R( BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF Henrg IB. Sage T89r f!i.,3.ob~ofc.3 at-yxy^u 9306 NK2542.C5"g28"'™'"""-"'^^^ + A, Chippendale romance, olin 3 1924 030 689 040 Overs Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030689040 A Chippendale Romance ONLY ONE THOUSAND AND FIFTY COPIES OF THIS BOOK HAVE BEEN PRINTED FROM TYPE AND THE TYPE HAS BEEN DISTRIBUTED. THE SALE IS LIMITED TO ONE THOUSAND COPIES THIS COPY IS NUMBER 3 3 '-f- CHIPPENDALE BOOKCASE CHIPPENDALE BOOKCASE Break-ffront, with central compartment and wings. Glass doors with tracery '"applied in carved bead mouldings in Gothic forms, combined with dripping-water efFecfts. Light gallery framing two open diaper designs riins continuously across top, saf€ jwhere it is broken at the centre by an oval scrol ," which is not contemporary. "A fret band separates the body oi the case from tfee ^feiipboaldk beloiS^ wh'icA-2te/^closed by doors bearing ini relief oblong panels with concave corners." [Page 17. ] s ' This bbokcase has been traced diredtly to the hand of Thomas Chippeni- i I } ' ^ \ d^le, and |in line, proportioa>'.'eKarm--Mi'd^sign and exquisite detail, stand? inlthe froit rank of his creations. I A (Chippendale Romance Br l^hen Howard Gay Illustrated hongmansy Green, &' Co. Fourth Avenue y 30^^ Street, Nezu York London, Bombay, Calcutta and Madras 1915 COPYRIGHT, 191 S, BY LONGMANS, GREEN, AND CO. /\60 THE 'PLIMPTON -PRESS NORWOOD-MASS -U-S-A A, B. G, Foreword PSl. love of the beautiful, as expressed in the purest forms of art that past centuries have evolved, a passion for colleiling antique furniture, silver-plate and porcelains in the periods of their highest development, the cesthetic de- light borne of surroundings of mellowed art-objeds carrying with them the intangible but permeating atmosphere of by-gone years, the charm of living in their constant com- panionship, — these influences formed the mainspring that found expression in the Georgian House and its original furnishings here described. In prefacing a work upon antiquities, Walpole wrote: "From the antiquarian I expert greater thanks; he is more cheaply pleased than a common reader: the one demands to be diverted, at least instructed — the other requires only to be informed." These lines furnish an apt definition of the different classes of readers which two writers upon the same subjeil recognized to exist. Yet before the words quoted came to the notice of the present author, his plan of presenting his theme had found expression in the following text, which, to his knowledge, was the first time a story had been employed as the vehicle for conveying [9] FOREWORD information upon antiquities, hitherto confined to formal treat- ises. The narrative form adopted in these pages, with such 'diversion' and 'instruction' as, haply, they may be found to contain, was accordingly fixed upon as best suited to impart to the general reader the author s experiences in the charmed world of the collector — while, at the same time, to meet the requirement of the antiquarian "to be informed" a technical- analysis of the specimens illustrated was prepared for each plate. Although the exigencies of the story have called for some play of fancy, conscientious efforts have not the less been made that all statements of fa£l should be trustworthy'. The episodes recorded are actual experiences, while the colledors introduced are pen-portraits of antiquarians, both living and dead, whose favorite hobby of gathering curios has been their life-long pursuit. The furniture portrayed, which is all in mahogany, was assembled by the author and formed the decoration of his house, views of whose exterior and interior are included among the illustrations. The book-case forming the frontispiece has been direftly traced to Chippendale, wherein it differs from the great bulk of antique furniture, which, unlike English plate, bears no mark of its birth or maker. It is customary , there- fore, to refer to specimens bearing the decorative motifs of which [lo] FOREWORD the original designer made habitual use, as being of "Chippen- dale style," " Hepplewhite style," etc., as the case may be. If the writer be charged with holding a brief for Chip- pendale, he would not disclaim that he conceives this master-craftsman to have been the most artistic furniture- designer the world has yet produced. Should these pages help to preserve memories of the house and its furnishings beyond the vicissitudes of time and fortune — should they arouse a deeper interest in the consummate art attained by England in the XVIII Century — and serve to differentiate the main features of the principal schools of furniture then extant — Chippendale, Hepplewhite, Sheraton and Colonial, that ancien regime of sustained beauty, now, alas ! quite vanished — the author will be content. E. H. G. Boston, Ocftober, 1915 [II] List of Illustrations Chippendale bookcase Frontispiece Upholstered armchair page 21 Breakfast table 25 Armchair 27 Mirror and mantel 31 Hall chair 35 Redtangular centre-table 39 Wine cooler 43 Card table 47 Remington's front hall 51 Library chair 54 Dumb-waiter 59 Stool 61 Sideboard table 65 Mantel clock ... 71 China cabinet 75 Small china cabinet 79 Hunt chair 87 Gueridon 89 Pie-crust-top table 93 Exterior of Georgian house 95 Front hall 97 Library, First view .... 99 Library, Second view loi Music salon. First view 103 Music salon, Second view . 105 Music salon. Third view 107 [13] LIST OF ILLUSTRATIONS Music salon, Fourth view 109 Details of ceilings ill Dining-room, First view I13 Dining-room, Second view 115 Dining-room, Third view 117 Adam room, First view 119 Adam room. Second view 121 Adam room. Third view 123 Bed room 125 China table 129 Rococo chair 131 Tapestried chair 135 Pre-Chippendale chair 137 Triple chair or settee 141 Small bookcase 14S Georgian mantel and mirror 147 Small tripod table 151 Gallipot, jar and cover, tall vase, ginger-jar 155 Monteith 163 Gilt cup and cover 167 Tankards and flagon 169 Cup and cover 173 Hall table 175 Georgian marble mantel and mirror 179 Double chair or settee 181 Pole-screen 185 Tazza 189 Saint spoon 191 Baronial salt . . 193 Side-table 197 C14] A Chippendale Romance A (Chippendale Romance I 1 HE original invoice, yellow with age, lay in an inner drawer of the cupboard beneath: 6tf St. Martin's Lane, London, 1753 The Honourable Lionel Cholmondley TO Thomas Chippendale Cabinet Maimer DR. For large brea\-front book-case of eery fine mahogany with wings upon each side of a central compartment, doors with glass pannels and the whole compleatly finished in the most elegant taste £84-1 5s. But it needed no credentials to establish the impress of the master in every detail of his handiwork — from the exquisite tracery of the glass doors, applied in carved bead mouldings in Gothic forms, combined with dripping-water effedls, to the light gallery framing two open diaper designs, which ran continuously across the top, save where it was broken at the centre by an oval scroll which formed the cresting. A fret band separated [17] A CHIPPENDALE ROMANCE the body of the case from the cupboards below, which were enclosed by doors bearing in relief oblong panels with concave corners. This example of the finest traditions of English furni- ture had adorned for a century and a half the library of the Devonshire nobleman for whose ancestors it had been fashioned by the famous maker, until, by chance of for- tune, it had finally reached the Fifth Avenue Galleries in New York, to be disposed of at aucftion with other specimens of antique cabinet-work of lesser importance. I had visited the