ly
inferior. In the early seventies Hepplewhite's work was so well known
and so much admired that its influence was shown in the work of his
contemporaries. There was a great difference between his style and that
of Chippendale, his being much lighter in construction and effect,
besides the many differences of design. Hepplewhite was strongly
influenced by the French style of Louis XVI, and also the pure taste of
Robert Adam at its height. Hepplewhite, however, like all the great
cabinet-makers, both French and English, was a great genius himself and
stamped the impress of his own personality upon his work.

Many people date Hepplewhite's fame from the time of the publication of
his book, "The Cabinet Maker and Upholsterer's Guide," in 1788, not
realizing that he had been dead for two years when it appeared. Its
publication was justified by the well established popularity of his
furniture and the success with which his designs were carried out by A.
Hepplewhite & Co.

It is interesting to notice the difference in the size of chairs which
became apparent during Hepplewhite's time. Hoop-skirts and stiffened
coats went out of fashion, and with them went the need of large chair
seats. The transition chairs made by Hepplewhite were not very
attractive in proportion, as the backs were too low for the width. The
transition from Chippendale to Hepplewhite was not sudden, as the last
style of Chippendale was simpler and had more of the classic feeling in
it. Hepplewhite says, in the preface to his book: "To unite elegance and
utility, and blend the useful with the agreeable, has ever been
considered a difficult, but an honorable task." He sometimes failed and
sometimes succeeded. His knowledge of construction enabled him to make
his chairs with shield, oval, and heart-shaped backs. The tops were
slightly curved, also the tops of the splats, and at the lower edge
where the back and the splat join, a half rosette was carved. He often
used the three feathers of the Prince of Wales, sheaves of wheat,
anthemion, urns, and festoons of drapery, all beautifully carved, and
forming the splat. The backs of his chairs were supported at the sides
by uprights running into the shield-shaped back and did not touch the
seat frame in any other way. With this apparent weakness of construction
it is wonderful how many of his chairs have come down to us in perfect
condition, but it was his knowledge of combining lightness with strength
which made