,,transcriber',s ,,notes3 --,obvious print and punctuation errors were corrected4 --,bold text has been rendered ad bold text4 --,superscript letters have been rendered as words4 ,,furniture ,,of ,,the ,,olden ,,time ,,the ,,macmillan ,,company ,,new ,,york ,,boston ,,chicago ,,dallas ,,atlanta ,,san ,,francisco ,,macmillan ,,co41 ,,limited ,,london ,,bombay ,,calcutta ,,melbourne ,,the ,,macmillan ,,co4 ,,of ,,canada1 ,,ltd4 ,,toronto ,illustration ,,furniture ,,of ,,the ,,olden ,,time ,,by ,,frances ,,clary ,,morse ,,new ,,edition ,,with ,a ,,new ,,chapter ,,and ,,many ,,new ,,illustrations 8,how much more agreeable it is to sit in the midst of old furniture like ,minott's clock1 and secretary and looking-glass1 which have come down from other generations1 than amid that which was just brought from the cabinet-maker's1 smelling of varnish1 like a coffin6 ,to sit under the face of an old clock that has been ticking one hundred and fifty years--there is something mortal1 not to say immortal1 about it2 a clock that begun to tick when ,massachusetts was a province40 ,h4 ,d4 ,,thoreau1 8,autumn40 ,new ,york ,,the ,,macmillan ,,company #aibf ,all rights reserved ,,copyright1 #aijb ,,and #aiag1 ,,by ,,the ,,macmillan ,,company4 ,set up and electrotyped ,november1 #aijb4 ,reprinted ,april1 #aijc2 ,july1 #aije2 ,february1 #aijh2 ,september1 #aiaj2 ,september1 #aiac4 ,new edition1 with a new chapter and new illustrations1 ,december1 #aiag4 ,norwood ,press ,j4 ,s4 ,cushing ,co4--,berwick ,smith ,co4 ,norwood1 ,mass41 ,u4,s4,a4 ,to my ,sister ,,alice ,,morse ,,earle ,contents ,,page ,,introduction #a ,,chapter ,i ,,chests1 ,,chests ,,of ,,drawers1 ,,and ,,dressing-,,tables #aj ,,chapter ,,ii ,,bureaus ,,and ,,washstands #da ,,chapter ,,iii ,,bedsteads #fd ,,chapter ,,iv ,,cupboards ,,and ,,sideboards #hd ,,chapter ,v ,,desks #aag ,,chapter ,,vi ,,chairs #aed ,,chapter ,,vii ,,settles1 ,,settees1 ,,and ,,sofas #bac ,,chapter ,,viii ,,tables #bdb ,,chapter ,,ix ,,musical ,,instruments #bhj ,,chapter ,x ,,fires ,,and ,,lights #cae ,,chapter ,,xi ,,clocks #cdh ,,chapter ,,xii ,,looking-,,glasses #cgd ,,chapter ,,xiii ,,doorways1 ,,mantels1 ,,and ,,stairs #daa ,,glossary #dea ,,index ,,of ,,the ,,owners ,,of ,,furniture #dei ,,general ,,index #dfe ,list of ,illustrations ,lacquered ,desk with ,cabinet ,top ,frontispiece ,,illus4 ,,page ,looking-glass1 #ahaj-ahbe #aj #a4 ,oak ,chest1 about #afej #aa #b4 ,olive-wood ,chest1 #afcj-afej #ac #c4 ,panelled ,chest with ,one ,drawer1 about #affj #ad #d4 ,oak ,chest with ,two ,drawers1 about #afge #ae #e4 ,panelled ,chest with ,two ,drawers1 about #afge #af #f4 ,carved ,chest with ,one ,drawer1 about #agjj #ag #g4 ,panelled ,chest upon ,frame1 #afgj-agjj #ah #h4 ,panelled ,chest upon ,frame1 #afgj-agjj #ah #i4 ,panelled ,chest of ,drawers1 about #afhj #ai #aj4 ,panelled ,chest of ,drawers1 about #afhj #bj #aa4 ,handles #ba #ab4 ,six-legged ,high ,chest of ,drawers1 #agje-agae #bb #ac4 ,walnut ,dressing-table1 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,chandelier1 about #agfj #ccd #cbf4 ,silver ,lamp from ,mount ,vernon1 #aggj-ahjj #cce #cbg4 ,glass ,chandelier for ,candles1 #agfj #ccf #cbh4 ,embroidered ,screen1 #aghj #cch #cbi4 ,sconce of 8,quill-work10 #agbj #cdj #ccj4 ,tripod ,screen1 #aggj #cda #cca4 ,tripod ,screen1 #agfe #cda #ccb4 ,candle-stand and ,screen1 #agej-agge #cdb #ccc4 ,chippendale ,candle-stand1 #agfj-aggj #cdc #ccd4 ,bronze ,mantel ,lamps1 #ahae-ahdj #cdd #cce4 ,brass ,gilt ,candelabra1 #ahbj-ahdj #cde #ccf4 ,hall ,lantern1 #agge-ahjj #cdf #ccg4 ,hall ,lantern1 #agge-ahjj #cdf #cch4 ,hall ,lantern1 #agfj #cdg ,looking-glass1 ,first ,quarter of ,eighteenth ,century #cdh #cci4 ,lantern or ,bird-cage ,clock1 ,first ,half of ,seventeenth ,century #cdi #cdj4 ,lantern ,clock1 about #afhj #cej #cda4 ,friesland ,clock1 ,seventeenth ,century #cej #cdb4 ,bracket ,clocks1 #aghj-ahjj #ceb #cdc4 ,walnut ,case and ,lacquered ,case ,clocks1 about #agch #ced #cdd4 ,gawen ,brown ,clock1 #agfe #cef #cde4 ,gawen ,brown ,clock1 #aghj #cef #cdf4 ,maple ,clock1 #aggj #ceg #cdg4 ,rittenhouse ,clock1 #aggj #ceg #cdh4 ,tall ,clock1 about #aggj #cei #cdi4 ,miniature ,clock and ,tall ,clock1 about #ahjj #cfj #cej4 ,tall ,clock1 #ahjj-ahaj #cfa #cea4 ,wall ,clocks1 #ahjj-ahbe #cfb #ceb4 ,willard ,clock1 #aghd #cfc #cec4 ,willard ,clocks1 #ahjj-ahae #cfd #ced4 ,hassam ,clock1 #ahjj #cff #cee4 8,banjo0 ,clock1 #ahjb-ahbj #cfg #cef4 ,presentation ,clock1 #ahje #cfh #ceg4 ,banjo ,clock or ,timepiece1 #ahjb-ahaj #cfh #ceh4 ,willard ,timepiece1 #ahjb-ahaj #cfi #cei4 ,lyre ,clock1 #ahaj-ahbj #cfi #cfj4 ,lyre-shaped ,clock1 #ahaj-ahbj #cgj #cfa4 ,eli ,terry ,shelf ,clocks1 #ahbd #cga #cfb4 ,french ,clock1 about #ahjj #cgb ,looking-glass1 ,first ,quarter of the ,eighteenth ,century #cgd #cfc4 ,looking-glass1 #afij #cge #cfd4 ,looking-glass1 #afij #cgf #cfe4 ,looking-glass1 about #agcj #cgh #cff4 ,pier ,glass in 8,chinese ,taste10 #agfj #chj #cfg4 ,looking-glass1 about #agfj #chb #cfh4 ,looking-glass1 #aggj-aghj #chc #cfi4 ,looking-glass1 #agbe-agej #chd #cgj4 ,looking-glass1 #aggj-aghj #chf #cga4 ,mantel ,glass1 #agbe-agej #chg #cgb4 ,looking-glass1 #aggj #chh #cgc4 ,looking-glass1 #aggj #chh #cgd4 ,looking-glass1 #aggf #chi #cge4 ,looking-glass1 #aghj #cij #cgf4 ,looking-glasses1 #agej-agij #cib #cgg4 ,looking-glass1 #agij #cic #cgh4 ,looking-glass1 #aghj #cic #cgi4 ,enamelled ,mirror ,knobs1 #aggj-agij #cid #chj4 ,girandole1 #aggj-aghj #cie #cha4 ,looking-glass1 ,adam ,style1 #aghj #cif #chb4 ,looking-glass1 #agij #cig #chc4 ,hepplewhite ,looking-glass1 #agij #cih #chd4 ,mantel ,glass1 #aghc #cii #che4 ,looking-glass1 #agij-ahjj #djj #chf4 8,bilboa ,glass10 #aggj-aghj #djb #chg4 ,mantel ,glass1 #agij #djc #chh4 ,mantel ,glass1 #ahjj-ahaj #djd #chi4 ,cheval ,glass1 #ahcj-ahdj #dje #cij4 ,looking-glass1 #ahaj-ahbe #djf #cia4 ,looking-glass1 #ahaj-ahae #djg #cib4 ,looking-glass1 #ahaj-ahbe #djh #cic4 ,pier ,glass1 #ahaj-ahbe #dji #cid4 ,looking-glass1 #ahaj-ahbe #daj ,looking-glass #daa #cie4 ,doorway and ,mantel1 ,cook-,oliver ,house #dac #cif4 ,doorway1 ,dalton ,house #dad #cig4 ,mantel1 ,dalton ,house #daf #cih4 ,mantel1 ,dalton ,house #dag #cii4 ,hall and ,stairs1 ,dalton ,house #dah #djj4 ,mantel1 ,penny-,hallett ,house #dai #dja4 ,doorway1 ,parker-,inches-,emery ,house #dbj #djb4 ,mantel1 ,lee ,mansion #dba #djc4 ,landing and ,stairs1 ,lee ,mansion #dbb #djd4 ,stairs1 ,harrison ,gray ,otis ,house #dbd #dje4 ,mantel1 ,harrison ,gray ,otis ,house #dbe #djf4 ,stairs1 ,robinson ,house #dbf #djg4 ,stairs1 ,allen ,house #dbg #djh4 ,balusters and ,newel1 ,oak ,hill #dbh #dji4 ,stairs1 ,sargent-,murray-,gilman ,house #dbi #daj4 ,mantel1 ,sargent-,murray-,gilman ,house #dcj #daa4 ,mantel1 ,kimball ,house #dca #dab4 ,mantel1 ,lindall-,barnard-,andrews ,house #dcb #dac4 ,doorway1 ,larkin-,richter ,house #dcc #dad4 ,doorway1 8,octagon0 #dcd #dae4 ,mantel1 8,octagon0 #dce #daf4 ,mantel1 ,schuyler ,house #dcf #dag4 ,mantel and ,doorways1 ,manor ,hall #dch #dah4 ,mantel and ,doorways1 ,manor ,hall #dci #dai4 ,mantel1 ,manor ,hall #ddj #dbj4 ,doorway1 ,independence ,hall #dda #dba4 ,stairs1 ,graeme ,park #ddb #dbb4 ,mantel and ,doorways1 ,graeme ,park #ddc #dbc4 ,doorway1 ,chase ,house #dde #dbd4 ,entrance and ,stairs1 ,cliveden #ddf #dbe4 ,mantel1 ,cliveden #ddg #dbf4 ,fretwork ,balustrade1 ,garrett ,house #ddh #dbg4 ,stairs1 ,valentine ,museum #ddi #dbh4 ,mantel1 ,myers ,house #dej ,,furniture ,,of ,,the ,,olden ,,time ,furniture of the ,olden ,time ,,introduction ,,the furniture of the ,american colonies was at first of ,english manufacture1 but before long cabinet-makers and joiners plied their trade in ,new ,england1 and much of the furniture now found there was made by the colonists4 ,in ,new ,amsterdam1 naturally1 a different style prevailed1 and the furniture was ,dutch4 ,as time went on and the first hardships were surmounted1 money became more plentiful1 until by the last half of the seventeenth century much fine furniture was imported from ,england and ,holland1 and from that time fashions in ,america were but a few months behind those in ,england4 ,in the earliest colonial times the houses were but sparsely furnished1 although ,dr4 ,holmes writes of leaving-- 8,the ,dutchman's shore1 ,with those that in the ,mayflower came1 a hundred souls or more1 ,along with all the furniture to fill their new abodes1 ,to judge by what is still on hand1 at least a hundred loads40 ,if one were to accept as authentic all the legends told of various pieces1--chairs1 tables1 desks1 spinets1 and even pianos1--,dr4 ,holmes's estimate would be too moderate4 ,the first seats in general use were forms or benches1 not more than one or two chairs belonging to each household4 ,the first tables were long boards placed upon trestles4 ,chests were found in almost every house1 and bedsteads1 of course1 were a necessity4 ,after the first chairs1 heavy and plain or turned1 with strong braces or stretchers between the legs1 came the leather-covered chairs of ,dutch origin1 sometimes called ,cromwell chairs1 followed by the ,flemish cane chairs and couches4 ,this takes us to the end of the seventeenth century4 ,during that period tables with turned legs fastened to the top had replaced the earliest 8table borde0 upon trestles1 and the well-known 8hundred legged0 or 8forty legged0 table had come into use4 ,cupboards during the seventeenth century were made of oak ornamented in designs similar to those upon oak chests4 ,sideboards with drawers were not used in this country until much later1 although there is one of an early period in the ,south ,kensington ,museum1 made of oak1 with turned legs1 and with drawers beneath the top4 ,desks were in use from the middle of the seventeenth century1 made first of oak and later of cherry and walnut4 ,looking-glasses were owned by the wealthy1 and clocks appear in inventories of the latter part of the century4 ,virginals were mentioned during the seventeenth century1 and spinets were not uncommon in the century following4 ,with the beginning of the eighteenth century came the strong influence of ,dutch fashions1 and chairs and tables were made with the ,dutch cabriole or bandy leg1 sometimes with the shell upon the knee1 and later with the claw-and-ball foot4 ,dutch high chests with turned legs had been in use before this1 and the high chest with bandy legs like the chairs and tables soon became a common piece of furniture4 ,with other ,dutch fashions came that of lacquering furniture with ,chinese designs1 and tables1 scrutoirs or desks1 looking-glass frames1 stands1 and high chests were ornamented in this manner4 ,the wood chiefly used in furniture was oak1 until about #afge1 when ,american black walnut came into use1 and chests of drawers1 tables1 and chairs were made of it2 it was the wood oftenest employed in veneer at that time4 ,sheraton wrote in #ahjc3 8,there are three species of walnut tree1 the ,english walnut1 and the white and black ,virginia4 ,hickory is reckoned to class with the white ,virginia walnut4 ,the black ,virginia was much in use for cabinet work about forty or fifty years since in ,england1 but is now quite laid by since the introduction of mahogany40 ,mahogany was discovered by ,sir ,walter ,raleigh in #aeie4 ,the first mention of its use in this country is in #agjh4 ,mr4 ,g4 ,t4 ,robinson1 in the ,london ,art ,journal of #ahha1 says that its first use in ,england was in #agbj1 when some planks of it were brought to ,dr4 ,gibbon by a ,west ,india captain4 ,the wood was pronounced too hard1 and it was not until ,mrs4 ,gibbon wanted a candle-box that any use was made of the planks1 and then only because the obstinate doctor insisted upon it4 ,when the candle-box was finished1 a bureau 7i4e4 desk7 was made of the wood1 which was greatly admired1 and as ,mr4 ,robinson says1 8,dr4 ,gibbon's obstinacy and ,mrs4 ,gibbon's candle-box revolutionized ,english household furniture2 for the system of construction and character of design were both altered by its introduction40 ,it is probable that furniture had been made in ,england of mahogany previous to #agbj1 but that may be the date when it became fashionable4 ,the best mahogany came from ,santiago1 ,mexican mahogany being soft1 and ,honduras mahogany coarse-grained4 ,the earliest ,english illustrated book which included designs for furniture was published by ,william ,jones in #agci4 ,chippendale's first book of designs was issued in #aged4 ,he was followed by ,ince and ,mayhew1 whose book was undated2 ,thomas ,johnson--#ageh2 ,sir ,william ,chambers--#agfj2 ,society of ,upholsterers--about #agfj2 ,matthias ,lock--#agfe2 ,robert ,manwaring--#agff2 ,matthias ,darly--#aggc2 ,robert and ,j4 ,adam--#aggc2 ,thomas ,shearer 7in 8,the ,cabinet-makers' ,london ,book of ,prices07--#aghh2 ,a4 ,hepplewhite ,co4--#aghi2 ,thomas ,sheraton--#agia-agic and #ahjc4 ,sir ,william ,chambers in his early youth made a voyage to ,china1 and it is to his influence that we can attribute much of the rage for ,chinese furniture and decoration which was in force about #agfj to #aggj4 ,thomas ,chippendale lived and had his shop in ,st4 ,martin's ,lane1 ,london4 ,beyond that we know but little of his life4 ,his book1 8,the ,gentleman's and ,cabinet-,maker's ,director10 was published in #aged1 at a cost of #c4ac4f per copy4 ,the second edition followed in #agei1 and the third in #agfb4 ,it contains one hundred and sixty copper plates1 the first twenty pages of which are taken up with designs for chairs1 and it is largely as a chair-maker that ,chippendale's name has become famous4 ,his furniture combines ,french1 ,gothic1 ,dutch1 and ,chinese styles1 but so great was his genius that the effect is thoroughly harmonious1 while he exercised the greatest care in the construction of his furniture--especially chairs4 ,he was beyond everything a carver1 and his designs show a wealth of delicate carving4 ,he used no inlay or painting1 as others had done before him1 and as others did after him1 and only occasionally did he employ gilding1 lacquer1 or brass ornamentation4 ,robert and ,james ,adam were architects1 trained in the classics4 ,their furniture was distinctly classical1 and was designed for rooms in the ,greek or ,roman style4 ,noted painters assisted them in decorating the rooms and the furniture1 and ,pergolesi1 ,angelica ,kaufmann1 and ,cipriani did not scorn to paint designs upon satinwood furniture4 ,matthias ,lock and ,thomas ,johnson were notable as designers of frames for pier glasses1 ovals1 girandoles1 etc4 ,thomas ,shearer's name was signed to the best designs of those published in #aghh in 8,the ,cabinet-,makers' ,book of ,prices40 ,his drawings comprise tables of various sorts1 dressing-chests1 writing-desks1 and sideboards1 but there is not one chair among them4 ,he was the first to design the form of sideboard with which we are familiar4 ,as ,chippendale's name is used to designate the furniture of #agej-aghj1 so the furniture of the succeeding period may be called ,hepplewhite2 for although he was one of several cabinet-makers who worked together1 his is the best-known name1 and his was probably the most original genius4 ,his chairs bear no resemblance to those of ,chippendale1 and are lighter and more graceful2 but because of the attention he paid to those qualifications1 strength of construction and durability were neglected4 ,his chair-backs have no support beside the posts which extend up from the back legs1 and upon these the shield or heart-shaped back rests in such a manner that it could endure but little strain4 ,hepplewhite's sideboards were admirable in form and decoration1 and it is from them and his chairs that his name is familiar in this country4 ,his swell or serpentine front bureaus were copied in great numbers here4 ,his specialty was the inlaying or painting with which his furniture was enriched4 ,satinwood had been introduced from ,india shortly before this1 and tables1 chairs1 sideboards1 and bureaus were inlaid with this wood upon mahogany1 while small pieces were veneered entirely with it4 ,the same artists who assisted the ,adam brothers painted medallions1 wreaths of flowers or arabesque work upon ,hepplewhite's satinwood furniture4 ,not much of this painted furniture came to this country1 but the fashion was followed by our ancestresses1 who were taught1 among other accomplishments1 to paint flowers and figures upon light wood furniture1 tables and screens being the pieces usually chosen for decoration4 ,thomas ,sheraton published in #agia and #agic1 8,the ,cabinet-,maker and ,upholsterer's ,drawing ,book02 in #ahjc1 his 8,cabinet ,dictionary02 in #ahjd1 8,designs for ,household ,furniture10 and 8,the ,cabinet-,maker1 ,upholsterer1 and ,general ,artist's ,encyclopedia10 which was left unfinished in #ahjg4 8,the ,cabinet-,maker and ,upholsterer's ,drawing ,book0 is largely taken up with drawings and remarks upon perspective1 which are hopelessly unintelligible4 ,his instructions for making the pieces designed are most minute1 and it is probably due to this circumstantial care that ,sheraton's furniture1 light as it looks1 has lasted in good condition for a hundred years or more4 ,sheraton's chairs differ from ,hepplewhite's1 which they resemble in many respects1 in the construction of the backs1 which are usually square1 with the back legs extending to the top rail1 and the lower rail joining the posts a few inches above the seat4 ,the backs were ornamented with carving1 inlaying1 painting1 gilding1 and brass4 ,the lyre was a favorite design1 and it appears in his chair-backs and in the supports for tables1 often with the strings made of brass wire4 ,sheraton's sideboards are similar to those of ,shearer and ,hepplewhite1 but are constructed with more attention to the utilitarian side1 with sundry conveniences1 and with the fluted legs which ,sheraton generally uses4 ,his designs show sideboards also with ornamental brass rails at the back1 holding candelabra4 ,his desks and writing-tables are carefully and minutely described1 so that the manifold combinations and contrivances can be accurately made4 ,sheraton's later furniture was heavy and generally ugly1 following the ,empire fashions1 and his fame rests upon the designs in his first book4 ,he was the last of the great ,english cabinet-makers1 although he had many followers in ,england and in ,america4 ,after the early years of the nineteenth century1 the fashionable furniture was in the heavy1 clumsy styles which were introduced with the ,empire1 until the period of ugly black walnut furniture which is familiar to us all4 ,while there have always been a few who collected antique furniture1 the general taste for collecting began with the interest kindled by the ,centennial ,exposition in #ahgf4 ,not many years ago the collector of old furniture and china was jeered at1 and one who would1 even twenty years since1 buy an old 8high-boy0 rather than a new black walnut chiffonier1 was looked upon as 8queer40 ,all that is now changed4 ,the chiffonier is banished for the high-boy1 when the belated collector can secure one1 and the influence of antique furniture may be seen in the immense quantity of new furniture modelled after the antique designs1 but not made1 alas1 with the care and thought for durability which were bestowed upon furniture by the old cabinet-makers4 ,heaton says3 8,it appears to require about a century for the wheel of fashion to make one complete revolution4 ,what our great-grandfather bought and valued 7#agej-agij72 what our grandfathers despised and neglected 7#agij-ahbj72 what our fathers utterly forgot 7#ahbj-ahej71 we value1 restore1 and copy60 ,since the publication of this book in #aijb1 many old houses in this country have been restored by different societies interested in the preservation of antiquities4 ,these historic houses have been carefully and suitably furnished1 thus carrying out what should be our patriotic duty1 the gathering and preserving of everything connected with our history and life4 ,thus much furniture has been rescued1 not only from unmerited oblivion1 but from probable destruction4 ,,chapter ,i ,,chests1 ,,chests ,,of ,,drawers1 ,,and ,,dressing-,,tables ,illustration ,,the chest was a most important piece of furniture in households of the sixteenth and seventeenth centuries4 ,it served as table1 seat1 or trunk1 besides its accepted purpose to hold valuables of various kinds4 ,chests are mentioned in the earliest colonial inventories4 ,ship chests1 board chests1 joined chests1 wainscot chests with drawers1 and carved chests are some of the entries2 but the larger portion are inventoried simply as chests4 ,all woodwork--chests1 stools1 or tables--which was framed together1 chiefly with mortise and tenon1 was called joined1 and joined chests and wainscot chests were probably terms applied to panelled chests to distinguish them from those of plain boards1 which were common in every household1 and which were brought to this country on the ships with the colonists1 holding their scanty possessions4 ,the oldest carved chests were made without drawers beneath1 and were carved in low relief in designs which appear upon other pieces of oak furniture of the same period4 ,illustration3 ,illus4 #a4--,oak ,chest1 about #afej4 ,illustration #a shows a chest now in ,memorial ,hall1 at ,deerfield1 which was taken from the house where the ,indians made their famous attack in #agjd4 ,the top of the chest is missing1 and the feet1 which were continuations of the stiles1 are worn away or sawed off4 ,the design and execution of the carving are unusually fine1 combining several different patterns1 all of an early date4 ,chests were carved in the arch design with three or four panels1 but seldom as elaborately as this1 which was probably made before #afej4 ,illustration #b shows a remarkable chest now owned by ,mrs4 ,caroline ,foote ,marsh of ,claremont-on-the-,james1 ,virginia4 ,until recently it has remained in the family of ,d',olney ,stuart1 whose ancestor1 of the same name1 was said to be of the royal ,stuart blood1 and who brought it with him when he fled to ,virginia after the beheading of ,charles ,i4 ,the feet have been recently added1 and should be large balls2 otherwise the chest is original in every respect4 ,it is made entirely of olive-wood1 the body being constructed of eight-inch planks4 ,the decoration is produced with carving and burnt work4 ,upon the inside of the lid are three panels1 the centre one containing a portrait in burnt work of ,james ,i4 with his little dog by his side4 ,the two side panels portray the ,judgment of ,solomon1 the figures being clad in ,english costumes2 in the left panel the two kneeling women claim the child2 in the right the child is held up for the executioner to carry out ,solomon's command to cut it in two4 ,the outside of the lid has the ,stuart coat of arms burnt upon it4 ,upon the front of the chest are four knights1 and between them are three panels1 surrounded by a moulding1 which is now missing around the middle panel4 ,these three panels are carved and burnt with views of castles2 and around the lock1 above the middle panel1 are carved the ,british lions supporting the royal coat of arms4 ,the chest measures six feet in length and is twenty-four inches high4 ,chests with drawers are mentioned as early as #afej1 and the greater number of chests found in ,new ,england have one or two drawers4 ,illustration3 ,illus4 #b4--,olive-wood ,chest1 #afcj-afej4 ,illustration #c shows a chest with one drawer owned by the ,connecticut ,historical ,society1 made about #affj4 ,there is no carving upon this chest1 which is panelled and ornamented with turned spindles and drops4 ,the stiles are continued below the chest to form the feet4 ,illustration3 ,illus4 #c4--,panelled ,chest with ,one ,drawer1 about #affj4 ,a chest with two drawers is shown in ,illustration #d1 made probably in ,connecticut1 as about fifty of this style have been found there1 chiefly in ,hartford ,county4 ,the top1 back1 and bottom are of pine1 the other portions of the chest being of ,american oak4 ,the design of the carving is similar upon all these chests1 and the turned drop ornament upon the stiles1 and the little egg-shaped pieces upon the drawers1 appear upon all4 ,they have been found with one or two drawers or none1 but usually with two4 ,this chest is in ,memorial ,hall1 at ,deerfield4 ,a chest with two drawers owned by ,charles ,r4 ,waters1 ,esq41 of ,salem1 is shown in ,illustration #e4 ,the mouldings upon the front of the frame are carved in a simple design4 ,the wood in the centre of the panels is stained a dark color1 the spindles and mouldings being of oak like the rest of the chest4 ,illustration3 ,illus4 #d4--,oak ,chest with ,two ,drawers1 about #afge4 ,a number of chests carved in a manner not seen elsewhere have been found in and about ,hadley1 ,massachusetts1 and this has given them the name of ,hadley chests4 ,the carving in all is similar1 upon the front only1 the ends being panelled1 and all have three panels above the drawers1 with initials carved in the middle panel4 ,the other two panels have a conventionalized tulip design1 which is carved upon the rest of the front1 in low relief4 ,the carving is usually stained while the background is left the natural color of the wood4 ,illustration #f shows a ,hadley chest with one drawer owned by ,dwight ,m4 ,prouty1 ,esq41 of ,boston4 ,illustration3 ,illus4 #e4--,panelled ,chest with ,two ,drawers1 about #afge4 ,carved chests with three drawers are rarely found in any design1 although the plain board chests were made with that number4 ,illustration #g and ,illustration #h show chests mounted upon frames4 ,illustration #h stands thirty-two inches high and is thirty inches wide1 and is made of oak1 with one drawer4 ,it is in the collection of ,charles ,r4 ,waters1 ,esq41 of ,salem4 ,illustration #g is slightly taller1 with one drawer4 ,this chest is in the collection of the late ,major ,ben3 ,perley ,poore1 at ,indian ,hill4 ,such chests upon frames are rarely found1 and by some they are supposed to have been made for use as desks2 but it seems more probable that they were simple chests for linen1 taking the place of the high chest of drawers which was gradually coming into fashion during the latter half of the seventeenth century1 and possibly being its forerunner4 ,chests continued in manufacture and in use until after #agjj1 but they were probably not made later than #agbj in any numbers1 as several years previous to that date they were inventoried as 8old10 a word which was as condemnatory in those years as now1 as far as the fashions were concerned4 ,illustration3 ,illus4 #f4--;,carved ,chest with ,one ,drawer1 about #agjj4 ,chests of drawers appear in inventories about #afde4 ,they were usually made of oak and were similar in design to the chests of that period4 ,the oak chest of drawers in ,illustration #i is owned by ,e4 ,r4 ,lemon1 ,esq41 of the ,wayside ,inn1 ,sudbury4 ,it has four drawers1 and the decoration is simply panelling4 ,the feet are the large balls which were used upon chests finished with a deep moulding at the lower edge4 ,the drop handles are of an unusual design1 the drop being of bell-flower shape4 ,this chest of drawers was found in ,malden4 ,illustration3 ,illus4 #g and ,illus4 #h--,panelled ,chests upon ,frames1 #afgj-agjj4 ,illustration #aj shows a very fine oak chest of four drawers1 owned by ,dwight ,m4 ,prouty1 ,esq41 of ,boston4 ,the spindles upon this chest are unusually good1 especially the large spindles upon the stiles4 ,there is a band of simple carving between the drawers4 ,the ends are panelled and the handles are wooden knobs4 ,illustration3 ,illus4 #i4--,panelled ,chest of ,drawers1 about #afhj4 ,from the time that high chests of drawers were introduced1 during the last part of the seventeenth century1 the use of oak in furniture gradually ceased1 and its place was taken by walnut or cherry1 and later by mahogany4 ,with the disuse of oak came a change in the style of chests1 which were no longer made in the massive panelled designs of earlier years4 ,the moulding around the drawers is somewhat of a guide to the age of a piece of furniture4 ,the earliest moulding was large and single1 upon the frame around the drawers4 ,the next moulding consisted of two strips1 forming a double moulding4 ,these strips were in some cases separated by a plain band about half an inch in width4 ,illustration3 ,illus4 #aj4--,panelled ,chest of ,drawers1 about #afhj4 ,later still1 upon block front pieces a small single moulding bordered the frame around the drawers1 while upon ,hepplewhite and ,sheraton furniture the moulding was upon the drawer itself4 ,early in the eighteenth century1 about #agbj1 high chests were made with no moulding about the drawers1 the edges of which lapped over the frame4 ,illustration3 ,illustration #aa4 ,another guide to the age of a piece of furniture made with drawers is found in the brass handles1 which are shown in ,illustration #aa in the different styles in use from #afge4 ,the handle and escutcheon lettered ,a1 called a 8drop handle10 was used upon six-legged high chests1 and sometimes upon chests4 ,the drop may be solid or hollowed out in the back4 ,the shape of the plate and escutcheon varies1 being round1 diamond1 or shield shaped1 cut in curves or points upon the edges1 and generally stamped4 ,it is fastened to the drawer front by a looped wire1 the ends of which pass through a hole in the wood and are bent in the inside of the drawer4 ,a handle and escutcheon of the next style are lettered ,b4 ,they are found upon six-legged and early bandy-legged high chests4 ,the plate of the handle is of a type somewhat earlier than the escutcheon4 ,both are stamped1 and the bail of the handle is fastened with looped wires4 ,illustration3 ,illus4 #ab4--,six-legged ,high ,chest of ,drawers1 #agje-agae4 ,letter ,c shows the earliest styles of handles with the bail fastened into bolts which screw into the drawer4 ,letters ,d1 ,e1 and ,f give the succeeding styles of brass handles1 the design growing more elaborate and increasing in size4 ,these are found upon desks1 chests of drawers1 commodes1 and other pieces of furniture of the ,chippendale period4 ,the earliest form of high chest of drawers had six turned legs1 four in front and two in the back1 with stretchers between the legs1 and was of ,dutch origin1 as well as the high chest with bandy or cabriole legs1 which was some years later in date4 ,six-legged chests were made during the last quarter of the seventeenth century1 and were usually of walnut1 either solid or veneered upon pine or whitewood2 other woods were rarely employed4 ,illustration3 ,illus4 #ac4--,walnut ,dressing-table1 about #agjj4 ,the earliest six-legged chests were made with the single moulding upon the frame about the drawers1 and with two drawers at the top1 which was always flat1 as the broken arch did not appear in furniture until about #agcj4 ,the lower part had but one long drawer1 and the curves of the lower edge were in a single arch4 ,the six-legged high chest of drawers in ,illustration #ab belongs to ,f4 ,a4 ,robart1 ,esq41 of ,boston4 ,it is veneered with the walnut burl and is not of the earliest type of the six-legged chest1 but was made about #agje-agae4 ,the handles are the drop handles shown in letter ,a1 and the moulding upon the frame around the drawers is double4 ,there is a shallow drawer in the heavy cornice at the top1 and the lower part contains three drawers4 ,dressing-tables were made to go with these chests of drawers1 but with four instead of six legs4 ,their tops were usually veneered1 and they were1 like the high chests1 finished with a small beading around the curves of the lower edge4 ,the dressing-table in ,illustration #ac also belongs to ,mr4 ,robart1 and shows the style in which that piece of furniture was made4 ,the names 8high-boy0 and 8low-boy0 or 8high-daddy0 and 8low-daddy0 are not mentioned in old records and were probably suggested by the appearance of the chests mounted upon their high legs4 ,illustration3 ,illus4 #ad4--;,dressing-table1 #agbj4 ,high chests1 both six-legged and bandy-legged1 with their dressing-tables were sometimes decorated with the lacquering which was so fashionable during the first part of the eighteenth century4 ,illustration #ad shows a dressing-table or low-boy from the ,bolles collection in the ,metropolitan ,museum of ,art4 ,it is covered with japanning1 in ,chinese designs4 ,this dressing-table is the companion to a lacquered high-boy1 with a flat top1 in the ,bolles collection4 ,the handle is like letter ,c1 in ,illustration #aa4 ,that and the moulding around the drawers place its date about #agbj4 ,coming originally from the ,orient1 japanned furniture became fashionable1 and consequently the process of lacquering or japanning was practised by cabinet-makers in ,france and ,england about #agjj1 and soon after in this country4 ,the earliest high chests with cabriole or bandy legs are flat-topped1 and have two short drawers1 like the six-legged chests1 at the top4 ,they are made of walnut1 or of pine veneered with walnut4 ,the curves at the lower edge are similar to those upon six-legged chests and are occasionally finished with a small bead-moulding4 ,illustration3 ,illus4 #ae4--;,cabriole-legged ,high ,chest of ,drawers with ,china ,steps1 about #agbj4 ,the bandy-legged high-boy in ,illustration #ae is owned by ,dwight ,blaney1 ,esq4 ,it is veneered with walnut and has a line of whitewood inlaid around each drawer4 ,the moulding upon the frame surrounding the drawers is the separated double moulding1 and the handles are of the early stamped type shown in ,illustration #aa1 letter ,b4 ,the arrangement of drawers in both lower and upper parts is the same as in six-legged chests4 ,a reminder of the fifth and sixth legs is left in the turned drops between the curves of the lower edge4 ,steps to display china or earthenware were in use during the second quarter of the eighteenth century4 ,they were generally movable pieces1 made like the steps in ,illustration #ae1 in two or three tiers1 the lower tier smaller than the top of the high chest1 forming with the chest-top a set of graduated shelves upon the front and sides4 ,the broken arch1 which had been used in chimney pieces during the seventeenth century1 made its appearance upon furniture in the early years of the eighteenth century1 and the handsomest chests were made with the broken arch top4 ,a lacquered or japanned high-boy in the ,bolles collection1 owned by the ,metropolitan ,museum of ,art1 is shown in ,illustration #af4 ,it is of later date than the lacquered dressing-table in ,illustration #ad1 having the broken arch4 ,the lacquering is inferior in design to that upon the dressing-table1 and at the top is a scroll design following the outline of the top drawers and the moulding of the broken arch4 ,illustration3 ,illus4 #af4--,lacquered ,high-boy1 #agcj4 ,a large and a small fan are lacquered upon the lower middle drawer1 and on the upper one is a funny little pagoda top1 with a small fan1 both in lacquer4 ,the handles are of an early type1 and the moulding around the drawers is a double separated one4 ,such japanned pieces are rare and of great value4 ,a fine high chest is shown in ,illustration #ag1 from the ,warner house in ,portsmouth4 ,it is of walnut and is inlaid around each drawer4 ,the upper middle drawer is inlaid in a design of pillars with the rising sun between them1 and below the sun are inlaid the initials ,j4 ,s4 and the date #agcc4 ,illustration3 ,illus4 #ag4--;,inlaid ,walnut ,high ,chest of ,drawers1 #agcc4 ,the lower drawer has a star inlaid between the pillars1 and a star is inlaid upon each end of the case4 ,the knobs at the top are inlaid with the star1 and the middle knob ends in a carved flame4 ,j4 ,s4 was ,john ,sherburne1 whose son married the daughter of ,colonel ,warner4 ,the legs of this chest were ruthlessly sawed off many years ago1 in order that it might stand in a low-ceilinged room1 and it is only in comparatively recent years that it has belonged to the branch of the family now owning the ,warner house4 ,a double moulding runs upon the frame around the drawers1 and the original handles were probably small1 of the type in ,illustration #aa1 letter ,c4 ,illustration3 ,illus4 #ah4--;,inlaid ,walnut ,high ,chest of ,drawers1 about #agfj4 ,a walnut high chest of a somewhat later type is shown in ,illustration #ah1 belonging to ,mrs4 ,rufus ,woodward of ,worcester4 ,it is of walnut veneered upon pine1 and the shells upon the upper and lower middle drawers are gilded1 for they are1 of course1 carved from the pine beneath the veneer4 ,the frame has the separated double moulding around the drawers4 ,a row of light inlaying extends around each drawer1 and in the three long drawers of the upper part the inlaying simulates the division into two drawers1 which is carried out in the top drawers of both the upper and lower parts4 ,the large handles and the fluted columns at the sides would indicate that this chest was made about #agfj-aggj4 ,illustration #ai shows a 8high-boy0 and 8low-boy0 of walnut1 owned by the writer4 ,the drawers1 it will be seen1 lap over the frame4 ,the 8high-boy0 is original in every respect except the ring handles1 which are new1 upon the drawers carved with the rising sun or fan design4 ,it was found in the attic of an old house1 with the top separate from the lower part and every drawer out upon the floor1 filled with seeds1 rags1 and--kittens1 who1 terrified by the invasion of the antique hunter1 scurried from their resting-places1 to the number of nine or ten1 reminding one of ,lowell's lines in the 8,biglow ,papers03-- 8,but the old chest won't sarve her gran'son's wife1 7,for 'thout new furnitoor what good in life87 ,an' so old claw foot1 from the precinks dread ,o' the spare chamber1 slinks into the shed1 ,where1 dim with dust1 it fust and last subsides ,to holdin' seeds an' fifty other things besides40 ,illustration3 ,illus4 #ai4--8,low-boy0 and 8,high-boy0 of ,walnut1 about #agdj4 ,but carefully wrapped up and tucked away in one of the small drawers were the torches for the upper and the acorn-shaped drops for the lower part4 ,these drops were used as long as the curves followed those of the lower part of six-legged chests1 but were omitted when more graceful curves and lines were used1 as the design of high chests gradually differed from the early types4 ,illustration3 ,illus4 #bj4--,walnut ,double ,chest1 about #agfj4 ,the 8low-boy10 or dressing-table1 was made to accompany every style of high chest4 ,the low-boy in ,illustration #ai shows the dressing-table which was probably used in the room with the bandy-legged high-boy1 flat-topped or with the broken arch cornice4 ,it is lower than the under part of the high-boy1 which is1 however1 frequently supplied with a board top and sold as a low-boy1 but which can be easily detected from its height and general appearance4 ,the measurements of this high-boy and low-boy are ,,high-,,boy1 lower part ,,low-,,boy #c feet high #b feet #d inches high #c feet #a inches long #b feet #f inches long #ba inches deep #ah inches deep ,the high-boy measures seven feet from the floor to the top of the cornice4 ,high chests and dressing-tables were made of maple1 often very beautifully marked1 in the same style as the chests of walnut and cherry4 ,the high chest was sometimes made with the drawers extending nearly to the floor1 and mounted upon bracket1 ogee1 or claw-and-ball feet4 ,this was called a double chest1 or chest-upon-chest4 ,the double chest in ,illustration #bj is in the ,warner house at ,portsmouth4 ,it is of ,english walnut1 and the lower part is constructed with a recessed cupboard like the writing-table in ,illustration #ajf4 ,the handles upon this chest are very massive1 and upon the ends of both the upper and lower parts are still larger handles with which to lift the heavy chest4 ,illustration3 ,illus4 #ba4--,mahogany ,double ,chest1 #agfe4 ,a double chest which was probably made in ,newport1 ,rhode ,island1 about #agfj-aggj1 is shown in ,illustration #ba4 ,the lower part is blocked and is carved in the same beautiful shells as ,illustration #ca and ,illustration #ajf4 ,this double chest was made for ,john ,brown of ,providence1 the leader of the party who captured the ,gaspee in #aggb1 and one of the four famous ,brown brothers1 whose name is perpetuated in ,brown ,university4 ,this chest is now owned by a descendant of ,john ,brown1 ,john ,brown ,francis ,herreshoff1 ,esq41 of ,new ,york4 ,illustration3 ,illus4 #bb4--;,block-front ,dressing-table1 about #agej4 ,a low-boy of unusual design1 in the ,warner house1 is shown in ,illustration #bb4 ,the front is blocked1 with a double moulding upon the frame around the drawers4 ,the bill of lading in ,illustration #aji specified a dressing-table1 brought from ,england to this house in #agaf1 but so early a date cannot be assigned to this piece1 although it is undoubtedly ,english1 like the double chair in ,illustration #bab1 which has similar feet1 for such lions' feet are almost never found upon furniture made in this country4 ,illustration3 ,illus4 #bc4--;,dressing-table1 about #agfj4 ,the shape of the cabriole leg is poor1 the curves being too abrupt1 but the general effect of the low-boy is very rich4 ,the handles are the original ones1 and they with the fluted columns and blocked front determine the date of the dressing-table to be about #age,o4 ,the low-boy in ,illustration #bc is probably of slightly later date4 ,it has the separated double moulding upon the frame around the drawers1 and the curves of the lower part are like the early high chests1 but the carving upon the cabriole legs1 and the fluted columns at the corners1 like those in ,chippendale's designs1 indicate that it was made after #agej4 ,upon the top are two pewter lamps1 one with glass lenses to intensify the light2 a smoker's tongs1 and a pipe-case of mahogany1 with a little drawer in it to hold the tobacco4 ,this dressing-table is owned by ,walter ,hosmer1 ,esq4 ,illustration3 ,illus4 #bd4--;,chest of ,drawers1 #agdj4 ,the little chest of drawers in ,illustration #bd belongs to ,daniel ,gilman1 ,esq41 of ,exeter1 ,new ,hampshire1 and was inherited by him4 ,it is evidently adapted from the high-boy1 in order to make a smaller and lower piece1 and it is about the size of a small bureau4 ,the upper part is separate from the lower part1 and is set into a moulding1 just as the upper part of a high-boy sets into the lower4 ,the handles and the moulding around the drawers are of the same period as the ones upon the chest in ,illustration #bj4 ,illustration3 ,illus4 #be4--;,high ,chest of ,drawers1 about #agfe4 ,the furniture made in and around ,philadelphia was much more elaborately carved and richly ornamented than that of cabinet-makers further north1 and the finest tables1 high-boys1 and low-boys that are found were probably made there4 ,they have large handles1 like letter ,f1 in ,illustration #aa1 and finely carved applied scrolls4 ,the richest and most elaborate style attained in such pieces of furniture is shown in the high chest in ,illustration #be1 which is one of the finest high chests known4 ,the proportions are perfect1 and the carving is all well executed4 ,this chest was at one time in the ,pendleton collection1 and is now owned by ,harry ,harkness ,flagler1 ,esq41 of ,millbrook1 ,new ,york4 ,illustration3 ,illus4 #bf4--;,dressing-table and ,looking-glass1 about #aggj4 ,such a chest as this was in ,nathaniel ,hawthorne's mind when he wrote3 8,after all1 the moderns have invented nothing better in chamber furniture than those chests which stand on four slender legs1 and send an absolute tower of mahogany to the ceiling1 the whole terminating in a fantastically carved summit40 ,the dressing-table and looking-glass in ,illustration #bf are also owned by ,mr4 ,flagler4 ,the looking-glass is described upon page #che4 ,the dressing-table is a beautiful and dainty piece of furniture of the same high standard as the chest last described4 ,the carving upon the cabriole legs is unusually elaborate and well done4 ,it will be noticed that the lower edge of these pieces is no longer finished in the simple manner of the earlier high-boys and low-boys1 but is cut in curves1 which vary with each piece of furniture4 ,in ,illustration #cfe upon page #cgh is a low-boy of walnut1 owned by the writer1 of unusually graceful proportions1 the carved legs being extremely slender4 ,the shell upon this low-boy is carved in the frame below the middle drawer instead of upon it1 as is usual4 ,the dressing-table in ,illustration #bg also belongs to the writer4 ,it is of walnut1 like the majority of similar pieces1 and is finely carved but is not so graceful as ,illustration #cfe4 ,the handles are the original ones and are very large and handsome4 ,high chests and the accompanying dressing-tables continued in use until the later years of the eighteenth century4 ,illustration3 ,illus4 #bg4--,walnut ,dressing-table1 about #aggj4 ,hepplewhite's book1 published in #aghi1 contains designs for chests of drawers1 extending nearly to the floor1 with bracket feet1 one having fluted columns at the corners1 and an urn with garlands above the flat top4 ,it is probable1 however1 that high chests of drawers were not made in any number after #agij4 ,,chapter ,,ii ,,bureaus ,,and ,,washstands ,illustration ,,the word 8bureau0 is now used to designate low chests of drawers4 ,chippendale called such pieces 8commode tables0 or 8commode bureau tables40 ,as desks with slanting lids for a long period during the eighteenth century were called 8bureaus0 or 8bureau desks10 the probability is that chests of drawers which resembled desks in the construction of the lower part went by the name of 8bureau tables0 because of the flat table-top4 ,hepplewhite called such pieces 8commodes0 or 8chests of drawers40 ,as the general name by which they are now known is 8bureau10 it has seemed simpler to call them so in this chapter4 ,bureaus were made of mahogany1 birch1 or cherry1 and occasionally of maple1 while a few have been found of rosewood4 ,walnut was not used in serpentine or swell front bureaus1 although walnut chests of drawers are not uncommon1 which look like the top part of a high chest1 with bracket feet1 and handles of an early design2 and so far as the writer's observation goes1 few bureaus with three or four drawers were made of walnut4 ,illustration3 ,illus4 #bh4--;,block-front ,bureau1 about #aggj4 ,the wood usually employed in the finest bureaus is mahogany1 and the earliest ones are small1 with the serpentine1 block1 or straight front1 and with the top considerably larger than the body1 projecting nearly an inch and a half over the front and sides1 the edge shaped like the drawer fronts4 ,the early handles are large and like letter ,e in ,illustration #aa4 ,the block front is1 like the serpentine or yoke front1 carved from one thick board4 ,it is found more frequently in this country than in ,england4 ,the block-front bureau in ,illustration #bh is owned by ,dwight ,m4 ,prouty1 ,esq41 of ,boston1 and is a very good example1 with the original handles4 ,illustration3 ,illus4 #bi4--;,block-front ,bureau1 about #aggj4 ,the small bureau in ,illustration #bi is in the ,warner house in ,portsmouth4 ,it is of mahogany1 with an unusual form of block front1 the blocking being rounded4 ,the shape of the board top corresponds to the curves upon the front of the drawers4 ,the handles are large1 and upon each end is