rooms each of the preceding exhibi- tion days to worship at the shrine of this produdl of the Renaissance movement in England, of which Chippen- dale was the central figure, marveling how visitors could find eyes to admire anything else in the colledtion, and wandering off to affed: an interest in neighboring speci- mens, when my obvious absorption in this particular exhibit became too apparent. For I had decided that my future happiness and peace of mind rested in owning the masterpiece — not at any price, my resources not permitting indefinite bidding, but at the liberal limit I had set for myself and at which I hoped to secure it. The exciting moment arrived. The audlioneer ex- tolled the merits of the book-case in sounding phrases, [18] A CHIPPENDALE ROMANCE as those of his profession seem prone to do upon reach- ing the especial article which one has set his heart upon buying to advantage. Bids arose from all sediions of the large company present, advancing the price in round sums to many times its original cost, yet still leaving a fair margin within my limit. I had followed my usual custom of allowing the competition to exhaust itself before entering the contest, and at length had the satisfaction of seeing the bids hesitate. The only really dangerous opposition now left, as I viewed it, arose from a young man at the rear of the room, whose decisive manner, keen eye, aquiline nose, black hair, and sallow com- plexion, suggested the thought that he might be repre- senting other interests, rather than buying for his own use. My first bid was promptly advanced by a nod from this unwelcome stranger, my second and third met with the same fate, until it became evident that it was a racial contest to the death, with the limit I could afford to pay fast approaching. Now it was reached ! — only to be still followed by that inexorable nod — mute, but eloquent to the quick eye of the audlioneer. I made a final offer, beyond the figure I had planned, and, to my overwhelming regret, saw the objedl of my admiration awarded on a still higher bid to my implacable rival! [19] A CHIPPENDALE ROMANCE Only those who have experienced the satisfacftion of owning an exclusive art-objedl, that may not be ordered by the half-dozen by any "malefadlor of wealth," can appreciate the corollary of such possession — the sense of irretrievable loss felt by the collector who has missed the opportunity of acquiring an unique masterpiece, where experience shows that, with rare exceptions, that par- ticular opportunity never occurs again. Such feelings of regret took possession of me as 1 returned discon- solate from the audlion-rooms that late April afternoon, nursing my disappointment, and fully conscious that my gaze would never again rest upon another Chippendale bookcase to equal the one I mourned. "Why should he have outbid me?" I asked myself im- patiently. "If those Mexican oil-lands were only producing what the others adjoining them are doing, I should have been bidding against that man this minute, rather than allowing him to run off with a treasure that can never be replaced. I will telegraph at once to put on an extra drill and push the two that are already down 1,700 feet." In addition to the comfortable fortune in sound securities which had been bequeathed to me, his only son, in trust, until I should reach my fast approaching ma- [20] UPHOLSTERED ARMCHAIR Chippendale style. The seat-rail is in a curved projedlion with cabochons in centre and on knees of legs, which finish in volute feet. On front of arm uprights are other cabochons and acanthus. Appro- priate silk-damask upholstery, which is not contemporary. A CHIPPENDALE ROMANCE jority, my father, Harold Blake, whose name I bear, had deeded these oil lands to me outright. They had stood on his books in a "Special Account," that the wealthiest and most conservative investor occasionally permits himself to indulge in as an outlet for the specu- lative instindl, which, in the last analysis, lies at the heart of all mankind. I had since entered into a con- tradt with the powerful Royal Dutch-Shell Combine to exploit this land on a royalty basis, they agreeing to pay me the sum of $400,000 forthwith, providing their drills should produce a well flowing at least 10,000 barrels a day, and in addition a bonus of 10 cents per barrel upon all oil produced on the property from that time forward. Having despatched the telegram, bitter memories of the outcome of the audlion-sale again asserted themselves. My regret was doubly keen for the reason that I had been specializing in the coUedlion of Chip- pendale furniture, many of the choicest specimens that had reached America in recent years — some of them in Revolutionary days by way of Virginia and other South- ern states — having come into my possession and been safely stored against the time when I should call them forth to live again. That day was still of the future, for, [23] A CHIPPENDALE ROMANCE as my Chateau en Espagne, I had conceived the thought of eredling as an appropriate setting for this XVIII Century English furniture a Georgian House in America, whose ordered facade in fancy rose before me with the same beauty and dignity as though Sir Christopher Wren or Inigo Jones were here today to prepare its plans. And Fancy (the traitor!) had also painted that book-case as the central feature of the library furniture, if not of the whole colledlion! I would tell my grievance to Rose Lee. She, as a collector, would understand; though how far she would sympathize I could scarce surmise, owing to the brief acquaintance that had been ours. We had met at occa- sional afternoon-teas, concerts, and audlion-sales of old furniture, our interests at the latter never clashing, as she confined her coUedling to the period of the Adam Brothers and the contemporary Hepplewhite and Shera- ton designs of 1775 to 1800, without embarking in the Chippendale era just preceding. She had fortune, an assured station in life, and was undeniably handsome. Yet with all the social advantages of a tall figure, dark, lustrous hair, brilliant coloring, eyes that revealed greater depths beyond, and faultless taste in dress, she was so engrossed in her furniture-colledling and the study of [24] BREAKFAST TABLE Chippendale style. Cabriole legs, bearing on knees mascarons of lions' heads holding ring in mouth, from which hang floral sprays. Feet, a lion's paw grasping ball. ARMCHAIR Hepplewhite style. One of pair, with five side-chairs. Heart-shaped back of interlacing curves and festoons, with half flower at base. Arms in cyma curves, with rosettes where joined by uprights. Tapering legs. Modern upholstery. A CHIPPENDALE ROMANCE music, that all other interests in life were subordinated to these two absorbing pursuits. The salon into which I was ushered — her favorite Adam room — contained the principal treasures which she had gathered about her. The charadleristic features of this period of the later Georges were here blended into a harmonious whole — from the sweeping oval of the ceiling with its sub-divisions of smaller ovals and circles, to the inlaid marble fire-place flanked by ram's heads, supporting on its mantel a row of Wedgewood vases, across which white Roman vestals in fluttering draperies danced airily upon a field of pale green. An old spinet stood at the farther end of the room, its up- raised lid forming a decorative panel depicfting a garden- scene with groups of frolicking cherubs engaged in a mimic battle of flowers. The serpentine curves and un- dulating red-brown surfaces of a neighboring sideboard suggested an old 'cello or bass viol, while a pair