skilled workmen from France, during the troubles of
the revolution at the end of the century. Some of Chippendale's designs
bear such titles as "French chairs" or a "Bombe-fronted Commode." These
might have appeared as illustrations in a contemporary book on French
furniture, so identical are they in every detail with the carved woodwork
of Picau, of Cauner, or of Nilson, who designed the flamboyant frames of
the time of Louis XV. Others have more individuality. In his mirror frames
he introduced a peculiar bird with a long snipe-like beak, and rather
impossible wings, an imitation of rockwork and dripping water, Chinese
figures with pagodas and umbrellas; and sometimes the illustration of
Aesop's fables interspersed with scrolls and flowers. By dividing the
glass unequally, by the introduction into his design of bevelled pillars
with carved capitals and bases, he produced a quaint and pleasing effect,
very suitable to the rather effeminate fashion of his time, and in harmony
with three-cornered hats, wigs and patches, embroidered waistcoats, knee
breeches, silk stockings, and enamelled snuff-boxes. In some of the
designs there is a fanciful Gothic, to which he makes special allusion in
his preface, as likely to be considered by his critics as impracticable,
but which he undertakes to produce, if desired--

"Though some of the profession have been diligent enough to represent
them (espescially those after the Gothick and Chinese manner) as so
many specious drawings impossible to be worked off by any mechanick
whatsoever. I will not scruple to attribute this to Malice, Ignorance,
and Inability; and I am confident I can convince all Noblemen,
Gentlemen, or others who will honour me with their Commands, that every
design in the book can be improved, both as to Beauty and Enrichment,
in the execution of it, by

"Their most obedient servant,

"THOMAS CHIPPENDALE."

[Illustration: A Bureau, From Chippendale's "Director."]

The reader will notice that in the examples selected from Chippendale's
book there are none of those fretwork tables and cabinets which are
generally termed "Chippendale." We know, however, that besides the designs
which have just been described, and which were intended for gilding, he
also made mahogany furniture, and in the "Director" there are drawings of
chairs, washstands, writing-tables and cabinets of this description.
Fretwork is very rarely seen, but the carved orn