Colonial Furniture 00 Lock

THE LIBRARY
OF
THE UNIVERSITY
OF CALIFORNIA
LOS ANGELES
COLONIAL
FURNITURE
IN AMERICA
BLOCK-FRONT HIGH CHEST OF DRAWERS, FIRST

HALF EIGHTEENTH CENTURY.
(Handles Missing.)
COLONIAL
FURNITUI^
IN AMERICA
BY
LUKE VINCENT LOCKWOOD
NEW YORK
CHARLES SCRIBNEKS SONS
MDCCCCI
Copyright, 1901, by
Charlks
Scrii'.nkr's
Sons
Pttblished Dcci-mbcr, iqoi
College
Library
LS
PREFACE
THE
collector,
of
volume
object of the present
the
colonial
subject,
them
way
such a
in
furniture
a trustworthy
having especially
in
mind
style
the
and arranging
styles,
as to enable any one at a glance
determine under what general
the
in the subject
furniture, with
natural development of the various
furnish
to
and other persons interested
American
handbook on
is
to
and date a piece of
falls.
The
sources of information from which this book has
been derived are: examination of inventories and contemporary records,

jects of
all
furniture,
English,
available newspapers,
French, German,
general and
and
architecture,
commercial
Italian,
works on the sub-
interior
woodwork by
and American
writers,
books on manners and
histories,
customs, ancient dictionaries, cabinet-makers' books of design

ancient and modern, and examination of specimens of furniture,
both colonial and foreign.
The
New
last
of these sources
England
as well as the
lacking
in
is
is
the
particularly rich in
most important, and
examples of the
later furniture, -while t\\e
any pieces prior
to the
South
mahogany
1157655
is
earliest
wofully
period, although
PREFACE
show
the inventories
that such pieces existed
dantly there even than
the North.
in
New England jjossesses many

and
lic
private,
both pub-
fine collections,
and as these collections contain examples
from both North and South,
we have
them
of taking
in
more abun-
instead
illustrating
in
many
cases used
specimens
still
in
the South.
many
In the last few years
century furniture have
development
the idea of
it
come
pieces of the seventeenth-
to light
on
insisted
which
in this
fully
carry out
volume, but often
has been impossible to obtain pictures of these pieces, the
owners fearing the reproducer.
As
to the in\'entories,
The
are misleading.
there
is
no way of
in the inventories,
must be borne
it
how long
had been
was
in the
taken,
guide to follow
fairly safe
Then
inventory date.
that they
as
is
a piece,
possession of the deceased
to
late
rather than too early.
deduct ten years from the
valuations.
to
when mentioned
and we believe the tendency
has heretofore been to date too
mind
dates will always be late for a style, as
telling
before the inventory
in
The inventory
\aluations arc, of course, very low, usually about three
one half of the true \alue, and
to
must be taken of the
money was
if
a chest
is
then about fi\e times
valued at
^1
in
\alue at that time was from
corresponding
^8
6s. 8d. to
to
this
at
the
that
fact
\\
hat
before 1710
account
purchasing power of
it
is
at present.
an inventory of 1680,
î
the
if
fifths
13s. 4d. to ^2,
Thus
its
true
and the sum
present time would be from
/lo.
The method
followed
in
dating the specimens of furni-
PREFACE
shown has been to suggest the time when the
represented was in common use, and no attempt has
ture here
style
been made
to place the date of
any specimen
exactly, for only
under special circumstances could that be done.
The
collectors
kindness
furniture,
writer wishes to express his thanks to the various
and persons having family

in
pieces, for their universal
allowing him to examine and photograph their
and
for the interest they
Brooklyn, November,
1901.
have taken
in this
work.
CONTENTS
Chapter
Chapter
II
Chapter
III
Chapter
IV
Chapter
Chapter
VI
Chapter VII
IX
Chapter
Chapter
XI
Index
Chests
Cupboards and Sideboards
Settles,
Tables
Mirrors
...
Bedsteads
Clocks
Page
13
Page
36
Page
81
Page 123
Page 216
Page 284
Page 300
Page 247
Page
Page 196
Desks and Scrutoirs
Couches, and Sofas
Chairs
Chests of Drawers
Chapter VIII
Chapter
Introduction
Page 321
Page 347
LIST OF ILLUSTRATIONS
ARTOTYPES
Block-front High Chest of Drawers,
(Handles missing.)
(Fig, 31.)
first
half eighteenth century.
Frontispiece
FACING PAGE
Dutch Marquetry Chest, 1616. (Fig. 4.)

Dutch Marquetry High Chest of Drawers,
teenth century.
18
last
quarter seven-
(Fig. 21.)
44
High Chest of Drawers, latter half eighteenth century. (Fig. 39.)

Panelled Oak Press Cupboard, 1660-80. (Fig. 58.)
Panelled Oak Press Cupboard with Three Drawers, latter half
.
seventeenth century.
Chippendale Chair.
(Fig.
(Fig. 62.)
.
Marquetry Top of Slate Table shown
182
202
(Fig. 172.)
Block-front Cabinet-top Scrutoir,
88
92
145.)
Chippendale Double Chair.
68
in
Figure
1770-80.
194.
(Fig. 195.)
(Fig. 233.)
Mantel and Mirror, 1783. (Fig. 254.)

Carved Oak Bedstead, 1593. (Fig. 262.)
226
272
296
302
HALF-TONE CUTS
FIGURE
PAGE
quarter seventeenth century
Pine Ship-chest,
English
Carved Oak Chest, about 1660
17
Carved Oak Chest with One Drawer, about 1660
19
Panelled Chest with
Panelled
Oak
first
Chest, about 1650
14
16
One Drawer, 1650-60
20
Oak Chest with Two Small Drawers, 1660-70
21
PAGE
FIGfRE
9
10
Two Drawers, last quarter seventeenth century

Carved Oak Chest with Two Drawers, 1660-75
Carved ami Panelled Chest with Two Drawers, last quarter sevenPanelled Chest with
teenth century
1
22
24
25
Carved Oak Chest with
Two
Drawers,
last
quarter seventeenth
26
century
12
Carved and Stained Oak Chest with One Drawer, 1690-17 10
13
Carved and Stained Chest with
14
Carved and Stained Chest with Three Drawers, 1690-17 10
15
Carved Oak Chest with One Drawer,
Two
Drawers, 1690-17 10
last
27
....
28
...
29
quarter seventeenth
century
3'
One Drawer, about 1700
16
Painted Chest with
17
Carved Oak Chest of Drawers,
18
Panelled Chest of Drawers,
19
Panelled and Carved Chest of Drawers, last quarter seventeenth
latter half
last
32
seventeenth century
...
century
37
38
39
...
41
....
45
20
Panelled Chest of Drawers, last quarter seventeenth century
22
High Chest
23
Walnut Dressing-table
24
High Chest of Drawers, 1710-20.
25
Walnut Dressing-table, about
26
High Chest of Drawers, 1710-20
27
Handles and Escutcheons, First and Second Periods,
28
Cabriole-legged High Chest of Drawers, 1710-20
29
Walnut and Inlay Cabriole-legged Dressing-table, 1720-30
30
Cabriole-legged High Chest of Drawers with Steps for China, about
of Drawers, last quarter seventeenth centurj'

(not restored), about 1700
(Stretchers
46
new and
incorrect.)
17 10
47
50
51
675-1 720
54
55
...
1730
56
57
High Chest of Drawers, 1730-40
32
Scroll-top
^^
Dutch Cupboard, 1730-40
62
34
Dressing-table, 1730-40
63
35
Dressing-table, 1760-70
64
36
Japanned Dressing-box, 1760-80
6y
37
Double Chest of Drawers, about 1740
65
58
Double Chest of Drawers,
40
Handles, Third and Fourth Periods, dating 171060
760-80.
xii
(Handles probably added
61
later.)
68
69
PAGE
FIGURE
41
Mahogany Low Chest
42
Low
43
44
45
46
of Drawers, 1760-80
70
Chest of Drawers, about 1770-80
71
Low Chest of Drawers, about 1780

Block-front Low Chest of Drawers, about 1780
Swell-front Low Chest of Drawers, 1780-1800
Mahogany and Satinwood Low Chest of
72
Block-front
72
Tl
Drawers,
1780-90.
(Brasses new.)
Low
74
Chest of Drawers, about 1790
75
Low
Chest of Drawers, about iSoo
^6
(Handles new.)
"jj
47
Sheraton
48
Late Sheraton
49
Empire Bureau, 1800-10.
50
Empire Bureau, 1810-20
51
Handles,
52
Handles, 1800-20
79
53
Wash-stand, Hepplewhite, 1780-90
80
54
Wash-stand, Sheraton, about 1790
80
55
Dining-hall, Christ
78
770-1 800
79
Church College, Oxford.
(Showing cupboard
beneath window.)
83
56
Press Cupboard, about 1650
57
Panelled Cupboard,
59
Panelled
and
last
Inlaid
86
Press
Cupboard,
last
quarter
87
seventeenth
century
89
60
Carved Oak Press Cupboard,
last
91
61
last
92
63
Cupboard of Drawers,
64
Dutch Cabinet,
65
Painted Kas, latter half seventeenth century
66
Carved Walnut Kas, about middle of seventeenth century
67
Carved Spoon -rack, about 1675
10
68
Panelled Cupboard, 1740-50
102
69
Chest of Drawers with Cupboard Top, about 1780
103
70
" Beaufatt "
105
71
Corner " Beaufatt," about 1740
107
72
Cupboard with Glass Door, 1738
109
74
first
last
94
and Wall Panelling, about 1740
Hepplewhite Sideboard, 1790-1800
Hepplewhite Sideboard, 1790-1800.

xiii
97
98
....
99
113
(Handles new.)
114
PAGE
FIGURE
75
Hepplewhite Sideboard, 1799
uS
}6
Sheraton Sideboard, about 1800
116
j-j
Knife- and Spoon-box, last quarter eighteentii century
117
78
Sheraton Sideboard, about 1800
118
79
Empire Sideboard, 1810-20
119
80
120
81
121
82
Late Empire Sideboard, 1830
122
83
Dining-hall, Christ Church, Oxford
125
84
Turned Chair, sixteenth century
127
85
Turned
128
86
Turned Chair,
87
Turned Chair,
88
Wainscot Chair, about 1600
131
89
Wainscot Chair, 1614
132
90
Wainscot Chair, 1600-20
133
91
Wainscot
92
Chair-table,
93
Leather Chair, about 1640
135
94
Flemish Chair,
141
95
Flemish Chair, about 1690
143
96
Chair showing English Adaptation of Flemish, 1680-90
143
97
Chair showing English Adaptation of Flemish,
Chair, 1575-1620
1
128
575-1620
first
Cliair, first half
130
seventeenth century
134
1660-80
last
134
680- 700.
1
missing.)
(Feet
144
1680- 1700
98
Italian Chair,
99
Spanish Chair,
latter half
145
seventeenth century
Spanish Style, 1680-1700
147
100
Chair
lOi
Chair showing Flemish and Spanish Styles, 1680-1700
149
102
Late Spanish, 1700-10
150
103
Late Spanish, 1700-10
150
104
Late Spanish, showing Dutch Influence, 1700-15
151
105
Queen Anne
151
106
Slat-back, about 1730
153
107
Slat-back, about 1740-50
154
108
Slat-back, about 1750
in
Chair, showing Spanish Feet, 1710-20
149
154
XIV
PAGE
FIGURE
09
Slat-back, about 1760-70
155
10
Banister-back, 1710-20
155
11
156
12
13
Roundabout
14
Dutch Chairs with Underbrace, 1710-30
15
Dutch
16
Dutch Roundabout Chair, Extension Top, about 1730-40
17
Dutch Chairs with Rush
18
Simple Dutch Chairs,
19-21
156
Chair, sliowing Spanish Foot, about 1720-30
....
158
Chairs, about 1730
Dutch
159
about 1740
Seats,
common
....
throughout eighteenth century
22
Dutch Chair, about 1740
23
Cabriole-legged Cosey-chair, 1730-40
24
Windsor Rocking-chair,
25
Windsor Arm- and
26
Fan-back Windsor Chairs,
27
Windsor Writing-chair, 1760-80
28
Windsor
Chair-backs
161
162
163
latter half
164
166
eighteenth century
Side-chairs, latter half eighteenth century
century
latter half eighteenth
....
166
167
168
showing Carved Arms,
last
quarter eighteenth
169
century
29
160
161
Chairs, dating about 1740
Chair,
157
in
Queen Anne,
Chippendale,
Sheraton Designs
Hepplewhite, and
172
30
Chinese Chair, about 1800
174
31
Chippendale Chair
I7S
32
Chippendale Chair
'75
33
Chippendale Chair
176
34
Chippendale Chair
176
35
Chippendale Chair
177
36
Chippendale Chair
177
l"]
Chippendale Roundabout Chair
178
38
Chippendale Roundabout Chair, Extension Top
178
39-41
Chairs in Chippendale Style
179
42
Chippendale Chair
181
43
Chippendale Chair
182
44
Chippendale Chair
182
46-48
Chippendale Slat-back Chairs
183
PAGE
FIGURE
149
Chippendale; Chair
184
150
Chippendale Chair
184
151
Chippendale Chair
185
152
Chippendale Chair
185
153
Hepplewhitc Chair
186
154
Hepplewhite Chair
186
155
Hepplewhite Chair
187
156
Hepplewhite Chair
187
157
Hepplewhite Cosey-chair
188
158
Sheraton Chairs
189
159
Sheraton Chairs
189
160
Sheraton Chair
191
161
Sheraton Chair
191
162
Sheraton Chair
192
163
Painted Sheraton Chair
192
164
Painted Sheraton Chairs
193
165
Phyfe Chair
194
166
Empire Chair
194
167
Empire Chairs
194
168
Carved Oak
169
Pine Settle,
170
Turned Settee with Turkey- work Upholstery, about 1660
171
Dutch Double Chair, 1740-50
173
Upholstered Settee,
174
Sheraton Double Chair,
175
American Sheraton
176
Flemish Couch,
177
Rush-bottom Couch, 1730-40
208
178
Chippendale Couch, 1760-70
209
179
Chaise-longue, about 1800
210
180
Chippendale Sofa, 1760-80
211
181
Sheraton Sofa, about 1800
213
182
Empire Cornucopia
183
Empire
Settle, latter half seventeenth century

first
latter half
1
198
....
eighteenth century
203
780-1 800
Settee,
latter half
199
201
205
1800-20
206
(Seat and back
207
ori<finally cane.)
Sofa,
197
half eighteenth century
Sofa,
1810-20
1810-20
214
215
LIST O
L L V S
RATIONS
FIGURE
PACK
184
Empire
185
Oak Drawing- table,
186
Oak
Table,
187
Oak
Table, about 1700
220
188
Oak
Table, last quarter seventeenth ccntiir}-
220
189
Chair-table, 1660-80
Sofa,
1810-20
first
215
early seventeenth centur\-
218
half seventeenth century
219
221
....
....
go
"
Thousand-legged Table,"
first
191
"
Thousand-legged Table,"
latter half
192
" Butterfly
193
X -Braced Table,
194
Slate-top Table, last quarter seventeenth centur\-
226
196
Dutch Table, 1720-30
228
197
Dutch Table, about 1730
229
198
Dutch Table with
199
Mahogany Drop-leaf
200
Tea-table, about 1730
231
201
Tea-table, 1740-50
231
202
Tripod Candle-stantl, 1720-40
232
Pie-crust Table, 1750-75
233
203,
204
half seventeenth century
seventeenth century
Table," about 1700
Two
223
224
quarter se\-enteenth centur\-
last
222
Leaves, 1720-40
225
229
230
Table, 1750
205
Tea-tray Table, 1750-75
234
206
Chippendale Table, 1760-80
235
207
Chippendale Card-table, 1760-80
236
208
Chippendale Card-table, 1760-80
237
209
Hepplewhite Table, 1780-90
238
210
Sheraton Table, 1780-90
239
211
Hepplewhite Card-table, 1780-90
241
212
Sheraton Card-table, about 1790
241
213
Empire Card-table, about
243
214
Empire Work-table, 1820-30
244
215
Empire Card-table, 1810-20
245
216
Empire Pillar-and-claw Table, 1810-20
245
217
Sofa-table,
218
Bible-box, 1649
219
Desk-box,
220
Desk-box
18 10
1810-20
first
in "
246
249
half se\enteenth century
Hadley
" Pattern,
1690-1710
XVII
250
250
LIST OF
L L U S
A T
1<
O X
S
IA(;E
FIGURE
seventeenth centurj-
221
Desk-box,
222
Desk on Frame, about 1675
223
Ball-foot Scrutoir, about 1700
224
Cabriole-legged Scrutoir, 1720-40.
225
Cabriole-legged Scrutoir, 1740-50
226
Slant- top Scrutoir, 1740-50
227
Cabinet-top Ball-foot Scrutoir, about 1700
228
Cabinet-top Scrutoir,
1740-50
267
229
Slant-top Scrutoir, about 1750
268
230
Slant-top Scrutoir, 1760-80
269
231
Slant-top Scrutoir, 1760-80
270
232
Block-front Cabinet-top Scrutoir, 1760-80
271
234
Block-front Cabinet-top Scrutoir, 1770-80
273
235
Block-front Slant-top Scrutoir, 1770-80
272
236
Serpentine-front Slant-top Scrutoir, 1760-80
275
237
Fire-screen Scrutoir, 1780-90
276
238
Sheraton Writing-table, about 1789
277
239
Sheraton Scrutoir, 18 10
278
240
Scrutoir with Bookcase Top, about 1800
279
241
Empire Desk, about 1820
281
242
Marquetrj' Empire Scrutoir
282
243
Inlaid
244
Walnut and
245
Queen Anne and Chippendale Urns
246
Walnut and
247
Wood
248
Carved and
Gilt Mirror, 1730-50.
249
Carved and
Gilt Mirror,
250
Filigree Gilt Mirror,
251
Mahogany
252
Hepplewhite Mirror, 1780-90
292
253
Carved and Gilt Girandole, about 1780
293
255
Gilt
256
Mahogany and
257
Constitution Mirror, 18 10-15
latter half
251
252
.'
255
(Handles and hinges new.)
258
260
261
"
265
286
Olive-wood Mirror, seventeenth centur\Gilt Mirror,
287
1720-40
287
(Centre ornament missing.)
(Some
and Gilt Mirror, about 1730.
Inlaid
and
parts missing.)
(Glass new.)
288
288
289
290
1750-60
290
1770-80
Gilt Filigree Mirror,
770-80
and Painted Mirror, about 1800

Gilt Constitution Mirror,
291
295
1780-90
296
296
.wiii
FIGURE
PAGE
25S
Carved Mahogany Empire Mirrors, 18 10-20
259
Gilt
Empire Mirror,
260
Gilt
Mantel Mirror, Empire Style, 1810-20
261
Enamel and Brass Mirror Rosettes
299
263
Couch-bedstead, seventeenth century
307
264
Cradle, sixteenth century
308
265
Wicker Cradle, early seventeenth century
309
266
Mahogany Bedstead, about 1750
311
267
Draped Bedstead,
268
Mahogany Bedstead, Ball-and-claw
269
Examples of Empire Bedposts, 1810-20
315
270
Empire Bedstead, about
317
271
Low-post Bedstead, 1810-20
316
272
Low-post Bedstead, 1820-30
319
273
French Bedstead, about 1830
320
274
Portable or Table Clock, 1710-20
298
18 10-20
298
late eighteenth
299
century
312
Feet, 1770-80
313
18 10
323
....
275
Portable or Table Clock, last quarter eighteenth century
276
Chamber
or Lantern Clock, 1600-40
324
277
Chamber
or Lantern Clock, 1660-80
325
278
Chamber
or Lantern Clock, last quarter seventeenth century
279
Dutch Chamber Clock, seventeenth century
329
280
Tall Clock, about 1700
331
281
Tall Clock, about
282
Dial of Clock
283
Dial of Tall Clock showing
284
Musical Clock, Chippendale Case, 1760-70
285
Dial of Clock
286
Burnap Clock, 1799
287
Tall Clock with Painted Face, about 1800
339
288
French Clock of Alabaster, 1800-20
338
289
Willard or Banjo Clock, 1800-20
341
290
Willard or Banjo Clock, 1800-20
341
291
Clock made by A.
342
292
Mantel Clock, 18 12
293
Mantel Clock, 1820-30
...
700-10
shown
shown
in
in
323
328
334
Figure 281
334
Arch Top, 1725-30
335
^^6
Figure 284
336
,
Willard, early nineteenth century
337
343
344
xix
INTRODUCTION
THE
history of furniture in this country, in England, and in
Holland
political
seem necessary,
so
is
closely
and commercial
for a
is,
of course,
so
plainly
reflects
histories of the time, that
it
the
would
proper understanding of the subject, to give
up the matter
this brief outline before taking

It
and
allied,
not
in detail.
contended that the styles of furniture
changed suddenly, with each
political
mens may not have appeared
change, or that a few speci-
earlier than the
periods here given.
Style follows the general law of slow development, and
attempted
it is
here to give only the period when a given style became dominant,
and
to trace
somewhat the reasons
At the time our

throne, and the
for a
history opens
Dutch
for
change.
James
was on the English
some years had commanded
the seas,
carrying on a prosperous trade with Spain, Portugal, and the East

Indies.
Antwerp was the great commercial
centre,
and was export-
ing to England household furniture and choice dry-goods

in
exchange only crude raw
tosfether with beer
materials, such as wool, lead,
and cheese.
Holland was
at this
receiving
and
tin,
time receiving
from Spain and Italy the cane furniture which later came to England,
under Charles
II.
the world afforded.
Consequently, the Dutch possessed the best that
COLONIAL FURNITURE
England the
In
furniture
was
scarce,
and unless imported was
confined to the turned and wainscot types
period
fact,
this
characterized by the beauty of the carving and panelling
is
which appeared
in
great profusion
in
the better class of homes, and
which has been given the name Jacobean.
to
In
entire!)'.
In
design
it
was
a mixture of the more or less grotesque Elizabethan carving and the

Italian
classic,
Holland, and
which had just been brought
it
would be worthy of but
colonial furniture in America,
way
universal
growing as
able,
were particularly
it
it
mention
in
book on
not that the carving found
wood was
did abundantly
scarce, there
in
oak, which
England
was
easily obtain-
Chairs
at that time.
being sometimes but one
in
a house.
This one, as a mark of dignity or respect, was reserved

master or his guest.
was
plain
and massive, with
square legs, and a double brace around the lower part
straight,
took the form of the turned chair, similarly braced, the latter
it
beine the chair of the middle
The
this country.
in
for the
Benches called "forms" almost entirely took

In style, the chair
the place of chairs.
or
its
on many chests, cupboards, and wainscot chairs.
to this country
The almost
were
slight
the country from
to
Venice,
its
The
reign
and
for that
upholstered chair
was
reason more
common
from
also introduced
use denoting a degree of luxury not before attained.
table before
was
class,
in
and perhaps during the early part of James's
form long and narrow, placed on cross-bars
of an X, or on legs with heavy underbracing.
what improved
in style,
and James presented
in the
little later it
to the Earl of
shape
some-
Middle-
sex a so-called thousand-legged table, which was apparently one of

the
new
The
styles of furniture of the day.
furniture reaching this country, at this earliest time,
was
almost entirely of English origin, except, of course, that imported to
New
Amsterdam.
The
settlers
ture they could, probably

in
all
brought with them what
little
furni-
of which had been in use in England, or
Holland, where the Pilgrims had taken
it,
and as more pieces were
INTRODUCTION
made
they were
needed
As
brought over.
patterns of those which were
the
after
however, as the colonists became perma-
soon,
nently settled, and had acquired
means
them importing from Holland as
well as from England.
During the reign of Charles

proved but
owing
little,
in
The
and often leaves were added,
size,
The thousand-legged
which could be raised or dropped.
table
was
and came into use as a sort of extension dining-table.
also enlarged,
Couches now
find
the character of the furniture im-
to the unsettled political conditions.
however, increased
tables,
we
to satisfy their tastes,
also put in their appearance.
In Holland the Spanish pieces and the leather chair imported
from Venice were
The
at this
time being developed.
general use of the chair
England dates from the Com-
in
monwealth, and the reason can readily be traced

tendency of the age
improvement
little
is
owing
but,
seen,
advance
With
French,
still
although
the
unsettled state of
leather chair with
affairs,
brass
was imported from Holland, and shows a
nails already referred to
slight
to the
to the democratic
in comfort.
the Restoration (1660)
Italian,
came Continental
and Dutch, and
almost immediately
country
in this
improvement made
this
in
and
ideas
styles,
itself felt
such places as Salem and Boston
and generally throughout the South.
A style of chair which

and here was the
which, with
modification,
its
feet
became very popular during
chair, usually
The
and carved
this
reign.
in
large numbers in
all
in-
so-called Flemish cane pieces, with Spanish or scroll
front braces
With the Revolution

the English throne,
ture which
England
covered with Turkey work or
and such chairs are mentioned
ventories.
in
turned chair, doubtless of French origin,
spiral
This was an upholstered

leather,
had considerable influence both
came
was destined
and backs,
also
appeared during
this reign.
of 1688, which placed William and
Mary on
a considerable change in the style of furnito
influence the art for the ne.xt

3
hundred
COLONIAL
This change was due not
years.
brought with him Dutch
rally
U R N
I'
onl)- to the fact that
ideas, but
also
of the Edict of Nantes (1685), after which
posed mostly of the artisan
class, fled to
giving a great stimulus to
T U R E
Revocation
the
to
natu-
many Huguenots, com-
the Netherlands and England,

of those
trades
the
WilHam
This
countries.
change, however, does not seem materially to have affected the colonies until about the beginning of the eighteenth century,
st\le
is
generally called
Queen Anne.
During the
and the
part
first
of
William and Mary's reign the popularity of the Flemish furniture
was
at
but there was
heio-ht;
its
bandy-legged furniture with the
many
with
As
tury.
it
fying their
was during
Dutch
about
period
mere
necessities of
of cabriole-legged pieces
many
but
it
did not
until this reign that
in this
It
was
also
into
become very popular there

in
of one of these
They were
is
to
in
find
high-boys,
in
due
to
England
until
about
England as early as
it
was not
They
sideboards with drawers came into use.
An example
Museum.
country
was introduced
were made of oak, carved and panelled
ton
and were beauti-
were probably tables without drawers, and
1553, but they
colored.
had passed
European markets, we
Sideboards are mentioned
a century later.
life,
designs of chairs.
influence that marquetry
this time;
style,
the eighteenth cen-
in
that the colonies
the best from the
desks, and especially in
the
this
for the
homes with
many examples
ornamentation, and this
forms by Adam, late
classic
bevond the struggle
shell
the cabriole- or
and elaborations, continued down to the
modifications
revival of the
now introduced
fancy shapes, and often
be seen at South Kensing-
similar in character to the chests of drawers
and cupboards of the same period, and the inventories show but
few to have been
looking-glasses
until
about
in
in
this
and
Although we
the inventories from the very
this reign that
often carved
country.
inlaid
entirely with glass.
find
first,
yet
they came into general use.
mention of
it
was not
They were
with ivory and wood, and sometimes
made
N T R O D U C T
Let us pause here,

sider the furniture
Up
to
at the
O N
end of the seventeenth century,
which had come
to the colonies
during that century.
1650 furniture must have been very scarce, and
was
inventories the only furniture mentioned
As
and bedsteads.
tables,
prosperity increased, furniture
York and
the other seaports had
The South seems
offer.
all
in
the earher
chairs,
chests,
became very
and before the new century began the wealthier
tiful,
to con-
class
about
plen-
New
European markets could
that the
have been particularly well provided
to
with court cupboards, chests, couches, and leather chairs, while
New
England chests of drawers, desks,
chairs
were more
The
plentiful.
imported, for the expression "old"

ture from the very
while in
first,
scrutoirs,
and Turkey-work
furniture in the
South was largely
is
mentioned with
New England
all
kinds of furni-
the low valuations lead
The
us to believe that most of the furniture there was home-made.
high chests of drawers appear
York
have been
in
seems
to
this
and
records,
last in the
common
be that
Holland, where this
first,
might be expected,
as
South.
In
use as early as
New England
New England
1685-90.
was
style originated,
in
in
the
The
reason for
rather close touch with
while the South only traded
show luxury from
to
and the South
several ways.
in
Amsterdam shows
chairs,
made
still
New York was made
sons
who
at that time, like

is
New
etc.,
mentioned
in
in
New
and Eastern
the reasons for which, probably,
a harbor for
the
that large class of per-
Captain Kidd, were engaged
found of carved oak.
cupboards mentioned
England
controlled the East India trade, and, further,
that
mention
in
New
of wicker furniture, East India cabinets,
and India blankets,
were that the Dutch
Little
furniture
furniture of
clearly the influence of the Continental
markets, mention being
ebony
The
have differed from that found
The
At
the beginning, and as a rule
valuations were higher there than elsewhere.
Amsterdam seems
New
they seem to
with England, where these pieces never became very popular.

Philadelphia the records
in
New York
5
in
piracy.
There are no court or
livery
inventories, but nearly every
COLONIAL
family had a /cas or
furniture
is
New
found nowhere else
England and
New
furniture
is
its
it
was
to
New
discard what
have disap-
to
existence there.
England, except
New
wealth, and in
little
quite plentifully found
still
not for the inventories, there
South the people
fact that in the
were wealthier and could discard the

in
R E
IT
York, but seems totally
This was probably due to the
while
in this country.
peared from the South, and were
would be no indication of
KM
a large linen-cupboard, and this piece of
/cassc,
The seventeenth-century
in
F U R
old- for the
the large
in
new-fashioned,
seaport
York, although with
towns, there
sufficient
was old-fashioned, family pride and the
much
attaching to the furniture were sufficient to save
wealth
traditions
of
it
from
destruction.
Many
ot turniture
and
tury,
writers on English furniture maintain that the golden
and
this
we
interior decoration
believe
to the inventories, the
was
durinsjf
age
the seventeenth cen-
true also of this country, where, according
is
carved and wainscoted chests and cupboards
and the Flemish caned chairs seem
to
have been
plentiful
before
the opening of the eighteenth century.
With the opening of

ture
began
the eighteenth century the heavy oak furni-
to decline in popularity,
and
in
its
place
The cupboards were
graceful bandy-legged pieces.
came the more

replaced by the
high chests of drawers, the oak desk-boxes by scrutoirs of cherry
and mahogany of a
new
totally
style, the
heavily underbraced tables
by the more delicate bandy-legged ones, and the chairs followed the
same
fashion.
Early
in
Anne's and even
the simple straight cornice
began
to give
way
to the
in
used
in
730,
when
it
was
furniture
little
used
its
appearance
in furniture,
became very popular.

6
William's reign
and over doorways
more elaborate form of
broken-arch cornice, which made

early as 1700, but
the last part of
the swan-neck or
in
architecture as
apparently, earlier than
INTRODUCTION
Nothing, perhaps, influenced the
much
century so
furniture
of the
eighteenth
mahogany, the strength of
as the introduction of
which made possible a quite new method of carving, dehcate and

lacelike,
which
reached
According
models.
was
the year 1720;
were
this
having discovered
mahogany
entries at
true, the colonies
in
New York
which would seem
furniture there
made
tradition of
introduction into
its
that
latter half of the
Dutch bandy leg with duck

These pieces were
the chairs
is,
feet,
at
or
708
years earlier.
however, faulty
this
for
was
The
it
wood
is
in
its
first,
the
and there are
furniture,
was made occasionally of
of furniture remained about the same,
plain,
some jears before
fifteen
England
During the reign of Anne and the
foot.
would have the honor of
to indicate that there
wood about
of that
furniture
England during the
England about
the Philadelphia inventories as early as
mentioned as made up into
is
now known
into furniture in
great value for furniture
its
mother-country, for
made
first
some of Chippendale's
in
mahogany, although known since
to tradition,
the time of Raleigh,

if
perfection
its
first
all
of the Georges the style
showing more or
less the
modification, the ball-and-claw
however,
rather ponderous
and
having heavy underbracing, thus destroying the
graceful effect obtained by the cabriole leg.
Some examples
Chippendale are
ever made.
to
There
of carved
be seen
is
in
in
mahogany
furniture before the time of
England, which are equal to anything
the Pendleton collection a double chair and
side-chairs belonging to this period which there
is
every reason to
Gibbons, Sir Christopher Wren's
believe were carved by Grinling
famous protege, as the designs are notably those used by Gibbons,
and the workmanship
fine
enough
to
be credited to him.
About 1740 cabinet-makers began
to
publish books of designs
of such merit that from this time on to the end of the

treat of the style
is
known by
by the name of the sovereign
the
in
name
we
of the chief designer, and not
whose reign
7
period
it
was introduced.
COLONIAL
The
F U R i\M T U R E
reason for this appears to be not only that these cabinet-
makers pubHshed books of designs, which had not before been done
in
England, except perhaps
Jones, but
style,
also
English
that
and was imitated
this period little that
now took on
furniture
in several
was
case of a few architects like Inigo
in the
original
European
of the
a distinctive
Before
countries.
had been produced
in
England
its
architecture and furniture were borrowed at one time from the French,
at
another time from the Dutch or the Italian school.
was Chambers, an
this period
architect
Prominent
in
and cabinet-maker, and Chip-
pendale, the latter probably having the greatest influence of any one
man on the furniture of England and the colonies.

Thomas Chippendale was essentially a carver
faithful
was he
to his art that, with
of wood, and so
the e.xception of a few gilt and
lacquer pieces, he stuck closely to his profession, working almost exclusively in
mahogany.
It
has often been thought that Chippendale
used inlay and marquetry, and so prevalent
this idea that
is
one can
hardly take up a catalogue of an auction sale of old-fashioned furniture but he will find Chippendale's
idea
We
erroneous.
is
name
are unable to find a single instance where he
used either inlaying or marquetry; and Mr. Clouston,
book on the Chippendale

In
rowed
and
from the Dutch,
models
classic
in his
admirable
period, bears out this statement.
one sense, originality cannot be claimed

his ideas
This
affixed to such pieces.
for him, as
Italian,
I-'rench,
he bor-
Chinese, Gothic,
but by blending these different styles
most
in the
ingenious ways he produced a result which can truly be called original,
and which made a style
onlv
in his beautiful carvinof,
distinctly English.
but also
in
His success lay not
the mechanical construction
of his pieces, which was almost faultless, and to which he would sacrifice all else.
as
good a
For that reason many of
state of preservation as
According
seem
to
to
Dr.
his pieces
when they
Lyon, Chippendale's
have come into general notice
still
left his
exist, in
almost
master hand.
individuality does
until after his
death
not
for,
INTRODUCTION
although other cabinet-makers are mentioned
mention of
diaries of the time, no
published
tirst
The
editions.
published
duction
"
Ot
in
found.
all
Director,"
and passed rapidly through several
1754,
third edition,
which the writer has examined, was
His aims were
1762.
in
name can be
and
inventories
"The Gentleman's and Cabinet-Maker's
His book,
was
his
in
as appears from his Intro-
lofty,
the arts which are either improved or ornamented
architecture, that of cabinet
making
is
not only the most useful and
ornamental but capable of receiving as great assistance from
He seems
any whatever."
that
were
already
to
to
by
it
as
have anticipated the many criticisms
be heaped upon him, or perhaps he had tasted them
but so sure was he of his ability that he says
afraid of the fate an author usually
from a set of criticks
who
meets with on
his first
show
are never wanting to
malice on the performances of others.
shall
"
am
not
appearance
their wit
and
repay their censures
Let them unmolested deal out their pointless abuse,
with contempt.
and convince the world that they have neither good nature
mend, judgment
to correct
nor
skill
to execute
what they
to
com-
find fault
with."
He was
a chair- maker par excellence, and some of the elaborate
designs,
as, for
hension
in
He
instance, his ribbon back,
beauty of
line
were almost beyond compre-
and carving.
did not, however, confine himself exclusively to such elabo-
rate designs, for
hands, and
we
many
plainer ones are extant undoubtedly from his
can safely say that the chairs with the carved legs and
openwork backs, found

his influence,
and
in
so plentifully in this country,
that sense can be called
though probably very few made by him found

Chippendale had many imitators both
land.
As
Among
a rule these
the best
men
known
fell far
in
show
Chippendale
their
way
distinctly
chairs, al-
to the colonies.
the colonies and in
Eng-
arc Manwaring, Ince, and Johnson.
short of the standards set by their master,
especially in point of construction

9
and proportion.
This, however,
FURNITURE
KM A L
C O L O
workman-
could hardly be said of Ince, whose excellence of design and

ship
made him
a close rival to Chippendale.
Adam
Robert and James

fickle
was
which
fashion,
tiring
ol
They were
yesterday and eagerly looking

architects,
really
began
and
in
were continued
for
1773
any
in
other,
something new.
publish
to
their
was
a third \'olume
until
after their death in 1822.
was the pure
Greece and
Italy,
where
spent some time, fitting himself for his work.
This
In style theirs
Robert
Adam
revival
of the classic
ture
more than
that age, perhaps
in
architectural plates, which
brought out
are next called into existence by the
of the latter
classic of
had considerable influence on the architec-
George
part of
and found
reign,
Ill's
One
to this country in architecture rather than in furniture.
famous colonial
architects, Maclntire,
was apparently a
way
its
of the
disciple of this
school.
We
now come
to the
second great cabinet-maker of the age, and to
As
a period of almost equal importance with that of the Chippendale.

the latter had influenced the early part of the reign of
Hepplewhite
w-as destined to influence the
England of
George
i
7S0.
Hepplewhite because, although he and Shearer appeared

the
same
time, their designs
in
Hepplewhite being the most
school, his
name can
he seemed
about
touch with each other, and
and original of that
skilful
models were more graceful and delicate
but his chairs were faulty
in construction,
and
to defy all rules of mechanics.
Before his time the splat always joined the back of the
giving additional support to the wêakest point
plewhite not only ignored
point, thus
at
say
well be used to denote the period.
In style Hepplewhite's
than Chippendale's
We
so
were so nearly alike that one can hardly
but conclude that they were at least

because,
III,
making a
extremely perishable
this,
in
the chair;
seat,
thus
but Hep-
but often cut away the back at this
chair which, though wonderfully graceful, wâs

;
as Mr.
Clouston says
in
his
"
Chippendale
INTRODUCTION
"
Period":
From
first
to last his
work was a protest against the heavi-
ness of Chippendale, and he used every

his furniture look
The
chiefly excelled,
was
it
power
in his
make
to
was."
chief characteristic of his chair
was the shape of the back,
The point in which he

and from which he became best known in this coun-
which was either
try,
even lighter than
means
oval, shield, or heart shape.
the swell- and serpentine-front bureaus and sideboards
in
these pieces, for delicacy of line and beauty of inlay, have never been
excelled.
Thomas
Sheraton, the last of the famous English cabinet-makers
whose names have come down

1
79
and
1,
least
to us,
published his book of designs
The book
later other editions with further designs.
one third occupied with,
topics, which,
he says
in his Introduction, are
a cabinet-maker to understand.
as "
now wholly
at
to the untechnical reader, abstruse direc-
tions for a proper understanding of the laws of perspective
dred
is
in
He
and kin-
very necessary for
refers to Chippendale's designs
antiquated, but possessing great merit at the time
they were published."
Sheraton seems to have combined, with greater or
less success, the
inventions of his forerunners, especially Shearer and Hepplewhite.
He
eschewed the cabriole leg
entirely,
straight and tapering lines followed
and
show the
his designs
by Hepplewhite.
He
did
little
carving, relying almost entirely on inlaying, painting, and trimming

in
brass to relieve what would otherwise be monotonous
and
it
is
evident that he strove to obtain more brilliant effects than had hitherto
been seen
in
England.
His chairs were of simple and good design and were more durable than Hepplewhite's.
The
large majority of his earlier published
designs for chairs are after the fashion of Figure 158.

tures of and directions for
stands,
making
He
gives pic-
folding beds, tables, and wash-
and remarks that they are very fashionable.
His sideboards,
almost without exception, follow Shearer's and Hepplewhite's
lines,
COLONIAL FURNITURE
although he professes great disHke
for
for their
His favorite leg
work.
such pieces was the slender fluted one set into a rosette where
it
joins the top, and he ornaments these pieces with elaborate inlaying,
often adding brass rails in fancy form " to support candles for the
better display of the silver."

In later years his designs
until
he
and more clumsy,

style.
is
but one more style to note before closing, namely, the
style,
evidently brought into existence in France by the expe-
Napoleon
dition of
The
Egypt.
to
distinctive feature of this style
is
the use of carved heads and
and mummies.
feet of griffins, sphinxes, lions,

in
less original
poor copying of the Empire
finally drifted off into a
There
Empire
became
Inlaying was profuse
wood, brass, and ormolu, and some of the pieces, especially the
sideboards and desks, are extremely handsome

the style
is
inferior to those
however, widely
felt
at this time for
wide popularity here, and
now commonly
As
replaced.
it
but,
Its
in
the main,
influence was,
Europe, and the very friendly feeling of the
in
young American States
niture
which
it
everything French gave
makes up a large percentage of the
it
fur-
called colonial.
the century advanced, the styles
became more and more gro-
tesque and extravagant, until they developed into the ponderous and
ungainly furniture of two generations ago.

