. Furniture for the craftsman; a manual for the student and machanic. FiG. 12. Fig. 13. tion, and it hardly needs the attention to be called to note thedifference in the leg of chair. Fig. i 3. This pattern denotes par-ticularly the Flemish or Dutch influence, which in turn was bor-rowed by them from the French. There are many modifications of this, the cabriole leg, as it iscalled. The reader will note that the upper part of the chairindicates it is quite a different type in the transition still 16 FURNITURE FOR THE CRAFTSMAN of the former Jacobean, for it must be appreciated that whilewe are
. Furniture for the craftsman; a manual for the student and machanic. FiG. 12. Fig. 13. tion, and it hardly needs the attention to be called to note thedifference in the leg of chair. Fig. i 3. This pattern denotes par-ticularly the Flemish or Dutch influence, which in turn was bor-rowed by them from the French. There are many modifications of this, the cabriole leg, as it iscalled. The reader will note that the upper part of the chairindicates it is quite a different type in the transition still 16 FURNITURE FOR THE CRAFTSMAN of the former Jacobean, for it must be appreciated that whilewe are quickly reviewing this subject and are now stopping ata particular period that possesses many imported features to amarked degree, yet during all these periods the impressions andsuggestions of former styles in point of fact require a number of. Figs. 14 to 18—Forms of Chair Seats of years to be eliminated. For the accepted classificationwe must know the style under discussion as Queen Anne—-however little she had anything to do with the change of artbrought over by her Dutch brother-in-law, William.
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Keywords: ., bo, bookcentury1900, bookdecade1910, bookidfurnitureforcraf01otte