a massive handle to lift the bureau by4 ,illustration #cj shows a block-front bureau owned by the writer4 ,chippendale gives a design of a bureau similar to this1 with three drawers upon rather high legs1 under the name of 8commode table40 ,illustration3 ,illus4 #ca4--,kettle-shaped ,bureau1 about #aggj4 ,the height of the legs brings the level of the bureau top about the same as one with four drawers4 ,one handle and one escutcheon were remaining upon this bureau1 and the others were cast from them4 ,the block front with its unusually fine shells would indicate that this piece1 which came from ,colchester1 ,connecticut1 was made by the same ,newport cabinet-maker as the writing-table in ,illustration #ajf1 and the double chest in ,illustration #ba1 which were made about #agfe4 ,the looking-glass in the illustration is described upon page #daj4 ,illustration3 ,illus4 #cj4--;,block-front ,bureau1 about #aggj4 ,illustration #ca shows a mahogany bureau of the style known as 8kettle0 shape1 owned by ,charles ,r4 ,waters1 ,esq41 of ,salem4 ,desks and secretaries were occasionally made with the lower part in this style1 and many modern pieces of ,dutch marqueterie with kettle fronts are sold as antiques4 ,but little marqueterie furniture was brought to this country in old times1 and even among the descendants of ,dutch families in ,new ,york ,state it is almost impossible to find any genuine old pieces of ,dutch marqueterie4 ,illustration3 ,illus4 #cb4--,serpentine-front ,bureau1 about #aggj4 ,a bureau with serpentine front is shown in ,illustration #cb4 ,it is made in two sections1 the upper part with four drawers being set into the moulding around the base in the same manner as the top part of a high-boy sets into the lower part4 ,the bureau is owned by ,charles ,sibley1 ,esq41 of ,worcester4 ,the bureaus described so far all have the small single moulding upon the frame around the drawer4 ,from the time when the designs of ,shearer and ,hepplewhite became fashionable1 bureaus were made with a fine bead moulding upon the edge of the drawer itself or without any moulding4 ,the serpentine-front bureau in ,illustration #cc belongs to ,mrs4 ,johnson-,hudson of ,stratford1 ,connecticut4 ,the corners are cut off so as to form the effect of a narrow pillar1 which is1 like the drawers and the bracket feet1 inlaid with fine lines of holly4 ,the bracket feet and the handles would indicate that this bureau was made before #aghi4 ,illustration3 ,illus4 #cc4--,serpentine-front ,bureau1 about #aghe4 ,a bureau of the finest ,hepplewhite type is shown in ,illustration #cd1 owned by ,mrs4 ,charles ,h4 ,carroll of ,worcester4 ,the base has the ,french foot which was so much used by ,hepplewhite1 which is entirely different from ,chippendale's ,french foot4 ,the curves of the lower edge1 which are outlined with a line of holly1 are unusually graceful2 the knobs are brass4 ,illustration3 ,illus4 #cd4--,swell-front ,inlaid ,bureau1 about #agie4 ,illustration #ce shows the styles of handles chiefly found upon pieces of furniture with drawers1 after #aggj4 ,a is a handle which was used during the last years of the ,chippendale period1 and the first years of the ,hepplewhite4 ,b and ,c are the oval pressed brass handles found upon ,hepplewhite furniture4 ,they were made round as well as oval1 and were in various designs2 the eagle with thirteen stars1 a serpent1 a beehive1 a spray of flowers1 or heads of historic personages--,washington and ,jefferson being the favorites4 ,illustration3 ,illustration #ce4 ,d is the rosette and ring handle1 of which ,e shows an elaborate form4 ,these handles were used upon ,sheraton pieces and also upon the heavy veneered mahogany furniture made during the first quarter of the nineteenth century4 ,f is the brass knob handle used from #ahjj to #ahbj4 ,g is the glass knob which1 in clear and opalescent glass1 came into use about #ahae and which is found upon furniture made for twenty years after that date1 after which time wooden knobs were used1 often displacing the old brass handles4 ,looking-glasses made to swing in a frame are mentioned in inventories of #agej1 and about that date may be given to the dressing-glass with drawers1 shown in ,illustration #cf4 ,it was owned by ,lucy ,flucker1 who took it with her when1 in opposition to her parents' wishes1 she married in #aggd the patriot ,general ,knox4 ,it is now in the possession of the ,hon4 ,james ,phinney ,baxter1 ,esq41 of ,portland1 ,maine4 ,such dressing-glasses were intended to stand upon a dressing-table or bureau4 ,illustration3 ,illus4 #cf4--;,dressing-glass1 about #agfj4 ,a bureau and dressing-glass owned by the writer are shown in ,illustration #cg4 ,the bureau is of cherry1 with the drawer fronts veneered in mahogany edged with satinwood4 ,a row of fine inlaying runs around the edge of the top and beneath the drawers4 ,this lower line of inlaying appears upon inexpensive bureaus of this period1 and seems to have been considered indispensable to the finish of a bureau4 ,the dressing-glass is of mahogany and satinwood with fine inlaying around the frame of the glass and the edge of the stand4 ,the base of the bureau is of a plain type1 while that of the dressing-glass has the same graceful curves that appear in ,illustration #cd4 ,illustration3 ,illus4 #cg4--;,bureau and ,dressing-glass1 #agie4 ,the bureaus in ,illustration #cd and ,illustration #cg are in the ,hepplewhite style4 ,the bureau and dressing-glass in ,illustration #ch are distinctly ,sheraton1 of the best style4 ,they are owned by ,dwight ,blaney1 ,esq41 of ,boston1 and were probably made about #ahaj4 ,the carving upon the bureau legs and upon the corners and side supports to the dressing-glass is finely executed4 ,the handles to the drawers are brass knobs4 ,a bureau of the same date is shown in ,illustration #ci4 ,it was owned originally by ,william ,f4 ,lane1 ,esq41 of ,boston4 ,mr4 ,lane had several children1 for whom he had miniature pieces of furniture made1 the little sofa in ,illustration #bbh being one4 ,the small bureau upon the top of the large one was part of a bedroom set1 which included a tiny four-post bedstead4 ,illustration3 ,illus4 #ch4--;,bureau and ,dressing-glass1 about #ahaj4 ,this miniature furniture was of mahogany like the large pieces4 ,the handles upon the large bureau are not original4 ,they should be rosette and ring1 or knobs similar to those upon the small bureau4 ,the bureaus are now owned by a daughter of ,mr4 ,lane1 ,mrs4 ,thomas ,h4 ,gage of ,worcester4 ,illustration3 ,illus4 #ci4--;,bureau and ,miniature ,bureau1 about #ahaj4 ,bureaus of this style were frequently made of cherry with the drawer fronts of curly or bird's-eye maple1 the fluted pillars at the corner and the frame around the drawers being of cherry or mahogany4 ,there was added to the bureau about this time--perhaps evolved from the dressing-glass with drawers--an upper tier of shallow drawers1 usually three4 ,the dressing-table shown in ,illustration #dj is owned by ,charles ,h4 ,morse1 ,esq41 of ,charlestown1 ,new ,hampshire4 ,it stands upon high legs turned and reeded1 and a dressing-glass is attached above the three little drawers4 ,the handles should be rings or knobs4 ,the case of drawers with closet above1 in ,illustration #da1 is owned by ,mrs4 ,thomas ,h4 ,gage1 of ,worcester4 ,it is of mahogany1 the doors of the closet being of especially handsome wood4 ,the carving at the top of the fluted legs is fine1 and the piece of furniture is massive and commodious4 ,illustration3 ,illus4 #dj--;,dressing-table and ,glass1 #ahaj4 ,illustration3 ,illus4 #da4--;,case of ,drawers with ,closet1 #ahaj4 ,the bureau in ,illustration #db is also owned by ,mrs4 ,gage1 and is a very good specimen of the furniture in the heavy style fashionable during the first quarter of the nineteenth century4 ,it was probably made to match a four-post bedstead with twisted posts surmounted by pineapples4 ,the drawer fronts are veneered1 like those of all the bureaus illustrated in this chapter except the first four1 and there is no moulding upon the edge of the drawers4 ,illustration #dc shows the heaviest form of bureau1 made about the same time as the last one shown1 with heavily carved pillars and bears' feet4 ,the drawer fronts are veneered and have no moulding upon the edge4 ,this bureau is owned by ,mrs4 ,s4 ,b4 ,woodward of ,worcester1 and it is a fine example of the furniture after the style of ,empire pieces4 ,the bureau in ,illustration #dd is owned by ,charles ,h4 ,morse1 ,esq41 of ,charlestown1 and shows the latest type of ,empire bureau1 with ball feet1 and large round veneered pillars4 ,the three ,empire bureaus shown have the last touch that could be added1 a back piece above the tier of small drawers4 ,illustration3 ,illus4 #db4--;,bureau1 about #ahae4 ,the bureaus have the top drawer of the body projecting beyond the three lower drawers1 and supported by the pillars at the sides4 ,this and the shallow tier of small drawers1 and the back piece are typical features of the ,empire bureau1 which may have the rosette and ring handle or the knob of brass or glass4 ,illustration3 ,illus4 #dc4--;,bureau1 #ahae-ahbj4 ,the toilet conveniences of our ancestors seem to our eyes most inadequate1 and it is impossible that a very free use of water was customary1 with the tiny bowls and pitchers which were used and the small and inconvenient washstands4 ,a 8bason frame0 appears in an inventory of #afed4 ,chippendale designed 8bason stands0 which were simply a tripod stand1 into the top of which the basin fitted4 ,illustration3 ,illus4 #dd4--;,empire ,bureau and ,glass1 #ahaj-ahbj4 ,they were also called wig stands because they were kept in the dressing-room where the fine gentleman halted to remove his hat1 and powder his wig4 ,the basin rested in the opening in the top1 and in the little drawers were kept the powder and other accessories of the toilet4 ,the depression in the shelf was for the ewer1 probably bottle shaped1 to rest in1 after the gentleman had poured the water into the basin1 to dip his fingers in after powdering his wig4 ,illustration3 ,illus4 #de4--;,basin ,stand1 #aggj4 ,the charming little basin or wig stand in ,illustration #de is in the ,metropolitan ,museum of ,art4 ,the wood is mahogany and the feet are a flattened type of claw and ball1 giving the little stand1 with its basin and ewer1 some stability1 unless an unwary pointed toe should be caught by the spreading legs4 ,the acanthus leaf is carved on the knees1 and the chamfered corners above have an applied fret4 ,the drawings of ,shearer1 ,hepplewhite and ,sheraton show both square and corner washstands of mahogany with slender legs4 ,the washstand in ,illustration #df is of mahogany1 and differs from the usual corner stand in having the enclosed cupboard4 ,it was made from a ,hepplewhite design and is owned by ,francis ,h4 ,bigelow1 ,esq41 of ,cambridge4 ,the corner washstand in ,illustration #dg is owned by the writer4 ,it is of mahogany1 and the drawers are finely inlaid1 probably after a ,sheraton design4 ,illustration3 ,illus4 #df4--;,corner ,washstand1 #agij4 ,the little towel-rack is of somewhat later date and is made of maple1 stained4 ,the washbowl and pitcher are dark-blue ,staffordshire ware1 with the well-known design of the 8,tomb of ,franklin0 upon them4 ,while the corner washstand possessed the virtues of taking up but little room1 and being out of the way1 the latter consideration must have been keenly felt by those who1 with head thrust into the corner1 were obliged to use it4 ,a square washstand of more convenient shape1 but still constructed for the small bowl and pitcher1 is shown in ,illustration #dh4 ,it is of mahogany and is in the style that was used from #ahae to #ahcj4 ,this washstand is owned by ,mrs4 ,e4 ,a4 ,morse of ,worcester4 ,both corner and square washstands have an opening in the top1 into which was set the washbowl1 and two--sometimes three--small openings for the little cups which were used to hold the soap4 ,hepplewhite's book1 published in #aghi1 shows designs of 8night tables0 like the one in ,illustration #di1 but they are not often found in this country4 ,illustration3 ,illus4 #dg4--,towel-rack and ,washstand1 #agij-ahjj4 ,this table is of mahogany1 with tambour doors1 and a carved rim around the top1 pierced at each side to form a handle4 ,the wood of the interior of the drawer is oak1 showing that the table was probably made in ,england4 ,it is owned by the writer4 ,illustration3 ,illus4 #dh4--,washstand1 #ahae-ahcj4 ,there are several drawings in the books of ,hepplewhite and ,sheraton of washstands and toilet-tables with complicated arrangements for looking-glasses and toilet appurtenances1 but such pieces of furniture could not have been common even in ,england1 and certainly were not in this country4 ,illustration3 ,illus4 #di4--,night ,table1 #aghe4 ,in ,illustration #bhh upon page #bid is shown a piano which can be used as a toilet-table1 with a looking-glass and trays for various articles1 but it must have been1 even when new1 regarded less from the utilitarian side1 and rather as a novel and ornamental piece of furniture4 ,illustration3 ,illus4 #ej4--,washstand1 #ahjj-ahaj4 ,a washstand of different design is shown in ,illustration #ej4 ,the front is of bird's-eye maple and mahogany1 and the top is of curly maple with mahogany inlay around the edge4 ,the sides are mahogany4 ,the two drawers are shams1 and the top lifts on a hinge disclosing a compartment for a pitcher and bowl4 ,the tapering legs end in a spade foot1 and a large brass handle is upon each side4 ,the other handles are brass knobs4 ,this stand was made after instructions given by ,sheraton thus1 8,the advantage of this kind of basin stand is1 that they may stand in a genteel room1 without giving offense to the eye1 their appearance being somewhat like a cabinet40 ,the washstand is owned by the writer4 ,,chapter ,,iii ,,bedsteads ,illustration ,,one of the most valuable pieces of furniture in the household of the seventeenth and eighteenth centuries was the bedstead with its belongings4 ,bedsteads and beds occupy a large space in inventories1 and their valuation was often far more than that of any other article in the inventory1 sometimes more than all the others4 ,in spite of the great value placed upon them1 none have survived to show us exactly what was meant by the 8oak ,marlbrough bedstead0 or the 8half-headed bedstead0 in early inventories4 ,about the bedstead up to #agej we know only what these inventories tell us1 but the inference is that bedsteads similar to those in ,england at that time were also in use in the colonies4 ,the greater portion of the value of the bedstead lay in its furnishings1--the hangings1 feather bed1 bolster1 quilts1 blankets1 and coverlid1--the bedstead proper1 when inventoried separately1 being placed at so low a sum that one concludes it must have been extremely plain4 ,illustration3 ,illus4 #ea4--,wicker ,cradle1 #afbj4 ,several cradles made in the seventeenth century are still in existence4 ,illustration #ea shows one which is in ,pilgrim ,hall1 ,plymouth1 and which is said to have sheltered ,peregrine ,white1 the first child born in this country to the ,pilgrims4 ,it is of wicker and of ,oriental manufacture1 having been brought from ,holland upon the ,mayflower1 with the ,pilgrims4 ,illustration3 ,illus4 #eb4--,oak ,cradle1 #afhj4 ,the cradle in ,illustration #eb is of more substantial build4 ,it is of oak1 and was made for ,john ,coffin1 who was born in ,newbury1 ,january #h1 #afhj4 ,sergeant ,stephen ,jaques1 8who built the meeting house with great needles and little needles pointing downward10 fashioned this cradle1 whose worn rockers bear witness to the many generations of babies who have slept within its sturdy frame4 ,it is now in the rooms of the ,newburyport ,historical ,society4 ,another wooden cradle is in ,pilgrim ,hall1 made of oak and very similar1 with the turned spindles at the sides of its wooden hood1 to a cradle dated #afia1 in the ,south ,kensington ,museum4 ,illustration3 ,illus4 #ec4--;,bedstead and ,commode1 #agej4 8,cupboard bedsteads0 and 8presse bedsteads0 are mentioned in the inventories4 ,they were probably the same as the ,dutch 8slaw-bank10 and when not in use they were fastened up against the wall in a closet made to fit the bed1 and the closet doors were closed or curtains were drawn over the bedstead4 ,there is a slaw-bank in the old ,sumner house in ,shrewsbury1 ,massachusetts1 built in #agig4 ,illustration3 ,illus4 #ed4--;,field ,bedstead1 #agfj-aggj4 ,illustration #ec shows a curious bedstead made about #agej1 when it was used by ,dr4 ,samuel ,johnson1 president of ,king's ,college1 ,new ,york4 ,it is now owned by his descendant1 ,mrs4 ,johnson-,hudson of ,stratford1 ,connecticut4 ,the slanting back of the bedstead is like the back of an early ,chippendale chair1 and the effect is similar to that of the couches shown in ,illustration #bje and ,illustration #bjf2 but this piece was evidently intended for a bed1 as it is considerably wider than the couches1 which were 8day beds40 ,the wood of this bedstead is mahogany4 ,the commode which stands beside the bed is of a slightly later date4 ,it is also of mahogany1 with massive brass handles4 ,illustration #ed shows a bedstead of about #agfj-aggj4 ,it is what was called a field bed1 the form of its top suggesting a tent4 ,the frames for the canopy top were made in different shapes1 but the one in the illustration was most common4 ,the drapery is made of the netted fringe so much used in those days for edging bedspreads1 curtains1 and covers4 ,this deep fringe was made especially for canopy tops for bedsteads4 ,its manufacture has been revived by several ,arts and ,crafts ,societies4 ,the slat-back chair is one of the rush-bottomed variety common during the eighteenth century4 ,this room1 with its wooden rafters1 is in the ,whipple house at ,ipswich1 built in #afej4 ,the claw-and-ball foot bedstead in ,illustration #ee was a part of the wedding outfit of ,martha ,tufts1 who was married in #aggd1 in ,concord4 ,it was then hung with the printed cotton draperies1 hand spun and woven1 which still hang from the tester1 albeit much darned and quite dropping apart with age4 ,the draperies are of a brownish color1 possibly from age1 but at all events they are now dingy and unattractive1 whatever they may have been in #aggd4 ,the posts above the cabriole legs are small and plain1 and there is no headboard4 ,the wood is mahogany4 ,this bedstead is now owned by the ,concord ,antiquarian ,society4 ,although ,chippendale's designs do not show a bedstead with claw-and-ball feet1 he probably did make such bedsteads1 and this may be called ,chippendale1 as it belongs to that period4 ,illustration3 ,illus4 #ee4--;,claw-and-,ball ,foot ,bedstead1 #aggd4 ,a bedstead with plain1 simple posts1 with the cover and hangings of old netting1 is shown in ,illustration #ef4 ,there is a good comb-back ,windsor arm-chair and a mahogany cradle of the period in the room1 which is a bedroom in the ,lee ,mansion1 ,marblehead1 ,mass4 ,illustration3 ,illus4 #ef4--;,bedstead1 #aghj4 ,a splendid bedstead found in ,charleston1 ,s4 ,c41 and now owned by ,j4 ,j4 ,gilbert1 ,esq41 of ,baltimore1 is shown in ,illustration #eg4 ,all four posts are carved and reeded1 and are after the manner of ,chippendale4 ,the tester and headboard show the ,adam influence1 placing the date of the bedstead about #aggj4 ,illustration3 ,illus4 #eg4--;,bedstead1 #agge-aghe4 ,illustration #eh shows a bedstead made from one of ,hepplewhite's designs1 about #aghi4 ,the lower posts are slender and fluted1 and end in a square foot4 ,illustration3 ,illus4 #eh4--;,bedstead1 #aghi4 ,the cornice is japanned after the fashion which ,hepplewhite made so popular1 and the style in which this bedstead is draped is extremely attractive4 ,it is at ,indian ,hill1 the residence of the late ,major ,ben ,perley ,poore4 ,the four-post bedsteads had sometimes canvas stretched across the frame and laced with ropes1 similar to the seat of the couch in ,illustration #bjf1 and in other cases they were corded entirely with ropes4 ,mrs4 ,vanderbilt in her 8,social ,history of ,flatbush0 thus describes the process of cording a bed3 8,it required a man's strength to turn the machine that tightened the ropes1 in cording these beds when they were put together4 ,some one was stationed at each post to keep it upright1 while a man was exhausting his strength and perhaps his stock of patience and good temper1 in getting the ropes sufficiently tight to suit the wife or mother4 ,when the bedstead was duly corded and strung to the tension required1 then a straw bed1 in a case of brown home-made linen1 was first placed over these cords1 and upon this were piled feather beds to the number of three or four1 and more if this was the spare-room bed40 ,the height of the top one of these feather beds from the floor was so great that steps were required to mount into it1 and sets of mahogany steps are sometimes found now1 which were made for this purpose4 ,a set is shown in ,illustration #fd4 ,illustration #ei shows one of the finest bedsteads known in this country4 ,it is in the house of ,charles ,r4 ,waters1 ,esq41 of ,salem4 ,the two lower posts are exquisitely carved with garlands of flowers1 and every detail is beautiful2 the upper posts are plain4 ,the size of the posts is somewhat larger than during the previous years1 and the style of the lower part with the fluted leg would place the date of the bedstead about #agie-ahjj1 when the influence of ,sheraton was strong4 ,the cornice is painted with flowers in colors1 and the painted band is framed in gilt2 the ornaments at the corners1 the basket with two doves1 and the ropes and tassels are all of gilt4 ,illustration3 ,illus4 #ei4--;,bedstead1 #agie-ahjj4 ,about #ahjj1 when the ,empire styles commenced to influence the makers of furniture1 the posts of bedsteads became larger1 and they were more heavily carved1 with acanthus leaves twining around the post1 or a heavy twist or fluting1 with pineapples at the top4 ,illustration3 ,illus4 #fj--;,bedstead1 #ahjj-ahaj4 ,illustration #fj shows a bedstead at ,indian ,hill1 with the heavy posts and tester1 the lower posts being fluted4 ,the bedstead is draped on the side and foot with curtains which could be let down at night in cold weather1 thus shutting out the bitter draughts4 ,the coverlid for this bed is made of linen1 spun and woven by hand1 and embroidered in shades of blue with a quaint design4 ,the easy-chair at the foot of the bed is covered with old chintz1 printed in figures that would afford a child unlimited entertainment4 ,illustration3 ,illus4 #fa4--;,bedstead1 #ahjj-ahaj4 ,a bedstead with massive twisted posts is shown in ,illustration #fa4 ,the lower posts only are carved1 as was usual1 the draperies at the head of the bed concealing the plain upper posts4 ,twisted posts were quite common during the early years of the nineteenth century1 and more bedposts are found that are carved in a twist than in any other design4 ,the coverlid is similar to the one in ,illustration #fc4 ,this bedstead stands in one of the panelled rooms of the ,warner house in ,portsmouth4 ,illustration3 ,illus4 #fb4--;,bedstead1 #ahjj-ahaj4 ,illustration #fb shows a fine example of the four-post bedstead made from #ahje to #ahaj4 ,it is unusual in having all four posts carved1 and for its splendid feet1 which are carved in massive lions' claws4 ,each post is carved with festoons of drapery1 and is surmounted with a pineapple ,the headboard is elaborately carved with a basket of fruit4 ,this mahogany bedstead is owned by ,mrs4 ,e4 ,a4 ,morse of ,worcester4 ,illustration #fc shows another bedstead with all four mahogany posts carved in the acanthus leaf and pineapple design4 ,each post is finished at the top with a pineapple1 and the bases are set into brass sockets4 ,upon the plain sections of the posts may be seen pressed brass ornaments1 of which there are six1 two for each lower post and one for each upper one4 ,these ornaments cover the holes through which the bed-screws are put in to hold the frame together4 ,illustration3 ,illus4 #fc4--;,bedstead1 #ahjj-ahaj4 ,there is a headboard of simple design upon this bedstead4 ,the coverlid is an old1 handspun and woven1 cotton one1 with a design of stars in little cotton tufts4 ,such coverlids were made about #ahae to #ahcj4 ,this bedstead is owned by the writer4 ,illustration3 ,illus4 #fd4--;,bedstead and ,steps1 #agij4 ,illustration #fd shows a bed owned by the ,colonial ,dames1 in their house1 8,stenton10 in ,philadelphia4 ,it has the large1 plain and heavy posts found in the ,south4 ,the hangings are the original ones4 ,beside the bed is a set of steps used to assist in mounting to the top of the feather beds used in those days4 ,the cradle is of about the same date4 ,illustration3 ,illus4 #fe4--,low-post ,bedstead1 about #ahbe4 ,illustration #fe shows a low-post mahogany bedstead which is owned by ,dr4 ,s4 ,b4 ,woodward of ,worcester1 having been inherited by him4 ,it was made about #ahbe4 ,the four posts are carved with the acanthus leaf1 and both head and foot board are elaborately carved4 ,it can be seen that the bed in this illustration is not so high from the floor as those of earlier date4 ,the low ,french bedstead became fashionable soon after this time1 and the high four-poster was relegated to the attic1 from which it has of late years been rescued1 and set up1 draped with all of its old-time hangings4 ,illustration3 ,illus4 #ff4--,low-post ,bedstead1 #ahbj-ahcj4 ,the latest style of low-post bedsteads is shown ,illustration #ff4 ,it was probably made about #ahbj-ahcj1 when the light woods1 maple and birch1 were1 with cherry1 largely used for such bedsteads4 ,the wood of this bed is curly birch1 and all four posts are carved alike with the pineapple and acanthus design1 similar to the tall posts of the previous period4 ,low-post bedsteads are often found with posts plainly turned1 of curly maple1 beautifully marked4 ,illustration3 ,illus4 #fg4--,low ,bedstead1 about #ahcj4 ,illustration #fg shows a low ,french bedstead1 found in ,canada and owned by ,george ,corbett1 ,esq41 of ,worcester4 ,the bedstead is made of finely grained old walnut1 the rounding top of the head and foot boards and the face of the large drawer under the footboard being veneered4 ,this drawer may have been intended to use to keep blankets in4 ,it has a little foot so that it remains firm when pulled out4 ,at each side of the low bed is a carved shell1 which slides out1 showing a covered rest1 perhaps for kneeling upon to pray4 ,both the head and foot boards are covered with canvas1 which was probably1 when the bedstead was new1 about #ahcj1 covered with a rich brocade4 ,all the lines of the bedstead are most graceful1 and the carving is unusually well done4 ,plainer bedsteads in this style were made1 veneered with mahogany1 and they are sometimes called sleigh beds1 on account of their shape4 ,these bedsteads were fashionable from #ahcj to #ahej1 when they were superseded by the black walnut bedsteads familiar to everybody4 ,,chapter ,,iv ,,cupboards ,,and ,,sideboards ,illustration ,,cupboards appear in ,english inventories as early as #acdd4 ,persons of rank in ,england had their cupboards surmounted by a set of shelves to display the silver and gold plate4 ,each shelf was narrower than the one beneath1 like a set of steps1 and the number of shelves indicated the rank of the owner1 five being the greatest number1 to be used by the king only4 ,the first cupboard consisted of an open framework1 a 8borde0 upon which to set cups1 as the name implies4 ,later it was partially enclosed below1 and this enclosed cupboard was used to hold valuables1 or sometimes the food which was afterward distributed by the lady of the house4 ,this was known as an almery or press cupboard1 the former name corresponding to the ,french word armoire4 ,illustration3 ,illus4 #fh4--,oak ,press ,cupboard1 #afdj4 ,the names 8court cupboard0 or 8livery cupboard0 were used to designate a piece of furniture without an enclosed cupboard1 low or short1 as the ,french word court implies1 and intended for a serving-table1 as the word 8livery10 from the ,french livrer1 to deliver1 indicates4 ,in ,europe such pieces were called dressoirs4 ,cupboards abound in colonial inventories1 under various names--8small cupboard10 8great cupboard10 8press cupboard10 8wainscot cupboard10 8court cupboard10 8livery cupboard10 8hanging cupboard10 8sideboard cupboard40 ,the cupboard formed an important part of the furniture owned by men of wealth and position in the colonies4 ,these cupboards were generally of oak1 but those made in this country have the backs and bottoms of the cupboards and drawers of pine4 ,the interior is similar in all1 the lower cupboard usually having shelves1 which seldom appear in the upper cupboard4 ,sometimes the lower part of the piece is divided into drawers for holding linen4 ,illustration3 ,illus4 #fi4--,press ,cupboard1 about #afej4 ,such a cupboard is shown in ,illustration #fh4 ,this fine example is known as the 8,putnam cupboard40 ,it is now owned by the ,essex ,institute1 of ,salem1 to which it was presented by ,miss ,harriet ,putnam ,fowler of ,danvers1 ,massachusetts4 ,it descended to her from ,john ,putnam1 who brought it from ,england about #afdj4 ,upon the back may be seen marks of a fire which two hundred years ago destroyed the house in which the cupboard stood4 ,the wood is ,english oak1 and the mouldings used in the panelling are of cedar4 ,the cupboard is in two parts1 the upper section with the enclosed cupboard resting upon the lower section with its three drawers4 ,another panelled cupboard is shown in ,illustration #fi1 in which both the upper and lower parts are made with a recessed cupboard1 enclosed1 with a drawer below4 ,the wood is oak1 with the turned pieces painted black4 ,this cupboard is in the house of ,charles ,r4 ,waters1 ,esq41 of ,salem4 ,upon the top are displayed some good pieces of old glass4 ,many press cupboards were carved in designs similar to those upon the early chests4 ,illustration #gj shows a carved press cupboard owned by ,walter ,hosmer1 ,esq41 of ,wethersfield4 ,illustration3 ,illus4 #gj4--;,carved ,press ,cupboard1 #afhj-afij4 ,the wood is ,american oak and the cupboard was probably made in ,connecticut1 where there must have been unusually good cabinet-makers during the last half of the seventeenth century1 for many of the best oak chests and cupboards existing in this country were made in ,connecticut4 ,this cupboard is very large1 measuring five feet in height and four feet in width4 ,all cupboards were provided with cupboard cloths or cushions1 the latter probably made somewhat thicker than the simple cloth1 by the use of several layers of goods or of stuffing4 ,these cloths or cushions were placed on the top of the cupboard1 to set the glass or silver upon1 and the early inventories have frequent mention of them4 ,by #afij the press cupboard had gone out of fashion1 and but few were made after #agjj1 although they continued to be used by those who already owned them4 ,about #agaj the corner cupboard made its appearance1 often under the name 8beaufet0 or 8beaufatt40 ,it was generally built into the corner1 and was finished to correspond with the panelling around the room4 ,the lower part was closed by panelled doors1 and the upper part had sometimes one glass door1 sometimes two1 opening in the middle2 but more often it was left without a door4 ,the top of the beaufatt was usually made in the form of an apse1 and in the finest specimens the apse was carved in a large shell4 ,the shelves were not made to take up the entire space in the cupboard1 but extended around the back1 and were cut in curves and projections1 evidently to fit pieces of glass or china1 for the display of which the beaufatt was built rather than to serve as a simple closet4 ,a fine beaufatt is shown in ,illustration #ga1 which is in the ,deerfield ,museum4 ,from the construction of the pillars at the side it is evident that it was not intended to use a door to the upper part4 ,that there was some distinction between the corner cupboard and the beaufatt would appear from the difference in their valuation in inventories1 but what was the difference in their construction we do not know4 ,illustration3 ,illus4 #ga4--;,corner 8,beaufatt10 #agdj-agej4 ,cupboards were made1 during the latter part of the eighteenth century1 of mahogany and other woods1 and such corner cupboards1 made as a piece of furniture and not built into the house1 were common in the ,southern ,states1 about #ahjj4 ,the corner cupboard1 or beaufatt1 was both convenient and ornamental1 taking up but little room and filling what was often an empty space4 ,our ancestors frequently utilized the large chimney also1 by making the sides into small closets or cupboards1 and occasionally a door with glass panes was set into the chimney above the mantel1 with shelves behind it to hold glass or china4 ,while the ,new ,england inventories speak of cupboards1 the word kas1 or kasse1 appears in ,dutch inventories in ,new ,york4 ,the kas was the ,dutch cupboard1 and was different in style from the cupboard in use in ,new ,england4 ,it was of great size1 and had large doors1 behind which were wide shelves to hold linen4 ,the kas was usually made in two parts1 the upper one having two doors and a heavy cornice above4 ,the lower part held a long drawer1 and rested upon large ball feet4 ,a panelled kas of somewhat different form is shown in ,illustration #gb1 without the ball feet1 and made in three parts2 the lower section with the drawer1 the middle cupboard section1 enclosed with large doors1 and a second cupboard above that1 the whole surmounted with a cornice4 ,this kas is made of kingwood1 a hard wood with a grain not unlike that of oak1 but with darker markings4 ,the bill of lading is still preserved1 dated #agja1 when the kas1 packed full of fine linen1 was imported from ,holland by the father of ,dr4 ,samuel ,johnson1 president of ,king's ,college from #aged to #agfc4 ,it is now owned by ,dr4 ,johnson's descendant1 ,mrs4 ,johnson-,hudson of ,stratford1 ,connecticut4 ,illustration3 ,illus4 #gb4--,kas1 #agjj4 ,inventories during the latter years of the seventeenth century speak of a 8sideboard cupboard10 8sideboard table10 and 8side-table10 but the sideboard1 in our acceptance of the word1 dates to the latter half of the eighteenth century4 ,chippendale designed no sideboards with drawers and compartments1 but he did design side-tables1 or sideboard tables1 with marble or mahogany tops and carved frames4 ,a ,chippendale side-table is shown in ,illustration #gc4 ,the wood is mahogany1 and the frame is carved elaborately and beautifully in designs similar to those of ,chippendale and his contemporaries1 which abound in flowers1 birds1 and shells4 ,the cabriole legs end in massive lion's paws4 ,this table is what is called ,irish ,chippendale4 ,illustration3 ,illus4 #gc4--;,chippendale ,side-table1 about #agee4 ,in ,ireland1 working at the same period as ,chippendale1 drawing their ideas from the same sources1 and probably from ,chippendale as well1 were cabinet-makers1 much of whose work has come down1 notably side-tables4 ,the shell plays a prominent part2 on this table beside the large shell are two small ones upon each leg4 ,the carving of the ,irish school is not so fine as its ,english model1 but is very rich4 ,this table is five feet long and the original top was of marble4 ,it is owned by ,harry ,harkness ,flagler1 ,esq41 of ,millbrook1 ,new ,york4 ,illustration3 ,illus4 #gd4--;,chippendale ,side-table1 #agfe4 ,a ,chippendale side-table is shown in ,illustration #gd1 which was evidently made in ,england1 from ,chippendale's designs1 if not by ,chippendale himself4 ,it is very long and has had to sustain a great weight in the heavy marble top1 but it is in splendid condition1 perhaps because it is so heavy that it is seldom moved4 ,it has passed through many vicissitudes1--war1 fire and earthquake1--in ,charleston1 ,south ,carolina1 since it was brought there by the ancestor of its present owner1 ,george ,w4 ,holmes1 ,esq41 of ,charleston4 ,these long side-tables were designed not only by ,chippendale1 but by the other cabinet-makers and designers of the day1 ,ince and ,mayhew1 and ,manwaring2 but the tables of these less noted men usually are made after the prevailing ,chinese style1 with applied fretwork and legs which are pierced1 thus depriving them of the strength necessary in so large a piece4 ,chippendale made these also1 but in this table the cabinet-maker chose a design which looks and is strong4 ,the carving is in scrolls done in the solid wood1 and is ,french in design4 ,the bracket at the top of the leg is made in a scroll1 which extends entirely around the table4 ,the earliest mention of a sideboard1 the description of which implies a form of construction similar to that of the later sideboard1 is in #agdf1 when an advertisement in a ,london newspaper speaks of 8a ,large marble ,sideboard ,table with ,lavatory and ,bottle ,cistern40 ,chippendale's designs1 published in #agec and #agfj1 contain nothing answering to this description1 and both he and other cabinet-makers of that period give drawings of side-tables only1 without even a drawer beneath4 ,such a sideboard as this advertisement of #agdf mentions1 may have given the idea from which1 forty years later1 was developed the sideboard of mahogany1 often inlaid1 with slender legs and curved front1 which is shown in the majority of antique shops as 8,chippendale10 while the heavy veneered sideboard1 with claw feet and compartments extending nearly to the floor1 made after #ahjj1 goes under the name of 8,colonial40 ,one name is as incorrect as the other4 ,thomas ,shearer1 an ,english cabinet-maker1 designed the first of the slender-legged sideboards1 and they appear in his drawings published in #aghh4 ,hepplewhite's book1 published in #aghi1 gave similar drawings1 as did ,sheraton's in #agia1 and these three cabinet-makers designed the sideboards which were so fashionable from #aghi to #ahje4 ,the majority which are found in this country were probably made here1 but one is shown in ,illustration #ge1 which has a most romantic history of travel and adventure4 ,it is in the half-circle shape which was ,shearer's favorite design1 and was probably of ,english make1 although it was brought from ,france to ,america4 ,in #agib the ship ,sally1 consigned to ,colonel ,swan1 sailed from ,france1 laden with rich furniture1 tapestries1 robes1 everything gathered together in ,paris which might have belonged to a royal lady4 ,illustration3 ,illus4 #ge4--,shearer ,sideboard and ,knife-box1 #agib4 ,the ,sally came to ,wiscasset1 ,maine1 and the story told 8down ,east0 is that there was a plot to rescue ,marie ,antoinette1 and the ,sally was laden for that purpose2 and that a house had been built in a ,maine seaport for the queen1 whose execution put an end to the plot1 and sent the ,sally off to ,america with her rich cargo4 ,i cannot help thinking that if the story be true1 ,marie ,antoinette was spared many weary days of discontent and homesickness2 for the temperament of the unfortunate queen1 luxury loving1 gay1 and heedless1 does not fit into the life of a little ,maine seaport town one hundred years ago4 ,when the ,sally arrived1 her cargo of beautiful things was sold4 ,legends of ,marie ,antoinette furniture crop up all around the towns in the neighborhood of ,wiscasset1 but1 singularly enough1 ,i have been unable to trace a single piece in ,maine except this sideboard4 ,miss ,elizabeth ,bartol of ,boston1 whose mother was a granddaughter of ,colonel ,swan1 owns several pieces4 ,colonel ,swan's son married the daughter of ,general ,knox and took the sideboard with him to ,general ,knox's home in ,thomaston1 ,maine1 where it remained for many years4 ,the sideboard is made of oak 7showing its ,english origin7 veneered with mahogany4 ,the lines upon the front and the figures upon the legs are inlaid in satinwood1 and the knife-box is inlaid in the same wood4 ,the top of the sideboard is elaborately inlaid with satinwood and dark mahogany1 in wide bands1 separated by lines of ebony and satinwood1 and crossed by fine satinwood lines radiating from the centre4 ,the handles and escutcheons are of silver1 and the top of the knife-box is covered by a silver tray with a reticulated railing4 ,the coffee-urn is of ,sheffield plate1 and the sideboard with its appurtenances appears to-day as it did one hundred years ago in the house of ,general ,knox4 ,it is now owned by the ,hon4 ,james ,phinney ,baxter of ,portland1 ,maine4 ,illustration3 ,illus4 #gf4--,urn-shaped ,knife-box1 #agij4 ,knife-boxes were made of different shapes1 to hold knives1 forks1 and spoons1 and a pair of knife-boxes was the usual accompaniment to a handsome sideboard4 ,the most skilled cabinet-makers were employed in their manufacture1 as each curved section had to be fitted most carefully4 ,illustration #gf shows an urn-shaped knife-box of mahogany inlaid in lines of holly4 ,the interior of the box is fitted with circular trays of different heights1 and through the little openings in these trays the knives and spoons were suspended4 ,illustration3 ,illus4 #gg4--,urn-shaped ,knife-box1 #agij4 ,illustration #gg shows an urn-shaped knife-box opened4 ,the top rests upon a wooden rod which extends through the middle of the box1 and instead of turning back with a hinge1 the top slides up on this rod1 and when it is raised to a certain height it releases a spring which holds the rod firmly in its place4 ,this urn knife-box is in the ,pendleton collection in ,providence1 ,rhode ,island4 ,urn-shaped boxes were designed by ,adam1 and are shown in his drawings1 to stand upon pedestals at each end of the side table1 to be used1 one for ice-water1 and one for hot water1 for the butler to wash the silver1 not so plentiful then as now4 ,very soon the urn-shaped boxes were utilized to hold the knives1 forks and spoons4 ,adam1 ,shearer1 ,hepplewhite and ,sheraton show designs for knife-boxes1 many of them elaborately carved or inlaid1 but they must have been very costly1 and within the means only of such noblemen1 who1 in ,sheraton's words1 8are unrestrained with the thoughts of expensiveness40 ,the usual shape of knife-box found is shown in ,illustration #gh1 owned by ,mrs4 ,clarence ,r4 ,hyde1 of ,brooklyn1 ,n4 ,y4 ,it is inlaid both outside and inside and the handles and fittings are of silver4 ,the books of designs show boxes of this shape1 with the lid put back1 as in this illustration1 and used to support a large silver plate4 ,illustration3 ,illus4 #gh4--,knife-box1 #agij4 ,mahogany was chiefly used in sideboards1 with inlaying of satinwood1 holly1 king1 tulip1 snake1 zebra1 yew1 maple1 and other woods4 ,occasionally one finds a sideboard veneered with walnut4 ,the curves at the front vary considerably1 the ends being convex1 and the centre straight2 or the ends concave1 forming with the centre a double curve4 ,a sideboard with rounded ends and only four legs was made in large numbers around ,philadelphia4 ,illustration #gi shows a ,hepplewhite sideboard owned by the writer4 ,it is of mahogany veneered upon pine1 and it was probably the work of a ,connecticut cabinet-maker of about #agij4 ,six chairs1 made to go with the sideboard1 are similarly inlaid1 and the knife-boxes1 which have always stood upon this sideboard1 have fine lines of inlaying4 ,there is one central long drawer1 beneath which1 slightly recessed1 are doors opening into a cupboard1 and two bottle drawers1 each fitted with compartments to hold four bottles4 ,there is a cupboard at each curved end1 with a drawer above4 ,the coloring of the wood used in this sideboard is very beautiful4 ,each drawer and door is veneered with a bright red mahogany1 with golden markings in the grain1 and this is framed in dark mahogany1 outlined in two lines of satinwood with an ebony line between4 ,the oval pieces above the legs and the bell-flower design upon the legs are of satinwood4 ,the combination of the different shades of mahogany with the light satinwood is most effective4 ,the handles are new4 ,when this sideboard came into the possession of the writer1 the old handles had been removed and large and offensive ones of pressed brass had been fastened upon every available spot1 with that love for the showy which seizes upon country people when they attempt the process known as 8doing over40 ,the lids of the knife-boxes open back with hinges1 and the interior is fitted with a slanting tray1 perforated with openings of different shapes to hold knives1 with the handles up1 and spoons with the bowls up4 ,a fine line of inlaying goes round each of the openings4 ,illustration3 ,illus4 #gi4--;,hepplewhite ,sideboard and ,knife-boxes1 about #agij4 ,the handles and escutcheons of the knife-boxes are of silver4 ,upon the top of the sideboard are several pieces of ,sheffield plate4 ,at each end is a double coaster upon wheels1 with a long handle4 ,another double coaster1 somewhat higher and with reticulated sides1 stands beside the coffee-urn1 and two single coasters are in front4 ,all of these coasters have wooden bottoms1 and were used to hold wine decanters1 the double coasters upon wheels having been designed1 so the story goes1 by ,washington1 for convenience in circulating the wine around the table4 ,illustration #hj shows a ,hepplewhite sideboard with a serpentine front1 the doors to the side cupboards being concave1 as well as the space usually occupied by bottle drawers1 while the small cupboard doors in the middle are convex4 ,a long rounding drawer extends across the centre and projects beyond the cupboard below it1 while a slide pulls out1 forming a shelf1 between the long drawer and the small cupboard4 ,there are no bottle drawers in this sideboard4 ,the doors are inlaid with a fan at each corner1 and fine lines of holly are inlaid around the legs1 doors1 and drawer4 ,the silver pieces upon the sideboard top are family heirlooms4 ,the large tea-caddies at each end are of pewter finely engraved4 ,this sideboard is owned by ,francis ,h4 ,bigelow1 ,esq41 of ,cambridge4 ,a charming little sideboard owned by ,mr4 ,bigelow is shown in ,illustration #ha4 ,the ordinary measurements of sideboards like the last two shown are six feet in length1 forty inches in height1 and twenty-eight inches in depth4 ,these measures1 with slight variations1 give the average size of ,hepplewhite sideboards4 ,occasionally one finds a small piece like ,illustration #ha1 evidently made to fit some space4 ,this sideboard measures fifty-four inches in length1 thirty-four in height1 and twenty-three in depth4 ,illustration3 ,illus4 #hj4--;,hepplewhite ,serpentine-front ,sideboard1 #agij4 ,it has no cupboard1 the space below the slightly rounding drawer in the centre being left open4 ,there are fine lines and fans of inlaying in satinwood1 and in the centre of the middle drawer is an oval inlay with an urn in colored woods4 ,the handles are not original1 and should be of pressed brass1 oval or round4 ,the silver service upon the sideboard is of ,french plate1 made about #ahde1 and is of unusually graceful and elegant design4 ,hepplewhite's sideboards seldom had fluted legs1 which seem to have been a specialty of ,sheraton1 though the latter used the square leg as well4 ,a feature in some of ,sheraton's designs for sideboards was the brass