Nothinof has been said of the furniture of Louisiana.
of the country had been settled by the French,
them French fashions

These
Empire.
styles
become Americanized.
of the Louis
XV
and
were kept pure, and
XVI
That section
who brought
periods,
diil not,
with
and of the
as in the North,
Their influence has therefore not been
felt
outside of the small French colony.
The
collecting of antiques
only, for in the
Boston " Evening Post"
tisement of an auction appears
Walker
all
seems not
"At
of her house furniture
to
be a fad of the present day
for April 8, 1771, this adver-
the house of the late Miss Bessy
some
of which
is
really antique."
CHESTS
As
/
has often been pointed out, chests have been
for
therefore,
In
^^^^
^^
jL
place
One
centuries.
of the
storing what has
been accumulated.
among man's
oldest possessions.
are
Norman
shall
follow
their
this
many
in mar
use for
indications of civilization
accumulation of property, and
England, where we
chests of
first
in
necessitates a
Chests or
history a
coffers,
little,
the
times were huQ-e oak boxes, bound and rebound
with iron, and sometimes magnificently wrought.
These served as
receptacles for valuables in both the churches and castles, and were
furnished with strong locks, the mechanism of which often occupied
For many years these chests
the entire inside of the chest's cover.
served for seats and tables, and for trunks

travelled.
Some
ancient manuscripts
show
when
the lord and lady
their tops furnished with
chess-boards, a player sitting at either end of the chest.
Carving as an
XXXV,
2i3y
work."
'IS
art
is
also very old
" in carving of
Carving was
at
it
is
referred to in
Exodus
wood, to make any manner of cunning
first
employed almost exclusively
for the
beautifying of cathedrals and churches, for even the castles of kings,
up
the
to the time of
way
Henry
III,
were very bare, and showed nothing
in
of fine woodwork.
During the reign of Henry
III
(1216-72),
however,
room-
panelling was introduced into England, and the archings and window13
COLONIAL IÛRNITURE
frame designs
lony-
carvings used
in
used
in the
churches became the models
the castles and manor-houses for
many
for
wood-
generations.
Almost every design found on the chests and cupboards, preserved

in
the English
museums, are those employed
the room-panelling of
in
the period to which the furniture belonged.
What
with
came
the chests were which
the
first
setders
mention,
occasional
in
now
is
it
the
impossible
first
as
or
chests,
old
There
say.
of wainscot
is
chests
I.
quarter seventeenth century.
or great oak chests, but by far the
simply
American colonies
to
inventories,
early
Figure
Pine Ship-chest,
to the
chests,
larger
and
number
their valuation
as to lead us to the conclusion that they
are
is
recorded
so
slight
must have been of very
simple design.
Ship-chests or pine boxes were probably brought over by
settlers.
Figure
all
shows the ship-chest brought by Elder Brewster,
and many hundreds of boxes such as

land and England during the years
this
probably came from Hol-
when
the colonies were being
settled.
An
man who
died on the ship Castle during his voyage to Massachusetts
entry appears at Boston,
in the
items of the estate of a
CHESTS
"An
in 1638, of
owld pine chest 5s"; and of two other chests with-
out description, of
The
carved
in
earliest
still
more
trifling value.
carved chests found here are decorated with panels
arched designs identical with the patterns seen
England
in
on mantelpieces and wall-panellings during Elizabethan and Jacobean
Without doubt the carved chests that were brought over
times.
previous to 1650 served as the models for those
made here
for
a long
time, for the writer has identified almost every pattern used on early-
chests as having been
used
been no originality shown

until after the
in
England, and there seems to have
employed
the designs
in
chests, cupboards,
These are used
that
country
appear repeatedly
many
in
The
the smaller ones.
the
in
and wainscot chairs of the seventeenth century.

combinations, sometimes eight out of the
ten appearing together on the large pieces,
and from three
and entwined and doubled
to five
on
found used
scroll desig-n, for instance, is often
single form for a border,
Once
this
middle of the seventeenth century.
There are about ten designs
in
in
for a panel.
familiar with these designs, a close observer will find furniture
belonging to the carved oak period

identify.
These designs
will
in
this
country very easy to
be pointed out as they are met with
in
the specimens to be spoken of later.
chest, cupboard, or chair
is
occasionally
met with which has
carved designs not traceable to England, but showing French or Dutch
Almost without exception such pieces
influence.
made
were the
Figure
ton
case
be found to be
of foreign wood, and the designs were not copied here to any
extent, as
detail
will
familiar English ones.
shows a chest with the
characteristic arching
and pattern
used throughout the Elizabethan and Jacobean periods.
Agnes
in
Hall, built in 1601,
the great
hall.
shows
This chest
is
this
arched carving on the
constructed
in
way
is
(all
woodwork
spoken of as joined), and the panels arc

15
stair-
the usual manner;
the stiles and rails are joined with mortise and tenon
fastened in this
Bur-
fitted
COLONIAL FURNITURE
The wood
into this frame.
EnMish
is
oak, and the carvinsf exceed-
ingly good, better than on most of the chests

to its date
is
early as 1650.
Morgan G.
the design in carving, and
This chest
is
it
may
safely be placed as
the collection of the Hon. and Mrs.
in
Bulkeley, of Hartford, Connecticut.
Figure
English
Oak
2.
Chest, about 1650.
Chests followingf the general form of Fio-ure

rious sizes,
The only clew
made here.
some
are found in va-
as large as five feet in length, and varying in height
from twenty to thirty inches.
The
carved, sometimes merely indicated
arches are sometimes elaborate!)-
by
slight tracery,
and any and
of the familiar border designs are used to decorate the
stiles
and
all
rails.
Another early pattern of chest often seen has the panels decorated with geometrical tracings, the centre having the appearance of
being diamond shape, octagon,

order are carved
in scroll
Figure
3.
owner. Lady
The
Anne
The upper
rails in
chests of this
or half-circle patterns, and the stiles have
a slight tracery on their edges.

in
etc.
tradition
One
which
chest
still
made
attaches
Millington, a daughter of
16
in this
to
wa)it
is
is
shown
that
its
Lord Millington, came
CHESTS
army
to this country in pursuit of her lover, a British

ing-
to find him, she taufrht school at
her by her parents
to
The
chest
is
said to
have
with " half a bushel of
in 1660, filled
Figure
Fail-
Greenwich, Connecticut, and
married Lieutenant Gershom Lockwood.
been sent
officer.
3.
Carved Oak Chest, about 1660.
many
guineas and
which
is
not the original.
Ferris, of
New
It
A carved chest i
ences to carving found
kind
is
is
in
lineal
Millington, as
"at Plymouth
in
now has
chest
a pine top
the possession of Professor H. B.
Haven, Connecticut, a
Lockwood and Lady Anne

"
The
dresses."
fine silk
is
descendant of Gershom
also the writer.
one of the few
in 1657, is
the inventories
refer-
but as description of any
generally lacking, carved chests were probably by no means
as scarce as these records would
make
it
appear.
Figure 4 shows a chest of very different order from any met

with
among
This chest
the English settlers.
and was found by the writer
in
New York
the arching of the English chest shown

is
inlay or
on one end the panel

17
State.
iMgure
2,
The
panels show
but the decoration
Church scenes are on the three
marquetry of a crude kind.
front panels
in
undoubtedly Dutch,
is
is
decorated with plain blocking
COLONIAL FURNITURE
and dark Avood, the blocks about one and one half
in alternate light
inches square;
the other end has a church, showing side view and
windows being cut
steeple, the
The
in relief.
stiles
three stripes of dark wood, and the capitals are of the
The
top
same dark wood.
panelled with heavy mouldings and decorated with two
is
The
large inlaid stars.
moulding on the cover

It
are inlaid with
dentilled cornice
which appears beneath the
about the only suggestion of English chests.
is
has a large spring lock, and above the lock on the inside appears
the inscription "
made
I.
N. R.
I.,"
suggesting at once that the chest was
church use; but the lettering
for
is
so small and in so inconspicuous
we
a place, and the chest throughout so crude
in
clined to believe that the pious inscription
was placed above the lock
to secure
The
against thieves.
it
of the front have inlaid the
\V has
at
some time been
not very recently, as
this,
foreign pine.
The
original, e.xcept the feet,
There
influence
carved
is
was largely
and
that are of
search
wood, evidently pine; the light wood
cut pattern.
The
The
parts,
in
is
a most dilapidated con-
however, are practically
all
which are new.

in
New
the chests were
use
in
in
^'ork,
where the Dutch

general of the
not
in
the
English
colonies.
York, although they show a large number of
we have
any chests surviving among the Dutch families
oak carved or panelled.
that only one
badly worm-eaten.
is
sparse mention of oak or wainscot, and
to find
among
the date 1616.
left
walnut, but the mouldings at the bot-
varieties
New
W. and
when found was
felt,
panelled
make very
been unable
made
is
strong indication that
inventories in
chests,
atic
initials L.
worm-eaten throughout; the
dition,
The
small panels at the right and
as well as the L,
soft
chest
are in-
substituted, as the panel plainly shows, but
dark wood of the marquetry
tom and on the top are
design, that
the
A collector who has
made system-
Dutch towns along the Hudson River
tells
us
oak chest was found, and that of a well-known Connecti-
Dutch chests were, so
of pine and often painted
far as
we can
ascertain, largely
the finer ones were of black walnut.
DUTCH MARQUETRY CHEST,

{Figure 4.)
1616.
CHESTS
The
opinion prevails very generally
ject that almost
the chests belonging to the
all
made without
teenth century were
based upon the
tact that the chests
to lisfht are carved in desiirns
drawers
are, the
date, or are
drawers.
known
is
known
at
The
This opinion
is
largely
to
be early, while chests havim'-
Salem
number of
of
is
use of drawers, however, was cer-
the early part of the seventeenth century, for
in
in
in
Plymouth as early
the
as 1642.
The
inventories of a chest with
1666; alter this time the item "chest with a
drawer" or "with drawers"

larger
half of the seven-
on the panelled order, which, generally speaking,
mention we have found
drawer
first
without drawers which have come
chests of drawers are mentioned at

first
students of the sub-
majority of them, decorated with the designs of later
later origin than carving.
tainly well
among
is
frequently
met
with,
chests which have survived are
and by
made
far
the
with one or
two drawers.
Fijjure
5.
Carved Oak Chest with One Drawer, about 1660.
small chest with a drawer belonging to Mr. Robert T. Smith,
of Hartford,
is
shown
in
Figure
W'hat has been referred
5.
19
to as the
COLONIAL
scroll
design
is
glyphs which appear on the upper
and not applied.
Panelled Chest with
can be
it
easily
T U R E
opened
this chest.
The
tri-
and the drawer are familiar

in
they are carved
this chest
without knobs,
is
Figure
below,
rail
kinds;
all
The drawer
and double, on
used, both sino^le
ornaments on oak pieces of
U R N
r^
for,
as
it
has no
rail
6.
One Drawer, 1650
b\'
putting
60.
the
hands below the
moulded edge.
We
the
same
now come
to an order of chest in
as that already
met
which the construction
with, excepting that
little
as ornamentation, the decoration being supplied with

split
turned pieces.
architects,
the
years
and
is
became bigger and
is
used
mouldings and
This method of decoration was not approved by
spoken of
advanced
carving
is
into
in
the following words by Pollen:
the
less refined,
seventeenth century
Flemish
"As
work
diamond-shaped panels were super-
imposed on square, turned work was
split
and
laid
on,
drop orna-
ments were added below tables or from the centre of arches and
panels
mere additions and encumbrances
to the general structure."
CHESTS
This
is
among
the consensus of opinion
those well versed
rules of construction, but, notwithstanding this fact,
boards and chests made
in this
way
is
the cup-
of the Renaissance had
frequent use of panelling and turned ornaments, and such
became popular
preserved
at
England
in
the
in
South
the early seventeenth century.
Kensington
removed from a house which was
built
in
Museum
London
in
as
work
There
mantelpiece
This
1620.
mantelpiece shows the panelling and drop ornaments used
same way
the
are very pleasing and decorative.
The Flemish and Dutch cabinet-makers

made
some of
in
in
the
on the chests and cupboards.
Figure 6 shows a chest owned by the Connecticut Historical

Society with decorative effects obtained entirely by panelling and
Figure
Panelled
turned ornaments.
The
chest
is
made
Oak Chest
No
with
paint
Two
is
7.
Small Drawers, 1660-70.
used on the mouldings or panels.
of English oak throughout, and
was undoubtedly
COLONIAL FURNITURE
The
of English manufacture.
we
carving, and
Figure
uncommonly
tom of
therefore place the date of this chest about 1650-60.
shows a panelled chest owned by the Pilgrim Society
The mouldings on
Plymouth.
panels retain the arch effect of the old
What
the case.
this chest
is
the rails are slightly carved, which
is
almost
always the appearance caused by the panelling and ornaments,
Figure
is
Two
Drawers,
the only case of which the writer
actually occur,
and
it
this
8.
last
knows where two
small drawers
has l)een stated that this was never the case.
two-drawer panelled chest found
now belonging
not
is
appears to be a long drawer at the bot-
divided into two short ones, and while this
Panelled Chest with
at
to the writer, is
shown
in
in
the vicinity ot Boston,
I'igure
8.
and
Panelled chests,
chests of drawers, and cupboards similar to this have been found in
considerable numbers
met with
in
in
the region of Boston, while they are rarely
other parts of
that they were
New
England.
made near where they
This
fact
are tound.
seems
to indicate
The
chest here
CHESTS
shown has the
front panelled in qnite an elaborate design, the fancy
mouldings, except those on the lower drawer, being of pine and origi-
The
nally painted or stained red.
centre of the raised square panels
on the chest section are pine, and show the remains of a red stain or
probabh'
paint,
in imitation of
snakewood.
The lower drawer has
the mouldings of oak, and appears never to have been stained.

raised
flat
pine surfaces of the chest part and of the upper drawer
The mouldings on
were painted black.

black and red.
The ends
which appear
pine,
The
to
the rails are pine, alternately
of the chest have two oblong panels of
have been stained brownish
red.
The
top
is
oak, but the back, and the backs and bottoms of the drawers, are
The space on
pine.
was evidently
stiles
feet are
chest almost identical with
There
lection
is
above the large turned ornaments
finished originally with
The
description.
the
a turned ornament of
new, but restored by measurement of a
this.
a panelled chest with three drawers
which stands about as high as a modern
in the Bolles col-
chiffonnier.
chest portion occupies about one third of the space
which
fill
the
rest
The
toward the bottom.
and each drawer
ply,
graduated
are
two drop handles of
Each end
stiles.
be the
latest
is
panels
in
are
brass.
is
wood
sim-
round escutcheon and
wide single-arch moulding runs
mitred into a moulding which follows the
formed of one large panel.
This would seem to
form which the chest took, and the inconvenience of hav-
The mouldings on
in
its
extensive use.
the best panelled chests are of cedar, but, as a
on the American-made chests they are of
stained red
the drawers
formed by mouldings
ing the chest portion so high must have prevented
rule,
The
width from narrow to wide
with
supplied
is
between each drawer, and
some
imitation of cedar or
brilliant red in color, heavily
pine,
and painted or
rosetta-wood (an East Indian
grained
in black,
which was largely
used by Spanish and Italian caliinet-makers during the sixteenth and

seventeenth centuries).
The turned ornaments

23
are seldom found
made
COLONIAL FURNITURE
of oak, but of pine, beech, and maple, and painted black
following
large ball
geometrical
feet,
ingf finishes
is
patterns
and when
this
is
the front and ends
simply the
stile
made panelled
in
ot
with
foot in other cases
The
to eight inches.
made
The
The
rule
which seems
that
is
if
and
have been
to
where the mouldings or
oak or cedar, they were
not always have been followed, and
English-
entirely of hard wood,
where they were of pine they were painted or
may
of designs,
occasionally found
the chest.
American panelled pieces

i.e.,
number
a great
the case a heavy outstanding mould-
chests are usually
panels were of hard wood,
in
they are
prolonged from four
neither stained nor painted.
general
made
Panelled chests were
of ebony.
imitation
in
natural
left
This rule
stained.
a hard-wood moulding or
panel shows evidence of having been colored,
it
would seem
safe to
restore according to this evidence.
Figure
9.
Two
Drawers, 1660-75.
handsome carved chest with two drawers, which
lection of Mr. Henr)-
W.
is
in
Erving, of Hartford, Connecticut,

24
the col-
is
shown
CHESTS
in
Figure
The upper
9.
rail
has the half-circle pattern well carved
the panels are arched, and carved with the feather or leaf design often
met
The
with.
drawer-fronts show the half-circle of the upper
completed and alternated with smaller
circles.
are finished with groovings simulating

often found on
The dimensions
19^
oak furniture of
all
stiles
throuorhout
mouldings, which are very
kinds belonging to this period.
of this chest are as follows
The
inches; height, 36 >^ inches.
The
rail
length, 50 inches
width,
carving indicates that this
is
an early example of a two-drawer chest.
About the
made
shown
in
in
large
last
quarter of the seventeenth century chests were
numbers
in
New
England, and some originality was
the carved designs.
Figure
Carved and Panelled Chest with
A
is
Two
Drawers,
last
two-drawer chest owned by the Connecticut Historical Society
shown
in
Figure
10.
It is
of light-colored American oak,
bottom, and back being of pine.
been found
two.
lo.
The
in
About
fifty
tht; top,
chests of this design have
Connecticut, some witli no drawer, others with one and
design, while not wholly new,

25
is
a combination of old pat-
COLONIAL FURNITURE
terns forming one
somewhat
and
orioinal,
necticut or sunflower pattern.
Some
now known
is
of the turned ornaments
mouldings are missing, but enough remain

the appearance of the chest
The Connecticut
in
Figure
and
rails
ii,
Two
Drawers,
last
owns the chest
New-Englantl-made
The
somewhat conventionalized.
pieces, but that
very surely indicated by
its
stiles
all
it
of oak,
This
somewhat imusual
in
New England
is
was made
in
design and the grain and color of the oak.
The wooden knob handles

12
illustrated
the familiar tulip border, and the panels and drawers
chest has the top, drawers, and back
in
of
1.
Historical Society also
the Connecticut sunflower design
Figure
good idea
a very nice example of the all-over carving.
show
scribed date
to give a
and
when new.
Figure
Con-
as the
arc missing.
The
last
two chests de-
the last quarter of the seventeenth century.

is
a chest found at Hadley, Massachusetts,
the Erving collection,
known
to collectors as the "

26
and now
Hadley"
in
chest, for
CHESTS
many
hood.
of this design have been found at Hadley or
The
vine pattern
been one not used
in
which
in
this chest is
neighbor-
In that
carved seems to have
England, but was undoubtedly an adaptation of
the tulip pattern long
in use.
dimensions are as follows: length,
Its
;'
-fim
:
*A'.
::^rz
i
Jj^4^^
'>:4:
^cT^^^^':'
Figure
12.
Carved and Stained Oak Chest with One Drawer, 1690-17 10.
42 inches; height, 32^^ inches; width,
19 inches.
Hadley chests
are found with one, two, and three drawers, and, the writer has reason
to think,
were always
The
stained.
been tampered with, and
is
chest
here shown has
stained with the three colors
berry or purplish brown, and black, as follows

black; centre
rail,
brown; bottom
red; centre panel, lirown

front, black;
rail,
the
to[)
never
red,
nuil-
front
rail,
black; two end front jianels,
drawer-front, very light brown; stiles on
on ends, lorown.
The ends are panelled but not carved;
the rails are stained brown, panels black, and the short
rating the two upper panels, red.
27
stile
sepa-
COLONIAL
A
two-drawer Hadley
shown
in
inches;
chest
I'igure
length, 40
chest,
inches;
'4
also
width,
was covered with red
18
Ervinsf collection,
owned by Mr. Erving,
Carved and Stained Chest
witli
this
height,
is
44
found this
being removed, the
Another chest of
besides
Figure
When
inches.
but
paint,
original staining could be plainly seen.
formerly
the
in
dimensions are as follows:
Its
13.
NM T U R E
F U R
kind
this
several of which
he has
13.
Two
Drawers, 1690-1 7
10.
known, a one-drawer chest which has not been disturbed, owned
by Miss Esther Bidwell, of Wethersfield, Connecticut, and the threedrawer chest shown
Figure
in
14, all
evidence enough to warrant one
were always finished

chest bears the
this
in
initials
M.
in
way.
S.,
for
show the
staining.
This seems
concluding that the Hadley chests
As
to their date.
Miss Bidwell's
Martha Sheldon, of Hadley, who
what date
married Dr. Ezekiel Porter, of Wethersfield,
at just
known, but her daughter,
came, was born
into
whose hands
it
in
is
not
1707.
Figure
14.
Carved and Stained Chest with Three Drawers,

1690-1710.
CHESTS
The
chest contained
where near
too.
Martha Sheldon's wedding

Mr.
Ervintr's
outfit,
marked
chest
R. D.
Rebecca Dickenson, of Hadley, who was married

very likely that the chest was
some years previous

chests date
to
process of
in
this.
It
anywhere from 1690
filling
and dates some-
in
beloneed to
1724; but
size
seems probable that the Hadley
to 1720.
Museum, which stands 46 inches high
and the number of
its
drawers,
Three-drawer chests are

in
the
Hadley pattern owned
Hadley
rare,
in
is
at the
and, except for
its
and
13.
identical with Figures 12
but the writer knows of one other
Boston, and two of other designs.
chests, as far as the writer
and the back and the bottom of the
The ends
frames, are also of pine.
is
with her bridal linen
Figure 14 shows a three-drawer Hadley chest, preserved

Deerfield
it
knows, always have pine tops,

chests, as well as the
drawer-
are panelled but not carved, and
the centre front panel almost invarialily has
initials.
1
wjl^
Figure
Carved Oak Chest with One Drawer,
A
b\-
15.
last
chest found at Belchertown, Massachusetts, and
the writer,
is
shown
in
Figure
15.
now owned
scrutiny of the design used
COLONIAL
on
this chest
shows
it
worn
keyhole
is
new^
The escutcheon which
and partly hides the
arrangement of the panels
seems
in
care-
covers the much-
initials
AI.
E.
The
showiny the
the ordinary Hadley chests.
of painting the design
have prevailed quite extensively
to
more
httle
reversed, the centre panel
is
design used for the outside panels
The custom
N n' U R E
be the Hadley pattern, a
to
executed than usual.
fully
F U R
on chests and cupboards

late in the
seventeenth and
early in the eighteenth centuries, perhaps because the decorative effect
was more
easily
and cheaply obtained than with carving or
Figure
Painted Chest with
A
in
i6.
One Drawer, about
very interesting example of a chest,
which the decorative
Figure
16.
effect
This decoration
is
is
in
1700.
the Erving collection,
obtained by painting,
just as
it
appeared
chest has not been restored or tampered with
in
in
is
shown
in
originally, as the
any way.
lacelike pattern suggests inlay rather than carving.
found
inlay.
The
fine
This chest was
Maine.
two-drawer chest similar
to
this,
belonging to Mr. Walter
Hosmer, of Wethersfield, has the panels painted

in imitation of carving.
32
in
a design evidently
CHESTS
much study
After
it
is
of the inventories the writer
impossible to [jlace the date of a chest
covering
records
way
any exact year,
between 1633 and
to
determine the date
for the
1733 vary only
the descriptions and valuations given.
slightly in
only
century
the
in
convinced that
is
the
Practically
by the character of the decoration
is
used.
The examples here
represent the better quality of
illustrated
chests in use during the seventeenth centur)-, because, as
natural,
is
only the best of the chests would have been considered worth pre-
Their values, as given
serving.
shilling to seventy shillings, the
what
that time about five times
"a
purchasing power of money being at

it
to-day.
is
At Plymouth,
great oak chest with lock and key 8s"; Salem, 1644,
1," 1673,
"a wainscott
chest
/,î";
Philadelphia, 1709,
year,
"a
chest
black Avalnut chest
with a drawer is";
black feet
^2
New
Ss
"
;
"3
chests 8s";
1682,
"
chest with
5s"; Providence, 1680,

"
same
"a great
chest
in
black nutt chest with two
and the highest price noted,

drawers ^'3
There
to ten shillings.
is
bound
chests,
writer
knows of two such
one
at .Salem
shape with rounded tops;

ft)ur
shown
in
also
in
one
in
New
at
from one
five shillings.
in
The
trunk
bound with wrought-iron bands
Figure
11,
and has
initials
and the date 1707, also

in
may be
in
a Spanish design.
occasionally, valued at about thirty shillings;
they were probably plain, as no description whatever
in
York,
inches wide in the tulip pattern on the stiles of the chest
Cedar chests are noted
served
at
both of Norwegian pine,
wrought-iron; the other has finely wrought bands
It
2s,"
the inventories of iron-
1684 valued at
is
Very man)- chests both
los."
mention
chests,
chests
the
chest ^,1,"
North and South inventoried simply as chests are valued
about
"4
1634,
Plymouth, 1682, "a wainscot
"a wainscot
York, 1697,
in
10s"; at Yorktown, \'irginia, 1674, "2 chests
1^75'
one
inventories, vary from
the
in
is
well to review briefly the facts which
connection with the examples of chests
given of them.
we have ob-
here described.
COLONIAL FURNITURE
wood.
First, as to the
Most of the English chests are
most of the American -made ones
pine used
other hand, American pieces
The
made
with
made throughout
the
of American oak.
turned pieces
is
on
American-made chests
as
is
but
very
rule,
The carving
shallow
what
is
The English carving is generally more

execution.
The fine relief-carving such
seen on Continental furniture of the si.xteenth and seventeenth
centuries
The
in
as
is,
the oldest,
is
be made long after the fashion
to
adding the turned ornaments became general.
and not so crude
those
There
and the panelled ones.
of
as peasant-carving.
those with carved panels, further deco-
chests of this style continued
in relief
and, on the
in their construction,
every reason to think that the all-over carving
known
unfailing rule
chests appear to have been mainly of three kinds
with all-over carving
rated
No
the writer has seen chests undoubtedly
can, however, be given, for
made abroad which have
pine.
and the bot-
\ym\ the top, the back,
toms of both chest and drawers made of
oak
entirely of
was
size of
drawers
to
entirely
beyond the powers of the American makers.
48 inches when with three drawers.
oak chests were made
in the
The
length varies
They were almost always
from about 30 to 60 inches.

with a small compartment, or
when without
i8 inches in height
chests varied from
till,
at
one end near the
furnished
All the
top.
most substantial manner; the oak form-
ing the frame and the sides of the drawers
is
about one and a quarter
inches in thickness.
point to remember, in examining pieces for purchase,
the runners of the drawers were
made on
a heavy
drawer was hollowed out
nmner
afifixed to the side
in a line
nearly
in
country.
later.
The
the centre, and
of the chest.
There has been much discussion by those interested

ject as to
that
the side during the seven-
teenth century, and not on the bottom, as was the rule

side of the
is
in
the sub-
whether most of the chests were imported or made
in this
This must be decided mainly by an examination of the

34
CHESTS
The English oak used
woods.
swamp-oak
the former of a
swamp-oak with
a long grain
rich
of two varieties, live-oak
is
brown
much
color
American
like the
is
is
brown with
a rich golden
a coarser grain,
so highly figured as to distinguish
oak.
It
keeps
its
rich
to the
by no means easy
subjected to the
same
tinge.
weather loses much of
to distinguish
it
to
white-
the quarter
age, while
the
live-
English
American oak, however,

its
golden
color,
and
it
is
conditions.
in
the inventories until the
eighteenth century; after 1710 they are frequently referred
as "old."
after
in
the
from English oak which has been
Chests continued to be mentioned

last of the
which
and tend-
once from the English
at
golden color with
grows darker without the golden
when exposed
it
ash,
The American
ing to flake with the grain, as does the ash.
oak
and fine-grained
and
They probably ceased
1730.
35
to
be
made
to
any extent
CHESTS OF DRAWERS
FEW
England records: one

one
at
OS.;
delphia
in
one
1685
in
1643 valued at
at
New York
"a
in
and
1693
1669 valued
at
chest drawers oake
^,"1 "
and
which are
at Phila-
very high
same
in-
mention only a very small number of chests of

eight to ten shillings
is
\ los"
is
mentioned
to the chests of this
but
In 1674
"a cupboard
Yorktown, Mrginia.
at
same
used perhaps to describe
and these are valued higher.
similar in appearance
These chests of drawers were

manship
6s.
records between the jears
Virginia,
"
of drawers
î
1666 valued
in
the other articles in the
the expression " cupboard of drawers

thing,
New
1642 valued at
Salem
l)ut
same
in
the earhest
at
10s.;
drawers, and most of these valued at
the
in
one
The York County,
ventories.
Plymouth
at
when compared with
\aluations
16^3
chests of drawers are mentioned
They were
time.
and work-
generally
made
of oak trimmed with other woods, carved, panelled, and ornamented
with turned pieces.
The handles
are sometimes
sometimes iron or brass tear-drop handles
wooden knobs and
variously shaped plates of
the metal were fastened to the drawer, and through this passed the
hea\)- wire, which held the drop
How
the inside of the drawers.

sible to say, but there
1692
of the
estate
wrought escutcheons,
is
of
5
>_>
by being bent
an item
a
at right angles against
early brasses
in
New York
storekeeper which
doz. filed
36
were used
it is
impos-
inventory taken
mentions
and brasse handles."
" 12
We
in
doz.
believe
CHESTS OF DRAWERS
them
have been
to
use as early as 1675, for the high chests of
in
drawers dating as early as
this
had the brass drop handles.
Figure
Carved Oak Chest of Drawers,
Figure 17 shows a
the Erving collection.
latter half
seventeenth centur)
example of a carved chest of drawers
fine
It
17.
is
made throughout
back being panelled and framed.
The
carving
of
ments
beloncrinsf
in
the centre of the
first
be recognized as
The turned
There
is
also indica-
bracket-shaped piece having been originally added
centre of the bottom
rail,
orna-
and fourth drawers are
missing, the piece never having been restored.

tion of a
American oak, the
will
the scroll design used so extensively on chests.
in
which perhaps bore a date.
at the
The back-
COLONIAL
ground of the carving on the
moulding
at the top
show
to divide
does not really do
21 >^ inches
although
so,
this
size of top,
often the
front,
î
in
last
chests of
of this piece are

;
width of end,
which overhangs, 44 >i inches by
ball feet.
are walnut, the main frame oak.
the feet
case
42 inches
2>^ inches.
18.
The form
of the chest with drawers
suggested by the width of the second drawer.
described at
The moulding which
shows a panelled chest of drawers having the out-
standing moulding and

is
is
width of
Panelled Chest of Drawers,
18
having been painted black.
The dimensions
Figure
Figure
drawers and the incised
the piece between the second and third drawers
height, 49 inches
T U R E
feet are also black.
drawers which have four drawers.

as follows
face of the
plainly traces of
The turned ornaments and

appears
F U R N
New York
in
Such a piece
1696 as
"a
The
as this
drawer-fronts
was perhaps
chest of draws with balls at
i6s."
Figure 19 shows a panelled chest of drawers

ings are of cedar.
The
in
which the mould-
feet are simpl)- the continuation of the stiies,
but having a foot like that
in
Figure 17
38
split
and applied.
CHESTS OF
A
torical
panelled chest of drawers
Society
marked
is
shown
in
Figure
similarity to the panelled
D RA
owned
b)
The
20.
W'
E R S
the Massachusetts His-
reader will recognize
cupboard shown
Figure
in
last
straight square feet are recent additions, for the outstanding
and
if
of the
The
Figure 62.
19.
Panelled and Carved Chest of Drawers,
which finishes the front and ends
its
at the
bottom indicates the
moulding
ball foot,
the piece had originally had straight feet they would have been
same width
as the stiles
and a continuation
ot
The
them.
nK)uldings on the third drawer have not been properly restored, as

the
shape shown
at the centre
The handles
outer edges.
should have been reproduced on the
are also
new
such pieces usually had
wooden knob handles.
We
now^
come
commonly known
records,
to the consideration of the high chests of drawêrs
as high-boys, though this
and probably
had become grotesque
The
introduction
name
is
never used
w-as given in derision after their
in
the
appearance
to eyes trained to other fashions.
of these chests of drawers on high legs or
construction
was
changed, and from that period the use of oak was gradually
dis-
frames marks
the
time
when
the
39
character of
O LO N
A L
U R N
R E
I'
continued, and the massive style seen in the chests and early chests
of drawers was no longer followed.
when
Just
the high chests of drawers
The
be determined exactly.
came
into fashion cannot
only records which could show this are
the inventories, and they cannot be depended upon for placing the
date
when
new
style
came
into use, for an article
use for a number of years before
Ten years may
tory.
safely
was spoken of
it
may have been
a will or inven-
in
be deducted from the hrst inventory
mention to obtain the date when the fashion changed.

cal
drawers on high frames would seem to
seldom the
is
two new expressions used
in
call
for special
case.
There
chest of drawers on a frame,"
the cost price being given as

to
is
/,"4
first
16s.
"chest of drawers and table."
tables
to chests of
mention
are,
The
met with
first
in
however,
of these
New York
in
in
is
1689,
The second expression referred

As both chests of drawers and
had very frequently been mentioned separately up
common
quarter of the seventeenth century, the very
expression
radi-
connection with the chests of drawers
which indicate that a change had taken place.
"a
Such a
change as that from the low oaken chest of drawers
recording them, but this
in
to the last
use of the
"chest of drawers and table" as one item denotes that
they bore some relation to each other, which had not previously been
that a " chest oi drawers
There can be no doubt
the case.
were a high chest of drawers and dressing-table,

high-boy and a low-boy.
" chest of
In the
drawers and table
"
New York
or, in
and table
"
other words, a
records the expression
does not occur as one item, but during
the last quarter of the seventeenth century man)- of the chests of drawers inventoried are immediately preceded
and when the wood of which the chest

the table
is
in
the
is
invariably the
inventory of
same wood.
Dom
Nicolas
The
Van
or
followed by a table,
made
is
first
same wood, are valued
at
this
Rensselaer, January
60 guilders (about
40
mentioned,
mention of
1678, in which a chest of drawers of nutwood, followed
the
is
/,'5
in
by a
kind
16,
table of
English money).
Figure 20.
Panelled Chest of Urawt-rs,
last
4'
CHESTS
Another
i6S6
entr)- in
The
walhiut ^3."
is
facts
"a
DRAWERS
I-
wallnut table
drawers
15s, a chest of
^"i,
here shown and the high valuations indi-
cate that these items refer to hitrh chests of drawers and dressine-
The
tables.
first
mention of the chest of drawers and table

"chest of drawers and table ^8."
delphia in 16S4:
values are
tioned,
much above
and
date
the
we have no
when
high
the
at Phila-
Both of these
those of any chests of drawers previously men-
this fact further indicates the
of these facts
is
hesitation in
change of
naming the year 1675
of drawers
chests
In view
style.
were known
as
the
in
colonies.
of
The frames upon which these chests of drawers were

two varieties. The first has six turned legs, four in
two
b)'
heavy stretchers near the
or
bandy legs without
back, joined
in
has four
cabriole
There has been some question

the one fact that the
of
all
first
as to
floor.
stretchers
raised are
and
front
The second
or
which style was the
bracing.
older, but
variety has the heavy bracing characteristic
seventeenth-century furniture points very forcibly to the conclu-
sion that this heavy frame appeared before the lighter one.
legfofed
The
six-
frames of the chests of drawers, and the four-lesfSed frames
with the bracings crossing at the centre of the accompanying dressingtables,
are Italian in style, for there are
cabinets, tables,
which show
in
many examples
of Italian
and chairs of the sixteenth and seventeenth centuries
this bracing.
The
cabriole leg .seems to have originated
Holland.
The
relation of the chest of
drawers on a frame to the chest with
drawers of the period preceding
is
very interesting to note.
one was developed from the other there are many reasons
ing,
though the frame was an entirely new
never suggested
collection,
latest
which
in
is
any
chest.
feature, so far as
The three-drawer
described on page
23,
43
in
for believ-
we know,
the Bolles
probably represents the
development of the chest with drawers.
with a chest of drawers on a frame, also
chest
That
in the
comparison of
Bolles collection,
this
shows
C O L O NM A L
them
to
have many points
frame has
in
R X
I'
I-
common.
R E
L'
This chest of drawers on a
drawers on side runners
five
in
the upper part, each sur-
rounded with the wide moulding, as are the drawers

ends are panelled with a long panel also
chest of drawers sets into
and
supported by a heavy outstanding
is
These small drawers are
runner on the side and one on the bottom.
surrounded with a moulding
shown
in
Figure
The
7.
quite low, and the
is
contains two narrow drawers which have one
The frame
moulding.
it,
the
and the handles
like the chest,
The frame
are the brass drops also on that chest.
in the chest
ofeneral fashion of those
drawers
in
the chest
number, are turned
after the
like that of the small
six in
legs,
shown
in
Figures 21 and
and the stretchers
22,
This chest of drawers, when found, showed the pres-
are also similar.
ence of black and red paint on drawer-fronts and mouldings, another
The
point of resemblance to the chests.

this
is
it.
the high chest of drawers developed
The
points of resemblance to the chest.
the general form, were
above described
writer,
and
shown
in
is
gradually lost
it
narrower, the drawers did not run on
made
the only one of
its
The
kind which
transition piece
is
known
practically the oldest form of high chests of
Figure
21,
framework of
are maple
was found
this piece
and
this,
to the
drawers
is
an exceedingly interesting specimen from the
Erving collection of a chest of drawers decorated with

marquetr)-, which
its
mouldings, while retaining
and the ends were not panelled.
side runners,
convinced that
is
between the chest of drawers and the chest of
the link
drawers on a frame which superseded
As
writer
is
Portsmouth,
at
New
fine
Dutch
The
Hampshire.
oak, except the legs and stretchers, which
coupled with the
very high order, makes sure
its
fact that the
Holland
origin,
marquetry
is
of a
Holland during the
last half of the
seventeenth century ha\ing been specially noted for fine
marquetry of
this kind.
and flowers
in colors
The moulding about
The
beautifiilly
executed designs of binls
extend not only around the sides but on the

the drawers
is
44
what we
shall
top.
designate as single-
raAJ .?.JI37/Aâ
ho T23H0 HOIH YHT-dUQUAU HDTUa
.YHUTVI3D HTviasTviavaa
aSTHAUp
DUTCH MARQUETRY HIGH CHEST OF DRAWERS, LAST

QUARTER SEVENTEENTH CENTURY.
(^Figure zj.)
CHESTS OF DRAWERS
arch moulding, which, as has been said,
elled
chests,
except that
it
is
is
hl<e
that found on pan-
somewhat narrower.
cornice finishing the top, the single
drawer
in
The narrow
the table or
frame
Figure 22.
High Chest of Drawers,
part, the simple arch
last
between the
legs,
and the drop brasses, are
characteristic of the earliest high chests of drawers.
are
new and
incorrect
which the frame
is
The dimensions
stretchers
they should invariably follow the curve with
finished.
the original, were taken
The
all
The
brasses on this piece, though not
from a very early high chest of drawers.
of this piece are as follows: total height, 59 inches;

45
COLONIAL
upper
lower
part, 31 inches;
F U R N
part, 28 inches;
T U R E
width of upper
part,
38
inches; width of lower part, 40 inches; depth, 23 inches.
Figure
22, also
from the Erving collection,
is
a sycamore chest of
The
stretchers in this
piece are original, as are also the fine drop handles.
The mouldings,
drawers probably of American manufacture.
cornice,
arrangement of drawers, and arches between the legs are
We
imported piece above described.
identical with the
believe these
chests of drawers to be such as were referred to in the inventories
already quoted dated 1678 and 1684.

are as follows:
lower
part,
height,
65 inches;
upper
part,
of this piece
depth, 2
inches;
35 >^
29)^ inches; width of upper part, 36)4^
39 inches
part,
total
The dimensions
inches; lower
inches.
Figure 23.
Walnut Dressing-table
(not restored), about 1700.
dressing-table or low-boy having the single-arch moulding
and the legs of an early pattern
is
shown
in
Figure
23.
The
arches
between the legs show the double ogee curve instead of the single
arch.
Dressing-tables of this kind are almost always of walnut ve-
neered on white wood or pine, and are exceedingly well made.

top
is
veneered
to the best
in four
rectangular sections,
fitted to
show the grain
advantage, bordered with a strip two inches

46
The
in
width
Figure 24.
High Chest
of Drawers, 1710-20.
(Stretchers
new ami
47
incorrect.)
H E
showing the straight grain

an inch wide
strip
two half-inch
in
S
;
()
WERS
D RA
between
border and the inside
this
formed
feathering or herring-bone,
strips, the
The
made
has not been restored, as

the arches and the
little
fronts
legs and
This dressing-table
of maple or heech.
will
joining
The
grain running at right angles.
of the drawers are also finished with the feathering.

stretchers are often
b\-
is
readily be seen, and the drops below
turned ornament at the centre of the bracing
The narrow bead-moulding
where the stretchers cross are missing.

which borders the arches of the frame
is
always found on the chests of
drawers and dressing-tables of the turned-legged variety.

Figure 24 shows a chest of drawers of white wood l)elonging
to
Mr. William Meeffat, of W'ethersfield, Connecticut, of somewhat later

date than Figures 21 and 22.
moulding
First, the single-arch
which
is
indicated in several ways.
divided, thus forming a double arch,
is
cornice at the top
is
been added below
it.
wider, and a moulding containing a drawer has
The
table part has three drawers,
between the legs has become the double ogee
drop handles are replaced by an early form of

of which,
The
convenience we shall speak of as a double moulding.
for
ple arch
This
if
compared with the
and the sim-
in
The
form.
bail handle, the plates
plates on Figure 22, will
These
have been developed from brasses of that kind.
show them
bail
handles are
fastened, like the drops, with wires, which pass through the plate
The
are bent against the inside of the drawer.
and should conform
and
new
stretchers are
to the curves of the frame.
dressing-table belonging to the writer, differing from Figure
23 only in
This
to
still
tliat
it
has the double moulding,
retains the drop handles,
is
shown
and denotes the
in
Figure
fact that the
25.
drop
was used with the double moulding.

Figure 26 shows a chest of tlrawers
which does not
differ
materially from that
in
shown
principal difference being that the table part
and contains
five instead of three

49
drawers.
the author's possession
is
in
Figure
24, the
considerably deeper
The dimensions
are as
COLONIAL FURNITURE
upper
lower
part,
S7/4 inches; width of upper part, 36 inches; width of lower
part,
follows: total height, 69 ^l inches;
38 >^ inches.
The
part, 32 inches;
stretcher across the back, which
is
new, should be
straight.
Figure 25.
Walnut Dressing-table, about
The
eties of
chests ot drawers with turned legs were
is,
One
and gold.
Hosmer.
The frames
tables sometimes
had
centre of the front.

fifth
of
many
vari-
finished with several coats of specially prepared
varnish, overlaid with figures of flowers
made
wood, most often of walnut and white wood; they were also
japanned, that
silver,
17 10.
foot
finished in this
and animals
way belongs
in
bright colors,
to
Mr. Walter
of both the chests of drawers and dressing-
five instead of six legs,
thus bringing one
in
the
Dressing-tables are also occasionally found with
where the stretchers
cross.
50
The
dressing-tables sometimes
Figure 26.
High Chest
CHESTS OF
luul
D RA
E R S
stone or slate tops; five of these are mentioned at Boston between
They
the years 1693 and 1719, vahied at about ^1.

scarce, only
two being known
The
into a
one belonging
now very
BoUes
to the
Mr. William G. Boardman, of Hartford, Con-
collection, the other to
necticut.
to the writer,
are
one belonging
slate top in the
border of marquetry about
the top, this dressing-table
is
to
Mr. Boardman
inches in width.
five
is
set
Except
for
The handles
very similar to Figure 25.
are the hollow drops, and these, as well as the outlines of the drawers,
appear also on the back.
Some
of the inventory items which probably refer to the styles so
far
considered are as follows: Philadelphia, 1684,
ers
and table ^8";
2,"
1705,
"a
drawers of walnut and olive wood
^"
chest of drawers and table
drawers and table ^8"; 171

table
chest of draw-
York, 1685, " a chest of drawers black walnut
fine chest of
"a
Boston, 1709,
New
"a
and dressing boxes
"a black Japanned
5,
15s";
^'3
171
1,
^15"
"chest of
chest of drawers,
Philadelphia,
1720,
"a
pair
chest of drawers and table walnut 6," " a cedar chest of drawers and
table
los,"
records before 1700 do not indicate
in
chests of drawers were
in
use there
an)' definite
way
Virginia
that the high
knows of two of
but the writer
the turned-legged dressing-tables which were found

the
The
"chest of drawers and slate table ^5."
the South, and
in
accompanying high chests of drawers were probably known
some
extent.
any certainty
The
to
first
inventory entry which seems to point with
such pieces
is
at
Yorktown
draws and a small table with a draw,
The
to
ot
in
1711
"One
chest of
I'rench walnut ^,3."
types of handles which were used on the chests of drawers with
turned legs are shown
had the drops both
in
solid
of being cut in two.
I'igure 27.
and hollow, the
The
some being round, with

These drop brasses we
second style has a
bail
The
plates
the
will
first,
latter
as drop handles,
ha\ing the appearance
and escutcheons are
edges pierced,
call
known
in
others
handles of the
b'irst
many
shapes,
shield
shape.
Period.
The
handle fastened with bent wires, and the plates

53
COLONIAL FURNITURE
are generally the shape of those shown, but not always engraved.
The drop handle
is
the older, and
both iron and brass.

wire
we
will
call
is
sometimes found on chests
These brasses with
in
handles held by bent
bail
handles of the Second Period.
Figure 27.
Handles and Escutcheons,
The
earliest
and Second Periods, 1675-1720.
specimens of the cabriole-legged high chests of
drawers have many points
arrangement of drawers
like that in
First
Mgure
in
with the six-legged variety.
both the upper and lower part
in
24.
common
The
is
The
sometimes
writer has, however, never heard of a
piece which had but a single drawer
in
the table part.
The
double-
arch moulding and the etched brass handles, like the second variety
sometimes used, and the curves at the bot-
shown
in
tom of
the frame are finished with a fine bead-moulding.
also,
quite often walnut, and sometimes veneered, as in the dressing-
is
Figure
27, are
tables described above.

ascertain,
There was, however,
The wood,
as far as the writer can
no bandy-legged high-boy having the single-arch moulding
and the drop
brasses, which
were survivals of the period preced-
ing that which developed the high chests of drawers
and
this fact,
together with that already alluded to as to the construction of the

frame,
make
it
appear more than
likel)-
that the six-legged chests of
drawers somewhat preceded the cabriole ones.

Figure 28 shows a maple chest of drawers foiuid
belonging
to the writer,
there being no drawers
which
in
is literall)-
the table
54
in
Connecticut and
a chest of drawers on frame,
i)art.
It
has marks of an early
C H E S T S
date
ers
in that
below
it
the cornice at the top

;
D RA
I^^
is
WERS
narrow and has two short draw-
the handles are similar to those on Figure 26, and are
fastened with wires;
the drawers, however, instead of havine the
Figure 28.
Cabriole-legged
High Chest
double mouldings about them, are overlapping, which was the style
next following the heavy mouldings, and the double moulding, apparently without reason, appears on the top of the sides of the drawers.
There
is
no way of determining how early a piece of
made, but that
it
could have been
made
55
as early as
this
710
is
kind was
certain.
COLONIAL
A
U R N
1-
T U R E
dressing-table of walnut veneered on white
same way
moulding
as that
is
shown
in
Figure
25,
is
shown
in
wood
in
figure
much
the
The
29.
of a kind which occurs on both the turned-legged and the
cabriole-legged chests of drawers, and
is
formed by bordering an applied
Figure 29.
Walnut and Inlay Cabriole-legged Dressing-table, 1720-30.
about half an inch wide with a bead-moulding.
Strip
known
times
that
it is
this
as a canal-moulding.
effect
obtained
is
much
applied to the frame
narrow
is
held by
many
but a careful examination of the latter shows that while the
is
opinion
some-
moulding which was used on the mahogany block-front
pieces
strip
The
is
This
the same, the fact
when
the canal-moulding
used on the block-front pieces.

rail
that the extra strip
is
On
is
used,
the block-front pieces the
same
this
effect,
but at the ends
drawers, where the beading appears only single, the
shown.
The handles belonging
small, of the willow pattern, etched
beautiful
and no such
running between the drawers when bordered with the
bead-moulding gives much
plainly
is
little
piece
was found
The common form
in
to
this
ot
the
difference
dressing-table are
and fastened with screw-bolts.
Vermont, and belongs
to
This
Mr. Meggat.
of the flat-topped bandy-legged high-boy

56
is
is
Figure 30.
Cabriole-legged High Chest of Drawers with Steps

for
China, about 1730.
57
CHESTS OF DRAWERS
made
of cherry, maple, or walnut, and
is
taller
made
separate, the upper fitting into the lower
The
by a moulding.
firm
six or eight inches
The upper and lower
than the chests of drawers hitherto shown.

parts are
by
and held
chest of drawers proper has usually four
drawers, graduating in size from seven to four inches in width

section above the fourth drawer
is
divided
commonly
the
into five drawers,
a deep one ornamented with the rising sun, with the space each side
of this equally divided into two small drawers.
drawer running
the
all
way
The
table part has a
across the top, and under this three deep
The handles are

screw-bolts.
The large
drawers, the centre one also having the rising sun.
medium-sized willow pattern fastened with
majority of low -boys offered for sale are the lower or table part of
high-boys, and can be distinguished from the dressing-table proper
by
their height
and the much more substantial make of the
genuine low-boy seldom measures over 34 inches
high-boy tables average about 38 inches.

very light and graceful
in
table.
It
may
also
the chest of drawers
is
little
height
the
low-boys are
appearance, and to the trained eye easily
distinguished from the pieces
boy
The
in
The
leg.
made by supplying a
top to the high-
be added that when they are thus separated
often finished with feet
and offered
for sale as
a colonial bureau.
Figure 30 shows a conventional
flat-top high-boy.
The
steps,
such as are shown on top of this piece, were often used to display
china
when
room.
the chest of drawers
was used
in
the dining- or living-
Boston inventory of 1713 mentions earthenware on top of
the chest of drawers.
high chest of drawers of walnut which combines to a very un-
usual degree the characteristics of different periods

3
(frontispiece).
The
features which point to
its
is
shown
in
Figure
early date are the
double-arch moulding, the cornice drawer, and the two short drawers
just beneath, while the blocking of the drawers,
corners,
and the ball-and-claw
feet are features
the fluting at the
which would make
it
COLONIAL
V R X
to
recent
additions,
T U R E
The wooden handles
be of a much later date.
appear
and the brass binding' about the keyholes was
The
probably added at the same time.
loss of the orijjinal handles
removes one of the most valuable indications of

escutcheon, however, remains.
original bolt-holes
in
width.
It
are, of course,
It
is
show the handles
its
a small plain
to
One
date.
and the
plate,
have been about two inches
quite possible that such a piece as this could have
is
been made very
late to satisfy the taste of
some
individual without
regard to the combination of early and late characteristics, but the
burden of evidence seems

date
has ever been
than
our opinion
in
be thrown on the side of an earlier
to
associated with block-front
pieces,
and
that this very interesting chest of drawers, which
is
the collection of Mr. C. L. Pendleton, of Providence, was
is
made
before the year 1750.
Somewhere between
superseded
not
mean
the swan-neck or
b\-
that after this time no
more simple
We
the years
name
and 1730 the
flat
tops were
because at
England and the
which belonged
730
for years.
1710 and 1730,
late as
time the broken arch was freely used
Figures 91 and 167.)
being much
never found with
is
in architectural
colonies, although previous to this time
had been plainly suggested on some of the wainscot
year
moulding or with handles fastened with
which were probably used as
this
in
made
top was
This does
broken-arch cornice.
these dates because the broken arch
wires, both of
flat
make, they probably continued to be made
to
either of the early forms of
designs
17 10
There
is
to Dr. Ezekiel Porter,
(See
pieces.
at Wethersfield, Connecticut, a
it
house
which was furnished about the
the sleeping-rooms were each supplied with a chest of
drawers and a dressing-table, and
all
of the five chests of drawers
have the broken -arch cornice.
One
of these chests of drawers, which
Esther Bidwell,
is
shown
construction e.xactly like
in P""igure 32.
its
flat-top
60
now belongs
The wood
predecessor,
is
to
Miss
cherry, and the
except that
the
CHESTS OF DRAWERS
curved moulding leaves space
tlie
The
square drawer at the top.
of this
finish.
The wooden
for l)ut
one narrow drawer each side of
torch ornaments are characteristic
drops, whicli were probably the survival
Figure 32.
Scroll-top
High Chest of Drawers,
730-40.
of the two inside legs on the six-legged form of
drawers, and wliich
The
what
appear on the
brass handles, similar

larger,
and
in
flat-top
the-
high chests of
pieces, are
done away.
form to those on Figure 30, are some-
this increase in the size

61
t)f
the handles
is
an indica-
C O L O N
tion of a later date.
The
A L
F U R N
T U R E
willow brasses of the earliest patterns are
very small, measuring about two inches
in
length by one and a
quarter inches in width, while those used on pieces
made
after
are often as large as five inches in length by three inches
in
760
width.
Figure 33.
Dutch Cupboard, 1730-40.
Figure ^^ shows a Dutch cupboard, also owned by Miss Bidwell,
having the chest of drawers replaced by a cupboard which

with shelves.
One
small drawer
below the centre ornament.

all
may be
seen
in
is
furnished
the cornice just
These cupboard-top pieces are not
common.
62
at
CHESTS OF DRAWERS
Figure 34
chests
is
owned by Miss
dressing-table
Bidwell.
board just spoken of and

dressing-tables
It
belonging to one of the high
shows almost the
may have belonged
lines of the cup-
with
The
it.
had but three drawers, as the high curve
early
the
at
Figure 34.
Dressing-table,
730-40.
centre only admitted of one narrow drawer above
form of dressing-table made after about

tration.
The high
added across the
curve at the centre
top.
The
is
730
is
The common
it.
shown
in this illus-
omitted and a long drawer
centre drawer was not always square or
oblong, but sometimes rounded at the top and sometimes arched at
both top and bottom.
As
the centur)- advanced the elaborateness with which the chests
of drawers and dressing-tables were
made
increased.
The
legs were
carved with a shell at the knee, and a ball-and-claw or web foot was
used.
The
centre drawer dropped the rising sun ami was carved
in
various ways, and the corners were often ornamented with a tinted
half-column.
The wooden
extent after
the
drops, as
scroll
top
we have
was
63
seen,
added,
were not used
and
the
simple
to
any
bracket
COLONIAL FUR N
T U R E
by many
curve which distinguished the early styles was replaced

ingenious patterns.
Figure 35 shows one of these more elaborate dressing-tables,

with fluted columns and shell carvinsj, belonoin*'-
to
Mr. INIeeeat.
Figure
35.
Dressing-table, 1760-70.
The
rail
carved
in
The
havini,^
below the top
just
rococo or Chinese
in
the most ornate dressing-tables
styles.
dressing-tables were usually furnished with dressing-boxes
One
a mirror attached.
connection
with a
is
mentioned
"black
dressing-table, as
^'i
mentioned so
frecjuently as to lead us to
5s."
It
is
in
Boston
in
japanned
table
One
Figure
to
pieces
7S0 can now be found.
of these dressing-boxes, beautitull\- japanned,
36.
and
suppose that they must ha\e
been very common, only a \ery few of those belonging

previous to
1715, in
a strange fact that although these are
dressing-box
Figure
was
It
;^y
is
shown
in
dates from 1760 to 1780.
shows a double chest
ot
drawers, sometimes called a
chest on chest, which belongs to Mr. Meggat.