of half-round commodes in the Adam style relieved the dull-green panels of the room with their soft, yellow, satin-wood tones. Mirrors of the same era, supported by winged griffins, their gilt frames dulled by time, threw back refled:ions from the wall. Hepplewhite tables and chairs, the latter with shield and heart-shaped backs and [29] A CHIPPENDALE ROMANCE square, fluted legs terminating in spade feet, and Sheraton chairs, sofas, and cabinets, with their straight vertical lines, added the final note in re-creating the atmosphere of the period. On every side the decorative use of urns, rams' heads, sheaves of wheat and oval medallions of conventionalized sun-flowers proclaimed that the Adam Brothers still reigned a century and a half later than their day. From this old-world environment. Miss Lee, in soft, white, clinging chiffon, with a dash of apricot at her belt, came forward to greet me with a cordial smile of welcome. "Delighted to see you, Mr. Blake. Have you been to any more thes dansants since the one at Sherry's the other afternoon.?" "No, Miss Lee; in fadt, I am not very keen on that form of entertainment. Not that I did not enjoy our maxixe well enough, but the one-step, even when stripped of its coarseness, is still ungraceful, while the hesitation is a departure from the true waltz-form, whose novelty, to my mind, doesn't justify itself. Oh! for a good old Strauss waltz once more! Shall we ever hear one again?" "Not while the present rage lasts," she answered. [30] MIRROR AND MANTEL Adam style. Marble mirror, the frieze and pilasters inlaid, which decorative feature came into especial vogue about 1775. Urns are sculptured in relief on the upper pilasters and in central tablet. Contemporary steel basket-grate. Mirror-frame in double concentric ovals, outlined in pearl-edge, and supported on winged griffins and open floral scrolls. The frame surmounted by an urn holding sprays of wheat and flanked by rams' heads, from which hang garlands of drapery. Mirror, mantel and grate typical of the Adam style of decoration. A CHIPPENDALE ROMANCE "The world has gone dance-mad, and any one presump- tuous enough to question the right of the modern dance to exist is at once consigned to outer social darkness! Yet, to be quite frank with you, I find my ear tiring of the endless cross-beat of the music, and longing for ac- cent as well as beat to fall once more upon the first note of the measure. The great composers of the past who have used syncopation sparingly to give variety and piquancy to their rhythms would turn in their graves if they knew the abuse to which it has been put in the modern dance-music, which is so trashy as to sound the death-knell of the step which it accompanies, when the present craze has passed. Can you conceive of Deslibes, Saint-Saens, Humperdinck, Boccherini, Johann Strauss, or any other master of the dance-form prostituting his art to the writing of music for a turkey- or fox-trot .f"' "That would require a vivid imagination, I confess, yet I am quite of your mind that any one attempting to stem the tide of popularity of the dance of today would find himself much in the position of Mrs. Partington with her mop and treadle trying to keep back the At- lantic Ocean! How much more interesting to give one's thoughts to things of permanent value with a perspec- tive — objedls of beauty, for instance, which have come [33] A CHIPPENDALE ROMANCE down to us from another age with the soul of the artist who conceived them visible in every line. Take old furniture — " "But," Miss Lee hastily interrupted, a turn of her head outlining the oval contour of her cheek, "we need not look to the past for all things beautiful, and we don't want to deceive ourselves into fancying that simply because a thing is old, it is for that reason alone superior. There is one field of art in which the achievements of today will, I think, compare favorably with any that have been made in the past," — her glance lingered lovingly upon her spinet, — "and that is — music. The Renaissance and Palladio proved to be the high-water mark in Italian art and architedlure, the Elizabethan Age in English literature and the XVIII Century in the same nation's arts and crafts, the Sung dynasty in Chinese pottery, and the Ming in porcelains, the XVII Century in Japanese lacquers, and the same period in Persian textiles, while France, the stronghold of modern painting, has been in the throes of a recession in its art-wave for many years past. What a satisfadlion, then, to feel that there are at least three modern musical composers whose works place them in the Temple of Fame side by side with the giants Beethoven, Bach, Brahms, Mozart, Handel, [34] HALL CHAIR One of pair. The back is formed of a conventionalized shell with open- convolutions and terminates in volutes at junction with seat, which con- sists of a second concave shell. Flat legs in cyma curves. Central panel in back bears coat-of-arms of the extindt earldom of Rochford. A CHIPPENDALE ROMANCE Haydn and Wagner. I refer to Richard Strauss, Cesar Franck and Edward MacDowell, — Strauss with his fer- tile invention, titanic grasp of musical ideas and mas- tery of orchestral color; Franck with soul attuned to celestial harmonies, and scaling the loftiest heights through the purity of his themes and the perfedtion of his form; and, finally, our own MacDowell (alas! that he should have been cut off in his prime), to whose sensitive ear and deep musical spirit, all Nature sang in divine melodies!" "I believe your choice is well made, so far as we can now judge," I admitted, "yet I warn you that prophe- cies of the niche that will be accorded by future genera- tions to the musical heroes of today are apt to prove false. But, Miss Lee, — my Georgian House that I told you about, — I have met with a serious set-back in its plans. I had counted on making an important addition to its library from the audlion-sale of old English fur- niture at the Fifth Avenue Galleries a week ago. You weren't there — it was all Chippendale and wouldn't have interested you — " "Pray do not impute to me an interest in the Adam period alone," my friend replied in lively protest, "even though my coUedling has been confined to that school. [37] A CHIPPENDALE ROMANCE All fine old furniture and antiquities appeal to me, and have I not even an advantage over you that I may still, if I choose, go into earlier periods, and yet be 'within the picture,' while you can never draw from any craftsman later than Chippendale without stepping outside?" "Well, at all events," I replied, "I had discovered among the exhibits what would have completed my library, — a bookcase of the first order of design and workmanship, almost the exadl counterpart of one in Chippendale's Gentleman and Cabinet Maker s Director." "And what was its fate under the hammer?" "Snatched from my grasp by a stranger who outbid me," I answered gloomily. "Thinking he might be buy- ing to re-sell, I have since visited every old-furniture shop in Fourth and Fifth Avenues without avail, and finally sought light from the audlioneer, only to be informed that he was pledged not to disclose the name of the real buyer, — apparently a private coUedlor." "Isn't yours the common fate of all antiquarians," Miss Lee rejoined sympathetically, "where there is but one original and hundreds who desire it? If you had secured the bookcase, the disappointment you now feel would simply have been transferred to the one who [38] RECTANGULAR CENTRE TABLE Chippendale style. The central decoration of the frieze consists of a whorl of acanthus leaves, with spirals from which extend