuyghensIves, Chauncey Knibb, Joseph LepanteLe Roy, Julien Lownes, James Merriman, Silas Monks . " N. O." Peck, Timothy Quare, Daniel Rittenhouse, David Rose, Joseph Tenny, William Terry, Silas B, Terry, Eli Thomas, Seth Tompion, Thomas Vick, Richard 242 INDEX. Clock-Makers, Continued. Viliiamy ..... 201 Willard, Simon, Aaron, Benjamin, Simon, Jr. 219 Cocoa-Tree Club . 64 Colbert 154. '55 Cold Spring . • 133 " Colonial Furniture '' 201 Colonial furniture 95-148 Colonial houses 101 Connecticut chest 20, 108, 141 Continental Congress '34 Cooper Institute Museum • 3L46,74. 167, 172 Cornbury, Governor '37, 138 Costume 29, 59, 60, 100-103, 106, 107, 120. 129, 136, 142, 144 145, 151-153, '62, 167-169, 233 Counters ...... • 65 " Court Records of New Amsterdam " . 11, 42 Cowles House ... 113 Cox, William . • 36 Coytemore, Widow . IOO Cressent, Charles 161 Cristofori . 174. 176. 177 Cromwell, Oliver 202, 203 Culpeper, Thomas 6 Cupboards . 43, 46, in, 136, 140 Curacao 3° Current moneys 34 Curtains 114, 223 " Cymbeline " . 12 Danvers IOO David 170 Dedham IOO Deerfield Memorial Hall 99. 108, 141 192, 193 Denton, Daniel 35 Desks . '32. 135 " Designs for Household Furniture ' T. Sheraton . 86 Desmalter, Joseph ..... . '7' D'Estaing, Count -43 INDEX 243 Diggs, Mrs. • . 98 Dilke, Lady . 149. 159 Dining-rooms . . . I 12 Dining-tables . . . 78 Domestic discipline 234 " Domestic Life of Thomas Jefferson " . 186 Dorchester a IOO Drinks . ¦ • • 234 Drop handles . • • o • 42 "' Duchess " • • • 0 • 81 Dudley, Robert • • 3 • * . 9& Dutch Cards . • • • 44.45 Chests . • • • . 46 Costume • * • 29 Foot • • 229, 230 Furniture • • • 18, 28-47, 56, 59- 9', 99 Silver . • • • 45 Silversmiths • ¦ • . 40, 41 Utensils • • 34 Wills . . 32 Earl of Arundel, Richard 7 Eaton, Theophilus . 21 Easy chairs 0 • 54, 82 East India 48, 80, 223 Ebeniste 222 Ebony 43 Embroidery . 166 Empire furniture . 90. 91 Empire style . 83, 92, 135, 146, 170, 171, 172, 225, 231, 232 England 112, I45, I97 199, 206, 218 Epes, Colonel Francis. ¦ '7. '39 Escutcheons . 22A , 226, 227, 228 Esopus • '33 Evelyn's Diary 59. '54 '• Fairfield " 104 Faneuil, Andrew 119, 120 244 INDEX. Faneuil, Hall .... 121, 143 Faneuil, Peter .... Feet ..... 120, 121, 122 228, 229 Fiot, Julius 196 Fire-buckets .... 31 Fire-place .... • H5 Flaxman, John. 75 Flemish foot .... 228, 229 Flemish Style . 25 Flock beds .... 27 Fontainebleau . . . 148, 149, 1 54, 161 169, 170, 171 Foot-bank .... 24 Forks ..... 98, 120, 132 Fox, Charles James . 64 Fox-hunting .... 128 France ..... 148- 1 5o, '54 168, 169, 231 Francis I . . . . 1 48, 149 154. II, 148 French chairs .... . 48, 58 Court .... • '5° Foot .... .82, 230 Furniture 52, 148-173 Revolution 90, 157, 169 Taste .... • 59, 7i " French Furniture of the XVIII Century ' 149, 159 " Fret," heraldic 208 Fretwork .... 62 Frigate Brandywine . 221 Frison, John .... . 98 Frost, Miss Sarah 66, 147 " Furniture of Our Forefathers '"' , 28, 223 Gaine, Hugh .... 124, 125 Galileo . . , 201 Gambling .... 63-65, 162 Gardiner, Lion , 22 Gatty, Mrs. . • '97 Gautier, William 112, 113 Geib, John & Sons . 194. 195 " Gentleman's Magazine " 199, 207 INDEX • 245 George I 60. 11,60,64,65. 111,55,74,213. IV, 64 " Gesso " .... 