64
The cornice
is
almost
I'lijuic 37.
Double Chest of Drawers, about 1740.
65
CHESTS OF DRAWERS
identical with that of the
is
high-boy shown
cherry and the drawers overlap.
The
Figure
in
32.
The wood
ball-and-claw feet and the
handles are new, the feet originally having been ogee bracket
The
cornice with which this piece
is
feet.
finished indicates a rather early
Figure 36.
Japanned Dressing-box, 1760-80.

date, for this feature, like
ually elaborated,
most
was grad-
details of feet, handles, etc.,
and few arch cornices of a
later date than
1750 are
found which are not finished where they break more or less elaborately with a carved rosette or similar design.
a
1
mahogany
fluted double chest of
In 1768 at
New York
drawers was advertised, and
in
769 chests on chests were offered.
Figure 38 shows a double chest of later date than the preceding,

as shown by the beading about the drawers, the serpentine form of
the lower portion, the
fluted
corner columns, the carving on the
square drawer, and the hnish of the cornice.

67
The
rosette handles
COLONIAL FURNITURE
seem too
late a style to
only handles
is
it
go with
has ever had, as
it
this piece,
has never been restored, and there
no mark whatever of other handles
S[
but are undoubtedly the
but as chests of drawers were
HIGH CHEST OF DRAWERS, LATTER HALF

EIGHTEENTH CENTURY.
(^Figure 3g.)
x^
CHESTS
A
D RA
I^^
E R S
very elaborate chest of drawers, which probably represents the
extreme
Every
to
which
detail
is
was developed,
this style
shown
is
Figure
in
39.
elaborated, though the form and arrangement of the
simpler high-boy
is
the very finest of
The
followed.
found almost altogether
is
the best and the chest
Chests of drawers of
kind.
its
carving
South,
in the
in X'irginia
this pattern are
and Pennsylvania
especially,
and are almost invariably made of walnut with overlapping
drawers.
There are
five of these elaborate chests of
Pendleton collection
slightly
design
in
dressing-tables
belongs
to
]\Ir.
at
and
Providence,
In
detail.
carved
in
Rhode
the
manner.
like
Island,
same
drawers
differing
This
chest
very
are
collection
of
the
in
also
drawers
Meggat.
^H^^
^^
Figure 40.
Handles, Third and Fourth Periods, dating 1710-60.
The handles shown
in
Figure 40 represent the principal styles
used on high chests of drawers

with small screw-bolts.
last
in
two from that time
Figure
The
first
after
1710.
They were
fastened
two appear usually before 1720, the
until the latest
form of willow brasses, shown
39.
BUREAUS
As
such pieces as these about to be described have so
been called bureaus, we
There
existed to
is
some
will, for
name
here.
indication that the low chests of drawers, or bureaus,
some extent while
general use.
convenience, use that
commonly
the high chests of drawers were
still
W'hetlicr they were at that time called bureaus
mooted question, and the reader
is
69
referred to the chapter on
is
in
Desks
COLONIAL FURNITURE
for discussion of the origin
and early use of the word.
Examples
of low chests of drawers which could date previous to 1750 are
exceedingly rare
the writer has
heard of but two which would
answer the requirements of such an early

walnut with plain bracket
feet,
date.
These were both
but the bureaus which have survived to
any extent are largely of mahogany, and certainly date

half of the eighteenth century.
Those with
in the latter
swell or serpentine fronts
were adopted from the French, who called them commodes.

pendale published designs
England.
1
788-89
for
serpentine-front
dressing-chests and French
The
Chip-
them, and probably introduced them to
Hepplewhite and Shearer published numerous designs

for
of
overlap drawers, and engraved brasses
Mahogany Low Chest
of an early willow pattern
now
chests
commode
of drawers,
in
and called them
dressing-chests.
characteristics of the earlier form of chests of drawers
have
CHESTS OF DRAW'ERS
been
of
fully
discussed previously, and
some of the
varieties of bureaus
it
only remains to give illustrations
which are now commonly found.
Figure 41 shows a mahogany serpentine bureau with ball-and-
The frame about

narrow bead- moulding common to such pieces.
claw feet and a late form of willow handles.
drawers has the
the
Figure 42.
Low
Chest of Drawers, about 1770-80.
Figure 42 shows a serpentine bureau with ogee bracket

with corners finished with a fluted column.
in
the
same way
as the above.
The
The drawers
feet,
and
are finished
date of this piece cannot safely
be placed earlier than 1770.

Figure 43 shows a block-front bureau belonging
to
Mr.
W.
S.
Schutz, of Hartford, in which the drawers are finished with a narrow
bead-moulding, and the handles, which arc the original, show that
the piece cannot date earlier than
noticed,
1770-80.
have a somewhat unusually deep curve.
The
feet,
it
will
be
COLONIAL FURNITURE
Figure 43.
Block-front
Low
Chest of Drawers, about 1780.
Figure 44.
Block-front
Low
CHESTS OF
D RA
W^
E R S
Figure 44 shows a block-front bureau with the
belonging to Mr. Meggat.
The frame about
with the usual fine beading which, as

take for the canal-moulding.
The
and
the drawers
we have seen
before,
is
finished
many
mis-
three drawers are rarely met with,
such bureaus generally having four drawers.

larly slender
shell carving,
graceful, and, with the
The
feet are particu-
heavy upper moulding, bring
the height of the piece about up to that of the four-drawer bureau.
The remains
of the original brasses will be seen on the drawers.
Figure 45.
Swell-front
Low
Chest of Drawers, 1780-1800.
b igure 45 shows a swell-front bureau with the foot used on the
French commodes and usually known as the F"rench

drawer
inlaid
is
narrow band of
foot.
about an inch and a half from the edge with a

holly,
and the edge of the top and the frame
bottom have a border about three quarters of an inch wide of

inlay.
plain
Bureaus of
and
date from
inlaid,
i
Each
this
kind were very
common
in this
73
fi\nc\'
country, both
and almost invariably have the oval brasses.
780-1800.
at the
They
COLONIAL FURNITURE
Figure 46 shows an elaborate swell-front bureau of mahogany
with square and oval panels of satinwood, each outlined with a fine
border of inlay of
holly,
This represents the
rosewood, and ebony.
Kigure 46.
Mahogany and Satinwood Low Chest
(Brasses new.)
handsomest
and
best-made bureau of
handles are not original.
time
its
1780-90.
The
This piece belongs to Mrs. Alexander
Forman, of Brooklyn.
Figure 47 shows a mahogany bureau
shown
b)-
the fluted columns and
has the appearance of being a
and quadrant
for writing
but this bureau was

drawer.
The handles
"
feet.
in
the Sheraton style, as
The wide drawer
bureau drawer
purposes
" fitted
this is not,
probably modelled
after
at the top
with a spring
however, the case,
one having such a
are original, and the date of the bureau
is
about
1790.
Figure 48 shows a bureau of

design.
It is
made
of
late
mahogany with a
74
Sheraton or early Empire

little
inlay in holl)-.
CHESTS OF DRAWERS
Figure 49 shows an Empire bureau found
in \'irginia,
having the
three lower drawers swelled and the short drawers at the top straight.
This form of bureau was largely used
in the
South, and similar ones
Figure 47.
Sheraton
Low
Cliest of Drawers, about 1750.
are sometimes found with turned
feet.
The
handles, though old, are
not the original for this piece, which should have had rosette handles
of
some
sort.
It
dates about
800-10.
Figure 50 shows the conventional
Empire bureau with the
The columns show
proper rosette and ring handles.

leaf
tall
and pineapple so generally used on
all
Empire
the acanthusAll
furniture.
these bureaus were of fine mahogany, usually veneered.
As bureaus
perhaps be well
wood
are so
to
commonly
associated with mahogany,
say something of the history of the use
for furniture in general.
The
75
it
will
ot
that
traditicMi of ils introduction
into
COLONIAL
England by
and
at the
Sir
Walter Raleigh,
same time
it
is
F U R N
in
1595,
its
L'
R E
quite generally accepted,
as generally believed that
there to any extent until about 1720.
which divides
is
discovery from
its
It is
it
was not used
not likely that the century
was absolutely igno-
po])ular use
Figure 4S.
Late Sheraton
rant of
it,
Low
and some pieces are now known
mahogany
in
England previous
concerned, there
previous to
is
to 1700.
have been made of
to
As
no indication whatever that
far
it
as this countr)-
is
was known or used
1700; none of the furniture, such as chairs, tables, or
chests of drawers, which were
any,
and there
is
made
no mention
in
at this time,
the
were made of mahog-
inventories or contemporary
documents of anv kind that the writer has been able
to
find of
ma-
CHESTS OF
D RA
At Philadelphia,
hogany previous
to 1700.
a cabinet-maker
named John Fellows contained
material in a shop:
nutt
"
walnutt
planks,
in
E R S
1694, the inventory of
the following
list
of
pyne loggs, walnutt loggs, pyne boards, waloak boards and cedar boards, one
scantling,
Figure 49.

(Handles new.)
case of drawers, partlie

stuff partlie
wrought
drawers, four
his
to
this
stuff for a side
hall
table,
table
a parcel of brass
work
in
for
1720 Joseph Waite, also of Philadelphia, had
shop "a chest of mahogany drawers unfinished."

there
made,
partlie
sutes of locks for chests of drawers, three dressing
box locks"; but

in
for
made,
is
Previous
mention of a " broaken mahogany skreen
inventory of John
Jones,
in
1708, at
Philadcli)hia,
valued
"
in
at
the
two
C O L O X
If
shillings.
A L
\ve conclude,
furniture in this country
the eighteenth century,
V U R N
then,
that
T U R E
use
the
of
mahogany
for
was contemporaneous with the opening of
we
shall certainly place
are equally safe in concluding that
it
was not
it
early enough, and
in
we
general use earlier
Figure 50.
The Boston "Evening Post" throughout
than 1720-30.
I
74 1 advertises
mahogany boards
in
large quantities, and after this
time the newspapers and inventories frequently mention

tables, chairs,
It
may be
Mexico,
is
mahogany
and desks.
well, while
on
this subject, to
speak here of the
ence between the old mahogany and the new.
market to-day
the year
in
There are
commonest use two kinds of mahogany.
quite a soft wood, and light in
color,
darken with age, and consequently must be stained.
differin
the
One, from
which does not

It
weighs but
CHESTS OF DRAWERS
about two and a half pounds to a square foot an inch
while
West
Indian
kind of mahogany
mahogany weighs about

is
from Honduras, and
Mexican, with a much coarser grain.

tell
by the weight of a piece of
It is
furniture
pounds.
six
is
in thickness,
The
other
even softer than the
therefore often possible to
whether
it is
old or new, and
this is particularly true in respect to chairs.
The
best
mahogany
to-day, as well
from the West Indies, and
is
as in
former days, comes
sometimes called Spanish mahogany.
Figure
51.
Handles, 17 70- 1800.
There
is
also a very beautiful grained
coming from
The
mahogany now
in
the market
Africa.
types of handles met with on chests of drawers and bureaus
dating after 1760 are shown
in
Figure
i^:M^
51.
C O L O N
the third
is
A L
V U R N
T U R E
the oval handle found on the majority of the swell-front
bureaus and Hepplewhite sideboards
and the fourth
is
a rather elabo-
rate oval, with a ring handle, found on Sheraton pieces.
Figure 52 shows three forms of handles belonging

period, to
which should also be added the brass rosette shown
ure 38, and the glass rosette, which was quite

late
to the
Empire
in
Fig-
commonly used on
the
Empire bureau.
Figure 53.
Figure 54.
Wash-Stand, Hepplewhite, 1780-90.
Two
swell-
little
Wash-stand, Sheraton, about 1790.
corner wash-stands which were
and serpentine-front bureaus are shown
Figure 53
Figure 54
is
is
Hepplewhite
in style,
in
in
fashion
with the
Figures 53 and
and belongs
to
54.
Mr. INIeggat.
Sheraton, of mahogany, with drawer-fronts of bird's-eye
maple, and belongs to Mrs.
W.
\V.
Andrews.
80
They
date
780-1 800.
CUPBOARDS AND SIDEBOARDS

AT
the time
had been
when
common
As
use for generations.
the
name
im-
they were originally "bordes" on which to set drink-
plies,
The
ing-cups.
in
the American colonies were settled cupboards
earhest of these
cupboards now known
are
con-
structed with shelves arranged like steps, and having often a "tremor"
or canopy of
wood
they are Gothic
and are spoken of some-
in style,
times as ambries or almeries, the names long- used
a niche or cupboard near the
altar,
contain the utensils
to
built
the churches for
in
requisite for conducting worship.
The
frequent mention of cupboards of
probate records shows them to have been
in
and the spelling of the word
the colonies,
suit all
all
tastes
kinds throughout our
very
is
common
various
use
in all
enough
to
cubboard, cubberd, cubbord, cubbert, cupbard, and
cubart are some of the spellings employed.
Court, wainscot, livery,
standing, hanging, press, joined, plain, great, and painted are the descriptions
used
in
most often met with.
connection
Court and
livery, the
with the cupboards of
New
words most often
England and the
South, seem to have lost their original meanings sometime before their
use
in this
covmtry.
It
.some definite descriptive

to
is fair
to
suppose that they must have had
meanings when
first
applied,
and these seem
have been derived from the French words court and
meaning low
or short,
and pointing
livrer, court
to the conclusion that this mu,st
COLONIAL FURNITURE
have been a low piece of
much Hke
furniture,
Livrer has been variously translated

perhaps referring
custom
to a
in
to
modern
serving-table.
mean
service
and
vogue during the
fifteenth
delivery,
and
six-
teenth centuries of delivering to the household the rations required
An
during the day and night.
old English dictionary defines livery
as " something given out in stated quantities at stated times."
note on the word cupboard
corum," published by
the
Camden
Society
often mentioned
the " Promptuarium Parvulorum Cleri-
in
Wynkyn
de
Worde
reads as
in 1865,
For a
in
1510,
follovi^s
and republished by
"The
livery
cupboard
accounts and ordinances of the household was
in
open and furnished with shelves whereon the ration called a livery
allowed to each
member
of the household was placed."
The English
inventory records throughout the sixteenth century, published by the
Surtees and
Camden
societies,
make
frequent mention of court and
livery cupboards, but their values, even in the estates of persons of
consequence, are so exceedingly low as to indicate that they must
have been very simple
in style
and workmanship, hardly more than
shelves supported by a frame.
The
(Figure
picture of the dining-hall at Christ
55),
have been
Church College, Oxford
shows a court cupboard beneath the window, which must
far finer
than the bulk of those of the time to which
longs (sixteenth century).
The upper
pieces,
deeply carved reedings.

fairly the style in
b\- pilasters
carved after the
and the centre shelf ornamented with
This cupboard doubtless represents very
which cupboards were
sixteenth centuries.
be-
shelf will be seen to be sup-
ported by well-carved dragons, the lower
manner of Elizabethan
it
Toward
built
during the fifteenth and
the close of the sixteenth century the
English records show the court and livery cupboards to have increased
in value,
orated
in
and
this
undoubtedly means that these pieces had been elab-
some way, probably by
the addition of enclosures in the
form of cupboards and drawers, and also by the addition of ornaments

in
the form of carving and inlav.
This we know to be
true, for a
to
J3
Si
u
u
o
83

number of cupboards dating
preserved
the seventeenth century are
early in
museums which have
the collections of English
in
enclo-
sures and drawers and are carved and inlaid.
very few specimens of cupboards with
enclosed remain
in
and the conclusion that the court
this country,
cupboard has evolved from open shelves
we have
portion, as
remaining an open
shelf;
to the
seen,
was
enclosed cup-
fully
numbers remain,
boards, of which comparatively large
The upper
upper portion
on!)- the
is
well attested.
enclosed, the lower
first
then a drawer was added below the middle
was
shelf and, finally, the lower portion
cupboards and then with drawers.
entirely enclosed,
Properly
with
first
speaking, then, the
terms court and livery do not apply to the cupboards which are to be
found
this
in
boards, that
is,
country, which
enclosed with doors
that these press cupboards
there
are,
;
technically
speaking, press cup-
but there
every reason to think
were referred
is
to as court
and
livery, for
express mention of court cupboards with drawers and livery
is
cupboards with drawers, which are not qualifications of
real court or
livery cupboards.
As
as this country
far
quite interchangeably,
prices of both are
if
is
concerned, court and livery are used
one may judge from values given,
may be
equally small or large, as the case
court cupboard at Salem
in
1647, 14s.; a livery cupboard at the
place in 1656, i8s.; a livery cupboard and cloth in 1674, ;î
cupboard and cloth
drawer
1666,
at
Boston
cloth
1658,
1700,
in
i6s.;
was mentioned quite
and suggests that

is
î
a court
same
a court
cupboard with a
a livery cupboard with drawers,
their
as often with court as with livery,
make-up must have been much
no mention of either court or livery cupboards
New York
Dutch
in
Boston
OS.
The
There
at
5s.;
the
for
will
records,
and the
/casscs or
cupboards
in
use
the same.
in
the early
among
the
be spoken of separately.
The Southern
records contain quite

85
frequent nxMition of both
COLONIAL FURNITURE
court and livery cupboards, but, as far as the writer has been able to
determine, these pieces
assumed that they were
have utterly disappeared, and

in
character and material the
New
furniture as those remaininLf in

for
it
same
may be
class of
England, as the source of supply
North and South was the same.
The wood
tops, bottoms,
is
usually oak, with pine freely used for the cupboard
and backs, and
drawers are used.
for the
bottoms of the drawers when
In the panelled cupboards
occasionally found of cedar, but are
more
the
mouldings are
often of pine, beech, or
maple painted, and the turned ornaments, drops, nail-heads,
same woods,
backs, and triglyphs are of the
dominance of American oak
in
also painted.
turtle-
The
pre-
the construction of these cupboards
Figure 56.
Press Cupboard, about 1650.
denotes, of course, their manufacture here, and as they are such bulky,
difficult
pieces to transport,
it
would seem
few of them were brought over.

86
likely that comparatively

Figure 56 shows a cupboard constructed
monly employed.
The upper
the overhanging cornice
lower portion
is
is
somewhat
portion
is
in
the
way most com-
splayed at the corners, and
supported by heavy turned posts
as simple a
manner
in
observed that
but one portion of a cupboard or chest
it
is
it
and the
may
safely
scroll
be placed
in
in
is
may
here be
ornamented
The arched pan-
the neighborhood of 1650.
Panelled Cupboard,
now
It
carving are both indications of an early date, and
Figure
is
as possible.
almost without exception the upper portion.
elling
the
plainer than usual, the doors and ends
being panelled
if
last
This cupboard
57.
the Bolles collection, having formerly belonged
to
Mr.
Hulbert, of Middletown, Connecticut.
Figure 57
Mr. Henry
W.
is
a wainscot or joined cupboard
Erving, of Hartford, which

7
is
in
the collection of
made throughout
of oak,
COLONIAL FURNITURE
no pine whatever appearing
worthy, as the
wood
is
in
construction, a fact quite note-
its
American oak, and most American pieces show
much more sparing
pine, while the majority of English pieces are
the use of
The cupboard
it.
divided at the centre, and a long
is
drawer runs across the bottom, the mouldings on
worked
on, not applied as
is
in
The
usual.
stiles
drawer being
this
may have
originally
had turned ornaments, but the piece shows no evidence of having

been painted.
Its
Cupboards of
date
is
about 1675-1700.
this variety,
with panelling
various geometrical
in
designs, are very often constructed with the receding portions of the
panel
in
pine and painted black, and with the mouldings painted red.
Cupboards intended
them
ver)- large,
for clothes are
from seven to eight feet
eicrht feet in leneth, the large
The hinges
made
in
way, some of
in this
height and from
si.\
to
doors dividing at the centre, and show-
ing no shelves, but instead large
were hung.
found
wooden pegs on which
the clothes
of iron are sometimes large and fancifully
shaped, and applied on the outside as ornaments.

these, with their fine panelling
and
Such pieces as
brilliant colors, are
exceedingly
effective.
Figure 58 shows a very
fine
example of the panelled cupboard,
dating about 1660-80, the drawer-fronts and centre of the panels
being inlaid
is
in
quite often
very
common
in a stable
This inlay
block design with light and dark woods.
met with
in this
some years
in
the fine cupboards abroad, but
it
is
not
This cupboard was found neglected
country.
ago, and carefully restored; but the
feet,
which
are new, should have been of the ball variety illustrated in Figure 61,
for,
almost without exception, chests and cupboards having the wide
outstandiuL'' mouldinor at the
bottom have these
ball
feet,
straight feet are merely the continuation of the stiles
rupted
b)'
The
any moulding
feet of chests
in
most
and uninter
cases.
and cupboards being often missing,
of service to collectors to
know
while the
that
88
if
it
may be
the place where the feet were
PANELLED OAK PRESS CUPBOARD,
1660-80.
Sâf^
C U
I'
O A RD
AND SIDEBOARDS
applied originally can be examined, the presence of an auger-hole
with rounded end denotes the use of a very old style of instrument,
for the
hole.
modern auger leaves a
The
ball feet
straight surface
where
it
finishes a
were furnished with dowel-pins which
fitted into
the holes.
Figure 59.
Panelled and Inlaid Press Cupboard,
The cupboard from Mr.
last
Erving's collection, shown in Eigure 59,
has come to be quite generally known

necticut cupboard, for a
among
collectors as the
number of them have been found

S9
in
Con-
Connec
COLONIAL rURNITURE
and the writer has been unable
ticut,
any that have been
to trace
found elsewhere.
The
panels of the lower portion will be seen to be almost identi-
shown
cal with the chest
Figure
in
This cupboard
lo.
what from those previously shown,
in
some-
differs
that the upper section
is
not
splayed, but presents a straight surface, leaving a narrow shelf run-
The wide drawer between
ning across the
front.
lower section
not divided into two, as
is
the upper and
These
appears to be.
it
Cupboards are occasionally met with
cupboards date about 1680.
in
which both upper and lower sections are recessed, the lower cupboard finished
in
the
same manner
turned posts at the corners.
bottom.
at
cupboard of
as the upper,
and also having the
drawer sometimes
this description
the
in
is
is
added
Waters
at the
collection
Salem, Massachusetts.
Figure 60 shows a
and
tion,
is
carved cupboard
fine
a particularly interesting piece, as
carved desifjns
common
in
and early seventeenth
use
it
the Bulkeley collec-
many
has so
of the
Entfland durincr the late si.xteenth
The drawer and upper
cornice have
the stiles are in the rose design
has the half-circle border seen on so
rail
The blocking
chests.
in
centuries.
the very familiar scroll design

the lower
in
with which the top
found except on well-made pieces.
is
finished
many
is
and
of the
not usually
This cupboard probably dates
about 1675-80.
Another carved cupboard, belonging

Wethersfield, Connecticut,
a large
The main
tration
is
Figure
61,
which also shows
that are familiar to
one acquainted
scroll,
while the
feather pattern to advantage
the
on the recessed portion of the upper cupboard.
reader will observe
ball feet.
in
Mr. Walter Hosmer, of
decoration consists of the
show the herring-bone or
rose also appears
The
shown
number of carved designs
with the chests.

stiles
is
to
the wide
outstanding moulding
and the
feature of the cupboard not observable from the illus-
the fact
that the
turned posts are of oak and have evi90

dently never been painted
add
to the
the Ionic capitals and dentilled cornice
well-made appearance
and though
all
the carved designs are
early ones, the general aspect which the cupboard presents of a fully
developed style points
to a date late in the
It
Figure 60.
was undoubtedly made

oak.
This cupboard
in this
is
last
country, as the
of unusual
size,
wood
being
is
5 feet
American whitei
}i
inches high.
the lower section being 3 feet in height, 4 feet wide, anc
deep, the upper part
feet
>< inches
9'
high and 18
'4
nch es
inches deep.
COLONIAL FURNITURE
Such examples of carving as those
rather remarkable that the
carving
New England
last
shown make
it
appear
inventories do not mention
connection with cupboards, and only very occasionall)-
in
the description of chests
it
in
would seem that the original cost of such
Figure 6i.
work
as these cupboards
looking through a long
last (juarter
show would
list
seventeenth centur)'.
necessarily be high; but on
of cupboard values taken at Pljmouth,
Salem, Boston, Philadelphia, and York town, the values vary, as a
from
5s.
to
/î
5s.,
and valuations above these figures are very

92
rule,
rare.
PANELLED OAK PRESS CUPBOARD WITH THREE DRAWERS,

LATTER HALF SEVENTEENTH CENTURY.
(Figure 6b. )
C U P B O A R
An
AND SID E B
entry of a "court cubbert
"
at Boston,
we
at Salem, in 1733,
find "
1681, places the value at
^4, and at Yorktown a court cupboard with drawers,

at ;^5
A R D
()
in
1657,
one best cupboard
valued
is
^'3,"
and the
2 "; but the currency inflation suffered at this time in Massachusetts may bring the actual value of the last-named down to the
The inside arrangement of these cupboards does not vary
average.
that is, without shelves,
much. The upper cupboard is usually open,
" next best,
but
sometimes has a shelf
the top
is
not a drawer
eral,
and when the cornice

which
often has a shelf concealed
it
The lower cupboard has from one
through the cupboard.

shelves.
the centre
in
These cupboards,
is
very
fine
no
long
as well as the joined oak hu-niture in gen-
whatever were used
nails
reached
to three
wooden
are fastened together mortise and tenon fashion with
pegs throughout
at
them.
in
cupboard with drawers, known as the
"
Putnam cup-
board," which was presented to the Esse.x Institute, Salem, by Miss
Harriet Putnam Fowler, of
John Putnam, who

Figure 62.
settled in .Salem
differs
It
Dan vers,
from
all
Massachusetts, a descendant of
about the year 1634,
is
shown
having the lower
the preceding in
we may regard
section entirely of drawers, a development which
in
as
the extreme to which these cupboards came, although a court cup-
board with three drawers

as 1677.
The
is
mentioned
in
a Boston inventory as early
panelling on the drawers
The
mouldings being of cedar.
of the cupboard portion would
be an early example of
its
its
especially
fine,
all
the
arch shape of the recessed panels
make
kind.
it
It
appear that
The
origin.
this
cupboard ma)-
probabl)- dates, however, after
the middle of the seventeenth century.
throughout, indicating
is
The wood
piece
is
is
made
English oak
in
two
parts,
the cupboard proper and the drawer section separate.
There
is
cupboard with three drawers
in the
Holies collection,
dated 1699, showing that cupboards were being made
in this
way
as
late as that date.
Figure 63 shows a very beautiful and rare piece belonging to

93
C O L O X
A L
L'
R X
T U R E
Mr. Walter Hosmer, of Wethersfield, Connecticut, which may, perhaps,
be such a piece as was referred

inventories before
to in
several
high, 43 inches wide, and 30 inches deep, and
as were the high
Yorktown
1700 "a cupboard of drawers."
chests of drawers
is
made
(Virginia)
53 inches
It
is
in
two
and the cupboard
sections,
last
shown.
Figure 6j.
Cupboard
The upper
of Drawers, last iiuarter seventeenth century.
section consists of
two drawers, one about 4^2 inches wide,
extending entirely across the front just beneath the moulding, and a
larger drawer io>^ inches wide.
The lower
section
is
a cupboard, the doors enclosing three long drawers.
in
appearance
The wood
is
English oak, and the face of the centre panels and the entire front of
the narrow drawer, as well as the face of the applied ornaments of the
upper
section, are
veneered with snakewood, an extreinely hard wood

94

growing
The mouldings
Brazil.
in
are cedar, and there
is
no paint
on the piece, except on the turned ornaments, which are painted black.
are of bone, and the drop handles on the enclosed
The knob handles

drawers are of
This piece was found
iron.
in
Connecticut, but
is
undoubtedly of English origin.
Cupboard
all
the
know
and
pewter, and glass, for this
accounted
for,
higher
mentioned
separately
than
cupboard tops were used
that the
inventoried
sometimes
value,
of the cupboard
cushions are
and often
records,
considerable
We
cloths
is
the
frequently
as
articles
cupboard
in
of
itself.
for the display of china,
often included in the appraised value
therefore the cupboard cloths or carpets are easily
as covers
made
of various materials (linen, tapestry,
and needlework are some of the kinds mentioned) would very naturally
have been
not at
first
in use.
But what a cupboard cushion could be does
appear, as there seems to have been no cupboard that could
possibly have been used as a seat, and cushions meant cushions in those
days as now, and are almost invariably mentioned with joined chairs
and
settles.
The
only solution for the riddle of the cushion on the
cupboard seems to be that the cushion was probably a very thin one,
placed over or under the cloth as a protection to the china and glass
against striking a hard surface with force enough to break or injure
The cupboards
it.
discussed so far in this chapter represent the kind
of furniture with which the
homes
of the seventeenth century in this
country were furnished, and to the average American are absolutely
unknown.
The consensus
of opinion
among
the design for the wainscot cupboards
von Falke,
for
in his lectures
German Renaissance
Vriedeman de Vries
warden,
in
on "Art
students of the subject
is
came from Germany, and Herr
in the
House," shows a few designs
sideboards, mostly from the designs of
(painter, designer,
Friesland, 1527, died at
and
architect,
born
Antwerp some time
which may easily have been the models

95
that
at
Hans
Leeu-
after 1604),
for the heavily panelled cup-
COLONIAL FURNITURE
common
boards so
The
here.
the cupboards were sometimes
came from
Germans,
the
nificent inlay in colored
by the great
same
artists of
same expense and
among
Practically
traces of having their mouldings
stain or paint
tively.
will
von Falke remarks that the mag-
and Spain created a desire
Italy
use of paint or stain
and the carved
show
pieces,
many
of them,
cupboard
German cabinet-makers
all
the
American cupboards
and turned ornaments painted,
show the presence of
a black
is
effec-
occasionally found where judicious scraping
the original ornament to have been principally a design in
These painted cupboards are

is in
the Bolles collection.
has been previously remarked that the words court and livery
do not appear
in
the inventory records at
New
York, and likewise
the words oak and wainscot are almost entirely lacking.

kas,
thus giving
the
however, very common; a unique one

It
skill,
for these
used as a background to set off the carving more
paint, simulating carving or panelling.

not,
painted probably also
woods, metals, and precious stones achieved
of the seventeenth century.
show
stained and
for Dr.
color effects without the
rise to the
which
taste for the brilliant colors with
sometimes spelled
Dutch name
for
appears very often, and this was the
kasse,
cupboard.
The word
The
records speak of plain cupboards,
great cupboards, walnut cupboards, great presses, Holland cupboards,
cedar cupboards, and Dutch painted cupboards, and a search

the treasures of Dutch families in the vicinity of
revealed a single oak piece or a cupboard

court and livery cupboards of
The
land
in
New
in
New York
first
has not
any way resembling the
England.
cabinet or cupboard shown in Figure 64 was
the
among
made
in
Hol-
quarter of the seventeenth centur)-, and has recently
been brought to
this country.
The
carving
is
of a very high order,
and the plain overhanging moulding and the curious

only resemblance
it
ball feet are the
bears to any Dutch pieces to be found
in
this
country to-day.
Dutch painted cupboard now preserved

96
at the
Van Cortlandt

Mansion
designs
at
Van
in fruit
Cortlandt Park
and flowers are
have been tampered with.
shown
is
in
Figure 65.
The
quaint
shades of gray, and seem never to
in
There
is
a long drawer across the bottom
Figure 64.
Dutch Cabinet,
on
side runners,
shelves.
first
quarter seventeenth .century.
and the cupboard doors when open disclose wide
Kasses of this kind are made
heavy cornice
lifts
off,
to separate in three parts; the
and the frame and drawer are separate from
the cupboard proper.

97
C O L O \
The
struction,
writer
knows of
A L
U R X
1~
U R E
three cupboards exactly like this in con-
belonging to Dutch families
the neighborhood of
in
New
York, which are made of pine, cherry, and maple respectively, and
instead
of
drawers
in
being
painted
are
panelled,
the
geometric designs; and the drawers
doors
in
plainly,
the
each case have
Figure 65.
Painted Kas,
side runners.
The
latter half
inside arrangement
the
is
same
as that in Fig-
ure 65, except that a shallow drawer runs beneath the middle shelf
Dutch painted cupboard valued
at
is
mentioned
at
New York
in 1702.
Figure 66 shows a kas
man, of
New York
carving, which
and the
fact
is
City.
in
the possession of Mrs.
The wood
well executed,
is
is
Henry
R. Beek-
walnut throughout, and the
applied,
and appears to be original;
that several kasses of this kind of which the writer
'^
Figure 66.
Carved Walnut Kas, about middle of seventeenth century.
99

knows are decorated
would indicate that
in this
and 6
feet
inches,
and the
drawer
at the
dimensions are
Its
inches
2 >j
very similar patterns,
is
3 inches
feet
in height,
width; the cornice overhang measures 8
in
ball feet
bottom
in
method of applying the carving was the one
this
generally employed.
same way, and
The wide
measure 9 inches
in
on side runners,
and the inside shelves,
diameter.
three in number, are each furnished with a three-inch drawer, also on

side runners.
have
no two sets have been found to be made just
ball feet,
The
rather curious fact
is
that although
these kasses
all
alike.
front feet only are the ball shape, the
rear ones straight and slender.
This kas
very probably represents the finest of the
cupboards
in
use
tradition in the
came
in
among
Beekman
New York
to
the Dutch, and the

family
with the
first
Governor Stuyvesant's ship
that
is
it
Beekman
the year
in
!.'(
1647.
The
origin,
and could date as early as the
piece
is
\'*
>'}
'J
>'S
'.'
N<
'
certainly of Holland
tra-
dition states.
The
records of
New York
speak of
" sfreat black walnut kosses," referrine to
such cupboards as
As
far
as
-m'-i>:^(^
this.
the
writer
can
ascertain,
.if
these kasses were the only style of large
cupboard known or used by the Dutch, and

their character
is
certainly quite different
from that of similar pieces
England
An
Figure 67.
interesting
at
little
piece
Coxsackie,
which now belongs

is
New
the
colonies.
carving found
wood
in
to
New
the writer,
beech, and the design
Carved Spoon-rack,
of Dutch
is
about 1675.
York,
is
shown
not at
all
in
Figure
common
in
67.
this
The
coun-
COLONIAL
The
try.
L R N
'I-
R E
I'
three narrow shelves are each pierced with five oval open-
The wood
ings designed to hold spoons.
these openings
is
much worn
racks are mentioned

their
I<
Dutch name,
tastes loved to
in
l)y
of the shelves around
long years of use.
some of the early Dutch
Icpcl-hortics.
The Dutch
These spoon-
records, called
by
with their housewifely
have their walls adorned with bright pewter and china,
and devised shelves of various kinds
for the
holding of these valued
Figure 68.
Panelled Cii[)board, 1740-50.
articles.
at
"
New York
painted wooden rack to sett china ware

in
in " is
mentioned
1696.
simple panelled cupboard of maple, which was probably
made

before
bracket
750, as
foot,
is
latest style of
is
indicated
shown
in
by the
style of the panels
Figure 68.
and the simple
This perhaps represents the
standing cupboards that were used to any extent, and
though they were quite common, very few have been preserved. The
hinges and handles are new
a simple willow pattern.
It is
the hinges were iron, and the handles
now
in the
possession of Mr.
Luke A.
Lockwood, of Riverside, Connecticut.
higure 69.
Chest of Drawers with Cupboard Top, about 1780.
Chests of drawers with cupboard tops were much used during

the latter halt of the eighteenth century.
The cupboards were
fur-
nished with three or four shelves, and were decorated with both carving and inlay, while the chest of drawers portion followed various
fashions of feet and handles, the earliest having ball-and-claw feet
COLONIAL FURNITURE
and no
is
One
inlay.
made
of these cupboards
is
shown
of French walnut, and beautifully
medallions with colored woods.
Figure
in
inlaid
origin, but are distinctly English,
Dutch
than 1740.
which
and
borders
in
These chests of drawers with cup-
board tops are sometimes called kasses, erroneously,

of
69,
for
they are not
and do not date
earlier
them
"Gen-
Chippendale gives several designs
for
in his
tleman's and Cabinet-Maker's Director."
Something should perhaps be

boards remained
than
in the
At Boston
in
in
much
some
may
parts of
New England
now amaking by Mr.
is
History of Flatbush
will
they continued to be made for
dated at
"
Shaveltie"
New York
in
make very
little
are found,
fashioned.
On
708 speci-
new cubbard
mentions a Dutch cupboard which sold
" Social
for 4. in
settled until 1682, the records
From 1683
mention of cupboards.
all
and Mrs. Vanderbilt's
At Philadelphia, which was not
1790.
closely.
date the decline of cupboards from this time,
that the wife of the testator shall be allowed to take " a
that
six
more
the records begin to speak of chests of drawers on frames
some twenty years or more.

fies
longer, no doubt, in the villages
towns, where a change of fashion was followed
about 1680, and we
though
fashion
said of the length of time that cup-
until
1720 only
valued very low, and described as old or old-
the other hand, chests of drawers and tables are freely
mentioned, showing that the cupboards were superseded by the high

chests of drawers which
came
into use in the last quarter of the seven-
teenth century.
About the years 1725-30 houses with panelled

cupboards
style
built in to
match the panelling were quite generally the
throughout the colonies.
were fastened
into side walls,
The
and were
some, especially in the South, were

scroll tops
majority of these
not, therefore,
fine pieces of
cupboards
movable
but
workmanship with
and detached. The dining-room often had a corner cupboard
or buffet, while the house throughout
boards
walls and with
skilfully
was supplied
placed in various ways

104
in
liberally with cup-
the panelling of the walls.
Figure
70.
"Beaufatt" and Wall Panelling, about 1740.
105

Corner cupboards appear
are evidently not the
at Boston,
one
and
3s.,
at 7s.
I
2s.,
in
two
same
in
the inventories earlier than buffets, and
thing, as their values are
720 and the other
much lower two

;
in 1725, are valued, respectively,
at Philadelphia as late as
1750 are valued at
los.
and
while buffets are almost invariably valued at more than a pound,
and often
at
two or three pounds and higher.
Thus
at
Yorktown,
C O L O X
which was
glass,
1.
I'
and the lower panelled
shelves of the upper cupboard are cut
back
at the
is
R N
in
to
R K
I'
match the room.
The
graceful curves, and the top
often finished with a shell, sometimes cut from a solid,
very thick piece of wood.
Figure 70 shows a buffet which was built into the side wall of a
house
in
Connecticut, and
of the room,
other
is
this,
with the panelling for the whole side
owned by Mr. Meggat.
woodwork
of the room,
The cupboard,
as well as the
was never painted, and the pine has
acquired a soft yellowish color with age.
Hartford, which also
Figure
now
corner buffet,
71.
the property of Mr. Albert H. Pitkin, of
came from
The cupboard
a house in Connecticut,
portion
is
made separate from
portion, to which the doors, panelled like
shown
in
the outer
are attached, leaving a
it,
space of about four inches between the two.
monly
is
These
buffets
called "beaufatts," "beaufets," or "beaufats,"
were com-
and a village
the vicinity of Northampton, Massachusetts, has acquired the
in
name
Beaufat from the fact that one of these cupboards, which was considered
quite remarkable,
was
built into a
house there.
A fine example of the woodwork

cupboard presented
72, a
by John Penn
in 1738.
was very fashionable
to the old
of this period
shown
in
Figure
Philadelphia Library Building
The broken-arch
for interior
is
cornice with the urn, which
woodwork
at this time,
is
well illus-
trated in this piece.
SIDEBOARDS
Sideboards as we know them are comparatively recent inventions belonging to the latter half of the eighteenth century.
The
court and livery cupboards were extensively used in the dining-rooms,
or "parlours," as they were generally called, their drawers and com-
partments making a convenient storing-place for linen and china,
and
their flat tops
silver,
and pewter.
were commonly
When
utilized for exhibiting the china,
the oak cupboards were

108
no longer
in
Figure
72.
Cupboard with Glass Door,
109
1738.

favor, the corner
cupboards or buffets replaced them and served the
same purposes.
During
in
general use, there
board
At
tables.
board table 15s";

cost i8s.
there
and
in
occasionally mention of side tables and side-
is
New
in
however, when cupboards were
this time,
York,
the
1677
in
1689, mention
same year "i
" four
What
of
side table with a
"a
side-
drawer"
sideboard cloths" are mentioned;
record at Boston, in 1707, of
is
made
is
"a sideboard
these sideboard tables were
it is
very
table 6s."
difficult to say, as
thorough search and inquiry among collectors have
any table which would properly answer
and
failed to discover
There
this description.
are,
however, specimens of English sideboards extant which are the same
and cupboards so common
style of furniture as the panelled chests
One
here.
which
of these
a long,
is
may be
seen at the South Kensington Museum,
narrow oak table with three drawers
elled after the fashion of the
drawers
in
in
a row, pan-
the cupboard (Figure 62).
being turned and the two
This stands on
five legs,
rear ones plain
and straight; a heavy stretcher or brace runs around
the three
in front
the front and sides about six inches from the floor.
There are two
tables or sideboards very similar to this in the Bolles collection which
have recently been brought from England, and
it
was probably such
pieces as these that were referred to in the above inventories.
About
740 marble tables began to be mentioned as part of the
dining-room furniture: Boston, 1741, "in ye parlour

"
and table
frame";
in
in
1748, "in the parlour
1759, "in the dining
room
marble slab
marble table with mahogony

i
marble table
"
1767, "i
in
marble sideboard and frame"; and the Boston "Evening Post"

July,
1751, advertises
stone tables."
"a
for
variety of fashionable furniture including
Chippendale's designs, published
in
754,
show no
sideboards with drawers or cupboards, but sideboard tables having
marble tops and elaborately carved mahogany frames.

of
making
far better
the sideboard tops of marble
adapted
for
was certainly a
The
fashion
practical one,
serving purposes than the polished
wood
tops
COLONIAL
I'
V R N
As
so sensitive to heat and moisture.
T U R E
Enghsh
the
fashions were so
above we believe
to
have
reference to such marble-topped serving-tables as Chippendale
made
closely followed here, the entries quoted
use
For some reason these too seem
of.
to
have disappeared, per-
haps because the weight of the marble tops strained the frames to
an extent which made them particularly likely
become broken,
to
and so they were discarded.
The
is
first
style of sideboard
the slender-legged inlaid
Chippendale.
by
in
is
prices
and decorated with
The
"The Chippendale
the designs therein
whose name they
In
his
and
1788.
in
Period
shown
bear,
fact
name.
to
be that
named Thomas
in
Mr. \V. K. Clouston,
this
Shearer,
in his
of
book on
English Furniture," gives the credit of

sideboards to Shearer,
for serpentine inlaid
at this time
own book
to
seems
though Hepplewhite was also a member of
seems
to
have been working with Shearer.
of designs, published a
adopts this same fashion
seems
these sideboards
inlay, as
London Society of Cabinet-makers, whose book
was published
this society,
This seems practi-
750.
fashion originated with an English designer
of the
in
no trace of any furniture made with a
invariably were, as early as 1750.
member
credited to
traditions as to date of importation or purchase,
cally impossible, as there
country
repeatedly met with, and
is
that sideboards of this kind date before
straight, tapering leg,
in this
any sense Chippendale either
The statement
design or workmanship.
now found
is
mahogany one commonly
however, not
It is,
usually supported
which
in
little
his sideboards,
Hepplewhite
later,
and as
his
reputation
have much outlasted Shearer's, they generally bear his
The book
of prices gives this interesting
were principally employed by these makers
for
list
safisco,
king, tulip, rose, purple, snake, alexandria, panella,
wood
bers of sideboards
being, of course, always
made
still
havannah,
yew and maple,"
mahogany.
after these designs are
woods which
marquetry and inlay:
"satin wood, either solid or veneered, manilla,
the principal
of
to
Great num-
be seen
in this

countrv, which were undoubtedly
tiiat
the veneering
arc of the
is
on
same wood.
many ways,
The inlay also
in
around the
as
The
also the
is
is
pine,
here,
judging from the
and the insides of
tlie
outlines of the fronts
fact
drawers and back
and sides are varied
arrangement of drawers and cupboards.
sometimes but an outline of holly and satinwood
top, drawer-fronts,
marquetry designs
rate
made
in
and
legs,
and sometimes quite elabo-
many-colored woods are used.
The
handles are almost invariably the brass ones with oval plates.
Figure
73.
Hepplewhite Sideboard,
A
is
is
shown
Figure
in
'J2>-
The
serpentine in shape, an e.xtra curve being added below
two centre drawers

finely
790-1800.
Shearer or Hepplewhite sideboard of very graceful design,
belonging to Mr. L. A. Lockwood,

front
grained
its
the drawer-fronts and top are veneered in very
mahogany on whitewood.
This
is
usually the case, a
sideboard of this kind beinof seldom met with where the drawer-fronts
are solid.
The
fan
inlay in the corners of drawers
doors, as well as the wreath design on
At
least
one drawer
is
the legs,
is
and cupboard
characteristic.
usually arranged in sections to hold bottles.

113
C
Figure
O L O \M A L
74, the effect
modern handles,
is
of which
also a fine
V R N
1^-
is
very
U R E
I'
iiuich
marred by the cheap
example of Hepplewhite sideboard,
belonging to Mr. Ethridge, of Salem, Massachusetts.

has a panel
in
light
mahogany bordered
Figure
Each drawer
with fine lines of inlay
74.
790-1800.
(Handles new.)
in
white holly and ebony; the edge of the drawer outside of the
panel
is
in
dark mahogany, thus giving a very
fine
The
effect.
small oval panels set into the stiles above the legs are in satinwood.
The narrow drawers each

piece the bottle drawers.
side of the centre
The
knife- or
114
cupboards are
in
this
spoon-boxes shown on the

top of this sideboard were very generally
and are usually

inside
is
hole
pieces of cabinet
wood
is
for the
surrounded with a
sn
fine
band of
the
in
The handles and
inlay.
75.
799.
sideboard which was part of the wedding outfit of Mr. John
Williams, of Wethersfield, Connecticut, in
granddaughter, Mrs.
W. W. Andrews,
flip-glasses, tea-caddy,
Mr. Williams.
still
"^1
The
beautifully inlaid
silver.
Figure
his
accompany them,
holding of knives and spoons, and often each
escutcheons are sometimes
to
arranged with a wooden section set on a slant pierced
proper shapes
little
fine
made
The
and
silver
1799,
is
and now owned by
shown
shown with
it
in
Figure
75.
belonged also to
large square drawers are bottle drawers, and
contain the silver crescent-shaped markers which
n5
hung over
the
COLONIAL
The
necks of the bottles.
F U R X
inlay in this piece
T
is
wreath which
the
original
ones,
is
almost never omitted.
The
and have stamped on them
pineapple projecting from
R E
but a fine line follow-
ing the outlines of the top, drawers, and frame

little
I'
the legs have the
brass handles are

a
basket with a
it.
Sideboards of which the three above shown are types remained

in
favor for a considerable period.
used here at about the same date as
Figure
They probably were known and

in England, and if we deduct ten
76.
Sheraton Sideboard, about 1800.
years from the date of the published design, on a reasonable supposition
that they
may have been
already executed before the designs
were published, 1778 would be as early a date as we should obtain

for the introduction of this
1804
is
style.
That they were made
as late as
certain, for the writer has seen a bill for a sideboard
similar to Figure 75 dated in that year.
very

These sideboards average about
though they were made
four inches in width,

sizes,
sometimes
made
to
In
fit
six feet in length
many shapes and
in
and occasionally one
in miniature,
and twenty-
is
seen which
is
the corner of a room, the top being triangular.
791
Thomas
Sheraton, of London, published a book containing
He
a number of designs for sideboards.
professes great dislike for
Hepplewhite's work, but nevertheless his designs show the influence
He made
of that maker.
great use of the slender fluted leg
of the square tapering one, and used inlay both
Some
in
in
wood and
place
metal.
of his extravagant pieces are elaborately painted and trimmed
with brass.
The majority of sideboards
in this
his designs are comparatively plain,
sideboard that
may be
which belongs to Mr. Meggat,

boxes are attached
scroll covers.
of these, as
to the top,
Two
shown
country which are modelled after
most of them having no
American Sheraton,
properly called
is
shown
in
inlay.
Figure
76.
The
knife-
and furnished with sliding
small drawers pull out from the ends
in
Many
the illustration.
sideboards
similar to this in general style are found which have,
instead of the attached knife-boxes, the end sections

raised
about four inches above the centre, probably
designed to hold knife-boxes

is
shown
The
but
is
in
Figure
in
urn shape, one of which
']].
top of these urn-shaped boxes
supported by a rod of
centre, which,
when
the top
is
not on a hinge,
wood running through
is
the
raised sufficiently, releases
Fiyure 77.
Knife- and
Spoon-box,
a spring, thus holding the top in that position.
box belongs
to Mr.
The
Meggat.
fashion of
This
making
last
quarter
eighteenth
ccntiirv.
the knife-boxes in urn shape

ton, as
it
not original with Shera-
had been extensively used by other English cabinet-makers
before this time.

fitting
is
They
are very fine specimens of cabinet work, the
of the graduated sections requiring a skilful workman.

