Series editors' preface - Wood Tools

One process of construction that continued
without question was the use of plies and laminates
of wood for the construction of chair
splats and fretted galleries. The use of plies in
mid-eighteenth century work was merely a
solution to a problem; it was not seen as a
momentous technical advance. It was evidently
common practice for larger plies to be used as
well. Sheraton describes the construction of his
Universal table by saying ‘... the pannels are
sometimes glued up in three thicknesses, the
middle piece being laid with the grain across,
and the other two lengthways of the pannel to
prevent it warping.’ More deliberate developments
occurred in the work of Chapius in
Belgium, and Samuel Gragg in the United
States. Both men made chairs with bentwood
components but the process was subordinate
to the ruling taste in design terms. Tambour
doors were introduced from France in the latter
part of the century and were used as decorative
falls or covers for night tables, pot
cupboards and desks.
Furniture historians are indebted to the
design books of the eighteenth century not
only for their designs, but also for general
practical details of construction. The works of
Plumier, Diderot, Roubo and Bimont are
invaluable for their extremely detailed accounts
and illustrations of furniture and woodworking
practices in eighteenth century France.
Surface decoration and finish
The eighteenth century was a period of everincreasing
choice in matters of decoration and
finish. Marquetry, turned work and lacquer
work gradually went out of fashion. Carving
and free-flowing curves became popular as
Rococo forms were introduced in the 1730s.
These were based on imaginative compositions
of scrolls, shells, foliage, figures, masks and
animal forms, and were undertaken by a specialized
group of chair-carvers. These hardwood
carvers were distinct from the
frame-carvers who worked picture and mirror
frames in softwood.
Gilding became popular in the first half of
the century due to the influence of William
Kent. He designed parcel-gilt decoration for
furniture objects as well as wholly gilded
pieces, especially console tables with matching
gilded looking-glasses. The gilding process
became part of the repertoire of the softwood
Furniture history 25
carver as it became associated with mirror and
picture frames. Many businesses advertised
themselves as carvers, gilders and picture
frame makers.
In 1770 there was a revival of painted furniture,
due mainly to the influence of Robert
Adam. Painting direct onto primed wood was
the usual method, with the designs forming
garlands, medallions and borders. Sometimes
the base veneer was visible; otherwise, the
whole cabinet might be painted in light colours
as a background for the designs. Adam motifs
included festoons of husks, vase figures, honeysuckle,
paterae, ram heads and medallions.
The painting was linked with various finishing
methods such as carving, inlay and ormolu.
There was a close association between painting
and japanning, often with the japanner
painting the ground and applying the varnish
whilst the more artistic furniture painter
applied the detail. By 1800 painted furniture
was far more popular than marquetry.
The combination of other materials with timber
was most fashionable in the case of
ceramic plaques and medallions. France’s use
of porcelain plaques during the reign of Louis
XVI was also copied in England by the use of
Wedgwood plaques in the latter part of the
eighteenth century.
Finishing processes included lacquering or
japanning, varnishing and polishing. Japanning
remained popular through much of the century
although the process gradually was simplified
and cheapened by omitting priming, and substituting
materials such as bronze powder for
gold. Fine examples of japanning can be found
on Chippendale’s work for the bedroom at
Nostell Priory, but the decoration on Garrick’s
famous suite is executed in tinted varnish on
an oil paint ground, a more common technique
by the last quarter of the century. In North
America carving began to supersede turning,
except on Windsors, as a major decorative
technique and japanning was also important.
The japanning technique was highly developed
in Boston. In this work, the use of smooth
maple wood fronts with pine frames obviated
the need for gesso to be used so the ground
was prepared using white size covered with
numerous coats of varnish.
Transparent finishes for woodwork, such as
clear lacquer, improved during the eighteenth
century, the most famous being ‘Vernis Martin’,