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file - This characteristic Chippendale tea tab_le stands on three boldly outthrust cabriole legs carved at the knee and ending with the usual ball and claw foot. The top is scalloped and edged with molding cut from the solid wood; the molded edge gave rise to the term "piecrust tab_le," frequently used in reference to tab_les such as this one. An interest in classical culture was stimulated by the discovery of the ancient Roman cities of Herculaneum in 1738 and Pompeii in 1748. Robert Adam, a Scottish architect who had visited the ancient Roman sites before he settled in England in 1762, helped change the fashion in interior decoration. Adam turned to antiquity for motifs, whereas the motifs of the earlier eighteenth century were inspired by Renaissance and baroque design. A restrained neoclassicism replaced the exuberant Chippendale forms. The cabi_net-Maker and Upholsterer's Guide, published in 1788 by the London cabi_netmaker George Hepplewhite, did much to popularize the neoclassical style that Adam had introduced. This Hepplewhite shield-back cha_ir exemplifies the style. The back is carved in a graceful design composed of classical motifs such as an urn, plumes, and drapery. The cha_ir has slender tapering square legs ending in spade feet, typical of the Hepplewhite style. Although carved decoration appears in Hepplewhite design, most Hepplewhite furni_ture is ornamented with inlays of contrasting woods which emphasize the graceful, sleek lines of the form. This bow-front chest of drawers illustrates the handsome effect achieved through contrasting veneers of richly figured mahogany and satinwood. The tiers of side drawers are ornamented with finely wrought fan inlays at the corners, and each drawer is further delineated by two narrow lines of inlay, called "stringing," in contrasting wood. The curve of the chest front is emphasized by the light color of the central section of drawers; an inlaid oval medallion highlights the top drawer. The inlay shows the American eagle, a decorative motif favored by the patriotic citizens of the newly formed republic. In addition to Hepplewhite's The cabi_net-Maker and Upholsterer's Guide, patterns for fashionable London furni_ture were available to American cabi_netmakers through The cabi_net-Maker's and Upholsterer's Drawing Book, published in 1792 by Thomas Sheraton, another influential English designer. American cabi_netmakers also relied upon a variety of London price books, which featured patterns in both Hepplewhite and Sheraton modes. These books formed the basis for most American furni_ture design of the late eighteenth century and the first part of the nineteenth century. Hepplewhite and Sheraton designs show considerable overlap in time and in a common emphasis upon graceful linear forms and elegant ornament of classical derivation. Often the term "Federal Style" is used in reference to American furni_ture that combines features from both Hepplewhite and Sheraton designs and that cannot be considered a pure manifestation of either style. Many card tab_les were made after the patterns of both Hepplewhite and Sheraton, and often these tab_les combine elements from both styles. This Baltimore card tab_le, with the bellflower inlay typical of the area, has the graceful lines, rich veneers, and delicate inlays that characterize the best Hepplewhite pieces. The square top with recessed curved, or ovolu, corners was commonly featured in Sheraton forms. During the Federal period, from about 1780 to 1820, work tab_les became popular, and many new types were developed. Sheraton's Drawing Book offered numerous elaborate patterns for "Ladies' Work-tab_les," or sewing tab_les, of the kind shown here. Customarily, these tab_les were made with two drawers; the top drawer held supplies, and the lower drawer held a suspended pouch for work in progress. As in Hepplewhite furni_ture, much of the elegance of this piece comes from the rich contrast of figured birch veneers, mahogany banding, and checkered stringing. Notice that unlike Hepplewhite furni_ture, the slim legs of this tab_le are turned. Slender turned legs, often finely fluted or reeded, are a consistent feature of Sheraton design, as are tab_letops such as this one, in which the regular square or rectangular shape is enlivened by diagonal or canted corners. While shield and heart-shaped cha_ir backs are commonly associated with the Hepplewhite style, Sheraton cha_irs frequently feature a square back. Sheraton cha_ir backs were carved in a variety of ornamental motifs including drapery swags, urns, pointed arches, colonettes, fans, and rosettes. This square-back New York side cha_ir strongly resembles a plate from the 1794 edition of Sheraton's Drawing Book but differs from the original pattern in that the central urn shape is pierced. The use of the feather motif and the tapering straight leg, frequently seen in Hepplewhite designs, demonstrates the interrelatedness of the two styles. Notice that the tapered leg is finely grooved, creating a paneled effect unlike the smooth surface of Hepplewhite forms. The carved detail of this cha_ir is exceptionally crisp and refined and is thus very much in keeping with the clear, clean lines of the form. The tradition of painted decoration goes back to the vogue for "Japanning" prevalent in the William and Mary and the Queen Anne periods. Sheraton "fancy furni_ture," with painted decoration, was exceedingly popular in the early nineteenth century. Handsomely painted settees, blending two or three cha_ir backs into a single unit, were produced in a variety of designs for use in fashionable drawing ro_oms. This settee, made about 1800 in New York City, features the popular Sheraton urn and floral motifs, which were favored by New York craftsmen. Dark backgrounds, such as that seen on this piece, were commonly used and were produced by applying layers of varnishes over deep brown, green, or black paint. Here, the background provides a striking contrast to the touches of light green, cream, pink, and white used to highlight the urn of flowers. Delicately painted white blossoms adorn the uprights of the seat back and of the arms and legs; they are reminiscent of the carved rosettes found on other Sheraton furni_ture. After about 1810, Sheraton furni_ture became heavier than that of earlier years and gradually developed into what is called "Regency," a style named after the regency of George IV in England. The Regency style represented a second phase of classicism and was strongly influenced by the forms of ancient furni_ture rather than by decorative motifs alone. furni_ture designed to reproduce ancient models was favored in America during the Regency period, which lasted through the 1820s, and reflected fashions in both England and France. This Regency-style cha_ir was made by Duncan Phyfe, the prolific New York cabi_netmaker of the nineteenth century. It represents his second period of furni_ture design based upon classical models and is distinguished from his earlier work in which Sheraton's influence prevailed. The design of this cha_ir is based on the "klismos," an ancient Greek cha_ir form with incurved legs and with the seat rail and back in an unbroken curve. Phyfe introduced this form into American furni_ture design.
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