sweeping sprays outlining the lower frame in graceful curves. Cabriole legs terminating in knobbed volute feet are similarly ornamented, while three mouldings in varying flower-designs extend around the table in steps beneath the top. Vases with bell-flowers are carved in strong relief near each corner. A specimen of superior strucftural design, with decorative motives growing naturally therefrom. A CHIPPENDALE ROMANCE failed to do so. But, Mr. Blake, aren't you allowing the Chippendale cult to blind you to the merits of his imme- diate followers? — for to them belongs the credit of embodying color for the first time in English furniture, Hepplewhite employing marqueterie and Sheraton in- laying, while hand-painted decoration and rare and exotic woods also came into vogue at that time." "Quite true," I responded, not unappreciative of my friend's kindly intent to divert my mind from a sore subjedl to the general discussion of one in which our interest was mutual, "but it is equally the case that Chippendale introduced form. Like the great composers, the ornamentation of whose symphonies sprang from their main themes, Chippendale's designs were first and always structurally sound, the carving and decoration growing naturally out of the form first created. The faA that the single medium of wood sufficed to produce his finest efled:s, while other schools depended for their enrichment upon the further use of tapestry, painting, brass, buhl and inlay, is but another proof of the perfection of his designs." "And yet the Adam Brothers' school was created by way of protest against the extravagances that those de- signs had reached," Miss Lee insisted, "finding its chief [41] A CHIPPENDALE ROMANCE inspiration in the Classic. Frankly, could anything be lovelier than the lines of that Grecian urn which forms the chief decoration of my mantel-mirror?" Her glance rested confidently on this feature of the frame, satisfied that it would command my equal approval. "They are certainly very beautiful," I agreed, admir- ing the chaste decoration; "but, except in rare instances, I cannot admit that Chippendale erred in being extrav- agant in his designs. This was simply the view of his successors, which not the less resulted in the formation of a new school of furniture. So with the later Vidlorian craftsmen, who did not approve of the vastly superior creations of the XVHI Century, and proceeded to treat their patrons to something new and different, by inflidling upon them their heavy and unwieldy designs. Yet this movement no more reflected upon the real merits of Hepplewhite and Sheraton than that of the last two did upon the earlier Chippendale achievements." "Your view, then, Mr. Blake, is that these three succeeding schools marked the progress of the English art-wave of that era, — rising, falling, and ever evolving new forms, of whose merits we of a later day are in the best position to compare and judge dispassionately." [42] WINE COOLER Plain body, the lower half formed of an encircling band of upright godroons, each decorated with a spray. The toot is splayed and rests on a square pedestal. The ovolo moulding forming the lip is ornamented with a rich scroll-and-flower design on a matted ground. From the melon- shaped finial at the top of the cover radiates a series of oval loops outlined by strap-work and surrounded by a border of alternate flowers and darts. An original and convincing design, evincing talent of the first order on the part of the e.xecutant. A CHIPPENDALE ROMANCE "Exadtly. Then Chippendale's many-sided talents inevitably aroused jealousies, owing to his instant grasp of decorative ideas wherever existing. Drawing from the Classicism of ancient Greece and Italy down through the Renaissance, he levied tribute as well on China, Hol- land and France, from each of whom he borrowed ap- parently incongruous material as motifs for his designs, and welded them through the white heat of his genius into a harmonious whole. This was in part accomplished through his fine seledtive faculty — itself a mark of genius — which enabled him intuitively to rejedl such material as was unfitted to serve his artistic ends." "Then upon your own showing," Miss Lee flashed back, "Chippendale was a plagiarist!" "By no means," I replied with equal warmth, "if we are to accept Lowell's words: ' Though old the thought and oft expresst, 'Tis his at last who says it best.' Originality must have elements to build upon that are of necessity already known, but must earn its claim to the title by so adapting those elements as to make them its very own. This is just what Chippendale did, for what- ever the charadler of the detail, or the source from which [45] A CHIPPENDALE ROMANCE he drew, he left the impress of his mind upon the result. Is it strange, then, that where other periods of furniture are known by the name of the sovereign under whose reign it was produced, this royal prerogative ceases in the case of Chippendale, whose name alone is employed when referring to his produAions?" "Ah, Mr. Blake, you are indeed a redoubtable cham- pion of Chippendale! But pray tell me how your interest first came to be aroused in him, as well as in old furni- ture in general," Miss Lee added, her dark eyes dancing with curiosity. "It happened in this way: I had gone to a neighboring city some years ago to attend my first audlion sale of an- tiques. As I should view it today, the colledtion was made up of inferior Colonial and lumbering Victorian pieces in the vitiated taste that ushered in the XIX Century, but the odd shapes and unusual designs made such a strong ap- peal to my then untrained taste, that I had about decided to embark on the career of a colledlor that very after- noon by bidding off several of the tables and chairs." "And, like other inexperienced colledlors, I fear you bought them, only to cast them aside later when your taste developed," my friend rejoined with a furtive twinkle in her eye. C46] J CARD TABLE Chippendale style. One of rear legs unfolds, forming support for the lid, which here rests upon the table-body. The square formed when open is provided with four concave ovals for counters and circular spaces for candles at the corners. The frame is ornamented with two lozenges crossed by an X on either side of a central design in C curves. The cabriole legs end in shell feet resting upon balls and are decorated upon their knees with cabochons and acanthus. A rosette-and-ribbon band runs around the top. A CHIPPENDALE ROMANCE "No; I was spared that usual experience by a bit of good fortune. While awaiting the hour of the audlion, I had wandered into a nearby cabinet-shop devoted to the restoring of old furniture, and after glancing over the sundry odd pieces in process of repair, my attention was drawn to the upper sedlion of a secretary bookcase that held me entranced." "Was it Hepplewhite or Sheraton.?" inquired Miss Lee, still loyal to her gods. "Neither, — it belonged to the Chippendale period, and was a superb example of the master-designer in his favorite mahogany. Latticed glass doors in geometrical patterns enclosed the shelves, while the top was sur- mounted by a broken pediment, beneath which ran a dentil band and a design in relief fret-work, which bespoke the potency of the Chinese influence upon the cabinet-work of that day. Pressed for the name of the owner, the shop-keeper replied, 'Why, it belongs to Remington, the colledlor, whose old furniture surpasses anything in the state; but you cannot hope to deal with him, for he is himself a buyer rather than a seller, and his prices are prohibitive.'" "And even this did not