Entitled "The Nash House, <strong>No</strong>. 1 Cornwall House Terrace," this 66-in. high linen cabinet by Margaret Martin is a portrait of the building that housed the British Interior Design Show of 1982, for which various designers refurnished this 19th-century townhouse. The cabinet is ash stained black inside and thinly gouached outside, so that the grain declares 76 Itt!!1ttt itself wood beneath the facade. A delightfully playful piece, its real moldings frame a portico, balustrade and columns made of paint. Martin, 26, of London, has worked as a theater set designer, and is making furniture now for the greater degree of permanence that it enjoys. She plans to bring to the spring show a cabinet modeled after the White House. 0
Applying Classical Proportions A tea table built to 18th-century rules by Mack S. Headley,Jr, A fter sixteen years of restoring, reproducing and srudying .fi 18th-cenrury furnirure, I have joined the ranks of those who are convinced that the traditional artisan relied on a geometric proportioning system, based on the five classical orders, As a design exercise to test how the system might have been applied, I built the small table shown here. Evidence of the system's use is widespread, but vague. Chippendale, quoted below, clearly stated that knowledge of the five orders was basic to the cabinetmaker's art. Some furnirure historians insist that Chippendale was exaggerating, but Marcus Wiffen's observations about the charaCter of Virginia buildings, also quoted below, agree with Chippendale. Many 18th- and early 19th-cenrury design books also fearure the classical orders, but, like Chippendale, don't tell exactly how the rules were used in designing furnirure. This seems to have been ' privileged information, imparted during apprenticeship. In earlier times, I suspeCt it was one of the guarded secrets of the furniruremaking and architeaural guilds. I found that the only path toward understanding how the system was used was to go back to the pieces themselves. Surviving examples of period furniture have a great diversiry of character, varying with the time and place they were built, all Of the arts which are either improved or ornamented by architecrure, that of cabinet-making is not only the most useful and ornamental, but capable of receiving as great assistance from it as any whatever . . .. Without an acquaintance with [the five orders], and some knowledge of the rules of perspeCtive, the cabinet-maker cannot make the designs of his work intelligible, nor show, in a little compass, the whole conduCt be & and effect of the piece. These, therefore, ought ro be carefully srudied by everyone who would excel in this branch, since they are the very soul and basis of his arc. -Thomas Chippendale, The Gentleman Cabinet-Maker's Director, 1762 We need not surprised if we find a high degree of standardization in the design of the eighteenthcenrury houses of Williamsburg, or of Virginia. The eighteenth cenrury was an age that built according to the rules-the rules handed down in the shops of the various crafts, and the rules set down in the books on architecture. (Which is not to say that the cwo categories did not overlap, for shop rules were the staple of the authors of many handbooks, and book rules doubtless became the rote-learned formulae of the shops.) But the rules were felt to provide a discipline, not a straitjacket; and always the final appeal, in any disputed question of design, was to the eye. -Marcus Wiffen, The Eighteenth-Century Houses of Williamsburg, 1960 the current style (and how it was evolving), and the environment in which they would be placed. To unravel the complexity, I decided to concentrate on the design work of one man, Peter SCOtt, a Williamsburg, Va., cabinetmaker from 172 2 to 177 6. Thanks to Wallace Gusler, curator of furniture at Colonial Williamsburg, I was able to srudy numerous pieces in the collection. SCOtt'S lifetime production is impressive, and filled with subtle variation, control and flair. Yet all his proportions are derived from the five orders: Tuscan, Doric, Ionic, Corinthian and Composite. Upon scale drawings of many of his pieces I have walked with my dividers for hours, discovering geometric relationships which encompass the whole piece-from its major AD, negative and positive spaces to its acrual Structural elements, moldings and ornaments. The origins of this design system reach back at least to the Greeks, from whom the Romans borrowed it. And it later served European craftsmen from the Renaissance to the beginning of the Industrial Age. The earliest surviving writings come from the first cenruty The Ten Books of Architecture by Vitruvius. He explains that the proportional relationships used in architecrure were derived by "the ancients from the relationships observed in living things. Leonardo walnut John This tea table isn 't a reproduction, but a 1lew design that conforms to classical rules of proportion. Westerveldt 77
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1 1 1 NOVEMBER/DECEMBER 1983, No. 4
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FINE WOODWORKING Editor John Kelsey
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& PHILADELPHIA & November 11th, 2-1
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Forstner Bits- �:I.� === Planl
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- Page 34 and 35: Miters, tape and glue I use ordinar
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- Page 40 and 41: 57 Fig. 2: The five parts of a tote
- Page 42 and 43: .;A Shop�esting Five Jointer-Plan
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- Page 50 and 51: Cutting Dovetails With the Tablesaw
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- Page 56 and 57: Scribe strip fits bumpy walls In a
- Page 58 and 59: After glue-up, the fiberboard and e
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