"7
C O L O X
sideboard very
book, except that
it is
much
much
drawers are decorated
A L
like
I'
one of
simpHfied,
witli a
R X
is
T U R E
designs
tlie
shown
narrow inlay
Sheraton's
in
Figure
in
78.
The
and the handles are
strip,
Figure 78.
Sheraton Sideboard, about 1800.
the rosette and ring, which
by Sheraton on
The
country
furniture of
in
many
all
styles
and
were much used
sizes
kinds.
distinguishing characteristic of Sheraton sideboards in this
is
the slender fluted legs.
his influence.
The two
Whenever
this
is
met with
it
shows
sideboards here shown represent fairly well the
general character of American Sheraton, though, of course, endless

variations in shape, size, and arrangement are to be tound.
wood
is
The
always mahogany.
With
the decline in favor of early Sheraton designs, about the
year 1800, the character of construction for furniture

radically changed.
slender, square,
and
The
graceful effects obtained
fluted legs
were entirely
lost
in
general
is
by the use of the
by the
substitution
of the massive round or rope-carved pillars, extending nearly to the

floor,
and finished with the bear- or lion's-claw
design was adopted from the French Empire

iiS
foot.
style,
This massive
but the
Amer-

ican
makers omitted the elaborate trimmings
and depended
heavy carving.
colonial
name,
is
for
upon the
effect
grain
of
in
brass and ormolu
wood and
the
In the vocabulary of the dealer of to-day, the term
applied to this plain and massive style
for the
the
was not known
fashion
Figure
until
some time
misapplied
after the
79.
Empire Sideboard, 1810-20.
American colonies had become

style are almost always
top,
the
fronts
states.
The sideboards
in
Empire
furnished with three drawers beneath the
of which
are
sometimes made on a curve
the
handles are rosette and ring, lion-head and ring, and the brass or
glass rosette.
The doors
of the cupboards which
filled
the lower
portion are nearly always panelled, often in oval or Gothic form, as

119
is
C O L O
\'
A L
also the board which finishes the
I-
very
fine.
majority
Trimmings
make use
in
R N
back of the
extensively to obtain elaborate grain

is
L'
eiTects,
T U R
top.
l-
Veneering
is
used
and the mahogany used
brass are occasionally employed, but the
of panelling and carving for decorative purposes.
Figure 79 shows an Empire sideboard of conventional design
having the rope-carved column extending to the

feet.
The backboard makes
quite often used with the
much
floor,
forming the
use of a style of broken arch which was
Empire designs, although
it is
a survival of
earlier style.
Fisrure So.
Empire Sideboard, iSio-ô.
Figure 80
feet
illustrates
very well the circular
and bear-claw
pillars
which are most characteristic of American Empire furniture
general.
Sideboards constructed after the fashion of
commonly without
this
in
one are
the raised drawers at the end, and are often fur-
nished with a serving-board which pulls out from beneath the top at
CHAIRS
is
extremely
IT when
difficult,
if
not impossible, to give the exact date
a particular style of chair appeared or disappeared
still,
the subject divides itself rather naturally into periods correspond-
ing with certain political events at the beginning of which the
ence was
began
what
first felt,
and the end represents the time when the
The
be called old-fashioned.
to
arbitrary,
and
it
may happen
dates
style
however, be some-
that in a few sporadic cases the style
appeared slightly earlier or lasted slightly

will
will,
influ-
later;
but
in the
be found accurate, and a convenient method of fixing
main
it
styles with
date.
The
First Period will be from 1620 to 1660, the date of the acces-
sion of Charles
11.
The Second
Period,
1660 to 1702, the date
ot
the accession of
Anne.
The Third
Period, 1702 to 1750,
dale began to be
The Fourth
felt in this
when
the influence of Chippen-
country.
Period, 1750 to 1840, the period of cabinet-makers.
Between the Second and Third Periods

sition Period
No
to tell
will
be added a Tran-
which overlaps both.
single rule, of course, can be laid
down
the age of a given chair, as there are
enter to determine
it;
but a
fairly safe
123
that will enable one
many elements which
guide to follow
is
that the
C O L O N
A L
F U R N
T V R E
may presume,
the maker's end
in
view, for a glance at the soHd backs
and seats or the heavy bracing, and an attempt

wainscot chairs,
convince one that so
will
concerned they
PERIOD
New England
lift
one of the
far as lasting qualities
were
1620-60
mentioned sparsely
find chairs
to
be desired.
left little to
FIRST
We
and the South,
for
in
the earliest inventories of
they were not yet
in
common
use
England, and the idea of the chair being a seat of honor was
"The Gate
general.
at
London
1643) s:ates the following:
in
the teacher,
the
Forms were
for
chairs,
Language Unlocked"
of
"
form and table
in
find
some
chair belongeth to
the learner."
to
in
the place of
These forms were popular
inventories.
tlie
still
mention of "short form" and "long
England, and were probably similar

halls of
"The
years used almost exclusively
and we constantly
in
(sixth edition, printed
lower seats (fourms & benches)
many
we
Strength was,
heavier the underbracing the greater the age.
found
to those still
in
in
the dining-
of the English colleges and schools, benches heavily
supported, as shown
in
Figure S3, which
is
the dining-hall at Christ
Church College, Oxford.
The
short form
was a short bench, sometimes
tories joined stool, for the
used on the long
Thus we
find at
one apparently
ends of the
sides, those
New
for
York,
shown
in 1680,
in
end,
seat of the chair

In nearly
stools
for the
all
being long forms.

2
long formes,"
in the parlor:
in
"a great
head of the house, with one cushion
table,
for the
for a footstool.
of the early inventories
commonly mentioned;
17 12,
cushions," a form for each side and one
and the other
all
Figure 83
each side of the table; at Providence,
a great chair and
and the chair
and the long forms were
"a long table and
occurs the following entry of furniture

3 formes,
tables,
called in the inven-
thus, at
124
we
find stools
Plymouth,
in
1641,
and joined
"2 joined
00
U
u
125
CHAIRS
and
stools,"
which
chairs,"
in
the
in
same inventory "4 joyned
recalls a definition in Watts's
the eighteenth century:
"if a chair
person, with a back belonging to
"joynt
We
without a back."
person,
'
stools.
stools,
Thus
it,
"
Logick,
be defined a
then a stool
also find
the
and
stools
is
joined
written early
'
seat, for
a single
a seat for a single
expression joint or
which old dictionaries define as folding three-legged
at
New
York,
in
1677,
we
find
"the table
in the parlor
Figure 84.
Turned Chair, sixteenth century.
and the
five
at Philadelphia, in
such stools
1658,
"3
joint stools";
old 3 legged stools."
description of
joynt stools"; at Yorktown,
is
1694,
given by
"3
Cowper
in
"The Task":
" Joint stools were then created
Upborne tliey stood

massy slab."
in
on three legs
three legs upholding firm
COLONIAL
Stools continued to be used
I'
I-
R N
li
R E
all
through the seventeenth century,
and although they are abundantly

mentioned
in the inventories,
they
are to-day extremely rare, and few

are to be found
although
in
many
in
are
country,
this
still
to
be seen
England.
There seem
to
have been
at
least three styles of chairs in the
period under consideration.

First,
the turned chair, usu-
ally
made
of ash, although
are
found with maple posts and
They
hickory spindles.
are
some
made
Figure 85.
Turned Chair,
575-1620.
entirely of turned pieces,

in
and differed
degree of beauty according as the
spindles were elaborated.
Figure 84
oldest chairs
longs to
Society,
the
is
in
probably one of the
this country.
Connecticut
It
be-
Historical
and by the best authorities
has been assigned to the early sixFigure 86.
Turned Chair,
teenth century.
Figures
575-1620.
128
85
and
86
are
Elder
CHAIRS
Brewster's and Governor Carver's chairs respectively, and were, ac-
cording to tradition, brought over

Pilgrim
Hall,
in
Plymouth, and probably date the
are at
latter part of the
Elder Brewster's chair
sixteenth or early seventeenth century.

particularly
They
the Mayflower.
handsome, originally having had on the sides a double
row of spindles about the legs between the braces similar

Both pieces originally had
back.
Chairs
"
Carver
is
in
flag or rush seats.
the fashion of Figure 86 are
chairs,"
to the
commonly known
as
and are more frequently met with than any other pat-
They
tern of the turned chair.
are found
in at least
two
Figure
sizes,
86 representing the larger, and such chairs vary from about 43 to 47

inches in height; the seat
of the seat in front
is
is
usually 18 inches from the floor, the width
from 20 to 22 inches, while the posts
in
largest place measure from 6>^ to 8 inches in circumference.
the
It is
generally believed that the greater the circumference of the post, the
older the chair.
The
smaller
shown
size,
floor to the top of the
in
Figure 87,
back post; the seat
and the circumference of the post

the legs of this chair
what
its
making the
was found
it
off, it is
6 inches.
is
know
impossible to
As
exactly
probably stood about an inch higher,
at Guilford, Connecticut,
sionally found as a side chair.
18 inches wide,
in front is
seat about 18 or 19 inches from
small size appears to be less
43 inches high from the
at the largest place
had been cut
original height was;
is
the
and belongs
common
floor.
This chair
to the author.
than the larger, and
These
is
The
occa-
chairs are referred to in the
inventories as follows: at Plymouth, 1643, " 2 flag bottomed chairs

I
frame
for a chair
";
"5 straw bottomed
Salem, 1673, "3 turned chairs

chairs";
1699,
"
"
&
Boston, 1698,
great turned chair";
New
York, 1685, "9 Mat bottomed chairs"; 1680, "a high Matted chair
& an elbow matted

Philadelphia, 1709, "
Virginia, 1667,
"5
chair";
2
1692,
"12
chairs latticed with reeds";
turned chairs, one armed"; and at Yorktown,
old bulrush chairs."

129
COLONIAL FURNITURE
These turned
chairs are also found with slats across the back in-
stead of turned spindles
but as the large majority of the slat-back
pieces belong to a later date,
we
will
postpone the discussion of them.

Chairs with
were
also
large turned posts
made with but one
back and two
having triangu-
in front,
They were not very com-
lar seats.
mon, however,
in this
very fine specimen

"
leg in the
country
but a
the well-known
is
Harvard College Chair."
Mention
of such chairs probably appears in a
Salem inventory
chairs
12s,"
in
for in
rium Parvulorum
"
1673,
"3
the
"
bufet
Promptua-
of Galfridus, pub-
lished in the sixteenth century,
following
definition
" Bofet,
is
the
thre
fotyd stole."
The
question
is
asked
often
whether the turned chairs came

Figure
87.
Turned Chair,
quarter
We
England or Holland.
nally from
first
origi-
are inclined to believe that they are
we know of two, much

like the Carver chair, which have been handed down in an English
family of the working class, and we are told that there are more
Enelish, for
among
that class there; and, further, in 1645 Mrs. Margaret Lake,
sister-in-law to
Governor Winthrop, sent
to
England
for " 2
armed
cheares with fine rushe bottums," and turned chairs are the only
variety in use at that time that could have had rush seats.
The second
name
implies,
style, the
and was usually more or
bracing near the
floor.
made
of oak, as the
less carved,
having heavy
wainscot chair, was
The
made more comfortable with
seats, of
hard oak
slabs,
were often
cushions, which are frequently
men-
CHAIRS
tioned in the inventories in connection with the chairs, as in Salem,
in 1644,
"2 cheares & two cushans
to these chairs:
"
;
also the following entries refer
Plymouth, 1634, "a joyned chair"; 1682, "a chair
Figure 88.
Wainscot Chair, about 1600.
and cushion";
at
at Philadelphia,
New
1694,
York, 1691,
" 7 chairs
"4 framed oak
chairs
and
four old cushions
and
"a greate
2,
cushions"; 1727, "2 cushons for grate chear
cheiar and quoshen "
at
131
and cushions"; 1695,
"large oak arm chair and cushion"; at Providence, 171

chair
"
"a
"
great
1730,
Yorktown, Virginia, 1658, "2
COLONIAL FUR NM TURK

wainscoate chairs";
1659,
is
are also
chairs.
mention of the wainscot chairs
tories in the sixteenth
They
wainscoate chairs.
wooden
frequently referred to as
There
and seventeenth
in the
English inven-
and they were prob-
centuries,
ably more generally used there than here, comparatively few being
mentioned
number
two
in
the
New England
inventories, although a fairly large
They
are mentioned in those of the South.
to three times as
accounts for this
much
fact.
are valued from
as the turned chairs, which undoubtedly
The
chairs,
when
show the same de-
carved,
signs as the chests and cupboards of the period.
Figure 88
tradition
is
is
now
Elizabethan
in
;
Essex
Institute,
the carving would

tion out.
some
seem
It
is
to
bear this tradi-
an unusually hand-
piece, the carving
elaborate
it
Salem, and according to
being both
and well executed, and
evident that the chair must
is
have belonged
to a family of
some
consequence.
Figure 89 was made at Cheap-
London,
side,
in
and was
1614,
used by Governor Winslow,

in his
is
council-chamber.
in 1633,
The
piece
good example of the simpler
form of this chair.
Figure 90 was brought to

country
in
1660, but belongs to an
earlier date.
Figure 8g.
in
Wainscot Chair, 1614.
the
this
The carved
same design found
panel
in
many
of the cupboards and chests, and

similar to that
shown
in
Figure
5.
is
is
Both of these chairs are at
Pilgrim Hall, Plymouth.
very beautiful wainscot chair,
in the
Bulkeley collection,
is
CHAIRS
shown
Figure 91, which came originally from Massachusetts.
in
carving
is
of the earliest patterns, reeding, half-circles, and geometri-
The
cal designs.
dates
in
The
the
first
top very clearly suggests the broken arch.
It
half of the seventeenth century.
Figure 90.
Wainscot Chair, 1600-20.
Figure 92
was commonly
is
an example of another chair of
called a chair-table.
bracing shows that

implies,
when
mentioned,
and again
chair,"
and
tically the
is
in
in
in
turned
down
it
becomes a
As
the
table.
Salem inventory of 1673, "a chair table
1690,
1675,
same
is
and
at
Yorktown,
"one new chair
as the famous
Virginia,
table 8s."
Theodore Hook
not carved.
133
which
glance at the arms and under-
belongs to the wainscot type.
it
the back
a
this period
1666,
"
This chair
chair,
name
We
find
7s
6d,"
table
is
prac-
although
it
COLONIAL FURNITURE
The
third style,
which may be called a modification of the wain-
scot, is the leather chair,
which dates a
litde
later,
and by some
called
Cromwellian, although
pears
in
country a
It
was
the
little
inventories
it
in
is
apthis
earlier than his time.
really of Italian design,
com-
ing to England through Holland dur-
ing the
Commonwealth,
and very
Figure 91.
Wainscot Chair,
first
half seventeenth century.
reached
the
Pilgrims,
Figure 92.
who had come from
Holland,
Chair-table, 1660-80.
than
England,
likely
earlier
it
did
for
we
"3
leather chairs, 3 small leather chairs
find
find these chairs first
them mentioned
as in
the
mentioned
at
Plymouth as early as 1643
los."
We
continue to
freely until the close of the seventeenth century,
inventory of the famous
Captain
Kidd, at
New
York,
"two dozen single nailed leather chairs, \ i6s"; and in

New York, 1703, "8 leather cheares very old," undoubtedly refer1692,
134
CHAIRS
shown
ring to chairs similar to that
in
Figure 93, or to those with
turned frames.
In general style the leather chair
was
like the
wainscot chair,
the square back and seat being covered with leather, the edges often
Figure 93.
Leather Chair, about 1640.
Studded with brass

plain,
was a
little
nails.
The underbracing,
at
first
heavy and
later turned.
Figure 93, belonging to Trinity College, Hartford, Connecticut,

is
good example of a leather
and plain leather

and
for that
reason
seat.
we
chair.
It
has a carved leather back
The underbrace suggests

place
its
the Italian style,
date not later than 1640.

135
This chair
COLONIAL FURNITURE
somewhat higher from the
originally stood
Wainscot and leather chairs
worn away.
floor,
in
but the legs are
general stood
much
higher from the floor than either the turned ones or those appearing
later
in
the seats are often as high as twenty or twenty-two
fact,
They were apparently intended to be used with footstools,

were the benches, for wc find the following description in "The
inches.
as
Gate of Lanofuaore Unlocked," before referred to:
"When
upon
the table
and trenchers
it
is
'
spread with the table cloth, dishes are set
whether they be round or square and also a

'
salt sellar.
"
of the bread basket, loaves (shives) of bread are set on the
Out
table, or pieces
"The
maker
morsels'; and then messes of meat.
'
ghests that are bidden are brought (led)
into the dining
room
(parlour)
in
by the
and when they have washed
over a bason out of a ewer and have wiped with a towell
down upon benches

stools set
feast-
they
sit
or stools set in order with cushions having foot
under them."
These leather
chairs
must not be confounded with the Spanish
leather chairs, which are of later date and totally different stjle
Boston, 1653,
"8
Salem,
stools";
red leather backe chairs and 2 low leather backe
russia leather chairs
1686,
"6
"
;
leather chairs"; Boston,
"6
1700,
Philadelphia, 1683, "14 russia leather chairs";
leather
calfe
New
chairs";
and Yorktown,
leather chairs";
These are
"3 red
1647,
York,
1668,
1691,
"6 turkey
references, no doubt, to the style of chair
"3
doz.
russia
leather chairs."
shown
in
Fig-
ure 93.
The York County

number
(Virginia) records after 1660
show
that a large
of these chairs were in use, one hundred and three of
being mentioned between the years 1657 and 1670;

twenty-eight
in
one inventory
in
1667 are spoken of as
values vary from one to ten shillings each.
136
as
them
many
old.
as
Their
CHAIRS
SECOND PERIOD
The
accession of Charles
by an increase
colonies,
dence
marked, both
is
that
at
was
existence
time afforded.
a marked increase
in the
In the
more elegance than
far
colonies the struofSfle for
background, and the inventories show
the
well in
Eneland and the
in
luxuries of every kind, for his long resi-
in
France had accustomed him to
in
England
II
1660-1702
amount of
furniture of
all
kinds, especially
chairs.
One
of the
mentioned
new
was similar
styles
to
the
leather chair
last
but instead of having the straight bracing and uprights,
the lines were softened throughout
by the
substitution of a spiral-
turned frame which gave the appearance of lightness without sacrifice
(See Figure
of strength.
70.)
Chairs of this style were often covered with "Turkey work," or
an embroidery
of
in imitation
figure last mentioned.
it,
such as appears on the settee
the
in
This covering became very popular during
the latter half of the seventeenth century, both for chair-coverings and
and cupboard
also for table
by hand
the
in
cloths.
It
was an Oriental
manner of the Turkey
rugs,
chairs
mentioned
in
etc.
Turkey
4d
"
at
with Turkey.
chairs /î 4s";
In
at Salem, 1684,
New York we
674,
"9 turkey work
find
work
"6 Turkey worked
Amurath
1677, " 12 old
find, in
Boston, 1669, " 12 turkey
Yorktown, Virginia,
We
in
English inventories as early as
1589, the English having received permission, in 1579, from

III to trade
woven
and was imported
great quantities in sizes suitable for chair seats, backs,
Turkey-work
fabric
chairs
chairs
^2
4s";
chairs without backs
7s
2s
"
;
"4
turkey work chairs with backs 1 12s"; at Philadelphia, 1687, " 12

small turkie carpett chairs
chairs
of
them broken
/î
of
them broken ^6
";
and
" 6 turkie
work
i6s."
Turkey work and leather were very evidently not the only coverings used for these square-framed chairs, as the following inventory
'37
COLONIAL FURNITURE
entries will
"6
show Salem,
:
old red cloth chairs
green plush
"
;
1698,
"
"6 old serge chairs"
1698,
in use for the
New
York, 1680,
chairs with red plush and 6 with
Philadelphia, 1687, " 6 camlett silk fringe low chairs
Yorktown, "6 wrought
1668, at
"6
chairs"; and, as upholstery
"
;
was not
turned or wainscot chairs, these entries must refer to
the square-framed chairs just described.
Very few of these Turkey-work or
leather chairs have survived,
although through a period of some thirty years they are frequently
mentioned
not at
uncommon
all
in
the
North and South, and
number, from one
to find a large
The probable
in a single inventory.
or
both
in the inventories
reason
is
that
Turkey work was worn out the frames were of
it is
to three dozen,
when
little
the leather
use and were
broken up or thrown away.
The most
notable change in this period was the introduction of
This change
cane furniture from Holland.

chairs
is
opment,
fine
so radical that
it
seems contrary
the character of the
to the general rule of devel-
examples of the carved frame and
for the graceful, beautiful
cane chairs which
in
now became
fashionable are of another nature
entirely from the turned or wainscot pieces generally in use.
The carved frame cane
chairs are called
by many Jacobean, and
apparently upon no definite authority that
this
we have been
able
to find.
The chapter on Jacobean

"
History of Furniture
cane
chair,
and
"
this fact
chairs being Jacobean.

subject,
to
and
its
initial
illustration
an elaborate
has been quoted as authority for the cane
We
have consulted Mr. Litchfield on
this
his explanation of the presence of the illustration referred
the time of Charles
The
time of Charles
ter,
has for
under Jacobean furniture
Jacobean.
furniture in Mr. Frederick Litchfield's
II
chair,
II.
we have come
he
is
is
that in that chapter the furniture of
included,
though
not,
properly speaking,
states, in his opinion, is not earlier
than the
After a somewhat prolonged study of the matto the conclusion that
no such chairs were at
all
CHAIRS
common
England during the Jacobean
in
period, which,
properly
speaking, could not be said to extend beyond the reigns of James
and Charles
The
1603-49.
I,
chairs which
were
common
at all
were either
at that time
the turned, wainscot, or leather chairs before described

chair did not put in
Charles
and
II,
appearance
its
was not
it
bears this statement out
queen, was on a
for
assume
visit
is
to
that
it
to
England
Abbey
which found their way to Holland
some
1680,
in
have been two
century, and, after receiving
plentiful.
would have been made
There appear
twenty years of the sevencircumstance which
when Anne, who afterward became
her special use at Forde
that
in
in this style,
and
distinct types of the
in the first half of the
characteristic
Dutch
as the Jacobean cane chair.
or Portugal, which
we
Antwerp seems
in
that city
to
have been a great centre

in his "
for that trade
History of Commerce,"
were Germans, Danes,
ized countries of Europe.
ture to Genoa, England,
all
and Spain as early as 1560, and,
country
is
in the
and
Italians, English,
the
Antwerp was exporting household
one of the most important places

far as this
shall call
came from Spain
Portuguese, and the commerce included exchanges with
So
we
should be exported from Holland was not
from about 1560 down, and Anderson,

says that
come from
shall call Spanish.
fact that furniture
strange, for
were
commonly
is
the reign of Louis XIII (1610), which
Flemish, and the other was the leather chair which
The
seventeenth
the scroll-foot chair, which appears to have

in
cane chair
additions,
known
France
fair to
it is
the latest fashion.
exported to England, and became there what
Italy or
was
a suit of furniture
finally
One was
the cane
England before the reign of
in
until the last
became very
teenth century that they
made
civil-
furni-
in fact,
was
commercial world.
concerned, these chairs appear in the
inventories not earlier than the last quarter of the seventeenth century.
We
find at
Yorktown, 1687, "2 old cained chairs

139
i6s,"
and
in
COLONIAL FURNITURE
New
in 1691, " 13
York,
at least that at that date the style
would indicate
"8 cane
Philadelphia, 1686,
1
71
2,
"
"
was not new.
1687, " 8 cane chairs"
chairs ";
doz. cane chairs with black frames in the dining
Boston,
cane chairs broken and out of order," which
71
" 6
2,
cane chairs with carved
"6 cane
doz. cane chairs"; Salem, 1734,
The
remained
style
"News
the Boston
Oak
in fashion until after
At
Boston,
room";
frames"; Boston, 1732,

chairs."
1719, for in that year in
Letter "is mention of " fine cane chairs just im-
ported from London."
We
now
these two styles of cane chairs separately,
their various developments.
showing
The
The
take up
will
first
or Flemish style
top of the back
The
graceful shape.
the back
is
it
should
slightly carved,
seat,
and Spanish
the pure Flemish style.
and the back
is
of unusually
is
common
to
is
both the Flemish
and usually follows the outline of the top of
styles,
This chair belongs
the back.
in
Figure 94.
be noticed that
will
it
in
of course, originally was of cane, as
the carved front brace
represented
and
feet are characteristic of the style,
the scroll foot turns outward, as
The
fairly well
is
Mr. Robert T. Smith, of Hartford,
to
Connecticut.
Figure 95
is
another example of the Flemish
style.
The
which now shows the remains of rush, was originally cane.

scroll feet
on
figure, but turn
this chair are
not the pure pattern shown
This
is
is
slightly
more carved than
in
in the last
The frame
171
2,
and the chair
is
now
of
that in the preceding figure.
one of the chairs of Richard Lord, whose
Hartford
The
backward, and the legs throughout show the influence
of the Spanish style in being turned and not carved.

the top
seat,
will
was probated
at
at the Connecticut Historical
Society's rooms.
Figure 96 shows
still
another variation.
The back
well carved, the top in the design of an eagle.
porting the back end
in
carved heads.
140
The
This pattern of
is
unusually
uprights supchair,
with
its
Figure 94.
Flemish Chair,
last
141
CHAIRS
rather square
efifect in
the back and in the front brace,
be an English adaptation of the Flemish
same order
as those
shown
The
style.
we
beh'eve to
feet are of the
in the last illustration.
Figure 96.
Figure 95.
Chair showing English Adapta-
Flemish Chair, about 1690.
tion of Flemish, 1680-90.
Figure 97
illustrates
the feet have been cut

foot
was a
arms
plain
will also
off,
this
general style; although
the turning of the legs indicates that the
knob such as appeared
in the
wainscot chairs.
The
be observed to be very much the same as those on the
wainscot chair shown

it
another chair of
in
Figure 89.
The
back, however, proclaims
as belonging in general to the Flemish style,

143
and the carving
is
COLONIAL FURNITURE
better than
is
usually found on
English adaptation, as
seat
is
were originally cane.
Croton,
New
shown
these
in
pieces.
It
the last figure.
This chair
is
at the
is
probably an
The back and
Van Cortlandt Manor,
York.
Figure 97.
Chair showing Enghsh Adaptation of Flemish. 1680-1700.

(Feet missing.)
The backs
in
of chairs which
general design
distinctly
we have designated
suggest the
splat,
as being Flemish
separate
from the
upright posts, this distinction being developed later as a distinct splat

in the
scroll,
Dutch cabriole-legged
chairs.
The
feet are finished
with the
turning either forward or backward, the latter being more com144
CHAIRS
monly the case
in this
the Spanish chair
was
country.
The wood
either walnut, maple, beech, or occasionally oak.
Before describing the Spanish style

of chair
shown
in
of both the Flemish and
Figure
98,
will describe
Italian Chair,
is
1680-1700.
concerned,
is
after the
Flemish style;
but the legs are of a very different type, being distinctly
much
like those
the style
belonging to Miss Augusta Manning,
Figure
which, so far as the upper part
we
Italian,
and
found on the dressing-tables belonging to the six-
legged chests of drawers.
''See
Figure
14s
25.)
Chairs
in
this Italian
COLONIAL FURNITURE
were usually upholstered, and
style
The
cane.
chair
made
is
had
chair probably never
this
of oak, and dates in the last quarter of the
The second
the "Spanish
style
chair," of
It will
be seen that
which
is
solid,
of cane chair was developed directly from
it
which
differs
Figure 99
a splendid specimen.
from the Flemish style
in that
the back,
covered with the world-famous Spanish carved leather,
there being no suggestion of a splat
the foot
is
is
not a
received the
scroll,
name
the legs are turned, and
but a distinct style which has very generally
The carved
of Spanish foot.
same, and the general effect
front brace
much more
Flemish, but the Spanish back
The
the
is
so similar to the preceding that
is
natural they should have affected each other.
the Spanish style are
is
it
is
legs and feet in
often found in this country than the
is
rare.
This chair
is
Memorial
at
Hall, Philadelphia.
There
is
mention
chairs î, 6s,"
and
in
at
New
"2
1703,
high value placed on the
York,
last
in
1693, of " 6 Spanish leather
large elboe leather chairs "/"
mentioned leads us
to think they
the
were
of the fine Spanish leather.
Figure 100
tion of the
is
an exceedingly
Spanish
not carved,
relieved of bareness
English walnut.
The
is
cane of
and the framework of the back, although
fine quality,
is
example of the English adapta-
Instead of the leather, the back
chair.
an unusually
is
fine
by
front legs
its
The wood
beautiful curves.
and supports
for the
lost
some small
feet,
though greatly worn, are recognizable as Spanish.
arms have
parts which complete their graceful shape, and the
The carved
front brace follows in general outline the curves of the back.
again be noted that this differs from the Flemish style
back has no separate splat or carving

Spanish instead of
family of Charter
scroll.
Oak
at the top,
It will
in that the
and the
feet are
This chair was once owned by the Wyllys
fame, and
is
necticut Historical Society.

146
now
in the collection of the
Con-
Figure 99.
Spanish Chair, latter
lialf
'47
CHAIRS
Figure loi
now
in
Spanish
illustrates a chair
the writer's
styles, the
almost perfect Spanish
in
York,
Flemish and the legs ending
in
an
in
foot.
Figure :oo.
Chair
New
combining both the Flemish and
possession,
back being
found at Coxsackie,
Figure loi.
Chair showing Flemish and Spanish
Spanish Style, 1680-1700.
Styles,
1680-1700.
TRANSITION PERIOD
We
where we
now come
to
what
will
be called the Transition Period,
shall find Flemish, Spanish,
and Dutch
styles
combined
one way or another, and showing very clearly various steps
change from the cane chairs
to the cabriole-legged
149
Dutch
in
chairs.
in
the
COLONIAL FURNITURE
Figures 102, 103, 104, and 105 bring us to what we
pose were the
The
legs
may
sup-
surviving forms of the Spanish and Flemish styles.
last
and bracing are
still
the
same
in
outline,
but greatly
simplified.
In Figure 102 no carving remains except a few lines above the
back, and the seat
feet
was
originally cane.
The
outlines of the back
Figure 102.
Figure 103.
Late Spanish, 1700-10.
L^te Spanish, 1700-10.
suggest the Spanish
Flemish.
style,
and
while the separate splat suggests the
the collection of the Connecticut Historical Society.
It is in
Figure 103, which belongs to Mr. William Meggat, shows no

carving whatever
and, instead of having had cane back

150
and
seat,
it
CHAIRS
was covered with
and the
leather,
feet are splendid
American adaptation of the Spanish

chair as that
shown
feet.
It is
practically the
preceding figure, except
in the
examples of an
same
for the leather
covermg.
Figure
104, in the possession of
an outline back
in
the Spanish style clearly suggesting the Wyllys
Figure 105.
Figure 104
Queen Anne
Late Spanish, showing Dutch
shown
in
Figure loo
but
feet,
now
is
again of the large turned variety,
again, are Spanish.
Figure 105
103, with the
has the Dutch wooden splat instead
it
of the cane, and the front brace
and the
Chair, showing
Spanish Feet, 1710-20.
Influence, 1700-15.
chair
Miss Augusta Manning, shows
is
practically the
Spanish
for a half-century
feet,
same
chair as that
shown
but has the Dutch back and
and more
is
in
splat,
Figure
which
the pattern elaborated and adapted
through the almost countless variations of the Chippendale period.

I5
COLONIAL FURNITURE
These
last
two
Second Period
We
show
illustrations
the change from the style of the
to that of the Third.
have seen also
of the two styles
in
England even a more marked harmonizing
in a chair
with the back of the carved or embossed
leather and brass nails of the Spanish pieces, having the

riole legs
Dutch cab-
with shell ornamentation and underbracing, showing clearly
that so far as chairs are concerned the "missing link"
is
not missing.
THIRD PERIOD 1702-50

Although
ceding
ple
the
it,
in
number of styles developed
were not so
fashion which
point of years this period
fastidious,
we
was
as long as those pre-
surprisingly small.
little
call
for
change, and they contented
careful examination of the chairs of this period
After a
in use.
we conclude
that there
styles to be found.
Sometimes, no doubt,
it
will
be
difficult at
first
the truth of this statement, as often a single piece
ence of more than one
style,
or
may be
are convinced that no distinctive style
try,
although one
will find variations
and Dutch ones which may
in
glance to detect
may show
the influ-
a variation of an earlier one.
We
The two new
in
Styles were few, and well adapted to
themselves with simple variations of the form then
were but two new
Peo-
and there were not the rapid changes
find to-day.
their needs, so there
is
is
is
indigenous to this coun-
here of the prevailing English
a sense be called original.
styles of chairs
were the Dutch cabriole leg and the
Windsor.
Before taking up these
new
styles
we
will
examine the variations
of former ones which continued into this period.

still
in
tioned.
general use, for in almost every inventory
There
is
mention of cane chairs
Boston, and Philadelphia as late as 1734.

lar to
The cane
Figure 95.
152
in
we
chair
find
it
was
men-
the inventories of Salem,
They were probably
simi-
CHAIRS
A common
chair of this period
example of which, belonging
to
was the
so-called slat-back, an
Mr. Luke A. Lockwood, of Riverside,
Connecticut, will be seen in Figure io6.
As we have already shown.
Figure io6.
Slat-back, about 1730.
some of these
chairs with large turned posts date well back into the
seventeenth century; but such specimens are extremely rare, and far
the larger portion of
them date from 1700-50.
vivor of the turned chair of the First Period,

that the latter
was made of turned pieces
is
the sur-
the difference being
only, while the slat-back
chair has substituted the slats for the spindles.
53
This chair
These chairs were
COLONIAL FURNITURE
commonly designated by
" four back,"
Figure 107
in
New
" five
and
is
the
back
number of
"
their slats thus, " three back,"
the one
just
shown being a
four-back.
a five-back chair in the pattern most often found
England, dating early
in
the
eighteenth century
and as
Figure loS.
Figure 107.
Slat-back, about 1750.
Slat-back, about 1740-50.
such chairs are somewhat hard to
find,
they are more highly prized
than those with a smaller number of
It
slats.
Mr.
belongs to
Meggat.
Figure io8 shows a five-back belonging to Mr. Frank C. Gilling-
ham, of Germantown, Pennsylvania, which represents the Southern

type of this chair.
The arms
wainscot chairs, and the chair
Figure 109
nell,
is still
are high and cut

is
much
like those of the
original throughout.
another slat-back, belonging to Mr. C.
J.
Bur-
of Hartford, Connecticut, which has cut instead of turned up-
rights,
and belongs
to a later date.
accommodates the head and
The hollow
cut in the top slat
relieves the very upright position

IS4
re-
CHAIRS
quired by the
The
straightness of the back.
brass terminals are new.
as these
may have been
Yorktown inventory
back chairs
Such chairs
referred to in a
of 1745:
"6 Ribed
^,1."
Figure 109.
Slat-back, about 1760-70.
Another form of chair which

had survived from an earHer period
was the banister-back
chair;
very early example of one, belonging to the Connecticut Historical

Society,
It will
is
is
shown
be seen
in
Figure
lo.
at a glance that
it
a modification of the cane chairs,
Figure 110.
Banister-back, 1710-20.
combining both the Flemish and

Spanish styles
The
in the back,
four spindles, curved
while the under part
on the
front side
IS5
and
is
decidedly Spanish.
flat
on the back, take
COLONIAL FURNITURE
the place of the cane or leather back, and the carved underbrace of
the cane chairs
Figure
is
i,
supplanted by a simple turned one.
belonging to Mr. L. A. Lockwood, shows the same
general outline as the preceding, but there

rail
is
no carving on the top
of the back, and the posts are turned in a simple design.
y
il
CHAIRS
with which
it is
contemporaneous, from the turned chair down through
the Chippendale period, and differed only in the arrangement of the

seat
and
legs,
which were so placed that a leg came
in
the middle of
the front and back.
Fixture
Roundabout
Figure 113
3.
Chair, showing Spanish Foot, about 1720-30.
an early example of
is
cation of the Spanish foot in front.
W. W. Andrews,
We
new with
this style,
It is in
showing a modifi-
of Wethersfield, Connecticut.
now come
to the first of the
two styles which are
distinctly
this period.
The most
characteristic chair,
and the one which marked the
beginning of a change of style almost as radical as had been the

Flemish, and which was destined eventually to supersede
playing an important part
many
Dutch
in
this period, to serve
it
and, after
as the outline for
of the most beautiful chairs of the Chippendale period, was the

cabriole- or
the leg had
bandy-legged
become popular
in
chair.
So
far as
we can
find,
although
the high and low chests of drawers a

157
COLONIAL FURNITURE
little earlier,
it
does not seem to have affected, to any great extent,
the form of chairs until the early part of the eighteenth century, and
by many the chair
is
Queen Anne.
called
distinguishing features
Its
Figure 114.
Dutch Chairs with Underbrace, 1710-30.
were the bandy

solid splat,
leg, often
and the broad
An example
with the shell ornament at the knee, the

seat.
of the earliest form
is
probably dates between 1710 and 1730.

Mrs.
that
W.
\V.
it still
retains the underbracing so

is
It
is
in
the possession of
observed
common
It will
be noted
the preceding period.
in
a radical departure from the laws of construction

in
that
the
although otherwise the chair
belonged
Figure 114, which
Andrews, of Wethersfield, Connecticut.
Figure 115
hitherto
in
found
is
underbracing
is
identical with
Figure 114.
to Dr. Ezekiel Porter, dating
about
the possession of his descendant, Miss Bidwell.

158
entirely
730,
missing,
These
and are now
in
CHAIRS
Figure
a very fine specimen of a roundabout chair in this
is
The extended
belonging to Mr. Albert H. Pitkin.
style,
all
16
common, by
without
far
the larger
number
top
is
not at
of roundabout chairs being
it.
Figure 115.
Dutch
Figure
which,
it
will
shows a rather unusual variation of these
Chairs, about 1730.
be observed, are pardy turned
chairs,
but the outlines
are
regular, except that the legs are straight instead of bandied, although
they end
found
in
in the
proper Dutch
Such chairs are more commonly
foot.
These
the Dutch settlements than elsewhere.
to the writer,
having been found
Figure 118
is
at Flatbush,
the plain and very
Long
common
Island.
chair of the period, of
which probably no family was without an example.

could date almost anywhere
As
ornate
in this
the century advanced the

the splat
now was
chairs belong
These
chairs
period.
Queen Anne
chair
became more
often pieced or slighdy carved,
appeared on the knee, centre of front and back, and the

159
the shell
foot
ended
COLONIAL FURNITURE
in
the ball-and-claw, clearly preparing the
way
for the
more
still
elaborate designs of Chippendale.
The
ball-and-claw foot began to appear in the inventories about
1737; at that date, at Boston,

and,
"6 crow
1750, " 7 chairs with eagle feet
in
foot chairs" are mentioned,
and
shells
on the knee," and
Figure Ii6.
Dutch Roundabout Chair, Extension Top, about 1730-40.

at
Yorktown, Virginia,
kinds
is
mentioned
date to determine
chairs
in
1745,
"claw
foot " furniture
of various
but ten years can safely be deducted from that
when
the style appeared.
and a double chair
in
There
is
a set of side-
the Pendleton collection, undoubtedly
made by Grinling Gibbons, which have a most
elaborate ball-and-
lion-claw foot, while the general style follows the lines of the
Anne
chairs;
and as Gibbons died
earlier date than that.
Dr.
in
1720, ball-and-claw
Lyon shows
160
is
Queen
of an
that the ball-and-claw
was
CHAIRS
Figure
Dutch Chairs with Rush
Figure
Simple Dutch Chairs,
common
17.
Seats, about
740.
18.
throughout eighteenth century.
an adaptation of the Cliinese design of the dragon grasping the

pearl
l)ut
the ball-and-claw seems to have been

161
made
in
two
styles,
COLONIAL
the lion-claw on
the
such
ball,
L'
R N
T U R E
as appears on
the sofa
shown
in
the
latter,
of course, being the one which suggests the dragon and pearl.
The
Figure i8o, and the eagle or other bird's claw on a
former
style,
with the lion-foot,
is
ball
much more common
in
England
than here, and appears on English pieces of this period, as well as
many
of the finer Chippendale chairs.
Figure 120.
Figure luj.
Dutch
Figure
slightl)-
119
is
Figure 121.
Chairs, dating about 1740.
made
of \'irginia
walnut, and
shows
a splat
elaborated, while the feet have traces of carving suggesting
the ball-and-claw foot.
Figure 120 has a veneer of walnut, and
an example of a .slightly pieced splat,

elaborate,
feet.
in
made
Figures
of
while Figure
mahogany, with carved
119 and 121
shell
121
is
quite
is
and ball-and-claw
belong to Mr. William Meggat, and
Figure 120 belongs to Mr. Walter Hosmer.

Figure 122
illustrates
an elaborate form of
this
chair,
though without carving, has a fineness of design not found
which,
in
the
earlier pieces.
We
begin early
in this
as they are inventoried
period to find mention of easy-chairs, and
much higher than

162
the other chairs
we
con-
CHAIRS
elude that they were rather scarce, and belonged only to persons of
They,
means.
too,
cannot be called a new
style, for
we
them
find
in
Flemish, Dutch, Chippendale, and Hepplewhite designs, covering a
They appear
period of a hundred years.
the inventories
in
among
Figure 122.
Dutch Chair, about 1740.
the
chamber
with red
furniture:
los";
in
in
New
Boston, 1712,
another for ^4; at Philadelphia,
The
earlier
form of
in
which
is
this
in
country appears
doubtless like
and underbracing.
It
many
1708,
"an easy
in 1720,
this chair
one of which we have found

found
York,
chair
"an
Figure
\"
easie chair
had the Flemish
England
in
"an easy
feet
chair
lined
and
in
1713
,']
los."
and bracing,
but the earliest

123,
dating
we have
about
1740.
of this period, with ball-and-claw feet
has descended to Miss Bidwell, of Wethersfield,
Connecticut, from Dr. Ezekiel Porter.

163
COLONIAL FURNITURE
The wood
of which the earHer chairs of this period were
maple, Virginia and black walnut, and cherry

time that
mahogany came
into general use.
occasionally used for furniture
but
It
it
made
was during
are
this
had, apparently, been
the South from the beginning of the
in
Figure 123.
Cabriole-legged Cosey-chair, 1730-40.
century, but does not
years
seem
P>om 1748 on
later.
to
it
have reached the North
appears
through those of 1755 and 1756

use, there
piece
Windsor
some
Boston inventories, and
appears to have been
in
common
being hardly an inventory which does not contain some
made
We
it
in the
until
of that wood.
now come
chair,
The
second style new
in
this
which tradition says received
its
name Irom having
to the
164
period.
CHAIRS
been found by one of the Georges
at
any
rate so far as this country
current
belief, to
earliest records of
a peasant's hut near that place,
in
is
concerned seems, contrary
have come from the South.
Windsor
chairs,
to
Philadelphia has the
and they were
in
use there about
1725,
and as the records farther south and north do not mention
them
until
many
The
used there.
seems
years
later,
it
assume that they were
fair to
following advertisement at
to indicate their origin:
Prom
is
"
in 1763, also
the time of their introduction well into the nineteenth cen-
styles of chairs,
date
York,
Philadelphia-made Windsor chairs."
common and
tury they appear to have been the most
late as
New
first
1800,
in fact,
and we
them advertised
find
and frequently mentioned

they
in
for sale in
popular of
all
New York
as
inventories even of later
hold their place, having- survived as the piazza
still
and kitchen chairs of to-day.
They were comparatively easy and inexpensive to make, and

were more useful than the heavier Queen Anne piece with which
they were contemporaneous, and more comfortable
common form shown
in Pîgure
They
118.
were,
in
than the other

fact,
the every-
day chair of the period.
These chairs were made of a variety of woods, sometimes several

kinds
in
one
piece, but they
The English Windsor

try in that they usually
were commonly made of hickory and
ash.
chairs differ from those found in this coun-
have a
solid or pieced splat in the centre of
the back, with the spindles on either side.
American Windsor chairs are found
in
several forms, one having
straight spindles across the back, with a projection to act as a headrest, as in
the rocking-chair
tional piece
chair the
was missing.
shown
The
in
Figure
24,
but often this addi-
additional piece at the top gives this
name of comb-back.
Another more beautiful form

curve of the back
is
is
shown
in
Pigure 123, where the
bent into the arms, and the back
two spindle braces fastened
is
supported by
into an extension of the seat.

165
COLONIAL FURNITURE
Figure 124.
Windsor Rocking-chair,
latter half
eighteenth century.
Figure 125.
Windsor Arm- and
Side-chairs, latter half eighteenth century.