deter you?" Miss Lee queried. "No; the lure of that exquisite cabinet had taken [49] A CHIPPENDALE ROMANCE full possession of me, and another half-hour found me within the portals of an old brick Colonial mansion, await- ing my host's arrival. One glance at the superb fur- nishings of the hall revealed for the first time to my delighted gaze the possibilities of artistic furniture, as con- ceived and executed by the representative cabinet-makers of the XVIII Century. All interest ceased in the auc- tion of the afternoon, for from that moment I uncon- sciously adopted a standard of quality, by comparison with which, inferior specimens would no longer satisfy me." "What did you see that so impressed you?" Miss Lee inquired with gathering interest. "A colledlion of elaborately carved American Colonial furniture, inspired by the designs prevailing in England from 1735 to 1800, mingled with some fine examples of Chippendale. Here reposed a shining array of mahogany cabinets holding rare colledtions of tortoise-shell and salt- glaze, high-boys and low-boys, corner-cupboards, chairs, sofas, consoles, tabourets, pie-crust-edge and tilt-top tripod tables, and mantel-mirrors supporting dainty garni- tures of blue-and-white Chinese procelains. Cabriole legs, their knees embellished with acanthus leaves and terminating in claw-and-ball feet, formed the supports of [SO] A CHIPPENDALE ROMANCE nearly all the sofas, chairs and tables. Five-color K'ang-hi porcelain vases, antique Persian rugs, urn-crowned brass andirons, and two large Hobbemas, in the artist's best vein, lent the final touches of color to the rooms." "And meantime what of Remington, the owner of all this splendor?" "He finally appeared, a man of middle age and serious asped:, the ferret-like nose of the antiquarian, and a sonorous voice whose tones deepened into thrilling vibrations when discoursing upon his pet hobby. I have since heard vague rumors of a disappointed romance having come into his life, that left its shadow upon him, and perhaps caused the sombre mien that he habitually wore. There was gossip that he was in the habit of playing the races, and taking even longer chances in rooms devoted to the purpose; but whatever his private life may have been, his love of the beautiful was as sincere as his taste was refined and discrimi- nating. I have wondered often since how he came to be possessed of this dual personality, and thought what an interesting study in heredity it would be to trace back these opposing traits to his ancestors, male or fe- male, who originally gave them birth. This, however, was pure speculation, for when we were together, his [53] A CHIPPENDALE ROMANCE whole heart and soul were so wrapt up in his coUedlion, and his mind so absorbed in perfedling it, that our con- versation rarely extended beyond our favorite topic." "Certainly an interesting character," Miss Lee re- marked, mentally absorbed in the study of the portrait I had drawn. "Did he give you any practical suggestions that you have since found of value?" "You shall hear in his own words," I replied, — "'And so you plan to become a coUedlor,' Remington began, after I had made known the objedl of my visit. 'Then let me give you a bit of advice, Mr. Blake, drawn from my own experience: be prepared for two things, — your selfishness and honesty will both be enhanced by this pursuit. Your selfishness, because you will never see a fine piece of furniture in future, without wanting to possess it; your honesty, because love of the genuine will so dominate you that, far from knowingly pur- chasing a "fake," you will throw out of the window any piece of your own, concerning which you might come to have the slightest suspicion. An atmosphere of other days surrounds a genuine antique which does not exist in a reprodudlion, no matter how cleverly the modern artisan may try to imitate the creative lines of the original. The satisfad:ion of knowing that every one of [54] LIBRARY CHAIR One of six. Chippendale style. "Key-hole pattern." Splat outlined by strap design in cyma and C curves framing an ingenious interlaced pattern, at once delicate and strong. Stiles faced with bead-and-reed mouldings. Cabriole legs, acanthus upon the knees, and claw-and-ball feet. A CHIPPENDALE ROMANCE his treasures is original far out-weighs any specious ad- vantage the coUedtor might have in claiming to his friends the authenticity of a specimen which he knows in his heart of hearts to be a sham. Poor as my sight is, it is sufficient for me to distinguish a reprodudlion as far off as I can see it, and to judge at the same time whether its claw-and-ball feet originally grew there.'" "'Speaking of claw-and-ball feet,' I rejoined, 'I see that they abound in your coUedlion, although in Chip- pendale's Diredor, but few examples appear.' '"But many of the choicest specimens in the Chip- pendale school are not the less so equipped,' he explained; 'for Chippendale, as you know, had numerous followers, — Johnson, Manwaring, Lock, Ince and Mayhew among the others. And consider the antiquity of the claw and ball! Starting with the Oriental design of a dragon's claw clasping a pearl, it has come down the remote ages from some ancient Chinese dynasty, until England adopted it from Holland in its present form. It carries a long way a piece which would otherwise be only mediocre.' '"I notice too, Mr. Remington, a glossy polish in the finish of all your specimens, not excepting the frames of your mirrors, which one would hardly expedl to find upon furniture undoubtedly old.' " [57] A CHIPPENDALE ROMANCE "'That is the work of my restorer, whom I instrudt first to make all necessary repairs, then to scrape away from the surface of the wood every vestige of the "tooth of time," and lastly to shellac and rub down with pumice- stone and oil. The "egg-shell" finish resulting is the near- est we can conceive to being the condition in which the pieces originally came from the hands of the maker, — and how could we hope to improve on that?' "'Now a last word upon your forthcoming collec- tion,' Remington resumed. 'Remember, the supply of fine old furniture is constantly diminishing, and, con- versely, the number of wealthy purchasers as constantly increasing. Pass by all the second and third-rate articles, for there will always be enough and to spare of them; but when you come across a really fine piece, buy it of the owner at any price, for even though you may think he is cheating you, you are cheating him!'" "Here endeth the first lesson in furniture coUefting, Miss Lee," I concluded with mock solemnity; "and this was how I was spared the all too frequent experience of starting wrong." "You certainly owe him a debt of gratitude," my hostess responded, "and his advice seems in general sound. But have you followed all his precepts?" [58] DUMB-WAITER Chippendale style. Construiflion similar to regular tripod table, with the exception of its being built in tiers. A running vine with blossoms entwines the column, which springs from the junftion of three cabriole legs carved with acanthus and ending in volute feet. The edge of tiers is raised, and ornamented with the same pattern of running vine. Each tier revolves around the central column, the better to serve its original purpose of being laden with dainties for the table and placed before each guest for his choice. STOOL Chippendale style. Cabriole legs richly carved with acanthus and finishing in Dutch angular feet resting on shells. An acanthus spray joins leg to seat-rail, the lower edge of which is ornamented with a shell border. Original red-damask upholstery. A CHIPPENDALE ROMANCE "In nearly every way his views have exerted a strong influence over my own, expecially in the matter of claw- and-ball feet. Indeed, so ardent has been my pursuit of this decorative feature that Parker rallied me at the club the other day by declaring I would never marry, unless I found a girl with a claw-and-ball foot!" The color rose to Miss Lee's cheeks, while her glance fell to the point of her dainty slipper, as she made quick reply: — "I fear I can never agree with him in his ideas upon finishing antique furniture, which, from what you tell me, I believe he oz'ifr-restores. He must have fallen under the malign influence of a writer I have just been reading, who, in pointing out the way to treat old furniture wrecks, cheerfully recommends that they be 'Given a polish of so brilliant a hue As to make them look newer than when they were new !'" The humor of her glance gave place to a graver expression as she continued: "Seriously, why remove all marks of age and wear from a curio that is in reality old, and should not therefore look otherwise? The re- sult can only be a hybrid new-old appearance, that is neither one thing nor the other. Would he rub the [63] A CHIPPENDALE ROMANCE verdigris off an antique bronze?" Miss Lee inquired with flashing eyes, secure in the position she held. "When he orders the surface of his old furniture scraped, he is sacrificing its most precious quality, — the patina that only time and abrasion can produce, — and I would not entrust one of my pieces to such treatment." Her glance rested serenely upon the surrounding time-mellowed an- tiques, all undisturbed by modern 'restorations.' "I quite agree with you," I answered, "for I soon realized that the novelty of seeing a moldering specimen emerge transformed from the restorer's hands, with shining surfaces and fresh, new tone, in nowise equaled the lasting satisfaction of viewing it as it had come down from our forefathers with all the ear-marks of time and use undisturbed. So I have been gradually drawing away from Remington's theory, until now I buy only 'in the rough' and pradlically limit my restoring to the supply- ing of ad:ually missing parts." "Remington next came into my life some years later in an unexpedled way," I continued. "I was strolling up Fifth Avenue at the time, when I chanced to see standing by itself in the window of an audlion-room an antique mahogany low-boy with cabriole legs, the knees of which were richly carved with acanthus, and C64] SIDEBOARD TABLE One of pair. Early Chippendale style. The lower frame is in a curved projedtion, outlined below in graceful curves following the outlines of sprays of flowers and acanthus. A pendant shell forms the central decoration, while other shells are applied to the knees of the cabriole legs, which end in animal's feet. A CHIPPENDALE ROMANCE finished in claw-and-ball feet. Its corners were embel- lished with fluted quarter-columns, its central drawer with a concave shell and streamers, while a conven- tionalized shell-pattern ran gracefully around its skirt." "It surely was a trouvaille," Miss Lee exclaimed, "providing you were satisfied it was a genuine antique." "That question I at once set about solving by step- ping into the window to make an examination by the full light of day. I can see now the smiles of the passers-by as they watched my movements, — removing the drawers, studying the age of the unpolished sur- faces, peering into the joints, until — " "You could hardly blame them where you were plac- ing yourself on exhibition, as well as the low-boy! But you were quite justified, — I am inclined to think I should have done the same thing myself! — Do go on — " smiled Miss Lee. "Well, it proved to be a real 'old timer,* battered by age, but conceived and built on honor; so I decided to return and bid it off that very afternoon. Happening on Remington a few blocks away, he at once launched into the risks a coUedlor ran in being saddled with a 'dummy.'" '"Why, only this morning,' he went on, *I saw the 1^7^ A CHIPPENDALE ROMANCE cleverest kind of fake in the form of a low-boy which had been filled full of bird-shot and resort had to other devious devices to give it the semblance of age. Did you chance to run across it?' "I replied that I thought I had, and it might prove interesting to see what would become of it that after- noon at the audlion; whereupon Remington, finding the cat was out of the bag, consented to join me." "As we took our seats within easy view of the auc- tioneer, I noticed among the gathering a number of familiar faces of furniture coUedlors I had met in widely different parts of the country, but none of whom evinced much interest in the old junk which made up the bulk of the offerings, and for which the bids dragged along in desultory fashion. Just before the low- boy was reached, one of these collectors, Chalmers by name, approached and bade us 'goodbye,' 'as there seemed to be nothing especial of interest and he must catch an out-going train.'" "The fateful moment at length arrived, when the knight of the hammer announced: 'Now, gentlemen, we come to a time-honored relic of other days — a genuine an- tique — and what is your value?' Instantly the air was electric. Bids followed each other in rapid succession [68] A CHIPPENDALE ROMANCE and at ever increasing figures. Looking about for the source of this keen competition, I discovered an adlive bidder in the rear of the room in no less a person than Chalmers himself, who had returned after appar- ently losing his train, and found something to interest him after all! Of one thing I was satisfied, — if any con- firmation of my own belief were needed, — that in the light of this adlive bidding from leading connoisseurs, the antiquity of the low-boy was no longer at issue; and yet Remington and I gave no sign to the audlioneer." "Was that because your friend was really suspicious of it?" "Far from it, for I afterwards learned that he had placed his limit with a bidder who was adling for him in another part of the room." "Then why were you silent, with your confidence in the genuineness of the piece unimpaired?" Miss Lee inquired, her curiosity now thoroughly aroused. "Because I was following my plan of waiting for the psychological moment when the competition should ex- haust itself, which, unlike my late experience, at length actually arrived. I then off^ered a small advance and the low-boy was knocked off to me on my single bid." "Bravo! Mr. Blake," my friend rejoined with en- [69] A CHIPPENDALE ROMANCE thusiasm, "you were rightfully entitled to the prize for having had the courage of your convidlions, and I con- gratulate you on never swerving from your purpose under trying circumstances." "Thanks, Miss Lee! The incident taught me that the 'enhancement in honesty,' which Remington had assured me would result from becoming a collector, was, with him, at least, chiefly concerned in being honest with himself in scorning reprodudlions in his own colledlion. It also furnished an illustration of the soundness of his original statement (although I did not dream I should so soon be crossing swords with him and Chalmers on this very point) that 'no real colledlor can see a fine piece of furniture without wanting to possess it.'" "That is indeed true." Miss Lee answered with con- viction, as we shook hands and parted. My visits to the New York antiquity shops were not wholly fruitless, if they did fail to locate the book-case, as one large importer had informed me that he was just in receipt of a cable from his London branch that they were shipping that day an extremely fine Chippendale china-cabinet, upon