The practical book of period furniture, treating of furniture of the English, American colonial and post-colonial and principal French periods . mer the element of concavity, espe-cially in the fronts of sideboards and chests of drawers,is emphasised, while in the latter the element of con-vexity is found instead. There are, to be sure, sporadicinstances where an Adam table was designed with scrolllegs or a Hepplewhite chair with cabriole legs, but theyare rare exceptions and need not concern us. The foregoing observation, of course, does not applyto Hepplewhites French furniture, which very a
The practical book of period furniture, treating of furniture of the English, American colonial and post-colonial and principal French periods . mer the element of concavity, espe-cially in the fronts of sideboards and chests of drawers,is emphasised, while in the latter the element of con-vexity is found instead. There are, to be sure, sporadicinstances where an Adam table was designed with scrolllegs or a Hepplewhite chair with cabriole legs, but theyare rare exceptions and need not concern us. The foregoing observation, of course, does not applyto Hepplewhites French furniture, which very accu- 14 210 PRACTICAL BOOK OF PERIOD FURNITURE rately followed all the curves of the later Louis Quinzefashion. It is so French in character that it is scarcelyentitled to consideration in this chapter. The most distinctive note to be observed in Hepple-white contour, a particular in which neither Adam norSheraton designs share, is the shape of the shield back(Key XI, 1), hoop back (Key XI, 2) and interlacingheart (Key XI, 3) back chairs. Hepplewhite maderound and oval (Fig. 1, 2) chair backs, too, but theseare also found in Adam
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