Series editors' preface - Wood Tools

furniture by contrast was generally heavier and
with larger proportions, due to the influence of
William Kent, who developed coherent furnishing
schemes under his architectural direction.
Queen Anne chairs were noticeably
restrained in their added decoration, although
the most important feature to come out of this
period was, without doubt, the cabriole leg.
Introduced in the late seventeenth century, and
perfected in the beginning of the eighteenth,
the cabriole leg with its uniting of two opposing
curves was seen as the epitome of the
curvilinear design. Compound curves were
introduced into the hoop backs of chairs, and
stretcher braces disappeared as construction
techniques improved. Chair types began to
proliferate and included hall chairs with hard
seats, often decorated with coats of arms;
upholstered easy chairs with embroidered coverings;
two-seater sofas or love seats and the
vernacular Windsor chair type. From around
1745 the Rococo influence and the use of
mahogany allowed chairs to be made in a
lighter and more delicate fashion.
Settees by Kent included solid hall seats with
carved scroll arms, and an upholstered type in
velvet or damask with parcel gilt and
mahogany, or gilded-gesso frames. The second
half of the century saw the introduction of confidantes,
settees with seats at each end with
upholstered divisions between them.
Numerous table types were introduced during
the century. These included: console tables
with marble tops and painted frames; dumb
waiters; writing desks; kidney tables; tea tables;
sofa tables; library tables, and toilet tables. For
dining, the gate-leg table, still in use in the
early part of the century, was superseded by
the swing-leg table. Other tables included a tripod
tea table, essential for the ritual of teadrinking.
In addition to tables, sideboards with
cutlery boxes and wine cisterns were prerequisites
for the fully furnished dining room by the
second half of the century.
A vast range of storage furniture was
designed and made in the eighteenth century
for the requirements of the new age: China
cases for displaying or storing; bookcases to
furnish libraries; collectors’ cabinets for curios;
corner cabinets for the display of ornaments,
and a wide variety of double chests, clothes
presses and commodes.
Furniture history 21
Other items that were introduced in the
period were chamber or exercising horses,
pole screens, pedestals for supporting decorative
items and elaborate girandoles for lighting
schemes.
Design and construction
The eighteenth century has been divided into
a variety of eras for different purposes. The
most suitable for furniture studies is either the
stylistic distinction between Baroque, Rococo
and the Neo-Classic, or the dynastic division
between early Georgian, mid-Georgian and
late Georgian or Regency. Throughout these
divisions other stylistic influences occur either
disparately or in conjunction. The Chinese taste
from the middle of the century to the end is
evidence of an Oriental passion; a Gothic
mode was popular from the middle of the century
onwards and both the Classical revival
(under the influence of Adam), and the Greek
revival, in the last decade of the century were
part of the Neo-Classical revival (Figure 1.15).
The period was also important for the influence
of particular cabinetmakers and their publications
which have also been used as period
names.
The conjunction between material and
method is best seen in the Rococo designs that
were suited to mahogany. Due to this material’s
strength, ribbon back chairs, cabriole legs,
Chinese style frets and lattice-pierced galleries
Figure 1.15 Neo-Classical commode, 1773, designed
by Robert Adam, from the Drawing Room, Osterley
Park House. The commode is veneered with satinwood,
harewood, rosewood and other woods, some stained
green, and has ormolu mounts