166
CHAIRS
A
third form, called the fan-back,
doubtless derives
chairs
shown
in
its
name from
is
shown
Figure 126.
in
the graceful curve of the back.
the last two figures are
in
It
The
the possession of the Hon.
John R. Buck, of Hartford.
The
rarest form of this chair
is
shown
in
Figure 127.
Figure 126.
Fan-back Windsor Chairs,
latter half
eighteenth century.
This writing-chair carries out the general lines of Figure 125,
and
in
There
addition has the larsfe desk-arm.
is
a drawer under
the arm, and a slide in front for the candle, and another drawer under
the seat.
It is
made
of a variety of woods, the bent pieces being oi
mahogany,
hickory, the spindles of ash, the front of the drawers of
and the desk-arm and seat of

possession,
and
at
This piece
birch.
one time belonged
to
the
in
is
first
Congregational
minister of Chesterfield, Massachusetts, and was not
Such a piece
"a writing
is
doubtless referred to
chair 2s Sd."
One
in
the author's
new
in
1790.
a Boston inventory ot 1760,
can hardly realize from the illustration
how comfortable and convenient
it
167
is
both
for
reading and writing,
COLONIAL FURNITURE
Figure 127.
Windsor Writing-chair, 1760-80.
16S
CHAIRS
and much of the present vohime was written on
drawers provided a convenient place
The arms
Windsor
of
chairs
either to represent a closed or an
arm, while the
for the note-books.
were sometimes carved

open hand.
common, and are highly
tion are not very
its
at the ends,
Pieces of this descrip-
prized.
Figure 128
Windsor Chair showing Carved Arms,
Figure 128
fingers and
is
last
quarter eighteenth century.
good example of the
thumb can be
plainly seen.
It
latter sort,
and
all
four
belongs to Mr. Albert H.
Pitkin, of Hartford.
We
do not
inventories.
find a single reference to rocking-chairs in
Yet
it is
generally supposed that they have existed from
the middle of the eighteenth century,

difficult
to
understand
why
the chair
that date, for the idea of rockers

colonists from the
first.
of a comparatively
any of the
We are,
modern
date,
if
not longer, and,
is
not a great deal older than
in fact,
on cradles was well known
it
is
to the
however, of the opinion that they are
and we have never seen one which

169
COLONIAL FURNITURE
any degree of
could, with
tionary times;
be placed earlier than Revolu-
certainty,
our experience, without exception, the pieces of the
for, in
having rockers have, when
earlier designs
it is
possible to trace
them
back, had rockers added within the last hundred years, and this experience seems to be that of
The
rocking-chair
day
to this
It is
it is
is
all
the collectors approached on the subject.
probably indigenous
to this country,
and even
recognized as an American idiosyncrasy.
often difficult to determine
whether a piece was originally a
rocker or not, and the writer knows of no

tection of the public;
we
infallible rule for the pro-
believe that they can usually be distinguished
from the firm chairs by the
fact that
they have a single underbrace
high up the leg instead of a double brace, but thi^ rule could only
apply, of course, to the double-braced style of chair.
We
have never found a genuine rocking-chair
than the slat-back and the

there
is
common
a style earlier
variations of the Dutch, although
a Flemish chair with rockers at the Connecticut Historical
Society's rooms, and another at the

clearly
in
Museum
Concord
at
but these
have been cut down and had rockers added at a later date.
Rocking-chairs had no distinctive style of their own, but were
merely adaptations from the prevailing ones, the commonest by

being
in the
Windsor
far
style.
FOURTH PERIOD 1750-1840

The
gance of
period
taste
now under
consideration
is
marked by an extrava-
and fluctuation of fashions never before attained, which
were primarily due
to the great
colonies and in England.
English models
down
their eagerness for
The
and sudden increase of wealth

furniture
the
was drawn exclusiveh- from
to the introduction of the
Empire
style,
and
in
something new, the people, following the English
fashions, rushed from the plain, stately pieces of the

to the
in
rococo French designs of Chippendale
Queen Anne
period
then, tiring of that,
CHAIRS
back to the
classic
time under
for a brief
Adam
a revolt
then, in
against the heavy pieces of Chippendale, to the over-light and perishable pieces of Hepplewhite and Shearer;
then on to the gaudily
painted pieces of Sheraton, who, under the stress of public
succumbed
Empire
to the
Such
French school.
style
in
is,
and sank
brief,
into a
taste, at last
mere copyist of the
the history of the chairs of this
period.
This fickleness was, of course,

country, where
ing side by
we
often find
felt
more
in the cities
than
in
two and even three of these styles
the
exist-
equally popular.
side,
Chippendale's designs remained popular longer than any of the

others,
and from the following coincidence we are able
fairly closely
when
his
one married
house
Chippendale
in
1791, the other in
in
much
earlier date
built
and furnished
New
It
to
in
is
safest guide to follow

are, of course, a
is
1791
is
1799 had not
in
This would
to the
Sheraton
we
find at a
the Nichols house at Salem,

in
Sheraton
style,
with but
and now preserved
in
the City Hall,
in style.
in
placing the date of a chair,
degree of accuracy under the style of
falls,
it
in
and the furniture used by General W'ash-
in 17S9,
with
which cabinet-maker
or perhaps
pure Sheraton
tell
in
783 almost entirely
of the greatest service,
be able to
mine
Chippendale
is
bought
dates, although, of course,
Sheraton pieces, as
when President
York,
furniture
Chippendale style gave way
somewhere between those two
ington
and each furnished
but was entirely Sheraton.
style,
to indicate that the
litde of the
The
1799,
good circum-
in
character entirely, while that bought
a single example of that
seem
men
Connecticut, were two
the prevailing fashion.
in
determine
the change took place.
In Wethersfield,
stances,
to
and we are of the opinion that the
the general
outline of the backs.
few instances where a piece
be such that no single rule
will
will
combine two
There
styles,
enable one to deter-
hut these are the rare exception, and the following
will
be
COLONIAL FURNITl'RE
found to be the almost universally true characteristics of the various
Figure
styles.
A
down
29 shows the backs of the four different styles.
shows the Dutch back.
It will
be noted that the top curves
forming the back, so that they appear to
to the upright pieces
Figure 129.
be one piece.
This
will universally
either in this form or in
B
fers
is
Chippendale
from the Dutch
be found true
modification
its
in its
shown
simplest form.
top
in that the
rail is
bow
infinite variations,
form an unbroken
Hepplewhite.
is
the back
These
be seen that
it
dif-
shape, and the ends of

is
This
a rising curve.
is
usually a centre
to
rise.
chairs are very easily distinguished, as
always either heart,
is
chairs,
and occasionally the ends drop, but never
with the sides, and there
line
Dutch
Figure 117.
It will
the top curve up instead of down, and the centre
form has
in
in the
shield, or oval in shape,
and there are
but few variations.
is
the general characteristic of the backs
Sheraton,
that they are rectangular in shape, the

in
is
upper edge often being raised
the centre, and sometimes curved instead of straight.
have a simple splat

supported by a
By bearing
one can readily
given piece
to
being
They never
form the back, which never joins the
seat,
but
cross-rail.
these figures
tell
at a
in
mind, and allowing for the variations,
glance under which of these influences a
falls.
172
CHAIRS
Chippendale,
the
most
copied
part,
French,
the
however, but that he could adapt the Dutch bandy
closely,
broad
for
and
seat,
shell
ornamentation of the Queen
Anne
not so
leg, splat,
period; and
this
he did so successfully that he made a style which was English
and
distinctly his
As
own.
when Chippendale's
to
influence
course, difficult to determine, for his
we have been
peared
first
name
is
felt,
of
it is,
not mentioned, so far as
which the "Director"
in
and the extremely well-made copper-plates with which
was
written,
was
illustrated,
and the price
at
which
it
sold,
that time wealth)-,
it
it
must be that he had
The people
before that time established his reputation.

at
be
to
able to find, until the time his published designs ap-
1753; but judging from the spirit
in
began
in the
South,
and importing as they did from the London
market, probably had examples of his handicraft about the same time
that they did in
the whole, however,

safest, at
any
which time
chairs,
think the conservative date of 1750
the
is
must have become somewhat gen-
his influence
40s"; and
inventories of " 6
mahogany
we
Yorktown, record was made of "2 carved mahog-
In 1755, at
eral.
On
London, which may have been as early as 1735.
mahogany
^16
chairs
at Boston,
we
find
chairs ^"4 los,"
and
in
in 1760,
6s,"
mention
the
in
774 of " 8 carved
which were undoubtedly
in
Chippendale
designs.
Chippendale's published designs for chairs show no ball-and-claw

feet,
but instead the French
larize.
There
are,
foot,
which he made every
effort to
popu-
however, chairs made with ball-and-claw feet which
reliable tradition ascribes to him,
and the explanation doubtless
is
that
he made what was desired to order.
English Chippendale chairs, as a
can-made
chairs,
and excel them
made here which approach,
in
rule,
are larger than the Ameri-
every way.
either in design or
amples of Chippendale chairs
in
There were no
chairs
workmanship, the ex-
the collections of Mr.
George
Palmer, of Norwich, and Mr. C. L. Pendleton, of Providence.
S.
The
COLONIAL FURNITURE
great fault of the American makers was disregard of a fineness of
detail,
which makes a vast difference
the finished product.
in
backs are often handsomely carved, but the
legs' are so plain
so wide as to give a board effect to the
rails
chair,
which entirely ruins the
fine effect
The
and the
lower portion of the
obtained
the back.
in
Figure 130.
Cliinese Chair, about
Just
as,
had borrowed the ball-and-claw
now Chippendale borrowed
nese designs for English use.

to
800.
a half-century before, the Dutch, then the controllers of
the Eastern trade,
Chinese, so
foot
from the
extensively from othec Chi-
The cabinet-makers
of his day seem
have doubted the practicality of many of Chippendale's designs,
especially those in the Gothic
and Chinese
Chippendale, referring to these designs as

says:
"Upon
the whole
styles, for in his preface
"fit for eating parlours,"
have given no design but what may be
executed with advantage by the hands of a

174
skilful
workman, though
CHAIRS
some of the profession have been
diligent
enough
to represent
them
and Chinese manner) as so many
(especially those after the Gothick.
specious drawings, impossible to be worked off by any mechanick
whatsoever.
and
inability
and
or others,
tlemen,
not scruple to attribute this to malice, ignorance
will
am
who
confident
will
can convince
honour
me
all
noblemen, gen-
with their commands, that
Figure 132.
Chippendale Chair.
Chippendale Chair.
every design
enrichment
Thomas
in
in
book can be improved, both
the
the
execution of
Chippendale."
it,
New
also
seem
to
in
late
Professor
Chinese design
have been made

17s
in
and
most obedient servant

in
the Gothic
to this country, especially
England, and the
very good example of a chair
They
their
Quite a number of chairs
and Chinese style found their way

the seaports of
by
as to beaut)-
this
in
about
Marsh had
his collection.
country,
for
John
COLONIAL FURNITURE
Briner, a cabinet-maker at
"
New York
in
1762, advertises to
make
Gothic and Chinese chairs."
Figure 130
is
an example of a Chinese chair brought from China
by a sea-captain about a hundred years ago, and
is
good example
Figure 133.
Figure 134.
Cliippendale Chair.
Chippendale Chair.
of the style of chair from which Chippendale took his pattern.
It
belongs to the writer.
The
plain
the
earlier chairs
splats
Dutch
and
made here from
ball-and-claw
chairs of the last period, and
later that the straight-leg chair
trary to
feet,
current
belief,
came
his designs
seem
to
have had
probably a transition
it
was not
until
into general use.
from
considerably
This
is
con-
but extensive observation of pieces whose
dates are well authenticated shows that the straight leg in any other
design
than Gothic or
Chinese came some years
cabriole-legged Chippendale piece.

176
later
than
the
CHAIRS
Figure 131 shows a web-foot chair with splat unpierced, belonging to Mr. Meggat.
and
shell carving,
the latter one of
Dutch
chairs,
Figures 132 and 133, with ball-and-claw feet
show,
in
the former a simple pierced splat, and in
more elaborate design.
except that the top bars at the back show the Chippen-
dale characteristics.
Figure 134 shows one with a slightly more
bandy
elaborate back, but with plain
known both
resemble the
All three
in
legs,
and
this pattern
Dutch and straight-legged Chippendale
is
well
styles as well.
Figure 132 belongs to Mr. Meggat, Figure 133 to the Hon. John R.
Buck, and Figure 134 to Mr. F. O. Pierce, of Brooklyn.
Figure 135.
Figure 136.
Chippendale Chair.
Chippendale Chair.
F"igures 135
and 136 show
135 has an underbrace, which
claw-foot chair.
F"igure
It
still
more elaborate
unusual
is
belon^js
136 are sometimes
still
to
in
splats.
Figure
a Chippendale ball-and-
Mr. Mecfsât.
further carved,
Chairs
and the
resembling
little
projec-
tions at the top on either side of the splat are carved to represent
"77
C O L O
FURNITURE
carrying out the drapery effect which
tassels, thus
piece.
KM A L
set of such chairs
is
in
is
suggested
in this
the Bulkeley collection.
Figures 137 and 138 are
examples of two Chippendale

roundabout chairs
both
of
follow
the splats
well-known
Chippendale designs, Figure

137
following
shown
F"igure
shown
in
Figure
138
in
the
design
134,
suggests
Figure
and
that
152.
Figure 137.
Chippendale Roundabout Chair.
Figure
MeCTorat,
139,
belonging
would seem
to
be an
to
Mr.
ex-
ception to the rules above laid down,
but the splat
is
unmistakably Chip-
pendale, and the upper
whim
Figure 140
of the maker.
is
is
an unusual design
possession,
of the back
rail
made
in
the
writer's
of Virginia ironwood,
Figure 138.
and
its
At
ifood.
wood
proportions
is
the
2y>
are
particularly
Chippendale Roundabout Chair,
bend of the knee the
Extension Top.
inches thick.
Figure 141
illustrates
tions as to height, breadth,
an arm-chair
in
almost faultless propor
and the curve of the arms, and the pat

17S
Figure 139.
Figure 140.
Figure 14
Chairs in Chippendale Style.

179
CHAIRS
of
tern
the front
back
the
rail is
is
not
common, the
only criticism
being that
perhaps too broad.
Figure 142 shows an arm-chair more elaborate than any of those

preceding
it
in
that
its
beauty
not dependent solely upon the out-
is
Figure 142.
Chippendale Chair.
lines,
but the
relief-carving.
flat
surfaces of the back, arms, and legs are broken
This carving
pendale chairs, and
"The
is
is
found on
all
employed on nearly
of the best- made Chip-
all
of the chairs given in
Gentleman's and Cabinet-Maker's Director,." although
much
the larger proportion of chairs following Chippendale's outlines

this
country are without
Manning, of Hartford.
tion of that
shown
in
shown
in
Figure 150.
it.
It will
be seen that the design

is
is
an elabora-
almost identical with that
This chair and that shown

iSi
in
Miss Augusta
This chair belongs to
Figure 134, and
by
in
Figure 150 well
COLONIAL
illustrate
how an
r'
elaborate design
R X
I'
was
T U RE
simplified from lack of skill
or to meet the requirements of economy.
Figures 143 and 144 show
two chairs of a hieher order

and better
in
than
finish
American-made
usual
chairs.
The
though
legs of both,
suggest
is
Chinese
straight,
patterns
so
much used by Chippendale, and

the
early
chairs
as
date
the
probably
bandy
as
legged
Figure 143.
Chippendale Chair.
ones.
Figure
144
is
The design
beautiful.
unusual, and the
flat
especially
is
rather
surfaces,
in-
cluding the top of the arms, are
carved
in
Figure
well-executed
relief-
Figure 144.
145
is
probably one
Chippendale Chair.
of the most elaborate Chippendale

chairs which has been found
times,
in
this
country dating from
colonial
and compares very favorably with some of the designs shown

182
CHIPPENDALE CHAIR.
{Figure 14^.
CHAIRS
in
his
effect
rococo
very strongly suggests the French school, and the legs and
carved
the
The
"Gentleman's and Cabinet-Maker's Director."
lower edge
Chippendale models.
of the seat are characteristic of the finer
It is in
Figure 147.
Figure 146.
Figure 148.
Chippendale Slat-back Chairs.
We
come now
was modeled from the old
sibly
slats instead ot the

rail
to a very different pattern of chair, whicli pos-
up-and-down
slat-back, and, like

splat
follows the Chippendale lines
has the cross-
but from the fact that the top
we
it,
are led to place
it
under that
general head.
Figures 146, 147, and 148 show

est to
one of
its
its
most beautiful patterns.
development from the plain-
We
have found no example
of this style with ball-and-claw foot or other than the straight foot,
and are therefore inclined
The
to place
them
after 1770.
question of upholstery for Chippendale chairs
some moment, and
is
often of
may be instructive to quote what he thought

on the suljject.
He said " The seats look best when stuffed over the
rails, and ha\e a brass border neatly chased
but are most commonly
it
183
COLONIAL
done with brass
nails, in
stuff as the
window
U R N
one or two rows
are done to imitate fret-work.
same
I^^
They
T U R E
and sometimes the
are usually covered with
The height
curtains.
nails
tlie
of the back seldom
exceeds twenty-two inches above the seats."
And
referring to his
"ribband back" chairs he remarks that several
sets
have been made
which have
with red morocco, they
It is
and that
sfiven entire satisfaction

will
have a
" if the seats are
fine effect."
Figure 149.
Figure 150.
Chippendale Chair.
Chippendale Chair.
worthy of
note,
covered
in passing, that in
the publications of
the cabinet-makers of this period the designs almost invariably

chairs without
any underbracing;
but, for all
their
endeavor
all
show
to
set
such a fashion, the designs actually made, except the bandy leg, even
including the delicate Hepplewhite pieces, for the most part had the
underbracing, probably for the reason that the additional strength

thus secured proved to be a necessity.
Figure 149
arm-chairs.
is
It is
an example of the plainest of the straight-legged

in the writer's possession,
184
dating about 1790, and
CHAIRS
was bought from a descendant of the maker.
It is
of rather unusual
proportions, being 46}^ inches high, and 24 inches wide at the front
of the seat.
Figure 150 was new
in 1791,
Wethersfield, Connecticut, and
is
being part of a wedding
now
in
the possession of a descen-
Figure 151.
Figure 152.
Chippendale Chair.
Chippendale Chair.
dant,
Miss Esther Bidwell of that place.
It
chair
shown
the
that
shown
Figure
in
50
practically
is
will
be seen that the
same
in
design as
Figure 142.
in
1
Figure
outfit at
shows a chair which appears
to
have been of a style
particularly pleasing to the cabinet-makers about Hartford, for
were made there during the
and
in
last
quarter of the eighteenth century,
a table of prices published by the joiners at Hartford, in 1792,
they advertised to
make
a "chair with urn'd banisters" for
which undoubtedly refers to
this
Figure 152 shows a chair
in
î
9s.,
design of chair.
in
the writer's possession in a design
very popular throughout the Chippendale period.
found
many
Vermont.
185
This chair was
COLONIAL FURNITURE
From
these few designs
it
is
not intended to portray
all
of the
legion,
and a
designs of the Chippendale period, for their
name
large volume could be compiled
subject alone,
then exhausting
These
it.
upon
this
is
without
however, been selected
illustrations have,
from a large number, with a \iew of showing the most important of

the patterns rather than the most unusual.
We
now come
Hepplewhite.
the second of the
to
sreat cabinet-desisfners,
His influence, though very marked
furniture in this country,
Sheraton as retrards
was not so important
chairs,
in
other articles of
as either Chippendale or
one reason doubtless beingf that his chairs
lacked the enduring qualities which those of the others possessed.
It
all
Figure 154.
Hepplewhite Chair.
Hepplewhite Chair.
would be almost impossible
to mistake his designs, for they
possess his hall-marks, either heart-, oval-, or shield-shaped backs,
and
his
Figure 153.
his desigrns all
work
have the
effect of licrhtness
so famous.
186
and
trrace
which made
CHAIRS
While Chippendale made use of carving
inlay of various
employed
Hepplewhite often
only,
woods and occasionally
painting.
His designs do not seem to have
remained
length
of
handsome
time,
great
and although
some
for
chairs are to be found in this
undoubtedly date from
country which
colonial
any
fashion
in
yet
times,
for
the most part
the pieces found are of rather recent
Figure 155
Hepplewhite Chair.
importation from England, where

his
was
influence
widely
much
more
felt.
Figures 153 and 154 are two

of
They
Meggat.
proportioned
typical
belonging to Mr.
style
this
and
both
well
graceful,
and
are
examples of the Hepple-
white chairs most often found

this
Figure 156.
in
Hepplewhite Chair.
country.
Figure 155
chair.
It
is
is
a very
good example of an American Hepplewhite
interesting to observe that this chair,
built with great strength, yet,
been broken
at
because of
its
though apparently
faulty construction, has
every point where special strain has come.

187
COLONIAL
F U R X
I'
R E
Figure 156 shows a very beautiful Hepplewhite chair belonging

to Mrs. Otto, of
Germantown.
The beauty
executed carving lead us to believe

silily
it
of
was made
lines
its
and the well-
England, and pos-
in
by the great designer himself
'Îk
te
^-
^.l^'W- ''
*4fW5^K^
^"
y-
"J*^
.r
v'
'ti
'A-
-â?*"
-r
Figure 157.
Hepplewhite Cosey-chair.
Figure 157
is
a splendid example of a Hepplewhite cosey-chair,
with the arms extending inside of the
tall
ears.
covers the frame of the chair so completely that

that the legs
and bracing are
signs for cosey-chairs.
like those
given
The
upholstery
it
must be explained
in
Hepplewhite's de-
This chair belongs to Miss Brown, of Salem,
a descendant of the original owner.

188
Figure 158.
Sheraton Chairs.
Figure 159.
Sheraton Chairs.
189
CHAIRS
The
last of the
English cabinet-makers,
great influence on the designs

also in
Thomas
Sheraton, had
not only
in this country,
in chairs,
but
other kinds of furniture.
all
The
characteristic
of his
chairs,
as
we have
was
seen,
that
the general effect of the backs was square or rectangular, with the
the centre with a carved piece,
top bar often raised
in
into several sections,
and
in
the plainer pieces the top
or broken
was
perfectly
straight.
Figures 158 and 159 are examples of Sheraton at his best.
Fig-
ure 158 has the characteristic back, while Figure 159 shows a slight
Figure
60.
Figure 161.
Sheraton Chair.
modification.
Sheraton Chair.
These are very handsome specimens, the carving
being of an exceptionally high order, and the proportions perfect.

full
set of
setts,
each belongs to the Nichols family
in
.Salem,
Massachu-
where they have been since they were imported from London
to furnish the
new house
in
This early date seems
1783.
191
to
indicate.
COLONIAL
that
1^'
U R N
T U R E
some of Sheraton's best work had been done before

book
tion of his
17QI. which
in
the publica-
was undoubtedly true of
all
the cabi-
net-makers.
160 and 161 are two excellent examples of Sheraton
P'igures
designs, Figure 160 being particularly graceful, with the fan-like back.
Figure 162.
Figure 163.
Sheraton Chair.
Painted Sheraton Chair.
This design appears
to
be one of the commonest of the better Shera-
ton chairs, for the writer has found
South.
original.
many
of them, especially in the
The applied moulding on the rail about

They both belong to Mr. Meggat.
Figure 162
is
a plainer adaptation of this style,
a painted chair, such as
the
seat
is
not
and Figure 163
is
became very popular about the beginning of
the nineteenth centur\-.
Figure
64
is
another example of chairs
believe this modification

nally painted with a black
is
distinctly
in
American.
Sheraton
They were
background over which flowers

192
style.
We
origi-
in brilliant
CHAIRS
and
colors
The two
were painted.
gilt
of a dining-room
set
here illustrated form a part
which was bought early
the
in
nineteenth
century.
About the year 1800 the
make
itself felt
in
style
commonly
called
England, and Sheraton adopted
Empire began
to
in his designs,
it
Figure 164.
Painted Sheraton Chairs.
making
chairs with lion's and bear's claws
and with
suggested by some of the Egyptian bronze chairs.

the
Empire influence was early
felt,
rolling
backs
In this country
undoubtedly both because of the
very friendly feeling then existing between France and the United
States,
and the equally
culminated
We
in
War
feeling
toward the
English which
of 1812.
therefore find a great abundance of this style of furniture
this country,
made
the
hostile
which remained
in fashion
down
to the time of
in
machine-
furniture.
Figure 165, with
its
carved legs and
net-maker named Phyfe, who had a shop

Fulton Street,
New
feet,
was made by a
at 35 Partition Street,
York, and advertised his furniture

193
in
cabi-
now
the papers
COLONIAL FURNITURE
from 1802 to 1810.
both
in
shape and
It clearly
in the
shows the influence of the Empire
brass inlayin^' on the
rail
style
at the top of the
Figure 165.
Figure 166.
Plivfe Chair.
Empire Chair.
Figure 167.
Empire Chairs.
back and on the

is in
cross-slat.
The
feet are dainty
the possession of Mr. Meggat.

194
and well carved.
It
CHAIRS
Figure i66 shows the early Empire style as
in this
it
became modified
country, and shows the Sheraton influence in the painted lyre
on the back, which was one of the hall-marks of Sheraton's
The
designs.
slat is also
painted
in fruit
designs.
Figure 167 shows two styles of the parlor chairs

mothers'
1840.
da)',
which remained
The one
in st)le
to the right has the
piece, while the other
later
up
to,
ot
our grand-
and indeed
later than,
back and legs made of the same
shows a construction where the legs are made
separate from the back.
The former method
stronger and more desirable chair.

pieces as their model, and
it
is
They
amusing
of construction
clearly
to see
have the Empire
how
dealers" are to-day advertising such pieces as colonial,
them were new within the memory of some of the
95
makes a
the " antique
when most
readers.
of
VI
SETTLES, COUCHES, AND SOFAS

SETTLES
THE
seems
settle
W. H.
chest.
to
have been a direct evolution from the
book on
Pollen, in his
furniture, says:
began
the tops of coffers served for seats, they
in
"As
the thir-
At
teenth century to be furnished with panelled backs and arms."
any
we
rate,
beautiful
find
examples of carved
settles in
England,
datine throucjh the fifteenth and sixteenth centuries.
glance at Figure i68 will clearly show
The lower
resembles a chest.
how
part of this piece has
all
the character-
of a chest, including the lifting top, and the three panels are
istics
carved
in
two end
the
stiles
same manner and design
is
divided into three panels, as
is
is
arms.
pan-
The
top of the
finished in the fashion of the wainscot chairs, as are also the
Many
familiar patterns are found in the carving
most of them of the early period,

panels,
is
the lower part, and
the centre panel closely resembles that found below.
back
The
as are found in chests.
are extended to support the arms, and the seat
The back
elled.
The
close the settle
as,
and especially the two inside
for
stiles
on
instance, the
this settle,
two centre
on both top and bottom.
panelled seat suggests that the settle must have been used with
a cushion.
The
piece seems to be
made
of American oak, and
found at Great Barrington, Massachusetts, where

196
it
was
had been used
in

a stable to hold salt for
very
We
first.
dates in the latter half of the seven-
now
in
mentioned
in
the inventories of this country from the
teenth century, and

Settles are
It
cattle.
find
is
one mentioned
Boston, in 1643, and at York-
in
Figure 16S.
Carved Oak
town, in 1647, "

settle
71
2,
"I
lar to the
in
1720,
"i long
settle 14s";
in 1706, "
and
at
Provi-
settle 9s."
Such handsome
extremely rare
long wainscott settle"; at Philadelphia,
and again
17s";
dence, in
Settle, latter half
settles
as that
in this countr)-,
one shown
in
shown
the setde
Figure 169.
in
the last figure were
commonly
It
is
made
in
use being simi-
of pine, with high
back, and the front extends nearly to the floor, thus forming an eftective screen against the cold winter
draw these
settles
kitchen, thus
up close
making
to
a sort of
winds
for
the large open
little
97
inner
warm
it
was the custom

fire,
room.
to
usually in the
This
settle
is
COLONMAL FURNITURE
owned by Mrs. W. W. Andrews,
These
in
settles are
whose family
in
it
has always been.
sometimes furnished with a small shelf fastened
the centre of the back to hold a candle.
Figure 169.
Pine
Settle, first half eighteenth century.
Settles of this type
were
in
use
in this
country
for a
long period,
from the very earliest times down to about 1760, and were,
them, more carefully
made than Figure
169,
many
of
being of oak and often
panelled.
When
the wainscot chair went out of fashion, and the square-
back chair with turned

which
in its
feet
and bracing took
its
place, the
more pretentious form could perhaps be
chair or settee of the wainscot type,
called a double
was superseded, except
198
settle,
for kitchen
Figure 170.
Turned
Settee with
Turkey-work Upholstery, about i66o.
199

use,
by the upholstered settee
in
the fashion of the
Turkey-work
chairs
so commonl)- in use in the latter half of the seventeenth century.
Figure
Institute,
70 shows a settee
Salem,
about 1660.
in
It is
now
in
the possession of the Essex
the exact style of the chair of the period dating
upholstered, as were the chairs, in Turkey- work.
Figure 171.
Dutch Double
Chair, 1740-50.
Again, when the turned chair was followed by the finely carved
cane
chair, this fashion
never seen one

in
England a
Princess
Anne
chair, the legs
shown
in
in this
was followed
country, they
suit of furniture
in
in settees;
and though we have
may have been

this
Flemish
here,
style,
made
is
for the
1680, which has a settee constructed like a double
in
and bracing of which are very similar
Figure
and there
76.
to the
couch
COLONIAL FURNITURE
Figure 171
possession of Dr.
174050.
It
J.
in
is
the two backs to

cherry,
and
Sherman Wight,
reality
tfive
two
to
of Brooklyn.
Jr.,
chair in the
about
It elates
with a carved brace between
chairs,
additional strensth and finish.
It is
made
of
an excellent example of the double chair of that day.
is
This method of making seats

during the
Queen Anne double
an example of a
is
latter half of the
for
more than one was used
also
eighteenth century, and such pieces are
be found following the designs of Chippendale, Hepplewhite, and
Sheraton.
double chair
in
Chippendale design, which
is
owned by
American Antiquarian Society of Worcester, Massachusetts,

in
These
Figure 172.
chairs are not at
all
common
is
in this
the
shown
country,
and most of them found here were imported, and have come from the
South, although a few plain straight-legged ones are to be found
New
in
England.
This double chair
out doubt,
The
which
is
made
in
is
a particularly fine specimen, and was, with-
England.
feature to note especially

rarely,
had been a
if
the lion's-claw-and-ball
is
foot,
on American-made pieces, although
ever, found
it
favorite design in Ensfland for the finer chairs from the
time of Grinling
Gibbons, early
had been used
in
eighteenth
the
The knees
through that of Chippendale.

faces of men, a design
in
down
century,
are finished with grotesque
which Chippendale seldom used, although
some of the Queen Anne
a dragon's or snake's head.
pieces.
This double chair
is
The arms end

supposed
to
it
in
have
been owned by John Hancock.
Another piece which once belonged

is
now
at Pilgrim Hall,
Plymouth,
example of an upholstered
is
made
is
to John
shown
settee of the
Hancock, and which
in P'igure 173,
same general
and
is
character.
of walnut, and follows very closely the outlines of
an
It
some of
the upholstered chairs given in Chippendale's " Director," although
the underbracing would
seem
earlier.
The
feet are decidedly
on the
f-
^^W^'
CHIPPENDALE DOUBLE CHAIR.

{Figure J J 2.)
'S
o
-a
;3
203

order of the Louis
XY
style,
which Chippendale often copied.
It is
extremely long, being practically four large chairs placed side by

side,
but
is
saved from being awkward by
graceful lines.
its
Figure 174.
Sheraton Double Chair,
There
is
Portsmouth,
a Hepplewhite settee
New
780-1 800.
made
to
fit
a circular hall at
His designs, however, being so
Hampshire.
were not well adapted
to support the
frail,
necessary strain, and conse-
quently few Hepplewhite settees are to be found
in this
country.
Figure 174 shows a double chair belonging to Mr. Luke A.
Lockwood, following a very popular Sheraton design found
in
both
arm- and side-chairs.

Figure 175 shows a
what we
shown
call
in
triple
in
the writer's possession,
American Sheraton design, and
Figure 164.
It
is
the illustration.
is
much
in
like the chairs
painted black, and the sinndlcs and
frame are enlivened with flowers

seen
chair, in
in gilt, a
few of which
Such pieces date early
century.
205
in
may
still
be
the nineteenth
COLONIAL FURNITURE
Figure 175.
American Sheraton
Settee, 1800-20.
COUCHES
As
the settles and double chairs were pieces on which to
couches were intended to

almost
style,
responding
upon, and as they are to be iound
in
they very evidently formed parts of sets with their cor-
chairs.
To
"7 cane
Boston, 1702,
"
so
the designs for chairs, from the turned variety through the
all
Empire
lie
sit,
substantiate this the
chairs,
couch & squab";
Doz. cane chairs with black frames
phia, 1686, "
appear
fact that the
first
in the
at Philadel-
couch"
was of considerably
mentioned
in
in fact,
they were very
as twenty-two being
Yorktown between 1645 and
1647, "i old turned
is
South
many
the South, as
indicate that the piece
and another
"
year,
couches were placed at high valuations, they
tioned in the inventories at

in
couch ditto
same
the
from the character of the settlements, and
and more frequently
common throughout
Yorktown,
in
at
cane couch & 8 cane chairs."
As might be expected
from the
inventories show:
is
1670.
At
mentioned, which would
earlier date than the entry,
an inventory of 1645.
206
men-
We
do not
find

couches inventoried
among
New-Englanders
the more sturdy
than the inventory of John Cotton, of Boston,

After that date
and frequently
we hnd them
"a skin couch";
in
1659,
cubbard."
At New York,
couches /"3
"
;
at
Yorktown,
key worked los";

in
1700,
"a red
we
1691,
in
in 1692, "
couch," and
in 1706, "
in 1658,
"a wainscoate couch";
in
1709,
in 1686,
find
mention
in
aid in
little
made
is
1667, "i couch
"3
couch Tur-
"an old couch,"
at Boston, in 169S,
covered"; at Philadelphia,
1," and
occasionally mentioned in the North
At Yorktown,
determining their character.

of
1652.
in
the South, but the descriptions give
in
earlier
"one couch
"i cane couch
good cane couch 2
"
;
at
Providence, in 1732, "an old couch 2."
Figure 176.
Flemish Couch,
latter half
(Seat and back originally cane.)
These
early couches
were
without backs on the long
side,
really long chairs
that
is,
they were
while on one end there was a back
similar to a chair-back of the period to
pairs of front feet,
making an elongated
which
it
belongs, with three
chair.
Figure 176 shows an example of what was referred to

inventories as a
cane couch.
It
will
207
be observed that
it
in
is
the
pure
COLONIAL FURNITURE
Flemish
in
with the scroll
style,
originally the seat
and carved underbrace, and
feet
and the centre of the back were cane, and the head-
piece was movable, held at any angle desired by chains, as in the next
Such pieces are
figure.
piece
is
rarely so high,
occasionally found here, but the end
still
and many which we have seen do not have
the carved brace at the end, although
point to note
in this
ter
is
it
appears on the
outward instead of inward
that the scroll feet turn
pure Flemish
style,
which
is
more
is
in
Another
sides.
discussed in the chap-
fully
on Chairs.
This very handsome piece

Pierce, of Brookl\n, in
brought
Lynde
whose family
possession of Mr. F. O.
has always been, having been
from Holland bv an ancestor named
to this countrv direct
in
it
the
the latter half of the seventeenth century.
best pieces of this general character
we have found
It is
one of the
in this country.
There are a number of specimens of couches

in the
Dutch
st)le,
with six bandy legs and plain
one of which, dating about 174050,
feet,
extant,
is in
the collection of
l\Ir.
Henry W. Erving.
Figure 177.
Rush-bottom Couch, 1730-40.
Figure 177
is
an example of a couch
after the fashion of the
every-day chair of the Queen Anne period, dating about 1730-40,
which belongs
to
Mr. Meggat
may have been
such a piece
to in an inventory at Philadelphia, in
20S
750
" a
referred
rush bottom couch

raise or
the
be noted that the head-rest
It will
los."
lower to the proper height
seat
of rush,
is
arranged with a chain to
is
for the
comfort of the user
and
although such pieces are occasionally found
covered with leather.
Figure
78
a very beautiful example of a Chippendale couch
is
or long chair in the possession of Mr. Walter Hosmer.

will
be recognized as being
characteristic
The back
in
one of the
Chippendale designs, and
the six ball-and-claw feet are in splendid
proportion.
The
seat
is
of canvas, laced
over wooden knobs fastened to the side

rail
after the fashion of
many bedsteads
Figure 178.
Chippendale Couch, 1760-70.
of the period, and
should date
it
is
it
about
intended, of course, for a thin mattress.
760-70.
Such couches are more often found with the

than with the cabriole legs and ball-and-claw
Figure 179
to Mr.
New
is
We
plain straight legs
feet.
a French chaise-longue which belonged originally
Joseph Bonaparte and came from his house at Bordentown,
Jersey.
It
is
beautifully selected
unusually
wêll
now
in
the writer's possession.
mahogany, and the carved
executed.
The arms
209
It
is
made of
bear's or lion's feet are
are of brass, and the side rails
COLONIAL
beading of ebony, and
T U R E
diamoml-shaped panels, marked
are enriched with
as the panel
F L R N
off
by a raised
the centre of each panel, graduating in size
in
becomes smaller
at the rolling ends,
is
a rosette of ebony.
large rosette of ebony finishes the four ends, and four ebony lions'
heads
rails
finish
where the legs
The design found on
join the frame.
as here described appears in
some
the
Hepplewhite and
of both
Figure 179.
Chaise-longue, about 1800.
The
Sheraton designs.
hair.
seat
is
of cane covered with a thin layer of
This piece, when found, was
but,
fortunately, at least
w-ell
as the brass arms,
to look as
it
in
a very dilapidated condition;
one rosette of each
size
was preserved, as
and the piece has consequently been restored
originally did.
It
dates probably early
in
the nineteenth
century.
SOFAS
We
now come
and double chair
to a kind of furniture
in
that
it
is
designs of any kind of chair.

so
far as
England and
this
which
differs
from the
not suggestive, nor does

It is
it
settle
follow the
of rather recent invention, at least
country
are
concerned,
not
having
oo
I
ô
a
tx

appeared
until
Chippendale's time, and not being at
"The Task,"
Sheraton's time, for Covvper, in

sofas as novelties.
calling
sofas,
any extent was Sheraton

in
written in
Chippendale gives several designs
them French
extant are
all
the familiar
ton.
It will
at
and
such pieces,
to use
them
to
but by far the largest number of sofas
Empire designs.
at
at
Independence
one time the property of George Washing-
once be seen to have the lion's-claw-and-ball
as are seen in the double chair

is
until
781, speaks of
for
and the next cabinet-maker
Figure 180 shows a very beautiful sofa preserved

Hall, Philadelphia,
common
numbered
172.
feet
such
In general shape
like the designs given for sofas in Chippendale's " Director,"
the rococo carving on the bends of the legs places
it
it
and
beyond question
Figure i8i.
Sheraton Sofa, about 1800.

in that style.
The
rear legs are slightly cabriole in shape, which
feature of English pieces,
and
is
characteristic of the better chairs of
both Chippendale and the period preceding him.
The
sofa
covered with haircloth, probably not the original covering.

213
is
now
COLONIAL FURNITURE
Figure i8i
is
now
in
is
a Sheraton sofa
country,
Many
The
W. W. Andrews.
legs are characteristic.
which was purchased
sofas of this kind
some being elaborately
in
1799 and
slender fluted
were owned
inlaid in the fashion of the
in this
Sheraton
desks and sideboards.

After 1800, sofas, together with furniture of
the
Empire
Figure 182
style.
is
all
about 1810-20,
dating
sofa,
kinds, followed
Figure 1S2.
Empire Cornucopia
commonly
called a cornucopia sofa,
carving of the arms.

sofa,
The round
so
named from
pillows
shown
the shape and
The cane
1680 to 1730, were provided
from
termed
had the
the inventories
in
rails
carved,
ends of
at the
and commonly provided with the long Empire
revival of a very old fashion.
are
Sofa, 1810-20.
sofas,
this
are a
couches, which were in use
such pillows, which
with just
The
" squabs."
finer
Empire
and occasionally the back was finished
sofas
in
broken arch.
Fio-ure 183
is
an example of another sofa of about the same date,
without the cornucopia ends, the feet having very handsomely carved
wino-s
and claws.
Fio-ure 184
mon
in
It
belon^rs to the Misses
Brown, of Salem.
shows another example of an Empire sofa very com-
the South, one end being arranged to
end forming a pillow or squab on which

214
to
sit
at,
and the other
recline, thus
making a

piece of furniture
more comfortable and serviceable than the two
sofas last illustrated.
Figure 183.
Empire Sofa, 1810-20.
Such pieces as the three

in
America during the
first
last
mentioned were extremely popular
years of the nineteenth century, and con-
Figure 184.
Empire
tinned in favor as late as 1850.
Sofa, 1810-20.
Many
of
them were
ered with haircloth which was bordered with brass
originally cov-
nails.
TAB
ANY
L E S
of the facts regarding chairs already noted are appli-
cable also to tables, as almost every form of chair had

its
corresponding table.
Saxon times England did not know or use the word
Durin^'"
table,
but designated what the
Normans called
tables as "hordes,"
"hordes"
that with reason, for their tables were long, narrow
placed on trestles or frames

the
when
year 1600 that "standing
in use,
and
it
was not
until
to
and
be
about
"dormant tables" are
tables" and
freely mentioned.
There
way
no doubt that the table-boards and frames found their
is
to this countr)-, for the
mention of them appears frequently
inventories until the end of the seventeenth century;
Plymouth,
and joyned frame,"
at
frame," at .Salem,
1647;
York,
in
in
in
"a great
1638; "
"
in the
table board
long table board and
table board
and frame,"
1677; and "a table board," at Philadelphia,
in
at
New
1687, are
some of the items regarding them.
The boards
or table-tops were sometimes supplied with hinges
so that they could be folded into as small a space as possible
out of use.
The frames were
heavy stretchers close
built in
long tables
in
X or tresde shape, or with
to the floor, the legs
ornamented with carving or turning.
when
being sometimes slighdy
Figure
83,
which shows the
Christ Church College dining-hall, 0.\ford, doubtless

216
TABLES
way
represents very well the
when
in
the table-board and frame appeared
use.
Tables referred to as long

tables
above referred
in
and
just such benches
tables,
in
1669, "
and formes";
1660, "
became
After the table
into beine-
making
The
New
"a longe
table
York-
at
1657, "i table, 7 feet"; in
in
in the history of
the colo-
in use.
settled as a distinct piece of furniture, the
came
of these devices seems to have been the draw-
because the table was furnished with leaves at the
ends which drew out.

to or
"
at
table";
adjustable in size for various occasions
it
first
ing-table, so called
1673,
Figure 83,
1669,"! long cedar table";
showing that early
were also
nies standing tables
in
in
mention of
is
"a framed
1639,
long framed table";
long table"
devices for
in
1638, there
in
longe table"; at Salem,
at Boston, in
town, in 1647, "
on
no doubt, as those shown
At Plymouth,
to.
are
the inventories with long and short forms,
and joyned form," and
York,
They
were probably not made with the frame separate.
usually accompanied
table
great tables, and standing
tables,
These leaves were arranged
under the main table when not
in use,
to
fold
back
and when drawn out
were supported by wooden braces which drew out from the frame
and held the ends firmly on a
was not always the method employed,

to
This, however,
level with the table.

for
English drawing-tables are
be seen where, by a clever arrangement, the table
made
is
to sink
to a level with the leaves.
The frames
of drawing-tables were
vailing in the long tables
huge
ball or acorn
They
square and
after the fashion pre-
plain, slightly turned, or with
forming the centre portion of the
are mentioned as follows in the inventories
drawing table ^2
1653,
"In the
table
and carpett 2 los"; and
drawing
made
parlour, a
at
New
"
;
in
York,
legs.
:
1669,
in
at Boston, in
"A
1697,
drawing
"an oak
table."
Figure 1S5 shows a drawing-table preserved at the rooms of the

217
COLONIAL FURNITURE
Connecticut Historical Society, whicli
made
is
of English oak; and
although the leaves are missing, the place they occupied shows them
to
in
have been
2 feet
length and
when opened
6%
feet
inches in length, while the top

1 1
fi inches
to its full length,
in
width.
The
would have been a
is
6 feet
inch
table, therefore,
little
over
1 1
feet
long.
Figure 1S5.
Oak
Drawing-table, early seventeenth century.
common
Drawing-tables were never
judge from the inventories,
for
in
the colonies,
if
we may
they are comparatively seldom men-
tioned.
Long
as 1775.
tables and joined tables continue to be mentioned as late
They
were,
it
is
perhaps needless to say, the dining-tables
made
of their day, and smaller tables
after
the
same
fashion are
occasionally found.
Carpets are frequently mentioned with the long
what we should speak of as table-covers or spreads.

a table carpet,"
in
1690,
"a long
table
1652, are characteristic entries.

21S
and
tables,
"A
carpett," at
and were
table with
Boston,
in
TABLES
An
oak table 42 inches
in
length and 38 inches
by the Historical Society of Old Newbury,
The
curves into which the frame
is
is
shown
in
width,
in
Figure 186.
with the quaint
cut,
owned
little
ornaments, suggest quite forcibly the Yorkshire chairs, well
drop
known
Figure iS6.
Oak
to collectors,
and
The heavy
tury.
Table,
first
plentiful in
England during the seventeenth cen-
stretchers about the table near the floor are similar
to those found on the wainscot chairs.
Figure
187
which represents
century.
Salem,
in
It
1
fairly well the
was j^robably such
684, as a table with a
table with a
in fact,
shows an oak
drawer 6s";
table,
belonging to Mr. Meggat,
common
tables of the seventeenth
tables as this that
drawer
were referred
at Philadelphia, in 1686,
at Boston, in 1709, as
"a square
to at
as"
table 2s";
there was hardly an inventory which did not contain an entry
of at least one table of small valuation called "small," "square," or

"short."
219
COLONIAL FURNITURE
Figure i88 shows a table of the same order, belonging to the
Bulkeley collection, which clearly shows the change from the heavily
Figure 187.
Oak
Table, about 1700.
Figure 188.
Oak
underbraced tables
tained by
making
Table,
last
to those
in
which a more graceful
effect
is
ob-
the stretchers turned instead of plain, and substi-
TABLES
tilting a single
we have noted
This same development
brace through the centre.

in chairs.
Chair-tables,
if
treated as tables, belong to this general class,
but of necessity the drawer
under the seat instead of under the
is
Figure 189.
Chair-table, 1660-80.
table-board, as in the preceding figure.
these chair-tables as a table, the
Figure 189 shows one of
same piece appearing
as a chair in
Figure 92.
The
joined or wainscot tables so far considered represent the
oldest style of table to be found in this country.
The
ne.xt
kind of table which
we
shall
Figure 190, a large walnut table with leaves,

Plymouth.
This
table,
there
is
by Governor Edward Winslow

1633.
sides,
frame.
Tables of
this
consider
now
at
is
shown
in
Pilgrim Hall,
every reason to believe, was used

in
the council-chamber in the year
kind sometimes had leaves both at ends and
supported by one or more legs which swung out from the main
This construction has brought about the familiar designation
table."
of " thousand-legged
00
It will
be seen from the
illustration that
COLONIAL FURNITURE
the drawer which should be at the near end of the table
Nearly
all
of these tables,
when
of large
size,
is
missine.
had such a drawer on
the side runners so characteristic of the seventeenth-century drawers.
Figure 191 shows a maple thousand-legged table which has been
though the parts are
fully restored,
At Boston,
1688,
"an
in 1669,
"a walnut
table
original.
all
ovall table 2, los"; at Philadelphia, in
los"; at Yorktown,
in 1667, "
ovall table
Figure 190.
"Thousand-legged Table,"
with bolts
table
&
catches
5s "
";
at Boston, in
delphia, in 1705,
ovell table
^3
"a
first
at Salem, in 1690,
1
"a round black walnut
699, " a walnut oval table
large oval table
2";
"
;
at Phila-
at Providence, 1727,
"an
items which doubtless refer to tables of the
5s," are
thousand-legged variety.
seldom under two pounds.
They
are always valued rather high, very
These large round and oval
tables super-
seded the long tables, and were very generally the dining-tables of
their day.
Their curved edges must have required the use of chairs
The
rather than the forms used with the long tables.
inventories
wherein they appear are those of the well-to-do, and they
may be
regarded as the fashionable dining-table of the seventeenth century.
The
dining-table used
by the Van Cortlandt family
house, Croton-on-Hudson,
century,
is
one very
New
like that
York, since early
shown
in Pîgure 190.
in
at the
manor-
the seventeenth
TABLES
Many
small tables were
made with
similar turned frame
bracing, and with tops both round and oval, but without leaves
Salem,
in
1647,
"a
little
round table 7s";
and
:
at
"a
Figure 191.
"Thousand-legged Table,"
round oak table"; at
New
latter half
York,
in 1691,
"a
small round table with
"
turned feet 6s"; and at Yorktown, in 1661,
small round table,"
are references perhaps to such as these.
Folding tables are also often mentioned, and were so constructed

that
one half of the turned frame folded against the other, and the top
The
fastened by hinges to the frame dropped at the side.
when
so folded, could not, of course, stand.
a folding table
is
folding table.
Philadelphia, in 1686,
valued at six shillings, and,
walnut folding table"

1667, "with bolts
At
&
at
5s.
catches,"
The
in
1709,
"ovall table" at
above referred
table,
to,
"a
black
Yorktown
may have been
in
COLONIAL FURNITURE
The frames
narrow so
that,
of the largest of the oval and round tables were
when
the leaves were dropped, the tables occupied a
There seems
comparatively small space.
made by
in
and other means
this
made
to
have been an attempt
to provide against the table
use taking up more floor-room than necessary.
The
when not
feet of tables
with the turned legs and stretchers of the thousand-legged variety

were' finished with the round or flattened
foot
shown
in
ball,
or with the Spanish
the chair in Figure 99.
Figure 192.
"Butterfly Table," about 1700.
style of oval table of
necticut, but
The
192.
which appear to be scarce elsewhere,
leaves are supported
swing either way.
name
on
The shape
"butterfly table"
this
which there are many specimens

is
shown
in
in
Con-
Figure
by the curious-shaped wings which

of these supports has given
needless
to say, a
modern name.
it
the
The
feet
specimen are worn away, reducing the original lieight of the
table slightly.
Tables of
this
kind are commonly of maple or cherry,
but the writer knows of several oak ones, probably the earliest of this
style.
It
is,
of course, impossible to say just

224
how long
the tables of the
TABLES
styles thus far considered
may be assumed,
in
period
in fashion; for
convenience' sake,
it
without danger of serious error, that they remained
the
favor until
remained
700-40.
middle of what
we
shall call
the
Queen Anne
This means not that they were not
in
use
many
years after this date, but that they were after this time considered
old-fashioned.
Figure 193.
X-Braced Table,
When
legs,
came
the
tall
last
chests of drawers, with the frame having six turned
into use at the close of the seventeenth century, the form
of the frame on which these chests were placed

tables, or rather
it
would be more correct
tables (see Figure 25) which
copied
to
was reproduced
in
say that the dressing-
accompanied the chests of drawers were
in tables.
Figure 193 shows such a table
in
It will
be observed that the legs suggest more the turned ones shown
Figures 190 and 191, but the
feet
in
and stretchers arc clearly on the
C O L O
NM A L
The wood
order of the dressing-tables.

originally
V R X
had a drawer, which
There
sides.
U R E
maple, and the
is
table
missing, and for that reason
is
The drawer
back of the table was photographed.
tom and not on the
1"
the
ran on the bot-
no trace of there ever havinfr
is
Figure 194.
Slate-top Table, last quarter seventeenth century.
been an ornament where the stretchers

are
e.xtremely
rare,
the
writer
that in the Bolles collection.
Such
cross.
tables as these
knowing of but one
There
is
other,
and
also in the Bolles collection a
table similar to this having three legs in front, but of course in this
case the stretchers run between the legs, as
drawers.
Tables with frames
dressing-tables
made
like the
in
the six-legged chests of
above-mentioned were,
with stone or slate tops.