railing at the back1 often made in an elaborate design4 ,illustration3 ,illus4 #ha4--;,hepplewhite ,sideboard1 about #agie4 ,illustration #hb shows a ,sheraton sideboard1 or side-table1 with brass rods extending across the back1 and branches for candles at each end4 ,this railing was designed to support the plates which were stood at the back of the sideboard1 and also to keep the lids of knife and spoon boxes from falling back against the wall4 ,the branches for candles were recommended for the light which the candles would throw upon the silver4 ,this side-table is very large1 measuring six feet eight inches in length1 thirty inches in depth1 and thirty-eight from the floor to the top of the table4 ,the wood is mahogany1 inlaid with satinwood4 ,it is unusual to find such a piece in this country1 and this is the only example of an old ,sheraton side-table or sideboard with the brass railing which ,i have ever seen here4 ,it is owned by ,john ,c4 ,mac,innes1 ,esq41 of ,worcester1 and it was inherited by him from a ,scotch ancestor4 ,illustration3 ,illus4 #hb4--,sheraton ,side-table1 #agie4 ,sheraton speaks of a 8sideboard nine or ten feet long1 as in some noblemen's houses10 but he admits that 8,there are other sideboards for small dining-rooms1 made without either drawers or pedestals40 ,illustration3 ,illus4 #hc4--,sheraton ,side-table1 #agie4 ,a charming little side-table1 or sideboard1 is shown in ,illustration #hc1 belonging to ,dwight ,m4 ,prouty1 ,esq41 of ,boston4 ,it is of mahogany1 and is inlaid with three oval pieces of satinwood1 giving the little piece a very light effect4 ,the legs also add to that appearance1 the reeded upper section tapering down to a turning and ending in a plain round foot1 which looks almost too small for such a piece4 ,the outline of the body is curved down to the legs1 making an arch upon the front and sides4 ,a sideboard of distinctly ,sheraton design is shown in ,illustration #hd4 ,it has the reeded legs which are the almost unmistakable mark of ,sheraton4 ,the ends of this sideboard are straight1 and only the front is rounding in shape1 unlike the sideboard in ,illustration #ge1 which forms a complete semicircle4 ,illustration3 ,illus4 #hd4--,sheraton ,sideboard with ,knife-box1 #agie4 ,the wood is of mahogany1 inlaid with fine lines of holly4 ,the little shield-shaped escutcheons at the keyholes are of ivory4 ,there are three drawers above the cupboards and two bottle drawers4 ,upon the top1 at each end1 is a wine-cooler of ,sheffield plate1 and in the centre is a mahogany inlaid knife-box similar to the one in ,illustration #gh4 ,this sideboard is owned by ,dwight ,blaney1 ,esq41 of ,boston4 ,illustration3 ,illus4 #he4--,sheraton ,sideboard1 about #ahjj4 ,a ,sheraton sideboard of later date is shown in ,illustration #he4 ,it is of mahogany1 and was probably made about #ahjj4 ,the arched open space in the middle was left for the cellaret1 which was the usual accompaniment of the sideboard in those days of hard drinking4 ,the top of this sideboard is surmounted by drawers1 with a back above the drawers4 ,the legs and the columns above them are reeded1 and the little columns at the corners of the upper drawers are carved1 the inner ones with a sheaf of wheat1 and the two outside corners with the acanthus leaf4 ,this sideboard was formerly owned by ,rejoice ,newton1 ,esq41 of ,worcester1 from whom it has descended to ,waldo ,lincoln1 ,esq41 of ,worcester4 ,illustration3 ,illus4 #hf4--,sheraton ,sideboard1 about #ahje4 ,illustration #hf shows the latest type of a ,sheraton sideboard1 owned by the ,colonial ,dames of ,pennsylvania1 and now in 8,stenton10 the house built in #agbg by ,james ,logan1 ,william ,penn's secretary4 ,the sideboard stands where it was placed1 about #ahje1 by ,george ,logan1 the great-great grandson of ,james4 ,the wood is mahogany1 and the large square knife-boxes were evidently made to fit the sideboard4 ,the legs1 with spade feet1 are short1 bringing the body of the sideboard close to the floor4 ,the handles are brass knobs4 ,illustration3 ,illus4 #hg4--;,cellarets1 #agij4 ,cellarets were made as a part of the dining-room furniture4 ,they were lined with zinc1 to hold the ice in which the wine bottles were packed to cool1 and at the lower edge of the body of the cellaret was a faucet1 or some arrangement by which the water from the melted ice could be drawn off4 ,they were designed by ,chippendale and all of his contemporaries and by the later cabinet-makers1--,adam1 ,hepplewhite1 and ,sheraton4 ,illustration #hg shows two cellarets of different styles4 ,the cellaret of octagonal shape1 brass bound1 with straight legs1 is of the style most commonly found4 ,it is in the ,poore collection1 at ,indian ,hill4 ,cellarets of this shape figure in books of designs from #agfj to #ahjj4 ,the other is oval in form1 and has the leg usually attributed to the ,adam brothers4 ,this cellaret belongs to ,francis ,h4 ,bigelow1 ,esq41 of ,cambridge4 ,both cellarets are of mahogany4 ,we now come to sideboards of the type called 8,colonial02 why1 it would be difficult to trace1 since sideboards of this heavy design were not made until over twenty-five years after the time that the ,united ,states took the place of the ,american colonies4 ,the heavy ,empire fashions gained such popularity in the early years of the nineteenth century that furniture made after those fashions entirely superseded the graceful slender-legged styles of ,shearer1 ,hepplewhite1 and ,sheraton1 and sideboards were made as heavy and clumsy as the others had been light and graceful4 ,the cupboards were extended nearly to the floor1 from which the sideboard was lifted by balls or by large carved bears' feet4 ,round pillars1 veneered1 or carved similar to bedposts of the period1 with a twist1 or the pineapple and acanthus leaf1 were used upon the front1 and small drawers were added to the top4 ,at about this time glass handles came into fashion1 and many of these heavy sideboards have knobs of glass1 either clear or opalescent4 ,the brass handles that were used were either the rosette and ring or the knob shape4 ,illustration3 ,illus4 #hh4--,sideboard1 #ahaj-ahbj4 ,illustration #hh shows a sideboard of this period1 #ahaj-ahbj1 made of mahogany2 the panels to the doors1 the veneered pillars1 and the piece at the back of the top being of a lighter and more finely marked mahogany than the rest1 which is quite dark4 ,there is a little panel inlaid in colors upon the lower rail in the centre4 ,the handles are the rosette and ring1 the smaller handles matching the large ones4 ,this sideboard belonged to the late ,colonel ,de,witt of ,oxford1 ,massachusetts1 and it is now owned by ,w4 ,s4 ,g4 ,kennedy1 ,esq41 of ,worcester4 ,another type of mahogany ,empire sideboard1 and one often seen1 is shown in ,illustration #hi4 ,it is owned by ,l4 ,j4 ,shapiro1 ,esq41 of ,norfolk1 ,virginia4 ,the body of the sideboard is raised from the floor by very handsome bears' feet1 and the posts extending up to the drawers are carved1 and topped by typical ,empire carvings of wing effect1 which separate the drawers4 ,the centre section of doors is curved outward slightly1 and there is a band of carving across the lower edge1 below the doors4 ,illustration3 ,illus4 #hi4--;,empire ,sideboard1 #ahaj-ahbj4 ,in the eighteenth and early nineteenth century the temperance question did not enter the heads of the fine gentlemen of the day1 and the serving of wine was an important consideration4 ,the cellaret or wine cooler accompanied the sideboard1 which in the drawings of ,hepplewhite1 ,shearer1 and ,sheraton had bottle drawers4 ,illustration3 ,illus4 #ij4--,sheraton ,mixing-table1 #agij4 ,what ,shearer called 8a gentleman's social table0 was designed by several1 with conveniences for bottles1 glasses1 and biscuit1 and for facilitating the progress of the wine around the table4 ,in this country the mixing of punch or other beverages was furthered by a piece of furniture called a mixing table4 ,illustration3 ,illus4 #ia4--,mixing-table1 #ahaj-ahbj4 ,mrs4 ,charles ,custis ,harrison1 of ,st4 ,david's1 ,pennsylvania1 owns the mixing table in ,illustration #ij1 and a sideboard to match it4 ,both pieces were inherited from ,robert ,morris1 in whose famous mansion in ,philadelphia they stood4 ,the wood of the table is mahogany and the drawers and doors are of satinwood1 finely inlaid4 ,there is a well in the top for a bowl1 in which was brewed the punch of the ,philadelphia forefathers4 ,the cover of the table is hinged1 and the four shelves which show in the illustration fold flat when the cover is down4 ,the table in ,illustration #ia belongs to the ,misses ,garrett of ,williamsburg1 ,virginia1 and is known as a 8mint julep0 table1 having been made for the concocting of that ,southern beverage by a ,baltimore cabinet-maker4 ,there are shelves behind the door for the accessories to the julep1 and for the mixing of it the top of the table is marble4 ,,chapter ,v ,,desks ,illustration ,,from #afdd to about #afgj desks appear in colonial inventories4 ,during those years the word 8desk0 meant a box1 which was often made with a sloping lid for convenience in writing1 or to rest a book upon in reading4 ,this box was also used to hold writing-materials and papers or books1 and was sometimes called a ,bible-box1 from the fact that the ,bible was kept in it4 ,illustration #ib shows two of these desks from the collection of ,charles ,r4 ,waters1 ,esq41 of ,salem4 ,the larger desk is twenty inches in length and thirteen and one-half in height1 and formerly had a narrow shelf in the inside across the back4 ,the front is carved with the initials ,a4 ,w4 and the date #afed4 ,the smaller desk measures thirteen and one-half inches in length and eight in height4 ,illustration3 ,illus4 #ib4--;,desk-boxes1 #afed4 ,the desk with flat top in ,illustration #ic is also in the ,waters collection4 ,it measures twenty-six inches in length by seventeen in width4 ,it is made of oak1 like the smaller desk in the preceding illustration4 ,illustration3 ,illus4 #ic4--;,desk-box1 #afej4 ,the next style of desk made its appearance in the inventories of about #affj1 under a name with ,french derivation3 8scrutoir10 8scriptor10 8scrittore10 8scrutor10 8scriptoire10 down to the phonetically spelled 8screwtor40 ,about #agbj the word 8bureau10 also from the ,french1 came into use in combination with the word 8desk10 or 8table40 ,it has continued to be employed up to the present time1 for the slant-top desk is even now1 in country towns1 called a bureau-desk4 ,as the word 8desk0 seems to have been more or less in use through these early years1 while for the last hundred years it has been almost entirely employed1 alone or in combination with other words1 ,i have designated as desks all pieces of furniture made for use in writing4 ,illustration3 ,illus4 #id4--;,desk1 about #afhj4 ,a cabinet and writing desk used by perhaps all of the ,dutch ,patroons1 of ,albany1 is shown in ,illustration #id4 ,it has stood in the same house1 ,cherry ,hill1 ,albany1 since #agfh1 when the house was built by ,philip ,van ,rensselaer1 the ancestor of the present owner1 ,mrs4 ,edward ,w4 ,rankin4 ,illustration3 ,illus4 #ie4--;,desk1 about #afhj4 ,it was probably brought from ,holland by ,killian ,van ,rensselaer1 and in it were kept the accounts of the manor4 ,the desk is open in ,illustration #ie1 showing the compartments for papers and books4 ,the wood of this splendid piece is oak1 beautifully panelled and carved1 and the fine panel seen when the desk is closed forms1 when lowered1 the shelf for writing4 ,similar pieces appear in paintings by old ,dutch masters4 ,illustration3 ,illus4 #if4--;,desk1 #agaj-agbj4 ,illustration #if shows a desk owned by ,miss ,gage1 of ,worcester1 of rather rude construction1 and apparently not made by a skilled cabinet-maker4 ,it has two long drawers with two short drawers above them4 ,the space above these two short drawers is reached from an opening or well with a slide1 directly in front of the small drawers of the interior1 which may be seen in the illustration4 ,the pillars at each side of the middle compartment pull out as drawers4 ,the handles are new1 and should be drop handles1 or early stamped ones4 ,the characteristics which determine the date of this desk are the single moulding around the drawers1 the two short drawers1 and the well opening with a slide4 ,the bracket feet would indicate a few years' later date than that of similar pieces with ball feet4 ,during the first half of the eighteenth century slant-top desks appeared with a bookcase or cabinet top4 ,the lower or desk part was made usually with a moulding around the top1 into which the upper part was set4 ,the doors were of panelled wood or had looking-glasses set in them1 but occasionally they were of glass4 ,the frontispiece shows an extraordinary piece of furniture owned by ,samuel ,verplanck1 ,esq41 of ,fishkill1 ,new ,york4 ,it has belonged in the family of ,mr4 ,verplanck since #agec1 when it was bought by an ancestor1 ,governor ,james de ,lancey1 at an auction sale of the effects of ,sir ,danvers ,osborne1 who was governor of the ,province of ,new ,york for the space of five days1 as he landed at ,whitehall ,slip1 ,new ,york1 from the good ship ,arundel on ,friday1 and the following ,wednesday he committed suicide4 ,sir ,danvers had brought his household goods with him upon the ,arundel1 and among them was this secretary4 ,lacquered furniture was fashionable during the first quarter of the eighteenth century1 and while the first lacquered pieces came through ,holland1 by #agab 8,japan work0 was so popular1 even in the ,american colonies1 that an advertisement of ,mr4 ,nehemiah ,partridge appeared in a ,boston paper of that year1 that he would do 8all sorts of ,japan work40 ,the wood of this secretary is oak1 and the entire piece is covered with lacquer in brilliant red1 blue1 and gold4 ,the upper part1 or cabinet1 has doors which are lacquered on the inside1 with looking-glasses on the outside4 ,a looking-glass is also set into the middle of the top4 ,these glasses are all the original ones and are of heavy plate with the old bevel upon the edges4 ,above the compartments1 and fitting into the two arches of the top are semi-circular-shaped flap doors1 which open downward4 ,between these and the pigeonholes are two shallow drawers extending across the cabinet4 ,the middle compartment has two doors with vases of flowers lacquered upon them1 and there is a drawer above1 while the spaces each side of the doors are occupied by drawers4 ,the slides for candlesticks are gone1 but the slits show where they were originally4 ,the lower or desk part is divided by a moulding which runs around it above the three lower drawers1 and the space between this and the writing-table is taken by two short drawers1 but it has no well with a slide like the desk in ,illustration #if4 ,the arrangement of the small drawers and compartments is the same as in the desk in ,illustration #if1 and the lacquered pillars form the fronts of drawers which pull out1 each side of the middle compartment1 which has upon its door a jaunty little gentleman in ,european costume of the period4 ,the moulding upon the frame around the drawers and the two short upper drawers would place the date of this piece early in the eighteenth century4 ,illustration3 ,illus4 #ig4--;,cabriole-legged ,desk1 #agbj-agcj4 ,the first thought upon seeing the feet of the desk1 is that they were originally brackets which were sawed off and the large ball feet added1 but it must have been made originally as it now stands1 for both the brackets and the balls under them are lacquered with the old 8,japan work0 like the rest of the secretary4 ,a style of desk of a somewhat later date is occasionally found1 generally made of maple4 ,its form and proportions are similar to those of a low-boy with the ,dutch bandy-leg and foot1 and a desk top1 the slanting lid of which lets down for use in writing4 ,the top sets into a moulding around the edge of the lower part1 in the same manner as the top part of a high-boy is set upon its base4 ,illustration #ig shows a desk of this style in the building of the ,pennsylvania ,historical ,society1 labelled as having belonged to ,william ,penn1 but which is of a later date than that would imply1 as it was made from #agbj to #agcj1 while ,penn left this country in #agja1 never to return to it4 ,illustration3 ,illus4 #ih4--;,cabriole-legged ,desk1 #agfj4 ,the mahogany desk shown in ,illustration #ih belongs to ,walter ,hosmer1 ,esq41 and is a most graceful and charming little piece1 intended probably for a lady's use4 ,it measures twenty-four and a half inches in length and forty-one and a half inches in height4 ,there are three square drawers in the lower part1 and the upper part has two small square drawers for pens1 with a third between them4 ,the two pen drawers pull out and support the lid when lowered4 ,the interior of the desk has eighteen small drawers1 shaped and placed so that their fronts form a curve1 and each little drawer at the top is carved with the rising sun1 or fan1 like the middle drawer in the lower part4 ,the entire design of the interior is like that in a large block-front desk now owned by ,george ,s4 ,palmer1 ,esq41 of ,norwich1 which was made by ,benjamin ,dunham in #agfi1 and it is possible that the two pieces were made by the same ,connecticut cabinet-maker4 ,illustration3 ,illus4 #ii4--;,desk1 #agfj4 ,another desk belonging to ,mr4 ,hosmer is shown in ,illustration #ii4 ,the bandy-legs end in a claw-and-ball of a flattened shape1 and instead of the drawer1 plain or with a carved sunburst1 usually seen between the side drawers of the lower part1 the wood of the frame is sawed in a simple design4 ,the upper part has three drawers1 and the lid when down rests upon two slides which pull out for the purpose4 ,the interior is quite simple1 having four drawers with eight small compartments above4 ,this desk measures twenty-six inches in width and thirty-nine inches and a half in height4 ,the desk in ,illustration #ajj is now owned by the ,american ,antiquarian ,society of ,worcester1 and belonged formerly to ,governor ,john ,hancock4 ,it measures four feet six inches from the floor1 and is of the sturdy1 honest build that one would expect in a desk used by the man whose signature to the ,declaration of ,independence stands out so fearless and determined4 ,illustration3 ,illus4 #ajj4--;,desk1 about #aggj4 ,illustration3 ,illus4 #aja4--;,block-front ,desk4 ,cabinet ,top1 about #aggj4 ,the slanting lid has a moulding across the lower edge1 probably to support a large book1 or ledger1 and as it is at the right height for a man to write standing1 or sitting upon a very high stool1 it may have been used as an office desk4 ,below the slanting lid are two doors behind which are shelves4 ,two drawers extend across the lower part1 and at each end of the desk two small1 long drawers pull out4 ,the desk was made about #aggj4 ,illustration #aja shows a mahogany block-front desk with cabinet top1 owned by ,charles ,r4 ,waters1 ,esq41 of ,salem1 which was bought by ,mr4 ,waters's grandfather1 about #aggj4 ,it is a fine example of the best style of secretary made during the eighteenth century4 ,the doors are of panelled wood4 ,the lid of the desk is blocked like the front1 and like the lid of the desk in ,illustration #aji1 requiring for the blocked lid and drawer fronts wood from two to three inches thick1 as each front is carved from one thick plank4 ,illustration #ajb shows a block-front mahogany desk1 owned by ,francis ,h4 ,bigelow1 ,esq41 of ,cambridge4 ,it formerly belonged to ,dr4 ,john ,snelling ,popkin1 who was ,professor of ,greek at ,harvard ,university from #ahbf to #ahcc1 and probably descended to him1 as it was made about #aggj4 ,the legs1 with claw-and-ball feet1 are blocked like the drawers1 as was usual in block-front pieces1 another feature of which is the moulding upon the frame around the drawers4 ,illustration3 ,illus4 #ajb4--;,block-front ,desk1 about #aggj4 ,in all the desks shown1 the pillars at each side of the middle door in the interior pull out as drawers4 ,these were supposed to be secret drawers4 ,often the little arched pieces above the pigeonholes are drawer fronts4 ,the middle compartment is sometimes a drawer1 or if it has a door1 behind this door is a drawer which1 when taken entirely out1 proves to have a secret drawer opening from its back4 ,occasionally an opening to a secret compartment is found in the back of the desk4 ,all these were designed at a time when banks and deposit companies did not abound1 and the compartments were doubtless utilized to hold papers and securities of value4 ,there are traditions of wills being discovered in these secret compartments1 and novelists have found them of great convenience in the construction of plots4 ,illustration3 ,illus4 #ajc4--;,desk with ,cabinet ,top1 about #aggj4 ,the secretary in ,illustration #ajc is an extraordinarily fine piece4 ,it is of mahogany1 and tradition says that it was brought from ,holland1 but it is distinctly a ,chippendale piece1 from the fine carving upon the feet and above the doors1 and from the reeded pilasters with exquisitely carved capitals4 ,there are five of these pilasters1--three in front and one upon each side1 at the back4 ,the doors hold looking-glasses1 the shape of which1 straight at the bottom and in curves at the top1 is that of the early looking-glasses4 ,the two semicircular1 concave spaces in the interior above the cabinet are lacquered in black and gold4 ,the middle compartment in the desk1 between the pigeonholes1 has a door1 behind which is a large drawer4 ,when this drawer is pulled entirely out1 at its back may be seen small drawers1 and upon taking out one of these and pressing a spring1 secret compartments are disclosed4 ,dr4 ,holmes1 in 8,the ,professor at the ,breakfast ,table10 has written of this secretary thus3-- 8,at the house of a friend where ,i once passed a night1 was one of those stately1 upright cabinet desks and cases of drawers which were not rare in prosperous families during the past century i4e4 the eighteenth4 ,it had held the clothes and the books and papers of generation after generation4 ,the hands that opened its drawers had grown withered1 shrivelled1 and at last had been folded in death4 ,the children that played with the lower handles had got tall enough to open the desk1--to reach the upper shelves behind the folding doors1--grown bent after a while1--and followed those who had gone before1 and left the old cabinet to be ransacked by a new generation4 8,a boy of twelve was looking at it a few years ago1 and1 being a quick-witted fellow1 saw that all the space was not accounted for by the smaller drawers in the part beneath the lid of the desk4 ,prying about with busy eyes and fingers1 he at length came upon a spring1 on pressing which1 a secret drawer flew from its hiding-place4 ,it had never been opened but by the maker4 ,the mahogany shavings and dust were lying in it1 as when the artisan closed it1 and when ,i saw it1 it was as fresh as if that day finished4 8,is there not one little drawer in your soul1 my sweet reader1 which no hand but yours has ever opened1 and which none that have known you seemed to have suspected8 ,what does it hold8 ,a sin8 ,i hope not40 ,the 8quick-witted boy1 with busy eyes and fingers10 was the present owner of the secretary1 the ,rev4 ,william ,r4 ,huntington1 ,d4,d41 of ,grace ,church1 ,new ,york1 and since ,dr4 ,holmes wrote of the secretary1 new generations have grown up to reach the handles of the drawers and to ransack the old cabinet4 ,illustration3 ,illus4 #ajd4--;,block-front ,desk1 about #aggj4 ,the middle ornament upon the top was gone many years ago1 but ,dr4 ,huntington remembers1 as a boy with his brother1 playing with the two end figures which1 it is not astonishing to relate1 have not been seen since those years4 ,the figures were carved from wood1 of men at work at their trade of cabinet-making1 and the boys who were given the carved figures for toys played that the little workmen were the ones who made the secretary4 ,the great handles upon the sides are large and heavy enough for the purpose for which they were intended1 to lift the massive piece of furniture4 ,the block-front mahogany desk in ,illustration #ha shows the blocked slanting lid4 ,the brasses are original and are unusually large and fine4 ,this desk belongs to ,dwight ,blaney1 ,esq41 of ,boston4 ,a splendid mahogany secretary owned by ,albert ,s4 ,rines1 ,esq41 of ,portland1 ,maine1 is shown in ,illustration #aje4 ,the lower part is bomb or kettle-shaped1 but the drawers1 which swell with the shape in front1 do not extend to the corners1 like the kettle-shaped bureau in ,illustration #cj1 but leave a vacant space in the interior1 not taken up at the ends4 ,three beautiful1 flat1 reeded columns with ,corinthian capitals are upon the doors1 which still hold the old bevelled looking-glasses4 ,the handles are original1 but are not as large as one usually finds upon such a secretary4 ,there are larger handles upon the sides1 as was the custom4 ,the cabinet in the upper part is very similar to the one in ,illustration #ajc1 but there is no lacquering upon the curved tops behind the doors4 ,with the thoroughness of workmanship and dislike of sham which characterized the cabinet-makers of the eighteenth century1 there are fine pieces of mahogany inside at the back of the looking-glasses4 ,the cabinet in the desk proper1 which is covered by the slanting lid when closed1 is unusually good1 with the curved drawers1 set also in a curve4 ,illustration3 ,illus4 #aje4--,kettle-front ,secretary1 about #agfe4 ,this secretary is generous in secret compartments1 of which there are six4 ,the centre panel of the cabinet is the front of a drawer1 locked by a concealed spring1 and at the back of this drawer are two secret drawers2 beneath it1 by sliding a thin piece of mahogany1 another drawer is disclosed2 a fourth is at the top1 behind a small drawer1 and at each end of the curved drawers is a secret drawer4 ,the secretary is over eight feet in height4 ,illustration3 ,illus4 #ajf4--;,block-front ,writing-table1 #agfj-aggj4 ,illustration3 ,illus4 #ajg4--,serpentine-front ,desk1 ,cabinet ,top1 #aggj4 ,illustration #ajf shows a beautiful little piece of furniture1 modelled after what ,chippendale calls a writing-table or a bureau table1 by the latter term meaning a bureau desk with a flat top4 ,the same unusually fine shells are carved upon this as upon the double chest of drawers in ,illustration #ba1 and upon the low chest of drawers in ,illustration #ca4 ,in the inside of one of the drawers of this writing-table is written in a quaint old hand a name which is illegible1 and 8,newport1 ,r4,i41 #agf-10 the final figure of the date not being sufficiently plain to determine it4 ,desks1 secretaries1 and chests of drawers have been found with block fronts and these fine shells4 ,all were originally owned in ,rhode ,island or near there1 and nearly all can be traced back to ,newport1 probably to the same cabinet-maker4 ,this writing-table was bought in #aija from the heirs of ,miss ,rebecca ,shaw of ,wickford1 ,rhode ,island4 ,miss ,shaw died in #aijj at over ninety years of age4 ,the writing-table is now owned by ,harry ,harkness ,flagler1 ,esq41 of ,millbrook1 ,new ,york4 ,it measures thirty-four inches in height and thirty-six and three-quarters inches in length4 ,a door with a shell carved upon it opens into a recessed cupboard4 ,a writing-table like this is in the ,pendleton collection1 also found in ,rhode ,island4 ,illustration3 ,illus4 #ajh4--,serpentine or ,bow-front ,desk1 about #aggj4 ,illustration #ajg shows a desk with cabinet top and serpentine or ox-bow front4 ,it is made of ,english walnut of a fine golden hue which has never been stained or darkened4 ,the doors are of panelled wood1 with fluted columns at each side4 ,it was owned in the ,bannister family of ,newburyport until #ahgj1 when it was given to the ,newburyport ,library4 ,it now stands in the old ,prince mansion1 occupied by the ,library4 ,illustration3 ,illus4 #aji4--;,bill of ,lading1 #agaf4 ,illustration #ajh shows a mahogany desk with serpentine front and claw-and-ball feet1 owned by ,mrs4 ,alice ,morse ,earle1 of ,brooklyn4 ,the serpentine drawers of this piece and the one preceding are carved from a solid block1 not quite so thick as is necessary for the block-front drawers4 ,this desk was made at about the same time as the secretary in the last illustration4 ,the bill of lading in ,illustration #aji is preserved in the house known as the 8,warner ,house10 in ,portsmouth1 ,new ,hampshire1 built by ,archibald ,macphaedris1 a member of the ,king's ,council4 ,it was commenced in #agab1 and occupied in #agaf1 but not finished until #agah4 ,mr4 ,macphaedris died in #agbi1 and his widow1 upon her second marriage1 gave the house to her daughter1 married then to ,colonel ,jonathan ,warner1 and the house has remained ever since in the possession of their descendants4 ,the rooms are panelled1 and are filled with the furniture bought by successive generations4 ,upon the walls hang ,copley portraits of ,colonel ,warner and his wife and her haughty mother1 ,mrs4 ,macphaedris 7who was a daughter of ,lieutenant-,governor ,wentworth71 and of ,colonel ,warner's young daughter ,mary1 in her straight little stays1 which are still preserved1 along with the garments1 stiff with gold embroideries1 which ,colonel ,warner and his wife wore upon state occasions4 ,a number of the illustrations for this book were taken in the ,warner house1 which is one of the best-preserved old houses in the country1 and which1 with its furnishings and decorations1 presents an unusually good picture of the home of the wealthy colonist4 ,the quaint wording of this bill of lading1 and the list of furniture mentioned1 make it interesting in this connection1 but none of the pieces of that date remain in the house1 which was evidently refurnished with great elegance1 after #agfj1 when the old furniture was probably discarded as 8old-fashioned40 ,illustration #aaj shows a bookcase built into the ,warner house4 ,it is made of mahogany1 and stands in every particular exactly as it was originally made4 ,the bill of lading of #agaf1 shown in ,illustration #he1 mentions a bookcase1 but this bookcase is of later date1 and was probably bought by ,colonel ,warner for his daughter1 as the books in the case are all bound alike in a golden brown leather1 with gilt tooling1 and each book has 8,miss4 ,warner0 stamped in gilt letters upon the cover4 ,the books are the standard works of that time1--,shakespeare1 ,milton1 ,spenser1 8,the ,spectator10 ,fox's 8,book of ,martyrs10 and all the books which a wealthy man of those days would buy to furnish a library4 ,the dates of the editions vary from #agej to #agfe1 so the latter date may be given to this bookcase4 ,it was once entirely filled with 8,miss4 ,warner's0 books1 but early in the nineteenth century1 during a great fire in ,portsmouth1 the books were removed for safety1 and all were not brought back4 ,illustration3 ,illus4 #aaj4--;,bookcase and ,desk1 about #agfe4 ,illustration3 ,illus4 #aaa4--;,chippendale ,bookcase1 #aggj4 ,at the top of the bookcase is a row of ,chinese fretwork1 which1 together with the massive handles1 would also place its date about #agfe4 ,the case is divided into three sections1 the sides of the lower part being devoted to drawers4 ,the lower middle section has four drawers1 above which is a wide flap which lets down1 disclosing a desk with drawers and pigeonholes4 ,a bookcase owned by ,j4,j4 ,gilbert1 ,esq41 of ,baltimore1 is shown in ,illustration #aaa4 ,it is made after ,chippendale designs1 and is richly carved4 ,the base and feet are very elaborate1 and the cornice and pediment1 are wonderfully fine4 ,the broken arch has delicate sprays of carved wood1 projecting beyond the edge1 and laid over the open fretwork1 and the crowning ornament in the centre is a carved urn with a large spray of flowers4 ,the ornaments and mouldings separating the sections of glass in the doors are as fine as the other rich carving upon this bookcase4 ,a wonderful ,hepplewhite bookcase is shown in ,illustration #aab4 ,it is owned by ,george ,w4 ,holmes1 ,esq41 of ,charleston1 ,south ,carolina1 and carries with it an impression of the wealth and luxury in ,charleston1 before the ,civil ,war and the other disasters that befell that city in the latter half of the nineteenth century4 ,illustration3 ,illus4 #aab4--;,hepplewhite ,bookcase1 #aghi4 ,this bookcase is nearly nine feet in length1 and is made of unusually fine mahogany4 ,the lower part is designed in a series of curves which prevents the plain look that a straight front would give in such length4 ,the doors form one curve and a part of the other two1 which are completed by the drawers at each side2 a skilful management of a long space4 ,the curves at the top of the pediment follow the same lines1 and the bookcase was evidently designed by a master hand4 ,it was probably brought from ,england1 together with a secretary to match it4 ,above the doors and drawers1 shelves pull out1 on which to rest books4 ,a fine line of holly runs around each door and drawer1 with a star inlaid at the corners of the doors1 while a very beautiful design is inlaid in light and dark woods1 in the space on the pediment1 which is finished with the broken arch1 of the high1 slender type1 with carved rosettes4 ,the centre ornament1 between the rosettes1 is a basket of flowers carved in wood4 ,illustration3 ,illus4 #aac4--,maple ,desk1 about #agie4 ,after the publication of the designs of ,shearer1 ,hepplewhite1 and ,sheraton1 the heavy desks were superseded by those of lighter design1 and the slant-top bureau desk was seldom made after #agij4 ,sheraton says3 8,bureau in ,france is a small chest of drawers4 ,it has generally been applied to common desks with drawers made under them4 ,these pieces of furniture are nearly obsolete in ,london40 ,slant-top desks do not appear in cabinet-makers' books published after #ahjj1 and it is safe to assign a date previous to the nineteenth century to any such desk4 ,illustration3 ,illus4 #aad4--;,hepplewhite ,desk1 ,cabinet ,top1 #agij4 ,illustration #aac shows the latest type of a slant-top desk1 made in #agij-agie4 ,the frame is of maple1 the drawers being of curly maple edged with ebony4 ,the lid is of curly maple framed in bird's-eye maple with ebony lines1 and in the centre is a star made of mahogany and ebony4 ,the small drawers inside are of bird's-eye maple1 three of the drawers having an ebony and mahogany star4 ,the base is what ,hepplewhite calls a ,french base1 and the desk1 which measures only thirty-six inches in length1 is a good example of the artistic use of the different varieties of maple with their golden hues4 ,this desk belongs to the writer4 ,illustration #aad shows a ,hepplewhite desk with cabinet top owned by the writer1 and made about #agij4 ,the drawers are veneered with satinwood1 with a row of fine inlaying of holly and ebony around each drawer front4 ,the base is after ,hepplewhite's design1 and has a row of ebony and holly inlaying across it4 ,the slightly slanting lid turns back and rests upon two pulls to form a writing-table4 ,the pigeonholes and small drawers are behind the glass doors1 which are made like two ,gothic arches1 with three little pillars1 and panels of satinwood between the bases of the pillars4 ,the pediment at the top of the cabinet is quite characteristic of the period4 ,illustration #aae shows a charming little ,sheraton desk owned by ,w4 ,s4 ,g4 ,kennedy1 ,esq41 of ,worcester4 ,it is made of bird's-eye maple with trimming of mahogany veneer1 and a row of ebony and holly inlaying below the drawers4 ,the upper part has one maple door in the centre1 with a tambour door of mahogany at each side1 behind which are pigeonholes and small drawers4 ,illustration3 ,illus4 #aae4--,sheraton ,desk1 #agie4 ,the lid shuts back upon itself1 and1 when open1 rests upon the two pulls at each side of the upper drawer4 ,the wood of this desk is beautifully marked1 and the whole effect is very light and well adapted to a lady's use4 ,illustration3 ,illus4 #aaf4--,tambour ,secretary1 about #ahjj4 ,the word 8tambour0 is thus defined by ,sheraton3 8,tambour tables among cabinet-makers are of two sorts2 one for a lady or gentleman to write at1 and another for the former to execute needlework by4 ,the ,writing ,tambour ,tables are almost out of use at present1 being both insecure and liable to injury4 ,they are called ,tambour from the cylindrical forms of their tops1 which are glued up in narrow strips of mahogany and laid upon canvas1 which binds them together1 and suffers them at the same time to yield to the motion that their ends make in the curved groove in which they run4 ,tambour tables are often introduced in small pieces where no strength or security is desired40 ,in his will1 ,george ,washington left to ,dr4 ,craik 8my beaureau 7or as cabinet-makers call it1 tambour secretary740 ,illustration #aaf shows what might be called a tambour secretary4 ,it is made of mahogany with lines of light wood inlaid4 ,the lid of the lower part is folded back upon itself4 ,illustration3 ,illus4 #aag4--,sheraton ,desk1 #ahjj4 ,above it are two tambour doors1 behind which are drawers and pigeonholes and a door in the centre with an oval inlay of satinwood4 ,above these doors is a cabinet with glass doors4 ,the pediment is like the one in ,illustration #aad4 ,this secretary was made about #ahjj1 and belongs to ,francis ,h4 ,bigelow1 ,esq41 of ,cambridge4 ,illustration #aag shows a small ,sheraton writing table for a lady's use1 also owned by ,mr4 ,bigelow4 ,it is of simple construction1 having one drawer1 and when the desk is closed1 the effect is that of a small table with a flat top4 ,illustration #aah shows a desk which was copied from one of ,sheraton's designs1 published in #agic1 and described as 8a lady's cabinet and writing table40 ,the legs in ,sheraton's drawing are slender and straight1 while these are twisted and carved1 and the space1 which in the design is left open for books1 in this desk is closed with a tambour door4 ,illustration3 ,illus4 #aah4--,sheraton ,desk1 about #ahaj4 ,the slide which shows above the compartment pulls out1 with a mechanism described by ,sheraton1 and when fully out1 it drops to form the cover for the compartments4 ,the ,empire brasses upon the top are original1 but the handles to the drawers are not4 ,they should be brass knobs4 ,this beautiful little desk was made about #ahaj for ,william ,t4 ,lane1 ,esq41 of ,boston1 and is owned by his daughter1 ,mrs4 ,thomas ,h4 ,gage of ,worcester4 ,illustration3 ,illus4 #aai4--;,desk1 about #ahbj4 ,illustration #aai shows a bureau and desk1 belonging to ,mrs4 ,j4 ,h4 ,henry of ,winchendon4 ,the lid of the desk turns back like the lid of a piano4 ,the carved pillars at the side are like the ones upon the bureau in ,illustration #cg1 and upon other pieces of furniture of the same date1 about #ahbj4 ,,chapter ,,vi ,,chairs ,illustration ,,chairs are seldom mentioned in the earliest colonial inventories1 and few were in use in either ,england or ,america at that time4 ,forms and stools were used for seats in the sixteenth and early seventeenth centuries1 and inventories of that period1 even those of wealthy men1 do not often contain more than one or two chairs4 ,the chair was the seat of honor given to the guest1 others sitting upon forms and stools4 ,this custom was followed by the ,american colonists1 and forms or benches and joint or joined stools constituted the common seats during the first part of the seventeenth century4 ,illustration3 ,illus4 #abj4--,turned ,chair1 ,sixteenth ,century4 ,the chairs in use during that period were 8thrown0 or turned chairs2 wainscot chairs1 sometimes described as 8scrowled0 or carved chairs2 and later1 chairs covered with leather1 or 8,turkey work10 and other fabrics4 ,the best-known turned chair in this country is the 8,president's ,chair0 at ,harvard ,university4 ,dr4 ,holmes has written of it in 8,parson ,turell's ,legacy03-- 8--a chair of oak1-- ,funny old chair1 with seat like wedge1 ,sharp behind and broad front edge1-- ,one of the oddest of human things1 ,turned all over with knobs and rings1-- ,but heavy1 and wide1 and deep1 and grand1-- ,fit for the worthies of the land1-- ,chief ,justice ,sewall a cause to try in1 ,or ,cotton ,mather1 to sit--and lie1--in40 ,in the ,bolles collection is a chair similar to the ,harvard chair1 and one is shown in ,illustration #abj1 owned by ,henry ,f4 ,waters1 ,esq41 of ,salem4 ,a turned chair of the same period with a square seat is owned by the ,connecticut ,historical ,society4 ,illustration3 ,illus4 #aba4--,turned ,high-chair1 ,sixteenth ,century4 ,provision was made for the youngest of the large family of children1 with which the colonist was usually blessed1 in the high chair1 which is found in almost every type4 ,a turned high chair is shown in ,illustration #aba1 brought by ,richard ,mather to ,america in #afce1 and used to hold the successive babies of that famous family1--,samuel1 ,increase1 ,cotton1 and the others4 ,the rod is missing which was fastened across the front to hold the child in1 and only the holes show where the pegs were placed to support the foot-rest4 ,this quaint little chair is owned by the ,american ,antiquarian ,society of ,worcester4 ,a style of turned chair more commonly in use is shown in ,illustration #abb1 said to have been brought on the ,mayflower by ,governor ,carver4 ,the chair in ,illustration #abc1 originally owned by ,elder ,brewster1 is of a rarer type1 the spindles being greater in number and more finely turned4 ,both of these chairs are in ,pilgrim ,hall1 in ,plymouth4 ,turned chairs are not infrequently found of the type of ,illustration #abb1 but rarely like the ,brewster chair or the turned chair in ,illustration #abj4 ,the wainscot chair was made entirely of wood1 usually oak1 with a panelled back1 from which came the name 8wainscot40 ,its valuation in inventories was two or three times that of the turned chair1 which is probably the reason why wainscot chairs are seldom found4 ,illustration3 ,illus4 #abb and ,illus4 #abc4--,turned ,chairs1 about #afjj4 ,the finest wainscot chair in this country is shown in ,illustration #abd4 ,it belongs to the ,essex ,institute of ,salem1 having been given to that society in #ahba by a descendant of the original owner1 ,sarah ,dennis of ,ipswich1 who possessed two of these chairs2 the other is now the ,president's chair at ,bowdoin ,college4 ,illustration3 ,illus4 #abd4--,wainscot ,chair1 about #afjj4 ,a plainer form of the wainscot chair is shown in ,illustration #abe4 ,it was brought to ,newbury in the ship ,hector1 in #afcc1 and is now in the collection of the late ,major ,ben3 ,perley ,poore1 at ,indian ,hill4 ,by the middle of the seventeenth century chairs had become more common1 and inventories of that period had frequent mention of leather or leather-backed chairs4 ,some of the earliest leather chairs have the under part of the frame similar to that of the wainscot chair1 with plain legs and stretchers1 while others have the legs and back posts turned4 ,illustration #abf shows a leather chair made about #affj1 in the ,waters collection4 ,the seat and back have been covered with leather in the same manner as they were originally1 as enough remained of the old cover to copy4 ,a chair of some later date1 about #afhj1 is shown in ,illustration #abg1 also from the ,waters collection1 the back and seat of which were originally of ,turkey work4 ,the frame is similar to that in ,illustration #abf1 with the exception of the carved brace across the front1 which feature leads one to give the chair a later date than the one in ,illustration #abf4 ,the feet have been sawed off4 ,illustration3 ,illus4 #abe4--,wainscot ,chair1 about #afjj4 ,other coverings beside ,turkey work were used1--velvet1 camlett1 plush1 or cloth1 as well as an occasional cover 8wrought by hir owne hand40 ,until the latter part of the seventeenth century a somewhat architectural style prevailed in chairs1 settles1 and tables4 ,this was succeeded by the graceful lines and carving of the cane furniture which came into fashion during the last quarter of that century4 ,it is called ,jacobean furniture1 although that name would not seem to be strictly accurate1 for the ,jacobean period was ended before cane furniture was introduced into ,england1 about #afgh4 ,the cane chairs form a complete contrast to the heavy wainscot or turned chairs in use previously1 the light effect coming not only from the cane seat and back1 but also from the frame1 which was usually carved in a graceful design4 ,illustration3 ,illus4 #abf4--,leather ,chair1 about #affj4 ,illustration3 ,illus4 #abg4--;,chair originally covered with ,turkey work1 about #afhj4 ,illustration3 ,illus4 #abi4--;,flemish ,chair1 about #afij4 ,illustration3 ,illus4 #abh4--;,flemish ,chair1 about #afij4 ,illustration #abh shows a chair which belonged to ,sir ,william ,pepperell1 made possibly for his father1 for ,sir ,william was not born until #afig4 ,the front legs1 carved with the scroll foot turning forward1 are in the pure ,flemish style4 ,the brace in front1 carved to correspond with the top of the back1 appears in cane chairs with a carved frame4 ,the seat was originally of cane4 ,this chair is now in the ,alexander ,ladd house in ,portsmouth4 ,illustration3 ,illus4 #acj4--;,cane ,chair1 #afhj-afij4 ,a chair of similar effect1 but with turned legs1 and carved in a different design1 with the crown as the central figure of the underbrace and top1 is shown in ,illustration #abi4 ,it belongs to ,miss ,mary ,coates of ,philadelphia1 to whom it has descended from ,josiah ,langdale1 in whose inventory this chair1 with its mates1 was mentioned4 ,josiah ,langdale took ship with his family and belongings1 from ,england for ,america1 in #agbc4 ,before sailing he became very ill and prayed that he might die and be buried in the old graveyard1 but his wish was not granted1 and he was carried on board1 taking his coffin with him4 ,three days out 7but not far from land7 he died1 and was buried in his coffin1 at sea4 ,the coffin was not sufficiently weighted1 however1 and it drifted back to land1 where it was opened1 and its occupant identified1 and ,josiah ,langdale was buried from the old ,quaker meeting-house1 as he had prayed4 ,his widow came safely to ,america with her furniture1 among which was this chair4 ,both ,flemish and ,spanish characteristics appear in the chair in ,illustration #acj4 ,the front legs are in the ,flemish style1 the scroll foot turning back as it often does4 ,the twisted stretchers and back posts show the influence of ,spanish or ,portuguese fashions4 ,this chair is in the ,poore collection at ,indian ,hill1 ,newburyport4 ,illustration3 ,illus4 #aca4--;,cane ,high-chair and ,arm-chair1 #afhj-afij4 ,illustration #aca shows two beautiful chairs owned by ,dwight ,blaney1 ,esq41 of ,boston4 ,the ,portuguese twist has an unusually graceful effect in the tall legs of the little high chair4 ,illustration3 ,illus4 #acb4--;,cane ,chair1 #afhj-afij4 ,it will be noticed that1 instead of being twisted1 the upper part of the front legs is turned in balls to provide a stronger hold for the pegs which support the foot-rest4 ,there are four holes for these pegs1 at different heights1 in order that