The practical book of period furniture, treating of furniture of the English, American colonial and post-colonial and principal French periods . hes at Herculaneum and Pompeii, which attractedprofound attention in the middle of the eighteenth cen-tury. The interpretation of classic motifs and expres-sion in the designs of the Adelphi was quite indepen-dent of any French medium, but the taste and effort atrealisation were coincident and nearly synchronous onboth sides of the Channel. Hepplewhite derived mostof his classic feeling from the designs of the Adams buthe also drew a measure of inspir
The practical book of period furniture, treating of furniture of the English, American colonial and post-colonial and principal French periods . hes at Herculaneum and Pompeii, which attractedprofound attention in the middle of the eighteenth cen-tury. The interpretation of classic motifs and expres-sion in the designs of the Adelphi was quite indepen-dent of any French medium, but the taste and effort atrealisation were coincident and nearly synchronous onboth sides of the Channel. Hepplewhite derived mostof his classic feeling from the designs of the Adams buthe also drew a measure of inspiration from contem-porary French furniture. Sheraton, on the other hand,was far more deeply influenced by Louis Seize models,and in order to understand and appreciate him fully itis necessary to know somewhat of the type to which hewas so largely a debtor. For this reason the LouisSeize chapter has been placed just before the Shera-ton chapter and after the chapter on Hepplewhite, whooccupied a middle ground between the Adelphi andSheraton. An examination of Louis Seize furniture and a sub-sequent comparison with Sheratons designs will re-.
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Keywords: ., bo, bookcentury1900, bookdecade1910, bookidpracticalbookofp00eber