226
At Boston,
like the
in
1693,
MARQUETRY TOP OF SLATE TABLE SHOWN

{^Figure igj.)
LX
FIGURE
194.
1:
TABLES
are mentioned "in the lower
the hall a slate table
î
room a
los";
and
slate table ^'i los";
in
"a
1703,
in 1699,
"in
table with a stone in
the middle î."
A
much
slate or stone table with turned frame, the legs of
like those in the
preceding
figure,
The drawer has
having the stretchers of the
X shape,
older turning instead of the Italian
which are
is
shown
Figure 194.
in
the single-arch moulding and the drop handle of the
oldest chests of drawers.
Figure 195 shows the top of
now much worn and
this table,
fieured, but the fine inlaid border
is
still
discernible,
and must have
been a very excellent piece of work, certainly not done
The
nies.
except
slate,
for a section
in
the centre,
dis-
in the colo-
missing.
is
It
belongs to the American Antiquarian Society of Worcester.
The
question has often been raised as to whether the slate tops
were intended
observe
will
in
for use, or
were a mere Ireak
table,
which certainly indicates that the
sons sitting at the table as though
may be
that
we
New
at
Jappan
York,
we have
number
seen,
in
table," of
in 1686,
feet of per-
worn
a writing position had
it.
end of the seventeenth cen-
marks the end of the oak
period, to
of kinds of tables mentioned in the inventories
are unable to place
York,
in
well to pause here at the
tury, which, as
consider a
reader
Figure 194 the worn condition of the stretcher on the
drawer side of the
It
The
fashion.
ot
1677,
among any
of those already mentioned
"4 Spanish tables los";
what shape and
"2 speck tables";
style
in 1689,
it
is
at Boston, in 1698,
impossible to
"adansick table
tell
/,'i,
"a
New-
at
"meaning
a table from that place, undoubtedly; at Philadelphia, in 1687, "i inlaid

table with a
drawer and two stands damnified î.
been a stone table with marquetry border

"
French table with
balls
artist,
and may
tables; also, in 1702,
"a
at
which ma\- ha\e
New
York,
in
702,
thereunto belonging ^3," probably refer-
ring to a billiard-table, for they
by a French
'
had been invented as early
for that
reason have been called French
billyard table ^3."

227
as 137
COLONIAL FURNITURE
Figure 196 shows a table belonging
Mr. IMeggat, followino-
to
the general design of the cabriole-legged dressing-table, just as Figure
193 follows the design of the turned-legged dressing-table, likewise
having a single drawer with a
ver)-
narrow single-arch moulding about
Figure 196.
Dutch Table, 1720-30.
it
The handles
on the frame.
fastenincrs of the
are the etched brasses with screw-bolt
Third Period.
The
have a
lesfs
finish
seen on some
of the early cabriole-legged chests of drawers.
quaint
little
Dutch
table,
which
Bidwell, of Wethersfield, Connecticut, and

1730,
is
shown
in
Figure 197.
with which the frame

ing-table,
table,
is
owned by Miss Esther
is
was bought about the year
The wood
is
cherry,
finished correspond to the
belonging also to Miss Bidwell, shown
together with one a
Figure 200, belong
to the
little
same
larger,
and the curves
bandy-legged dressin
Figure 34.
This
and the tea-table shown
set of furniture.
The
in
top extends
about eight inches beyond the frame, and
is
would seem as though tables of
which accord so well with
this style,
228
scalloped to match.
It
TABLES
the prevailing furniture of
all
kinds,
must have been
fairly
common,
but these two are the only ones of which the writer knows.
A common
form of Dutch
table with a round top, in the
of the
possession
shown
frame
in
is
Figure
to
198.
the table small
on
The
when dropped,
be easily disposed
feet
is
narrow, and the semi-
circular leaves,
make
writer,
enough
ol.
this piece are
The
worn, so
Figure 197.
that the shape
is
somewhat
impaired.
Tables of this kind
were made
in larsfe sizes
sand-leijgred
"
table
Dutch Table, about 1730.
and used as dininsf-tables
went out of
after the " thou-
fashion.
familiar-shaped table of mahogany, with ball-and-claw feet of
somewhat
later date than
the preceding,
shown
is
The oeee
Figure 199.
in
curves at the ends of
the frame indicate that

early one of
its
kind.
begin
Tea-tables
mentioned about
one
at
first
time
this
New York
in
Dutch Table with
Two
mention we have found),

in
and one
1732.
at
Boston
in
"
for
July
7,
ing
that
the
Ga-
1737,
ad-
tea-tables
adjustable tops, arranged with bolts to hold the table-top
must have been well known
at this time.
22y
1720,
"
vertises tea-table bolts,
Leaves, 1720-40.
705 (the
one at Philadelphia
zette
be
to
The Pennsylvania
Figure 19S.
an
is
it
in
showwith
place,
COLONIAL FURNITURE
A
in
small tea-table of cherry, belonging to Miss Bidwell,
Figure 200.
dates about
It
730,
and
is
in
except for a portion of the raised moulding, which
its
is
shown
is
original state,
missing.
The
mouldings, which project above the table about an inch, were intended
from being knoclced off
to prevent the china
This style of table has
Figure 199.
Mahogany Drop-leaf
received the
that she
name
owned
of
one,
Table, 1750.
"Martha Washington tea-table" from
still
to
the fact
be seen at Mount Vernon.
iMgure 201 shows another tea-table of the same general style

but later date, belonging to Mr. Meggat.
The edge
will
be seen to
be cut from the solid wood and not applied as a moulding.
The
brass handles are somewhat imusual, but are quite in accord with the
drapery
effect
period.
It
A
to
fall
much used
in
decoration
during the
Queen Anne
dates about 1750.
candle-stand, or possibly a small tea-table, as the top

to
one
side, is
shown
in
Figure 202.
230
Stands of
this
is
made
kind were
TABLES
Figure 200.
Tea-table, about 1730.
Figure 201.
Tea-table,
740-50.
C O L O N
A L
F U R N
T U R E
very plentiful throughout the colonies, and were evidently
many
"2
years.
olive
shown on
1799.
Three stands are mentioned
wood candle
this
piece
at
1683.
The
to Mrs.
W.
\V.
china
from a Lowestoft tea-ser\ice purchased
This stand and china belong
for
Boston as early as 1676
stands," at Philadelphia, in
is
made
in
Andrews.
Figure 202.
Tripod Candle-stand, 1720-40.
Tripod candle-stands, about four

tops,
feet high,
were made, apparendy designed
bedstead.
to hold a candle beside a
Chippendale gives designs
that they should be
made from
3 feet
and with very small
for
high
such stands, and remarks
6 inches to 4 feet 6 inches high.
The handsomest of the Dutch tea-tables were what are popularly known as "pie-crust tables."
One which came from Pennsylvania,
and belongs
to
Figures 203 and 204.

solid
Mr. Meggat,
The
is
shown, both open and closed,
scalloped moulding
is
in
carved from the
wood, and the pedestals and knees of these tables are often
The feet are almost invarial^ly finished with the

Not many of the pie-crust tables are found in New
beautifully carved.
ball-and-claw.
TABLES
233
COLONIAL FURNITURE
England
the South, especially
the majority of the best
work
V'îrginia
in
and Pennsylvania, furnishing
carved mahogany.
Tea-tables with tripod stands, both with plain and ball-and-claw
many
are found in
feet,
square or octagonal top
sizes.
is
The
tops are usually round, but a
occasionally seen.
They
are
made
to re-
volve on a pivot as well as to drop to one side.
Figure 205.
Tea-tray Table, 1750-75.
tea-table belonging to the writer, and dating about the
little
middle of the eighteenth century,
is
shown
practically a tray with handles, but
The whole
table
sion requires.
has met
An
It is
England,
is
top
is
moved
as occa-
the only one of just this kind with which the writer
and the
e.xample of a fine
New
The
securely fastened to the frame.
so light, however, as to be readily
in this country,
Jenkins, of
New
is
is
Figure 205.
in
style
mahogany
was probably not common.

table,
belonging to Mrs. E.
Haven, Connecticut, which probably was made
shown
in
Figure 206.
It is
on both front and back, and the carving
is
W.
in
finished with equal care
exceedingly well done.
This table approaches quite nearly the Chippendale fashion, and, had
the
rail
been carved, could, without question, be called Chippendale.
It is at least
American Chippendale.
Card-tables begin to appear
walnut card table
"
is
mentioned
in
at
234
the inventories about
Boston
in
1732.
730
" a
TABLES
Two
mahogan)- card-tables, which came /rom the South and
belong to Mr. Meggat, are shown

are constructed
in
They
the usual way, with the two top sections hinged at
in
the centre so that one half rests on the other or leans against the
Figure 206.
Chippendale Table, 1760-80.
wall
when not
one of the
legs,
a drawer, which
the table
use
in
shown
when opened
which swings out

is
in
for
use the leaf
for that
somewhat unusual.
purpose.
is
supported by
Figure 207 has
In general design
it
is
Figure 206, although not so well executed.
like
Fig-
ure 208 belongs to the block-front variet\-, but the plainness of the
rails
to
gives
this
it
are
somewhat unfinished appearance.
Card-tables similar
found which have both rear legs arranged extension
fashion, which, pulling out from the frame, support the leaf
Tables of walnut
chcrrj-,
and mahogany, with
more or
less
COLONIAL
and
carving,
remained
in
cabriole
F U
and
with
legs
R N
T U R E
ball-and-claw
without
fashion from about 1720 until
780,
The
white designs became very generally used.
when
the Hepple-
tables just consid-
between 1740 and 1780, correspond
ered, covering the period
with the Chippendale jêriod
in
England, and
it
feet,
may be
in
date
correctly said
n^
Figure 207.
Chippendale Card-table,
that
they are
in
mahogany, except
general
in
760-80.
Chippentlale, as the
Pennsylvania and
wood
\ irginia,
commonly
is
where walnut con-
tinued to be extensively used for the tmer pieces throughout

period,
this
and the decoration, carving, and the outlines are those that
he elaborated and perfected.
Not many
pieces of furniture which
follow his designs, except in a very general way, are to be found in

this country,
though an occasional table with the
and the legs handsomely carved

Chippendale.
out of fashion
1800,
Erom
until
is
found which
rail
carved
may be
the time the large " thousand-legged

the extension-table
by Robert Gillow,
was invented,
in fret
called real
"
in
table
went
the year
tables of various kinds served the purpose

2.36
TABLES
of dining-tables
198,
Dutch
the
tables with
were made large enough
o-enerally used.
mahogany
" 2 square
for tables
At Boston,
"
tables
"
;
760, appears
and
They
770, "
that
two mahogany ends
way
made
table
Sometimes the
form, thus obtaining a circular table.
twos and
in
obtain the desired
made sometimes with each
wêre
and were quite
the following entry
these were undoubtedly the tables
threes to be placed together and in

size.
in
such as Figure
tops,
purpose,
that
for
in
round
in
half-circle
half-tables are
Figure 208.
Chippendale Card-table, 1760-80.
oval, with a
wide square
leaf,
so that
when two
of these are placed
together they form a long table with round ends.

will
be
in sets of three, the
Such
oval or square.
with
straight
leg,
Sheraton
style,
Empire.
They
or
and also
centre one oblong and the two end ones
tables as these
were made with the
without inlay, and

in
Again, the tables
with
the
between the years
in
the pillar-and-claw style of the American
of the
780 and
Hepplewhite and Sheraton
800, the cabriole leg
of every kind, and carving
The wood continued
to
237
styles,
was dropped and

its
place on
was superseded by
inlay or
the straight square leg or the slender fluted leg took
marquetry.
leg
fluted
date probably from about 1760 to 1820.
After the adoption
furniture
plain
be principally mahogany.
COLONIAL FURNITURE
Figure 209 shows an oval table
istic
The
Hepplewhite design.
edge with a narrow
line of
top
in
is
French walnut of characterinlaid
about an inch from the
ebony outlined with white
and legs with the same woods, and the
same
the legs will be seen to be the
little
as that
holly, the front
wreath which decorates
shown
in the
Hepplewhite
Figure 209.
Hepplewliite Table, 17S0-90.
sideboard
in
Figure
to the writer.
table
suggests
Adam
shown
Figure 210.
in
This table was found
73.
which may be said
very strongly
The
in the
to
in
Virginia,
and belongs
be Sheraton, though
classic decoration
employed,
it
is
decoration on the legs consists of stripes
a quarter of an inch in width at the top, tapering to an eighth at the
bottom, of rosewood
inlaid
in
satinwood.
The
top
is
satinwood
bordered with rosewood, and the frame of the table and the drawer
are
made
of oak, which
this country.
The
indicates that this
table
was not made
in
brass rosette and ring handles and urn escutch-
eon are very characteristic of Sheraton.
During the
last
quarter of the eighteenth century card-tables
were very common, and large numbers of them survive

238
in
Hepple-
TABLES
white and Sheraton
style,
and show very well the straight and
fluted
leg used by those designers.
Figure
21
i,
a Hepplewhite table belonging to Mrs.
drews, of Wethersfield, Connecticut,
W. W. An-
of walnut inlaid with rose-
is
Figure 210.
Sheraton Table, 1780-90.
wood and white

open
of
is
holly.
The
top
is
hinged
at the centre,
and when
supported by a leg which swings toward the back.
is
design
this
are
frequently
referred
a misnomer, as the use of inlay
as
to
Tables
Chippendale.
This
and the square tapering leg
at
shown
in
once proclaim.
Sheraton card-table, belonging to Miss Manning,
Figure
212.
woods.
Its
The wood
is
mahogany with
method of construction
is
the
inlay
of
is
varicolored
same as the preceding,
and
its
the
Hepplewhite and Sheraton styles were largely used
date
also
probably
the
same, for there
country with equal favor during the

century.
239
last ten
is
no doubt that
in
this
years of the eighteenth
COLONIAL FURNITURE
Delicate
little
ions, the tops of
sewing-tables are to be seen
which are sometimes arranged
cabinet with compartments

kinds.
Another
designed to
bag
held open,
to
lift,
disclosing a
all
arrangement has a drawer with the com-
familiar
draws out
the frame
both these fash-
sewing utensils of
fit
partments, and just beneath a frame to which

velvet
in
is
like a drawer,
making a very convenient repository
attached a silk or
and the bag

for
is
thus
needlework of
all
kinds.
With Sheraton's
late designs,
about the year 1800, the
work of
lines that distinguished the cabinet
passed out of
and
style,
in their
place
it
will
now
to
be found
be well to consider
the eighteenth century
the rather uncouth and
As almost
heavy designs known as Empire.

furniture
came
fine out-
all
the
genuine old
for sale in this countr)- follows this fashion,

it
somewhat.
After the F"rench Revolution
there was a reaction against everything that had formerly been in

favor
in
in art
as well as in social realms,
a completely
furniture
new
and there was an
fashion in furniture.
brought about by the Napoleonic
of the sphinx head, with the bear's and lion's
brass or
extent, a fashion of
best suited the maker.
but brass was used to

etc.,
and
for pillar
head with the
signs,
was much
very best of
American Empire
is
use
mounted
all dis-
followed, to
for the feet of the tables, chairs,
the handles were very generally the
The
lyre,
one of Sheraton's favorite de-
liked for table supports,
often
its
the column
The
use of bronze was not extensive here,
some extent
and
for
decorating the backs
said with truth that no finer
ever used than that employed
The carving
feet,
Egyp-
own, and adopted from the French what
The
ring.
may be
It
its
mountings
lion's
of chairs.
e.xpeditions.
bring
Empire
of
the classic tripod for the frames of tables, are
gilt,
tinguishing features of this style.
some
The design
largely a revival of the classic, particularly of the
is
tian classic,
in
effort to
in the
mahogany was
Empire sideboards and
tables.
very good, but coarse, and the veneering the
kind.
240
J
ri
00
241
TABLES
The Empire
made by Duncan
card-table
shown
Eigure
in
213
was probably
New York
Phyfe, a prominent cabinet-maker of
early in the nineteenth
The
century.
The
brass foot and lyre support.
top
table
in
shows the use of the
tables of this kind turns
Figure 213.
Empire Card-table, about 1810.
around on the frame, and

the frame.
is
This table belongs to Mr. Meggat.

is
shown
is
made
work-table having the brass trimmings and feet
Figure 214.
The
pillar
and base with which
of a design used in tables of
About 1820-30 the

ion of
supported by bringing the seam across
this table
in
are
all sorts.
strictl)'
classical
ornaments and the fash-
trimming with metal was largely superseded
the extensive use of heavy carving.

243
in this
country by
COL
C)
A L
F U R NM T V R E
Figure 215 was a card-table made
Salem, Massachusetts, by
in
Nathaniel Appleton, about the year 1820, and now
The
of his o-randdauehters, the Misses Brown.
in
the possession
rope-carvin<'-
and the
Figure 214.
Empire Work-table, 1S20-30.
acanthus-leaf capital are designs used to a large extent on the posts

of
Empire bedsteads.
The
table
shown
in
Mgure
der Forman, of Brookhn,

is
one of a pair designed
is
to
216,
known
be
fitted
which belongs
folding
toorether
like
card-tables,
formed a table
\onir
and
Alexan-
as a pillar-and-claw table.
This
together to form a dining-table.
Pillar-and-claw tables were sometimes

tops
to Mrs.
on
enough
made
in
opened
being
to
|)airs,
seat twelve
having the
and
fitted
or fourteen
people.
form of table sometimes called a sofa-table, both sides of which
are finished alike, which combines the use of the l\re

the heavy carving which
came
later, is
shown
in
in
wood with
Figure 217.
The
rope-carved edge was extensively used about 1840, the date of this
table.
244
TABLES
Figure 215.
Empire Card-table, iSio-ao.
Figure 216.
Emjiire Pillar-and-claw Table, 1810-20.

24s
TABLES
The
pillar,
last of the
liand-made tables were made with a heavy centre
which was sometimes octagonal, but more often square
fin-
ished with a square base, at each corner of which was a small ball-
shaped
foot or a
clumsy
scroll.
Figure 217.
Sofa-table,
246
Si 0-20.
\M
DESKS AND SCRUTOIRS

DESKS,
eighth
in
one form or another, have been known from the

In his " Natural History
centur\-.
"
Bacon makes
remark
the followingas deal;
some
for tables,
Some
"
trees are best for planchers,
cupboards and desks, as walnut"; showing
that at the beginning of the seventeenth century desks
common use
The word desk
ently in
were appar-
England.
in
in
the early inventories in
country had a different meaning from that
England and
now given
a bo.x which held the writing materials, the
lid
to
of which was some-
times used as a smooth surface upon which to write.
These
desks were inventoried at very low figures, anywhere from
The
î";
highest prices
one
Philadelphia,
in
walnut tree deske
New
York,
1705,
30s.;
and
inlaid
that a distinction
desks and
scrutoirs,
if it
is
all
believe
same
the
is.
to
î.
"His deske
walnut
place,
early
in
desk
1706,
at
"a
so far above the highest valu-
were not
was made
we should
1691
in
at
6," which
ations elsewhere found that

fact
are: at Salem, in 1647,
at
30s.
at
we have found
meant
It
it.
this
for the early date,
and the
through these years between

it
to
have been a scrutoir ami
not a desk-bo.x.
Most of the desk-boxes were undoubtedly

maple, oak, or walnut boxes, and
been
lost
it
is
safe to
perfectly plain deal,
assume that they have
because not considered worthy of care.

^47
Consequently,
:
;
COLONIAL FURNITURE
nearly
that are
all
so beautiful])- that
now
it
be found are carved more or
to
is difficult
to reconcile the
and some
less,
low inventory valua-
tion with the pieces.
These boxes or desks were apparently used

one as a place
in
which
to
for
two purposes
keep books, more especially the
Bible,
and
the other for valuable papers and writing materials.
when
In the early days
but few,
the Bible
was kept under lock and key
it
By some
neighbors.
Thus
deske
table,
Some
box
in
a gathering of the
at
"
to this
find " Escritore, small table,
or on the desk.
book desk
year, " a
we
by
oi this kind, often
desk very likely being on
the
los,"
and the Bible either
same
in a
these boxes are called " Bible-boxes
Holy Bible ^5
place, the
a treasure possessed
and read
beautifully carved, to be taken out
day.
was
Again,
the
in
the
same
26s."
of these boxes were carved on the front, sides, and top
sometimes the top was

to believe that the
flat
We
and sometimes slanted.
are inclined
boxes with carved or steeply slanted tops were, as
a rule, I)ible-boxes, the slanting top being of a convenient slope to
hold the book while
it
was being
read, while the flat-top or slightly
slanted ones, uncarved on top, were for desks.
The boxes vary

inside,
small
especially in
till
in size
from
those intended
to
for
30 inches
in length,
and the
desks, often contained the
or compartment so frequently found in the chests, which
was doubtless intended
to hold the writinof materials,
and sometimes
they contained pigeonholes, and sometimes a shelf running the long
way
of the box.
This style of box
is
sometimes spoken of
inventories as a "paper-box," as recorded at
New
York,
in
in
1691,
the
"a
small black walnutt paper box," and in 1702, " In the writing closett
I
old desk for papers."
The
is
at
first
mention
Plymouth
are given
in
in 1633,
in this
the inventories of anything to do with writing
which
country:
"A
is
the earliest )ear for which inventories
writing table of glass 4d."

248
This word
DESKS AND SCRUTOIRS

here probably means tablet, and
perhaps framed, which was

fectly
smooth
to-da)-
and
Philadelphia,
in
believe, a plate of glass,
on the lap or table to obtain a per-
laid
much
surface, in
we
was,
it
the same
1687,
in
way
as
sometimes done
is
"A
appears
writing slab
&
frame 8d," clearly indicating such a piece.
Probably the
Plymouth,
in 1644, "
us to suppose
mention of a desk
first
was but
it
Asrain,
o
1676,
"2 cedar desks
and
New
in
York,
"one desk or box
Mgure 21S
which modest price would lead
is,"
in
1691,
in
ex-
the
Figure
possession of the Connecticut

Historical Society.
The
It
It is
is
Bible-box, 1649.
throuohout, and
is,
"
doubtless of Encrlish
therefore,
M.
S.
1649" on
in
Holland early
while that on the front suggests an English design

I's
front panel.
its
of a very early pattern, and the circles on the side
and top suggest a design popular
James
21.S.
made
bears the inscription
carving
that at
1689,
good
ample of a Bible-box
make.
is
30s."
is
of Enidish oak
country
i^";
in
"one desk i6s"; and
this
a pine
Boston,
box.
at
desk
little
in
the century,
in
first
appearing
in
reign.
Figure 219 shows a slant-top writing-desk belonging to the
Long
Island Historical Society.
oak, and, in addition to the

tration, there
is
It
is
made throughout
band of carving which appears
a faint tracery about the edge of the
brought from England by William Wells, who landed

Connecticut,
in
1639,
and
Island.
An
slant top
was apparently used
At
in
1640
removed
to
at
it
in
the
New
Southold,
is
illus-
It
lid.
interesting feature to note about this desk

to write upon, as
of English
was
Haven,
Long
that the
shows decided wear.
the back of the desk, on the inside, are five pigeonholes and one
249
COLONIAL
drawer, which
the piece
its
is
F U R N
T U R E
an unusual arrangement, and clearly indicates that
was a writing-box.
It
dimensions being 28 inches
considerably larger than usual,
is
length, 22,'<
in
inches in width, 11
I'igure 219.
Desk-box,
inches high
are y
^4.
in
first
inches long and
4.}^
inches deep.
Figure 220 shows a flat-top desk-box

of the
The pigeonholes
the back, 6^4 inches high in front.
Hadley chests (see Figure
in the characteristic
including
12),
initials.
pattern
It is
made
Figure 220.
Desk-box
in
"Hadley"
Pattern, 1690-1710.
of American oak, and has only the front panel carved, as

the
American-made boxes.
the
Hadley
chests,
It
condition to determine whether
It
it
is
was
chests, or not.
250
usual in
probably, about the same as
dates,
1690-1710.
is
impossible from
stained, as
its
present
were the Hadley
DESKS AND SCRUTOIRS

Figure 221 shows another desk-box,
desien, which
we have
can oak, and
is
Nott, the
name
not before seen.
carved only on the

of the family
last-mentioned boxes are
in
who
in
an unusual conventional
This, too,
front.
formerly
The
owned
is
made
initial
stands for
Both these two
it.
of Ameri-
This desk
is
23^
inches long, 7>j inches high, and 16 inches deep.
Figure 221.
Desk-box,
Figure 222
illustrates
latter half
an extremely rare piece of furniture which
may be called a desk on a frame. This is in the Erving collection.

The piece is still in the condition in which it Mas found consequently
;
onl\-
a general idea of such a piece can be obtained from the illustra-
tion.
It
stands 32,'< inches high, and
24 inches wide and 16 inches
is
deep, and consists of a desk or box part opening from the top in the
An
usual way, with a drawer below.
the shelf at the bottom.

front,
unusual feature of
Only one applied ornament remains on the
and one turtle-back on the
side,
double row of turned ornaments on the

the edge of the shelf part below.
appears on
found on
tht;
tht:
V'ery few
know
drawer, which
upper
rails
this piece is
is
but the piece originally had a

stiles,
and a moulding finished
The only carving
is
that which
the early half-circle pattern
The
of chests.
often
piece dates about 1675.
of these desks on frames have
come
to light.
We
of two with carved panels and drawers, but without the lower
shelf and also two panelled ones, which stand

251
much
lower, on short,
COLO
A L F U R NM
turned legs, also without the
shelf.
boxes may have been used
for linen,
their being put to such use
stored
in
the larger chests.
when
It is
believed by
but
1 LM^l
we can
some
that these
see no reason for
the linen could have been better
Such
piece
referred to in a Boston inventor)- of 1672,
as
"
this,
we
believe, is
desk and frame los,"
Figure 222.
Desk on Frame, about 1675.
and again
in
1683,"! standing desk, standish and box
the expression appears
New
/,i
5s,"
and
occasionally throughout the inventories at
York, Boston, and other places up to about 1690.

It
seems beyond question that such pieces as Figure 222 were
used as desks,
"and frame"
for,
throughout the inventories, whenever the words
are used they refer to a piece raised from the floor, as
distinguished from those resting on

252
feet
or directly on
the floor.
DESKS AND
This, as
way
shown
is
designated
first
wherever
tories
was the
commonly
the inventories, and as
in
very time that this distinction was
we conclude
chests of drawers,
the chapter on Chests of Drawers,
in
the change from low chests of drawers to those
high-boys was
this
R U T O
S C
this expression
does any expression appear but
none of the inven-
in
which could possibly
this
any other pieces extant
to such pieces, nor are
was intended
distinction
Furthermore,
used.
is
was during
it
noted with respect to
first
same
that the
called
refer
which the expres-
to
sion desk and frame could apply.
From about
of furniture
the year 1660, or possibly a
for writing
little earlier,
new
style
purposes seems to have come into use called
"scrutore," or " scriptoire," as
some of
the inventories call them.
may be assumed
that the influence of Charles
French ideas and
fancies,
One
had something
and
II,
It
with their
do with the change.
to
instantly impressed, on reading the early inventories, with
is
the fact that up to the end of the

scrutoirs are inventoried at
first
quarter of the eighteenth century
much higher
figures than desks,
it
being
very seldom that they are placed at a lower valuation than 1,

while the average
above appears
easily from
is
to
los";
small scriptore
1717,
"a
"a
scriptore /"8
large scriptoire
a lock 20s"; and
good
we
the various inventories
Boston, 1669, "scritoire and desk /,"io";
"a
^7.
16S7,
"
;
^5";
in
in
and
at
1704,
"I screwtor 1";
5s"; and
What
is
in
3s," "
1704,
in
"a
"a
1683,
in
l)lack
New
York,
walnut scrutoire
1691,
in
"a
1720, "
1705,
"a
scrutor
at
in
"
in
1684,
scrutore without
"2 schrutoors \j," the
in
scrip-
scriptore 2."
723 one for ^12; at Salem,
the following
find
which none but a Dutchman could have executed

in
illustration of the
Boston inventory of 1709: "a desk
in a
Among
tore 6."
last a spelling
at Philadelphia,
& large Bible 2
black pine screwtor ^4."
these earliest scrutoirs were
it
is
difficult to
determine.
It
generally believed that they were of the ball-foot, slant-top type
but, although this
was undoubtedly the
style
during the
last
years of
COLONIAL
the seventeenth century,
is
spoken of
know
built
is
with a
in
little
F U R X
we hardly
think
much on
was the
it
An
the earlier inventories.
T U R E
style
first
which
form of which we
earlier
the order of the six-legged chest of drawers,
drawer under the moulding
upper part opening downward much
at
the top, the front of the
Empire
like the
desks,
making
a place upon which to write, and disclosing a cabinet with drawers
The lower
and pigeonholes.
part
The
brasses are of the drop variety.
a chest of drawers, and the
is
feet
Several pieces on this order are to be seen

of only one having been found
the furniture at that time in vogue,
we
Such
a piece
From
more nearly
it
are led to place
may have been
England cabinets; and
"one large
scritore
New York
in
^5";
its
general
follows the line of
as an early
it
referred to in a
î
inventory of 1666, " a cabinet desk ami two chairs

pieces are called in
we know
England, but
in
this country.
in
construction, and from the fact that
style of scrutoir.
are of the ball-foot type.
at the
same
Salem
such
tor
5s,"
place, in 16S4,
also in the inventory of a storekeeper in
"4
1692 appears
\)V.
scrutore chains with two dozen
these chains must have been used to hold the front which lets
bolts"
down
to write upon,
two frames which
and as
all
the slant-top desks are supplied with
pull out to hold the front, such chains
were proba-
bly intended for pieces as above described.
There are two other
we know
One has a
out
this
that
styles in the slant-top
may have been
slant top
which
lets
falls
down and
rests
the
ball- foot
which
variety.
on frames which pull
has one drawer below the scrutoir part, and the whole rests
The
on turned legs with bracing.

which
earlier than
scrutoirs of
lifts
like a
other style has a small slant top
desk-box, while the
outward, being held
in
front,
which
a position for writing
is
perpendicular,
by two
pulls.
It
has one drawer below the scrutoir part, and the whole upper part
just described rests
on the lower part inside a heavy moulding, as
the six-legged chests of drawers.
number, and are
fastened
to
this
254
The
legs are turned
moulding-,
and
six
in
in
and there are three
Figure 223.
Ball-foot Scrutoir, about 1700.
255
DESKS AND SCRUTOIRS

narrow drawers, one between each pair of front
red
made
seem
of pine, and
Neither piece,
and black.
originally to
however,
They
mouldings about the drawers.
bracings
Both of the specimens above de-
between these legs are turned.

scribed are
The
legs.
have been painted
has
the
characteristic
are both in the Bolles collection.
Either of these pieces would have been properly described
Salem inventory
"one
1684,
in
scritoire
the valuation would have been high.

fectly plain, and,
except
and frame
^"i
los,"
in
although
Both of these scrutoirs are perhave none of the ear-marks of
for the legs,
may have been made by some joiner

much later date but we are convinced, from a
seventeenth-century pieces, and

to special order at a
study of seventeenth-century pieces and the various inventories of
two just described
that period, that pieces like these
probably
did, e.xist,
was used on
pieces
the
bandy leg was
We
fashion.
and very
each of these
in
other kinds of furniture which required legs at

in style,
and we see no reason why a scru-
should have been an exception, especially
when
in style, scrutoirs
as, in
the next period,
are found following that
therefore describe these pieces here, although unable
determine whether they are seventeenth-century pieces or
fully to
not.
all
when they were
the time
toir
because the fashion of the legs
could,
However,
Figure 223
is
for all practical purposes, the scrutoir
as early a type as a collector
is
represented by
likely to find in this
country.
It
will
be noticed that the two small drawers are the top ones,
and the space between them and the bottom of the scrutoir proper
taken up by a well which
seen beneath the three
The
is
little
reached through the slide which can be

centre drawers on the inside.
characteristics of such scrutoirs as this are this well, the
two small drawers, the drop brasses, the turned

moulding about the bottom.
such pieces, for
tiu'v
later.
is
it
These
is
The
well,
occasionally found
scrutoirs are
found
257
however,
in
ball
is
feet,
and the
not confined to
scrutoirs of about a cen-
made
of maple, walnut, and
COLONIAL
F U R i\M T U R E
whitewood, and sometimes with handsome veneered panels of bird's-
The
eye maple or walnut on the face of the slant top and drawers.
single-arch moulding about the drawers would indicate that
of the earlier pieces.
It
it
is
one
dates probably between i6go and 1710.
Figure 224.

(Handles and hinges new.)
Such pieces are
also found with the double
moulding about the
drawers.
A
and
style
slide,
of scrutoir following directly after this omits the well
bringing the two short drawers directly beneath the scrutoir
proper, and adding an extra long drawer at the bottom.

are surrounded with the canal-moulding
made overlapping.
after the ball foot,
The
shown
feet are the simple
in
The drawers
Pigure
29,
or are
bracket ones used next
and the handles are the engraved ones fastened
with screw-bolts, or an early form of willow brasses.
The next
one
style of desk,
last described,
and perhaps contemporaneous with the
adopted the Dutch bandy leg so popular throughout

258
DESKS AND SCRUTOIRS

the
first
half of the eighteenth century.
was
It
with a slant-top scrutoir set into the frame
in effect
much
in
the
a low-boy.
same way as
was the top part of the so-called high-boy.
The
was
earliest variety
and of simple
plain
lines,
the
inside
being arranged with a few pigeonholes and drawers, and was most
often
made
of maple and cherry.
They
are not so scarce as the ball-
foot desks, but they are nevertheless considered a very
good
find
by
collectors.
One
of the plainest varieties
is
shown
Figure 224.
in
It
has but
a single drawer, and the hip pieces, which should form a continuous
curve from the leg to the lower edge of the scrutoir, are missing,
somewhat
marring- the otherwise
grraceful effect,
and the lower
lines,
The
being perfectly straight, make the piece seem even more severe.
scrutoir does not
let
seem
down, but has a
to
slide,
have any
slides to
such as
used
intended to hold the top on a
in
in
downward
such a place.
lid
when
other pieces for a candle-
in
above the drawer, which
stand, directly in the centre
son for a candle-slide
is
support the flap
slant, as
The
may have been
we can
inside
keeping with the exterior, and the brass hinges
is
see no rea-
perfecdy plain,
are, of course,
new,
having been placed on the outside when those on the inside were
The
broken.
brasses are not original.
As Figure 224 shows
this style of scrutoir in
its
simplest form,
so Figure 225 illustrates one of the finest and most graceful pieces
that has
low-boy
come under our
part, with the rising
lower line
practically the
is
boy shown
would date
in
it
Figure
somewhat
It
has three drawers
in
the centre drawer, and the
observation.
sun carved
same as appeared
^3' ^^"^
later
between
740 and
good proportion, with well-defined shoes
is
column finishing each corner.
scrutoir proper are
750.
we
legs are
and there
In the lower part of the

for pens, etc.,
slant top for writing purposes.

259
The
at the bottom,
two small square drawers
drawing out hold the
the
the cupboard high-
in
because of the elaborate interior
in
little
in
which on
The
interior
C O L O
i\
A L
U R N
I-
contains eighteen drawers set into a frame

ful
spond with the lower
charm which
is in
it
T U R E
made
of a series of grace-
upper centre drawer has the carving
curves, while the
This piece
to corre-
part.
almost faultless proportions, and has a grace and
would be
difficult
to
improve.
It
belongs to Mr.
Walter Hosmer.
Figure 225.
Mr. Henry \V. Erving, of Hartford, has a very beautiful example

of one of these scrutoirs with a bookcase top, having a broken-arch
cornice carved in Chippendale fashion.
litde later style than the preceding,
a type seen also in chests of drawers,
is
and one which represents

illustrated in
Figure 226,
belonging to Mr. Meggat.
This
scrutoir, like the
this case the
frame
for this frame, to
is
preceding one,
is
set into a frame, but in
very low, containing no drawers, and, except
which the legs are fastened,

260
it
is
like the ordinary
DESKS AND SCRUTOIRS

variety of slant-top desks.
It
of unusual
is
size,
being
inches high, 27)^ inches wide, and 16 inches deep, and

tive proportions
make
it
extremely graceful and attractive.
Init
its
T/Jî
diminu-
The
use
of this low frame with bandy legs seems to have been confined to
Connecticut.
After
marked
the
twenty years
first
distinction before
noted
in
of
eighteenth century
the
the
the prices given for desks and
Figure 226.
Slant-top Scrutoir, 1740-50.
scrutoirs
disappears,
and thereafter the inventories almost
indis-
same kind of pieces
at the
criminately use the terms to denote the
same
prices.
Thus
at Salem, in 1734,
we
the high valuation showing that the old
made, and
later
still
the
word
scrutoir
"one desk ^5 los,"

distinction was no longer
seems
writing-pieces of every sort are called desks.

261
find
to disaj^pear entirely,
and
COLONIAL FURNITURE
It
also about this time that the
was
The word
use.
Some
of French origin.
is
word bureau
came
first
assert that
into
comes from
it
a word denoting a writing-piece of any kind, while others claim that
name was derived from
the
the
word
luirrcl,
or bureau, a coarse russet
latter derivation
probably the correct one, the
is
ary meaning, for
first
"Bureau, a thick and course
russett or dark mingles colour
browne
being a second-
Cotgrave's French and English dictionary, pub-
in
lished in 1611, the following appears:

cloth of a
This
were covered.
cloth of medieval times with which such pieces
also the table thats
within a Court of audit or of audience (belike, because
usually
tis
covered with a carpet of that cloth)."
The word
meaning
in
used by Swift
is
modern
in its
spelling with
early
its
the following much-quoted stanza:
"
For not a desk with
silver nails
Nor
Nor standish well Japann'd avails
To writing of good sense."
bureau of expense
This word
is
compounded
in
two ways
in the inventories,
bureau-
Dr. Lyon, in his splendid
desk and bureau-table or -chamber-table.
work on Colonial Furniture, thinks the former
referred to a scrutoir,
while the latter referred to a low chest of drawers, or bureau
modern
sense,
and
desk 2, 10s";
and
in
all
cites
in
such entries as: at Boston,
1725,
"i buroe
1749, " In the front
s"
chamber
in
in
1/39. "i
"a burow
^"ro table";
buro table with drawers ^15
"
of these valuations, of course, being in inflated currency.
This distinction hardly seems
us probable,
to
chest of drawers could have been properly described

that name, as
period,
the
1721,
the
in
and as was
word
It
had been the custom
is
still
in
the
be applied
calling
it
by
oak
and, furthermore,
to such a piece.
undoubtedly true that when the expression

262
by
inventories of the
occasionally done in this
table could hardlj-
because a low
first
appeared
DESKS AND SCRUTOIRS

it
some new
referred to
furniture,
style in
and we
from a
believe,
study of old dictionaries, as well as the inventories and the pieces

still
in
extant belonging to those times, that the word was always used
connection with writing
some way.
in
The word bureau appears
have had two meanings, either
to
some
piece on which to write, or a chest of drawers of
In the
sort.
expression "bureau-desk" the word seems to have been used
second meaning, otherwise
would be redundant.
The
it
,a
in its
would not be a qualifying word and
furniture best answering this description
would be the slant-top desks with the chest of drawers below, which
was a new
The
style.
other expression, " bureau-table" or " bureau-
chamber-table," would seem to use the word
expressions "table" and "chamber-table," as used
we have
seen, refer to
what are commonly
word bureau was there used
to
the inventories
in
called low-boys
so
and as such pieces came
the time this expression
them
first
the
appears
in
in
Fig-
into existence at about
the inventories,
we
believe
have been there described.
to
The word bureau does

tent in
if
denote a piece to write upon, we
would have a low-boy plus a desk, such pieces as are shown

ures 224 and 225
The
in its first sense.
its
not seem to have been used to any ex-
modern meaning
until the last quarter of the
century, and
we
appearing
the upper drawer of such pieces
in
believe
it
was then so
eighteenth
called because of the

;
desk
the desk-drawer later
was dropped, but the name remained.

Chippendale shows designs
bureaus; and
he,
commodes, so
it
for ladies' secretaries,
Hepplewhite, and Sheraton

is
call
which he
calls
chests of drawers
hardly likely that the word bureau could at that
time have been very commonly used to denote a simple chest of

drawers.
The word
secretaire
is
the
same word
as secretarj', a
corruption of escritoir.
It will
therefore be seen that after about the
first
twenty years of
the eighteenth century there were four words used interchangeably to

263
COLONIr\L FURNITURE
denote a piece of furniture
escritoir,
desk, scrutoir,
and bureau.
bookcase or cabinet tops, became popular early
Scrutoirs, with
in
for writing purposes, viz.:
They were
the eighteentli century.
wood
usually with panelled
men-
doors, although occasionally throughout the inventories they are
and sometimes with looking-glass doors.
tioned with glass doors,
The
tops of the earliest pieces were square
came
into fashion, that style
Figure 227
have found.
istics
illustrates
was almost exclusively
low scrutoir shown
ball-foot
the drawers, which in this piece
cover that they are new.

the bottom shows that
originally
it
used.
we
slide inside,
is
At any
the character-
all
Figure 223: the well
in
and the mouldinsf about
The turned
of the double variety.
from those usually found, but
feet are different
the broken arch
the oldest scrutoir with a top which
above the two short drawers, the
It
later, as
be seen that the lower part has
It will
of the
rate, the
must have had
we
are unable to dis-
overhanging moulding
ball feet of
some
at
kind.
had brass drop handles, and an unusual feature
the moulding extending around the front and sides as

scrutoirs, the effect of
which
is
the low-boy
in
to separate the chest of
is
drawers from
the scrutoir.
It
was with great
difficulty that
top was not a later addition
convinced that
scrutoir
walnut
is
it
we
but after a careful examination
genuine, because
is
could be persuaded that the
it
is
finished throughout in walnut.
we
The
perfectly consistent.
The
are
large drawers have
with sides, backs, and bottoms of English oak, and the
fronts,
small drawers
compartments.
are entirely of English oak, as are the
The moulding about
double variety, as
pigeonhole
the centre pigeonholes
is
of the
the lower part, and the upper part sets into a
in
wide moulding, which shows no sign of ever having been tampered

with.
The
cornice
candle-slides
may be
This scrutoir
characteristic also of the early high-top pieces
is
is
seen just beneath the doors.

at the Philadelphia Library,
264
and
is
said to
have
Figure 227.
Cabinet-top Ball-foot Scrutoir, about
265
700.
DESKS AND
belonged to William Penn, and
tradition, for
it
it is
R U T O
may
whether scrutoirs of the
of a style which lends color to the
could date as early as 1700.
English manufacture, which

as to
S C
It
is
undoubtedly of
help to settle a much-disputed point
ball-foot style
were known
in
England.
Figure 228.
Cabinet-top Scrutoir, 1740-50.
This
illustration
shows the piece
in its original
condition before
had been incorrectly restored by adding a broken arch
modern copies of the etched brasses of
the
Second Period.
gether an extremely interesting piece, and

267
at the top
if
it
and
It is alto-
our conclusion be true
COLONIAL
as to
its
genuineness,
it
U R X
I-
T U R E
places the high-top scrutoirs earlier than
it
has been customary to place them.
Fieure 228 shows a scrutoir with wooden doors, which
Essex House, Salem, and
said to
is
eagle at the centre of the top
be noted that
just
have been made
we would
in
is
at the
744.
The
assign to a later date.
above the scrutoir part are two
It will
slides for holding
Figure 229.
Slant-top Scrutoir, about 1750.
candlesticks,
and the upper part of the piece
is
The
with three narrow drawers at the bottom.
bandy-legged type, but are fastened

frame, as in
Figure 226.
divided into pigeonholes,
The handles
much
Dutch
and not
to the
to the scrutoir,
are not original, the piece
doubtless originally having had willow brasses.

the drawers are unusual,
feet are of the
like those
The mouldings about
which were on the oak-
panelled pieces.
It
is
probable that the doors of the bookcase tops were those

268
DESKS AND SCRUTOIRS

finished with glass, while the solid
We
pigeonholes.
book case
wood doors were intended
find at Boston, in
/^26 13s";
and
Boston "Evening Post,"
in
1756, "a*
mahogany desk and
an advertisement of an auction
in July,
1751,
to hide
in
the
"a very handsome mahogany
desk and bookcase with looking glass doors."
Figure 229
is
common
an e.xample of the style of desk
in
the
second quarter of the eighteenth century, having the ogee bracket
Figure 230.
Slant-top Scrutoir, 17C0-80.
feet,
with a fan-carving on the middle of the lower front and on three
of the
little
drawers
In nearly
in
contriving
all
all
inside.
of the scrutoirs the

sorts
maker exercised great ingenuity
of secret drawers and receptacles in which
deeds, wills, and other valuable papers could be safely kept.

secret places
ment.
These
were sometimes arranged back of the centre compart-
The whole
centre would draw out on being released by pres-
sure on a hidden spring, which was sometimes concealed above a

little
drawer
at the top,
which must
first
be removed
sometimes the
spring would be concealed at the bottom or on a side, always ingeni269
COLONIAL FURNITURE
ously hidden from die uninitiated.
This centre being drawn out
dis-
closed either a series of small shallow drawers, a shelf, or two narrow
This
upright drawers on either side of the centre.
is
the
commonest
Slant-top Scrutoir, 1760-80.
place to find secret compartments, but

shelf
may be
if
they are not there, a narrow
found between the long top drawer and the bottom of
the scrutoir part to which an entrance can be obtained by

sliding panel in
the
bottom of the scrutoir
fastened by a spring hidden

sionally a hollow place at the
The
writer
which a
knows of a
will
in
part,
various ways.
back of the
slides
means of a
sometimes securely
Again, there
is
occa-
which holds the
lid.
scrutoir with a secret place thus arranged, in
was found by
accident, securely hidden.
DESKS AND SCRUTOIRS

Figure
230
interior built
illustrates
a scrutoir with
unusually beautiful
on a series of curves, and decorated
ently burned into the wood.
On
an
opening the door
in
It
was found
in
in
designs appar-
central Pennsylvania.
a set of drawers appears, and
the centre
Figure 232.
Block-front Cabinet-top Scrutoir, 1760-80.
under the bottom of these drawers

releases the wdiole centre
and
is
a spring which, on being pressed,
compartment back of
discloses a secret
the two carved columns.
type of scrutoir of which there are
slightly in size
foot
and shape of drawers,
and handles,
cherry are the

piece.
They
is
shown
in
common woods,
interior
Figure 231.
all
many
e.xamples, differing
arrangement, style of
Mahogany, maple, and
three sometimes being used in one
date anywhere from 1750 to 1780.
Figure 232
is
a block-front high-top scrutoir,
any throughout, having the ogee bracket
feet.
made
of
mahog-
The arrangement
COLONIAL FURNITURE
of the interior
is
The
worth noting- as being particularly handsome.
brass handles are missing, but they were undoubtedly on the order of
the willow brasses appearing
in
the next illustration.
The
casters
Figure 235.
Block-front Slant-top Scrutoir, 1770-So.
we
should at once pronounce to be recent additions, although a set
of casters
A
work of
in
is
mentioned
in a
New York
inventory
in
1710.
cabinet-top block-front scrutoir, which represents the finest

the period to which
it
belongs, appears, both open and closed,
It will
be observed that the blocking ex-
tends not only on the lower part, but also on the slant
section,
and
is
and top
finished in a carved shell, the centre ones depressed
and the outer ones raised

also
lid
showing the blocking.
the feet are well-proportioned ogee
The
feet,
doors of the cabinet part open
in
three sections, as will be seen from Figure 234, and the pigeonholes
yiî\jîii
BLOCK-FRONT CABINET-TOP SCRUTOIR,
1-70-S0.
Figure 234.
Block-front Cabinet-top Scrutoir, 1770-80.
DESKS AND SCRUTOIRS

now showing were originally fitted with narrow shelves for filing
The broken-arch cornice and the pillar finish along the
papers.
edo-es of the
upper portion show the scrutoir to date
the last
in
quarter of the eighteenth century.
Figure 236.
Serpentine-front Slant-top Scrutoir, 1760-80.
peculiarity not often seen on
block-front pieces
is
that the
drawers are overlapping instead of being finished with the narrow
moulding about the drawers, as

top part
is
made
to
is
(See Figure 235.)
usual.
from the scrutoir part, and brass handles are
lift
fastened on each end to facilitate moving.
made
The
piece
is,
of course,
of mahogany.
This
scrutoir,
with three others, was
and Moses Brown, and

Ives, of Providence,
is
made, presumably by a
for four brothers, John, Joseph, Nicholas,
cabinet-maker at Newport,
&
The
now owned
who
b)'
the banking firm of
Rrown
are successors in business to the original
owners.
275
COLONIAL FURNITURE
Figure 235
scrutoir,
illustrates a
belonging to Mr.
very good example of a low block-front

Albert
H.
Pitkin,
of Hartford.
The
brasses are the original, and the four ball-and-claw feet are in good
Such pieces as these
proportion.
last
described represent the most
Figure 237.
Fire-screen Scrutoir, 1780-90.
expensive style of scrutoir that was made, the block-front being cut
from a solid piece of wood necessarily of great thickness.
The
mouldings on these pieces are usually carved out of the frame and
not on the drawers.
They
date in the last quarter of the eighteenth
century.
Figure 236 shows a serpentine-front scrutoir with ball-and-claw

feet, belonsfincr to
of wood, as
it is
Another
in
Mr. Mecrorat.
The
curve
is
cut from a solid block
the block-front pieces.
style of scrutoir
found occasionally
276
in this
country, but
DESKS AND SCRUTOIRS

more
often in England,
a fire-screen scrutoir, an example of which
Figure 237, which
appears
in
Croton,
New
The
York.
front
the
at
is
Van
Cortlandt Manor, at
drops, disclosing a set of shallow
Such pieces were made by Shearer and Hepplewhite
pigeonholes.
in the last
is
quarter of the eighteenth century, and this piece
identical with
one of the
illustrations
among
is
almost
Shearer's designs, and
is
undoubtedly of English make.
Figure 238.
Sheraton Writing-table, about 1789.
We
now come
described.
to a very different type of
Figure 238
is
in
the City Hall,
fluted legs
Washington when
a desk used by General
President of the United States
Room
desk from those hitherto
New
in 1789,
York.
and
is
now
The wood
is
in the
Governor's
mahogany, and the
and rosette trimmings are of the Sheraton
style.
The
brass handles are found on both sides and ends, and there arc seven
drawers on each
side,
while the brasses at either end, and the mould-
ing about imaginary drawers, convey the impression that the ends are
also furnished
with drawers.
At each end
for papers.
277
of the top are shelves
COLONIAL FURNITURE
Figure 239
a Sheraton scrutoir beautifully inlaid in
is
wood, ebony, and box.
and
folds
back upon
The
itself.
writing-board
The upper
and drawers concealed by sliding panels.
is
hinged
at the
satin-
centre
portion contains pigeonholes
The
brasses are new, but are
Figure 239.
Sheraton Scrutoir, 181 o.
of the proper design.
owned by Mrs. G.
This piece was purchased
L. Bulkley, of Hartford.
in 1810,
and
is
now
There are many pieces
of this general style to be found in this country,
all
of which are well
made, and most of which are extremely graceful.