the rest might be lowered as the infantile legs lengthened4 ,the crown appears in the top of the high chair1 while the arm-chair has a child's figure carved in the centre of the top4 ,the arms of both chairs are carved with the acanthus leaf4 ,an example of the finest carving attained in cane furniture is shown in ,illustration #acb4 ,this exquisite chair is owned by ,harry ,harkness ,flagler1 ,esq41 of ,millbrook4 ,the design of the top is repeated in the front brace1 but much enlarged4 ,the frame of the seat and the arms are carved like those in ,illustration #aca4 ,the legs end in a curious form of the ,spanish foot4 ,the popularity of the cane chair1 as well as its strength1 is attested by the number which have survived the centuries1 in fair condition for chairs so light in appearance4 ,the cane chair in ,illustration #acc is owned by ,dwight ,m4 ,prouty1 ,esq41 of ,boston4 ,the top of the under brace is carved in a crescent-shaped design1 which is used again in the top rail4 ,the front leg is a ,flemish scroll with a ball beneath it4 ,the cane back is unusual in design1 the carved wood on each side making a diamond-shaped effect4 ,the chair in ,illustration #acd belongs to the writer4 ,the cane extends up into the curve made in the top rail of the back1 which is1 like the underbrace and the sides of the back1 more elaborately carved than the chairs in ,illustrations #abh and #abi4 ,illustration3 ,illus4 #acc and ,illus4 #acd4--;,cane ,chairs1 #afhj-afij4 ,stools were not common1 but are occasionally found1 following the styles in chairs4 ,with the wainscot chairs were joined or joint stools4 ,the stool in ,illustration #ace was used with the turned chair1 like the one in ,illustration #abf4 ,illustration3 ,illus4 #ace4--,turned ,stool1 #affj4 ,illustration #acf shows a very rare piece1 a ,flemish stool1 with a carved underbrace1 probably like the ones upon the cane-back chairs used with it4 ,these two fine stools are in the collection of ,dwight ,m4 ,prouty1 ,esq41 of ,boston4 ,a chair once owned by ,general ,henry ,dearborn of ,revolutionary fame is shown in ,illustration #acg4 ,the back and seat were originally cane1 and it has a perfect ,spanish foot4 ,illustration3 ,illus4 #acf4--;,flemish ,stool1 #afhj4 ,the chair in ,illustration #ach is of the style called ,queen ,anne4 ,it has ,spanish feet but the back shows the first use of the ,dutch splat1 afterward developed and elaborated by ,chippendale and others4 ,this chair and the one in ,illustration #acg belong to the writer4 ,a chair which retained some characteristics of the cane chair was the banister-back chair1 which appears in inventories of the first half of the eighteenth century4 ,two banister-back chairs owned by the writer are shown in ,illustration #aci and ,illustration #adj4 ,it will be seen that the tops and one carved underbrace are similar to those upon cane chairs1 while the legs of one chair end in a clumsy ,spanish foot4 ,the banisters which form the back are turned on one side and flat on the other4 ,illustration3 ,illus4 #acg4--;,cane ,chair1 #afij-agjj4 ,illustration3 ,illus4 #ach4--,queen ,anne ,chair1 #agaj-agbj4 ,these chairs have the flat side in front1 but either side was used in banister chairs1 plainer types of which are found1 sometimes with the slats not turned1 but straight and flat4 ,the chair in ,illustration #adj was used for the deacon's chair in the old meeting-house in ,westborough1 ,massachusetts1 built in #agbd1 and it stood in 8the deacon's pue10 in front of the pulpit1 for the deacon to sit upon1 as was the custom4 ,illustration3 ,illus4 #aci and ,illus4 #adj4--;,banister-back ,chairs1 #agaj-agbj4 ,illustration3 ,illus4 #ada4--;,banister-back ,chair1 #agaj-agdj4 ,thedeacon must have longed for the two hours' sermon to end1 if he had to sit upon this chair with its high1 narrow seat4 ,there are several kinds of wood in these chairs1 and when found they were painted black4 ,illustration3 ,illus4 #adb4--,roundabout ,chair1 about #agdj4 ,an unusually fine banister chair1 from the ,poore collection at ,indian ,hill1 ,newburyport1 is shown in ,illustration #ada1 with carved top and underbrace and ,spanish feet4 ,the seat is rush1 as it usually is in banister chairs4 8,roundabout0 chairs are met with in inventories from #agch under various names1--8three-cornered chair10 8half round chair10 8round about chair10--but they are now known as roundabout or corner chairs4 ,they were made in different styles1 like other chairs1 from the turned or the ,dutch bandy-leg1 down to the carved ,chippendale leg with claw-and-ball foot4 ,illustration #adb shows a roundabout chair with turned legs1 the front leg ending in a ,dutch foot4 ,this is in the ,whipple house at ,ipswich4 ,illustration3 ,illus4 #adc4--,slat-back ,chairs1 #agjj-agej4 ,the most common chair during the first half of the eighteenth century was the 8slat back10 with a rush seat4 ,the number of slats varied2 three1 four1 and five slats being used4 ,the slats were also made in different designs1 those made in ,pennsylvania being curved4 ,illustration3 ,illus4 #add4--;,five-slat ,chair1 about #agej4 ,two slat-back chairs are shown in ,illustration #adc from the ,whipple house in ,ipswich4 ,the large chair was found in the country1 stuffed and covered with many layers of wadding and various materials4 ,when they were removed1 this frame was disclosed1 but the tops of the posts had been sawed off4 ,the back posts should terminate in a turned knob1 like the ,carver chair in ,illustration #abb1 which this chair strongly resembles1 the slats taking the place of the turned spindles of the ,carver chair4 ,the small chair is probably of later date1 and was evidently intended for a child's use4 ,chairs with three-slat backs are in ,illustrations #ed and #bja4 ,illustration3 ,illus4 #ade4--,pennsylvania ,slat-back ,chair1 #agdj-agej4 ,illustration #add shows a five-slat or five-back chair owned by the writer4 ,it was made about #agej1 and the rockers were probably added twenty-five or thirty years later4 ,they project as far in front as in the back1 which is evidence of their age4 ,later rockers were made longer1 probably for safety1 the short rocker at the back proving dangerous to the equilibrium of a too vigorous occupant of the rocking chair4 ,this chair has never been restored and is a very good example of the slat-back chair4 ,it is painted black with lines of yellow4 ,illustration #ade shows an arm-chair with a five-slat back which is now the property of the ,historical ,society of ,pennsylvania4 ,the slats are the typical ,pennsylvania ones1 made to fit the back1 with a deeper curve than some1 and1 as may be seen by comparing them with others illustrated1 with a more decided curve to both the upper and lower edges of the slats4 ,the stretcher across the front is turned and is unusually heavy4 ,illustration3 ,illus4 #adf4--,windsor ,chairs1 #agej-agge4 ,the type of chair succeeding the slat-back in popularity was the ,windsor1 which was made for years in large numbers both in ,england and ,america4 ,windsor chairs made their first appearance in this country about #agcj1 in ,philadelphia1 and 8,philadelphia made0 ,windsor chairs soon became very popular4 ,advertisements of them abound in newspapers up to #ahjj1 and they may be found with the slat-back chairs in almost any country house1 frequently upon the piazza1 whence many a one has been bought by the keen-eyed collector driving along the road4 ,the original ,philadelphia fashion was to paint the chairs green1 but after they were made all over the country they were probably painted to suit the taste of the buyer4 ,illustration3 ,illus4 #adg4--;,comb-back ,windsor ,rocking-chair1 #agej-agge4 ,there is a story that the name ,windsor was derived from the ,english town1 where one of the royal ,georges found in a shepherd's cottage a chair of this style1 which he bought and had others made from1--thereby setting the fashion4 ,windsor chairs are found in several styles1 two of which are shown in ,illustration #adf1 owned by the writer4 ,side-chairs like the arm-chair were made with the dividing strip which connects the arms left out1 and the rounding top rail continuing down to the seat4 ,the other chair in the illustration is known as a 8fan back0 from its shape with the flaring top4 ,illustration #adg shows a 8comb-back0 ,windsor rocking-chair1 owned by ,mrs4 ,clarence ,r4 ,hyde1 of ,brooklyn1 ,n4 ,y4 ,the middle spindles are extended to form the little head-rest1 from which the name is derived4 ,illustration3 ,illus4 #adh4--;,high-back ,windsor ,arm-chair1 and ,child's ,chair1 #agej-agge4 ,a fine1 high-backed arm-chair1 and a child's chair are shown in ,illustration #adh1 owned by ,miss ,mary ,coates of ,philadelphia4 ,these chairs may have been some of the original ,philadelphia-made ,windsor chairs1 as they were bought in that town by ,benjamin ,horner1 who was born in #agcg4 ,windsor writing-chairs are occasionally found1 and one is shown in ,illustration #adi1 possessing more than common interest1 for it is said to have belonged to ,thomas ,jefferson1 and upon its table may have been written the ,declaration of ,independence4 ,it now belongs to the ,american ,philosophical ,society of ,philadelphia4 ,the seat is double1 the top one revolving4 ,the legs have been shortened4 ,illustration3 ,illus4 #adi4--,windsor ,writing-chair1 #agej-agge4 ,illustration #aej shows two late ,windsor rocking-chairs1 the one of curly maple being several years later than the other1 as the rockers1 short in front and long behind1 bear evidence4 ,these chairs are owned by the writer4 ,the ,dutch chair with bandy or cabriole legs and a splat in the back made its appearance with the early years of the eighteenth century1 and was the forerunner of the ,chippendale chair4 ,the first ,dutch chairs have a back similar in form to the ,queen ,anne chair in ,illustration #ajh1 slightly higher and narrower than later backs4 ,they are sometimes called ,queen ,anne chairs1 and sometimes parrot-back1 from the shape of the opening each side of the solid splat4 ,the stretchers or underbraces of earlier chairs are retained in the first ,dutch chairs1 one of which is shown in ,illustration #aea1 owned by ,mrs4 ,charles ,h4 ,prentice1 of ,worcester4 ,illustration3 ,illus4 #aej4--,windsor ,rocking-chairs1 #ahbj-ahcj4 ,the first mention found of claw-and-ball feet is in #agcg1 when 8six ,crowfoot chairs0 appear in an inventory4 ,in one of #agej1 8chairs with ,eagle's foot and shell on the ,knee0 are entered4 ,illustration3 ,illus4 #aea4--;,dutch ,chair 7back stretcher missing71 #agaj-agbj4 ,a chair is shown in ,illustration #aeb1 still retaining the stretchers1 but with the claw-and-ball foot and a shell at the top of the back4 ,this chair was made about #agbj-agcj4 ,it belongs to ,walter ,hosmer1 ,esq4 ,illustration #aec shows a chair also belonging to ,mr4 ,hosmer4 ,it is made without stretchers1 and the splat is pierced at the top4 ,a chair which retains the form of the ,dutch chair1 with 8,eagle's foot and shell on the ,knee10 is shown in ,illustration #aed1 but the splat is cut in an elaborate design1 with the centre opening heart-shaped1 which was the shape of the earliest piercing made in the plain splat4 ,this chair and the one in ,illustration #aee are in the ,poore collection at ,indian ,hill1 ,newburyport4 ,they show the development from the ,dutch to the ,chippendale style4 ,the legs in ,illustration #aee are carved upon the knee with an elaborate form of shell and a scroll4 ,the splat is not pierced1 but has a curious design of ropes with tassels carved at the top4 ,these chairs were made about #agdj-agej4 ,the backs of the last four chairs are made with the characteristic ,dutch top1 curving down into the side-posts with rounded ends1 with the effect of back and sides being in one piece4 ,illustration3 ,illus4 #aeb and ,illus4 #aec4--;,dutch ,chairs1 about #agdj4 ,a style of chair common during the first half of the eighteenth century is shown in ,illustration #aef2 one chair having turned legs while the other ends in a ,spanish foot4 ,the tops are in the bow shape1 and the splats are pierced1 showing the influence of ,chippendale fashions4 ,the splat is alike in both1 but the country cabinet-maker who probably made these chairs may have thought the splat would look as well one way as the other1 and so put one in upside down4 ,they are in the ,deerfield ,museum1 and were made about #agej4 ,illustration3 ,illus4 #aed and ,illus #aee4--;,dutch ,chairs1 #agdj-agej4 ,a roundabout chair in the ,dutch style is shown in ,illustration #aeg4 ,the bandy legs end in a foot with a slight carving in grooves1 and the seat is rounding upon the corners like that in the ordinary ,dutch chair4 ,this very graceful chair is owned by ,francis ,h4 ,bigelow1 ,esq41 of ,cambridge4 ,illustration3 ,illus4 #aef4--;,dutch ,chairs1 #agej-agfj4 ,easy-chairs formed a part of the bedroom furniture inventoried during the eighteenth century1 and they were made in various styles1 with ,dutch1 ,chippendale1 and ,hepplewhite legs4 ,hepplewhite gives a design in #aghg for what he calls 8an easy-chair10 and also a 8saddle-check chair10 while upon the same page1 with intentional suggestion1 is a design for a 8gouty-stool40 ,illustration3 ,illus4 #aeg4--;,dutch ,roundabout ,chair1 #agdj4 ,illustration #aeh shows an easy-chair with the ,dutch bandy leg and foot1 owned by the writer4 ,such chairs were inventoried very high1 from one pound to ten1 and when one considers the amount of material required to stuff and cover the chair1 the reason for the high valuation is understood4 ,in the days when the fireplace gave what heat there was in the room1 these great chairs must have been most comfortable1 with the high back and sides to keep out draughts4 ,an easy-chair with claw-and-ball feet is shown in ,illustration #aei4 ,it is owned by ,francis ,h4 ,bigelow1 ,esq41 of ,cambridge4 ,a beautiful easy-chair with carved cabriole legs1 owned by ,harry ,harkness ,flagler1 ,esq41 is shown in ,illustration #bdh4 ,we now come to the most important period in the consideration of chairs1--the last half of the eighteenth century4 ,during this period many books of designs were published1 which probably came to this country within a year or two of their publication1 and which afforded ,american cabinet-makers an opportunity for copying the best ,english examples4 ,chippendale's designs were published in #agec1 ,hepplewhite's in #aghi1 ,sheraton's in #agia4 ,besides these three chief chair-makers1 there were ,ince and ,mayhew1 #agfe2 ,robert ,manwaring1 #agfe2 ,r4 and ,j4 ,adam1 #aggc2 and others of less note4 ,illustration3 ,illus4 #aeh4--;,easy-,chair with ,dutch ,legs1 #agej4 ,chippendale drew most of his ideas from the ,french1 notably in the way of ornamentation1 but the form of his chairs was developed chiefly from the ,dutch style1 with the bandy leg and splat in the back4 ,his straight-legged chairs were suggested by the ,chinese furniture1 which was fashionable about the middle of the eighteenth century4 ,these various styles ,chippendale adapted1 and employed with such success that his was the strongest influence of the century upon furniture1 and for a period of over thirty years it was supreme4 ,illustration3 ,illus4 #aei4--;,claw-and-ball-foot ,easy-chair1 #agej4 ,illustration3 ,illus4 #afj4--;,chippendale ,chair4 ,the claw-and-ball foot does not appear upon any of ,chippendale's designs in 8,the ,gentleman's and ,cabinet-,maker's ,director40 ,illustration3 ,illus4 #afa4--;,chippendale ,chair4 ,his preference was plainly for the ,french scroll foot1 shown upon the sofa in ,illustration #bji and the candle-stand in ,illustration #ccc4 ,doubtless1 however1 he made furniture with the claw-and-ball foot1 which was the foot used by the majority of his imitators and followers4 ,an early ,chippendale chair is shown in ,illustration #afj1 from the ,poore collection at ,indian ,hill1 with stretchers1 which are unusual in a ,chippendale chair4 ,the cabriole legs are carved upon the knee and end in a claw-and-ball foot4 ,illustration3 ,illus4 #afb4--;,chippendale ,chair4 ,the top of the back has the bow form1 which is a distinguishing characteristic of ,chippendale4 ,this chair-seat and the one following are very large and broad4 ,illustration3 ,illus4 #afc4--;,chippendale ,chair4 ,the lines in the back of the chair in ,illustration #afa form a series of curves1 extremely graceful in effect1 and the carving upon the back and legs is very fine4 ,this chair is one of a set of six owned by ,harry ,harkness ,flagler1 ,esq4 ,illustration #afb shows a chair owned by ,miss ,mary ,coates of ,philadelphia4 ,the design of the back1 with some variations1 is often seen4 ,the top forms a complete bow with the ends turning up1 and a shell is carved in the centre4 ,illustration3 ,illus4 #afe4--;,chippendale ,chairs4 ,a variation of this back is shown in ,illustration #afc4 ,the top has a fan instead of a shell1 and the ends of the bow top are grooved4 ,illustration3 ,illus4 #afd4--;,chippendale ,chair4 ,this chair is one of a set formerly owned by ,miss ,rebecca ,shaw of ,wickford1 ,rhode ,island1 who died in #aijj1 over ninety years of age4 ,they are now in the possession of ,mrs4 ,alice ,morse ,earle of ,brooklyn1 ,new ,york4 ,a fine arm-chair owned by ,miss ,mary ,coates is shown in ,illustration #afd4 ,two very beautiful and unusual ,chippendale arm-chairs are shown in ,illustration #afe4 ,they are owned by ,harry ,harkness ,flagler1 ,esq41 and the larger chair1 which was formerly in the ,pendleton collection1 is undoubtedly an original ,chippendale4 ,its proportions are perfect1 and the elaborate carving is finely done4 ,the other chair presents some ,dutch characteristics1 in the shape of the seat and back1 but the details of the carving indicate it to be after the school of ,chippendale4 ,illustration3 ,illus4 #afg4--,roundabout ,chair4 ,illustration #aff shows a graceful chair with carving upon the back and knees4 ,it belonged formerly to ,governor ,strong of ,massachusetts1 and is now owned by ,w4 ,s4 ,g4 ,kennedy1 ,esq41 of ,worcester4 ,illustration3 ,illus4 #aff4--;,chippendale ,chair4 ,the roundabout chair in ,illustration #afg was originally owned by the ,rev4 ,daniel ,bliss1 the ,congregational minister in ,concord1 ,massachusetts1 from #agci to #agff4 ,he was succeeded by ,william ,emerson1 who married his daughter1 and who was the grandfather of ,ralph ,waldo ,emerson4 ,william ,emerson died in #aggg1 and ,dr4 ,ezra ,ripley succeeded to the pastorate and the widow1 and took possession of the manse and of this chair1 which must have served the successive ministers at the desk1 while many hundreds of sound sermons were written4 ,it now belongs to the ,concord ,antiquarian ,society4 ,illustration3 ,illus4 #afh4--;,extension-top ,roundabout ,chair4 ,an unusually fine example of a ,dutch corner chair with an extension top1 is shown in ,illustration #afh1 owned by the ,metropolitan ,museum of ,art4 ,the finest type of roundabout chair is shown in ,illustration #afi4 ,it is of mahogany and has but one cabriole leg1 the others being uncompromisingly straight1 but the cabriole leg1 and the top rail and arms are carved finely with the acanthus design1 worn almost smooth on the arms4 ,it belongs to ,dwight ,m4 ,prouty1 ,esq4 ,illustration3 ,illus4 #afi4--,roundabout ,chair4 ,illustration #agj shows a chair owned by ,albert ,s4 ,rines1 ,esq41 of ,portland1 ,maine4 ,illustration3 ,illus4 #agj4--;,chippendale ,chair4 ,it is extraordinarily good in design and carving1 fine in every detail4 ,the gadrooned edge upon this and the roundabout chair is found only upon the best pieces4 ,illustration #aga shows one of six chairs owned by the writer4 ,the design of the chair-back in ,illustration #agb is one that was quite common4 ,the chair belongs to the writer4 ,the chair in ,illustration #agc is owned by ,mrs4 ,e4 ,a4 ,morse of ,worcester2 the one in ,illustration #agd is in the ,waters collection1 in ,salem1 and is one of a set of six4 ,the legs and the rail around the seat of the last chair are carved in a rosette design in low relief4 ,illustration3 ,illus4 #aga and ,illus4 #agb4--;,chippendale ,chairs4 ,about the middle of the eighteenth century it was fashionable to decorate houses and gardens in 8,chinese taste10 and furniture was designed for 8,chinese temples0 by various cabinet-makers4 ,that the ,american colonies followed ,english fashions closely is shown by the advertisement in #ageh of ,theophilus ,hardenbrook1 surveyor1 who with unfettered fancy modestly announced that he 8designs all sorts of ,buildings1 ,pavilions1 ,summer ,rooms1 ,seats for ,gardens02 also 8all sorts of rooms after the taste of the ,arabian1 ,chinese1 ,persian1 ,gothic1 ,muscovite1 ,paladian1 ,roman1 ,vitruvian1 and ,egyptian40 ,illustration3 ,illus4 #agc and ,illus4 #agd4--;,chippendale ,chairs4 ,illustration #age shows a ,chippendale chair in 8,chinese taste0 owned by ,harry ,harkness ,flagler1 ,esq41 of ,millbrook4 ,the legs and stretchers are straight1 like those of ,chinese chairs1 and the outline of the back is ,chinese1 but the delicate carving is ,english4 ,a sofa and a chair in 8,chinese taste0 are shown in ,illustration #baa4 ,illustration3 ,illus4 #age4--;,chippendale ,chair in 8,chinese ,taste40 ,illustration #agf and ,illustration #agg show two ,chippendale chairs with backs of entirely different design from the splat-back chairs previously illustrated4 ,their form was probably suggested by that of the slat-back chair4 ,illustration #agf is one of a set of six1 originally owned by ,joseph ,brown1 one of the four famous brothers of ,providence1 whose dignified names1 ,john1 ,joseph1 ,nicholas1 and ,moses1 have been familiarly rhymed as 8,john and ,josey1 ,nick and ,mosey40 ,the six chairs are now owned by their kinswoman1 ,mrs4 ,david ,thomas ,moore of ,westbury1 ,long ,island4 ,each slat is delicately carved1 and the chairs represent the finest of this type of ,chippendale chairs4 ,illustration #agg shows a chair owned by ,charles ,r4 ,waters1 ,esq41 of ,salem1 with carved slats in the back4 ,chairs with this back but with plain slats are not unusual4 ,illustration3 ,illus4 #agf4--;,chippendale ,chair4 ,hepplewhite's designs were published in #aghi1 and his light and attractive furniture soon became fashionable1 superseding that of ,chippendale1 which was pronounced 8obsolete40 ,hepplewhite's aim was to produce a light effect1 and to this he often sacrificed considerations of strength and durability4 ,illustration3 ,illus4 #agg4--;,chippendale ,chair4 ,illustration3 ,illus4 #agi4--;,hepplewhite ,chair4 ,while ,chippendale used no inlaying1 ,hepplewhite's furniture is ornamented with both carving and inlay1 as well as painting4 ,his chairs may be distinguished by the shape and construction of the back1 which was usually of oval1 shield1 or heart shape4 ,the carving in ,hepplewhite's chairs is of quite a different character from that of ,chippendale4 ,the three feathers of the ,prince of ,wales often form a part of the back1 for ,hepplewhite was of the ,prince's party when feeling ran strong during the illness of ,george ,,iii4 ,carved drapery1 wheat1 and the bell-flower1 sometimes called husks1 are other characteristics of ,hepplewhite's chairs1 two of which are shown in ,illustration #agh1 belonging to ,dwight ,blaney1 ,esq41 of ,boston4 ,the ,prince's feathers appear in the middle of one chair-back and upon the top rail of the other4 ,illustration #agi shows an arm-chair from a set of ,hepplewhite dining-chairs owned by ,francis ,h4 ,bigelow1 ,esq41 of ,cambridge4 ,the back is carved with a design of drapery and ears of wheat4 ,illustration3 ,illus4 #agh4--;,hepplewhite ,chairs4 ,a chair is shown in ,illustration #ahj1 which has features of several styles4 ,the legs are ,french and the width of the seat2 the splat joins the seat in the manner of ,chippendale2 the anthemion design of the splat is in the ,adam style and the carving on the top rail1 but the rail is ,hepplewhite's4 ,illustration3 ,illus4 #ahj4--;,hepplewhite ,chair1 #aghe4 ,it is probably an early ,hepplewhite chair1 made before his own style was fully formulated1 and the combination has resulted in a beautiful chair4 ,it belongs to ,j4 ,j4 ,gilbert1 ,esq41 of ,baltimore4 ,illustration3 ,illus4 #aha4--;,hepplewhite ,chair1 #aghi4 ,the chair in ,illustration #aha is also in ,mr4 ,gilbert's collection4 ,although the shield back is generally accredited to ,hepplewhite1 ,adam made it before him and it was used by the other chair-makers of his time4 ,this chair shows very strongly the ,adam influence in the carved and reeded legs and the fine carving1 which is called guilloche1 upon the arms and around the back and the frame of the seat4 ,illustration3 ,illus4 #ahb4--;,hepplewhite ,chair1 #aghi4 ,the entire chair is beautifully carved4 ,the arm-chair shown in ,illustration #ahb has stood since #ahce in front of the pulpit in the ,unitarian church in ,leicester1 ,massachusetts1 but of its history nothing is known for the years before that date1 when it was probably given to the new church1 then just starting with its young pastor1 ,rev4 ,samuel ,may4 ,this chair1 like the one in ,illustration #aha1 which it resembles1 has characteristics of different styles4 ,it is probable that both ,hepplewhite and ,sheraton had practised their trade some years1 and had made much furniture before their books were published in #aghi and #agia1 and had adopted and adapted many ideas from the cabinet-makers and designers of the day1 as well as from each other4 ,the chair in ,illustration #ahc was used by ,washington in the house occupied as the ,presidential mansion in ,philadelphia4 ,it is now owned by the ,historical ,society of ,pennsylvania4 ,this chair has the same guilloche carving as the chair in ,illustration #aha1 extending entirely around the back4 ,the legs are short and the chair low and wide1 and this with the stuffed back indicates that the chair is ,french4 ,illustration3 ,illus4 #ahc4--;,french ,chair1 #agij4 ,illustration3 ,illus4 #ahd4--;,hepplewhite ,chair1 #agij4 ,the chair in ,illustration #ahd is also in the rooms of the ,historical ,society1 and is one of the set owned by ,washington4 ,the urn and festoons in the back show a marked ,adam influence1 but the three feathers above the urn are ,hepplewhite's4 ,illustration3 ,illus4 #ahe4--;,arm ,chair1 #aghe4 ,a very fine arm chair is shown in ,illustration #ahe1 owned by ,dwight ,m4 ,prouty1 ,esq4 ,the mahogany frame is heavier than in later chairs of the same style1 and the arms end in a bird's head and bill4 ,illustration3 ,illus4 #ahf4--,transition ,chair1 #aghe4 ,during the transition period between ,chippendale and ,hepplewhite1 features of the work of both appeared in chairs4 ,the chair in ,illustration #ahf has the ,chippendale splat1 with the three feathers in it1 and the top rail has the ,hepplewhite curve4 ,it belongs to ,mrs4 ,clarence ,r4 ,hyde1 of ,brooklyn1 ,n4 ,y4 ,illustration #ahg shows one of a set of six very beautiful ,hepplewhite chairs bought originally by the grandfather of their present owner1 ,charles ,r4 ,waters1 ,esq41 of ,salem4 ,this chair is carved upon the legs with the bell-flower1 and the three middle rails of the back are exquisitely carved4 ,chairs of this design1 with the ornament of inlay instead of carving1 are also found4 ,illustration3 ,illus4 #ahg and #ahh4--;,hepplewhite ,chairs4 ,the chair in ,illustration #ahh belongs to ,w4 ,s4 ,g4 ,kennedy1 ,esq41 of ,worcester4 ,the rails are not carved or inlaid1 but the fan-shaped ornament at the lower point of the shield back is of holly and ebony1 inlaid4 ,this design of ,hepplewhite chair is more frequently found than any other4 ,illustration3 ,illus4 #ahi4--;,hepplewhite ,chair4 ,a specialty of ,hepplewhite's was what he terms 8a very elegant fashion40 ,the chair-backs were finished with painted or japanned work4 ,this was not the lacquering which had been fashionable during the first half of the eighteenth century1 with ,chinese figures1 but it was a process of coating the chairs with a sort of lacquer varnish1 and then painting them in gold or colors upon a black ground4 ,illustration3 ,illus4 #aij4--;,hepplewhite ,chair4 ,haircloth was used for the seats of chairs2 the edges were finished with brass-headed nails1 arranged sometimes to simulate festoons1 as in ,illustration #aia4 ,a ,hepplewhite chair with a back of quite a different design from the examples described previously1 is shown in ,illustration #ahi4 ,the back is heart-shaped1 and the ornamentation is of inlaying in light and dark wood4 ,this chair is one of four in the ,poore collection at ,indian ,hill4 ,they formed a part of the set bought by ,washington for ,mount ,vernon1 and were in use there at the time of his death4 ,a chair owned by ,miss ,mary ,coates of ,philadelphia is shown in ,illustration #aij4 ,the characteristic bell-flower is carved in the middle of the back of this chair4 ,illustration3 ,illus4 #aia4--,sheraton ,chair4 ,hepplewhite in turn was superseded by ,sheraton1 whose book of designs was published in #agia1 only two years later than ,hepplewhite's2 but that short time sufficed for ,sheraton to say that 8this book ,hepplewhite's has already caught the decline02 while he asserted of ,chippendale's designs1 that 8they are now wholly antiquated and laid aside1 though possessed of great merit1 according to the times in which they were executed40 ,sheraton's chairs retained many of ,hepplewhite's characteristics1 but the great difference between them lay in the construction of the back1 which it was ,sheraton's aim to strengthen4 ,his chairs1 except in rare cases1 do not have the heart or shield shaped back1 which distinctly marks ,hepplewhite chairs1 but the back is rectangular in shape1 the top rail being curved1 straight1 or with a raised piece in the centre1 corresponding to the piece in the middle of the back4 ,a rail extends across the back a few inches above the seat1 and the splat or spindles end in this rail1 and never extend to the seat4 ,illustration3 ,illus4 #aib4--,sheraton ,chairs4 ,sheraton's designs show chairs with carved1 twisted1 reeded1 or plain legs4 ,the best ,sheraton chairs found in this country usually have straight legs1 slightly smaller than those upon the straight-legged ,chippendale chairs4 ,the tapering1 reeded leg1 which is characteristic of ,sheraton1 is not found so often upon his chairs as upon other pieces of furniture4 ,illustration3 ,illus4 #aic4--,sheraton ,chair4 ,illustration3 ,illus4 #aid4--,sheraton ,chair4 ,the chair in ,illustration #aia is owned by the ,misses ,nichols of ,salem1 and it was brought with its mates to furnish the house built by ,mc,intire in #aghc4 ,the chairs were imported1 and as the back is precisely like one of ,sheraton's designs in his book1 they may have been made by him1 before the book was published in #agia4 ,illustration3 ,illus4 #aie4--,sheraton ,chair4 ,the impression given by this chair is of strength combined with lightness1 the effect which ,sheraton strove to attain1 while at the same time he made the chairs strong not only in effect but in reality1 an end which ,hepplewhite did not accomplish4 ,the legs of the chair are plainly turned1 but in the original design they are reeded4 ,illustration3 ,illus4 #aif4--,sheraton ,chair4 ,illustration #aib shows two ,sheraton chairs owned by ,francis ,h4 ,bigelow1 ,esq4 ,it will be seen that the carving in the back is similar in design to that of ,hepplewhite chairs1 and the carving and shape of the upper part of the chair-back with the curved top rail is often seen upon ,hepplewhite's 8bar-back0 chairs4 ,illustration3 ,illus4 #aig4--,sheraton ,chair4 ,mr4 ,bigelow also owns the upholstered arm-chair in ,illustration #aic1 sometimes called a ,martha ,washington easy-chair1 from a similar chair at ,mount ,vernon4 ,this chair and one in ,illustration #aid1 which belongs to ,mr4 ,bigelow1 are after the ,sheraton style1 although these designs do not appear in ,sheraton's books4 ,illustration3 ,illus4 #aih4--,painted ,sheraton ,chair1 #ahaj-ahae4 ,the arm-chair in ,illustration #aid is said to have belonged to ,jerome ,bonaparte1 but as ,lucien and ,joseph ,bonaparte both had residences in this country1 it would more probably have been owned by one of them rather than by ,jerome1 whose career in ,america was short and meteoric4 ,the wood of this chair is cherry1 said to have grown upon the island of ,corsica1 and the style of the back1 while upon the ,sheraton order1 differs from any of ,sheraton's designs4 ,the chair in ,illustration #aie belongs to ,walter ,bowne ,lawrence1 ,esq41 of ,flushing1 ,long ,island4 ,it is one of the finest types of a ,sheraton chair4 ,the front legs end in what ,hepplewhite called a 8spade foot10 which was frequently employed by him and occasionally by ,sheraton4 ,illustration #aif shows a ,sheraton chair owned by ,mrs4 ,e4 ,a4 ,morse of ,worcester4 ,the top bar is carved with graceful festoons of drapery1 and the back is in a design which is often seen4 ,illustration3 ,illus4 #aii4--,late ,mahogany ,chairs1 #ahcj-ahde4 ,a chair after ,sheraton's later designs is shown in ,illustration #aig4 ,it is one which was popular in the first decade of the nineteenth century4 ,this chair is part of a set inherited by ,waldo ,lincoln1 ,esq41 of ,worcester4 ,the chair shown in ,illustration #aih is owned by ,mrs4 ,j4 ,c4 ,cutter of ,worcester4 ,it has a rush seat1 and the back is painted in the manner called japanning1 with gilt flowers upon a black ground4 ,these chairs1 which were called 8,fancy chairs10 were very popular during the first part of the nineteenth century1 together with settees decorated in the same fashion4 ,illustration #aii shows two mahogany chairs owned by ,waldo ,lincoln1 ,esq41 of the styles which were fashionable from #ahdj to #ahej1 examples of which may be found in almost every household1 along with heavy sofas and tables of mahogany1 solid or veneered4 ,in the first half of the nineteenth century and in the last quarter of the eighteenth1 furniture was fashionable made of the light-colored woods2 maple1 curly and bird's-eye1 and in the more expensive pieces1 satinwood1 which was used chiefly as a veneer on account of its cost4 ,the two varieties of maple1 being a native wood and plentiful1 were always used lavishly1 and rarely as a veneer4 ,the thick maple drawers in old bureaus have been sawed into many thicknesses to use in violins1 for which their seasoned wood is especially valuable4 ,the parlor in ,john ,hancock's house1 in ,boston1 was 8furnished in bird's-eye maple covered with damask brocade40 ,as ,governor ,hancock was a man of inherited wealth and probably of fashion as well1 his parlor would be furnished according to the mode of the day4 ,illustration3 ,illus4 #bjj4--,maple ,chairs1 #ahbj-ahcj4 ,the three maple chairs in ,illustration #bjj belong to the writer4 ,they were probably made about #ahbj to #ahcj4 ,the wood in all is beautifully marked curly maple1 and in the upper rail of two is set a strip of bird's-eye maple4 ,the design of the carved piece across the back is one that was used at this time in both maple and mahogany chairs4 ,,chapter ,,vii ,,settles1 ,,settees1 ,,and ,,sofas ,illustration ,,the first form of the long seat1 afterward developed into the sofa1 was the settle1 which is found in the earliest inventories in this country1 and still earlier in ,england4 ,the settle oftenest seen in ,america is of simple construction1 usually of pine1 and painted2 probably the work of a country cabinet-maker1 or even a carpenter4 ,it was made to stand by the great fireplace1 to keep the draughts out and the heat in1 with its tall back1 and the front of the seat coming down to the floor2 and sadly was it needed in those days when the ink froze in the standish1 as the minister sat by the fire to write his sermon4 ,illustration #bja shows a settle in the ,deerfield ,museum1 in the kitchen4 ,in front of the settle stands a flax-wheel1 which kept the housewife busy on winter evenings1 spinning by the firelight4 ,beside the settle is a rudely made light-stand1 with a tin lamp1 and a brass candlestick with the extinguisher on its top1 and snuffers and tray beside it4 ,upon one side of the settle is fastened a candlestick with an extension frame4 ,behind the flax-wheel is a banister-back chair1 the plain type of the chairs in ,illustration #aci1 and at the right of the picture is a slat-back1 flag-bottomed chair such as may be seen in ,illustration #adc4 ,illustration3 ,illus4 #bja4--,pine ,settle1 ,eighteenth ,century4 ,illustration #bjb shows a settle of oak1 which has upon the back the carved date #agjh4 ,the front of the seat has four panels1 while the back has five lower panels1 with a row of small panels above4 ,the top rail is carved in five groups1 the middle design of each group being a crown1 and between each small panel is a turned ornament4 ,the arms are like the arms of the wainscot chairs in ,illustration #abd and ,illustration #abe4 ,the top of the seat does not lift up1 as was often the case1 disclosing a box below1 but is fastened to the frame1 and probably there were provided for this settle the articles often mentioned in inventories1 8chusshings10 8quysyns10 or cushions1 which the hard seat made so necessary4 ,this settle belongs to ,dwight ,blaney1 ,esq41 of ,boston4 ,illustration3 ,illus4 #bjb4--,oak ,settle1 #agjh4 ,the word 8settee0 is the diminutive of 8settle10 and the long seat which corresponded to the chairs with the frame of turned wood was called a settee or small settle1 being of so much lighter build than the settle4 ,illustration3 ,illus4 #bjc4--,settee covered with ,turkey work1 #afgj-afhj4 ,illustration #bjc shows a settee owned by the ,essex ,institute of ,salem1 and said to have been brought to this country by a ,huguenot family about #afhf4 ,it is upholstered1 like the chairs of the same style1 in ,turkey work1 the colors in which are still bright4 ,turkey work was very fashionable at that time1 rugs being imported from ,turkey in shapes to fit the seat and back of chairs or settees4 ,another form of the long seat was one which was intended to serve as a couch1 or 8day-bed40 ,it was really what its ,french name implies1 chaise longue1 or long chair1 the back being an enlarged chair-back1 and the body of the couch equalling three chair-seats4 ,illustration #bjd shows a couch owned by the ,concord ,antiquarian ,society1 which formerly belonged to the descendants of the ,rev4 ,peter ,bulkeley4 ,it had originally a cane seat1 and evidently formed part of a set of furniture1 for a chair of the same style is with it1 which also belonged to the ,bulkeley family4 ,both couch and chair are ,flemish in design1 with the scroll foot turning backward4 ,the braces between the legs are carved in the same design as the top of the back4 ,illustration3 ,illus4 #bjd4--;,flemish ,couch1 #afhj-afij4 ,illustration #bje shows a walnut couch made in the ,dutch style about #agbj-agcj1 with bandy legs and ,dutch feet4 ,the splat in the back is ,dutch1 but instead of the side-posts curving into the top rail like the ,dutch chairs1 in which the top and the side-posts apparently form one piece1 these posts run up1 with a finish at the top like the ,flemish chairs1 and like the posts in the back of the couch in ,illustration #bjd4 ,illustration3 ,illus4 #bje4--;,dutch ,couch1 #agbj-agcj4 ,illustration3 ,illus4 #bjf4--;,chippendale ,couch1 #agfj-aggj4 ,it is interesting to compare this couch1 which is owned by the ,misses ,hosmer of ,concord1 ,massachusetts1 with the following one1 ,illustration #bjf1 which belongs to ,mr4 ,walter ,hosmer of ,wethersfield1 ,connecticut1 and was made about #aggj4 ,this couch1 of mahogany1 has a back like one of the familiar ,chippendale chairs1 somewhat higher than the back of the couch in ,illustration #bje1 which is longer than this ,chippendale couch4 ,illustration3 ,illus4 #bjg4--;,chippendale ,settee1 #agfj4 ,the bandy legs with claw-and-ball feet are unusually well proportioned1 and the effect of the piece of furniture is extremely elegant4 ,the canvas seat is drawn tight by ropes laced over wooden knobs4 ,a double chair owned by ,dwight ,m4 ,prouty1 ,esq41 of ,boston1 is shown in ,illustration #bjg4 ,the splats are cut in an early design1 with the heart-shaped opening in the lower part4 ,the settee is not so wide as some1 and the back is not equal to two chair backs1 lacking the side rails which are usually carried down in the middle between the splats4 ,illustration3 ,illus4 #bjh4--,sofa1 #agdj4 ,the front legs have the acanthus carving upon the knees1 and end in a ,dutch foot4 ,this settee is what was called a 8,darby and ,joan0 seat1 just wide enough for two4 ,a sofa is shown in ,illustration #bjh from 8,stenton10 the fine old house in ,philadelphia1 now occupied by the ,colonial ,dames4 ,the back and arms are upholstered1 and the shape of the arms1 and the curved outline of the back are like early ,chippendale pieces4 ,a distinction was made between the 8sopha0 and the settee1 the sofa being a long seat with the back and arms entirely upholstered1 like the sofa in ,illustration #bjh4 ,illustration3 ,illus4 #bji4--;,chippendale ,settee1 #agfe-aggj4 ,illustration #bji shows a ,chippendale settee with beautifully carved cabriole legs1 owned by ,harry ,harkness ,flagler1 ,esq4 ,the three front legs are carved with the scroll foot turned to the front4 ,this foot was called the ,french foot by the cabinet-makers of that period1 about #agfe-aggj4 ,illustration3 ,illus4 #baj4--;,double ,chair1 #agfj4 ,illustration #baj shows a double chair1 also owned by ,mr4 ,flagler4 ,it has characteristics of various nationalities and styles1 mainly ,chippendale4 ,the back consists of two chair backs1 wider than arm-chair backs1 which is almost always true of the double chair4 ,the corners of the seat1 and the ends of the top rails are rounding after the ,dutch style1 but the splats are ,chippendale4 ,the three front legs end in a small claw-and-ball1 and the knees are carved4 ,the most noticeable feature of this graceful piece is the rococo design at the top of the back and upon the front of the seat4 ,illustration #baa shows a ,chippendale double chair and one of four arm-chairs1 formerly owned by ,governor ,john ,wentworth1 whose household goods were confiscated and sold at auction by the ,federal government1 in #aggf4 ,since that time these pieces have been in the ,alexander ,ladd house at ,portsmouth1 ,new ,hampshire1 where they now stand4 ,they are a perfect exemplification of ,chippendale's furniture in the ,chinese style1 and are probably the finest examples of that style in this country4 ,they are of mahogany1 with cane seats4 ,the design of the backs is more elaborate than any of the ,chinese designs for furniture of either ,chippendale1 ,manwaring1 ,ince1 or ,mayhew2 an unusual thing1 for a majority of the designs in the old cabinet-makers' books are far more elaborate than the furniture which has come down to us4 ,chippendale says that these 8,chinese chairs are very suitable for a lady's boudoir1 and will likewise suit a ,chinese temple40 ,one wonders if ,governor ,wentworth had a ,chinese temple for these beautiful pieces of furniture4 ,he had1 we know1 splendid gardens1 which were famous in those days1 and possibly a ,chinese temple may have been one of the adornments1 with these chairs for its furniture4 ,illustration3 ,illus4 #baa4--;,chippendale ,double ,chair and ,chair1 in 8,chinese ,taste10 #agfj-agfe4 ,illustration #bab shows a double chair1 which is well known from representations of it in various books4 ,it is one of the finest examples existing of the ,chippendale period1 and was undoubtedly1 like the double chair in ,illustration #baa1 made in ,england4 ,the carving upon the three front legs is unusually good4 ,the feet are carved with lions' claws1 and the knees with grotesque faces1 while the arms end in dragons' heads4 ,illustration3 ,illus4 #bab4--;,chippendale ,double ,chair1 #agej-agfj4 ,the corners of the back are finished with a scroll1 turning to the back4 ,the wood of this double chair is walnut1 and it is covered in gray horsehair4 ,this chair formerly belonged to ,john ,hancock1 and was presented to the ,american ,antiquarian ,society in #ahch1 with other pieces bought from the ,hancock house1 by ,john ,chandler1 of ,petersham1 ,massachusetts4 ,the little settee in ,illustration #bac is owned by ,albert ,s4 ,rines1 ,esq41 of ,portland1 ,maine4 ,it was evidently made from the same design as a long settee in the ,pendleton collection in ,providence1 which has the same ,chippendale carvings on the back at the centre and ends1 and the same effect of the leg being continued up into the frame of the seat4 ,this settee has the middle leg unevenly placed4 ,illustration3 ,illus4 #bac4--;,chippendale ,settee1 #aggj4 ,the settee in ,illustration #bad is entirely unlike any shown4 ,it is ,french1 of the time of ,louis the ,sixteenth1 and with the six chairs like it1 was part of the cargo upon the ship ,sally1 which sailed from ,france in #agib1 and landed at ,wiscasset1 ,maine1 with a load of fine furniture and rich belongings intended to furnish a home of refuge for ,marie ,antoinette1 who did not live to sail upon the ,sally4 ,the sideboard in ,illustration #ge has the same history and it can be traced directly to the ,sally4 ,the settee and chairs came from ,bath1 ,maine1 where there are also other chairs from the ,sally1 which are1 however1 like the sideboard1 ,english in style4 ,illustration3 ,illus4 #bad4--;,french ,settee1 #agij4 ,the settee is of solid rosewood1 with the short legs of the ,louis ,,xvi period1 and a very deep seat4 ,the wood of the back is elaborately carved in a design distinctly ,french1 of roses1 with a bow of ribbon in the centre4 ,the settee and chairs are now owned by ,mrs4 ,william ,j4 ,hogg1 of ,worcester4 ,a double chair owned by ,francis ,h4 ,bigelow1 ,esq41 is shown in ,illustration #bae4 ,the back is made of two ,hepplewhite chair-backs1 which combine the outline of the shield back and the middle of the interlaced heart back shown in the chair in ,illustration #ahi4 ,illustration3 ,illus4 #bae4--;,hepplewhite ,settee1 #agij4 ,the three front legs are inlaid with fine lines and the bell flower1 and the backs are very finely inlaid1 with lines in the urn-shaped piece in the centre1 and a fan above1 while a fine line of holly runs around the edge of each piece4 ,the stretchers between the legs are a very unusual feature in such settees4 ,illustration #baf shows a ,sheraton settee1 now in ,girard ,college1 ,philadelphia4 ,it was a part of the furniture belonging to ,stephen ,girard1 the founder of that college4 ,it has eight legs1 the four in front being the typical reeded ,sheraton legs4 ,the back has five posts dividing it into four chair-backs4 ,the seat is upholstered4 ,illustration3 ,illus4 #baf4--,sheraton ,settee1 #agij-agie4 ,the ,sheraton sofa in ,illustration #bag was probably made in ,england about #agij-ahjj4 ,it is owned by ,francis ,h4 ,bigelow1 ,esq41 of ,cambridge4 ,the frame is of mahogany1 and the rail at the top of the back is exquisitely carved with festoons and flowers4 ,the front of the seat is slightly rounding at the ends1 and the arm1 which is carved upon the upper side1 extends beyond the upholstered frame1 and rests upon a pillar which continues up from the corner leg4 ,this style of arm is quite characteristic of ,sheraton4 ,the legs of the sofa are plainly turned1 not reeded1 as is usual upon ,sheraton sofas4 ,illustration3 ,illus4 #bag4--,sheraton ,sofa1 #agij-ahjj4 ,the sofa in ,illustration #bah is a typical ,sheraton piece1 of a style which must have been very fashionable about #ahjj1 for such sofas are often found in this country4 ,illustration3 ,illus4 #bah4--,sheraton ,sofa1 about #ahjj4 ,the frame is of mahogany1 with pieces of satinwood inlaid at the top of the end legs4 ,the arms are like the arms of the sofa in ,illustration #bag1 and they1 the pillars supporting them1 and the four front legs are all reeded4 ,this sofa is owned by ,w4 ,s4 ,g4 ,kennedy1 ,esq41 of ,worcester4 ,illustration3 ,illus4 #bai4--,sheraton ,settee1 about #ahje4 ,illustration #bai shows a ,sheraton settee which came from the ,flint mansion in ,leicester1 ,massachusetts1 and is now owned by the writer4 ,it has a rush seat1 and the frame was originally painted black1 with gilt flowers4 ,it is very long1 settees of this style usually equalling three chairs1 while this equals four4 ,it measures seventy-six inches in length1 and from front to back the seat measures seventeen inches4 ,it makes an admirable hall settee1 and seems to be substantial1 although extremely light in effect4 ,another settee is shown in ,illustration #bbj1 with a cane seat1 and painted in the 8japanning0 of the period in black with gold figures4 ,it is owned by ,mrs4 ,clarence ,r4 ,hyde1 of ,brooklyn1 ,n4 ,y4 ,illustration3 ,illus4 #bbj4--,sheraton ,settee1 about #ahje4 ,an ,empire settee of graceful shape1 owned by ,barton ,myers1 ,esq41 of ,norfolk1 ,virginia1 is shown in ,illustration #bba4 ,the lines of the many curves are all unusually good4 ,illustration3 ,illus4 #bba4--;,empire ,settee1 about #ahje4 ,the wood of the settee is mahogany1 and the seat is rush4 ,the ornaments upon the front and the rosettes at the tip of each curve are brass4 ,in #ahaf there was launched in ,salem the yacht called ,cleopatra's ,barge1 built and owned by ,capt4 ,george ,crowninshield1 who had been a partner with his brothers in the ,east ,india trade and had lived from a boy upon his father's ships4 ,finally retiring from business1 he built this splendid yacht with the intention of spending years in travel1 but he died after the first long voyage to the ,mediterranean4 ,the yacht was the wonder of the day and was visited by thousands1 not alone in ,salem but in every foreign port4 ,illustration3 ,illus4 #bbb4--;,empire ,settee1 #ahaf4 ,she was furnished with great magnificence1 in the ,empire style1 the woods used in the saloon being mahogany and bird's-eye maple1 and the two settees in the saloon were each eleven feet in length4 ,one is shown in ,illustration #bbb1 now owned by ,frederic ,b4 ,crowninshield1 ,esq41 of ,marblehead4 ,the backs are lyre-shaped1 and when new the seats were covered with crimson velvet and edged with wide gold lace4 ,the hook upon the back leg was probably to hold the settee to the wall in bad weather4 ,illustration #bbc shows the influence of the fashion for heavier and more elaborate frames1 which came in with the nineteenth century4 ,the arms are made after the ,sheraton type shown in ,illustration #bag and ,illustration #bah1 but where a simple pillar was employed before1 this settee has a carved pineapple forming the support to the arm1 which ends in a scroll4 ,instead of four front legs either plain or fluted1 there are two of larger size carved with the same leaves which sheathe the pineapple4 ,the covering is horsehair1 which was probably the original cover4 ,this settee now belongs to the ,concord ,antiquarian ,society1 and was owned by ,dr4 ,ezra ,ripley1 who was minister of the old ,congregational ,church of ,concord from #aggg to #ahdj1 and who lived in the ,old ,manse1 afterward occupied by ,hawthorne4 ,the settee remained in the manse until comparatively recent years4 ,illustration3 ,illus4 #bbc4--,sheraton ,settee1 #ahjj-ahje4 ,the sofa in ,illustration #bbd belongs to the ,misses ,hosmer of ,concord1 and stands in their old house1 filled with the furniture of generations past1 and interesting with memories of the ,concord philosophers4 ,the lines of this sofa are extremely elegant and graceful1 and its effect quite classic4 ,the legs are what is known as the ,adam leg1 which was designed by the ,adam brothers1 and which ,sheraton used frequently4 ,the style of the sofa is that of the ,adam brothers1 and it was probably made from their designs about #ahjj-ahaj4 ,the writer has seen a window seat which belonged to ,charles ,carroll of ,carrollton1 after exactly this design1 without the back4 ,illustration3 ,illus4 #bbe4--,sofa in ,adam ,style1 #ahjj-ahaj4 ,the back of the sofa in ,illustration #bbe follows the same graceful curves as the one in ,illustration #bbd4 ,this sofa was found by the writer in the shed of a farmhouse1 on top of a woodpile1 which made it evident what its fate would be eventually1 a fate which has robbed us of many a fine piece of old furniture4 ,after climbing upon a chair1 then a table1 the sight of these carved feet protruding from the woodpile was almost enough to make the antique hunter lose her insecure footing2 but with the duplicity learned in years of collecting1 all emotion was concealed until the sofa had been secured4 ,illustration3 ,illus4 #bbd4--,sofa1 #ahae-ahbj4 ,the writer knows of four sofas1 all found near ,worcester1 measuring the same1 seven feet in length1 and with the same carving of oak leaves upon the legs and ends1 but this is the only one of the four which has the carved oak leaves across the front of the seat1 and the rows of incised carving upon the back rail4 ,the sofa was covered with black haircloth1 woven in an elaborate design1 and around the edge of the covering ran the brass beading which may be seen in the illustration4 ,this beading is three-eighths of an inch wide1 and is of pressed brass1 filled with lead1 so that it is pliable and may be bent to go around a curve4 ,such beading or trimming was used in the place of brass-headed tacks or nails1 and is found upon chairs and sofas of about this date1 #ahae-ahbj4 ,illustration3 ,illus4 #bbf4--,sofa1 about #ahbj4 ,illustration #bbf shows one of a pair of sofas without backs4 ,the frame is of mahogany with legs and arms carved rather coarsely4 ,the covering is of stiff old brocade1 probably the original cover when these sofas were made1 about #ahbj1 for the ,warner house in ,portsmouth1 where they still stand4 ,the panelling of the old room1 built in #agaf1 shows behind the sofa1 and on the floor is the ,brussels carpet upon which is a stain from wine spilt by ,lafayette1 when he visited the house in #ahbd4 ,illustration3 ,illus4 #bbg4--;,cornucopia ,sofa1 about #ahbj4 ,the sofa in ,illustration #bbg1 known as a cornucopia sofa1 from the design of the carving1 shows the most ornate type of this style4 ,the frame is of mahogany1 and the ends of the arms are carved in large horns of plenty1 the same design being repeated in the carving of the top rail of the back and in the legs1 which end in a lion's claw4 ,the round hard pillows1 called 8squabs10 at each end1 were always provided for sofas of this shape1 to fit into the hollow made by the curves of the cornucopia4 ,this sofa is owned by ,dr4 ,charles ,schoeffer of ,philadelphia4 ,illustration #bbh shows a sofa and miniature sofa made about #ahbj for ,william ,t4 ,lane1 ,esq41 of ,boston1 and now owned by his daughter1 ,mrs4 ,thomas ,h4 ,gage of ,worcester4 ,mr4 ,lane had two little daughters1 and for them he had two little sofas made1 that they might sit one each side of the large sofa4 ,illustration3 ,illus4 #bbh4--,sofa and ,miniature ,sofa1 about #ahbj4 ,this fashion of making miniature pieces of furniture like the larger ones was much in vogue during the first quarter of the nineteenth century4 ,illustration3 ,illus4 #bbi4--,sofa1 about #ahbj4 ,a sofa of similar lines is shown in ,illustration #bbi4 ,the back and legs are different1 and reeding takes the place of the twist in ,illustration #bbh4 ,the sofa and chair in ,illustration #bcj are part of a set of furniture bought by the father and mother of the late ,major ,ben3 ,perley ,poore1 for their house at ,indian ,hill1 about #ahdj4 ,these pieces are interesting not only for the design of the mahogany frames1 carved with swans' necks and heads1 but for the covering1 which is of colored haircloth1 woven in a large figure in red and blue upon a gray ground4 ,the seat of the sofa is worn and has a rug spread upon it1 but the back and pillows and the chair-seat are perfect4 ,illustration3 ,illus4 #bcj4--,sofa and ,chair1 about #ahdj4 ,from #ahdd to #ahdh a cabinet-maker named ,john ,h4 ,belter had a shop in ,new ,york1 where he manufactured furniture1 chiefly from rosewood4 ,the backs of the chairs and sofas were deeply curved1 and in order to obtain the strength necessary1 thin pieces of rosewood were pressed into the desired curve1 and the several thicknesses glued together1 and pressed again4 ,the strong back made in this way was then elaborately carved1 in an open-work pattern of vines and leaves4 ,illustration3 ,illus4 #bca4--,rosewood ,sofa1 #ahdd-ahdh4 ,the sofas of these sets were usually in the shape shown in ,illustration #bca1 which belongs to ,mrs4 ,m4 ,newman of ,new ,york4 ,many of the wealthy families of ,new ,york had this ,belter furniture1 which was always covered with a rich silk brocade4 ,it is eagerly sought for now and brings large prices4 ,,chapter ,,viii ,,tables ,illustration ,,the earliest form of table in use in this country was inventoried in #afdb as a 8table bord10 and the name occurs in ,english inventories one hundred years earlier4 ,the name 8board0 was given quite literally from the table top1 which was a board made separately from the supporting trestles1 and which1 after a meal1 was taken off the trestles1 and both board and trestles were put away1 thus leaving the room free4 ,these tables were long and narrow1 and had in earliest times a long bench or form at one side only1 the other side of the board being left free for serving4 ,in the ,bolles collection is a veritable 8borde0 rescued from the attic of a deserted house1 where it had stood for scores of years4 ,the board is about twelve feet long and two feet one inch wide1 and bears the mark of many a knife4 ,it rests upon three rude trestles1 presenting a wonderfully interesting example of the 8table borde0 of the sixteenth and early seventeenth centuries1 and one which is extremely rare4 ,illustration3 ,illus4 #bcb4--;,chair ,table1 ,eighteenth ,century4 ,it will be easily seen how the expression 8the festive board0 originated4 ,presently it became the custom to leave the board upon its trestles1 instead of removing both1 and in time the piece was called a table1 which name covered both board and trestles4 ,some of the different forms of the table mentioned in inventories are framed and joined tables1 chair tables1 long tables1 drawing-tables1 square1 oval1 and round tables4 ,the framed and joined tables refer to the frame beneath the board4 ,the other tables derive their names from the shape or construction of the tops4 ,a drawing-table was one made with extension pieces at each end1 supported when out by wooden braces1 and folding back under or over the table top when not in use4 ,a chair table is shown in ,illustration #bcb4 ,the table top is put back in the illustration1 so that the piece can be pushed against the wall and used as a chair4 ,chair tables always had the drawer beneath the seat4 ,they are inventoried as early as #afdd4 ,this chair table belongs to ,dwight ,blaney1 ,esq41 of ,boston4 ,illustration3 ,illus4 #bcc4--,oak ,table1 #afej-afge4 ,the framed or joined table had turned legs1 with stretchers between1 and a drawer under the table top4 ,illustration #bcc shows an oak table formerly owned in the ,coffin family1 and now in the building of the ,newburyport ,historical ,society4 ,the table is a good example of the framed or joined table early in the seventeenth century4 ,the legs and stretchers are of the same style as those upon wainscot chairs1 which belong to the same period as the table4 ,illustration3 ,illus4 #bcd4--,slate-top ,table1 #afgj-afhj4 ,illustration #bcd shows a table with slate top1 owned by the ,american ,antiquarian ,society of ,worcester4 ,the slate top originally filled the eight-sided space in the centre of the table1 but only the middle section is now left4 ,illustration3 ,illus4 #bce4--8;,butterfly ,table10 about #agjj4 ,beside the piece of slate is a paper written by the late ,john ,preston of ,new ,ipswich1 ,new ,hampshire1 in #ahdg1 when he gave the table to the ,antiquarian ,society1 detailing the history of the table from the time it was given to his ancestor1 the ,rev4 ,nehemiah ,walter1 who graduated from ,harvard ,university in #afhb4 ,the table was used by generation after generation of ministers and lawyers1 whose ink-stains cover the marquetry border around the top1 and whose feet have worn the stretchers4 ,slate-top tables are very rare1 and there are but few known to exist4 ,the turned legs and stretchers and the drawer in the table are features which appear in tables of the same date with wooden tops4 ,there is one drop handle left upon the drawer1 the frame around which has the early single moulding4 ,illustration3 ,illus4 #bcf4--8;,hundred-legged ,table10 #afge-agjj4 ,illustration #bce shows a curious little table1 several of which have been found in ,connecticut1 and which were probably made there4 ,illustration3 ,illus4 #bcg4--8;,hundred-legged ,table10 #afhj-agjj4 ,it has the turned legs1 with plain stretchers1 of the tables in ,illustration #bcc4 ,the oval top has drop leaves which are held up by wing-shaped braces1 from which comes the modern name for this table1 of 8butterfly table40 ,illustration3 ,illus4 #bch4--;,gate-legged ,table1 #afhj-agjj4 ,the table in ,illustration #bcf is an unusually fine example of what is now called a 8hundred-legged0 or 8forty-legged0 table1 evidently from the bewildering number of legs beneath it1 which are wofully in the way of the legs of the persons seated around it4 ,this table is made of oak1 with twisted legs1 and measures four feet by five and a half4 ,the supporting legs1 when not in use1 swing around under the middle leaf4 ,the table is owned by ,dwight ,blaney1 ,esq4 ,illustration #bcg shows a superb walnut dining-table1 now in the rooms of the ,albany ,historical ,society4 ,it measures six and a half feet by six feet4 ,it belonged to ,sir ,william ,johnson and when confiscated in #aggf from that ,royalist1 it was bought by ,hon4 ,john ,taylor1 whose descendants loan it to the ,society4 ,these tables are also called 8gate-legged10 from the leg which swings under the leaf1 like a gate4 ,illustration #bch shows a very small1 and very rare gate-legged table with trestle feet upon the middle section1 enabling it to stand firmly with the leaves dropped4 ,it belongs to ,dwight ,m4 ,prouty1 ,esq4 ,illustration3 ,illus4 #bci4--,spindle-legged ,table1 #agaj-agbj4 ,illustration #bci shows a spindle-legged1 gate-legged table1 a type exceedingly rare like all spindle-legged furniture4 ,the slender legs have ,dutch feet4 ,this dainty table has descended to ,mrs4 ,edward ,w4 ,rankin of ,albany1 from ,katherine ,livingstone1 who brought it with her when she came to ,albany in #agfd1 as the bride of ,stephen ,van ,rensselaer1 the ,patroon4 ,it must then have been an inherited piece4 ,illustration #bdj shows a forty-legged table1 such as is not uncommonly found4 ,it measures four feet in length4 ,the large ,sheffield plate tray on feet was made in the early part of the nineteenth century1 when trays of various sizes upon feet were fashionable4 ,the tea-set upon the tray is one made about #ahce1 and is extremely graceful in shape4 ,the table and silver are owned by the writer4 ,the little ,dutch table in ,illustration #bda has the next style of leg used upon tables1 which were made in all sizes1 and were presumably very popular1 for such tables are often found4 ,one leg slides around on each side to support the leaves4 ,this table was made about #agdj1 and belongs to ,francis ,h4 ,bigelow1 ,esq4 ,illustration3 ,illus4 #bdj4--8;,hundred-legged ,table10 #afhj-agjj4 ,the same ,dutch leg is seen in ,illustration #bdb upon a dainty little mahogany card-table1 with slides at each end to hold the candlesticks4 ,this table belongs to ,miss ,tilton of ,newburyport4 ,illustration3 ,illus4 #bda4--;,dutch ,table1 #agbj-agdj4 ,illustration #bdc shows a mahogany table with claw-and-ball feet owned by the writer4 ,the top measures four feet four inches across1 and its date is about #agej4 ,the double coaster upon wheels1 filled with violets1 was made to hold decanters of wine1 and one can imagine these wheels rattling down the mahogany table as the evening grew late and the decanters empty4 ,illustration3 ,illus4 #bdb4--;,dutch ,card-table1 #agcj-agdj4 ,as early as #afgf stands are spoken of in inventories1 and during the eighteenth century they were a common article of furniture4 ,the tops were square1 oval1 or round1 and the base consisted of a pillar with three spreading feet4 ,illustration #bdd shows the early foot used for these stands1 about #agdj4 ,this table is owned by ,miss ,mary ,coates of ,philadelphia1 and the silver pieces upon it are heirlooms in her family4 ,these stands came to be known as 8,dutch ,tea-,tables10 and the bases were often elaborately carved4 ,the tops of the handsomest tables were carved out of a thick piece of wood1 so as to leave a rim1 to keep the china from sliding off4 ,this carved rim was in different forms1 the finest being what is now called 8pie-crust10 with an ogee scallop4 ,the plain rim is now known as the 8dish-top40 ,illustration #bde shows a pie-crust table owned by ,dwight ,blaney1 ,esq4 ,illustration3 ,illus4 #bdc4--;,claw-and-ball-foot ,table1 about #agej4 ,illustration3 ,illus4 #bdd4--;,dutch ,stand1 about #agdj4 ,illustration #bdf shows a dish-top table belonging to ,francis ,h4 ,bigelow1 ,esq4 ,both tables have claw-and-ball feet1 and they are made1 like all of the ,dutch tea-tables1 with the top revolving upon the pillar4 ,illustration3 ,illus4 #bde4--8,pie-crust ,table10 #agej4 ,when not in use the top could be 8tipped10 and the table put back against the wall2 and when the top was to be used1 it fastened down with a snap4 ,illustration3 ,illus4 #bdf4--8;,dish-top ,table10 #agej4 ,illustration #bdg shows two of the finest type of tea-tables4 ,they are owned by ,harry ,harkness ,flagler1 ,esq4 ,one has the pie-crust edge1 and the other a scalloped edge4 ,the pillars of both are reeded1 and the legs are carved4 ,a great difference can be noted between these two bases1 in the sweep of the spreading legs1 and in the claw-and-ball feet1 which are especially fine upon the pie-crust table4 ,the proportion of this table are unusually good1 the central pillar being slender1 and the finely carved legs having a spread which gives a very graceful and light effect4 ,illustration #bdh shows another fine table and chair owned by ,mr4 ,flagler4 ,the chair is described upon page #ahc4 ,the table has an oval top1 carved1 not in a regular scallop1 but in rococo scrolls4 ,it has a heavier pillar than the pie-crust table in the last illustration1 and the legs have a smaller spread4 ,illustration3 ,illus4 #bdg4--,tea-tables4 #agej-agfj4 ,illustration3 ,illus4 #bdh4--,table and ,easy ,chair1 #agfj-aggj4 ,a tripod table with a remarkable top is shown in ,illustration #bdi4 ,it belongs to ,j4,j4 ,gilbert1 ,esq41 of ,baltimore4 ,the rim is carved and pierced like the mahogany trays of the time4 ,illustration3 ,illus4 #bdi4--,tripod ,table1 #agfj-aggj4 ,illustration #bej shows a ,chinese fretwork table owned by ,harry ,harkness ,flagler1 ,esq4 ,such tables were designed by ,ince and ,mayhew and ,chippendale1 and were called show tables1 the pierced gallery serving to keep small curios on the table from falling off4 ,both of these tables were used as tea-tables1 the raised rims protecting the tea-cups1 more precious then than now4 ,stands were made in different sizes1 one being intended for a 8light-stand0 to hold the candlestick1 and the smallest for a tea-kettle stand1 to accompany the tea-table4 ,illustration #bea shows three sizes of stands1 all smaller than those illustrated previously1 and giving somewhat the effect of the three bears of the nursery tale4 ,the middle stand1 which has a dish-top1 has a base which is exquisitely carved4 ,the tiny kettle-stand is only eighteen and one-half inches high4 ,these three stands also belong to ,mr4 ,flagler4 ,illustration3 ,illus4 #bej4--;,chinese ,fretwork ,table1 #agfj-aggj4 ,illustration #beb shows a small tea-table belonging to ,mrs4 ,c4 ,m4 ,dyer of ,worcester4 ,a star is inlaid upon the top1 the edge of which has a row of fine inlaying4 ,the base has three fanlike carvings where the legs join the pillar4 ,the exquisite ,chippendale card-table shown in ,illustration #bec is not only beautiful in itself1 but it frames what is a monument to the industry of the frail young girls who embroidered the top1 and to the good housekeeping of its owners for one hundred and twenty odd years4 ,the colors in this embroidery are as brilliant as when new1 and never a moth has been suffered to even sniff at its stitches1 which are the smallest ,i have ever seen4 ,the work is done upon very fine linen1 and each thread is covered with a stitch of embroidery1 done with the slenderest possible strands of crewel1 in designs of playing-cards1 and of round and fish-shaped counters1 in mother-of-pearl shades1 copied from the original pearl counters1 which still lie in the little oval pools hollowed out for them in the mahogany frame4 ,illustration3 ,illus4 #bea--,stands1 #agfj-aggj4 ,illustration3 ,illus4 #beb4--,tea-table1 about #aggj4 ,the fashionable game at that date was quadrille1 which was played with these round and fish-shaped counters4 ,dr4 ,william ,samuel ,johnson1 the first president of ,columbia ,university1 had four daughters1 all of whom died in early youth1 from consumption4 ,this embroidery was wrought by them1 one taking the task as the other gave it up with her life4 ,the same young girls embroidered the screen in ,illustration #cbh4 ,small wonder they died young6 ,far better the golf and tennis which would occupy the daughters of a modern college president1 if he were so fortunate as to have four4 ,illustration3 ,illus4 #bec4--;,chippendale ,card-table1 about #agfe4 ,the frame of this table is very beautiful1 though it is cast in the shade by the extraordinary needlework4 ,it is after the finest ,chippendale design1 and of the best workmanship4 ,the wood is mahogany1 and the table is owned by ,mrs4 ,johnson-,hudson of ,stratford1 ,connecticut4 ,illustration3 ,illus4 #bed4--;,chippendale ,card-table1 about #agfe4 ,a ,chippendale card-table1 owned by the writer1 is shown in ,illustration #bed4 ,the mahogany top is shaped in deep curves1 with square corners and is an inch thick to allow the depth of the pools for counters4 ,the lower edge of the table is gadrooned1 and the two front legs are finely carved4 ,the two back legs1 which are stationary1 are carved on the front side only1 while the fifth leg1 which swings under the leaf to hold it up1 is plain1 with simply the claw-and-ball foot4 ,illustration3 ,illus4 #bee4--;,chippendale ,card-table1 about #agfe4 ,illustration #bee shows another ,chippendale table with a baize-covered top4 ,it has the pools for counters1 and the corners of the top are shaped in square pieces to stand the candlesticks upon4 ,illustration3 ,illus4 #bef4--,pembroke ,table1 #agfj-aggj4 ,the knees of the cabriole legs are finely carved1 and the edge of the front is finished with gadrooning4 ,it will be noticed that there is a leg at each corner with the table open2 in closing1 two legs turn in accordion fashion1 and a leg is still at each corner of the closed table1 with the top half the size4 ,this card-table is owned by ,harry ,harkness ,flagler1 ,esq41 of ,millbrook1 ,n4 ,y4 ,illustration3 ,illus4 #beg4--,pembroke ,table1 #aghj-agij4 ,illustration3 ,illus4 #beh4--,lacquer ,tea-tables1 ,eighteenth ,century4 ,a style of table popular during the eighteenth century was called a ,pembroke table1 according to ,sheraton1 from the name of the lady who first ordered one1 and who probably gave the idea to the workman4 ,illustration #bef shows a ,pembroke table in the ,chippendale style1 with rather unusual stretchers between the legs4 ,the characteristic which gives a table the name of ,pembroke consists in the drop leaves1 which are held up1 when the table is open1 by brackets which turn under the top4 ,the shape of the top varies1 being square1 round1 oval1 or with leaves shaped like the table in the illustration4 ,they are always small1 and were designed for breakfast tables4 ,this table belongs to the ,concord ,antiquarian ,society4 ,a beautiful ,pembroke table owned by the ,metropolitan ,museum of ,art is shown in ,illustration #beg4 ,it is made of mahogany entirely veneered with curly sycamore1 with a band of tulip wood around the top and leaves1 which are exquisitely inlaid in a circular design1 and upon the legs are lines of holly with an oval inlay at the top4 ,illustration #beh shows a set or 8nest0 of ,chinese tea tables owned by ,dwight ,m4 ,prouty1 ,esq4 ,they and the tea caddy case are lacquered in black with ,chinese scenes in gold4 ,these sets of tables were brought by ships in the ,chinese trade1 and were fashionable among the tea drinkers of early times4 ,from about #aghf the designs of ,shearer1 ,hepplewhite1 and ,sheraton entirely superseded the fashions of the fifty years preceding1 and the slender tapering leg took the place of the cabriole leg4 ,illustration #bei shows a ,hepplewhite card-table1 of about #aghi1 with inlaid legs1 one of which swings around to support half of the top1 which is circular when open4 ,illustration3 ,illus4 #bei4--;,hepplewhite ,card-table with ,tea-tray1 #aghe-agij4 ,upon this table is a mahogany tea tray with handles at each side and a raised rim with a scalloped edge to keep the cups and saucers from slipping off4 ,oval trays of this style are not uncommon1 of mahogany with inlaying1 but this tray is shaped to fit the table top4 ,this table and tray are owned by the ,concord ,antiquarian ,society4 ,the china upon the tray is ,lowestoft1 so called4 ,illustration #bfj shows two typical ,hepplewhite card-tables owned by the writer4 ,they are of mahogany1 the square1 tapering legs being inlaid with a fine line of holly4 ,the front of one table has an oval inlay of lighter mahogany1 and small oval pieces above each leg4 ,illustration3 ,illus4 #bfj4--;,hepplewhite ,card-tables1 #aghe-agie4 ,the edge of this table is inlaid with lines of holly4 ,the front of the other table is veneered with curly maple1 and has a panel in the centre inlaid with an urn in colored woods4 ,illustration3 ,illus4 #bfa4--,sheraton ,card-table1 #ahjj4 ,there is a row of fine inlaying in holly and ebony upon the edge of the top4 ,this table was rescued by the writer from an ignominious existence in a kitchen1 where it was covered with oilcloth and used for kitchen purposes4 ,the leaf of each of these tables is supported by one of the legs1 which swings around4 ,illustration3 ,illus4 #bfb4--,sheraton ,card-table1 #ahjj-ahaj4 ,illustration3 ,illus4 #bfc4--,sheraton 8,what-not10 #ahjj-ahaj4 ,illustration #bfa shows a ,sheraton card-table of the best style1 with reeded legs and the front veneered in satinwood4 ,it is owned by ,irving ,bigelow1 ,esq41 of ,worcester4 ,the ,sheraton card-table in ,illustration #bfb is of a few years later date than the one in ,illustration #bfa1 with slightly heavier legs1 reeded and carved4 ,the curves of the front of the table are extremely graceful4 ,it belongs to ,dwight ,blaney1 ,esq4 ,illustration #bfc shows a ,sheraton stand1 called a 8what-not10 made of mahogany1 with reeded legs4 ,the posts above the legs are veneered in bird's-eye maple1 and the two drawers are veneered in satinwood4 ,the handles are of bone or ivory4 ,the effect of this little stand is most airy and light4 ,it belongs to ,mr4 ,blaney4 ,illustration #bfd shows a mahogany dining-table and one of eight chairs which came from the ,john ,hancock house in ,boston4 ,illustration3 ,illus4 #bfd4--,sheraton ,dining-table and ,chair1 about #ahaj4 ,they are now owned by ,clinton ,m4 ,dyer1 ,esq41 of ,worcester4 ,they were made probably about #ahaj4 ,the legs of the table end in the ,adam foot4 ,illustration3 ,illus4 #bfe4--,sheraton ,work-table1 about #ahjj4 ,the table which has both leaves dropped shows the position of the legs when the table is not in use2 each leg swings around to support the leaves when in use4 ,the table with slightly rounded corners can be taken apart1 and the extra table put between the two sections1 the leaves being fastened together by a curious brass spring4 ,each leaf measures five and one-half feet in length4 ,the drop leaves are twenty-six inches wide1 and the table1 when all the top is spread out1 measures five and a half by twelve feet4 ,the chair is made after the style of the late ,sheraton chairs1 with carved drapery upon the back4 ,illustration3 ,illus4 #bff4--,sheraton ,work-table #ahaj-ahae4 ,illustration #bfe shows a circular work-table of very graceful design4 ,the wood is mahogany1 and the little feet are of bronze4 ,there are three drawers1 the two upper ones opening with a spring and revolving upon a pivot4 ,in these little drawers may still be seen the beads remaining from the time1 about #ahjj1 when it was fashionable for young ladies to make bead bags4 ,the table top has an opening in the centre1 which originally had a wooden cover1 and the space below the top was utilized to hold the work4 ,at the back of the top are two short turned posts supporting a little shelf1 to hold a candlestick1 or to have fastened upon its edge the silver bird which was used by needlewomen of those days to hold one end of the work4 ,this little table is owned by the ,misses ,hosmer of ,concord4 ,illustration3 ,illus4 #bfg4--,maple and ,mahogany ,work-tables1 #ahaj-ahbj4 ,illustration #bff shows a ,sheraton work-table1 owned by ,mrs4 ,samuel ,b4 ,woodward of ,worcester4 ,the carving at the top of the reeded legs is very fine1 and the little table is quite dainty enough to serve the purpose for which it was bought1--a wedding gift to a bride4 ,illustration3 ,illus4 #bfh4--,work-table1 #ahaj4 ,the brass fixtures for the casters are unusually good1 but the handles are not original4 ,the top drawer contains a sort of writing desk1 besides compartments for sewing materials1 and at the side of the table a slide pulls out1 which had originally a silk bag attached1 to hang below the table4 ,illustration3 ,illus4 #bfi4--,work-table1 #ahaj4 ,illustration #bfg shows two work-tables of mahogany and bird's-eye maple belonging to ,francis ,h4 ,bigelow1 ,esq4 ,similar tables were common about #ahaj-ahbj4 ,illustrations #bfh and #bfi show two work-tables owned by ,dwight ,m4 ,prouty1 ,esq4 ,the legs and frame of the upper table are of mahogany1 the box being made of pine and covered with pleated silk4 ,the lower table is more elegant in shape1 with a slide1 the front of which simulates a drawer1 and to this is attached the work bag or box1 in this table made of wood1 silk-covered1 but sometimes made of silk alone4 ,illustration #bgj shows a ,hepplewhite dining table1 the drop leaf serving to increase the length of the table1 when raised and held up by the extra leg1 which swings under it4 ,up to #ahjj the dining-table had been made in various styles1 in all of which the table legs were more or less in the way of those around the table4 ,in the 8hundred-legged0 table there seemed to be a table leg for each person4 ,then came the cabriole leg1 also in the way1 and finally the ,hepplewhite dining-table1 which was made in sections1 with rounded ends1 and four legs on each end4 ,illustration3 ,illus4 #bgj4--;,hepplewhite ,dining-table1 #agij4 ,about #ahjj the pillar-and-claw table was invented1 which made it possible for several persons to sit around a dining-table without a part of the guests encircling the table legs with their own4 ,these tables were made in pairs or in threes1 one after another being added as more room was required4 ,illustration3 ,illus4 #bga4--,pillar-and-claw ,dining-table1 #ahjj4 ,illustration #bga shows a pillar-and-claw extension dining-table1 of mahogany1 owned by ,l4 ,j4 ,shapiro1 ,esq4 of ,norfolk1 ,virginia4 ,the telescope extension 7the same method in use at present7 was invented by ,richard ,gillow1 of ,london1 about #ahjj4 ,the end tables pull apart upon a slide1 and extra leaves may be inserted between the ends1 held in place by wooden pins4 ,the pillar and claw design was most popular and was used for centre tables1 bases of piano stools1 and even for piano legs 7see ,illustration #bib74 ,a pillar-and-claw mahogany centre table with drop leaves is shown in ,illustration #bgb4 ,the feet are lion's claws1 and from this date the lion's or bear's claw foot was used for furniture with carved feet1 instead of the bird's claw-and-ball which had been so largely used during the previous century4 ,illustration3 ,illus4 #bgb4--,pillar-and-claw ,dining-table1 about #ahjj4 ,a splendid dining-table of mahogany is shown in ,illustration #bgc4 ,it is in three sections1 each with a base4 ,the legs have a bold spread1 and are simply carved in grooves1 ending in lion's claws4 ,this fine table is owned by ,barton ,myers1 ,esq41 of ,norfolk1 ,virginia4 ,illustration #bgd shows a mahogany dining-table now in the ,worcester ,art ,museum1 inherited from the late ,stephen ,salisbury1 ,esq4 ,illustration3 ,illus4 #bgc4--;,extension ,dining-table1 #ahaj4 ,illustration3 ,illus4 #bgd4--;,accordion ,extension ,table1 #ahbj4 ,the method of extension is after that of an accordion1 and necessitates an astonishing number of legs when not extended1 ten in all4 ,illustration3 ,illus4 #bge4--;,card-table1 #ahje-ahaj4 ,when the leaves are all in use the table is fourteen feet long1 and stands very firmly1 the leaves being held together by a brass clamp1 seen in the illustration4 ,illustration3 ,illus4 #bgf4--,phyfe ,card-table1 #ahaj-ahbj4 ,a very fine card table owned by ,mrs4 ,clarence ,r4 ,hyde of ,brooklyn is shown in ,illustration #bge4 ,it is made of mahogany1 with a band of satinwood around the box top4 ,when open1 the whole top revolves upon a pivot4 ,the legs are slender and well carved1 with lion's feet4 ,one of the finest of ,american cabinet-makers was ,duncan ,phyfe1 whose address in the ,new ,york directory of #ahjb is #ce ,partition ,street 7now ,fulton ,street74 ,he pursued his business until #ahej1 employing one hundred workmen4 ,much of his furniture still exists1 notably chairs with lyre backs4 ,a ,phyfe card-table owned by ,miss ,h4 ,p4 ,f4 ,burnside of ,worcester is shown in ,illustration #bgf4 ,the strings of the lyre are of brass1 like the lion's feet in which the legs end4 ,illustration3 ,illus4 #bgg4--,phyfe ,card-table1 #ahaj-ahbj4 ,a specialty of ,phyfe's was a card-table1 one of which is shown in ,illustration #bgg4 ,in the illustration the table apparently lacks a fourth leg1 as it stands against the wall4 ,but when the top is open1 by an interesting mechanism the three legs spread and a brace comes out to support the other half of the top1 so that it forms a perfectly proportioned table4 ,mr4 ,hagen of ,new ,york has an old bill1 dated #ahaf1 for two of these tables at sixty dollars apiece4 ,the table in the illustration is owned by ,dwight ,blaney1 ,esq4 ,illustration3 ,illus4 #bgh4--,phyfe ,sofa ,table1 #ahaj4 ,a ,phyfe sofa table is shown in ,illustration #bgh1 from the ,metropolitan ,museum of ,art4 ,it is very narrow1 and was designed1 as the name implies1 to stand beside a sofa1 to hold books1 papers1 or other articles4 ,illustration3 ,illus4 #bgi4--,pier-table1 #ahbj-ahcj4 ,illustration3 ,illus4 #bhj4--,work-table1 #ahaj-ahbj4 ,the legs end in small lion's feet and are carved1 like the posts1 with the typical ,phyfe leaf4 ,this leaf1 so much used by ,phyfe1 is seen1 like the lyre1 upon ,adam pieces1 and apparently the ,scotchman1 ,duncan ,phyfe1 took the ,scotchman1 ,robert ,adam1 for his model4 ,the fashion of heavy furniture elaborately carved was more popular in the ,south than in the ,north1 and the most ornate pieces are found in the ,south1 of later date than the rich carving done in ,philadelphia1 upon pie-crust tables and high-boys4 ,heavy posts carved with the acanthus and pineapple and other ,empire features found favor4 ,it is probable that during the first quarter of the nineteenth century the wealthy ,southern planters refurnished their homes in the prevailing ,empire style4 ,the pier-table in ,illustration #bgi is one of a pair found in ,virginia1 which were made about #ahcj4 ,the chief motif in the design seems to be dolphins' heads1 which form the feet1 and the base of the front supports to the top4 ,illustration #bhj shows a small work-table of curious shape1 with the octagon-shaped interior divided into little boxes for sewing-materials4 ,the middle compartment extends down into the eight-sided pillar4 ,the work-boxes are covered by the top of the table1 which lifts upon hinges4 ,this table belongs to ,mrs4 ,e4 ,a4 ,morse of ,worcester4 ,,chapter ,,ix ,,musical ,,instruments ,illustration ,,spinets1 virginals1 and harpsichords were brought to the ,american colonies in ,english ships as early as #afde1 when 8,an old pair of virginalls0 appears in an inventory2 and another1 in #afed4 ,in #affg a pair of virginals is valued at two pounds4 ,in his diary of #afii ,judge ,samuel ,sewall alludes to his wife's virginals4 ,in #agab the ,boston ,news ,letter contained an advertisement that 8the spinet would be taught10 and in #agaf the public were requested to 8,note1 that any ,persons may have all ,instruments of ,music mended1 or ,virginals or ,spinets strung tun'd1 at a ,reasonable ,rate1 and likewise may be taught to play on any of the ,instruments above mentioned40 ,from the wording of this advertisement it is evident that these instruments were no novelty4 ,i have not been able to learn of an existing virginal which was in use in this country1 but occasionally a spinet is found4 ,the expression a 8pair0 or 8set0 of virginals was used in the same manner as a 8pair0 or 8set0 of steps or stairs1 and in ,england an oblong spinet was called a virginal1 in distinction from the spinet of triangular shape1 which superseded the rectangular1 oblong form in which the earliest spinets were made4 ,both virginal and spinet had but one string to a key1 and the tone of both was produced by a sort of plectrum which picked the string4 ,this plectrum usually consisted of a crow quill1 set in an upright piece of wood1 called a 8jack10 which was fastened to the back of the key4 ,the depressing of the key by the finger caused the quill to rise1 and as it passed the string1 the vibration produced the musical tone1 which is described by ,dr4 ,burney as 8,a scratch with a sound at the end of it40 ,the name of the spinet is by some supposed to be derived from these quills1--from spina1 a thorn4 ,according to other authorities the name came from a maker of the instrument1 named ,spinetti4 ,the virginal was so called because young maids were wont to play upon it1 among them that perennial young girl1 ,queen ,elizabeth4 ,the most famous makers of spinets in ,england were ,charles ,haward or ,haywood1 ,thomas and ,john ,hitchcock1 and ,stephen ,keene4 ,in ,pepys's diary are the following entries3-- 8,april #d1 #affh4 ,called upon one ,haward that makes virginalls1 and there did like of a little espinette and will have him finish it for me2 for ,i had a mind to a small harpsichon1 but this takes up less room40 8,july #ae1 #affh4 ,at noon is brought home the espinette ,i bought the other day of ,haward2 cost me #e40 ,illustration #bha shows a spinet in the ,deerfield ,museum1 which formerly belonged to ,miss ,sukey ,barker of ,hingham1 who must have been a much envied damsel4 ,it is marked ,stephanus ,keene1 which places the date of its make about #afij4 ,the body of the spinet stands twenty-four inches from the floor4 ,its extreme length is fifty-six inches1 and the keyboard of four and one-half octaves measures twenty-nine inches4 ,there are but six keys left1 but they are enough to show that the naturals were black and the sharps white4 ,there is a row of fine inlaying above the keyboard1 and the maker's name is surrounded with painted flowers4 ,illustration3 ,illus4 #bha4--,stephen ,keene ,spinet1 about #afij4 ,the spinet1 as may be seen1 was a tiny instrument1 in shape similar to our modern grand piano4 ,the body of the spinet was entirely separate from the stand1 which was made with stretchers between the legs1 of which there were three and sometimes four1 so placed that one leg came under the narrow back end of the spinet1 one under the right end of the front1 and one or sometimes two at the left of the front4 ,the instrument rested upon this table or trestle4 ,the name upon the majority of spinets found in this country is that of ,thomas ,hitchcock4 ,his spinets are numbered and occasionally dated4 ,there is a ,thomas ,hitchcock spinet owned by the ,concord ,antiquarian ,society1 numbered #adee1 and one owned in ,worcester1 numbered #aeai4 ,illustration #bhb shows a spinet which was owned by ,elizabeth ,hunt ,wendell of ,boston4 ,it was probably an old instrument when she took it with her from ,boston to ,portland in #agff upon her marriage to the ,rev4 ,thomas ,smith1 known as ,parson ,smith of ,portland4 ,it is now owned by her great-great-grandaughter in ,gorham1 ,maine4 ,the board above the keys has two lines of inlaying around it1 and is marked 8,thomas ,hitchcock ,londoni fecit1 #acij40 ,the front of the white keys is cut with curved lines1 and the black keys have a line of white ivory down the centre4 ,the parrot-back chair in the illustration is described upon page #afh4 ,authorities seem to vary upon dates when the ,hitchcocks made spinets4 ,mr4 ,a4 ,j4 ,hipkins of ,london1 the well-known authority upon pianos1 harpsichords1 and spinets1 writes me that he dates the ,thomas ,hitchcock spinets from #affd to #agjc1 and those of ,john ,hitchcock1 the son of ,thomas1 from #afgf to about #agae4 ,mr4 ,hipkins says that the highest number he has met with upon ,thomas ,hitchcock's spinets is #aedg1 so it is safe to date this spinet in ,illustration #bhb1 which numbers #acij1 to about #afij4 ,illustration3 ,illus4 #bhb4--,thomas ,hitchcock ,spinet1 about #afij4 ,by the latter half of the eighteenth century proficiency upon various musical instruments was not uncommon4 ,john ,adams in #agga speaks of a young man of twenty-six1 as 8a great proficient in music1 plays upon the flute1 fife1 harpsichord1 spinet1 etc42 a very fine ,connecticut young gentleman40 ,illustration3 ,illus4 #bhc4--;,broadwood ,harpsichord1 #aghi4 ,in #agfh in the ,boston ,chronicle appears the advertisement of ,john ,harris1 recently from ,england1 8that he makes and sells all sorts of ,harpsichords and ,spinets10 and in #agfi the ,boston ,gazette says1 8,a few days since was shipped for ,newport a very curious ,spinet1 being the first one ever made in ,america1 the performance of the ingenious ,mr4 ,john ,harris40 ,in #aggj the same paper praises an excellent 8spinet0 made by a ,bostonian1 8which for goodness of workmanship and harmony of sound is esteemed by the best judges to be superior to any that has been imported from ,europe40 ,this would seem to indicate that a tone of superiority in musical matters was assumed by ,boston at an early date4 ,the statement with regard to the first spinet made in ,america is incorrect1 for over twenty years earlier1 in #agdb1 ,hasselinck had made spinets in ,philadelphia4 ,in the ,essex ,institute of ,salem is a spinet made by ,samuel ,blythe of ,salem1 the bill for which1 dated #aghf1 amounts to eighteen pounds4 ,the harpsichord1 so named from its shape1 was the most important of the group of contemporary instruments1 the virginal1 spinet1 and harpsichord1 the tone of which was produced with the quill and jack4 ,the harpsichord had two strings to each key1 and the instrument occupied the relative position that the grand piano does to-day1 being much larger and having more tone than the spinet4 ,like the spinet1 its manufacture ceased with the eighteenth century4 ,illustration #bhc shows a harpsichord formerly owned by ,charles ,carroll1 who was so eager to identify himself as a patriot1 that he signed his name to the ,declaration of ,independence as ,charles ,carroll of ,carrollton4 ,this harpsichord was discovered twenty-five years ago in the loft of an old college building in ,annapolis1 where it had lain for fifty years4 ,the ,carroll coat of arms1 painted upon porcelain and framed in gold1 is fastened above the keyboard4 ,the inscription upon this instrument is 8,burkat ,shudi et ,johannes ,broadwood1 patent ,no4 #iee ,londini1 ,fecerant #aghi1 ,great ,poulteney ,street1 ,golden ,square40 ,there are two banks of keys1 with a range of five octaves1 and three stops1 which were intended to change the tone1 two of them being marked harp and lute4 ,the case is quite plain1 of mahogany1 with a few lines of inlaying above the keyboard and a line around the body and top4 ,it is owned by ,william ,knabe ,co4 of ,baltimore1 and is one of fourteen ,broadwood harpsichords known to exist4 ,that the harpsichord was not an uncommon instrument in this country during the latter half of the eighteenth century is shown by the number of advertisements of the harpsichord and its teachers4 ,illustration #bhd shows a clavichord or clavier1 made about #agde4 ,it is owned by ,mr4 ,john ,orth of ,boston4 ,the clavichord1 like its successor1 the square piano1 was of oblong shape4 ,the musical tone was produced in a different manner from that of either the spinet or piano4 ,each key had at the back an upright 8tangent0 or wedge-shaped piece of brass1 which1 as the front of the key was depressed1 rose and set the string of twisted brass wire in vibration1 by pressing upon it1 instead of picking it like the quill of the spinet and harpsichord4 ,this pressure divided the string into two different lengths1 the shorter length being prevented from vibrating by a band of cloth interlaced with the strings4 ,the same interlaced cloth stopped the vibration of the longer division of the string1 as soon as the pressure was taken from the key1 thus allowing the tangent to fall4 ,in the earlier clavichords one string had to serve to produce the tone for two or three different keys4 ,illustration3 ,illus4 #bhd4--;,clavichord1 #agde4 ,these instruments were called 8gebunden10 or fretted4 ,later instruments are 8bund frei0 or free1 having a string for each key4 ,the clavichord player could feel the elasticity of the wire string1 and could produce a sort of vibration of tone by employing the same method as that used in playing the violin1 a pressure and vibration of the fleshy end of the finger while the note was held4 ,the tone of the clavichord was very delicate1 and it afforded far more power of expression than the spinet or harpsichord1 which1 however1 were more brilliant1 and entirely superseded the weaker clavichord in ,england4 ,in ,germany the clavichord has always been a favorite instrument even into the nineteenth century4 ,it is probable that but few clavichords came to this country4 ,the piano e forte--soft and loud--was invented about #agbj4 ,the strings of the piano are struck