73, 175 Gillow ... . 9' Glass 226, 227 Gnomon . - . . 197 Gobelin . , 154-157 Goler, George W. . . . 213 Graham, George . a . 204 Grand Trianon , . . 170 " Great Bed of Ware " . . 8 Greek and Roman Style . • 73 Guildford . 100, 102 Guildhall Museum • . 210 Hadley Chest . , m 20, 141 Halfpenny, William . • 49 Hancock, John . 143, 144 Hampton Court Palace . 210 Handles . 32, 140, 146, 222-236 Bail . • 224 Brass . . 226 China . . 225 Drop '. . 224 Glass . . 225 Rosette . . . 225 Watergilt . . 226 Willow . . . 224 Harmonica . . • '93 Harps . . . 188, 1S9, 190, 191 Harpists . 190, 191 Harpsichord . 174. I 76, 185, 187, 188, 193 Harris, Richard • • . 201 Harvard College . . 103 Haward, John . 174, 174 " Hawkin's History of Music " 179 Haynes, John . . 21 Hempstead ¦ • 35. 45- Plains 128 Henrico County 98. 139 Hepplewhite 69, 71, 76 80, 85, 87, 119, 132, 138, 224 246 INDEX. Hessians ..... • 135 " Highboy " . . 140 " History of Boston." Drake . 179 "History of Music in Boston." Dwight . 191 " History of Music in New England." Hood 182 " History of New England." Palfrey , 102 "History of New York." Smith 66, 67 " History of South Carolina." McCrady . 96 " History and Present State of Virginia " "5 " Historic Landmarks of Maryland and Virginia *, 185 Hitchcock, Deacon Justin 192 Hitchcock, Thomas and John . 174 Hobbs, Richard .... 98 Hochbriicker . c . , 1 88 Hogarth ..... 59 Hollingbourne Manor .... 6 Hooker, Robert .... 203 Hope, Thomas .... 231 Horologe ..... 209 Horse-racing ..... 128, 129 Hotel Montmorency .... 1 Hour-glass ..... 199, 200 Hoyt, William M. 80, 107, '39. 213, 219 Ince & Mayhew .... 48,49 Independence Hall, Philadelphia . 112 Inns ...... . 142 Inventories 17, 21, 22, 26, 32, 33, 37, 38, 41, 45, 98, 100, I02, 103, 105, 108, 109, 117, 122, 123, 133-136, 139, 142, 187 Italian Work ..... . 150 Italy ...... . 148 Jacobean Furniture .... 9, IO, 12 James I. . . . . g, u , IS 205 • H,64 Jamestown ..... • 95 Japanning ..... 5 Jefferson, Thomas .... 48, 186 Joined Work ..... 5 Johnson, Thomas .... 48 INDEX 247 Johnson Hall . Josephine, Empress " Journal of the Pilgrims at Plymouth " "Journeyman's Cabinet and Chair-Makers Ph Book of Prices " Kauffmann, Angelica . Kidd, Captain William Killgore, A. King's Chapel . King's College King David " King Hooper House" " King Richard's Bed " Knife-boxesKitchen Utensils LacquerLady Joanne Bergavenny Lady Moody . Lake, Mrs. Lamb, Charles . Lamberton, George Lamps Lanterns Le Brun Lemaire Le Notre " Letters of Pacification " Library Lignum-vita; "' Lining-out " . Little Trianon . Lloyd, Cornelius Lock, Matthias Lockwood LondonLondon Cabinet-Makei 's Society London Clock-Maker's Company „ . 187 169, 170, 17' . 26 ladelphia ¦ . 109 73, 74 • 37 92 ; Misses .93. "' 179, 180 • 234. 235 . 189 • . 114 6 97 . 4, 145. 210 0 7 0 ¦ '3 21, 119 • 199 . 26 123, 124 120 154. 155 . 156 . 150 '. 183 . 118 . 122 182, 183 165, 169 ¦ 97 . 48 141, 201, 219 , 120 122, 141 ¦ 76 . 201 248 INDEX. Long Island .... . . 45 Long Island Dutch . • 34 Looking Glasses 43. 7o Louis XII. 149. XIII. 148. XIV. 71, 150-1 55. 157-159, 161, 172. XV. 52, 57, 161-163, 165, 172, '73 176. XVI. 158, 165, 167, 172, 173 Louvre .... . 