which I immediately took the refusal. An entire building on Fifth Avenue was devoted to the [70] MANTEL CLOCK Chippendale style. Marble base, with brass railing in open fret design, from which rise four decorated columns supporting clock. Pagoda roof with Mandarin seated beneath umbrella and with miniature bells hanging from every available support. A CHIPPENDALE ROMANCE requirements of this importing-house, one floor being confined to oil-paintings, another to Chinese procelains, still another to English furniture, a fourth to French, while the ground-floor was variously decorated according to the ever-changing stock of antiques in hand. This morning I made my way through an imposing array of old masters, suits of ancient armor, rich brocades, stuffs and embroideries, tall vases decorated with the con- summate art of the Celestial, Gobelin tapestries, Italian marble statuary from the chisels of the inspired sculptors of the Renaissance, reliquaries of rock-crystal studded with gold and precious stones, tracing their ancestry to some remote church or convent, together with a host of other objets d'art, bibelots and bric-a-brac. But these fleeting impressions were forgotten when I reached the English room and stood enraptured before the real objedl of my visit. I recognized the piece at once as being almost identical with one in the Diredor — a cabinet so charged with Chinese feeling that it might almost have been fashioned by an Oriental, had not contour and detail been so ingeniously adapted by its master-designer to harmonize with the mid-XVIII Cen- tury English school, as to place it at once among the first produdlions of Chippendale's genius. Its body was made [73] A CHIPPENDALE ROMANCE up of three compartments, the middle one higher and broader than the wings, and surmounted by a ribbed pagoda roof in sweeping curves, beneath which ran an open fret design. From the topmost scrolls, as well as from the upper corners of the wings, hung miniature bells. The chief feature of the tracery forming the glass panels of the doors consisted of a large upright oval of bell-flowers, in conjunction with smaller geometrical forms. The lower section was ornamented with a broad fret band carved from the solid wood, which ran across the entire front beneath the doors. Flat legs formed the supports, their faces carved with pendants of flowers in sunken panels, and finishing in double scrolls. Several panes of the original glass were still inta<5t, — readily distinguishable by the cross-veining charadleristic of the cruder processes of the glass-makers of that day. In spite of my eff^orts to repress the enthusiasm that I inwardly felt for the antique, realizing how costly such betrayals are when made under the eye of an alert dealer, I found it was held at a considerable sum, — quite beyond what I could in reality afford. A somewhat lower offer from me failed to move the heart of the owner, who exclaimed: "This cabinet is absolutely unique; in all my experi- [74] CHINA CABINET Chippendale style. Body in three compartments, '*the middle one higher and broader than the wings, and surmounted by a ribbed pagoda roof in sweeping curves, beneath which runs an open fret design. From the topmost scrolls, as well as from the upper corners of the w'lngs, hang miniature bells. The chief feature of the tracery forming the glass panels of the doors consists of a large up- right oval of bell-flowers m conjunction with smaller geometrical forms. The lower sedlion is ornamented with a broad fret band carved from the solid wood, which runs across the entire front beneath the doors. Flat legs form the supports, their faces carved with pendants of flowers in sunken panels, and finishing in double scrolls." [Page 74.J In quite the same high class as the book-case forming the frontispiece, this china-cabinet, which could only have sprung from Chippendale's genius, represents the consummation of skill in adapting the Chinese influence to the English furniture of the XVIII Century. Outline, proportion and beauty of design here reach the height of artistic creation and render this cabinet unique among furniture productions. A CHIPPENDALE ROMANCE ence, I have never seen one like it outside of Chippen- dale's book, and never expedl to again! I will take your offer under consideration, Mr. Blake, but the option I gave you ceases from today, as I cannot afford to tie my hands further." So the matter rested until the ensuing morning, when, still hoping to close the purchase, I presented myself at the store. As I entered, an individual of dark coloring passed by, whofee face struck me as being somewhat familiar, to which fad: I gave no particular thought at the time. The dealer greeted me — "Good morning, Mr. Blake, — sorry to disappoint you, but the china-cabinet was sold at my full price only five minutes ago." "Impossible," I cried, stung with regret, — "who bought it?" "The man you just passed at the door." "Who is he?" I interrogated. "I am not permitted to disclose his name, or that of the person for whom he is in reality buying." The whole truth flashed upon me — my rival of the audtion-room — my Nemesis and arch-enemy! I bent my steps homeward, keenly repenting that I had not paid the asking-price the previous day, and 177^ A CHIPPENDALE ROMANCE assured my possession of the treasure before it was too late. Whether Fate held that I was sufficiently disciplined by this second defeat, and now entitled to some com- pensating favor from her, I know not, but there lay on the desk upon my return a paper which was destined to change my whole outlook upon life. It was a day-letter telegram from Mexico, in answer to mine of a few days ago: — Panuco, Vera Cruz, Mexico Harold Blake — New Tork Telegram received. Number 2 came in at j.jo P. M. Depth 1806 ft. Ran wild for 12 hours, the heavy pressure throwing 2-ton drilling-tools out of the hole and breaking valve and connexions with accompanying loss of 2^,000 barrels. Put on our men in 10 minute relays, employing diving-suits to enable them to work in the oil up to their necks and wind-fans to blow of the noxious gases. High pressure fittings now in place, clamped by 2 inch steel bolts to four heavy pieces of timber cribbed at depth of 8 ft. below surface and anchored down by 100 tons solid con- crete. Well in control and producing at rate of 125,000 bbls. per day based upon measurements of flow for 5 hours. Shipping oil by every available barge. Remitting certified [78] SMALL CHINA CABINET Chippendale style. The body is of glass with mouldings in geomettical designs, and is separated from the stand by a concave shell border. Below are drawers and shelves with bead moulding, which serve the double purpose of bracing the legs and affording additional space for china display. A fluted pagoda roof, whose four corners extend in delicate volutes, rises in graceful curves to support a finial with dripping-water efi^edts, which is not contemporary. A "Chinese Chippendale" specimen of rare charm. A CHIPPENDALE ROMANCE check $400,000 to be followed by monthly payments figured upon daily fl,ow as per agreement. COMPANIA DE PETROLEO LA CORONA What possibilities lay within these magic lines, unfold- ing to the imagination ever widening vistas! With boundless wealth, and the power that goes hand-in-hand therewith, the world was mine to command! No more haggling over the price of masterpieces, and losing them in the process, — instead, the luxury of following Rem- ington's advice to "buy even though you think you are being cheated," safely trusting to the inexorable law of supply and demand to justify the purchase many