the more usual idea is to divide it into several parts,
better known as the times of Chippendale, Adam, Hepplewhite and
Sheraton. French influence is marked throughout and is divided into
parts. The period of Chippendale was contemporaneous with that of Louis
XV, and the second part included the other three men and corresponded
with the last years of Louis XV, when the transition to Louis XVI was
beginning, and the time of Louis XVI.

It was not until the latter part of Chippendale's life that he gave up
his love of rococo curves and scrolls, dripping water effects, and his
Chinese and Gothic styles. His early chairs had a Dutch feeling, and it
is often only by ornamentation that one can date them.

The top of the Dutch chair had a flowing curve, the splat was first
solid and plain, then carved, and later pierced in geometrical designs;
then came the curves that were used so much by Chippendale. The carving
consisted of swags and pendants of fruit and flowers, shells, acanthus
leaves, scrolls, eagle's heads, carved in relief on the surface.

Dutch chairs were usually of walnut and some of the late ones were of
mahogany. Mahogany was not used to any extent before 1720, but at that
time it began to be imported in large quantities, and its lightness and
the ease with which it could be worked made it appropriate for the
lighter style of furniture then coming into vogue.

Chippendale began to make chairs with the curved top that is so
characteristic of his work. The splat back was always used, in spite of
the French, and its treatment is one of the most interesting things in
the history of English furniture. It gave scope for great originality.
Although, as I have said before, foreign influence was strong, the ideas
were adapted and worked out by the great cabinet-makers of the Georgian
period with a vigor and beauty that made a distinct English style, and
often went far, far ahead of the originals.

There were, so far as we know, three Thomas Chippendales: the second was
the great one. He was born in Worcester, England, about 1710, and died
in 1779. He and his father, who was also a carver, came to London before
1727. Very little is known about his life, but we may feel sure he was
that rare combination: a man of genius with decided business ability. He
not only designed the furniture which was made in his shop, but executed
a large part of it also, and superintended all the work done there by
others. That he was a man