Figure 240
is
a scrutoir with bookcase top, dating late

27S
in
the
Figure 240.
Scrutoir with Bookcase
279
Top, about 1800.
DESKS AND SCRUTOIRS

The
eighteenth century.
face of the
wide upper drawer
falls
out-
ward by means of a spring and quadrant, disclosing pigeonholes and

drawers.
There
the
in
is
Pendleton
collection
at
Providence
beautiful low-boy of late design which contains a
very
drawer arranged
Figure 241.
Empire Desk, about 1820.
in
way, and
this
desk-drawer
is
throughout the period from
commonly met with both
in
1800
scrutoirs
to
1S40
this
and chests of
drawers.
A
in
curious combination of styles appears in the scrutoir
Figure 241.
The broken-arch
shown
cornice and the narrow moulding
on the drawers are oddly associated with Empire-carved columns and

glass rosette handles, which
place
2S1
its
date
(
not earlier than 1820.
COLONIAL FURNITURE
There are no pigeonholes, and the writing-board
back on
arranged to
fold
itself.
Figure
Empire
is
242
style,
is
an example of a very handsome
owned by Mr. Casper Sommerlad,
scrutoir
of Brooklyn.
in
Al-
Figure 242.
Manjuetry Empire
though the piece
is in
very bad condition, yet
the illustration that the marquetry
on the front but the
There
is
Scrutoir.
sides,
is
it
may be
of a high order, and
seen from
is
not only
and also on the inside of the desk
part.
a raised brass beading about the drawers, and a quarter-inch
from the edge of the drawers
is
an inlaid strip of brass.

282
The heads
DESKS AND SCRUTOIRS

and
feet at the
missing.
two front corners are of ormolu.
The body
style, usually
of the scrutoir
is
of oak.
The handles
are
Pieces of this general
of plain, well-grained mahogany, sometimes with pillars
at the corners, are fairly often
found
1800-20.
283
in this country,
and date about
MIRRORS
THE
date of mirrors has proved very puzzling to determine,
seem
for they
independently that though the furniture of a given
this so
period
may have
do not follow
The
it
an unmistakable
to a
but,
style, the
same period
mirrors ot the
degree that makes them easily identified with
records from the
and mirrors,
have followed a fashion of their own, and
to
first
except
it.
have frequent mention of looking-glasses
for
an occasional very brief
hint,
do not
materially assist in placing them.
Families owning mirrors which have been
perhaps
for
generations have been
found to
in
their possession
know nothing
of their
date or history, for family documents do not often mention them, and
even tradition seems not
to
have attached
itself to
them
as to furni-
ture of other kinds.
The
metals,
mirrors
and not
in
use previous to
until
500 were of highly polished
glass used for this purpose.
At
this
time Venetian
workmen
state protection for the
manufacture of glass mirrors, and
than a century Venice
supplied
England, the
1673, at
first
practically
glass plates for mirrors
Lambeth, and from
this
the whole
were made
received
for
world.
in
from two to
284
first
five
more
In
the year
time were in general use.
records throughout the colonies for the

ing-glasses valued at
was
the early years of the sixteenth centur)-
The
few years mention look-
shillings.
As
these
must
R R O R
have been Venetian ones previous to 1673, and consequently expenthe inference
sive,
is
have been mere hand-glasses.
show them
Other records are:
looking glass and brasses"
"a
1689,
Boston,
phia,
in
1687,
"an
is
however, the records
Salem,
at
valued at
"a
large looking
"a square looking
1686,
olive
wood diamond
"a looking
1696,
in
1680,
ebony frame," and
in
glass,"
with
glass
"one
1697,
one
15s.;
at
^5;
frame
at
Philadel-
at
at
large
York,
and
diamonds,"
cut looking glass";
glass with a gilded
New
at
1696,
2,
"a
16S4,
in
5s.;
2,
large looking glass 36s," and in
1698,
in
After
have been of considerable value, very much above most
to
of the furniture.
in
must
that at that low estimate of value they
New
in
York,
and one with an
large looking glass with a walnut
tree frame."
The
descriptions
above enumerated cover practically
all
the
hints that the records give of the character of the mirrors previous
to
in
fashion,
fashion,
in
As
700.
this
was the period when the carved oak
mirrors with oak frames, ornamented
would naturally be looked
England
is
undoubtedly
true, for
carved and inlaid with square blocks
furniture
the
in
was
prevailing
That they were thus made
for.
specimens of them with frames
and dark woods, as were
in light
the cupboards and other furniture of the time, are not very rare.
The olive-wood and ebony

and must, as a
rule,
mirror-frames were very
have been small and
plain, for
common
here,
they were seldom
valued above seven shillings.
English looking-glasses of the seventeenth century were, some

of them,
made with frames
be seen
at
diamonds
"
Hampton Court
entirely of glass
Palace.
The
referred to at Philadelphia
"
several of these
may
still
square looking glass with
may have been an
all-glass
mirror.
An
olive-wood mirror preserved at Whipple House, Ipswich,
Massachusetts, which probably dates before
few which have survived,
is
shown
in
285
700 and
Figure 243.
is
one of a very
The frame
is
COLONIAL FURNITURE
inlaid in scroll design with light
and dark woods, and the glass
the
is
original hand-bevelled one.
At Boston,
in
and frame with flowers and
1703, a looking-glass
a pair of sconces are mentioned, and the Boston "
News
Letter"
for
iguru 24J.
Inlaid Olive-wood Mirror, seventeenth century.
August
10,
sizes, lately
Queen
glass
is
734,
is
719,
advertises "looking glasses of divers sorts and
imported from London, to be sold
Street."
At
Philadelphia, in
valued at 1
placed at
which was worth
^,'6
5s.,
the
in silver
at
the glass shop,
a black-framed looking-
1720,
and a large looking-glass

latter in the
at
Salem,
in
paper currency of that time,
about one third
its
face value.
Figure 244 shows a mirror dating between

eeneral outline of the frame of this mirror
is
720 and
740.
The
almost identical with
designs for mantelpieces published by two English architects, William
Jones and James Gibbs

broken-arch cornice,
Gibbs
we have
in
seen,
1728,
and Jones
1739.
was very popular by
was extensively used on mirrors of the Queen Anne

286
in
1730,
period.
The
and
The
MIRROR S
urn which finishes the pediment
in
1
placing the date, for
700 and
and quite
740,
and
urn
of great assistance
is
one of the styles of urns used between
is
it
mirror
in this
different from that used

his
IS
contemporaries.
by Chippendale
The cover
to
this
missmg.
This distinction between the urns of different periods
is
important, not only in determin-
ing the date of mirrors, but also the date of
any piece of furniture on which the urn
is
Figure 245 shows a drawing of two urns.

first is
in
used.
The
taken from the face of the clock shown
Figure 274, which was made by Loundes,
and dates prior
shown on
of the
shown
to
This and the urn
720.
the mirror in Figure 244 are typical
Queen Anne
Figure 245
in
The second urn
period.
is
Chippendale.
This
egg-shaped urn
is
Figure 244.
Walnut and
used by
Chip-
Gilt Mirror,
pendale, and as
1720-40.
it
design
the only one
is
easily
is
of unusual
The
recognizable.
Figure 245.
urns on Figures 250 and 252 are those
popular
in
the
of Shearer
time
Hepplewhite, 1775-90, and
Anne
urns.
There
is
differ
Queen Anne and Chippendale Urns.
and
quite materially from the
Queen
no drapery, and the urns are usually either
laterally or longitudinally elongated.
Figure 246 shows another mirror of similar style and date, but,
very unfortunately, the centre ornament
is
missing.
The frame
is
walnut, and the gilded leaves and flowers which ornament the sides
are carved from the wood, another indication of an early date, for
later mirrors in
much
the
same
style
2S7
were made which have the
COLONIAL FURNITURE
Avreath
made
Both of the above mirrors have
of wire and plaster.
the old hand-bevelled glass which
was used
mirrors at the time
for all
these were made.
Figure 244 belongs to Mrs. John R. Matthews, of Croton, and

Figure 246
is
at the \"an Cortlandt
manor-house, Croton-on- Hudson.
Figure 246.
Walnut and
Figure 247.
Wood and
Gilt Mirror,
(Some
(Centre ornament missing.)
about 1730.
parts missing.)
Figure 247 shows a mirror which belongs to Miss Esther Bidwell,
some parts of which
which should
finish
The
glass
is
the
pierced
the top at the sides having
mirror was purchased about

house.
missing,
are
730,
bevelled,
been
and has always hung
woodwork
lost.
in
the
This
same
and the leaf ornament and a narrow
carved border just inside the moulding are gilded.

2SS
Mirrors similar
MIRRORS
having a square glass and an eagle at the
to this,
of
top, will
be spoken
later.
mirror similar to the three already described, and also dating
before 1750,
elided
all
is
shown
The
over.
glass
is
as in the mirrors just mentioned,
Queen Anne
is
beautifully carved
and
new, and the
shape of the moulding into which
teristic of the
This
Figure 248.
in
it
is
is
set,
charac-
mirrors, as
is
also
the glass in two parts, joined by simply lap-
ping
the
without
sections
which was used
Some
later.
moulding,
the
English mir-
were made with a narrow band of
rors
metal or elass to
The
noted
in
finish this
seam.
chief characteristics therefore to be
1700 and
mirrors dating between
1750 are the mirror
two sections joined
in
by simply lapping the
glass,
the
waiving
outline of the mirror in
the upper section,
wood
instead of plaster
the ornaments of
and
wire,
and the
characteristics
All of these
style of urn.
do not of course appear
every specimen, but so
far as
in
Figure 248.
Carved and
Gilt Mirror,
1730-5-
we have been
(Glass new.)
able to observe, the waiving outline of the
mirror
all
in
the upper section
is
always present.
Figure 244 combines
of these characteristics.
The middle
of the century brings us to a time
when
the design-
ing of mirror-frames was given a prominent place by English architects.
H. Copeland published a series of plates
Lock's "
New Book
was published
in
them
in
1746.
of pier and frames, ovals, girandoles and tables"
1752,
signs for mirror-frames.
rococo (a word
for
made up
and Chippendale's "Director" contains deAll of these designs are, in general,
of two
French words,
2S9
rocaillc
French
and coquilk,
COLONIAL FURNITURE
rock and shell)
row
in
ovals, square
not calculated to
The frames were
style.
and oblony, and carved
make them very
shape wide and nar-
in
in lacelike
lasting.
Figure 249.
Carved and
Figure 250.
Filigree Gilt Mirror, 1770-80.
very fine mirror
in
decided classical design, which belongs to
Miss E. A. Brown, of Salem,
is
and without wire or
Its
mirror
in
and airy designs
plaster.
shown
date
in
is
Figure 249.
about
is
carved,
750-60.
the possession of Mr. Albert H. Pitkin

290
It
is
shown
in
M
Figure 250, which
is
able from
780,
770 to
R R O R S
good example of the handsome mirror fashionand even
later.
The wreath
at the sides will
be
Figure 251.
Mahogany
Inlaid
and
Gilt Filigree Mirror, 1770-80.
seen to be practically the same as that used

tion, and, like that, is reinforced
with wire.
2yl
in the
following illustra-
COLONIAL FURNITURE
A
which
Meggat
mirror belonging to Mr.
would be
at first sight
dated before
points about
1750;
it
but,
in
shown
is
F'igure
in
251,
once pronounced Queen Anne, and
at
of the general effect, there are
spite
which must make

wreath
it
The
later.
at the sides
glass
square, the
is
and the flowers
at the
top are reinforced with wire, and there

a
narrow band of
inla\- in
white holly about
the opening, and an urn
woods
at the top
hood of
it
the neighbor-
in
and
oval-shaped
made mostly
fragile, are
with
mirrors,
his
favorite
were
openings,
They seem
very popular.
have been
to
small sizes, and being very
in
seldom
to
be found with
their
all
ornaments.
Figure 252
rors,
dates
make
780 to the end of the century
Hepplewhite
orisfinal
it
colored
in
775.
I""rom
shield-
inlaid
features Avhich
pretty certain that
is
illustrates
one of these mir-
which might have been made by Hep-
plewhite
himself
but
shows
which
other makers used his designs, for
that
it
has
the following neatl)- printed and pasted on

Figure 252.
Hepplewhite Mirror, 1780-90.
George Cooper
The narrowest
the back:
"Looking
of frames
with
manufacturer 82
real
parts of this
would be impossible
to carve
glasses and
carviny
Lombard
and
kind were usually
served.
wood
in pairs,
New York
bv
London."
Street
frame are reinforced with wire, as
The Boston "Gazette"
glasses"; and the
sorts
orildino-
in
so slender a design.
mirror belongs to Mrs. E. B. Watkinson, of Hartford.

this
all
and the mate

in
to this
This
Mirrors of
one
is still
pre-
1780 advertises "Pairs of looking
"Gazette and Mercury"

292
it
in
the
same
Figure 253.
Carved and
Gilt Girandole,
293
about 1780.
MIRRORS
year contains the following advertisement of Duncan Barclay & Co.,
516 Hanover Square: "Large pier and looking glasses oval sconces
and .girandoles."
A girandole
belonging
very
to a
Clarence Torr, of Philadelphia,
fine pair
shown
is
owned by Mrs. Charles
The
Figure 253
in
bold
carving suggests Chippendale, but the row

of balls around the frame places
time and as late as
very
the
fine
780.
girandoles were
after his
it
great
many
owned both
North and South, particularly
the Revolution
one
which
variety,
in
after
is fre-
quently seen, has the round frame, sur-
mounted by an eagle with wide-spread

wings.
mirror of quite different style from
any of the preceding
shown
is
This was imported
254.
house at Salem when
for the
was
it
in
Figure
Nichols
built in
jS^.
Figure 255.
The architect for this house was the famous Maclntire, and some of the beautiful
woodwork
of the mantelpiece
the illustration.
The
or divided with
pillars,
with wreaths
is
shown
Gilt
and Painted Mirror,

about 1800.
in
earliest mirrors with straight tops,
have the
pillars
narrow and
and bordered
fluted,
decorated
the upper sections are not painted, but have carved
designs applied on the glass, which appears to be enamelled, usually

white.
It
generally supposed that mirrors
is
above were not used
was made
that this one
until
is
shown
painted, which
shows
in
it
the style of the
about the year 1800, but there

for this place at the
small mirror in this style,
of Hartford,
in
owned
Figure 255.
to date
l:)y
mirror.
29s
no doubt
date above given.
the Hon. John R. Buck,
The upper
somewhat
is
section of this
later than the
is
preceding
COLONIAL FURNITURE
After the Revolution, and about the time the eagle was adopted
as a national
emblem,
this device
Large numbers of mirrors
appeared
in
decoration of
similar to Figure 256, in
kinds.
were
sizes,
Figure 257.
iguic
Mahogany and
all
all
Constitution Mirror, 1810-15.
Gilt Constitution
Mirror, 1780-90.
made and
sold throughout the country,
stitution mirrors
and bore the name of Con-
most of them had the eagle
either in plaster or carved from the wood.
Constitution mirror
is
shown
John R. Buck, of Hartford.
in
in
gold at the top,
The handsomest form
ot
Figure 256, which belongs to the Hon.
The
glass rosettes
shown with
this
mirror
were popular about 1820-30, while the mirror dates about 1780-90.
Another form of Constitution mirror, which was made

and continued
to
be made after 1800,
bears the advertisement of

Street,
New
its
York, whose name
is
shown
in
in all sizes,
Figure 257, which
maker, Bartholomew Plain, Chatham

first
296
appears
in
the directory at that
MANTEL AND MIRROR,

(Figure 2J4.
1783.
MIRRORS
address
The
1805,
in
to
work there
as late as 1816.
small gold eagle which was originally at the centre of the top
missing, and
The
and who continued
only suggested by the shape into which the
is
eagle, in mirrors of this kind,

It is
was made of plaster and
a curious coincidence that the lines of the
shown
rors,
at
wood
is
cut.
is
applied.
Queen Anne
mir-
the beginning of this chapter, should have been so
closely reproduced in the
neighborhood of the year 1800, when
ture of other kinds did not at
follow the
all
the fact remains that the mirrors of
Queen Anne
730 and of
patterns
furni-
but
800 were, e.xcept
characteristics previously pointed out, very similar,
for
and are often mis-
taken for each other.

B)- far the largest
are those in the

1840.
style,
pillars,
made between
the
title
of antique
the years 18 10 and
the acanthus-leaf carving, and the
and applied, that we have seen
to
be characteristic of
turniture in general, are consistently reproduced in the mirrors
making them very
of that time,
in
Empire
The rope-carved
lyre carved
Empire
number of mirrors bearing
many
sizes,
both
in
easily identified.
mahogany and
gilt,
They were made
and with and without the
The
drop or acorn ornaments pendent from the cornice.
latest of
these have the part above the dividing moulding painted

scapes, scenes from the
War of
in
land-
181 2 quite frequentl)-, or other designs,
and the frame also was sometimes of
soft
wood, painted.
The
rosettes
which ornament the corners were sometimes wood and sometimes

brass.
Figure 258 shows an Empire mirror of mahogany, with the lyre

carved
in
a light
wood and
applied
as old as the larger one, and
the mirror throughout
The
proportioned and the work good.

is
little
is
well
mirror shown beside
was made, probably,
for a toy.
It is
complete, even to the litde drops, and measures only 10 inches
height by
was made
in
s^
inches in width.
it
in
Furniture of almost every variety
miniature, the writer having seen genuine e.xamples of
chests, chairs, tables, high-boys, desks with

297
bookcase
tops, bureaus,
COLONIAL FURNITURE
and sideboards,
we
dren's toys, for
between
made with every proper
all
detail,
probably
find toy furniture advertised for sale in
for chil-
New York
760 and 1770.
Figure 259 shows a

although the details
mirror
gilt
rosettes
in
of a very
Figure 259.
Carved Mahogany Empire Mirrors, 1810-20.
The
The
missinof.
last
pattern,
and the turning of the columns are
Figure 25S.
often varied.
common
Gilt
Empire Mirror, 1810-20.
rosettes belongfing at the
three mirrors belong to
two lower corners are

the writer, and date
about 1820.
very handsome mantel mirror, belonging to Mr. Albert H.
Pitkin, of Hartford,
columns
its
date
It
is
is
very
is
much
shown
the
in
same
Figure 260.
The
turning of the
as that in the preceding figure, and
about the same.
was the custom
all
through the eighteenth century

298
to
support
MIRRORS
the mirrors on a pair of small rosettes, thus making the mirror
These
forward.
rosettes
were of various kinds, usually of
are frequently mentioned with the mirror
I'igui'u
Gilt
first six
260.
Mantel Mirror, Empire
are enamel
The seventh
ary times.
bound
is
and
the inventories.
in
Style,
1810-20.
Eight examples of these rosettes are shown
The
brass,
tilt
in
Figure
261.
and date about Revolution-
in brass,
of brass with an urn
in
openwork, and
Figure 26 1.
Enamel and Brass Mirror
the last
is
a brass bust of George
Revolution.
both
in this
In the
III,
Rosettes.
which must date prior
Empire period many of these
small size for mirrors and
curtams.
299
in
rosettes
to the
were made,
a lartrer size for window-
BEDSTEADS
THERE
is,
difficult
perhaps, no branch of the subject of furniture

to
approach than that of bedsteads, and
more
this not
because they were by any means scarce, but because the

bedsteads of the seventeenth century
country have utterly
this
in
disappeared, and the inventories give such
meagre descriptions
that
almost the only clews are the valuations there given, and a study of
the English bedstead of the
There
is,
same
period.
of course, a distinction between a bed and a bedstead,
more marked a century ago than to-day
the
bedstead being the
frame or furniture part, while the bed referred to the mattress.

In England, before the
Norman Conquest
(1066), and even in the
period immediately following, bedsteads were scarce, reserved for the
master of the house or

while the other
laid
ladies, there often
members
on the floor or on
being but one to a house,
of the household lay on mattresses of straw
tables, chests, or benches.
The bedsteads were sometimes
built into the walls like bunks,
but more often had four massive posts, with top and sometimes sides
of wood, and heavy curtains,
itself and,
ever this
it
is
may
asserted,
be, in
making a
sort of sleeping-chamber in
Howand tapestries we
were sometimes placed out of doors.
some
of the old manuscripts
find bedsteads represented with tiled roofs,
they were exposed to the weather.
which would indicate that
At any
rate,
when we
consider
BEDSTEADS
the
that
castles
and homes of that early day were without glass
or other protection for the windows,
we can
readil)*
why
understand
that particular style should have originated.
The
style,
having been brought into existence by necessity, de-
veloped along the same

design,
board
way
first
then
toward a more graceful and delicate
line
losing the sides of
retaining the high head-
the early Jacobean period the high headboard gave
in
to a lower
wood but
one with curtains
later the solid
wood
at the back,
was superseded by a frame designated
top
merely to hold a canopy of various kinds of
The bedsteads
settled were made
use
in
England
in
difficult
South, where English
life
England,
for
They were
in
in
the
had been transported bodily, we doubt
many found
)ears very
first fifty
in "
by Mrs. Margaret Lake, a

have sent
of carven oake (ye one
in
wch
among
sleept in
to
way
New
Days and Ways,"
Colonial
England,
in
in
Governor Winthrop,
sister-in-law of
her,
their
way
.Some, however, must have found their
to
cum-
of transportation, and, except to the
Miss Helen E. Smith,
which she asks
designs such
large and
gives a portion of a letter sent to a correspondent

1647,
country was
of oak, often elaborately carved in
bersome, and therefore
to this country.
cloth.
at the time this
as are found on the oak furniture here.
very much whether
and with smaller posts;
other things, " a bedsteede
my
fathers house) with ye
valances and curtayns and tapistry coverlid belongyngs."

Fiofure 262
shows the famous Countess of Devon's bedstead
preserved at the South Kensington Museum.
which
is
tion
given, not because
use
is
in this
we
This
illustra-
believe such beautiful bedsteads were in
country, but because
it is
a splendid example of the general
type of carved oak bedsteads which must have been here, such as
was mentioned by Mrs. Lake, and
also because
unusual degree the patterns of carving found on
and other carved oak pieces

the statement heretofore
in this countr)-,
made
combines
many
to
an
of the chests
thus tending to prove
that practically
3"'
it
all
the early carving
COLONIAL FURNITURE
on oak furniture
country was taken from English models.
this
in
Man)- of the designs shown on
shown
chests
Figures
in
The carving
Figure 61.
and
3,
2,
this
bedstead are to be seen on the

5,
and on the cupboard shown
in
however, of a much higher order, and the
is,
grotesque figures seen on the bedstead we have never found on
American
pieces.
board, also
This bedstead, with
enclosed chamber.
It
is
no reason
inventoried at higfh figures
one though
ver)' well the
in
doubt that some of the bedsteads
to
the colonial records were
far less elaborate.
estate of a Dr.
carved oak bedsteads of
England during the early seventeenth cen-
the better class in use in
and there
Thus
McKenzie, who died
at
In
New
far
oak
sort valued at
find,
from the
first,
nearly every
in
to
;;,,
a very
to that of all the rest of the furniture put
high valuation, often equal
brought here by the
the
in
above the usual valuation of bedsteads.
England records we
The probable
like this
1755, are mentioned "
in
inventory mention of feather-beds, valued at from
together.
much
Yorktown, Virginia,
Marlbrough bedstead /8," and another of the same

^6, both of which are
and head-
tester
dates in the last years of the sixteenth century.
This bedstead represents
tury,
heavy oak
development of the bedstead from an
the
illustrates
its
reason
settlers, for
the early feather-beds were
is
that
it
could be hardly possible that such
all
a quantit)- of feathers as these beds would require could have been
At Plymouth,
taken so early from domestic chickens and geese.

1633,
is
mentioned
"
flock
bed and old bolster \ 3s"
being made of chopped rags; at .Salem,

in
1673,
in 1654,
"a canvas bed

"a
hair bed";
filled
and
at
New
York,
in
flock-beds
"a straw bed," and
in 1647,
with cattails," and
in
"a
silk
grass bed";
1676, " a chaff
bed
";
all
of which items are repeatedly met with throughout the inventories
both North and South, showing that almost any

utilized for the
soft
substance was
beds when feathers were not obtainable.
instances these beds were probably placed on the
In
floor, for in
inventories they are mentioned without any bedsteads whatever.

302
many
many
CARVED OAK BEDSTEAD,

(figure 262.)
1593.
BEDSTEADS
Many
of the earliest bedsteads of which the records speak were
doubtless merely frames on which to place the mattresses or beds;
Plymouth,
1667,
in
1633, "i old bedstead
"2 bedsteads,
teaster 6s";
at
New
delphia, in 16S2, "
1670,
at
2s
"
one
York,
at 5s.,
in
York,
1669,
and form 2s";
in
at
to
at
Yorktown,
in'
"2 bedsteads
i6s"; at Philaat Providence, in
";
the inventory of John Sharp, taken
the following
in 16S0,
referred
and "one bedstead & buckrum
bed bolster and bedstead î
"two bedsteads \"\ and
New
may be
such frames
judging from the valuations,
somewhat minute
"
of the furnishings of the sleeping-rooms occur:
descriptions
In the small room, a
bedstead with a feather bed, bolster, a couple of blanketts, a rugg
and an old pair of curtains and valins ^5 3s";
in
the middle room,
" a
bedstead with a feather bed and bolster, a rugg, a blankett, a
tle
square table and a form
^5
with a feather bed, a bolster,
5s";
in the
great room,
carpett (i," while
are
"a
"a bedstead
pillows, a blankett, a rugg, old
ings about the bed and old green hangings about the
lit-
hang-
room and
feather bed, bolster, blankett and coverlid"
inventoried separately as worth
^3
los.,
thus intimating that
rather a small part of the total values can belong to the bedstead.
We
may
also conclude that these simple bedsteads,
whatever they
were, were furnished with curtains and valances, which are mentioned
with them almost without exception.

tories,
fact,
throughout the inven-
with the exception of those of a few of the wealthier settlers,
the values of bedsteads

low.
In
Again,
pression
"
exceeding
we
find
when given by themselves
are surprisingly
throughout the Philadelphia records the ex-
ordinary bedsteads," and these placed at valuations not

15s.,
and more often below
los.;
steads, in a large majority of inventories both
and,
further,
the bed-
North and South, are
included with the beds and furnishings, usually mentioned last as of

least importance.
On
the other hand,
we
steads in particular rooms
find occasional
left specifically,
303
mention
in wills
of bed-
as property having special
L O N
C)
F U R X
A L
value, and, as in the case of Mrs.
T U R E
Lake before-mentioned, some
at least
of the finer sort must have reached this country.
At Plymouth,
in
"A
1639,
framed bedstead"
A joyned bedstead."
at Salem, in 1647, "
As
"
spoken of and
is
framed
"
and "joyned"
are terms used to describe the wainscot chests and chairs, the bed-
steads described
in this
Their valuations
ply frames for drapery.
and
14s.
6s.,
respectiveh',
carved or ornamented
in an\-
came
mean
to
in
were
to think that they
the
in
same year a
The word
tester
half-
derived
is
a kind of head-piece or helmet, and
fcsticir.
English the frame
high-post bedstead.
these cases, however,
pretentious way.
headed bedstead, are among the items.

from the old French word
in
do not allow us
1643 a bedstead with tester, and
In
something' more than sim-
way were probably
tester or
holding the canopy about a
for
headed bedstead would therefore
imply a high one, while a half-headed bedstead doubtless was one

without the tester or head-piece and with low posts.
That some of the bedsteads

walls
"
built
"
implied by the use of the term
is
though
w'ere
to distinguish
them from those
bunk
fashion
into the
standing bedstead,"
built in this
as
way.
Close bedsteads," "cupboard bedsteads," and "presse bedsteads"
are also mentioned, and must have been arranged so that
use they could be folded into a cupboard
hidden by doors.
in
in
These are valued somewhat higher than the kinds
Johnson's dictionary as
be folded and shut up

In the
not
the wall, and probably
in
already mentioned, averaging about 30s.

defined
when
"a bed
"presse bed" we find
so constructed that
it
may
in a case."
South the bedsteads during
valued, as might be expected, for nearly
this
period are more highly
all
the furniture of Virginia
and Mar\-land was imported from England, and was doubtless of the
At Yorkcarved wainscot variety then prevalent in that country.
tt)wn, in 1647, is a
that they
record of "
were imported, and,
in
old bedsteads," which
would indicate
1657, another of "i bedstead ^3,"

304
BEDSTEADS
Although many of the bedsteads of the South were imported, yet
we
occasionally find in the inventories
as, for instance, in
some which were made
"a Virginia-made bedstead"
1659,
here,
mentioned.
is
After about 1660 the values of the bedsteads and furnishings are
much
higher, and those in the North
At Boston,
alike.
in
Virginia, in 1678, one

" best
and
1660,
is
one
;î8"; "one
Boston,
in
in
the great
in the
valued
is
valued at ^^24
bedstead and furnishings
furniture
and South became more nearly
"
was
5s.
^,"9
at
at
at
^24;
Richmond,
at
Plymouth,
New
room ^24"; "one
York,
in
in 1682, the
1691, " bed
in
the dinning
room
lodging room ^15"; and "four others ^36"; at
1696, two very
jo and ^100
handsome bedsteads and furnishings were
valued
at
to
what was the value of the bedstead and what that of the
tell
furnishings, which
respectively; but, of course,
carved oak kind shown
in
the prevailing style for
Figure 262,
all
England during
this
have been of the handsome
easily
for
when we consider the
fact that
other kinds of furniture during this time
was the wainscot carved or the panelled
style,
and that the bedsteads
time were of that same type, there
reason to believe that the finer bedsteads
same
impossible
were often extremely valuable.
Such bedsteads as these might
in
it is
in this
is
every
country were of this
variety.
It
has never been the writer's good fortune to find an example of
a bedstead which, with any certainty, could be assigned
to the seven-
teenth century, and such pieces seem totally to have disappeared.
There are probably two reasons
for this.
First, as
we have
before
suggested, the large portion of bedsteads were simple frames for
holding drapery, and not

in the
in
themselves worth preserving
South, where there must have been
some of
the
and, second,
handsomely
carved oak bedsteads, there seems to be a complete dearth of seventeenth-century pieces, due to the devastation of two wars and the
wealth of
many
of the people enabling
fashioned with the
new, thus
relegating
305
them
the
to
replace
heavy oak
the oldfurniture,
COLONIAL FURNITURE
which,
it,
in
tlic
hght of the radically difterent fashion which replaced
was probabl)- considered very unsightly,
where
was broken up
it
In
New
to the cabins of the slaves,
or otherwise destroyed.
England, where
enteenth-century furniture
practically
the examples
all
now known have been
of sev-
found, the
less
extravagant habits of the people caused them to be more conservative

notwithstanding
but,
this,
most of the
recently unearthed have been found in

partly destroyed,
attics,
tables,
and chairs could
useful purposes in kitchen or
etc.,
woodsheds, or barns,
and nearly alwaj's painted and maltreated
Cupboards,
way.
cupboards,
chests,
fine
for a
while
in
every
serve
their
woodshed, but a bedstead, when
dis-
carded, could not be utilized for any useful purpose, and was, consequently, destroyed.
Miss Helen
Ways," informs us
the
home
of the
" Colonial
Evertson Smith, author of

that she remembers,
many
Days and
years ago, going to
widow of Peter G. Stuyvesant,
the corner of
at
Eleventh Street and Second Avenue, New^ York City, and seeing
there a state bedstead with elegant hangings which
belonged
to
Governor Stuyvesant, and on the
was
said to have
third floor a bedstead
which she describes as follows

"
Another bedstead, not so beautiful as
this
one,
more
but
plentifully (if not so finely) carved, stood dismantled in a rear third-
story room, and had, apparently, been intended to

as
all
the carving
was on one
side.
for bedding.
The
into an alcove,
pair of carved
doors opened beneath the high bed-place.
may have been used
fit
The
and panelled
closet thus formed
place for the beds w-as a sort
of box deep enough to have held three or four mattresses or featherbeds, laid, without the intervention of anything to answer the purpose
of springs, directly
upon the age-darkened boards.
At each corner
rose a carved post from six to seven inches in diameter, as

guess.
The two
front posts
were square as
far as
they formed the
ends of the closet beneath the bed, and round as they rose above
.506
now
this
BEDS T
till
E A D S
they merged into a carved cornice of over a foot
rear posts were halves laid
This would seem
to
flat
The two
depth.
against a heavily panelled rear wall."
have been a handsome cupboard-bedstead,
but the writer has been unable to locate

in existence.
in
it
or to find whether
These cupboard-bedsteads we
find frequently
it is
still
mentioned
throughout the inventories, which would indicate that they were

popular, probably because, being built into an alcove, they took up but
litde
room; and
would
this
also account for the fact that they
have so
Figure 263.
Couch-bedstead, seventeenth century.
entirely disappeared, for, being built for a particular room, they
have been
of
little
use
elsewhere,
would
and when families moved or
remodelled their houses these bedsteads would have been destroyed.
Couch-bedsteads are mentioned occasionally

inventories,
and very frequently
in
the South
a Southern inventory of any size during the
name
indicates,
couches which could be utilized
The back and
seat of a crudely
original legs
hardly
hundred years which
These were,
as their
for sleeping purposes.
is
shown
and bracing are missing, and the

307
is
hewn oak couch-bedstead, which
belongs to Mr. Charles Morson, of Brooklyn,
The
the Northern
in fact, there
first
does not mention at least one couch-bedstead.
in
in
Figure 263.
light legs
and
(_)
I.
O N
A L U R N
stretchers which liave been su[)pliecl
are quite out of keeping with
the massive effect of the back and arms.

bracing-
were undoubtedl)- square and heavy,
wainscot chair.
The
seat,
which
is
T U R E
The
original
lees
and
after the fashion of the
a frame over which heavy canvas
Figure 264.
Cradle, sixteenth century.
is
Stretched,
is
arranged
to
fold
one section on the other, with the
legs fitting into grooves, exactly as in the
As
country,
.several cradles
we
will briefly
with the discussion
of
modern
sota-bed.
dating before 1700 have been found
in
this
describe them here before proceeding further
bedsteads.
There were apparent!)- two
styles of cradles,
tween uprights, which stood firm on the
floor,
one swinging be-
the other swinging on
BEDSTEADS
short rockers
but, so far as this
though antedating- the
style,
appeared
much
liere until
Figure 264
country
hitter in
concerned, the former
is
Europe, does not seem
later.
an example of one of the latter style
is
made
the top and side of the hood
Elder Brewster's chair, shown
turned style
extremely
old,
made
with turned spindles,
the fashion of
is
have
to
of oak,
much
after
Figure 85.
in
This
and we have found such pieces
illus-
riguie 265.
Wicker Cradle, early seventeenth century.
This particular cradle
trated as early as the fifteenth century.

finest that
has come under our observation
this country,
in
probably late sixteenth or early seventeenth century.

Pilgrim Hall, Plymouth,
Another cradle
piece,
over
that
it
in
it
will
be seen,
in
at the
is
It
Pilgrims
made
and
is
now
at
a glass case.
same place
made
is
shown
in
of wicker, and tradition says that
of wicker can easily be explained
came from Holland, which
at that
Ijy
it
came
The
fact
the fact that the
time was engaged
India trade, and this piece was undoubtedly of Eastern origin.

309
This
Figure 265.
the Mayflower and was used for Peregrine White.

is
is
the
is
in
the
COLONIAL FURNITURE
What
has been said with reference to definite knowledire of bed-
steads before 1700
The
bedsteads,
also to a certain extent true of those after 1700.
is
when mentioned separate from
nishings, rarely exceed a
pound
value,
in
and
the bedding and fur-
this
That
the fact that they continued to be perfectly plain.
seems
at
to
probably due
is
to
this is true
be indicated by an examination of the well-known bedstead
Mount X'ernon
ample means, and
He was
which Washington died.
in
was of the best
his furniture in general
man
of
yet the
bedstead has perfectly plain turned posts, and could easily have been
valued at
less
We find
than a pound.
"2 bedsteads
at Providence, in 1726,
"I bedstead and bedding

^14."
los,"
loving wife Susanna mj- best
an inventory of
730,
"
of
disappeared,
bedsteads
'"'^w
in
South Farnham Parish,
furniture
sute of Japan."
my
dear and
and the
set of
At Providence,
a feather bed & pannoled bedstead

earlier date.
of the eighteenth century, after the oak style had
were usually made of mahogany,
Virginia walnut, and the posts were
which belong
same inventory,
on the subject, as
light
^10," which probably was an oak bedstead of an
The bedsteads
734' "
new bed and
appears
the
in
1708: "I give
10,
The whole
it.
little
Thomas Meriwether,
Essex County, Virginia, February
chairs belonging to
and
^^^^ '"
^,ic>"''
Occasionally a will throws a
the case of the will of
in
"a black walnut bedstead î";
Empire
to the
period.
maple,
cherry,
or
much more
slender than those
After
when
740,
the ball-and-
claw foot was used extensively, bedsteads were made with slender
plain or fluted posts
and cabriole
ished with the ball-and-claw on
the lower ones,

plain.
in
legs,
all
with the shell at the knee,
four feet,
fin-
and sometimes only on
which case the two upper ones were straight and
This fashion,
with
little
variation,
was favored
period, probably until late in the century, thus
making
it
for
a long
impossible
to date bedsteads of this kind definitely.
Figure 266 shows a bedstead belonging to Mr. Meggat, which
BEDSTEADS
Figure 266.
Mahogany Bedstead, about
3"
1750.
COLONIAL
may have been of
posts.
The tester
an
is
F U R X
T U R E
earl\- date, as intlicated
built
by the slender turned
on a curve, and set on posts much lower
than those which support flat-top testers.
The bedposts designed by Chippendale were

his favorite desifjn beinij a fluted
ribbons entwining the posts
and-claw-foot bedsteads
chairs,
in
he probably made them.
Draped Bedstead,
this country,
but are
now very
of one which a collector
tells
and slender,
column with garlands of flowers or
raised carving.
book of designs,
in his
tall
Some
He shows
no
ball-
but, as in the case of
came
of these bedsteads
to
late eighteenth century.
difficult to find.
him he saw
at
The
writer has heard
an auction
in
a country
town of Connecticut many years ago, but because covered with green
paint,
and being then ignorant of the
did not bid, and
Figure
Vernon,
was sold
it
267,
possibilities of restoration,
for a song.
one of the bedsteads now preserved
illustrates
he
admirably
how completely
the frame and posts of the bedstead, thus
at
Mount
the drapery covered
making any elaboration of
Figure 20N.
Mahogany
Bedstead, Ball-and-claw Feet, 1770-80.
313
BEDSTEADS
the posts quite unnecessary, and the elegant appearance of the bed
was made
depend upon the draperies.
to
Figure 26S shows part of a very graceful bedstead belonging to
The
Mrs. Alexander Forman, of Brooklyn.
and carved drapery,
fluting
gest posts
designs
shown
among Hepplewhite's
which are without doubt

variation
end of
feet,
show a
original,
Hepplewhite was not
The
use.
sug-
forcibly
but the four ball-and-claw
posts, with their slender
likely
ball-and-claw feet are
at
to
the
straight legs instead of cabriole legs,
a method of construction which can hardly

be approved,
harmonize
ever, in
for a straight
w'ith a
ball-and-claw foot
some of the most
for chairs
by Ince
this
but conventionalized
make
beautiful designs
method
in
how-
is
such a
employed,
way
as to
a most pleasing effect.
The
steads,
of
leg does not
mahogany bed-
heavily carved
ornamented principally
acanthus-leaves
and
in
designs
pineapples, with
high and low posts, came into use
both
about 1800-20, when furniture of similar

Figure 269.
and design was generally adopted.
style
There have been
called
to
the
writer's
Examples of Empire Bedposts,

1810-20.
notice
numljer of high-post bedsteads
of this description which have associated with them traditions of use,
during the Revolution, by either Washington or Lafayette.
seems very improbable,
was
at all
for absolutely
known previous
to
1800,
no other furniture
and there
is
This
in this style
no reason
to believe
that bedsteads were radically different from the other furniture of

their time.
31S
C O L O X
A L
F U R N
Figure 269 shows four posts

high bedsteads,, the
and
first
T U R E
in die familiar styles
of the
ornamented with acanthus-leaves
last
and pineapples, the second a slender turned post similar

in
use,
which continued
remained
to
Empire
long
to those
be used as long as high-post bedsteads
in fashion.
Figure 271.
Low-post Bedstead, 1810-20.
The headboards belonging

somely carved with drapery,
spread eagle
and while, as a
invariably the case.
The
were often hand-
to these bedsteatls
flowers,
rule,
fruit,
and sometimes with a
no footboard
draper\- of beds which
is
used, this
to
display both the
posts and
not
were handsomely
carved was much lighter than that previously employed,
ranged
is
and
headboard.
Figure 270 shows a portion of an Empire bedstead found

Virginia,
belonging
to
the writer,
.^16
ar-
which rejjresents the
finer
in
betl-
Figure 270.
Empire Bedstead, about 1810.
317
BEDSTEADS
steads of
its
kind.
carving, though not

in
The maliogany
fine, is
height and 14 inches
in
good.
very finely grained, and the
is
The
posts measure 7 feet
The
circumference.
1 1
bolt-lioles are
inches
covered
Figure 272.
Low-post Bedstead, 1820-30.
by carved
panels,
which are cleverly held
in place
by means of wooden
blocks which slide into grooves.
Two
low-post bedsteads with characteristic Empire decorations,
which belong
The
to
Mr. Meggat, are shown
in
ball-and-claw feet on Figure 271 are probably not original, as
they do not harmonize with the style

pineapple terminals shown
in
in
which the bed
is
made.
The
Figure 272 were very frequently used,

319
COLONIAL
I'
R X
I'
and are sometimes the only carving employed, the
R E
rest of the posts
being simply turned.
From 1820
to
1840 great numbers of low-post bedsteads
and cherry, with simple turned
maple
and with a headboard finished
posts,
with a heav\- row of moulding, were
in
use throughout
in
New
England.
Figure 273.
French Bedstead, about 1S30.
The French Empire
bedsteads, with rolling head- and footboard,
were popular here about 1830, and remained
in
fashion until replaced
The handsomest
by the black-walnut machine-made bedsteads.
of
these French bedsteads were ornamented with ormolu, but as a rule
they were massive and plain.
simple bedstead
Sommerlad, of Brooklyn,
in
is
this style,
shown
narrower than usual, and the
in
feet are
tinuation of the side.
320
which belongs
bigure 273.
to
The
Mr. Casper
side rails are
turned instead of being a con-
XI
WE
CLOCKS
do not consider that clocks technically should be
as
classified
collector
we
think
reference
from
use,
still,
It
confining
ourselves
is
not
our intention,
in
to the subject in a general
buy
is
hardly a
well to give a brief sketch of the subject, having
times,
more than
to
as there
not possess at least one specimen,
to
and not speaking of the early clocks
be given
him
who does
and
especially to such pieces as have been in the country
more
colonial
churches.
state
may be
it
furniture,
the
in
clocks
limited space
book on
and we would
household
various towers and
can
that
colonial furniture, to
the leading points which one should
intelligendy,
in
know
to
refer the reader for
enable
fuller
description and information to the excellent books heretofore published exclusively on this subject.
This country was just being settled when the Clock-makers'
Company was founded

its
in
London,
in
1631.
This company had for
object the regulation of the clock trade, and in order to prevent
persons frOm being cheated or deceived
members were given
by unskilled makers, the
the right of search and confiscation of clocks
watches which had "bad and deceitful works."