148, 160 " Lowboy " . . • H3 Luynes, Due de ¦ • 157 Madison. Dolly t . 84 Mahogany 43, 44, 51, 54, 58, 61, 81, 84, 86, 9°. 91, 109, 117, 123, 132, 138, 140, 172, 232 Maintenon, Madame de . 151 Manwaring, Robert . • 49 Mansart .... • 15' Marie Antoinette . . . 165, 1 66, 169, 172, 188, 222 Marlborough, Duke and Duchess • 67 Marquetry .... • 3. 46 Martin Brothers 164, 165 Maryland .... . 96 Massachusetts General Court 101 Memorial Hall, Philadelphia . 15. ;6, 61, 70, 196 Metal mounts . . . 55, 139, 146, '63 167 , 171-173, 211 Metropolitan Museum, New York 46, 177, 188 " Mischianza • 83 Michaud, Doctor • 83 Monticello .... 186, 187 Montgomery, General. 164 Morris, Mrs. .... . 126 Moulding .... • '9 Mount Vernon ... 1 16, "7, 185, 197, 219 Mott, Charles .... ¦ 33 " Music in America." Ritter . . 184 Musical glasses • 193 Musical Instruments . 174-196 Musical Societies • '95 Naderman , . , , . 188 INDEX 249 Napoleon .... 146, ¦49. 170, 171, 231 Napoleonic style • 9' New Amsterdam 28, 3'. 35. 36.45 Court records of . , 1 1, 42 Newbury . IOI New England 26, 28, 99. 103, 108, 141, 180 New Haven Colony . 20, 26, 201 New Jersey, State Library • 135 New York, City of 32, 34. 44 45. 126, 128, I98, 215 " New York Gazette and Weekly Mercury " 109, 113, I29, 144 " New York Records of the Revolution " • 134 Newport .... 2l8, 219 Nutwood 3',223 Oak, American . . 18 English . IO Spanish . • 59 Oeben . . 165 " Old Manse " . . 88 " Old Palace Yard " 200, 201 Old Songs 185, 186, 195 " Old State House," Boston . in " Old Stone House " . IOO " Olden-Time Music." Brooks . 185 Olive-wood H. '5 Oliver, Mrs. B. H. . 105 Oort, John 36 Organs 178- 182, 184, 191 Organists 179, 181 Ormolu . •4. 163, 164, 169, 211 " Overdoors " . 49 " Over-mantels " • 71 Panelling, oak . • < 2 Peabody, A. P. • 235 Pembroke Tables . 82 Pendulum 208 -211, 215, 217 Penn, William . 104, 105 Pennsylvania . 104 ' Pennsylvania Stoves " • . 113 2 5° INDEX • Pepy's Diary . . 63, 175, 191, 205, 207, 208 Percier & Fontaine . . • 90 Percy, George . . . • 97 Pergolese . 73-74 Pesaro, Domenico di . . 175 Pewter . . 232, 233 Philadelphia . 83, 84, 103, 106, 109 112, 126, 127, 134, 215, 217 Piano . 174, 176-178, 191 193-196 Pickering, Rev. Theophilus . . 108 Pomander Balls , 235, 236 Pompadour, Madame de . . 162 Pratt, Phineas . , , . . 141 Pringle House . . . 96 Psaltery • . 189 Quare, Daniel . 204, 210 Queen Anne . 59, 64, 211, 229 Queen Caroline. 60 Queen Catherine , • 63 Quincy, Josiah . 97. 181 Rails . 18 Raleigh, Sir W. . . . • 5' Rappahannock . . . . 98 " Record of the Dan ages done by the British " etc. . • '35 Regency . 160, 161 Renaissance, French . 148, 149 Furniture . 10, 14 Revolution 82, 97, 127, 132, '33 Rich, Charles . . . 84 Richard Cceur de Lion , . 190 Riesener . 165, 166, 222 Ripley, Rev. Ezra . 88 108, 114 Rittenhouse, David . • 217 Rochefoucauld, Due de La . . 151 Rococo . • 3 Roeiantsen, Adam . . , • 35 Rosewood • t . 54, H7 INDEX. 25' Salem . . . . . .84, 108, 121 Santvoordt, Cornells Van '33 Satin-wood . 73,80,81 Schenectady. 28 "Set-work." . 22, 27 Sevres . 146, 163 Sewall, Rev. Samuel 17 Shaw, Henry 6, 8 Shearer, Thomas 69, 76-78, 91 Sheets . 