by hammers instead of being picked by quills1 and the force of the hammer strokes made a stronger frame necessary than that of the spinet or harpsichord1 in order to hold the heavier strings4 ,brissot de ,warville wrote in #aghh that in ,boston 8one sometimes hears the forte piano1 though the art is in its infancy40 ,he then soulfully bursts forth1 8,god grant that the ,bostonian women may never1 like those of ,france1 acquire the malady of perfection in this art4 ,it is never attained but at the expense of the domestic virtues40 ,according to this the domestic virtues must be a scarce quality in ,boston at the present time4 ,in #agib ,messrs4 ,dodd ,claus1 musical instrument manufacturers1 #ff ,queen ,street1 ,new ,york1 announced that 8the forte piano is become so fashionable in ,europe that few polite families are without it40 ,as this country kept pace with ,europe in the fashions1 we can assume that the forte piano formed at the close of the eighteenth century a part of the furniture of the polite families of the ,united ,states4 ,the date of a piano can be approximately determined by its legs4 ,the earliest pianos had four slender legs similar to the legs of the spinet or harpsichord4 ,the next instruments had six legs1 increased in size and fluted or carved4 ,then the number was reduced to four1 and the legs were still larger1 and more elaborately carved1 until #ahdj the ugly legs found commonly upon the square piano were the only styles employed4 ,illustration3 ,illus4 #bhe4--;,clementi ,piano1 #ahje4 ,illustration #bhe is a fine example of an early pianoforte4 ,like the spinet and clavichord1 the body of the instrument is separate from the lower frame1 which is fastened together at the corners with large screws like a bedstead4 ,this may have been for convenience in transportation1 and it is possible that while the top containing the works was imported1 the supporting frame may have been made in this country4 ,there are four slender inlaid legs1 and one pedal1 and under the body of the piano runs a most convenient shelf for music4 ,the case is of mahogany1 with rows of fine inlaying in colors1 having two rows of different width around the top of the lid4 ,the board above the keys is of satinwood1 and it has1 beside the delicate frets at each side1 charmingly painted garlands of sweet peas1 a flower very popular in ,england at that time1 about #ahje4 ,the name plate has the inscription 8,muzio ,clementi ,co41 ,cheapside1 ,london10 and the number of the piano is #cfec4 ,it measures sixty-seven inches in length1 and has a compass of five and one-half octaves4 ,there is a line of inlaying around the inside of this piano1 which is finished carefully in every detail4 ,the music-rack is of simple form like the rack in ,illustration #bhf4 ,the music may also rest1 as in the illustration1 upon the edge of the lid1 when put back4 ,this piano is owned by the writer1 who bought it in ,falmouth1 ,massachusetts4 ,it was said to be the first piano brought into ,falmouth1 or upon the 8,cape10 and in looking at this dainty instrument1 which had never left the room in which it found its home1 a hundred years ago1 one can imagine the wonder and envy of the little seaport village when a whaling captain1 after a successful voyage1 gave the piano to his daughter4 ,nothing could sound more quaint than a ,gluck or ,mozart minuet played upon its tinkling keys4 ,the founder of the ,astor family about #agij to #ahjj made one branch of his business the importing of pianos1 which were labelled with his name and which are quite commonly met with4 ,illustration #bhf shows an ,astor piano owned by ,mrs4 ,sanford ,tappan of ,newburyport4 ,the style of this piano is similar to that of the 8,clementi0 in ,illustration #bhe1 but it lacks the delicate ornamentation of the ,clementi piano4 ,in the ,columbian ,centinel of #ahjf is an advertisement with a woodcut of an instrument very like this4 ,illustration3 ,illus4 #bhf4--;,astor ,piano1 #agij-ahjj4 ,there is an ,astor piano in ,salem1 described as having four legs in the front1 indicating that it was made as late as #ahae4 ,it had two pedals1 one being used to prolong the tones4 ,the other pedal served to produce a novel and taking effect1 by lifting a section of the top of the piano lid1 which was then allowed to fall suddenly1 the slamming serving to imitate the firing of cannon4 ,the young lady who owned the piano created a great sensation by playing battle pieces with this startling accompaniment4 ,illustration3 ,illus4 #bhg4--;,clementi ,piano1 about #ahbj4 ,illustration #bhg shows the change in the legs1 this piano having six legs1 which are considerably larger4 ,the piano was made by ,clementi1 and is numbered #ajebb4 ,it is of light mahogany1 and has a row of dark mahogany veneer around its frame4 ,the feet and tops of the six legs are of brass1 like the handles to the three drawers1 and a brass moulding goes around the frame4 ,the piano stool1 also of mahogany1 is of a somewhat later date4 ,this piano and stool are owned by ,w4 ,s4 ,g4 ,kennedy1 ,esq41 of ,worcester4 ,this style of piano was in use from #ahbj to #ahcj4 ,illustration3 ,illus4 #bhh4--;,combination ,piano1 ,desk1 and ,toilet-table1 about #ahjj4 ,illustration #bhh shows one of the curious combinations which the cabinet-makers of about #ahjj seemed to be so fond of designing4 ,their books have complicated drawings of tables and desks with mechanical devices for transforming the simple-looking piece of furniture into one full of compartments1 drawers1 and boxes1 with contrivances which allow surprising combinations to spring out4 ,sheraton1 who was a shrewd observer1 said1 8,a fancifulness seems most peculiar to the taste of females02 and this piece of furniture was made1 apparently1 to appeal to that 8fancifulness40 ,illustration3 ,illus4 #bhi--,piano1 about #ahcj4 ,between the works of the piano and the cover is a tray divided into compartments to hold toilet and writing utensils1 ink-bottle1 sand-sifter1 stationery1 pins1 and sewing-implements1 and over the keyboard rests a long tray for similar articles4 ,these trays can be removed when the piano is to be used4 ,there is a front panel which lets down1 forming a writing-table1 and a mirror is set in the face of the rest that supports the lid when raised4 ,illustration3 ,illus4 #bij4--,peter ,erben ,piano1 #ahbf-ahbg4 ,thus the lady for whom all this was designed1 after using it as a dressing-table1 could play the piano and look at her own pretty face in the mirror while she played and sang4 ,this combination of piano1 dressing-table1 and writing-desk is owned by the ,rev4 ,james ,h4 ,darlington1 ,d4,d41 of ,brooklyn1 ,new ,york4 ,in #ahbi the manufacture of pianofortes had increased so that during that year twenty-five hundred pianos were made in the ,united ,states1 chiefly in ,new ,york1 ,philadelphia1 and ,boston4 ,the piano in ,illustration #bhi belongs to ,mrs4 ,ada ,grisier of ,auburn1 ,indiana1 and is an unusually fine specimen of the six-legged piano fashionable about #ahcj4 ,the case is of mahogany and is inlaid with lines of brass1 while around the body run two rows1 of different width1 of brass moulding4 ,the legs are large1 and elaborately carved1 and are set in brass standards4 ,on each corner of the frame is a design in gilt4 ,there is one wooden pedal1 and the range of the piano is five and one-half octaves4 ,the name of the maker has been obliterated4 ,the piano in ,illustration #bij is owned by ,mrs4 ,louis ,m4 ,priest of ,salem1 ,new ,york4 ,the body is of rosewood inlaid with brass1 the lid being of mahogany1 like the elaborately carved trestle-shaped supports4 ,it has two drawers for holding music1 and one pedal1 the standard for which is a carved lyre with a mirror behind its strings4 ,the keyboard has a range of six octaves4 ,the name upon the front is ,peter ,erben1 #ajc ,pump ,st41 ,new ,york4 ,peter ,erben was a music-teacher whose address from #ahbf to #ahbg was #ajc ,pump ,street1 which determines the date of this piano4 ,the writer knows of four pianos with the carved mahogany trestle-supports1 all with the name of ,peter ,erben as maker1 though it is probable that1 like modern pianos1 the works were bought1 and whoever wished might have his name upon the name-plate1 since ,peter ,erben is in the ,new ,york directories for thirty years as 8,musick teacher0 or 8,professor of musick0 only4 ,illustration3 ,illus4 #bia4--,piano-stool1 #ahbj-ahcj4 ,the piano-stool in ,illustration #bia was made to use with the piano in ,illustration #bij4 ,the wide spread to the three feet gives the effect of a table base1 but there is no doubt that this was made originally to use for a piano-stool4 ,the little weather-beaten house1 in which the piano and stool had always stood1 possesses a ghost story of a young girl who was starved to death by her miser brother1 and who was said to haunt the house4 ,this piano and stool give the impression of the reverse of a miser1 and the poor ghost must have been before their day4 ,the stool is now owned by the writer1 but is neither practical nor comfortable1 the feet being much in the way4 ,illustration #bib shows a piano of most elaborate design1 made about #ahbf4 ,there is no maker's name upon the piano4 ,the frame is of mahogany and has a brass moulding around the body1 and brass rosette handles to the drawers4 ,around each square carved panel upon the front legs is a brass beading1 and the lions' claws on the front legs and the sockets upon the back legs are of brass4 ,illustration3 ,illus4 #bib4--,piano1 #ahbf4 ,the front legs are elaborately carved like table bases1 and the three pedals have a support that is a cross between a lyre and a wreath4 ,the keyboard has six octaves1 and the music-rack is very simple4 ,illustration #bic shows two piano-stools made between #ahbe and #ahcj4 ,the stool with four fluted legs was sold with a piano made by ,wood1 ,small1 ,co41 of ,london1 which has six legs fluted in the same manner4 ,the other stool has a base like the claw-and-pillar table1 and the sides of the seat are carved dolphins1 whose tails turn up and support a carved rail to form a low back for the seat4 ,this stool belongs to the writer4 ,illustration3 ,illus4 #bic4--,piano-stools1 #ahbe-ahcj4 ,the 8table piano0 in ,illustration #bid is marked as being made by ,john ,charters1 ,xenia1 ,ohio1 which alone would attract attention1 aside from the curious construction of the base1 which places the date of the piano about #ahce4 ,the pedals are quite concealed as one stands by this piano1 and the whole design is clumsy and poor4 ,the music-rack seems to have remained unchanged for many years1 and from the earliest piano shown1 made in #ahjj1 until the large square piano of #ahdj1 the music-rack is the same1 simply constructed of four pieces of wood which are put together with pivots1 so that by pushing one end of the top piece they all slide and fold down together1 in order that the piano may be closed4 ,illustration3 ,illus4 #bid4--,table ,piano1 about #ahce4 ,illustration #bie shows a ,chickering piano made in #ahcc1 of a design entirely different from the other pianos shown1 and of great elegance and richness4 ,the mahogany case is inlaid with the heavy bands of plain brass1 and the legs are pillars with ,ionic capitals4 ,the music-rack is of the same simple form as the one upon the preceding piano1 and the one pedal is fastened into a lyre-shaped support4 ,illustration3 ,illus4 #bie4--;,chickering ,piano1 #ahcc4 ,illustration #bif shows a music-stand made about #ahce1 owned by ,mrs4 ,john ,d4 ,wing1 of ,millbrook1 ,new ,york4 ,the rest for the music is of the favorite lyre shape1 which seems especially adapted to this purpose4 ,the stand is of mahogany and is very pretty and graceful4 ,illustration #big shows a music-stand owned by ,dwight ,blaney1 ,esq41 of ,boston4 ,it is of mahogany1 and its date is about #ahce4 ,the upper part with the music-rest can be lowered or raised1 and is held in place by pins thrust through the small holes in the supports4 ,the stand is somewhat heavy in effect1 but very firm and secure4 ,illustration3 ,illus4 #bif4--,music-stand1 about #ahce4 ,illustration3 ,illus4 #big4--,music-stand1 about #ahce4 ,illustration #bih shows a dulcimer which is in the ,deerfield ,museum4 ,it has an extremely plain case1 and must have been1 when new1 an inexpensive instrument4 ,the dulcimer of early times was a small1 triangular-shaped instrument1 to be laid upon a table4 ,above the sounding-board were stretched wire strings1 which were struck with small hammers held in the hand1 and doubtless the piano was first suggested by the dulcimer and its hammers4 ,illustration3 ,illus4 #bih4--;,dulcimer1 #ahbj-ahcj4 ,the heads of the hammers were covered with hard and soft leather to give a loud or soft tone4 ,the instrument in the illustration was probably made from #ahbj to #ahcj1 during which time the dulcimer was quite popular1 especially in the country1 where the piano was too costly a luxury4 ,illustration3 ,illus4 #bii4--;,harmonica1 or ,musical ,glasses1 about #ahbj4 ,music-books were published for the dulcimer1 and it retained some popularity in country villages until ousted by the melodeon4 ,illustration #bii shows a set of musical glasses called a harmonica4 ,the fine ladies in 8,the ,vicar of ,wakefield0 would talk of nothing but 8pictures1 taste1 ,shakespeare1 and the musical glasses40 ,this was in #agfa1 and the musical glasses were fashionable before that1 for ,gluck in #agdf played 8a concerto on twenty-six drinking glasses1 tuned with spring water40 ,franklin invented an instrument for the musical glasses1 which he called the ,armonica1 for which famous composers wrote music1 and in which the glasses were arranged upon a rod which turned with a crank1 while below was a trough of water which moistened the glasses as they dipped into it4 ,illustration3 ,illus4 #cjj4--,music-stand1 #ahje4 ,there is a ,franklin ,armonica in the ,metropolitan ,museum of ,art in the ,brown collection4 ,in ,watson's 8,annals0 is a description of a visit to ,franklin in ,paris4 ,it says3 8,he conducted me across the room to an instrument of his own invention which he called the #8,armonica4' ,the music was produced by a peculiar combination of hemispherical glasses4 ,he played upon it and performed some ,scotch pastorales with great effect4 ,the exhibition was truly striking40 ,the box in ,illustration #bii holds twenty-four glasses1 which1 when used1 are filled with water1 and are tuned by the amount in each glass4 ,the finger is dipped in the water and rubbed on the edge of the glass1 producing a sound of penetrating tone4 ,the stand and box in this illustration are of mahogany1 and make an ornamental piece of furniture4 ,a stand for music is shown in ,illustration #cjj1 owned by ,j4 ,j4 ,gilbert1 ,esq41 of ,baltimore4 ,it is elegant in design and possesses also the very desirable merit in a rest for music1 of standing firmly upon its four lion's claw feet1 with the heavy turned and reeded post to support the top and the lyre-shaped music rack4 ,illustration3 ,illus4 #cja4--,music-stand1 #ahjj-ahbj4 ,the mahogany case for music books in ,illustration #cja is owned by ,dwight ,m4 ,prouty1 ,esq4 ,it has a drawer for sheet music and a shelf below1 beside the five compartments for books1 with the lyre-shaped divisions of solid wood1 and the ends open1 with lyre strings of wood4 ,illustration3 ,illus4 #cjb4--;,harp-shaped ,piano1 about #ahjj4 ,illustration #cjb shows a harp-shaped piano1 made by ,andr ,stein1 d',augsburg4 ,it is owned by ,b4 ,j4 ,lang1 ,esq41 of ,boston1 and was made about #ahjj4 ,pianos of this style are occasionally found in this country4 ,the shape of the top shows how the strings run1 the effect being similar to a grand piano stood upon its end4 ,the silk draperies are the original ones1 and are faded from red to a soft dead leaf color1 which is most artistic and harmonious4 ,the six pedals are supposed to produce different effects to correspond with the following names3 fagotti1 piano1 forte1 pianissimo1 triangle1 cinelle4 ,the upright piano1 known then as a cottage piano1 was invented in #ahjj4 ,illustration #cjc shows a small upright piano said to have belonged to ,lady ,morgan1 the 8wild ,irish girl40 ,the case is an exquisite example of the work of an ,english cabinet-maker1 from #ahjj to #ahaj1 and may have been that of ,sheraton himself4 ,the lower panels are of satinwood1 with the frame and the oval piece in the centre of mahogany1 outlined with ebony and white holly4 ,illustration3 ,illus4 #cjc4--;,cottage ,piano1 or ,upright1 about #ahjj-ahaj4 ,illustration3 ,illus4 #cjd4--;,chickering ,upright ,piano1 #ahcj4 ,the upper middle panel is filled with a sunburst made of pleated silk4 ,the side-panels are of satinwood1 framed in bird's-eye maple1 outlined with mahogany1 and the ovals in the centres are of mahogany1 with fine lines of ebony and white holly4 ,altogether1 it is as dainty an instrument as any lady could wish for her boudoir4 ,illustration #cjd shows a ,chickering upright piano made in #ahcj4 ,the frame is of mahogany1 and the front of the upper part is filled with a sunburst made of pleated silk1 from which this style of piano was sometimes called a sunburst piano4 ,a very beautiful and ornamental piano is shown in ,illustration #cje1 owned by ,james ,h4 ,darlington1 ,d4,d41 of ,brooklyn1 ,new ,york4 ,the body of the piano is made of rosewood4 ,the strings are arranged like those in a grand piano1 but the sounding-board extends only the distance of the piano body2 above that the strings are exposed like those of a harp4 ,the wooden frame upon which the wires are strung is supported by a post of wood elaborately carved and gilded4 ,the keyboard has a range of seven octaves4 ,upon the inside of the cover is the inscription 8,new ,york ,piano ,company--,kohn patent40 ,illustration3 ,illus4 #cje4--,piano1 about #ahdj4 ,the story is that a piano-maker in ,new ,york vowed he would make the most beautiful piano in the world4 ,one like this was the result1 and it was bought by ,a4 ,t4 ,stewart1 at that time1 about #ahdj1 the merchant prince of ,new ,york4 ,six others were made like the original piano1 and they are scattered over the country1 one being in the ,brown collection of musical instruments in the ,metropolitan ,museum of ,art4 ,illustration3 ,illus4 #cjf4--;,hawkey ,square ,piano1 about #ahde4 ,illustration #cjf shows the form in which the square piano was finally made1 and which1 with few variations1 continued fashionable until the introduction of the present style of upright pianos1 since when there have been practically no square pianos manufactured4 ,this piano was made by ,henry ,hawkey of ,new ,york1 about #ahde1 and it is noteworthy because the keys are made of mother-of-pearl1 and the scrolls above the keyboard are inlaid in mother-of-pearl4 ,the case is covered with rosewood veneering1 and the legs are large and clumsy4 ,the music-rack and pedal support are similar in style to those now in use4 ,illustration3 ,illus4 #cjg4--;,harp1 #aghj-agij4 ,proficiency upon the piano and spinet would appear to have comprised the chief accomplishments in instrumental music of the young ladies of the eighteenth and early nineteenth centuries1 as far as we can judge by mention of such accomplishments4 ,but it seems reasonable to suppose that where a few ,english ladies employed their fair hands upon the harp1 there were not lacking a similar number of ,americans who also appreciated the opportunity which that classic instrument affords of displaying the grace and beauty of a rounded arm and wrist4 ,even in our own day1 the list of those who play the harp is restricted1 and it must have been the same in early days1 hence the lack of allusions to the harp4 ,when ,lady ,morgan1 the 8wild ,irish girl10 was creating such a sensation in ,london with her harp-playing1 it is certain that she had imitators in this country4 ,christopher ,columbus ,baldwin1 in his diary of #ahcb1 speaks of ,madam ,papanti1 who at that time lived in ,worcester with her husband1 the famous dancing-teacher4 ,she gave music lessons1 possibly upon the harp1 for ,mr4 ,baldwin tells of her playing that instrument upon ,sundays at ,dr4 ,bancroft's church1 while her husband played the ,french horn1 8which1 with two flutes1 a base viol1 and violin1 make very good musick40 ,illustration #cjg shows a very beautiful harp made previous to #ahjj1 belonging to ,mrs4 ,reed ,lawton of ,worcester4 ,in construction it is not very different from the modern harp1 although considerably smaller4 ,it is exquisitely carved1 and instead of being gilded is painted in colors1 and finished with a varnish like the vernis martin1 the general effect being a golden brown4 ,the harp which ,marie ,antoinette played upon is still preserved1 and is very like this one4 ,,chapter ,x ,,fires ,,and ,,lights ,illustration ,,when wood was plentiful and easily gathered1 the fireplace was built of generous proportions4 ,at the back1 lying in the ashes1 was the backlog1 sometimes so huge that a chain was attached to it1 and it was dragged in by a horse4 ,the forestick rested upon the andirons1 and small sticks filled the space between backlog and forestick4 ,in the wall beside the fireplace was built the brick oven1 in which the baking was done4 ,upon baking day a wood fire was made inside this oven1 and when the oven was thoroughly heated1 the coals were removed1 and the bread placed upon the oven bottom to bake leisurely4 ,the tin kitchen was set before the fire1 and pies and bread upon its shelves were cooked by the heat reflected and radiated from the tin hood4 ,illustration #cjh shows a great kitchen fireplace in the ,lee mansion in ,marblehead1 ,massachusetts1 with the tin kitchens in front of the fire1 and the kettles and pots hanging over it1 and the various kitchen utensils around it4 ,fire-dogs or andirons are mentioned in the earliest inventories4 ,the name 8fire-dogs0 came from the heads of animals with which the irons were ornamented4 8,andirons0 is a word corrupted from 8hand irons10 although some inventories speak of end-irons4 ,kitchen andirons were of iron similar to the ones in ,illustration #caf1 but for the other fireplaces they were made of steel1 copper1 or brass1 and in ,england even of silver4 ,illustration3 ,illus4 #cjh4--,kitchen ,fireplace in ,lee ,mansion1 #agfj4 ,illustration3 ,illus4 #cji4--;,andirons1 ,eighteenth ,century4 ,illustration #cji shows a pair of andirons1 with shovel and tongs1 owned by ,francis ,h4 ,bigelow1 ,esq4 ,the andirons are 8rights and lefts10 and have the brass knobs to prevent the forestick from falling forward4 ,illustration #caj shows another pair belonging to ,mr4 ,bigelow1 with claw-and-ball feet and the twisted flame top4 ,these are given as good examples of the best styles of andirons in use in well-to-do households in ,america during the seventeenth century4 ,illustration3 ,illus4 #caj4--;,andirons1 ,eighteenth ,century4 ,illustration3 ,illus4 #caa4--8;,hessian0 ,andirons1 #aggf4 ,illustration #caa shows a pair of 8,hessians0 made of iron4 ,andirons of this style were very popular immediately after the ,revolutionary ,war1 the figures of the hated allies of the ,british thus receiving the treatment with flame and ashes that ,americans considered the originals to merit1 to say nothing of worse indignities cast upon them by the circle of tobacco-smoking patriots4 ,andirons were made of different heights1 and sometimes two or more sets were used in one fireplace1 to hold larger and smaller sticks4 ,creepers are mentioned in early inventories4 ,they were low irons placed between the andirons1 to hold short sticks4 ,as wood grew less plentiful1 and as the forests near by were cleared away1 it was not so easy to obtain the huge backlog and the great pile of sticks to fill the generous fireplace1 and by the middle of the eighteenth century its size had diminished4 ,many of the larger ones were partially filled in4 ,the fireplace in the ,ipswich ,whipple house1 when the house was bought by the society which now owns it1 had been bricked in twice--once to make the space less1 and the second time to fill it in entirely and put a fire-frame in its place4 ,chimneys which did not smoke were the exception until ,count ,rumford made his researches in heat and light1 and by his discoveries and improvements in construction enabled our ancestors to have chimneys which did not smoke1 and which did not carry up the greater portion of the heat from the fire4 ,illustration3 ,illus4 #cab4--;,fireplace1 #aggj-agge4 ,illustration #cab shows a fireplace in ,salem of about #agge1 with ball-topped andirons4 ,the sets for the fireplace comprised the andirons1 shovel1 and tongs4 ,the poker never accompanied the older sets1 which were made before the use of coal as fuel had become common in this country1 but a pair of bellows generally formed a part of the equipment of the fireplace4 ,illustration3 ,illus4 #cac4--,steeple-topped ,andirons and ,fender1 #agge-agij4 ,illustration #cac shows a fireplace in the residence of ,harry ,harkness ,flagler1 ,esq41 with a brass fender and a pair of 8steeple-topped0 andirons4 ,fenders were used in ,england earlier than in this country1 to keep the sticks or coals of fire from rolling or flying out upon the floor in front of the fireplace1 and to prevent children from getting into the fire4 ,their size was adapted to the reduced dimensions of the fireplaces1 and they were used more with coal fires than with wood4 ,the design of andirons most commonly found is shown in ,illustration #cad4 ,the little andirons between the larger ones are 8creepers10 and are used to hold short pieces of wood4 ,they are of the same design as the larger pair1 although they were bought several years1 and hundreds of miles1 apart4 ,the fender in ,illustration #cad is of wire1 painted black1 with the top rail and balls of brass4 ,the andirons and fender belong to the writer4 ,illustration3 ,illus4 #cad4--;,andirons1 ,creepers1 and ,fender1 #agjj-ahjj4 ,judge ,sewall ordered in #agai for his daughter ,judith1 about to be married1 8a bell-metal skillet1 a warming pan1 four pairs of brass headed iron dogs1 a brass hearth for a chamber with dogs1 tongs1 shovel and fender of the newest fashion 7the fire to lie on the iron71 a brass mortar1 four pairs of brass candlesticks1 four brass snuffers with stands1 six small brass chafing dishes1 two brass basting ladles1 a pair of bellows with brass nose1 a small hair broom1 a dozen pewter porringers1 a dozen small glass salt cellars1 and a dozen good ivory hafted knives and forks40 ,illustration3 ,illus4 #cae4--;,brass ,andirons1 #agjj-ahjj4 ,the appurtenances for the fireplace in this list comprise the fender1 shovel1 tongs1 broom1 bellows1 and the 8dogs40 ,illustration #cae shows a pair of brass andirons and ,illustration #caf1 a set of 8brass-headed iron dogs10 such as ,sewall ordered4 ,both pairs belong to ,dwight ,m4 ,prouty1 ,esq1 of ,boston4 ,by #afej the use of coal had become common in ,england from the scarcity and expense of wood as a fuel1 and from that time fireplaces in that country were constructed for coal fires4 ,the books of designs of the eighteenth century show many and elaborate drawings of grates for coal4 ,in this country1 however1 the lack of wood has never been felt1 and the fireplace to burn wood has held its own1 with its andirons1 not so generous as in the early days1 but still of goodly size4 ,illustration3 ,illus4 #caf4--;,brass-headed ,iron ,dogs1 #agjj-ahjj4 ,firebacks were made of iron for fireplaces1 sometimes cast with the coat-of-arms of the owner or the date of construction4 ,in ,pennsylvania were famous iron workers1 and there is a collection of iron firebacks in the museum at ,memorial ,hall1 ,philadelphia4 ,at ,mount ,vernon is a fireback with the ,fairfax coat-of-arms which ,washington took from ,belvoir1 the estate of ,lord ,fairfax1 adjoining ,mount ,vernon4 ,illustration #cag shows a chimney piece in the west parlor at ,mount ,vernon4 ,washington's coat-of-arms is carved at the top1 and his crest and initials are cast in the fireback4 ,in the panel over the mantel is a painting which was sent to ,lawrence ,washington in #agdc1 by ,admiral ,vernon1 in acknowledgment of the courtesy shown by ,lawrence ,washington to his old commander1 in naming the estate ,mount ,vernon4 ,the painting represents ,admiral ,vernon's fleet at ,cartagena4 ,about #agej the hob-grate was invented4 ,illustration #cah shows a mantel and fireplace with a hob-grate in the house of ,charles ,r4 ,waters1 ,esq41 of ,salem4 ,the fireplace was filled in with brick or stone at each side1 and the grate set between4 ,illustration3 ,illus4 #cag4--,mantel at ,mount ,vernon1 #agfj-aggj4 ,the bars1 of course1 are of iron for holding coal1 and the sides of the grate are of brass4 ,these were at first called 8cat-stones0 to distinguish them from 8fire-dogs10 but later they were named 8hob-grates40 ,illustration3 ,illus4 #cah4--,mantel with ,hob-grate1 #aggf4 ,below the grate is a small brass fender to prevent the ashes from scattering1 and around the fireplace is a fender of iron wire with brass rails and feet4 ,the hob-grate was more in use in the ,south than in the ,north4 ,in #agde1 after many experiments1 and goaded to it by the smoking chimneys and wasted heat of the fireplace1 ,franklin invented the stove in use ever since1 called the ,franklin stove or grate4 ,illustration #cai shows a ,franklin stove in the ,warner house at ,portsmouth4 ,the fireplace1 faced with tiles1 was originally built to burn wood1 but when the new-fashioned ,franklin stove became popular1 one was bought and set into the fireplace1 the front of the stove projecting into the room4 ,the stove is made of iron1 with the three rosettes1 the open-work rail at the top1 the large knobs in front and the small knobs at the back1 of brass1 which every good housekeeper kept as brightly polished as the brass andirons and the handles of the shovel and tongs4 ,at each side of the fireplace are the original brass rests for the shovel and tongs4 ,later in the century the fireplace was filled in with a board or bricks1 and what was called a fire-frame was used4 ,it was similar to the upper part of a ,franklin stove2 the back and sides of iron1 somewhat larger than those of the ,franklin stove1 resting directly upon the stone hearth1 giving the effect of an iron fireplace in front of the old one4 ,oftentimes in an old house may be found a large fireplace filled in1 with the iron fire-frame in front of it1 that in its turn superseded by a stove placed with its pipe passing through the fire-frame4 ,illustration #cbj shows a fire-frame in the ,wayside ,inn at ,sudbury1 ,massachusetts4 ,illustration3 ,illus4 #cai4--;,franklin ,stove1 #agde-agfj4 ,candles and whale oil1 with pine-wood knots1 provided the light for the ,pilgrim fathers1 aside from that thrown out by the great wood fire4 ,candlesticks formed a necessary part of the furnishings of a house4 ,they were made of brass1 iron1 tin1 pewter1 and silver1 but candlesticks of brass were the ones in most general use4 ,illustration3 ,illus4 #cbj4--;,iron ,fire-frame1 #agge-ahjj4 ,illustration3 ,illus4 #cba4--;,betty ,lamps1 ,seventeenth ,century4 ,the earliest form of lamp in use in the colonies was what is known as a 8betty lamp10 and it must have been a most untidy little utensil1 giving but a meagre light4 ,illustration #cba shows several betty lamps owned by the writer4 ,the smallest is of iron1 two and a half inches in diameter1 with a nose projecting one inch and a quarter beyond the receptacle for grease or fat4 ,a chain and hook are attached to the handle1 by which the lamp was hung upon a chair-back or a nail4 ,the wick1 made of a twisted cotton rag1 was placed with its end protruding from the nose of the lamp1 and provided a dull1 poor flame4 ,another lamp has the chain and the receptacle for grease made of brass1 while the handle1 the hook by which it was to hang1 and the pin for cleaning the lamp1 attached to the chain1 are of steel4 ,the bottom of the brass receptacle is of copper4 ,there is a cover to the front part of this lamp1 so that the interior can be cleaned1 and the piece of steel forming the handle runs through the interior of the lamp1 the end providing a nose for the wick just inside of the brass one1 thus allowing the drippings from the wick to drain back into the receptacle4 ,illustration3 ,illus4 #cbb4--;,candle-stands1 first half of ,eighteenth ,century4 ,the lamp with a standard has an iron rod1 upon which the lamp can slide up and down1 with a ring at the top of the rod to lift it by4 ,the fourth betty lamp is hung upon an old wooden ratchet intended for that purpose4 ,the ratchet is made of two strips of wood1 one cut with saw-teeth edge1 which can be raised and lowered to place the lamp at the desired height4 ,betty lamps were in use during the seventeenth century1 and much later than that in the ,south4 ,as early as #afif1 inventories mention a 8,candle-stand for two brass candlesticks40 ,illustration #cbb shows two of these candle-stands in the collection of the late ,major ,ben ,perley ,poore at ,indian ,hill4 ,the larger stand is made of iron1 and was fashioned by the local blacksmith1 near ,indian ,hill4 ,it was taken by the grandfather of ,major ,poore to ,harvard ,university when he went there a student in #aggf4 ,the tongs hanging upon this stand are a smoker's tongs1 for lifting a coal from the fire to light the pipe1 the curved end on one side of the handle being used to press the tobacco into the pipe1 or to clean it out4 ,the three feet of the other stand are of iron1 and the pole1 candlesticks1 and two pairs of snuffers are of brass4 ,these stands probably were made during the first half of the eighteenth century4 ,the room1 a corner of which shows in the illustration is fitted with panels from the 8,province ,house10 the home at one time of ,agnes ,surriage4 ,the pillars showing behind the candle-stands were taken from the old ,brattle ,street ,church in ,boston when it was pulled down4 ,one end of a ,sheraton sofa may be seen in the picture1 and several of the illustrations for this book were taken in this fine room4 ,illustration3 ,illus4 #cbc4--,mantel with ,candle ,shades1 #agge-ahjj4 ,illustration #cbc shows a mantel in the house of ,mrs4 ,johnson-,hudson at ,stratford1 ,connecticut4 ,the looking-glass frame is made entirely of glass4 ,upon the shelf are two candlesticks1 and over them are large glass shades1 called hurricane glasses1 used to protect the flame from draughts4 ,these shades are now reproduced1 and it is almost impossible to tell the old from the new4 ,the clock upon the shelf is a very old ,english one1 but the reflections upon the glass cover make it difficult to see the clock4 ,the effect of this mantel1 with the glass shades1 all reflected in the looking-glass1 is most brilliant4 ,the candlesticks are of ,sheffield plate1 about one hundred years old4 ,illustration3 ,illus4 #cbd4--;,candlesticks1 #agge-ahjj4 ,illustration #cbd shows two candlesticks owned by the writer4 ,the one shaped like a mug with a handle is of ,sheffield plate1 and was made for use in a sick-room or any place where it was necessary to burn a light during the entire night4 ,there should be a glass chimney to fit into the candlestick and protect the flame from draughts4 ,the open-work band around the candlestick allowed the passage of air1 thus insuring a clear flame4 ,the long-handled extinguisher upon the rest provided for it was to put out the light of a candle which was protected by a chimney or by glass shades such as are in ,illustration #cbc4 ,illustration3 ,illus4 #cbe4--;,crystal ,chandelier1 about #agfj4 ,the other candlestick is of brass1 with extinguisher and snuffers which were made to fit the candlestick1 the ordinary handleless extinguisher serving to put out the flame of any candle unprotected by a chimney or shade4 ,in #aghd a ,frenchman named ,argand invented the lamp still called by his name4 ,the first ,argand lamp brought to this country was given by ,thomas ,jefferson to ,charles ,thomson4 ,these lamps gave what was then considered to be a brilliant and even dazzling light1 but their price placed them beyond the reach of ordinary folk1 who continued to use tallow candles4 ,wax candles were burned by the wealthy1 in candlesticks and sconces1 and occasionally in chandeliers4 ,illustration3 ,illus4 #cbf4--,silver ,lamp from ,mount ,vernon1 #aggj-ahjj4 ,illustration #cbe shows a rich chandelier for candles1 in the ,warner house1 at ,portsmouth4 ,it was probably brought to this country about #agfe1 the same date that other handsome furnishings were bought for this house4 ,the metal work of this chandelier is of brass4 ,chandeliers with glass drops are spoken of in the sixteenth century1 coming from ,venice4 ,illustration #cbf shows one of the pair of beautiful lamps which are fastened to the wall above the mantel of the banquet hall at ,mount ,vernon1 and which were in use there during the life of ,washington4 ,they are made of silver1 with the reservoir for oil of a graceful urn shape4 ,eliza ,susan ,morton ,quincy gives a description of the house of ,ebenezer ,storer in ,boston1 and in it she says3 8,the ceilings were traversed through the length of the rooms1 by a large beam cased and finished like the walls2 and from the centre of each depended a glass globe1 which reflected as a convex mirror1 all the objects in the room40 ,these globes also reflected the light from candles in the room4 ,illustration3 ,illus4 #cbg4--;,glass ,chandelier for ,candles1 #agfj4 ,from the rafters or ceiling in plainer homes hung sometimes a candle beam1 a rude chandelier1 made of two pieces of metal crossed or a circle of metal1 with sockets for candles fixed upon them4 ,the chandelier in ,illustration #cbg is for candles1 and is without doubt the finest one of its period in this country4 ,it is in the ,pringle house in ,charleston1 ,south ,carolina1 and it was probably placed in the house when it was built in #agfj1 at which time it was furnished with great elegance4 ,it is amazing that so frail a thing as this glass chandelier with all of its shades should have survived the ,civil ,war1 and still more1 the earthquake which laid low a large part of the city1 but not one shade has been shaken down4 ,there are twenty-four branches to the chandelier1 twelve in each row1 and a large glass shade for each candle1 to protect the flame from the draughts4 ,the long chains hang from a bell of glass1 from which fall glass drops1 and from a large bowl spring the branches with their tall shades1 and between them are glass chains with drops4 ,the glass chains are very light and the chandelier is not loaded with heavy drops4 ,it is impossible to imagine anything more light and graceful in effect4 ,illustration3 ,illus4 #cbh4--;,embroidered ,screen1 #aghj4 8,skreans0 are mentioned in very early inventories1 and indeed they must have been a necessity1 to protect the face from the intense heat of the large open fire4 ,they afforded then1 as now1 an opportunity for the display of feminine handiwork4 ,the dainty little fire-screen in ,illustration #cbh was made about #aghj1 and is owned by ,mrs4 ,johnson-,hudson of ,stratford1 ,connecticut4 ,the frame and stand are of mahogany1 and the spreading legs are unusually slender and graceful4 ,the embroidered screen was wrought by the daughters of ,dr4 ,william ,samuel ,johnson1 the first president of ,columbia ,university4 ,the same young girls embroidered the top of the card-table in ,illustration #aii1 and the work is done with the same patient industry and skill4 ,the vase which is copied in the embroidery is of ,delft1 and is still owned in the family4 ,a very curious and interesting piece of work is shown in ,illustration #cbi4 ,it forms the back of a sconce owned by ,francis ,h4 ,bigelow1 ,esq41 and in his book 8,historic ,silver of the ,colonies10 ,mr4 ,bigelow describes the candle bracket1 made in #agbj by ,knight ,leverett1 which fits into the socket upon the frame4 ,benjamin ,burt1 the silversmith1 in his will left to a niece 8a sconce of quill work wrought by her aunt40 ,in #agee a ,mrs4 ,hiller advertised to teach 8,wax work1 ,transparent and ,filligree1 ,quill work and ,feather work40 8,quill work0 is made of paper of various colors1 gilt upon one side1 rolled tightly1 like paper tapers4 ,some were pulled out into points1 others made into leaf and petal-shaped pieces1 and when finished they were coated with some waxy substance1 and sprinkled with tiny bits of glass1 all in gay colors1 and when the candles were lighted the quill work glistened and sparkled4 ,the quill work in this sconce is made into an elaborate design of a vase with flowers1 and it is set into a very deep frame1 and covered tightly with glass1 which accounts for its perfect preservation4 ,the top ornament to the frame is cut in the manner of looking glass frames of the period4 ,illustration3 ,illus4 #cbi4--,sconce of ,quill ,work1 #agbj4 ,the tripod screen in ,illustration #ccj is owned by ,dwight ,m4 ,prouty1 ,esq4 ,the little shelf for the candlestick drops on a hinge when not in use4 ,the tripod feet have a light springing curve1 and end in a flattened claw-and-ball4 ,the original embroidery is still in the frame4 ,illustration3 ,illus4 #ccj4--,tripod ,screen1 #aggj4 ,illustration3 ,illus4 #cca4--,tripod ,screen1 #agfe4 ,another tripod screen is shown in ,illustration #cca4 ,it is owned by ,cornelius ,stevenson1 ,esq41 of ,philadelphia4 ,the embroidery and the frame upon it were made in the nineteenth century but the stand is much earlier and is finely carved in the ,chippendale style1 with the ,french foot4 ,three serpents encircle the pole1 from which they are completely detached4 ,the wood is mahogany4 ,illustration3 ,illus4 #ccb4--;,candle-stand and ,screen1 #agej-agge4 ,screens were sometimes made of a piece of wood perforated1 in order that the heat might not be entirely shut off4 ,illustration #ccb shows one of these screens in the collection of the late ,major ,ben3 ,perley ,poore4 ,illustration3 ,illus4 #ccc4--;,chippendale ,candle-stand1 #agfj-aggj4 ,both the screen and the candle-stand in the illustration are made of mahogany4 ,the candlestick upon the stand is a curious one1 of brass1 with a socket for the candle set upon an adjustable arm1 which also slides upon a slender rod1 which is fastened into the heavily weighted standard4 ,both screen and candle-stand were made in the latter half of the eighteenth century4 ,candle-stands were designed by all the great cabinet-makers1 and in those days of candlelight they were a useful piece of furniture4 ,a candle-stand in the finest ,chippendale style is shown in ,illustration #ccc4 ,it is one of a pair owned by ,harry ,harkness ,flagler1 ,esq4 ,the intention was presumably that a candle-stand with candelabrum should be placed at each side of the mantel4 ,a pair of candle-stands similar to this are in the banquet hall at ,mount ,vernon1 and are among the few pieces of furniture there which are authenticated as having been in use during ,washington's occupancy of the house4 ,the candle-stand in the illustration is forty-two inches high1 and its proportions are beautiful4 ,the legs and the ball at the base of the fluted pillar are very finely carved4 ,the legs end in the ,french foot1 the scroll turning forward1 which was such a favorite with ,chippendale4 ,the top is carved out so that there is a raised rim1 like that upon the 8dish-top0 table in ,illustration #bdf4 ,the first recorded instance in this country of lighting by artificial gas is in #ahjf1 when ,david ,melville of ,newport1 ,rhode ,island1 succeeded in manufacturing gas1 and illuminated his house and grounds with it4 ,in #ahbb ,boston was lighted by gas1 but it did not come into general use for lighting until #ahdj-ahej4 ,illustration3 ,illus4 #ccd4--;,bronze ,mantel ,lamps1 #ahae-ahdj4 ,during the second quarter of the nineteenth century it was fashionable to use candelabra and lamps which were hung with cut-glass prisms4 ,sets of candelabra for the mantel were very popular1 consisting of a three-branched candelabrum for the middle and a single light for each side4 ,the base was usually of marble1 and the gilt standard was cast in different shapes1--of a shepherd and shepherdess1 a group of maidens1 or a lady clad in the costume of the day4 ,from an ornament at the base of the candle1 shaped like an inverted crown1 hung sparkling prisms1 catching the light as they quivered with every step across the room4 ,a handsome set of these is shown in ,illustration #cah upon the mantel4 ,illustration3 ,illus4 #cce4--;,brass ,gilt ,candelabra1 #ahbj-ahdi4 ,illustration #ccd shows a set of mantel lamps of bronze1 mounted upon marble bases and hung with cut-glass prisms4 ,the reservoir for the oil is beneath the long prisms4 ,this set is owned by ,francis ,h4 ,bigelow1 ,esq4 ,illustration #cce shows a fine pair of brass gilt candelabra also owned by ,mr4 ,bigelow4 ,they have marble bases1 and the five twisted arms are cast in an elaborate design4 ,illustration3 ,illus4 #ccf4--;,hall ,lantern1 #agge-ahjj4 ,illustration3 ,illus4 #ccg4--;,hall ,lantern1 #agfj4 ,illustration #ccf shows a hall lantern which was formerly in use in the ,john ,hancock house4 ,it is now owned by ,harry ,harkness ,flagler1 ,esq4 ,such lanterns were hung in the entry or hall1 and were made to burn either a lamp or candle4 8,square glass1 bell glass1 barrel or globe lanthorns for entries or staircases0 were advertised as early as #agbd and formed a necessary furnishing for the hall of a handsome house4 ,illustration3 ,illus4 #cch4--;,hall ,lantern1 #agfj4 ,illustration #ccg shows a hall lantern owned by ,dwight ,m4 ,prouty1 ,esq4 ,it is of a globe shape1 and very large and handsome1 with deep cutting on the glass4 ,the bell-shaped piece of glass above is missing4 ,this bell was to prevent the smoke of the candle from blackening the ceiling4 ,the metal piece below the globe contains the socket and can be removed to change the candle4 ,illustration #cch shows one of two lanterns hung in the hall of the house built for the ,pendelton ,collection1 in ,providence4 ,it is unusually large1 and the glass is red with cuttings of white4 ,instead of chains the lantern is held by scrolls of metal like the frame of the glass4 ,such a lantern as this may have been in the mind of ,peter ,faneuil of ,boston when in #agch he sent to ,europe for 8a very handsome ,lanthorne to hang in an ,entry way40 ,,chapter ,,xi ,,clocks ,illustration ,,until about #afjj1 clocks were made chiefly for public buildings or for the very wealthy1 who only could afford to own them2 but with the seventeenth century began the manufacture of clocks for ordinary use2 these clocks were of brass1 and were known as chamber clocks4 ,the earliest form in which they were made was what is now called the 8birdcage0 or 8lantern0 clock4 ,inventories in this country from #afch to #agjj speak of clocks with valuations varying from #b to #bj1 and occasionally a 8brass clock0 is specified4 ,this must refer1 as some of the others may also have done1 to the lantern clock4 ,illustration3 ,illus4 #cci4--,lantern or ,bird-cage ,clock1 ,first ,half of ,seventeenth ,century4 ,the lantern clock in ,illustration #cci is owned by ,william ,meggatt1 ,esq41 of ,wethersfield4 ,the illustration shows the form of the clock1 from which it naturally derived the names 8lantern0 and 8birdcage40 ,the clock is set upon a bracket1 and the weights hang upon