particularly to
ability
little
have directed
its
This company seems
energies against the Dutch,
as clock-makers, whether merited or not, the
confidence.
321
and
in
whose
English had
COLONMAL FURNITURE
The most
the training of
important work which this company accompHshed was
men
and
prenticeship,
There was a
for the art.
each apprentice had to
after serving his turn
his masterpiece before
he was admitted as a workmaster
name
fore the possessor of a clock bearing the
may
guild
rest assured that the piece
At the time our
country
this
concerned,
was a stationary
was
variety
it
member
of the
made.
was the
older, although, so far as
was contemporaneous and of necessity
clock, while the latter
was
easily carried about
and
often called a portable or table clock.
Clocks are seldom mentioned
the lowest
is
it
6s.,
in
any of the records
and were always valued
try prior to 1700,
so
at least well
is
and there-
was run with weights, and the other with a
The former
is
of a
make
history begins there were two general styles of
clocks in use, one which

spiral spring.
arranged ap-
carefully
and the highest ^20.
at a fairly
in this
coun-
high price
Descriptions are seldom given,
largely a matter of surmise in
what
style the earliest clocks
were.
Thus
at Boston, in
brass clock
2"
and again
2;
a clock valued at
(i
"
;
and
at
\o\
at
"
find "
one clock
New
in
York,
case
in
i8s"; in 1652, "i
clock
^6 "
1689,
at
Salem,
in
1660,
"one Pendula Clock
Boston, in the inventory of Sir William Phips, a very
wealthy man, we
clock at
we
1638,
a clock valued at
find, in 1696,
at
New
York,
in
1691,
we
^20 and
find a
a repeating
"diamond watch"
mentioned without valuation given, which shows a
lu.xury quite up-
to-date.
The
earliest clock
mentioned,
in
1638, could have been either a
lantern clock, described below, or a portable clock; but as the inventories several times refer to brass clocks
variety, the
one mentioned
in
the fashion of the one shown
when describing
the lantern
1638 was probably a portable one after

in
Figure 274.
This style of clock came into use about the beginning of the
teenth
century, and
this
particular
clock
six-
was made by Jonathan
CLOCKS
Loundes, a famous clock-maker of Pall Mall, London, who was ad-
Company
mitted to the Clock-makers'

top.
and
onl)-
in 1713,
The
appears on his later clocks.
became very popular
ever,
be seen that the
It will
This style was introduced by Tompion, who
face has the oval
died
in 1680.
in
George
the reign of
style,
how-
which Ix'gan
I,
in
and we should place the date of the clock somewhere between
714,
710 and
The
720.
face has not the applied spandrels in the corner,
P'igure 275.
Portable or Table Clock,

Portable or Table Clock, 1710-20.
as
usual, but
is
is
engraved with an urn
surrounded with wTeaths
in
Long
and
is
The
japanned.
and oval figures
case
It
is in
the typi-
belongs to the
Island Historical Society.
Figure 275
Fox, of London,
1772,
at the top,
the four corners.
cal style of the portable clock,
last
quarter eighteenth century.
and
period.
is
It
is
another clock
who was
in
the
same
style,
admitted to the Clock-makers'
given to show
how
little
next found
in
Isaac
Company
in
the style ch^liged during a long-
belongs to Mr. Meggat.
The clock
made by
the inventories
is in
1652
"
brass clock
COLONIAL FURNITURE
2."
This undoubtedly refers to such a clock as
shown
is
in
Figure 276.
Such clocks are known by the following names:

"lantern," "bird-cage," and "bedpost";
all
but the
ably referring to
"
chamber,"
name prob-
last
shape, and the
its
shape or
last referring either to its
to
its
beinor at times fastened to the
bedposts;
were often
they
as
for,
with an alarm attachment, they
fitted
must have been designed

ing-rooms
as
well
into existence in
upon brackets,
illustration,
as
shown
in this
hanging
wound up by
pulling
the opposite end of the cord
The
holding the weights.

usually a
little
was
dial
The
beautifully etched.
was
face
was
larger than the rest,
and the centre of the
top
England about
weights
with
below, and were
down
parts
These clocks were
the year 1600.

set
other
as
This style of clock
of the house.
came
for sleep-
sometimes
often
bell at the
used
for
an
alarm only, and sometimes to strike
t!J
the hour as well.
The
had no pen-
dulum, but a balance controlled the
Figure 276.
Chamber
earliest clocks
or Lantern Clock, 1600-40.
movement, and about the middle of

the seventeenth century the pendu-'
lum came
into use.
length of the
case,
The
and as
of the case, acquiring the
pendulum was
original
it
swung would
name
of "
324
fly
short,
about the
out at either side
bob pendulum."
It
is
some-
Figure 277.
Chamber
or Lantern Clock, 1660-80.
325
CLOCKS
hung
times found
when
the latter
pendulum
true
is
swing
to
the
outside
on
and sometimes
each
Such
side.
longer than from twelve to thirty hours.

at the top,
on three
sides,
is
and
inside,
are cut in the case to allow the
slits
little
out
case,
fret,
will
It
run
clocks
not
be noticed that
put there partially to conceal the
large bell and give finish to the piece, and these frets will often enable
one
own
private
Many
clock.
clock-makers had their
while others followed the design most popular at
frets,
The
that time.
the
age of a
to determine the
clocks also often have the maker's
name engraved on
dial.
The
on Figure 276
fret
from 1600 to 1640, so that

next pattern of
is
called the " heraldic fret,"
this clock is
is
the " dolphin
fret,"
appeared about 1650 and remained popular throughout the

the time this style of clock
pattern most
with
commonly met
ing a curve at either
still
To
it is
is
shown
nearly
all
arranged
for
of these clocks there
ing the hour and
fifths
on
was found
it
Figure 277
is
of hours.
and the
dial
is
an alarm
is
form-
Company
Figure 277,
onl)-,
and does
It will
dial.
be
tell-
not appear
at Salem, Massachusetts.
is
clock.
set in the
It
both strikes the hour
same wây as
of the inner dial has the following inscription
Clock-makers'
tails
but a single hand,
very handsomely engraved.
Fox Lothbury, Londini
in
The maker's name does
more pretentious
and has the alarm, which

clock,
the
is
Figure 278.
not strike the hours, the alarm being set by a centre
this clock;
it
which was used by Charles Fox, clock-maker, and
fret
later pattern is^shown in
in
rest of
side.
return to Figure 276,
noted that
which
consisted either of two dolphins
It
possibly a few others between 1660 and 1680
and a
consequently
or two dolphins with heads together and
tails crossed,
Another
was fashionable
with.
The
an extremely early one.
most commonly found
fret
and was used
the preceding
The upper
" Charles
Fox
side
at the
Charles Fox was admitted to the
Fecit."
in
in
1660.
327
This clock was found
in
New
COLONIAL FURNITURE
Jersey, and
it
and the preceding one belong
more compact than Figure

1
Mr. Meggat.
It
is
dimensions are about the same:
its
inches high by
is
276, but
to
5 3^
inches wide, and the dial
6%^ inches in diameter.
Figure 278 shows another clock of

style, also in
this
same
the possession of Mr. Meggat.
It is
\ery much smaller than the two others shown,
being but 9 inches
and the
has
in
its
dial
is
in
height and 3^4 inches wide,

inches
4J-4
four legs.
It
still
bob pendulum, which can be seen
original
the illustration hanging
its
diameter.
in
It
in
the middle between
This
also has a minute-hand.
clock strikes, but has no alarm, and seems to be

of French make.
Figures 276 and 277 have had the long pen-
dulum substituted
for the
bob pendulum, probably
because they would thus keep better time.
was the
fashion, during
the
It
twenty years
first
of the eighteenth century, to have this change
made, and many advertisements are to be found
who
of clock-makers
pendulums
for short
The long
advertise to substitute long
ones at reasonable charges.
or royal pendulum
supposed
is
at
London
first,
and the
have been invented by Richard Harris

in
Figure 278.
Chamber
Clock,
or Lantern
last
quarter
64 1
date
but
when
placed at
it
it
found
came
16S0.
little
into
It
favor at
common
was
also
Continent at about the same
to
use
is
usually
invented
on the
time,
apparently
seventeenth centurv.
without knowledge of Harris's invention, and

is
probable that some of those found
their
way
to
this
it
country
before 1680.
Figure 279 shows a Dutch bracket clock owned by Mr. Charles

^,2S
CLOCKS
Morson, of Brooklyn.
The
and ornaments are made of
face
ornaments gilded, and the face painted.

in
the usual
has a bob
Dutch
ball -foot style.
The
feet are of
lead, the
wood, and
It
pendulum, and the works
are of brass.
from the brass
It differs
clocks above described in that the top
of the clock
hood.
protected by a wooden
is
characteristic of the brackets
of these clocks
wood on
of the
the
is
mermaid
cut out
either side of the back.
Such clocks are contemporaneous with

the English brass chamber clocks, but
are very inferior in workmanship, and,
we
believe,
makers'
such
are
Company sought
to suppress.
The development from

chamber or lantern clock
was
"grandfather's"
First, a
Clock-
the
as
the brass
to the tall or
natural
wooden hood was placed over
the
when
the
brass clock for protection, and
long pendulum came into fashion

to
one.
be enclosed to keep
it
from
it
had
injury,
the result being a clock with a long case.
The
earliest
lonfr-case
clocks,
as
well as any seventeenth-century clocks,
are extremely scarce.
The
inventory at Boston, "
and case 6,"
in
1652,
extremely early entry
for
clock
would be an
a
tall
clock,
Figure 279.
Dutch Chamber Clock, seventeenth century.
although the high price would indicate

that
it
was such but there can be no doubt about the entry
in 1689,
"one Pendulum Clock
in
New
York,
/,6," referring to the tall-case clock.

329
COLONMAL FURNITURE
The
were very
earliest clock-cases
plain,
made mostly
of oak or
walnut, the finer ones being almost entirely of the latter wood; and on
name appears vmder
the dial-face of the earlier ones the maker's
Latin
dial in
the figures \'II and
name appeared on
later the
little
within the
circle,
the
the dial between
and about 1715 the name-
plate appeared.
At
made
first
the dials were square, but they later (about 1710) were
with the straight top broken by a half-circle, suggested either
by the dome
bell
on the chamber clock, or more probably
many
the top of the bell; and
way when
this
As
the
of the old clock-faces were
so in the
clock an approximation can be
tall
ing the spandrels or corner ornaments on the
have a cherub's head, almost perfectly

continued
in
more
ornate,
year
which,
until
in
its
use as late as
often
The
face.
earliest faces
which
little
Then, about the
a crown (see Figure 282),
simple or more elaborate form, continued to be used
George
in
Ill's
reign the pattern
sometimes with an Indian or some other head
is
observ-
This was followed by cherubs a
700.
a mass of scrollwork, sometimes without the head.

It
made by
going out of style about the same time.
about 1740, and
intricate,
in
somewhat by
plain, in the four corners,
came two cupids supporting
700,
made over
the fashion changed.
with the chamber clock the date could be told
fret,
cover
to
impossible to
tell
in
became very
the centre of
(See Figure 285.)
the age of a clock by
its
case, as very
the works were brought over here without the case,
or,
as
during the Revolutionary War, the works were taken out and hid-
den and the case
by the
styles.
knows
face,
left
to
be destroyed.
Nor can one alwajs judge
as old faces have sometimes been discarded for newer
Nor can one always
tell
of at least one instance
from the name-plate, for the writer
where the name-plate had been
moved and
that of a clock-maker
really only
by taking
who made
into consideration
all
repairs substituted.
reIt is
the points heretofore dis-
cussed that one can come to an approximation of the age of a clock.

330
Figure 280.
Tall Clock, about 1700.
331
CLOCKS
Fioûre 280
found
in
and
said to
is
this
cannot be
of the
shows one of the
country.
It
earliest tall clocks
owned by
is
the
Philadelphia Library,
have belonged to Oliver Cromwell
but this tradition
The name
probably dates about 1690-1700.
It
true.
which we have
maker appears below
the dial in Latin, "Johannes Fromanteel,
we have seen, is an indication of its age.

This John Fromanteel was a member of an illustrious family of clockmakers who are mentioned as early as 1630. One of them is spoken
Londini
which, as
fecit,"
of by Evelyn as "our famous Fromantel," and they were undoubtedly
head of
at the
Clock-makers'
This John was not admitted to the
their profession.
Company
until 1663,
and
for that
we have
reason
who had
that this clock could not have belonged to Oliver Cromwell,
died before that date, and
owned
a clock
The
made by an
dial of this clock
is
it
said
hardly likely that he would have
apprentice not yet admitted to the guild.

is
silvered
brass, without spandrels at the corners,
and the
rest of the face
is
of
and we can see no signs of there
ever having been any, although on some of his clocks are to be found
There was
the early cherub-head spandrels.
originally,
no doubt,
but a single hand, and the clock has a small calendar attachment.
The
case
is
made
of walnut, and very
tall,
to
make room
These pendulums were sometimes seven
dulum.
early single moulding
is
very
at the top
difficult to tell;
broken
arch, as
very
difficult
is
been original on
about
is
in
we have
to
long.
The
fact,
seen
solve
As
whether the
to
of the same age as the rest of the case
we
this clock, as
it
the whole question of the age of the

in
the chapter on Chests of Drawers,
believe,
however, that
it
we have seen them on
could have
clocks dating
700.
Figure 281 shows another early clock.

pine or
pen-
seen about the doors, and the spiral-turned
is
columns are typical of the early clock-cases.

broken arch
feet
for the
some other
early in design.
soft
The
case
wood, and the band of carving
is
made
at the top
of
is
This clock-case also has the single-arch moulding

333
COLONIAL FURNITURE
about the doors, and there
is
an opening
the swinging of the penduhnn.
Van
New
York.
shows a
detail
Cortlandt Park,
Figfure 282
which
is
It is at
worth noting.
It
will
the lower door to
in
show
Van Cortlandt Mansion,
the
of the face of the forefjoino- clock
be seen that the spandrels are of the
Figure 282.
Dial of Clock
lA
third order,
cupids
came
fashion
into
shown
in
Figure 281.
holding a crown,
about
700.
which
The maker's
name, Walter Archer, appears between the numerals
bly before 171
Figure 2S1.
Tall Clock, about
1700-10.
would seem
towns
in
VII and V, which shows
this
maker's name
Clock-makers'
to indicate that
England or a
5.
We
to date
proba-
have been unable
to find
among
Company
the
it
members
of the
or elsewhere, and this
he was probably from one of the smaller

maker.
colonial
and an examination with the eye
The
clock
is
dated 1619,
failed to detect that the date
334
was
CLOCKS
engraved
at a later date than the rest of the face
very readily shows
added
it
be of a different depth, and
to
The
at a rather recent date.
not invented until
64
fact that
but the photograph

it
was without doubt
pendulum clocks were
would disprove the
of itself
the other indications above referred
to,
which lead us
date, apart
to date
it
from
700-10.
Figure 283.
Dial of Tall Clock showing Arch Top, 1725-30.
It will readily
came
tion
be seen that the arched upper part of the
in a litde later,
shows
by hand,
was intended
at the top.
as
is
the
to cover the bell,
This clock
method
in
is
wound by
which
dial,
which
in this illustra-
pulling up the weights
the bird-cage clocks above referred
Figure 283 shows a clock-face of a
little
later date, indicated
to.
by
the curved top of the dial, and the name-plate, both of which
came
spandrels, however, are of the
same
into
vogue about
171
kind as those shown
same design as the
5.
The
in the last figure,
spandrels.
It
and the name-plate follows the
dates about 1725-30.

335
COLONIAL FURNITURE
Figure 2S5.
Dial of Clock
I'igure 2S4.
Musical Clock, Chippendale Case, 1760-70.
336
shown
in
Figure 284.
CLOCKS
From about
was very
were
730 down toward the close of the century there
change
Httle
either the
all
in
the general style of the clocks.
They
"grandfather" or the
tall
portable clock.
Figure 284 shows a musical clock
Chippendale
Morson,
its
case,
being that the lower part of the
Figure 285 shows a

clock.
It
spandrels are
clock
Mr. Charles
to
kettle shape.
is
this
chief difference from those hereto-
fore described
case
belonging
in
in
detail of the face of
be seen
will
the
that
late
the two lower corners.
This
was made by Joseph Rose, of London,
who, with
his son,
Lane from 1765
had a shop
to 1768.
19 Foster
at
be seen that
It will
The
this is
both a chime and a musical clock.
upper
dial sets the musical part to play either
The
a polonaise or a march.
as one faces
it,
dial to the
left,
regulates the strike, and that
on the right the chime.
Such clocks as these
were not only imported
to the colonies, but
there were
advertise
to
"Gazette"
lowing
Willard
several
make them.
for
appears
of the famous
makers of that name)

different branches
" at
for
"
the
to the
folFigure 286.
Benjamin
his
shop
of clock and watch
on Sunday a psalm tune.
tion
/O'
Boston
American clock-
clocks playing different tunes, a
any obstruction
the
In
P'ebruary
advertisement
" (first
who
clock-makers here
in
Burnap Clock, 1799.
Roxbur)- Street
pursues
work, has for sale musical
new tune every day
of the
week and
These tunes perform every hour without
motion or going of the clock and new inven-
pricking barrels to perform the music and
his clocks
are
COLONIAL FURNITURE
made much cheaper than any ever
this business likewise carried
Figure 286
j-et
known.
on at his shop
illustrates a clock
in
All the branches of
Grafton."
in
W. W.
Andrews, made by Daniel Burnap, a well-known American clockmaker,
who
lived at
Andover, Plymouth, and East Windsor, Con-
between 17S0 and 1800, and
necticut,
characteristic of his clocks
vered
I
was bought
this clock
face, usually beautifully
background
and
this
moon
for the
The works
blue.
1799.
the
is
sil-
engraved,
This clock has both
without spandrels.
the calendar and
in
phases, and the
moon phases
is
tinted
are always of brass,
maker's clocks are always highly
prized.
Toward
the
was
due
there
clocks,
of
the
century
great
demand
for
cheaper
to the
poverty of the young
close
republic, just recovering from the
lutionary
War
To meet
this
and an
inflated currency.
demand, about
790,
painted or white-enamelled dials came
ij
Fisiure 28S.
taking the place, except
faces
1800-20.
in the
makers throughout the country, who added
time,
began
to
and
for
be used.
much
the
in,
expensive
were made either of metal or wood,
and large numbers were sold
the dials on works often not
the
These painted
clocks, of the brass dial.
French Clock of Alabaster,
this
Revo-
made by
that
clock-
names and placed
their
themselves.
same reason,
to
It
the
was
also at
wooden works
These wooden works usually had bone or some
other hard substance for bearings, and there are
still
many
to
be
found keeping good time.
Figure 287 shows a painted-face clock,
in
the possession ot Mr.
^^î
J^
Figure 2S7.
Tall Clock with Painted Face, about 1800.

339
CLOCKS
On
Meggat.
field,
its
face appears the
name
of Jacob Sargent, of Spring-
Massachusetts, a locally well-known clock-maker of a hundred
The works
years ago.
These
are of brass, and the case
later tall clocks are
three to four feet
tall,
sometimes found
in
Louis
in the
made
XVI
style,
Mr. L. A. Lockwood.
It is
dulum are of
Such clocks were intended
fire-gilt.
large glass globes, which

it
to
be kept under
Figure 290.
Willard or Banjo Clock, 1800-20.
or Banjo Clock, 1800-20.
making
belonging to
of alabaster, and the face and pen-
Figure 289.
thus
miniature, from
with the other proportions corresponding.
Figure 288 shows a clock
\\'illard
of pine, painted.
is
fit
dust-proof
into the
Many
grooves on the wooden frame,
such clocks found their
way
to this
country about 1800-20.
Such
clocks, besides
being made of alabaster, were often of black
marble or wood painted black, with brass capitals

columns.
They were
at the tops of the
nearly always furnished with compen.sating pen-
dulums, and were excellcMit timekeepers, often running sixteen days.
form of clock known as "Willard" or "banjo"
There seems
34"
to
is
shown
in
be a great deal of doubt as to
COLONIAL FURNITURE
who made
these clocks
and they are generally credited
first,
clock-maker by the name Willard.

Clocks and Watches and their
Mr. Britton,
?Îakers," credits
in his
book on
them
to a
to a
"
Old
Willard
J.
living in Boston in iSoo; but avc have been unable to find, either in the
family,
any clock-
family had been
famous as
Boston directories or the genealogy of the Willard
maker with
that
The Willard
initial.
clock-makers
several
for
There
generations.
were three brothers: Benjamin, who had shops

at Boston,
Roxbury, and Grafton, and advertised
the musical clocks
already mentioned
Aaron,
who had
a shop in Boston early in the nineteenth
century;
and Simon, who made a specialty of
tall
eight-day clocks.
a rule, without name,

to
The
and
it
banjo clocks are, as
has proved
difficult
We
determine which Willard was the maker.
know
of banjo clocks bearing the
name Willard
or "Willard patent" stencilled on the case,

the clock
the
Figure 291.
shown
Clock made by A. Wil-
we know
lard, early nineteenth
Simon Willard
higure 289 had originally
in
name "Willard,
Jr.,"
printed on
its
face;
of one banjo clock bearing the

in
and
the
same
and
name
lettering as appears
century.
on a
same person.
We
tall
clock
by that maker owned by the
are told b)- others that they have seen such clocks
which they think bear the name A. Willard, but we have been unable
to
prove
this.
It
therefore lies between
believe, in favor of the former, for he
clock-maker, and this
shown
in
On
may account
Simon and Aaron,
had a son Simon,
for the
"Willard,
and,
also a
Jr.,"
we
famous
on the clock
Figure 289.
the other hand, a clock bearing the inscription
Boston," shown
in
"A.
Willard,
Figure 291, and owned by the Misses Brown,
of Salem, having been bought from Willard by their grandfather,
although not banjo
in
shape, certainly suggests the banjo clock in

342
its
CLOCKS
painted case, and
it
seems possible that the man who made such a
clock as this could also have
may be
that Simon, Simon,
also did
which
where.
others, for
bear
We
made
Jr.,
we know
the banjo clock.
and Aaron
all
made
The
solution
these clocks, as
of several clocks in the banjo shape
names of various clock-makers of Boston and
know
definitely,
however, that Simon Willard
these clocks, but whether the other Willards did
Ml
>^:
is
else-
made
an open question.
COLONIAL FURNITURE
rule, as
it
Both the foregoing banjo clocks
has an alarm attachment.
belono- to Mr. IMesfo-at.
and because
In 1812 the shelf or mantel clocks were invented,
they could be sold for a small sum, and were better timekeepers than
cheaper
the
tall
wooden works,
clocks with
they soon took their place, and
it is
from 181
tall
that the decline of
practically
clocks can
be said to date.
The
tr\-
first
mantel clocks made
were made by
in this
coun-
Plymouth Hol-
Eli Terry, of
He was
low (now Thomaston), Connecticut.
a clock-maker of considerable reputation, and

so
was the demand
arreat
beeinninLT of the
for
clocks at
the
nineteenth centur\- that in
1803 he made three thousand tall-clock move-
He
ments.
Figure 293.
Mantel Clock, 1820-30.
and
Seth
then sold out to Calvin Hoadley
Thomas, a well-known American
The
clock-maker, and retired from business.
demand
him
to
for
cheaper clocks than could be made with the
experiment
making
in
cases led
tall
small clocks, and about the )ear 1812
he made six mantel clocks.
Figure 202 shows the

affair,
and Terry never used
quently being adopted

clock,
first
and therefore
it
for
it
less
the
has the honor
as
in
the
tall
clocks.
Goodwin, and
is
now
is
was a very crude
working model of the

ot beintr
It will
the
first
^be seen that
than a tall-case clock cut down.
of wood, and a weight
It
as a model, one of the other five subse-
only one built from this design.
more or
of these clocks.
This clock was bought from
Eli
in
mantel
made and
it
is
The works
used for the running power
in the
later
the
Terry
the
nothing
are
made
same way
b)-
possession of his great-grandson,
Ozias
J.
C.
Spencer, of Thomaston, Connecticut.
The model which was adopted

344
for the later
mantel clocks was
CLOCKS
arranged with the pendukim and verge
in front of the
works behind
the face, and was run with a spiral spring.
Figure 293 shows a shelf
clock,
belonging to the Hon. John R.
Buck, which dates between 1820 and 1830, and

the
stj'le.
It
was quite often the custom
is
a good example of
to paste in the
backs of these
clocks a copy of the last census of the principal cities of the United
States,
and
it
is
thus possible to approximate the year they were
made.
345
INDEX
specimens
of
chairs,
Adam, James, lo
Adam, Robert, lo
American
Chippendale
chair
double
Society,
owned
202
by,
American Hepplewhite chair, 1S7

American oak, characteristics of, 35
American Sheraton settee, 206
Andrews, Mrs. W. \V., specimens owned
by: Burnap clock, 337, 338; candlestand, 232; Dutch chairs, 158; HepHepplewhite
plewhite side-board, 115;
239; pine settle, 197, 198;

roundabout chair, 157; Sheraton sofa,
213, 214; Sheraton wash-stand, 108
table,
Archer
\V'alter,
334
Bedsteads, 300-320: historical sketch

;
in
of,
table with slate top
BoIIes collection
colonial,
304
rea-
23
Brasses, earliest use of, in drawer-handles,
36
as bail handles, 53
Brewster's, Elder, ship-chest,
turned
14;
128
A., descriptions
owned by
and cuts
card-table, 244
Hepplewhite easychair, 188

mirror, carved and gilt, 290
Buck, Hon. John R., descriptions and cuts
of furniture owned by
Chippendale
214;
sofa,
;
chair,
clock,
345; mirrors, 295,

296; Windsor chair, 166
Buffets, descriptions and cuts of
Mr.
Meggat's, 106, 108; Mr. A. H. Pitkin's
corner, 107, 108
Bulkeley, Mrs. G. L., descriptions and cuts
Chijipendale
chair, 183; chest, 16; cupboard, 90,
91 settle, carved oak, 196, 197 Shera177;
true
mean-
slat-back chair
owned
Bureau, origin of word, 262
ing
of,
263
Bureaus, 69-79
I5urnap clock, 337
312 low-post, 316

Beekman, Mrs. Henry R., description and
cut of kas owned by, 98
;
Burnell, Mr. C.
W>
and
and cut
ton scrutoir, 278
century, 305
couch, 307
woods used
in construction of, 310; Chippendale,
Bible-box, 248, 249

Bidwell, Miss Esther, descriptions
by, 53
chest, description
slant-top scrutoirs in, 257

of design, first, 7, 8
Sheraton's,
of, in,
Books
G., rare dressing-
owned
seventeenth cen-
sons for disappearance of seventeenth;
Boardman, Mr. William
Empire
Peter Stuyvesant's, Helen Evert301

son Smith quoted on, 306
300-307 prices of,

tury, 303
kinds of
272
slant-top,
of furniture
Bandy-legged chairs, 152, 157-165

Banister-back chair, 155, 156; armed, 156
Banjo clock, 341
"Beaufatts" (Buffets), descriptions and
cuts of, 107, 108
Bedposts, Empire, 315
Bedstead, Countess of Devon's famous,
Block-front low chest of drawers, 72
Brown, Miss E.
Ball-foot scrutoir, 255, 257
228,
Block-front cabinet-top scrutoir, 272, 273;
chair,
of:
cupboard, 62;
63; Dutch table

229; mirror, 288; tea-table, 200
dressing-table,
Block-front bureau,
slate-top table, 227
collection
drawers, 60;
chest of
Antiquarian
the
in
158, 163, 164, 184; chest, 28;
Butterfly table,
cuts
347
J.,
154
224
INDEX
and cut of, 54 prices of,
with turned legs, 50
Chinese design used by Chippendale, 1 74
description
53
Cabinet-top scrutoirs, 264, 267, 271

Cabriole-legged furniture; chairs,
152,
chests of drawers, 54, 55, 57
dressing-table, 56; scrutoir, 25S-260
J57-165
Cane
Card-tables, 234-243:
237; Empire, 243
Chippendale, 235,
Hepplewhite, 238
235; chairs, cuts

couch, 209; double chair, 201
Sheraton, 239
distinguish genuine, 172;
101
of,
Carver, Governor, turned chair
Carving,
mention
first
chests, 15
ture " quoted
age
determine,! 23
of, to
banister-back, 155, 156 cabriole-legged,

152, 157-165; cane, 139; Chinese de-
boards,
by Chippendale, 174; Chip-
pendale, 173, 185
colonial, varieties of,
129; Empire, 193, 194; Flemish, 139Gibbons, mahogany chair carved

1 44
;
Hepplewhite,
bv,
ian,
145; leather,
186-188
1,
century, 322
Ital-
scroll-foot,
how
146, 150, 163;
139,
and Dutch, 1 72
130;
127,
inlaid side-
131-134; Windsor, 152, 164-170
values
of, in
banjo, 341
seventeenth
earliest cases
inlaid sideboards, 112
Colonial chests, 14
Connecticut Historical Society, descriptions
owned by
and cuts of
furniture
21, 25, 26;
chairs: banister-back, 155;
Flemish, 140, 143;
turned,
wainscot,
2;
on serpentine
Sheraton,
spiral turned, 3
upholstered,
chests,
Spanish, 146, 149,
150; turned, 1 27 oak drawing-table, 2 18

Corner buffet, 107, 108
;
Chair-tables, 134, 221
Corner cupboards,
Chaise-longue, 209, 210
Cornice, introduction of broken-arch, 6
Chambers, 8
Chests two-drawer carved
chests, 24
tory of, 13;
original colonial, 14;
hisfirst
drawers in, ig; Dutch, 17, 18; Elizabethan, 16; " Hadley," 27-32; how to
Lady Anne
determine dates of, 33
Millington's carved oak, 17; panelled
;
scoted, in the colonies, 6
Chests of drawers, 36-79

54
44
82, 83
of,
of,
103
descriptions
wicker, 309
of:
and cuts
colonial
cloths for, 95
carved, 89, 92
terms for: corner, 104; court, 81, 85;
cushions for, 95; Dutch, 96; historical
;
33
sketch
85
of, 81,
oak used
82
maple.
87
348
German
joined, 87
livery, Si,
in construction of, 86,
panelled, 104;
and cut
prices of, 85
Cupboards,
description of earliest colonial, 43,

with cupboard
earliest use of, 40
top, description
Cradle, sixteenth-century, 30S
values
04
cabriole-legged,
Couch-bedstead, 307
Couches, 206-210; Chippendale, 209
description and cut
Court cupboard, 81
of Christ Church College dining-room,
mouldcarved and wain-
chest in author's collection, 22

ings on designs of, 23
to
sideboard in
tern,
to distinguish
Hepplewhite,
Chippendale,
179;
how
French alabaster, 338

lan324, 325; mantel, 343; musical,
port336, 337 painted-face, 338, 339
able, 322, 323
tall, 331, 333
to determine age of, 330; Willard, 341, 342
Clouston, W. K., quoted on serpentine
330
for,
134-139; roundabout,
139-144; Sheraton,
189-193; slat-back, 153-155 Spanish,
156;
1 1
Clocks, 321-345
signs used
of,
Clock-makers' Company, 321
cost of cupboard, 92
123-195
Chairs,
first
128
of,
chairs
America, 112; sofa, 211; table, 234,

235 urns on mirror, 287
" Chippendale Period in English Furni-
13; on colonial
of,
9
;
bedsteads, 312;
card-table,
Carved mahogany mirror, 297, 298

Carved spoon-rack, description and cut
of, 8,
influence of, on chair styles, 173

made by, 173-185;
Chippendale furniture:
139
first,
Chippendale, Thomas, sketch
chairs,
prices of, 85
origin of, 95
92
wainscot,
INDEX
Essex
D
Designs
seventeenth-century chests, cup-
board, and wainscot chair,
owned
Desk-box, 250, 251

Desks, 247, 252; character of
24S Empire, 281
wainscot chair owned by,
Institute,
132; settee owned by, 199-201

Ethridge, Mr.,
Hepplewhite sideboard
by, 114
Extension-table,
first,
early, 247,
Double
chair, Sheraton,
Drawers,
chests of,
205
3679
early seven-
teenth-century chests without, 19;

colonial chests with, 19
Drawing-tables,
first
Fan-back Windsor
chairs, 167
Feather-beds, used
without
England, 302
Ferris, Prof. H. B., oak chest
lection of,
Dressing-tables, descriptions and cuts of,
46
in writer's collection,
or slate tops, 50, 51

neered walnut, 56
Drop
49
with stone
prices of, 53; ve-
brass handles, 53
furniture, descriptions
157165
chairs, 152,
to
determine
scription
York, 18
and cuts of
double chair, 201

chests,
chairs, 172;
number
17;
of,
of,
in
Fire-screen scrutoir, 277

Flemish chairs, 139, 144
Flemish couch, 207, 208
Flemish furniture, popularity
o(,
de-
New-
in
the col-
in
Forman, Mrs. Alexander, descriptions and

cuts of furniture owned by
bedstead,
Drop-leaf table, 230
Dutch
bedstead
New
cupboard, description and cut
313; bureau, 74;

Forms, wide use of,
Fox, Charles, 327
Framed
table,
1
244
24
desk, 252
97; tables, 228, 229; tea-tables,
of, 96,
232, 233
" Gates of
Easy-chairs, Hepplewhite, 188
.Elizabethan
Empire
description
chest,
and
cue
tor,"
16
of, 15,
style
and
characteristics
194;
desk,
mirror, carved
281;
mahogany,
mantel,
gilt,
gilt
298
297, 298
sideboards,
descriptions
299
and cuts
of,
ig-122
243-245
sofas, 214,
215
by,
Mr.
owned by
chests,
Hadley
" chest, descriptions
and cuts
of,
inlaid jjress, 89,
90
Had-
and fourth periods, cuts of, 69 descriptions and puts of, from 1800 to 1820, 79
Harris, Richard, 328
;
Hejiplewhite, sketch
desk-box, 251;
points of, II
of, 10, 11
descriptions
chairs,
54
349
186-188;
to
furniture,
and cuts
card-tables, 238, 239, 241;
225
of,
293
Escutcheons, cut
gilt,
Handles, drawer, 53 cut of, 54 rosette,

on double chest of drawers, 68 third
table, X-braced,
chair
26, 27
chest of drawers, 37,

28, 32
two-drawer, carved, 24 couch,
rush-bottomed, 208 cupboard, panelled
ley, 26,
slat-back
H
"
work, 243, 244;
of, 35
Mr. Henry W., description and
cuts of furniture
C,
F.
54
Girandole, carved and
1
English oak, characteristics
and
owned
pillar-and-claw, 245
44-46
Gillingham,
tables: card,
Erving,
quotation from, 9
by, 7
bureaus, 74, 78 bedposts, 315

bedstead, 316, 317 French, 273 chairs,
193,
" quoted,
Gibbons, Grinling, mahoganv chair carved
furniture
of, 12
Language Unlocked
136
" Gentleman's and Cabinet-Maker's Direc-
of:
chair, ii;
determine chairs,
INDEX
172; mirrors, 2g2
sideboards, 113-115
205; slat-back, 153; clock, alabaster,

Hepplewhite sideboard, 113
wash-stand, 108
338,341;
Long
High-boy, description of flat-topped bandy-
Mr.
Walter,
descriptions
and
Chip32; chest of drawers, ô

pendale couch, 2og cupboard, 90 cupchest,
board of drawers, 93
323
slant-top writing-
Loundes, Jonathan, 323

Low-boy, description and cut of, 46
Low-post bedstead, 316-319
Lyon, Dr., quoted on Chippendale, 8
the collection of
in
by,
Louisiana furniture,
of,
96
cuts of furniture
Historical Society, portable
owned
desk, 249, 250
Holland cupboard, description and cut

Hosnier,.
Island
clock
legged, 59
Holland, furniture imported from, 2
Dutch
chair, 162
Maclntire, 10
260
Hulbert, Mr., description and cut of
panelled cupboard in collection of, 87
scrutoir, cabriole-legged,
Mahogany, Chippendale's almost exclusive

difference between old and
use of, 8
;
new, 78;
history of, 75-79;
introduc-
tion of, 7
Ince, 9
Inlay, beauty of Hepplewhite's,
Manning, Miss .Augusta, descriptions and

cuts of furniture owned by
chairs
:
1 1
Sher-
Chippendale, 181; Italian, 145; Spanish, 151;

Sheraton card-table, 239-
woods used by Hep-
aton's use of, 11;
plewhite and Shearer
112
for,
241
Mantel-clock, 344
Mantelpiece, English, 21
Italian chair, 145
Jacobean
Mrs.
Jenkins,
owned
Manwaring, 9
Marble tables, 1 1
]\Iarquetry Empire
furniture, 2
W..
E.
mahogany
table
scrutoir, 282
introwoods used
England, 4
by Shearer and Hepplewhite for, 112
by, 234, 235
duction into
Johnson, 9
"Martha Washington
tea-table," 230, 231
Matthews, Mr. John R., mirror owned by,
Kas, descriptions and cuts of Dutch, 98, 99

Knife-and-spoon box, cut of, 117
287
Meggat, Mr. William, descriptions and cuts

of furniture owned by banjo clock, 341
:
bedsteads, low-post, 316, 319; buffet,

108; bureau, block-front, 73; card-
Lantern-clock, 324
Lockwood,John Vincent, descriptions and

cuts of furniture owned by chairs Chip-
238; chairs: Chippendale,

179; Dutch, 162; Hepplewhite,
186, 187; Phyfe, 193, 194; Sheraton,
igo, 192; slat-back, 154; Spanish, 150;
pendale, 185 Flemish and Spanish, 149

turned, 130; Windsor writing, 167, 168;
chests of drawers, 49, 64 clocks banjo,

341 chamber, 328; painted-face, 341
Leather chair, 134-139

prices
Livery cupboard, 81
;
tables, 235,
of,
85
chest,
177,
two-drawer panelled, 22
chests of
drawers, 49, 51, 54; spoon-rack, 102;

tables: dressing, 49; tea, 22^, 234
156;
Sheraton
portable,
323
double,
350
knife-and-spoon
117; mirror, 291
scrutoirs
box,
serpentine-
261; side276;
boards: Empire, 120, 121; Sheraton,
front,
Lockwood,_ Mr. Luke A., descriptions

and cuts of furniture owned by chairs
banister-back,
slant-top,
260,
117; tables: card, 235, 238; dressing,

veneered walnut, 56; Dutch, 228; oak,
:
;
INDEX
2ig, 220
pie-crust, 232,
233
tea,
231
222
Pilgrim
mantel,
gilt
mahogany
inlaid,
285, 286; walnut
Morson,
299
Charles,
291
Mr. Albert H., descriptions and

chair
roundabout, 159 Windsor, i6g mirror:
cuts
olive-wood,
and gilt, 286, 287

Dutch bracket-clock
owned by, 329

Musical clock, 336, 337
290
mantel,
299
low block-front, 272, 276
Pollen, W. H., quoted, 196; on Flemish
filigree
gilt,
298,
scrutoir,
furniture, 20
Press cupboards, 85
N
New
New
of
by, 22
Pitkin,
Hepplewhite,
;
and cut
description
Society,
owned
chest
six-
teenth-century cradle, 309 upholstered

thousand-legged table,
settee, 202, 203
;
Memorial Hall, Spanish chair at, 146, 147

Millington, Lady Anne, carved chest of, 16
Mirrors, 284-299: dates of, 284; prices
of, in seventeenth century
carved and
Empire carved mahogany, 297,
gilt, 290
298
292
wainscot chair, 132;
furniture at:
wash-stand, Hepplewhite, 108
of, 86,
"
Amsterdam,
early furniture of, 5

England, early furniture of, 5 side-
of,
and cuts
description
and cut
93
Q
Queen Anne,
chair, description
151, 157-165
Oak, English bedsteads constructed
description
87
Putnam cupboard,"
board, 122
and cut
of,
urns on mirror, 287
of,
characteristics of English and

301
American, 35
universal English use
of, 2
used in cupboards, 86
Old Newbury
owned
Historical Society, oak table
by, 219
Otto, Mrs., Hepplewhite chair
owned
by,
187, 188
Palmer, Mr. George
owned
S.,
Chippendale chairs
Raleigh,
Panelled chests, variety of mouldings on

designsof English-made, 23, 24 chests of
introduction
of
England by, 76
into
Rocking-chairs,
how to distinguish genuine,
169, 170
Rococo, mirror designs
in
French, 289
English use
Room-panelling,
first
Rosettes, enamel
and brass
Roundabout
Mr.
by, 173
Walter,
Sir
mahogany
chair, 156, 157
Pitkin's,
of,
13
mirror, 299
;
Dutch, 160
160
Rush-bottom couch, 208
drawers, 38, 41 cupboards, 87-89, 104

Pendleton, Mr. C. L., Chippendale chairs
;
owned
by, 173;
chests of drawers, 59,
60, 69
333
tall
clock
owned
by,
oldest scrutoir with top, 264,
265
Phyfe, card-table made by, 243
193. 194
chair,
Flemish couch
and cut
in collection of,
ball-foot,
and
cuts
of
351
255
271-273;
cabriole-legged,
61
and cuts
of,
253
block-front cabinet-
cabinet-top,
258, 259;
264-267;
early,
254;
low block-front,
272-276 marquetry Empire with bookcase top, 279; secret drawers in, 269,
fire-screen,
;
descriptions
of, 60,
Scrutoirs, descriptions
lop,
owned
207, 208
Hall,
Scroll-top high chest of drawers, descrip-
280
Pie-crust tables, 232, 233
by, 177
Scroll design, 15
tion
;
Pierce, Mr. F. O., Chippendale chair
Pilgrim
in
collection of, 71
Philadelphia Library,
33'',
Satinwood low chest of drawers, 74

Schutz, Mr. W. S., block-front bureau
276, 277;
INDEX
270; serpentine-front slant-top, 275,
276; slant-top, 254-257, 261; Sheraton scrutoir, 278
Serpentine bureau, 71
Settles,
Thomas,
sideboard,
colonial
of
originator
of,
card-table, 239, 241;

113, 189, 205; chest of
drawers, 75, 76 settee, 206 sideboard,

to distinguish,
1 16-1 18;
sofa, 213;
;
wash-stand,
108;
writing-table,
first,
marble-top,
Tea-tables,
first
mention
229; cuts
of,
Ship-chests, 14
Thousand-legged
owned
tables, cuts of, 222,
Charles
Mrs.
Torr,
Clarence,
4 Hepplewhite,
historical sketch of,
;
1, 1 13, 1
5,
of,
223
girandole
by, 295
Trinity College, leather chair
Empire, 118-122;
Sideboards, 108-122:
231
owned by, 135
Turkey work, chair-coverings

Turned chairs, 127, 130
277
first,
extension,
of: bureau, 74;
172;
claw, 245
Sheraton furniture, descriptions and cuts

11,
216-245
III; pie-crust, 232, 233 sideboard, 1 1 1

tea, 229, 230
slate-top, 226 sofa, 246
tea-tray, 234; thousand-legged, 223
Shearer sideboard, 113

Sheraton, Thomas, sketch
chairs,
of,
224; card, 234239; chair,

221; drawing, 217; Empire pillar-and-
butterfly,
196-205
Shearer,
Table-carpets, 218
Tables, descriptions and cuts
of,
137, 138
108, 109; New

England, 122; Shearer, 113, 115, 117;
Upholstered chair, introduced from Ven-
Sheraton,
Upholstery, introduced from Venice,
16
Sideboard-tables,
ice, 2
in
1 1
Side-wall buffet, 108
Slant-top scrutoirs, two styles of, 254, 257,
261, 268-270
Slat-back
chair,
153-155; Southern type
of,
154
Smith, Helen Evertson, quoted on Peter
Stuyvesant's bed, 307
Smith, Mr. Robert T., chest with drawer
in collection of, 19;
with,
94
Sofas, 210-215: Chippendale, 211; Empire, 213-215; Sheraton, 213
Sofa-table, 246
Sommerlad, Mr. Casper, French bedstead
owned by, 320; scrutoir, marquetry
Empire, 282
Spanish mahogany, 79; chairs, 139, 14615: '5'
J.
Van
Cortlandt Manor, Flemish chair
143; clock at, 322, 334

\'an Rensselaer, Dom Nicolas, old
ventory
Von
mantel-clock
owned
by,
mention
of,
343. 344
Stools, definition
Falke, Dr., quoted on
German
earliest
German
31-134
Walnut, used in Dutch
chairs,
origin of, 95
chests, 18
Wash-stand, Hepplewhite, Sheraton, 108
Watkinson, Mrs. E.
ror
owned
Wight, Dr.
ble chair
B.,
Hepplewhite mir-
by, 292
J.
Sherman, Queen Anne douby, 201, 202
owned
Willard clock, 341, 342
170
Windsor, 167, 168
chairs, 152, 164,
^\riting-chair, author's
127, 128
Swell-front bureau, 73
origin
W
W'ainscot cupboards,
Writing-table, Sheraton, 278
and
in-
of w'ainscot cupboards, 95, 96
Windsor
C,
at.
40
of,
Flemish chair, 140
Snakewood, Hosmer cupboard veneered
Spencer,
Chippendale chairs, 183
X-braced table, 225
UNIVERSITY OF CALIFORNIA LIBRARY, LOS ANGELES
COLLEGE LIBRARY
This book
is
due on the last date stamped below.
lEBPl
Book Slip-35m-7,'63(D8634s4)4280
iirx
i-(uo LO
11,
L 005 720 591 6
IK SOUTHERN REGIONAL LIBRARY FACILITY
D 000
534 338

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THE LIBRARY

BLOCK-FRONT HIGH CHEST OF DRAWERS, FIRST

Pttblished Dcci-mbcr, iqoi

object of the present

as to enable any one at a glance

determine under what general

natural development of the various

and other persons interested

and date a piece of

sources of information from which this book has

been derived are: examination of inventories and contemporary records,

works on the sub-

books on manners and

customs, ancient dictionaries, cabinet-makers' books of design

both colonial and foreign.

most important, and

later furniture, -while t\\e

any pieces prior

that such pieces existed

dantly there even than

New England jjossesses many

and as these collections contain examples

from both North and South,

In the last few years

century furniture have

pieces of the seventeenth-

volume, but often

has been impossible to obtain pictures of these pieces, the

owners fearing the reproducer.

possession of the deceased

rather than too early.

deduct ten years from the

and we believe the tendency

has heretofore been to date too

dates will always be late for a style, as

before the inventory

\aluations arc, of course, very low, usually about three

one half of the true \alue, and

must be taken of the

then about fi\e times

\alue at that time was from

13s. 4d. to ^2,

and the sum

present time would be from

dating the specimens of furni-

to place the date of

exactly, for only

under special circumstances could that be done.

writer wishes to express his thanks to the various

and persons having family

pieces, for their universal

allowing him to examine and photograph their

for the interest they

Cupboards and Sideboards

Desks and Scrutoirs

Couches, and Sofas

half eighteenth century.

Dutch Marquetry Chest, 1616. (Fig. 4.)

High Chest of Drawers, latter half eighteenth century. (Fig. 39.)

Marquetry Top of Slate Table shown

Block-front Cabinet-top Scrutoir,

Chippendale Double Chair.

Mantel and Mirror, 1783. (Fig. 254.)

quarter seventeenth century