The practical book of period furniture, treating of furniture of the English, American colonial and post-colonial and principal French periods . ,owing to its generally rectilinear character, was , it was usually made by the best pieces with semi-circular or semi-oval fronts werecarefully and strongly made and structurally chairs and settees, however, it was a differentmatter. Some of them, especially those made in mahog- 200 PRACTICAL BOOK OF PERIOD FURNITURE any, were strong and durable, but others, while exceed-ingly graceful in design, were structural
The practical book of period furniture, treating of furniture of the English, American colonial and post-colonial and principal French periods . ,owing to its generally rectilinear character, was , it was usually made by the best pieces with semi-circular or semi-oval fronts werecarefully and strongly made and structurally chairs and settees, however, it was a differentmatter. Some of them, especially those made in mahog- 200 PRACTICAL BOOK OF PERIOD FURNITURE any, were strong and durable, but others, while exceed-ingly graceful in design, were structurally weak. Thesatinwood chairs, above all others, were of frail struc-ture, and it needs only a glance at the lines of the armsand backs to be convinced of this. The Brothers Adam, as architects, thought mostlyin terms of marble, stone and stucco, and some of theirdesigns for furniture were utterly impracticable untilmodified by the cabinet-makers to whom they entrustedtheir commissions. MOUNTS The metal mounts for Adam furniture were de-signed with the characteristic delicacy and care thatmark all work that goes by the name of the A © c Fig. 3. Characteristic Adam Mounts. The patterns varied largely with the individual piecesdesigned, but the accompanying illustrations willconvey a fair notion of their beauty and refinement. FINISH The finish of Adam furniture was to all intents thesame as that of other furniture of the period, and whatis said in the Chippendale, Hepplewhite and SheratonChapters will quite cover the subject. CHAPTER VIII GEOKGE HEPPLEWHITE17 t-1786 WE shall not speak of a Hepplewhite period offurniture, but of a Hepplewhite was no Hepplewhite period, for thedate of Hepplewhites prosperity and influence wassynchronous with the prominence and popularity ofseveral other important cabinet-makers or was, however, a well-defined Hepplewhite stylewhich enjoyed great favour and vogue and exerted apowerful and lasting effect upon En
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