137 Sheraton, Thomas 69, 71, 77, 78, 84-9'> 99, "3. HO, 146, H7, 224; 230, 231 foot ...... 85 Sideboards .... 69, 77, 78, 86, 90 Silver Furniture 10 Singleton, Miss 28 Singing-schools 183 Sleeping-bunk 42 Smith, George 9i Smith, Captain John 15.95 South Carolina 180, 181 South Carolina College 53 South Kensington Museum 8, 25, 54, 188 " Spade-foot " 74, 81, 230 Spandrels .... . 212, 213 Spanish chairs, .... 23 Foot 23, 229 Leather .... 22, 23, 223 Style .... • 25, 229 " Specimen's of Early Furniture " 6 " Spectator " . . . . 59 Spinet ..... 174, 175, 185 Splat . . . -53, 58, 66, 77, 123, 229, 230 St. Cecelia Society 181 St. Martin's Lane 52 St. Paul's Chapel . 164, 183 St. Philip's Church 181 St. Simon ..... 153 Staffordshire . . 93 252 INDEX, Steenwych, Madam Stiles StillroomsStoolsStoves Strawberry Hilt " Strong-box " Stuarts" Style " French Sun-dialsTable, old oak Tadema, Alma . Taine, M. Tapestry . Tayloe House Tea CaddiesTables Temple, Sir William Terry, Eli and Silas Testers ' The Cabinet-Maker & Upholsterer tory of Designs for Every Article of Household Furniture, etc." By A. Hepplewhite "The Cabinet-Maker & Upholsterer's Drawing Book." By T. Sheraton ..... "The Decorative Part of Civil Architecture" " The Gentlemen's & Cabinet-Maker's Director " 5°, 52, 54, 65, 72, " The Journeyman's Cabinet and Chair-Makers Philadelphia Book of Prices " . . , 138, " The London Cabinet-Maker's Book of Prices '' . " The Maccaroni Magazine or Monthly Intelligence of the Fashions & Diversions " . . , " The Magazine a la Mode, or Fashionable Miscellany " Tinder and Steel ...... Tobacco ...... Tompion, Thomas . . . 202,208,211, 30 18 235 IO '45 56, 75, '38 '34 '5 '49 197, 199 9 73 152 154, '59 94 62, '44 57 61 ,62 198, '99 215. 220 Guide, or Reposi- 77, 78 86 55 123 228 76 129129 4296 213 INDEX, 253 Trundle-bed . .... .42 " Turkey-work "...... 23 Turned-wood work ..... 24 " Twenty New Designs of Chinese Lattice and other Works for Staircases, Gates, Pailings, etc." . . 49 " Universal System of Household Furnishing" „ . 48 Van Rensselaer • 40, 4L 45, 14°, H6 Vatican ....... 91 Veneering ...... 3 Venetian paste . . . . . .124 Vernis-Martin ..... 164, 165 Versailles .... 150-153, 159, 168, 170,, 171 Virginal , . . . . . .174 Virginia . . . 96-98, 115, 116, 126, 140, 185, 219 Wainscot . . . . 51, 11 1, 112, 149 Wallpapers ..... 113, 114, 157 Walpole, Horace ..... 56, 64, 138 Wardrobes . . . . . .72, 164 Ware, Isaac ... . 50 Waring Galleries, London 19, 25, 42, 47, 81,87, 89, 159, 169 Washington, D. C. . . . . .94 Washington, General . 90, 116, 117, 197, 220, 233, 234 Watches ...... 200-202, 206 Watches, striking ..... 206 Watteau , . 168 Wayside Inn . , H3 Wedgwood, Josiah 75. 124 West India Company 35 West Indies « . , 112 Weymouth 141 Whipple House 9°. 99- i37 Whitfield's House . ¦ . . 102 Wigs 125 William III 211 Willards, Simon, Aaron, Benjamin, Simon, Jr. . . 219 Wine coolers 61, 89, 90 254 INDEX. Winthrop, Governor Mrs. " Wooden ware " Woods Worcester ioo 101 117,233 I08, 136, I37, 141, 222, 223, 226 52 " Works in Architecture by Robert and James Adam Esquires " .... Yaie University Library .... Youghal . ..... Zucchi ...... 74 123 5i 74 I 3 9002 02637 7912 a — . c