cords or chains passing through openings in the shelf2 the pendulum also swings through a slit in the shelf4 ,the dial projects beyond the frame of the clock1 and is six inches in diameter1 and there is but one hand4 ,the dome at the top is partially concealed by the frets above the body of the clock4 ,different clock-makers had frets of their own1 and the design of the fret is often a guide for determining the date of such clocks4 ,the one upon the clock in ,illustration #cci is what was called the 8heraldic fret0 from the small escutcheon in the centre1 and it was used upon clocks made from #afjj to #afdj4 ,the fret with crossed dolphins was in use from #afej1 and is the pattern of fret most frequently found upon these clocks4 ,the long pendulum must have been a later substitution1 for it was not commonly used until #afhj1 clocks up to the time of its invention having the short or 8bob0 pendulum4 ,there is no maker's name upon this clock4 ,illustration #cdj shows a 8lantern0 clock in the house of ,charles ,r4 ,waters1 ,esq41 which has a fret of a later period1 and the long pendulum4 ,the dial is slightly larger than the one in ,illustration #cci1 and upon it is engraved the name of the maker1 ,jno4 ,snatt1 ,ashford4 ,this name is not in ,britten's list of clock-makers1 so it is probable that ,jno4 ,snatt was a country clock-maker4 ,the clock was made about #afhj4 ,the brackets are modern4 ,illustration3 ,illus4 #cdj4--,lantern ,clock1 about #afhj4 ,illustration3 ,illus4 #cda4--;,friesland ,clock1 ,seventeenth ,century4 ,a clock which was made during the seventeenth century is shown in ,illustration #cda4 ,it is known as a ,friesland clock1 from the fact that clocks of this style are common in the north of ,holland1 having been in use there over two centuries4 ,the pendulum of this clock swings above the shelf4 ,the frame rests upon four wooden feet1 and its sides and back are of glass4 ,the face and ornaments are made of lead1 the ornaments being gilded1 except the parrots at each side1 which are painted in vivid parrot greens4 ,the mermaids upon the bracket are painted in colors1 and the face also is painted1 the whole making a gay bit of decoration4 ,the ,friesland clocks generally have mermaids and parrots as part of the decoration of clock and bracket4 ,there is a small brass dial in the centre of the face1 which can be set for the alarm4 ,friesland clocks were in use in the seventeenth century in this country1 probably having been brought here by ,dutch settlers4 ,this clock is owned by the writer4 ,bracket clocks were made during the last years of the seventeenth century with wooden cases1 and they were very popular during the eighteenth century4 ,they generally have a brass handle at the top by which they can be carried4 ,a bracket clock with brass face and sides may be seen upon the mantel in ,illustration #chh4 ,it has the plate of the maker over the dial1 with the name ,daniel ,ray1 ,sudbury1 probably an ,english clock-maker4 ,this clock was made about #agfj4 ,illustration3 ,illus4 #cdb4--;,bracket ,clocks1 #aghj-ahjj4 ,illustration #cdb shows two bracket clocks in the collection of the late ,major ,ben3 ,perley ,poore4 ,the larger one has the top made in the arch form instead of the bell top like the clock in ,illustration #chh1 and this would place its date about #aghj4 ,the name upon this clock1 ,george ,beatty1 ,georgetown1 was that of the owner4 ,the smaller clock has an inlaid case1 and was evidently made after ,sheraton's designs of #agij-ahjj4 ,both clock-cases are of mahogany4 ,the earliest mention of tall clocks in inventories is in the latter part of the seventeenth century1 where they are always spoken of as 8clock and case40 ,the use of the long pendulum was probably the cause of the development of the tall clock from the 8lantern clock10 which had often a wooden hood over it2 and when the long pendulum came into use in #afhj1 the lower part of the tall clock-case was made to enclose the pendulum1 and sides and a glass front were added to the hood4 ,the first cases were of oak or walnut1 and the dials were square1 but early in the eighteenth century the arched top was added to the dial1 suggested perhaps by the shape of the dome4 ,the ornaments which fill in the spandrels1 or corners of the face1 are somewhat of a guide to the date of a brass-faced clock4 ,the earliest spandrels had cherubs' heads with wings1 and this design was used from #afga until #agjj1 when more ornaments were added to the cherub's head4 ,later came a still more elaborate design of two cherubs supporting a crown1 until about #agej1 when the scrolls were made without the cherubs1 but with a shield or head in the centre of the spandrel4 ,illustration #cdc shows two tall clocks which were owned originally by ,thomas ,hancock1 from whom ,john ,hancock inherited them4 ,thomas ,hancock was a wealthy resident of ,boston in #agch when he wrote thus to ,london1 ordering a clock of 8the newest fashion with a good black ,walnut ,tree ,case ,veneered work1 with ,dark1 lively branches2 on the ,top instead of ,balls let there be three handsome ,carv'd figures4 ,gilt with burnish'd ,gold4 ,i'd have the ,case without the figures to be #aj feet ,long1 the price #ae not to exceed #bj ,guineas1 as it's for my own use1 ,i beg your particular ,care in buying of it at the ,cheapest ,rate4 ,i'm advised to apply to one ,mr4 ,marmaduke ,storr at the foot of ,londn ,bridge40 ,illustration3 ,illus4 #cdc4--,walnut ,case and ,lacquered ,case ,clocks1 about #agch4 ,which of these two clocks was sent to fill this order we cannot tell4 ,the clock with 8,walnut ,tree ,case ,veneered work1 with ,dark1 lively branches0 has the name plate of 8,bowly1 ,london10 probably ,devereux ,bowley1 who lived from #afif to #aggc and who was master of the ,clock-,makers' ,company in #agei4 ,the gilt ornaments are missing from the top1 so we do not know whether they were the ones so carefully specified in the letter4 ,both clocks may date to #agch4 ,the clock with the lacquered case has the name 8,marmd ,storr1 foot of ,london ,bridge10 the same to whom ,thomas ,hancock had 8been advised to apply40 ,this clock has the 8,balls0 at the top to which he objected4 ,possibly the zealous friend may have sent both clocks4 ,the one with a walnut case is now owned by the ,american ,antiquarian ,society1 to which it was presented1 with other pieces bought from the ,hancock house in #ahch1 by ,john ,chandler of ,petersham4 ,the clock with lacquered case was also bought from the ,hancock house1 and is now in the ,boston ,museum of ,fine ,arts1 to which it is loaned by ,miss ,lucy ,gray ,swett4 ,a clock-maker well known in and around ,boston in the last half of the eighteenth century was ,gawen ,brown1 who had a shop on ,state ,street1 and who made the clock upon the ,old ,south ,church1 in ,boston4 ,a letter is still preserved which he wrote asking permission to make a clock for the ,society1 and he 8,promises and ,engages that the same shall be put ,up and continued there forever40 ,illustration3 ,illus4 #cdd4--;,gawen ,brown ,clock1 #agfe4 ,this handsome offer was made in #agfh but not until #aggd did the town act1 when they voted to 8purchase the ,clock of ,gawen ,brown40 ,illustration3 ,illus4 #cde4--,tall ,clock1 #aghj4 ,a ,gawen ,brown clock is shown in ,illustration #cdd1 made for his father-in-law1 the ,rev4 ,mather ,byles4 ,the case is pine painted and the shape of the top and the general appearance would indicate that it was an early effort made before #agfh4 ,it is still running in the rooms of the ,bostonian ,society1 in the ,old ,state ,house in ,boston4 ,the clock in ,illustration #cde was made by ,gawen ,brown1 and is in a very handsome mahogany case4 ,it is also owned by the ,bostonian ,society4 ,illustration #cdf shows a clock owned by the writer1 and is given as an example of the use of curly maple1 of which the entire case is made4 ,it is unusually tall1 over eight feet in height4 ,the clock in ,illustration #cdg was made by ,david ,rittenhouse1 in ,philadelphia1 and is owned by ,charles ,d4 ,clark1 ,esq41 of ,philadelphia4 ,david ,rittenhouse was a maker of clocks and mathematical instruments1 and an astronomer4 ,he held various positions of importance1 and was ,state ,treasurer of ,pennsylvania during the ,revolutionary war1 and ,president of ,the ,american ,philosophical ,society4 ,this clock has a very handsome case of mahogany with fine inlaying1 and possesses seven dials4 ,the large dial has three hands1 two for the hours and minutes1 and the third to point the day of the month4 ,this is set on the first day of each month4 ,at the two upper corners are two small dials1 one of which is set to designate which of the twelve tunes shall be played1 and the other has on it 8strike0 and 8silent10 also for the tunes4 ,above1 the moon shows its phases and the sun rises and sets every day4 ,upon the round dial below1 the planets revolve around the sun4 ,illustration3 ,illus4 #cdf4--,maple ,clock1 #aggj4 ,illustration3 ,illus4 #cdg4--,rittenhouse ,clock1 #aggj4 ,illustration #cdh shows a tall clock in a mahogany case made about #aggj4 ,the maker's name is ,richard ,simestere1 ,birmingham1 but ,i can find no record of him in ,britten or elsewhere4 ,the shape of the clock-case1 particularly the top1 is modelled after a ,chippendale design4 ,illustration3 ,illus4 #cdh4--,tall ,clock1 about #agjj4 ,the columns at the corners of the case1 sometimes fluted and sometimes plain1 are characteristic of ,chippendale1 and appear on the majority of tall clocks made after #agfj4 ,this clock is owned by ,francis ,h4 ,bigelow1 ,esq41 of ,cambridge4 ,after the ,war of the ,revolution enamelled or painted dials took the place of brass dials in this country1 to a great extent1 the chief reason being1 of course1 their smaller cost4 ,the works were made by clock-makers who sold them to pedlers1 and they took them1 four or five at a time1 into the country towns to sell2 the local cabinet-maker made the case1 while the local clock-maker put his own name upon the dial4 ,during the latter years of the eighteenth century1 there was a fashion for using moving figures above the dial1 a ship heaving upon the waves being the favorite4 ,many clocks have a painted moon1 which rises and sets each month4 ,miniature tall clocks were made at this time1 corresponding in proportions to the tall clocks4 ,illustration3 ,illus4 #cdi4--,miniature ,clock and ,tall ,clock1 about #ahjj4 ,illustration #cdi shows a tall clock and a miniature one1 both made about #ahjj1 with painted faces4 ,the tall clock has the name upon its face of ,philip ,holway1 ,falmouth4 ,the case is mahogany1 and the twisted pillars have brass bases and caps4 ,the brass ornaments upon the top are rather unusual1 a ball with three sprays of flowers4 ,the clock was bought in ,falmouth by the writer4 ,the small clock has the name of ,asa ,kenney upon the face4 ,its case is inlaid with satinwood and ebony4 ,this little clock belonged to the late ,sumner ,pratt of ,worcester1 and is now owned by his daughter1 ,miss ,e4 ,a4 ,pratt4 ,illustration #cej shows a clock owned by ,mrs4 ,e4 ,a4 ,morse of ,worcester4 ,the case is beautifully inlaid with satinwood1 holly1 ebony1 and two varieties of mahogany4 ,illustration3 ,illus4 #cej4--,tall ,clock1 #ahjj-ahaj4 ,it has the painted moon above the dial1 and plays seven tunes--one tune being played each hour during the day4 ,the tunes are ,hob or ,knob1 ,heathen ,mythology1 ,bank of ,flowers1 ,paddy ,whack1 ,new ,jersey1 ,marquis of ,granby1 ,amherst4 ,amherst is the psalm tune which this pious clock plays upon ,sundays1 to atone for the rollicking jigs which are tinkled out upon week-days4 ,all of the tall clocks illustrated in this chapter have brass works1 but many were made with wooden works1 and in buying a clock one should make sure that the works are of brass4 ,illustration #cea shows two sizes of a kind of clock occasionally found1 which winds by pulling the chain attached to the weights4 ,these clocks were made in ,europe2 the smaller one1 which is owned by the writer1 having the label of a ,swiss clock-maker4 ,the larger clock belongs to ,irving ,bigelow1 ,esq41 of ,worcester4 ,both date to the first quarter of the nineteenth century4 ,illustration3 ,illus4 #cea4--,wall ,clocks1 #ahjj-ahbe4 ,the most famous name among ,american clock-makers is ,willard4 ,there were three ,willard brothers1--,benjamin1 ,simon1 and ,aaron1--clock-makers in ,grafton1 ,massachusetts1 in #agfe4 ,benjamin and ,simon established a business in ,roxbury1 and in ,december1 #agga1 ,benjamin advertised in the ,boston ,evening ,post his 8removal from ,lexington to ,roxbury4 ,he will sell house clocks neatly made1 cheaper than imported40 ,february #bb1 #aggc1 he advertised that he 8at his shop in ,roxbury ,street1 pursues the different branches of clock and watch work1 and has for sale musical clocks1 playing different tunes1 a new tune each day1 and on ,sunday a ,psalm tune4 ,these tunes perform every hour4444 ,all the branches of the business likewise carried on in ,grafton40 ,the third brother1 ,aaron1 may have remained in ,grafton1 for he went from there later to ,roxbury1 as fifer of a company of minute-men1 in the first days of the ,war of the ,revolution4 ,simon ,willard remained in the same shop in ,roxbury for over seventy years1 dying in #ahdh at the great age of ninety-six years4 ,aaron ,willard built a shop in ,boston and made a specialty of tall striking clocks4 ,illustration3 ,illus4 #ceb4--,willard ,clock1 #aghd4 ,illustration #ceb shows a clock owned by ,dr4 ,g4 ,faulkner of ,jamaica ,plain4 ,inside the clock is written in a quaint hand1 8,the first short time-piece made in ,america1 #aghd40 ,dr4 ,faulkner's father was married at about that date1 and the clock was made for him4 ,it has always stood upon a bracket upon the wall1 and has been running constantly for one hundred and seventeen years4 ,upon the scroll under the dial is the inscription 8,aaron ,willard1 ,roxbury40 ,the case is of mahogany1 and stands twenty-six inches high4 ,upon the lower part are very beautiful scroll feet1 turning back4 ,the upper part stands upon ogee feet1 and can be lifted off4 ,the glass door is painted so that it forms a frame for the dial4 ,mr4 ,howard1 the founder of the ,howard ,watch ,company1 has told me that the ,willards invented this style of clock as well as the style known as the banjo clock4 ,mr4 ,howard was born in #ahac and when he was sixteen he started to learn his trade in ,boston1 in the shop of ,aaron ,willard1 ,jr4 ,i have not been able to find that clocks of this style were made in ,england at all1 and they seem to be purely ,american1 but in ,britten's 8,old ,clocks and ,watches and their ,makers0 is an illustration of an astronomical clock made by ,henry ,jenkins1 #agfj to #aghj1 with a case very similar in shape to these clocks1 and with a top like the centre one of the three in ,illustration #cec4 ,aaron ,willard may have obtained his idea from such a clock4 ,the clock in ,illustration #ceb is the earliest one that ,i have heard of4 ,illustration #cec shows three clocks made some years later1 probably about #ahjj to #ahae4 ,the clock with the ogee feet is a ,willard clock1 and belongs to ,w4 ,s4 ,g4 ,kennedy1 ,esq4 ,the clock with the door of bird's-eye maple and the inlaid fan-shaped top is owned by ,mrs4 ,e4 ,a4 ,morse4 ,the third clock is owned by the writer4 ,illustration3 ,illus4 #cec4--,willard ,clocks1 #ahjj-ahae4 ,illustration3 ,illus4 #ced4--;,hassam ,clock1 #ahjj4 ,another ,new ,england clock-maker of long and picturesque life was ,stephen ,hassam1 sometimes called ,hasham4 ,he was born in #agfa1 and is said to have lived to be over one hundred years old4 ,he was a witness1 when a boy1 of the battle of ,bunker ,hill from the steeple of a church in ,boston1 and he lived until after the beginning of the ,civil ,war4 ,he moved from ,boston to ,grafton and then to ,worcester1 where he learned the clock-maker's trade1 perhaps with the ,willards who lived in those towns at about that time4 ,he established himself finally in ,charlestown1 ,new ,hampshire1 where he lived and made clocks1 which are highly valued for their excellent qualities1 as well as for the associations with the name of the centenarian clock-maker4 ,a clock similar in size1 and also in design1 to the last four illustrated is shown in ,illustration #ced4 ,it was made by ,stephen ,hassam and bears his name4 ,it is owned by ,charles ,h4 ,morse1 ,esq41 and has always stood since it was made1 about #ahjj1 upon a mahogany bracket in the corner4 ,the case is of very finely grained mahogany4 ,simon ,willard patented in #ahjb an improved time-piece1 which ,mr4 ,howard says is the clock now known as the 8banjo0 clock4 ,illustration #cee shows a clock bought by the writer in a country town from an old man who called it a time-piece1 which is the name given it in the country1 8banjo0 being suggested to the modern mind by the shape of the upper part4 ,the sides of the clock are of mahogany4 ,the glass door to the face is convex and is framed in brass1 and the ornaments at the sides of the clock are also of brass4 ,illustration3 ,illus4 #cee--8;,banjo0 ,clock1 #ahjb-ahbj4 ,the long glass in the middle of the case is framed like the door of painted glass in wood gilt4 ,the turned ornament on the top of the clock and the bracket below it are of wood gilt4 ,plainer clock-cases of this shape were of mahogany without the bracket below4 ,illustration3 ,illus4 #cef4--,presentation ,clock4 ,aaron ,willard1 ,jr41 entered his father's employ in his shop in ,boston in #ahbc1 and continued the business for forty years4 ,when one considers that members of this family manufactured clocks for over one hundred years1 it does not seem singular that so many clocks are found with the name of ,willard upon them4 ,occasionally one finds a banjo clock with striking attachment1 but they are not common4 ,illustration3 ,illus4 #ceg4--,willard ,timepiece4 ,illustration #cef shows a clock called a presentation or marriage clock4 ,it is owned by ,dwight ,m4 ,prouty1 ,esq41 of ,boston1 and it was made for an ancestor of ,mr4 ,prouty1 when he was married1 as a wedding gift4 ,the decorations are in light colors1 pink and blue with gold1 very delicate and suitable for a bride4 ,upon the square glass door1 painted above the centre is 8,s4 ,willard0 and below it 8,patent40 ,the bracket is gilt4 ,illustration #ceg shows another ,willard time-piece1 with a mahogany case and gilt mouldings and bracket4 ,upon the door is painted the battle between the ,constitution and ,guerrire4 ,the name ,a4 ,willard is painted upon the long glass4 ,this clock belongs to ,francis ,h4 ,bigelow1 ,esq4 ,illustration3 ,illus4 #ceh4--,willard ,timepiece1 #ahjb-ahaj4 ,the clock in ,illustration #ceh has the name ,willard upon the face4 ,the case is mahogany1 and the mouldings which frame the glass and the bracket beneath the clock are japanned in colors4 ,it belongs to ,charles ,a4 ,moffett1 ,esq41 of ,worcester4 ,illustration3 ,illus4 #cei4--,lyre ,clock1 #ahaj-ahbj4 ,the clock in ,illustration #cei is of an entirely different style1 and the case1 the lower part of which is lyre shaped1 is very beautifully carved with scrolls1 which are finished in gilt4 ,there is no maker's name upon this clock1 which belongs to ,frank ,c4 ,turner1 ,esq41 of ,norwich4 ,the clock in ,illustration #cfj is in the lyre shape usually seen1 which was made as a variation from the banjo4 ,such clocks are found of wood finished in gilt1 or like this clock1 in the natural wood1 which is mahogany in most cases4 ,the carving is generally in the same design1 but some have the lyre strings1 made of wood or brass4 ,illustration3 ,illus4 #cfj4--,lyre-shaped ,clock1 #ahaj-ahbj4 ,eli ,terry was the first of another famous family of ,american clock-makers4 ,he started in business in #agic1 in ,plymouth1 near ,waterbury1 ,connecticut1 a town well known ever since for its clocks and watches4 ,his first clock was made a year earlier1 a wooden clock in a long case with a brass dial1 silver washed4 ,he manufactured the works for tall clocks1 selling them to pedlers1 who took them into the country to dispose of4 ,in #ahaj ,seth ,thomas with ,silas ,hoadly bought the ,terry factory1 and continued the manufacture of clocks for long cases4 ,eli ,terry in #ahad invented a wooden shelf-clock1 called 8,the ,pillar ,scroll ,top ,case1 with pillars #ba inches long resting on a square base1 dial #aa inches square1 table below dial #g inches by #aa40 ,this clock sold for fifteen dollars1 and was made in enormous quantities4 ,illustration #cfa shows two clocks1 one an ,eli ,terry 8,pillar ,scroll ,top0 clock1 with carved pillars similar to the ones upon pieces of furniture of that period4 ,the other clock was made by ,terry at about the same time4 ,inside each of these clocks is pasted a paper upon which is printed the following3 8,patent ,clocks1 invented by ,eli ,terry1 ,plymouth1 ,connecticut40 ,illustration3 ,illus4 #cfa4--;,eli ,terry ,shelf ,clocks1 #ahbd4 8,warranted if well used4 ,n4,b4 ,the public may be assured that this kind of ,clock will run as long without repairs and be as durable and accurate for keeping time as any kind of ,clock whatever40 ,these clocks are owned by ,d4 ,thomas ,moore1 ,esq41 of ,westbury1 ,long ,island4 ,illustration3 ,illus4 #cfb4--;,french ,clock1 about #ahjj4 ,from the time when such mantel clocks were manufactured in great numbers1 the fact that they were cheap and good time-keepers put the tall clock out of the market1 and its manufacture practically died out soon after1 so that but few tall clocks were made later than #ahae-ahbj4 ,illustration #cfb shows a ,french clock with onyx pillars1 and elaborate ,empire brasses4 ,the large ornaments at the side of the dial are of wood gilt4 ,the middle of the dial is occupied by a beautifully wrought design in brass1 of an anvil and grindstone1 each with a little ,cupid4 ,upon the quarter-hour one ,cupid sharpens his arrow at the grindstone1 running the grindstone with his foot upon a treadle1 and at every hour the other ,cupid strikes the anvil with his hammer the necessary number of strokes4 ,a brass figure of a youth with a bow stands below the dial1 in front of the mirror in the back of the clock4 ,the base is of black marble4 ,i have seen several clocks similar with the onyx pillars1 but none with such beautiful1 hand-wrought brass in the face and upon the case4 ,,chapter ,,xii ,,looking-,,glasses ,illustration ,a ,,strong distinction was made in ,america during the seventeenth and eighteenth centuries between mirrors and looking-glasses2 the name 8mirror0 was applied to a particular kind of glass1 either convex or concave1 and one old authority states that 8a mirror is a circular convex glass in a gilt frame40 ,looking-glasses appear in inventories in this country as early as #afej1 and in #afeh ,william ,bartlett of ,hartford left no less than ten1 the dearest valued at one pound4 ,in #afgj the ,duke of ,buckingham brought ,venetian workmen to ,england1 and established glass works in ,lambeth2 but up to that date the looking-glasses occasionally mentioned in inventories must have been made in ,venice4 ,some of the records are 8a great looking glass10--8looking glass with brasses10--8great looking glass of ebony10--8an olive wood diamond cut looking glass10--and 8a looking glass with a walnut tree frame40 ,the glass usually had the edge finished with a slight bevelling about an inch wide1 made by hand1 of course1 which followed the outline of the inside of the frame4 ,illustration3 ,illus4 #cfc4--,looking-glass1 #afij4 ,hungerford ,pollen1 in 8,furniture and ,woodwork10 says3 8,the looking-glasses made in the seventeenth and eighteenth centuries 444 had the plates finished by an edge gently bevelled1 of an inch in width1 following the form of the frame1 whether square or shaped in curves4 ,it is of great difficulty in execution1 the plate being held by the workman over his head1 and the edges cut by grinding4444 ,the angle of the0 7modern7 8bevel is generally too acute1 whereby the prismatic light produced by this portion of the mirror is in too violent and showy contrast to the remainder40 ,one can always distinguish an old bevel1 by rubbing the finger upon it4 ,the bevel is so slight that it can hardly be felt1 where the modern bevel is sharp and distinct4 ,illustration3 ,illus4 #cfd4--,looking-glass1 #afij4 ,looking-glasses of large size were made in two sections1 the lower piece with the edge bevelled and lapped over the plain upper piece4 ,this was to avoid the tax upon glass beyond a certain size4 ,the fashion for japanning or lacquering which obtained vogue at the close of the seventeenth century was followed in looking-glass frames4 ,a ,london newspaper of #afhi thus advertised3 8,several sorts of ,screwtores1 ,tables1 ,stands and ,looking-glasses of ,japan and other work40 ,illustration #cfc shows a looking-glass in a japanned frame1 owned by ,dwight ,m4 ,prouty1 ,esq41 of ,boston4 ,the wood of the frame is walnut1 and it is covered with lacquer in gold and colors4 ,the shape of the frame around the glass is followed by the bevel1 and the lower piece of glass laps over the upper4 ,illustration #cfd shows the top section of a looking-glass with a lacquered frame4 ,in this case the frame was made in sections1 the lower section being lost4 ,the curves in the frame are followed in the glass by the old shallow bevelling over an inch in width1 and a star is cut in the middle of the glass4 ,the frame is elaborately japanned with gold and bright colors1 and is twenty-six inches in height1 showing that the looking-glass1 when whole1 was of generous size4 ,the design of the sawed edge is of a very early style4 ,the glass is owned by the ,american ,antiquarian ,society1 of ,worcester4 ,the looking-glass at the head of this chapter is owned by ,e4 ,r4 ,lemon1 ,esq41 of the ,wayside ,inn4 ,it is of walnut veneer1 and the old bevelled glass is in two sections1 the upper one cut in a design1 and with the lower edge lapped over the other piece of glass4 ,another glass of the same period1 the first quarter of the eighteenth century1 owned by ,mr4 ,lemon1 heads ,chapter ,,xi4 ,this frame has a top ornament of a piece of walnut sawed in curves which suggest those upon later frames4 ,such a looking-glass as this was probably what ,judge ,sewall meant when he sent for 8,a ,true ,looking ,glass of ,black ,walnut ,frame of the ,newest ,fashion 7if the ,fashion be good7 as good as can be bought for five or six pounds40 ,this was for wedding furniture for the judge's daughter ,judith1 married in #agbj4 ,illustration3 ,illus4 #cfe4--,looking-glass1 about #agcj4 ,a looking-glass of the same date1 with a carved wood frame1 silvered1 heads ,chapter ,,vi4 ,it was originally owned by an ancestor of the late ,major ,ben3 ,perley ,poore1 and was probably made in ,europe4 ,it has always1 within the memory of the family1 been silvered1 and it is safe to say that it was so originally4 ,the carving is rather crudely done1 the ornament at the top containing a bird which is sitting upon a cherub's head4 ,this glass is now at ,indian ,hill1 ,newburyport4 ,in nothing is the charm of association more potent than in an old looking-glass1 when one considers the faces and scenes that have been reflected in it4 ,illustration #cfe shows a looking-glass which hung in the ,schuyler mansion at ,stillwater1 ,new ,york1 in which ,washington stopped over night2 and although the quicksilver is somewhat worn off the back of the glass1 the thought that it must have mirrored the face of ,washington preserves it from being restored4 ,the shape is extremely graceful1 and the outline of the inside of the frame is followed by little scrolls cut in the glass4 ,the frame is carved in wood1 and gilt1 and was probably made in ,italy about #agcj4 ,it is now owned by the writer4 ,the low-boy in the illustration is described upon page #ci4 ,rococo and ,chinese designs were rampantly fashionable in frames for looking-glasses from #agej to #aghj4 ,they present an astonishing combination of ,chinese pagodas1 shells1 flowers1 branches1 animals1 and birds1 with occasionally a figure of a man or woman considerably smaller than the flowers and birds upon the same frame4 ,some of the famous designers of frames were ,matthias ,lock1 who published 8,a ,book ,new of ,pier ,frames1 ,oval ,girandoles1 ,tables1 etc410 in #agfe2 ,edwards and ,darley2 and ,thomas ,johnson2 besides the better-known cabinet-makers ,ince and ,mayhew and ,chippendale4 ,lock and ,johnson devoted much space to frames for girandoles1 pier glasses1 ovals1 and chimney-pieces1 all elaborately carved with scrolls and shells with dripping water1 birds1 and animals of every sort from a monkey to a cow1 the latter unromantic and heavy creature figuring upon a dripping scroll in one of ,johnson's frames4 ,illustration3 ,illus4 #cff4--,pier ,glass in 8,chinese ,taste10 #agfj4 ,illustration #cff shows a looking-glass of the size which was called a 8pier0 glass1 which must have been made about #agfj4 ,it is carved in walnut1 and the natural wood has never been stained or gilt4 ,it presents many of the characteristic designs fashionable at that time1 of scrolls and dripping water1 while no less than seven pagoda roofs form a part of the frame4 ,the figure1 probably a ,chinese lady with a parasol1 is missing from the pagoda at the top4 ,below the frame is carved a little monkey sitting in the lower scroll4 ,the frame is rather unusual in having side branches for candles4 ,this looking-glass and the one in the following illustration are owned by ,mrs4 ,charles ,barrell of ,barrell's ,grove1 ,york ,corner1 ,maine1 and are in the old ,barrell house1 which stands with its original furniture1 as it stood one hundred and fifty years ago4 ,these looking-glasses were bought by a ,barrell ancestor at an auction in ,london1 about #agie4 ,the articles sold at this auction were the furnishings of one of the households of the ,prince of ,wales1 which was1 temporarily at least1 given up by him upon his marriage1 and these glasses have reflected many a gay scene in which the 8,first gentleman in ,europe0 figured1 while ,beau ,brummel may have used them to arrange the wonderful toilettes which won him his name4 ,what a change to the little ,maine village6 ,another looking-glass of carved wood1 with the same history1 is shown in ,illustration #cfg4 ,this frame is gilded1 and possesses none of the ,chinese designs of the other frame1 but is purely rococo4 ,it has the old glass with bevelled edges4 ,both of these looking-glasses must have been made at least twenty-five years before the time when they were sold at auction by the royal bridegroom4 ,illustration3 ,illus4 #cfg4--,looking-glass1 about #agfj4 ,at the head of ,chapter ,v is shown a looking-glass with a frame of white with gilt ornaments4 ,it formerly belonged to ,governor ,wentworth1 and is now in the ,poore collection at ,indian ,hill4 ,it is similar in design and decoration to the looking-glasses seen in ,french palaces1 and was probably made in ,france about #agfj4 ,illustration3 ,illus4 #cfh4--,looking-glass1 #aggj-aghj4 ,a charming oval looking-glass which might be of the present latest fashion forms the heading to ,chapter ,,iii4 ,it has the flowing ribbon bow-knot which ,chippendale employed1 and which has been fashionable ever since4 ,this looking-glass was made about #aggj1 and was inherited by ,miss ,h4 ,p4 ,f4 ,burnside of ,worcester from her great-grandmother4 ,illustration #cfh shows a fine looking-glass with a frame of carved wood4 ,there is a small oval medallion below the frame with emblems of ,freemasonry in gilt upon a black ground4 ,a large medallion is above the glass1 with ,cupids painted upon a black ground1 and the frame is surmounted by an eagle4 ,this looking-glass is owned by ,mrs4 ,charles ,r4 ,waters of ,salem4 ,illustration3 ,illus4 #cfi4--,looking-glass1 #agbe-agej4 ,another of the same period1 with a carved wood frame1 is shown at the beginning of ,chapter ,,iv4 ,this frame has a classical design of garlands of laurel with an urn at the top4 ,the small oval medallion at the base of both of these frames seems to be a feature of such looking-glasses1 together with the garlands of carved wood4 ,this looking-glass is owned by the writer4 ,upon its back is an oak board which must have been prized highly1 for it has been carefully repaired with two patches of wood set into it4 ,illustration #cfi shows a looking-glass made in the first half of the eighteenth century1 of walnut4 ,the gilt mouldings are carved in wood1 as are the gilt leaves and flowers at the side4 ,the waving line of the inside of the frame is followed in the bevelling of the glass4 ,glasses of this period were usually made in two pieces1 to lessen the expense1 the edge of one piece of glass being simply lapped over the other4 ,this looking-glass is unusually large1 seven and one-half feet high and three feet wide4 ,it is now owned by the ,philadelphia ,library ,association1 and was used in #aggh at the famous ,mischianza fte1 where probably the lovely ,peggy ,shippen and the beautiful ,jewess1 ,rebecca ,frank1 and perhaps the ill-fated ,andr1 used the glass to put the finishing touches to their toilettes1 or to repair the damages wrought during the gay dances of that historic ball4 ,a looking-glass showing the development from the one in ,illustration #cfi may be seen in ,illustration #bf upon page #ci4 ,the frame is more elaborate than the older one in its curves and in the pediment with the broken arch1 and its date is about #aggj4 ,the original glass is gone1 so we cannot tell if it was bevelled1 but it probably was4 ,this very fine frame came from the ,chase mansion in ,annapolis1 and is now owned by ,harry ,harkness ,flagler1 ,esq41 of ,millbrook1 ,new ,york4 ,illustration3 ,illus4 #cgj4--,looking-glass1 #aggj-aghj4 ,another looking-glass owned by ,mr4 ,flagler is shown in ,illustration #cgj4 ,the frame is of walnut veneer1 and the shape of the glass without any curves at the top1 and the garlands at the side more finely modelled and strung upon a wire1 determine it to have been made some years later than the frame in ,illustration #cfi4 ,a looking-glass with a mahogany and gilt frame1 owned by the writer1 is shown in the heading to ,chapter ,,ix4 ,this looking-glass dates between the last two described2 the curved form of the upper edge of the glass in ,illustration #bf leaving a slight reminder in the cut-off1 upper corners of this glass1 which vanishes in the square corners of the one in ,illustration #cgj4 ,the garlands at each side are carved from wood1 without wire4 ,these looking-glasses are now reproduced in large numbers and are sometimes called ,washington glasses1 from the fact that one hangs upon the wall in a room at ,mount ,vernon4 ,a very unusual looking-glass is shown in ,illustration #cga1 a long mantel looking-glass of very early date1 probably not later than #agej4 ,illustration3 ,illus4 #cga4--,mantel ,glass1 #agbe-agej4 ,illustration3 ,illus4 #cgb4--,looking-glass1 #aggj4 ,the glass is made in three sections1 the two end sections being lapped over the middle one4 ,the glasses are not bevelled4 ,short garlands carved in wood are upon the sides1 and the moulding around the glass is made in curves1 while the upper and lower edges of the frame are perfectly straight4 ,illustration3 ,illus4 #cgc4--,looking-glass1 #aggj4 ,a glimpse may be caught above the frame of the two pieces of metal fastened to the back1 which are found upon such frames1 with a hole for a screw to fasten the heavy frame to the wall4 ,this looking-glass belongs to ,dwight ,m4 ,prouty1 ,esq4 ,the looking-glasses in ,illustrations #cgb and #cgc also belong to ,mr4 ,prouty4 ,glasses of this style are not uncommon4 ,they are never large1 and as they are always about the same size1 they must have been made for a certain purpose1 or to follow a certain fashion4 ,the decorations vary1 but are always applied in gilt upon the high top above the frame1 and upon the piece below1 while the sides are straight and plain4 ,illustration3 ,illus4 #cgd4--,looking-glass1 #aggf4 ,illustration #cgd shows a beautiful looking-glass in the ,chase mansion in ,annapolis4 ,it is carved in wood and gilt1 and four pieces of glass are set in the frame1 which is surmounted by the eagle holding a shield with stars and stripes4 ,illustration3 ,illus4 #cge4--,looking-glass1 #aghj4 ,illustration #cge shows a very large looking-glass1 from the ,ogle house in ,annapolis4 ,it is finished in white and gold and has the original bevelled glass4 ,the looking-glass which heads ,chapter ,,xiii is in the ,metropolitan ,museum of ,art and is of the same period as the glass in ,illustration #cga4 ,a looking-glass is shown in the heading to ,chapter ,,viii in which the decoration is produced by both carving and sawing1 as well as by gilt ornaments4 ,the sawing of ornamental outlines appears upon the earliest frames1 such as ,illustration #cfd1 and is found upon frames made during the eighteenth century until its close4 ,during the last quarter of the eighteenth century frames which are apparently a cheaper form of the mahogany and gilt looking-glasses described1 were most popular1 and are commonly found4 ,these frames are veneered with mahogany or walnut1 and are sawed in outlines similar to those of the richer frames of walnut or mahogany and gilt4 ,the inside of the frame next the glass has a narrow hand-carved gilt moulding1 and there is sometimes a gilt bird flying through the opening sawed in the upper part of the frame1 while in other frames the opening is partially filled by three feathers1 a conventional shell1 or a flower in gilt4 ,occasionally a line of inlaying follows the gilt moulding next the glass4 ,in smaller looking-glasses a gilded plaster eagle was glued upon the frame above the glass4 ,such frames may be found1 or rather might have been found1 in almost any old house4 ,illustration #cgf shows two of these looking-glasses4 ,the larger glass is owned by the writer1 the smaller by ,w4 ,s4 ,g4 ,kennedy1 ,esq41 of ,worcester4 ,a looking-glass with some variations from those previously shown forms the heading to ,chapter ,x4 ,the lower part of the frame has the sawed outlines which appear upon so many1 while the upper part has a broken arch cornice of a high and slender design1 showing the influence of the lighter ,hepplewhite styles4 ,a colored shell is inlaid in the top of this frame1 and there are two rows of fine inlaying around the glass4 ,the frame is surmounted by an urn or vase with flowers and stalks of wheat1 upon wires1 like the slender garlands at the sides4 ,this looking-glass belongs to ,h4 ,h4 ,kohn1 ,esq41 of ,albany4 ,illustration3 ,illus4 #cgf4--,looking-glasses1 #agej-agij4 ,illustration #cgg shows another looking-glass of the same style1 with the wheat and flowers upon wires springing from an urn at the top1 and leaves of plaster strung upon wires at the sides4 ,illustration #cgh shows a looking-glass carved and sawed in fantastic outlines1 with ribbons at the sides4 ,these two looking-glasses are in the ,metropolitan ,museum of ,art4 ,illustration3 ,illus4 #cgg4--,looking-glass1 #agij4 ,illustration3 ,illus4 #cgh4--,looking-glass1 #aghj4 ,wooden frames with sawed outlines continued fashionable until the close of the century4 ,it was customary for these mahogany-framed glasses to rest upon two mirror knobs1 which fitted into the lower curves of the frame and were screwed into the wall4 ,illustration3 ,illus4 #cgi4--;,enamelled ,mirror ,knobs1 #aggj-agij4 ,these knobs were sometimes made of brass1 but the most fashionable mirror knobs were those with a medallion1 round or oval1 of ,battersea enamel upon copper1 framed in brass4 ,the design of the medallions varied1 heads of historical personages being very popular1 while flowers1 landscapes1 fancy heads1 the eagle and thirteen stars1 and the ever-favorite design of the monument and weeping willow appear in the bright tints of the enamel4 ,dwight ,blaney1 ,esq41 of ,boston1 has a collection of over one hundred knobs4 ,washington1 ,lafayette1 ,franklin1 ,lord ,nelson are some of the heads found upon mirror knobs4 ,four pairs of enamelled knobs1 owned by the writer1 appear in ,illustration #cgi4 ,the head of ,lord ,nelson figures upon one pair4 ,illustration3 ,illus4 #chj4--;,girandole1 #aggj-aghj4 8,a circular convex glass in a gilt frame0 is shown in ,illustration #chj4 ,such glasses were advertised as 8mirrors10 in distinction from the looking-glasses which were in ordinary use1 and they were sold in pairs1 for sconces1 the convex or occasionally concave glass precluding the possibility of its use for a literal looking-glass1 as any person will agree who has caught in one a glimpse of a distorted reflection of face or figure4 ,these mirrors were fashionable during the last quarter of the eighteenth century1 and were made in various sizes1 from twelve inches in diameter to three feet4 ,the eagle formed the most popular ornament for the top1 but many were made with a winged horse1 or a sort of dragon1 instead of the eagle4 ,these mirrors were called girandoles1 like others with branches for candles4 ,the girandole in ,illustration #chj is owned by the ,albany ,historical ,society4 ,illustration3 ,illus4 #cha4--,looking-glass1 #aghj4 ,the looking-glass in ,illustration #cha belongs to the writer1 and is in the same style as the glass at the head of ,chapter ,,iv1 which is described upon page #chd4 ,illustration3 ,illus4 #chb4--,looking-glass1 #agij4 ,the garlands upon this frame are carved in fruit1 grapes and plums with leaves1 instead of the laurel which is generally the design1 and the medallion above the frame has a classic head in profile1 and is surmounted by a ribbon bow-knot of three loops4 ,the glass is of quite a large size4 ,illustration #chb shows a looking-glass owned by ,mrs4 ,william ,preston of ,richmond1 ,virginia4 ,the upper section of the glass is divided from the lower by a gilt moulding1 and is delicately painted1 in black and gold upon a white ground1 with three panels1 the middle one having a classical design4 ,the pyramid-shaped pieces at the top are of painted glass and from them go chains1 held by an eagle above4 ,illustration3 ,illus4 #chc4--;,hepplewhite ,looking-glass1 #agij4 ,illustration #chc shows a large and handsome looking-glass made in the fashion of ,hepplewhite's designs1 the fan-shaped ornament below the glass being quite characteristic of ,hepplewhite's frames4 ,the eagle at the top holds in his beak chains which extend to the urns upon the upper corners of the frame4 ,this looking-glass was made about #agij1 and is owned by ,mrs4 ,thomas ,h4 ,gage of ,worcester4 ,a looking-glass made to fit the panel over the mantel is shown in ,illustration #chd4 ,this mantel with the looking-glass is in the ,nichols house1 in ,salem1 in a room built in #aghc for a young bride4 ,the upper part of the frame has the lattice and ornaments in gilt upon a white ground1 and the overhanging cornice has a row of gilt balls beneath it4 ,the pillars framing the three sections of glass are fluted and bound with garlands4 ,another large looking-glass of a similar design1 but of a few years' later date1 is shown in ,illustration #che4 ,it is owned by ,dwight ,blaney1 ,esq41 and was probably made to fit some space1 as it is of unusual shape and very large4 ,illustration3 ,illus4 #chd4--,mantel ,glass1 #aghc4 ,the three panels at the top are painted upon glass1 the middle panel having one of the mortuary subjects which were so popular with our ancestors1 of a monument with a willow carefully trained to weep over the urn1 and a despondent female disconsolately gazing upon the ground4 ,the glass may have been ordered by the grief-stricken lady who is depicted in the panel1 as evidence that while the looking-glass was a tribute to the vanities of life1 the doleful scene in the panel above the glass should serve as a reminder that such vanities are fleeting4 ,illustration3 ,illus4 #che4--,looking-glass1 #agij-ahjj4 ,the cornice and the capitals of the pillars are very elaborate1 and around the top runs a fluted band wound with garlands similar to the pillars in ,illustration #chd4 ,illustration #chf shows a looking-glass in a frame the main portion of which is of salmon-colored marble1 which is glued or cemented to the wood in small thin pieces4 ,upon the edges of this marble is a narrow gilt moulding1 and the ornaments at the top and bottom are of gilt1 the fine scrolls at the top being made of wire4 ,such looking-glasses have been found in ,new ,england1 chiefly in ,massachusetts1 and the majority that have been traced have ,marblehead as their starting-point in this country4 ,in ,marblehead they are known as 8,bilboa glasses10 and the story of the old wives of ,marblehead is that these glasses were all brought home by sailors who had been to ,bilboa1 8,in the bay of ,biscay1 oh10 and that the looking-glasses were either given as presents to wives or sweethearts1 or more prosaically exchanged for a cargo of ,marblehead dried fish4 ,the frames1 however1 would appear to be of ,italian origin1 if one wishes to be accurate1 and discard the picturesque ,marblehead legend4 ,the looking-glass in ,illustration #chf is now in the ,boston ,art ,museum4 ,the 8,bilboa glasses0 are nearly all similar to this in design1 with marble pillars at the side and gilt ornaments at the top and bottom4 ,the glass is the original one with the shallow1 wide bevel1 and the frame1 exclusive of the ornaments at the top and bottom1 measures twenty-five inches in height and eighteen in width4 ,illustration3 ,illus4 #chf4--8;,bilboa ,glass10 #aggj-aghj4 ,another 8,bilboa glass0 is shown in the heading to ,chapter ,,vii4 ,this glass is owned by ,mrs4 ,m4 ,g4 ,potter of ,worcester1 and the story in the family is that this looking-glass was made by ,captain ,john ,potter of ,north ,brookfield1 a well-known clock-maker and metal-worker1 as a present to his bride1 about #agij4 ,the glass has always been fastened to the black panel behind it1 within the memory of the family4 ,the probability is that the black panel was made by ,captain ,potter1 the frame of marble with its fine gilt ornamentation having been brought originally with other ,bilboa looking-glasses to ,marblehead1 from ,italy or ,spain1 whichever place they may have been brought from4 ,illustration3 ,illus4 #chg4--,mantel ,glass1 #agij4 ,the top of this glass is distinctly different from the one in ,illustration #chf1 and is on the order of ,chippendale or other designers of his day4 ,several 8,bilboa0 frames have been found with this little fence at the top4 ,other ,bilboa frames have an oval or round painted panel in the centre of the light1 open gilt ornament at the top4 ,two ,bilboa glasses are in the collection of ,francis ,h4 ,bigelow1 ,esq41 with the marble in the frame dark with white veins1 instead of the usual salmon color1 but made in the same design with the columns at the sides4 ,illustration3 ,illus4 #chh4--,mantel ,glass1 #ahjj-ahaj4 ,during the eighteenth century1 particularly the latter years1 it was fashionable to have a looking-glass on the mantel1 extending nearly the length of the shelf1 and divided into three sections1 the larger section in the middle4 ,the line where the glass was joined was covered by a narrow gilt moulding4 ,such a looking-glass is shown in ,illustration #chg4 ,it has the overhanging cornice which was a feature of these glasses1 and which was used as early as #aghc4 ,a panel of black basalt with a classical design is set into the cornice above the glass1 and two small panels above the side columns4 ,francis ,h4 ,bigelow1 ,esq41 owns this looking-glass4 ,it probably was made about #agij1 when ,wedgwood and ,flaxman designs were popular4 ,another mantel glass of simpler style is shown in ,illustration #ccd4 ,illustration3 ,illus4 #chi4--;,cheval ,glass1 #ahcj-ahdj4 ,it has the projecting cornice but not the balls beneath4 ,the design of the frame is in the usual classical style1 with pillars at the sides4 ,another similar looking-glass is shown in ,illustration #cce4 ,both of these glasses belong to ,francis ,h4 ,bigelow1 ,esq41 of ,cambridge1 and they were made from #ahjj to #ahaj4 ,illustration #chh shows a very handsome mantel glass owned by ,harry ,harkness ,flagler1 ,esq41 of ,millbrook1 made about #ahaj4 ,illustration3 ,illus4 #cij4--,looking-glass1 #ahaj-ahbe4 ,cheval glasses were not common in early times1 to judge from the small number of old specimens found4 ,illustration #chi shows one with a frame and stand of mahogany1 owned by ,mrs4 ,n4 ,f4 ,rogers of ,worcester1 and made about #ahcj to #ahdj4 ,looking-glasses were made from #ahaj to #ahbe1 following the heavy designs which were fashionable at that period1 and these glasses are commonly found4 ,by this time the shallow bevel upon the glass had disappeared1 and the glass in these heavy gilt frames is always plain4 ,the overhanging cornice1 often with acorns or balls beneath1 is a feature of these glasses1 one of which is shown in ,illustration #cij1 with a classical design below the cornice1 and with the upper section filled with a gilded panel4 ,it is owned by ,francis ,h4 ,bigelow1 ,esq41 of ,cambridge4 ,illustration3 ,illus4 #cia4--,looking-glass1 #ahaj-ahae4 ,illustration3 ,illus4 #cib4--,looking-glass1 #ahaj-ahbh4 ,a glass of the same period is shown in ,illustration #cia1 with the glass in two sections1 separated by a gilt moulding4 ,the sides of the frame are made in a double column1 ending at the division in the glass4 ,the frame continues from there in a bracket effect1 with a heavy cornice above1 and is more classical in design than one with twisted columns4 ,this looking-glass is owned by the writer4 ,the glass in ,illustration #cib is owned by ,dwight ,m4 ,prouty1 ,esq4 ,the frame is gilt1 and the heavy drapery is carved in wood and gilded4 ,the richest and largest form of the looking-glass with a projecting cornice is shown in ,illustration #cic4 ,it is nearly the height of the room as it rests upon a low shelf4 ,the plain surface of the columns at the side is broken by ornaments1 and there are no capitals1 but the same round moulding with ornaments extends across the frame between the heavy overhanging cornice and the top section1 which is very large1 with scrolls and a basket of flowers in high relief1 in gilt4 ,this fine looking-glass belongs to ,george ,w4 ,holmes1 ,esq41 of ,charleston1 ,south ,carolina4 ,illustration3 ,illus4 #cic4--,looking-glass1 #ahaj-ahbj4 ,illustration3 ,illus4 #cid--,looking-glass1 #ahaj-ahbe4 ,the glass with a heavy frame in ,illustration #cid belongs to the writer4 ,looking-glasses were made in this style of mahogany also1 with pillars twisted1 fluted1 or carved with the acanthus leaf4 ,the glass was sometimes divided in two sections1 separated by a narrow moulding1 and the upper section was often filled by a gilded panel1 as in ,illustration #cij4 ,the frame at the head of ,chapter ,,ii shows a looking-glass owned by ,mr4 ,bigelow4 ,the panel above the glass is gilded1 and its design1 of a cornucopia1 was extremely popular at this period4 ,the upper section was frequently filled with a picture painted upon glass4 ,a looking-glass with such a picture is shown in ,illustration #ca1 and another1 owned by ,mrs4 ,h4 ,h4 ,bigelow of ,worcester1 heads ,chapter ,i4 ,,chapter ,,xiii ,,doorways1 ,,mantels1 ,,and ,,stairs ,illustration ,,nowhere in this country can the interiors of the old houses and their woodwork be studied as in ,salem4 ,the splendid mansions around ,philadelphia and in ,maryland and ,virginia are detached and not always accessible1 but in ,salem one may walk through the old streets with a certainty that almost any of the houses passed will prove to contain features of interest to the student4 ,the town was the home of wealthy ship-owners and ,east ,india merchants1 who built there the houses which we study1 for their homes4 ,they did not spare expense--the ,derby house cost #hj1jjj2 and they were fortunate in having for a fellow citizen a wood-carver1 and designer1 ,samuel ,mc,intire1 whose work will bear comparison with that of men whose names have been better known4 ,within the last few years1 however1 ,mc,intire's name and work have attracted more attention1 and his mantels and doors in ,salem have been shown to the reading public in the book 8,the ,woodcarver of ,salem10 by ,frank ,cousins and ,phil ,m4 ,riley4 ,mc,intire built the eighty thousand dollar ,derby house1 which within a short time of its completion was torn down1 owing to the death of ,mr4 ,derby1 none of the heirs wishing to keep so costly a mansion4 ,just at that time1 in #ahjd1 ,captain ,cook was building the house now known as the ,cook-,oliver house4 ,mc,intire1 who was the architect also of this house1 persuaded ,captain ,cook to use much of the fine woodwork which he had made for ,mr4 ,derby1 and it was embodied in the ,cook house1 which was1 when finished1 given to the daughter of ,captain ,cook1 who married ,general ,oliver1 the composer of the hymn1 8,federal ,street10 named for the street upon which this house stands4 ,illustration #cie shows a doorway in the hall of the ,cook-,oliver house1 which was taken from the ,derby mansion4 ,the wood is pine1 as in most of the ,salem houses1 painted white1 and the ornamentation is all hand-carved4 ,the design is thoroughly classical1 with its graceful drapery across the top1 and the urns1 also ornamented with drapery4 ,through the doorway may be seen the mantel1 which was taken from the ,derby mansion1 with the fine hob-grate1 and a little of the old ,zuber paper1 which extends around the room1 with scenes of the ,paris of #ahaj-ahbj4 ,illustration3 ,illus4 #cie4--;,doorway and ,mantel1 ,cook-,oliver ,house1 ,salem1 #ahjd4 ,the doorway in ,illustration #cif is in a very different style from that of ,mc,intire1 with its delicate and graceful ornamentation4 ,illustration3 ,illus4 #cif4--;,doorway in ,dalton ,house1 ,newburyport1 #agbj4 ,this doorway is in the house built in #agbj by ,michael ,dalton1 in ,newburyport1 ,massachusetts1 and now occupied by the ,dalton ,club4 ,it was ,michael ,dalton who built this house1 but its golden years were during the ownership of his son1 ,tristram ,dalton1 who married the daughter of 8,king0 ,hooper1 and who might well be called by the same name as his father-in-law4 ,in evidence of his wealth and lavish manner of life is the story of his splendid coach1 lined with white satin1 drawn by six white horses1 and attended by four outriders1 all in white and mounted upon white steeds4 ,in this dazzling equipage the various brides of the family left the house1 and the same royal splendor probably attended the arrival at the house of famous guests1 of whom there were many4 ,all this display does not agree with the common notion of sober ,new ,england1 but smacks rather of the aristocratic ,virginians who built mansions on the ,james ,river4 ,the doorways and mantels in the ,dalton house tell of great wealth1 for those early years of #agbj4 ,they are made of pine1 painted white1 and all of the woodwork is hand carved4 ,the doorway in ,illustration #cif is in the same room with the mantel in ,illustration #cig and is designed in the same classical style1 with fluted columns and ,ionic capitals4 ,the cornice is the same1 and the egg and dart moulding upon it extends with the cornice entirely around the room4 ,the immediate frame of the door has the same carved moulding as the lower part of the cornice1 and the window frames4 ,the door itself is very fine with eight panels4 ,the knob is new4 ,the original knob was of iron4 ,illustration #cig shows the mantel in the room with the doorway1 and at one side is a glimpse of the cornice and frame of the window with its deep seat4 ,the fluted square pilasters of the doorway1 in the mantel are changed to round detached columns1 and there is a plain panel with simple mouldings over the narrow shelf4 ,illustration3 ,illus4 #cig4--,mantel in ,dalton ,house1 #agbj4 ,illustration #cih shows another mantel in the ,dalton house1 of a plainer form1 without columns1 but with a heavy moulding1 a variation of the egg and dart1 around the fireplace and the plain centre panel4 ,illustration3 ,illus4 #cih4--,mantel in ,dalton ,house1 #agbj4 ,the narrow shelf is curiously set between the panel and the moulding4 ,there is a panelled door upon each side of the chimney1 opening into a cupboard1 and below each cupboard may be seen a tinder box1 in early days a useful adjunct to a fireplace4 ,illustration3 ,illus4 #cii--;,hall and ,stairs in ,dalton ,house1 #agbj4 ,the stairs in the ,dalton house are shown in ,illustration #cii4 ,the newel is carved with a detached twist around the centre post1 and each of the three balusters upon every stair has a different twist1 in the fashion of the seaport staircases of the eighteenth century4 ,illustration3 ,illus4 #djj4--,side of ,room1 with ,mantel2 ,penny-,hallet ,house1 #aggd4 ,illustration3 ,illus4 #dja4--,parker-,inches-,emery ,house1 ,boston1 #ahah4 ,two of the ,dalton chairs stand at the foot of the stairs1 and above them hangs the portrait of ,tristram ,dalton1 a fine gentleman in a white satin waistcoat4 ,over the stairs hangs a 8hall lanthorne0 like the one in ,illustration #ccc4 ,illustration #djj shows the side of a room in the ,penny-,hallett house at #fhe ,centre ,st41 ,jamaica ,plain4 ,it dates to #aggd1 and is all elaborately carved by hand1 with scrolls1 birds1 garlands of flowers and fruit1 and a head over each arch at the side of the mantel4 ,all of this woodwork has been removed1 and embodied in a ,boston house4 ,the house known by the names of past occupants as the ,parker-,inches-,emery house is now occupied by the ,women's ,city ,club of ,boston1 which is fortunate in being able to preserve this house from changes for business purposes4 ,illustration3 ,illus4 #djb4--,mantel in ,lee ,mansion1 ,marblehead1 #agfh4 ,illustration3 ,illus4 #djc4--,landing and ,stairs in ,lee ,mansion1 ,marblehead1 #agfh4 ,the woodwork is probably the finest in ,boston1 and is attributed1 with the building1 to ,bulfinch4 ,the doorway in ,illustration #dja is from the back parlor of the house4 ,the door is mahogany1 and the carved woodwork of the frame is in a severely classical design4 ,the anthemion figures upon the pilasters and in the capital1 and the design of the frieze is beautiful in its severity4 ,the house was built in #ahah4 ,in his 8,complete ,body of ,architecture0 ,isaac ,ware says of the chimney-piece3 8,no common room1 plain or elegant1 could be constituted without it4 ,no article in a well-finished room is so essential4 ,the eye is immediately cast upon it on entering1 and the place of sitting down is naturally near it4 ,by this means it becomes the most eminent thing in the finishing of an apartment40 ,the mantelpiece in ,illustration #djb is in the banquet hall of the house built in #agfh1 upon generous plans1 by ,col4 ,jeremiah ,lee in ,marblehead4 ,the depth of the chimney is in the rear1 and the mantel is almost flush with the panelled walls4 ,it is painted white like the other woodwork1 and is richly ornamented with hand carving1 in rococo designs1 with garlands of fruit and flowers in high relief1 after the fashion of the time1 and has a plain panel over the narrow shelf1 which rests upon carved brackets4 ,illustration #djc shows the beautiful landing at the head of the stairway in the ,lee mansion1 with the large window and ,corinthian pilasters1 and the wonderful old paper1 all in tones of gray4 ,the turn of the stairs is seen1 and the finely twisted balusters4 ,illustration3 ,illus4 #djd4--,stairs in ,harrison ,gray ,otis ,house1 ,boston1 #agie4 ,illustration #djd shows the rear of the stairway1 with the front door1 in the house built in #agie by ,harrison ,gray ,otis1 in ,boston4 ,it is now the property and headquarters of the ,society for the ,preservation of ,new ,england ,antiquities1 having reached that safe haven after the descent from an elegant and fashionable residence to a lodging house4 ,it has now been restored with great care to much of its original appearance4 ,the illustration shows the fine boxing of the stairs and the ornamentation of the stair-ends4 ,the balusters are twisted and end in a turn without a newel post4 ,illustration3 ,illus4 #dje4--,mantel in ,harrison ,gray ,otis ,house1 ,boston1 #agie4 ,illustration #dje shows a mantel in the ,otis house of painted wood1 with the space above the shelf taken by two sets of doors1 one sham1 of wood1 and the other of iron1 which opens into a safe4 ,it is difficult to imagine why this transparent device was placed in such a conspicuous place4 ,illustration3 ,illus4 #djf4--,stairs in ,robinson ,house1 ,saunderstown4 ,illustration #djf shows a very good stairway in the ,robinson house in ,saunderstown1 ,r4 ,i4 ,it has two turns1 and the panelling on the side wall has a mahogany rail which turns with the one above the twisted balusters4 ,illustration3 ,illus4 #djg4--,stairs in ,allen ,house1 ,salem1 #aggj4 ,illustration3 ,illus4 #djh4--;,balusters and ,newel of ,stairs at 8,oak ,hill10 ,peabody4 ,the return of the stairs is panelled beneath1 and at each corner of the turn of the balusters is a large post like the newel1 which extends below the stairs and is finished in a twisted flame-like ornament4 ,the beautiful stairway with panelled ends and boxing in ,illustration #djg is in the ,allen house in ,salem4 ,the balusters are particularly good4 ,a section of the fine stairway at 8,oak ,hill10 ,peabody1 ,massachusetts1 in ,illustration #djh1 gives the detail of the twisted balusters and newel so often seen in the old seaport towns4 ,each one of the balusters1 of which there are three upon a stair1 has a different twist1 and the newel is a twist within a twist1 the outer spiral being detached from the inner one4 ,the balusters are painted white1 and the rail and newel are of mahogany4 ,illustration3 ,illus4 #dji4--,stairs in ,sargent-,murray-,gilman ,house1 ,gloucester1 #agfh4 ,illustration #dji shows the staircase in the ,sargent-,murray-,gilman house in ,gloucester1 and ,illustration #daj shows a mantel in the same house1 which was built in #agfh1 by ,winthrop ,sargent1 for his daughter when she married ,rev4 ,john ,murray1 who was the founder of the ,universalist church in ,america4 ,later1 the house was occupied by the father of ,rev4 ,samuel ,gilman1 the author of 8,fair ,harvard40 ,illustration3 ,illus4 #daj4--,mantel in ,sargent-,murray-,gilman ,house1 #agfh4 ,illustration3 ,illus4 #daa4--,mantel in ,kimball ,house1 ,salem1 #ahjj4 ,the mantel is of wood1 hand carved1 with a broken pediment supported by plain columns with ,corinthian capitals1 while those below the shelf have ,ionic capitals4 ,the stairway is very fine1 with panelled boxing and ends1 and twisted balusters and newel4 ,there is a good window upon the landing1 with fluted pilasters at each side4 ,a ,mc,intire mantel is shown in ,illustration #daa1 from the ,kimball house in ,salem4 ,the carving is done by hand and is very elaborate1 with urns in the corner insets1 and a spray in the ones over the fluted pilaster which completes the return of the mantel4 ,a curious row of little bell-shaped drops is beneath the shelf1 the edge of which has a row of small globes set into it1 like beads upon a string4 ,illustration3 ,illus4 #dab4--,mantel in ,lindall-,barnard-,andrews ,house1 ,salem1 #ahjj4 ,another ,mc,intire mantel is shown in ,illustration #dab1 the parlor mantel in the ,lindall-,barnard-,andrews house in ,salem4 ,the carving is done by hand1 and the sheaves of wheat1 the basket of fruit1 and the flower-filled draperies are delicate and charming4 ,illustration3 ,illus4 #dac4--;,doorway in ,larkin-,richter ,house1 ,portsmouth1 about #ahjj4 ,it was put in the house in #ahjj1 but the paper dates to #agdg1 the time when the house was built1 and it was imported for this room from ,france4 ,illustration3 ,illus4 #dad4--;,doorway in the 8,octagon10 ,washington4 ,a very charming doorway is shown in ,illustration #dac1 from the ,larkin-,richter house in ,portsmouth4 ,it has urns and festoons of flowers and wonderfully fine carvings upon the cornice4 ,illustration #dad shows a doorway leading into the hall in the 8,octagon0 in ,washington1 ,d4 ,c4 ,the house derives its name from its shape1 built to conform to a triangular lot4 ,col4 ,john ,tayloe built it in #ahjj1 and for twenty-five years the entertainments given in the ,octagon were famous4 ,it is now occupied by the ,american ,institute of ,architects4 ,the entrance to the house is in a circular tower of three stories in height1 thus utilizing the shape of the triangle4 ,this gives a large1 circular vestibule from which a wide1 arched doorway leads into the hall with the stairs1 which are very simple1 with plain small balusters1 and a mahogany rail4 ,the doorway is very fine1 with fluted columns and carved capitals and on the inside of the arch a row of carving1 making a beautiful entrance to the house4 ,illustration3 ,illus4 #dae4--,mantel in the 8,octagon10 ,washington4 ,the mantel in ,illustration #dae is in the 8,octagon0 house1 and is made of a cement composition1 cast in a mould1 and painted white4 ,the cement is fine and the effect is much as if it were wood or stone4 ,the designs are graceful and well modelled4 ,this style of mantel with figures at the sides was used more in the ,south1 and one would hardly find in a ,northern home a mantel the motif of which was a frankly portrayed praise of wine1 with the centre panel quite ,bacchanalian in its joviality4 ,illustration3 ,illus4 #daf4--,mantel in ,schuyler ,house1 ,albany4 ,the mantel in ,illustration #daf is in the ,schuyler mansion in ,albany1 ,new ,york1 which has been wisely and thoroughly restored to its original beauty1 and stands a monument not only of the ,albany life of the eighteenth century1 but to the early efficiency of woman1 for it was built in #agfj by the wife of ,gen4 ,philip ,schuyler1 during the absence of her husband in ,england4 ,this mantel is in the room called the ,hamilton room1 because it was here that the daughter of the house1 ,elizabeth ,schuyler1 was married to ,alexander ,hamilton4 ,the wood of the mantel is1 like that in the other rooms1 pine1 painted white1 and the room is handsomely panelled1 with a heavy cornice4 ,the shelf is narrow with a panel above it which is surmounted by a cornice1 with a broken pediment4 ,the mantel is very dignified and does credit to the excellent taste of the colonial dame who chose it and superintended its instalment4 ,illustration #dag shows a mantel in ,philipse ,manor in ,yonkers1 ,new ,york4 ,the original house was built in the seventeenth century1 but in #agde it was greatly enlarged by ,judge ,philipse1 the second lord of the ,manor1 and it was probably at about that time that the fine woodwork in the house was installed4 ,judge ,philipse was the father of ,mary ,philipse1 to whom in #ageg ,washington paid court--unsuccessfully4 ,she married ,roger ,morris in #ageh1 and in #aggi fled with him to ,england1 attainted as ,royalists1 together with her brother1 the third and last lord of the ,manor1 which then passed from the ,philipse family4 ,illustration3 ,illus4 #dag4--,mantel and ,doorways in ,manor ,hall1 ,yonkers4 ,it was purchased in #ahfh by the village of ,yonkers1 and remained in the possession of the city until #aijh1 when the title to the ,manor was taken by the ,state of ,new ,york1 and the ,american ,scenic and ,historic ,preservation ,society was appointed custodian1 thus insuring the preservation of this historic house4 ,illustration3 ,illus4 #dah4--,mantel and ,doorways in ,manor ,hall1 ,yonkers4 ,the mantel in ,illustration #dag is in the ,east parlor1 where ,mary ,philipse was married1 and is1 like all of the woodwork1 painted white and very finely hand carved1 with flowers in high relief4 ,the iron fire back which was originally in the fireplace is still there1 but the tiles are new4 ,illustration3 ,illus4 #dai4--,mantel in ,manor ,hall1 ,yonkers4 ,the pilasters have composite capitals1 and are used as a part of the decoration of the side of the room with the mantel4 ,the ceiling in this room1 a glimpse of which may be seen in the illustration1 is elaborately decorated with rococo scrolls1 framing medallions1 in two of which are portrait heads4 ,the entire house bears evidence of the wealth of the lords of the ,manor4 ,illustration3 ,illus4 #dbj4--;,doorway and ,stairs1 ,independence ,hall4 ,illustration #dah shows the mantel in the chamber over the ,east parlor1 also beautifully carved with flowers and fruit and scrolls1 after the fashion of the period4 ,the three feathers above were an indication of loyalty to the crown1 as they were placed there years before the division of parties for the ,king and the ,prince of ,wales1 when the use of the three feathers meant allegiance to the latter4 ,over the doors is a carved scroll with the broken pediment1 and a small scroll in the centre4 ,illustration #dai shows another mantel in ,manor ,hall of a less ornate type1 very dignified and fine with its simple pilasters and the smaller ones at the sides of the panel4 ,the cornice over the doors is one that was used often in fine houses4 ,these doorways and mantels are restored1 but the greater part was intact or simply out of repair4 ,illustration #dbj shows the beautiful panelled arch to the doorway1 and the stairs in ,independence ,hall in ,philadelphia1 with a glimpse of the frame of the window upon the landing4 ,illustration3 ,illus4 #dba4--,stairs at 8,graeme ,park10 ,horsham4 ,the balusters are plain and substantial1 with a mahogany rail1 and the rise of the stairs is very gradual4 ,the thickness of the wall allows wide panels in the inside of the arch1 and the doorway and the pillars at the side are of imposing height4 ,illustration3 ,illus4 #dbb4--,mantel and ,doorways1 ,graeme ,park4 ,illustration #dba shows the stairway at 8,graeme ,park10 the house built in #agbb by ,sir ,william ,keith1 ,governor of ,penn's ,colony1 at ,horsham1 ,pennsylvania4 ,the place is named from ,dr4 ,graeme1 who married the step-daughter of ,gov4 ,keith1 and occupied the house after #agbg4 ,gov4 ,keith lived here in great style1 with a large household1 as his inventory implies1 with 8#fj bedsteads1 #add chairs1 #cb tables and #ae looking-glasses40 ,the discrepancy between the number of bedsteads and looking-glasses is accounted for by the price of glass1 and the probability that many of the sixty occupants of the bedsteads were servants or slaves1 whose toilet was not important1 and who did not live in the mansion1 but in the outbuildings around it4 ,the house was built in accordance with the manner of life of the ,governor1 and contained large rooms1 handsomely panelled and finished in oak1 unpainted4 ,the stairs in ,illustration #dba are all of oak1 stairs1 balusters1 and rail1 and are of an entirely different style from the twisted balusters and newels of the northern seaport towns1 but of a solidity and simplicity that is attractive4 ,illustration #dbb shows the side wall of a chamber at ,graeme ,park1 also of oak4 ,the fireplace is surrounded by tiles1 and the chimney-piece is panelled above1 but there is no shelf4 ,the doorways at each side of the mantel are charming1 with the arch above and the semicircular window4 ,the old hinges and latches are still upon the doors4 ,the doorway in ,illustration #dbc is from the ,chase house in ,annapolis1 ,maryland1 and is in a room with several doors and windows1 all with their deeply carved frames1 painted white1 with solid mahogany doors1 and hinges and latches of silver4 ,the heavy wooden inside shutters have large rosettes carved upon them1 and the effect of all this carving is extremely rich4 ,the ,chase house was built in #agfi1 by ,samuel ,chase1 afterwards a ,signer of the ,declaration of ,independence1 and ,associate ,justice of the ,supreme ,court4 ,illustration3 ,illus4 #dbc4--;,doorway in ,chase ,house1 ,annapolis4 ,it was sold soon after its completion1 but in #ahdg came back into the possession of ,chase descendants1 and finally1 in #ahhh1 it was left by will to found the ,chase ,home for ,aged ,women1 together with furniture and china1 much of which still remains there4 ,a looking-glass from this house is shown in ,illustration #cgd4 ,the door latch of solid silver is of the shape of handles shown in ,illustration #aa1 letter ,f4 ,illustration3 ,illus4 #dbd4--;,entrance and ,stairs1 8,cliveden40 ,illustration #dbd shows the noble entrance from the outer hall to the inner hall with the stairs1 at 8,cliveden10 in ,germantown1 ,pennsylvania4 ,illustration3 ,illus4 #dbe4--,mantel in ,cliveden1 ,germantown4 ,the house was built in #agfa by ,chief ,justice ,benjamin ,chew1 and is now owned by ,mrs4 ,samuel ,chew4 ,cliveden was famous for its entertainments1 and during the ,revolutionary ,war was the scene of the ,battle of ,germantown1 when the house was seized by the ,british4 ,illustration3 ,illus4 #dbf4--;,fretwork ,balustrade1 ,garrett ,house1 ,williamsburg4 ,the marks of bullets may still be seen in the wall at the right of the illustration4 ,one of the daughters of ,chief ,justice ,chew was the lovely ,peggy ,chew1 who was one of the belles of the ,mischianza fte1 where ,major ,andr was her knight4 ,illustration3 ,illus4 #dbg4--,stairs1 ,valentine ,museum1 ,richmond4 ,cliveden had many famous guests--,washington1 ,lafayette1 ,john ,adams1 and others1 who came to ,philadelphia while it was the seat of the administration4 ,the door at the right of the stair in ,illustration #bdj opens into a parlor1 the mantel in which is shown in ,illustration #dbe4 ,it is plain1 but attractive for its simplicity4 ,the balustrade in ,illustration #dbf is in the house of the ,misses ,garrett in ,williamsburg1 ,virginia1 and is in a ,chinese fretwork design4 ,there is one with the same fretwork in the ,paca house in ,annapolis1 and probably of the same date1 about #agfe4 ,the winding staircase in ,illustration #dbg is in the house now occupied by the ,valentine ,museum1 in ,richmond1 ,virginia4 ,it was built about #ahab1 and was given to the city for a museum1 by the ,valentine family4 ,it is a very good example of the stairway known as a 8winder40 ,illustration #dbh shows a beautiful mantel in the residence of ,barton ,myers1 ,esq41 in ,norfolk1 ,virginia4 ,illustration3 ,illus4 #dbh4--,mantel in ,myers ,house1 ,norfolk4 ,the mantel is in the ,adam style1 with festoons of flowers and scrolls beneath the shelf1 in applied ornaments1 and long lines of the bell-flower1 looped in graceful lines upon the panel4 ,the chandelier is brass1 of about #ahej-ahfj4 ,,glossary ,,of ,,terms ,,used ,,in ,,cabinet ,,work ,a ,acanthus4 ,the conventionalized leaf of the acanthus plant4 ,anthemion4 ,a ,greek form of ornament made from the conventionalized flower of the honeysuckle4 ,apron4 ,the ornamental wooden piece extending between the legs of a table1 below the body frame4 ,applied ornament4 ,one which is carved or sawed separately and fastened upon the surface4 ,armoire4 ,the ,french term for cupboard4 ,b ,bail4 ,the part of a handle1 in ring or hoop shape1 which is taken hold of4 ,bandy or ,cabriole leg4 ,one which is made in a double curve4 ,banister back4 ,a chair back made of vertical pieces of wood extending between an upper and lower rail4 ,baroque4 ,a term applied to a style of extravagant over-ornamentation4 ,bead or ,beading4 ,a small convex moulding1 sometimes divided and cut like beads4 ,beaufat or ,bowfatt4 ,a corner cupboard1 extending to the floor4 ,bergre4 ,a ,french chair with a very wide seat4 ,bible box4 ,a box1 usually of oak1 for holding the ,bible4 ,block front4 ,a term applied to the front of a desk or chest of drawers1 to indicate the blocked shape in which the drawer fronts are carved or sawed4 ,bomb4 ,kettle-shaped4 ,bonnet top4 ,a top made with a broken arch or pediment4 ,bracket4 ,the piece of wood of bracket shape1 used in the angle made by the top and the leg4 ,bracket foot4 ,a foot in bracket form4 ,broken arch or ,pediment4 ,one in which the cornice is not complete1 but lacks the central section4 ,buffet4 ,a sideboard1 or piece of furniture used as a sideboard4 ,buhl4 ,a form of inlaying engraved brass upon a thin layer of tortoise shell1 over a colored background4 ,named from its inventor1 ,buhl1 or ,boulle4 ,bureau4 ,in early time1 and even now in ,england1 a desk with a slanting lid4 ,now used chiefly to indicate a chest of drawers4 ,bureau-table4 ,a small chest of drawers made like a desk1 but with a flat top4 ,butterfly table4 ,a small table with turned legs and stretchers and drop leaves1 which are held up by swinging brackets with the outer edge curved like a butterfly wing4 ,c ,cabinet4 ,the interior of a desk1 fitted with drawers and compartments4 ,cabriole leg4 ,bandy leg1 curved or bent4 ,capital4 ,the upper part of a column or pillar4 ,carcase4 ,the main body of a piece of furniture4 ,cellaret4 ,a low1 metal-lined piece of furniture1 sometimes with the interior divided into sections1 used as a wine cooler4 ,chaise longue4 ,the ,french term for a day bed or couch4 ,chamfer4 ,a corner cut off1 so as to form a flat surface with two angles4 ,claw-and-ball foot4 ,the termination of a leg with a ball held in a claw1 usually that of a bird4 ,comb back4 ,a ,windsor chair back1 with an extension top1 shaped like a comb4 ,commode4 ,a chest of drawers4 ,console table4 ,one to be placed below a looking-glass1 sometimes with a glass between the back legs4 ,court or ,press cupboard4 ,a very early cupboard with doors and drawers below and a smaller cupboard above1 the top being supported by heavy turned columns at the corners4 ,d ,day bed or ,chaise longue4 ,a long narrow seat used as a couch or settee1 usually with four legs upon each side1 and a chair back at the head4 ,dentils4 ,an architectural ornament made of a series of small detached cubes4 ,desk4 ,a piece of furniture with conveniences for writing4 ,desk box4 ,a box similar to a ,bible box1 made to hold books or papers4 ,diaper4 ,a small pattern or design1 repeated indefinitely on a surface4 ,dish top4 ,a table top with a plain raised rim4 ,dovetail4 ,fastening together with mortise and tenon4 ,dowel4 ,a wooden pin used to fasten sections together4 ,dresser4 ,a set of shelves for dishes4 ,dutch foot4 ,a foot which spreads from the leg in a circular termination4 ,e ,egg and dart4 ,a form of ornament made of egg-shaped pieces with dart-shaped pieces between4 ,empire style4 ,a style which became popular during the ,first ,empire1 largely formed upon ,egyptian styles1 found by ,napoleon during his ,egyptian campaign4 ,later the term was applied to the heavy furniture with coarse carving1 of the first quarter of the nineteenth century4 ,escritoire4 ,a secretary4 ,escutcheon4 ,the metal plate of a key-hole4 ,f ,fan back4 ,the back of a ,windsor chair with the spindles flaring like an open fan4 ,fender4 ,a guard of pierced metal1 or wire1 to place before an open fire4 ,field bedstead4 ,one with half high posts which uphold a frame covered with netting or cloth4 ,finial4 ,the ornament which is used at the top of a pointed effect as a finish4 ,flemish foot or leg4 ,an early scroll form with one scroll turning in and the other turning out2 found upon ,jacobean furniture4 ,fluting4 ,a series of concave grooves4 ,french foot4 ,in ,chippendale's time1 a scroll foot terminating a cabriole leg2 in ,hepplewhite's time1 a delicate form of a bracket foot4 ,fretwork4 ,a form of ornament in furniture1 sawed or carved in an open design4 ,g ,gadroon or ,godroon4 ,a form of ornament consisting of a series of convex flutings1 chiefly used in a twisted form as a finish to the edge4 ,gallery4 ,the raised and pierced rim upon a table top1 usually in ,chinese fretwork4 ,gate-legged1 hundred-legged1 or forty-legged table4 ,an early table with drop leaves and stretchers between the legs1 of which there are six stationary upon the middle section1 and one or two which swing out to hold up the drop leaves4 ,girandole4 ,a mirror with fixtures for candles4 ,guridon4 ,a stand to hold a candelabra1--a candle-stand4 ,guilloche4 ,an ornamental pattern formed by interlacing curves4 ,h ,high-boy4 ,a tall-boy or chest of drawers upon high legs4 ,hood4 ,the bonnet top of a high-boy4 ,husk4 ,the form of ornament made from the bell-flower1 much used by ,hepplewhite4 ,j ,jacobean4 ,a term applied to furniture of the last quarter of the seventeenth century1 although properly it should apply to the period of ,james ,i4 ,japanning or ,lacquering4 ,in the eighteenth century a process copied from the ,chinese and ,japanese lacquer2 in ,hepplewhite's time a method of painting and gilding with a thin varnish4 ,k ,kas or ,kos4 ,a ,dutch high case with drawers and doors1 made to hold linen1 and extending to the floor1 from which it was sometimes held up by large balls4 ,kettle front or bomb4 ,a form of chest of drawers or secretary1 in which the lower drawers1 toward the base1 swell out in a curve4 ,knee4 ,the term applied to the upper curve1 next the body1 of a bandy leg4 ,knee-hole desk4 ,a desk with a table top1 and an open space below with drawers at each side4 ,l ,lacquer4 ,a ,chinese and ,japanese process of coating with many layers of varnish4 ,ladder back4 ,a chair back of the ,chippendale period1 with horizontal carved or sawed pieces across the back4 ,low-boy4 ,a dressing-table1 made to go with a high-boy4 ,m ,marquetry4 ,inlay in different woods4 ,mortise4 ,the form cut in a piece of wood to receive the tenon1 to form a joint4 ,mounts4 ,the metal handles1 escutcheons1 or ornaments fastened upon a piece of furniture4 ,o ,ogee4 ,a cyma1 or double curve1 as of a moulding4 ,ormolu4 ,mountings of gilded bronze or brass1 used as ornaments4 ,p ,pie-crust table4 ,a table with a raised edge made in a series of curves4 ,pier-glass4 ,a large looking-glass4 ,pigeon-hole4 ,a small open compartment in the cabinet of a desk or secretary4 ,patina4 ,the surface of wood or metal acquired by age or long use4 ,pediment4 ,the part above the body of a bookcase or chest of drawers1 with an outline low at the sides and high in the middle1 similar to the ,greek pediment4 ,pembroke table4 ,a small table with drop leaves1 to use as a breakfast table4 ,r ,rail4 ,the horizontal pieces across a frame or panel4 ,reeding4 ,parallel convex groovings4 ,ribband or ,ribbon-back4 ,a chair back of the ,chippendale period1 with the back formed of carved ribbon forms4 ,rococo4 ,a name derived from two words1 rock and shell--applied to a style of ornamentation chiefly composed of scrolls and shells1 used in irregular forms1 often carried to extremes4 ,roundabout or ,corner chair4 ,an arm-chair1 the back of which extends around two sides1 leaving two sides and a corner in front4 ,s ,scroll-top4 ,a top made of two curves broken at the center1 a bonnet top4 ,secretary4 ,a desk with a top enclosed by doors1 with shelves and compartments behind them4 ,serpentine or ,yoke front4 ,a term applied to drawer fronts sawed or carved in a double curve4 ,settee4 ,a long seat with wooden arms and back1 the latter sometimes upholstered4 ,settle4 ,a seat1 usually for two1 made with high wooden arms and back1 to stand in front of a fire4 ,often the back turned over upon pivots to form a table top4 ,slat-back4 ,a chair back very commonly found1 with plain horizontal pieces of wood across the back in varying numbers4 ,spade foot4 ,a foot used by ,hepplewhite and ,sheraton1 the tapering leg increasing suddenly about two inches from the end1 and tapering again forming a foot the sides of which are somewhat spade-shaped4 ,spandrels4 ,the triangular pieces formed by the outlines of the circular face of a clock and the square corners4 ,spanish foot4 ,an angular1 grooved foot with a scroll base turning inward4 ,spindle4 ,a slender1 round1 turned piece of wood4 ,splat4 ,the upright wide piece of wood in the middle of a chair-back4 ,squab4 ,a hard cushion4 ,stiles4 ,the vertical pieces of a panel1 into which the upper and lower rails are set1 with mortise and tenon4 ,strainers or ,stretchers4 ,the pieces of wood extending between the legs of chairs or tables to strengthen them1 and in early times to rest the feet upon1 to keep them from the cold floor4 ,swell front4 ,a front curved in a slightly circular form4 ,t ,tambour4 ,a term applied to a door or cover made from small strips of wood glued to a piece of cloth which is fastened so that it is flexible4 ,tenon4 ,the form of a cut which fits into a mortise so as to make a firm joint4 ,torchre4 ,a candle stand4 ,v ,veneer4 ,a very thin piece of wood glued upon another heavier piece4 ,vernis ,martin4 ,a ,french varnish with a golden hue1 named for its inventor4 ,w ,wainscot chair4 ,an early chair1 usually of oak1 with the seat and back formed of solid panels4 ,,index ,,of ,,the ,,owners ,,of ,,furniture ,a ,albany ,historical ,society1 ,girandole1 #cie2 forty-legged table1 #bdg4 ,alexander ,ladd ,house1 ,portsmouth4 ,chair1 #afa2 double chair1 #bbd4 ,allen ,house4 ,stairs1 #dbg4 ,american ,antiquarian ,society1 ,worcester4 ,desk1 #abg2 double chair1 #bbe2 high chair1 #aef2 looking-glass1 #cgf2 slate-top table1 #bde2 tall clock1 #ced4 ,american ,philosophical ,society1 ,philadelphia4 ,chair1 #agg4 ,b ,barrell1 ,mrs4 ,charles ,c41 ,york ,corners4 ,looking-glass1 #chj1 #chb4 ,baxter1 ,james ,phinney1 ,portland4 ,sideboard1 #ig2 dressing-glass1 #ej4 ,bigelow1 ,francis ,h41 ,cambridge4 ,andirons1 #cai2 candelabra1 #cde2 cellaret1 #aaa2 chairs1 #ahc1 #ahe1 #aig1 #bjf1 #bjg2 clock1 #cei2 desk1 #abi1 #aea2 lamps1 #cdd2 looking-glass1 #da1 #djc1 #djf2 secretary1 #aej2 sconce1 #cdj2 settee1 #bbh2 sideboard1 #ajd1aje2 sofa1 #bcj2 table1 #bea1 #bec1 #bfi2 time-piece1 #cfh2 washstand1 #fj4 ,bigelow1 ,mrs4 ,h4 ,h41 ,worcester4 ,looking-glass1 #aj4 ,bigelow1 ,irving1 ,worcester4 ,clock1 #cfb2 table1 #bff4 ,blaney1 ,dwight1 ,boston4 ,andirons1 #cah2 bureau1 #eb2 chair1 #afc1 #aih2 desk1 #acc2 high chest1 #bf2 looking-glass1 #djj2 music-stand1 #cjc2 settle1 #bae2 sideboard1 #ajh2 table1 #bdc1 #bdd1 #bde1 #bdf1 #bec1 #bfb1 #bgf2 what-not1 #bfg4 ,boston ,art ,museum4 ,clock1 #ced2 looking-glass1 #djb4 ,bostonian ,society4 ,clocks1 #cef4 ,burnside1 ,miss ,h4 ,p4 ,f41 ,worcester4 ,looking-glass1 #fd2 table1 #bge4 ,c ,carroll1 ,mrs4 ,elbert ,h41 ,worcester4 ,bureau1 #dh4 ,chase ,mansion1 ,annapolis4 ,doorway1 #dde2 looking-glass1 #chi4 ,chickering ,co4 ,piano1 #cjb1 #caj4 ,clark1 ,charles ,d41 ,philadelphia4 ,clock1 #ceg4 8,cliveden10 ,germantown4 ,entrance and stairs1 #ddf2 mantel1 #ddg4 ,coates1 ,miss ,mary1 ,philadelphia4 ,chair1 #afa1 #agf1 #ahg1 #ahi1 #bjd2 table1 #bec4 ,colonial ,dames of ,pennsylvania4 ,bedstead1 #gi2 sideboard1 #aaj2 sofa1 #bbj4 ,concord ,antiquarian ,society4 ,bedstead1 #fi2 chair1 #aij2 couch1 #bag2 looking-glass1 #bdb2 settee1 #bcd2 table1 #bfb1 #bfd4 ,connecticut ,historical ,society1 ,hartford4 ,chest1 #ad4 ,cook-,oliver ,house1 ,salem4 ,mantel and doorway1 #dac4 ,corbett1 ,george ,h41 ,worcester4 ,bedstead1 #hb4 ,crowninshield1 ,frederic ,b41 ,marblehead4 ,settee1 #bcc4 ,cutter1 ,mrs4 ,j4 ,c41 ,worcester4 ,chair1 #bji4 ,d ,dalton ,house1 ,newburyport4 ,doorway1 #dad2 mantel1 #daf1 #dag2 stairs1 #dah4 ,darlington1 ,dr4 ,james ,h41 ,brooklyn4 ,piano1 #bid1 #cbg4 ,deerfield ,museum4 8,beaufatt10 #ij2 chair1 #ahb2 chest1 #aa1 #ae2 dulcimer1 #cjd2 settle1 #bad2 spinet1 #bhb4 ,dyer1 ,clinton ,m41 ,worcester4 ,table1 #beh2 table and chair1 #bfg4 ,e ,earle1 ,mrs4 ,alice ,morse1 ,brooklyn4 ,chair1 #ahg2 desk1 #ach4 ,essex ,institute1 ,salem4 ,chair1 #aeh2 cupboard1 #hh2 settee1 #baf4 ,f ,faulkner1 ,dr4 ,g41 ,roxbury4 ,clock1 #cfc4 ,flagler1 ,harry ,harkness1 ,millbrook4 ,andirons1 #cbj2 candle-stand1 #cdc2 chair1 #afd1 #ahf1 #ahh1 #aie2 clock1 #cei2 double-chair1 #bbb2 dressing-table1 #ci2 fender1 #cbj2 high chest1 #cg2 lantern1 #cdf2 looking-glass1 #ci1 #chf1 #djd2 side table1 #ic2 settee1 #bba2 table1 #bed1 #bee1 #bef1 #beh1 #bfa2 writing table1 #acf4 ,g ,gage1 ,mrs4 ,thomas ,h41 ,worcester4 ,bureau1 #ec1 #ef2 case of drawers1 #ee2 desk1 #aeb2 looking-glass1 #cih2 sofa1 #bci4 ,gage1 ,miss ,mabel ,c41 ,worcester4 ,desk1 #abj4 ,garrett1 ,the ,misses1 ,williamsburg4 ,mixing table1 #aaf2 stairs1 #ddh4 ,gay1 ,calvin1 ,worcester4 ,clock1 #cgb4 ,gilbert1 ,j4 ,j41 ,baltimore4 ,bedstead #ga2 bookcase1 #adc2 chair1 #aii2 table1 #bef2 music-stand1 #cjf4 ,gilman1 ,daniel1 ,exeter4 ,chest of drawers1 #cf4 ,girard ,college4 ,settee1 #bbi4 ,graeme ,park1 ,horsford4 ,mantel1 #ddc2 stairs1 #ddb4 ,grisier1 ,mrs4 ,ada1 ,auburn4 ,piano1 #bie4 ,h ,harrison1 ,mrs4 ,charles ,custis1 ,st4 ,david's4 ,mixing-table1 #aae4 ,henry1 ,mrs4 ,j4 ,h41 ,winchendon4 ,desk1 #aec4 ,herreshoff1 ,j4 ,b4 ,f41 ,new ,york4 ,double-chest1 #cc4 ,historical ,society of ,pennsylvania4 ,chair1 #agc1 #bja2 desk1 #aab4 ,hogg1 ,mrs4 ,w4 ,j41 ,worcester4 ,settee1 #bbg4 ,holmes1 ,george ,w41 ,charleston4 ,bookcase1 #add2 looking-glass1 #dji2 side-table1 #id4 ,hosmer1 ,the ,misses1 ,concord4 ,couch1 #bah2 sofa1 #bce2 table1 #bfh4 ,hosmer1 ,walter1 ,wethersfield4 ,chair1 #ahj2 couch1 #bah2 cupboard1 #hh2 desk1 #abe1 #abf2 dressing-table1 #ce4 ,huntington1 ,dr4 ,william ,r41 ,new ,york4 ,desk with cabinet top1 #acj4 ,hyde1 ,mrs4 ,clarence ,r41 ,brooklyn4 ,comb-back rocker1 #age2 chair1 #bjb2 knife-box1 #ajj2 settee1 #bcb2 table1 #bge4 ,i ,independence ,hall4 ,doorway and stairs1 #dda4 ,ipswich ,historical ,society4 ,bedstead1 #fg2 chair1 #agj1 #aga4 ,j ,johnson-,hudson1 ,mrs4 ,stratford4 ,bedstead1 #ff2 bureau1 #dg2 candle-shades1 #ccb2 kas1 #ia2 looking-glass1 #ccb2 screen1 #cch2 table1 #bei4 ,k ,kennedy1 ,w4 ,s4 ,g41 ,worcester4 ,chair1 #aij1 #bjc2 clock1 #cfd2 desk1 #adi2 looking-glass1 #cib2 piano1 #bic2 sideboard1 #aac2 sofa1 #bcj4 ,kimball ,house1 ,salem4 ,mantel1 #dca4 ,knabe1 ,william ,co41 ,baltimore4 ,harpsichord1 #bhe4 ,kohn1 ,h4 ,h41 ,albany4 ,looking-glass1 #cae4 ,l ,ladd ,house1 ,portsmouth4 ,chair1 #afa2 settee1 #bbd4 ,lang1 ,b4 ,j41 ,boston4 ,piano1 #cjh4 ,larkin-,richter ,house1 ,portsmouth4 ,doorway1 #dcc4 ,lawrence1 ,walter ,bowne1 ,flushing4 ,chair1 #bjh4 ,lawton1 ,mrs4 ,vaughan ,reed1 ,worcester4 ,harp1 #cac4 ,lee ,mansion1 ,marblehead4 ,bedstead1 #gj2 fireplace1 #caf2 mantel1 #dbb2 stairs1 #dbe4 ,lemon1 ,e4 ,r41 ,sudbury4 ,chest of drawers1 #ai2 fire-frame1 #cbh2 looking-glass1 #cdi1 #cgd4 ,lincoln1 ,waldo1 ,worcester4 ,chair1 #bji1 #baj2 sideboard1 #aji4 ,lindall-,barnard-,andrews ,house1 ,salem4 ,mantel1 #dcb4 ,m ,mac,innes1 ,j4 ,c41 ,worcester4 ,side-table1 #ajf4 ,manor ,hall1 ,yonkers4 ,mantel1 #dch1 #dci1 #ddj4 ,marsh1 ,mrs4 ,caroline ,foote1 ,claremont-on-the-,james4 ,chest1 #ac4 ,meggatt1 ,william1 ,wethersfield4 ,lantern clock1 #cdi4 ,metropolitan ,museum of ,art4 ,basin-stand1 #ei2 chair1 #aia2 dressing-table1 #bd2 high-boy1 #bg2 looking-glass1 #cic1 #daa2 table1 #bfb1 #bgg4 ,moffett1 ,charles ,a41 ,worcester4 ,clock1 #cfi4 ,moore1 ,d4 ,thomas1 ,westbury4 ,clock1 #cga2 chair1 #aif4 ,morse1 ,charles ,h41 ,charlestown4 ,bureau1 #eh2 clock1 #cff2 dressing-table1 #ed4 ,morse1 ,mrs4 ,e4 ,a41 ,worcester4 ,bedstead1 #gg2 chair1 #aid1 #bjh2 clock1 #cfa1 #cfd2 table1 #bgi2 washstand1 #fb4 ,morse1 ,miss ,frances ,c41 ,worcester4 ,andirons1 #cbd2 bedstead1 #gh1 #ha2 bureau1 #de1 #ea2 candlesticks1 #ccc2 chairs1 #aff-afh1 #afi1 #agb1 #agd1 #agh1 #ahd1 #aic1 #bjj1 #bab2 clock1 #cej1 #ceg1 #cfj1 #cfb1 #cfd2 coasters1 #ajb1 #beb2 desk1 #adf2 high chest1 #cj2 lamps1 #cbi2 looking-glass1 #hd1 #bhj1 #cgh1 #cib1 #cif1 #djg1 #daj2 low-boy1 #cj1 #dj1cgh2 mirror-knobs1 #cid2 night-table1 #fb2 piano1 #bij2 piano-stool1 #bih1 #cjj2 secretary desk1 #adg2 settee1 #cba2 sideboard1 #ajb2 sofa1 #bcf2 table1 #bej1 #beb1 #bfj1 #bfe2 washstand1 #fa1 #fc4 ,mount ,vernon4 ,lamp1 #cce2 mantel1 #cbd4 ,myers1 ,barton1 ,norfolk4 ,mantel1 #dej2 settee1 #bcb2 table1 #bgd4 ,n ,newburyport ,historical ,association4 ,cradle1 #fe2 desk with cabinet top1 #acg2 table1 #bdd4 ,newman1 ,mrs4 ,m41 ,new ,york4 ,sofa1 #bda4 ,nichols1 ,the ,misses1 ,salem4 ,chair1 #bje2 looking-glass1 #cii4 ,o 8,oak ,hill40 ,peabody4 ,stairs1 #dbh4 8,octagon10 ,washington4 ,doorway1 #dcd2 mantel1 #dce4 ,ogle ,house1 ,annapolis4 ,looking-glass1 #cjj4 ,orth1 ,john1 ,boston4 ,clavichord1 #bhh4 ,otis1 ,harrison ,gray1 ,house1 ,boston4 ,mantel1 #dbe2 stairs1 #dbd4 ,p ,parker-,inches-,emery ,house1 ,boston4 ,doorway1 #dbj4 ,pendleton ,collection1 ,providence4 ,hall lantern1 #cdh2 knife urn1 #ii4 ,pennsylvania ,historical ,society4 ,chair1 #agc1 #ahc1 #ahd2 desk1 #abd4 ,penny-,hallett ,house1 ,boston4 ,mantel1 #dai4 ,philadelphia ,library ,association4 ,looking-glass1 #chd4 ,pilgrim ,society1 ,plymouth4 ,chairs1 #aeg2 cradle1 #fe4 ,poore1 ,ben3 ,perley1 ,byfield4 ,bedstead1 #gb1 #ge2 candle-stand1 #ccj1 #cdb2 cellaret1 #aaa2 chair1 #aei1 #afj1 #afb1 #agb1 #aha1 #ahf1 #bjd2 chest on frame1 #ah2 clock1 #ceb2 looking-glass1 #aag1 #aed2 screen1 #cdb2 sofa1 #bdj4 ,potter1 ,mrs4 ,m4 ,g41 ,worcester4 ,looking-glass1 #bac4 ,pratt1 ,miss ,emma ,a41 ,worcester4 ,miniature tall clock1 #cfj4 ,prentice1 ,mrs4 ,charles ,h41 ,worcester4 ,dutch chair1 #agi4 ,preston1 ,mrs4 ,william1 ,richmond4 ,looking-glass1 #cig4 ,priest1 ,mrs4 ,louis ,m41 ,salem4 ,piano1 #bif4 ,pringle ,house1 ,charleston4 ,chandelier1 #ccf4 ,prouty1 ,dwight ,m41 ,boston4 ,andirons1 #cbb2 chair1 #aff1 #aib1 #bjb2 chest1 #ag2 chest of drawers1 #bj2 clock1 #cfh2 bureau1 #db2 hall lantern1 #cdg2 looking-glass1 #cge1 #chd1 #chh1 #djh2 music-stand1 #cjg2 screen1 #cda2 settee1 #bai2 side-table1 #ajg2 stool1 #afg2 table1 #bdh1 #bfc1 #bgj4 ,r ,rankin1 ,mrs4 ,f4 ,w41 ,albany4 ,desk1 #aai1 #abj2 table1 #bdi4 ,rines1 ,albert ,s41 ,portland4 ,chair1 #aib2 secretary1 #ace2 settee1 #bbf4 ,robart1 ,f4 ,a41 ,boston4 ,dressing-table #bc2 high-chest1 #bb4 ,robinson ,house1 ,saunderstown4 ,stairs1 #dbf4 ,rogers1 ,mrs4 ,n4 ,f41 ,worcester4 ,cheval glass1 #dje4 ,s ,sargent-,murray-,gilman ,house ,gloucester4 ,mantel1 #dbi2 stairs1 #dcj4 ,schoeffer1 ,dr4 ,charles1 ,philadelphia4 ,sofa1 #bab4 ,schuyler ,house1 ,albany4 ,mantel1 #dcf4 ,shapiro1 ,l4 ,j41 ,norfolk4 ,sideboard1 #aad2 table1 #bgb4 ,sibley1 ,charles1 ,worcester4 ,bureau1 #df4 ,smith1 ,john1 ,worcester4 ,table1 #bgc4 ,stevenson1 ,cornelius1 ,philadelphia4 ,screen1 #cda4 ,t ,tappan1 ,mrs4 ,sanford1 ,newburyport4 ,piano1 #bib4 ,tilton1 ,miss ,m4 ,e41 ,newburyport4 ,table1 #bea4 ,turner1 ,frank ,c41 ,norwich4 ,clock1 #cfi4 ,u ,unitarian ,church1 ,leicester4 ,chair1 #bjj4 ,v ,valentine ,museum1 ,richmond4 ,stairs1 #ddi4 ,verplanck1 ,samuel1 ,fishkill4 ,desk with cabinet top1 frontispiece4 ,w ,warner ,house1 ,portsmouth4 ,bedstead1 #gf2 bill of lading1 #aci2 bookcase1 #adb2 bureau1 #dc2 chandelier1 #ccd2 double chest1 #cb2 dressing-table1 #cd2 high chest1 #bh2 sofa1 #ccg2 stove1 #cbg4 ,waters1 ,charles ,r41 ,salem4 ,bedstead1 #gd2 bureau1 #dd2 candelabra1 #cbe2 chair1 #aee1 #afj1 #aid1 #aif1 #bjc2 chest1 #af2 chest upon frame1 #ah2 cupboard1 #hg2 desk box1 #aah2 desk with cabinet top1 #abh2 hob grate1 #cbe2 looking-glass1 #chc2 lantern clock1 #cej4 ,wing1 ,mrs4 ,john 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