fold in the fullness of time. Here at last was the opportunity to complete my Georgian house 'to the Queen's taste,' with everything pertaining to modernity banished, and nothing per- mitted to cross its sacred portals save original furnishings of the period! If American markets could not supply these essentials, what more likely field than England, the home from which they sprang? I would sail imme- diately after that check reached me (ah! if it had only come a fortnight earlier!) and scour all Europe, if neces- sary, to fulfil my cherished dream. [81] A CHIPPENDALE ROMANCE Rose Lee certainly was beautiful, even if cold; engrossed in her music and colledling, with no thought beyond. How vigorously she challenged my Chippen- dale tenets and sprang to the defence of Hepplewhite and Sheraton! After all, though, that was a healthy clash of mind against mind, and better than calm acquies- cence in the opposing view. Then, beneath the sur- face, she seemed interested in my scheme of a Georgian house, and was kind-hearted in trying to divert my mind from the disappointment of losing the book-case. Yes, I would make her a farewell visit before sailing, if only for a few moments. "Miss Lee," said I, on entering her salon, "history has been making since we last met." "And favored you at the same time, I hope," she smiled back, motioning me to a seat opposite her. "Yes and no," I replied, "I am struggling between joy and sorrow, for I have just missed another oppor- tunity of securing a superb Chippendale china-cabinet, which would have occupied the same post of honor in the drawing-room of my Georgian house that the book-case would have done in the library, — and the same mysterious buyer checkmated me a second time. Almost in the same breath, I learn that oil [82] A CHIPPENDALE ROMANCE has been struck on my Mexican lands, where one of the largest 'gushers' in the world is pouring forth its wealth of petroleum, — a willing servant by night and day." "My heartiest congratulations, Mr. Blake, — like the brook, may it 'flow on forever'; but be prepared, — in case it should ever run dry." "In what way?" I queried, wondering what possible menace could disturb the mind of my hostess. "I mean that with this sudden influx of newly- acquired wealth, you would not be human if your scale of living did not also expand. We both know how much your beautiful Geor-gian house will demand from the outset, while lavish entertaining, with so ideal a setting, will as surely follow. Now suppose (which Heaven forbid!) that a reversal in your fortunes should later occur, that would compel you to part with all you had been a life-time in upbuilding, — do you believe that your circle of friends who had so gladly accepted your hospitalities in prosperous days would still stand by you.?" "Pray, why not.?" I answered, my pride wounded at the thought that I might be sought only for the favors I could grant. "I would be the same man, and con- [83 ] A CHIPPENDALE ROMANCE tinue to have the same personal qualities that had met with approval, while family and cultivation, at least to the extent that I may fairly claim them, would still be mine." "And would still be recognized by the less worldly who look beyond the surface to the man beneath, but not by the rank and file. Say what you may, modern fashionable society is founded upon an aristocracy of wealth, to which birth, culture and personal charm are subordinate. It is le monde ou Von s'amuse, where each member looks for entertainment from the other, failing which quid pro quo, the delinquent is no longer sought, and the warmer friendships of earlier days grow cold, or lapse altogether." "Aren't you rather cynical this afternoon. Miss Lee?" I ventured. "The sole qualification for entrance to Brook Farm and the Concord School of Philosophy was high thinking. Then there is that Boston club, whose members are chosen neither from the standpoint of wealth, birth, nor position, but because of their talents, goodfellowship, and having made some definite achieve- ment in the world. With such a coterie of choice spirits, made up of artists, sculptors, musicians, authors, and raconteurs, is it any wonder that every distinguished C84] A CHIPPENDALE ROMANCE visitor to that city is proud to be their honored guest?" "These are but exceptions proving the rule," Miss Lee replied, standing loyally by her colors. "The social fabric is made up of many smaller units whose members are drawn together by their own sympathies and ambi- tions; but, after all is said, wealth, or the fine houses and furnishings, motors and the things that wealth will buy, too often form the sole standard of judging worth. Therefore, a man parts with these social assets at his peril, and in losing his fortune commits a sin which society will not forgive." "Unless he recovers it — " "Which is an admission," Miss Lee returned, "that in the meantime he must continue outside the sacred pale." "Well," I answered, her keen insight into worldly affairs carrying me by storm, "if misfortune should arise, it would at least prove what stuff there is in me! Who knows but that I might still pursue the tenor of my way with the iron in my soul, but a smile on my face, grip- ping life with renewed zeal, and, whatever measure of success or failure might follow, compelling the respedl of every one for a fight well fought!" [85] A CHIPPENDALE ROMANCE Her eyes were alight with sympathy, then, — "I sincerely believe you would adapt yourself to what- ever might arise, Mr. Blake, but in our chat upon wealth and station, we have neither of us spoken of that great leveller of all ranks, — love ; the favored theme of romance and poetry since time began, which, when justly born and rightfully bestowed, is deathless — which recks not whether its objedt be well or ill endowed with this world's goods, or of high or lowly birth, which — " the color surged to her temples and her eyes glowed with deep feeling, as I replied: "A beautiful sentiment, I agree, and one that may come to us all at some time, I suppose; but in the heydey of youth, with life all before us, I, for one, prefer a few more years of freedom and the fascinating sport of col- ledling antiquities!" This thought aroused disquieting memories of my double loss, which not even the good news from Mexico could palliate. I resumed: "I am not sure that the satisfadlion of coming into affluence is not after all offset by my disappointment in losing both bookcase and cabinet; mere wealth can be replaced, but those antiques, I fear, never! Why must there always be a fly in the ointment?" [86] HUNT CHAIR Late Chippendale style. Back framed by a broad carved band with ribbed face. At the top, scrolls and C curves, through which runs a ribbon forming the crestmg. Arms finish m hounds' heads, with cyma curve uprights, which are carved on face. Legs ornamented with lion's head, foot and ball. Upholstered in modern leather. GUERIDON One of four. Chippendale style. Tall reeded column with curved supports, which spring from tripod base formed of cabriole legs with scroll feet. The cyma curve scrolls above bear a small shaped platform with gallery of open fret design. Formerly used as a support for candelabra. A CHIPPENDALE ROMANCE "Don't lose heart, Mr. Blake. It's all in the chase, — somewhere and somehow we may find the equal, if not the superior, of the treasure we seek. This is the incentive which draws us coUedtors on, and adds zest to our search." "Well, mine is going to be continued overseas; for I have arranged to sail for England the coming Saturday for a two months' absence, in the hope of replacing the pieces I have lost, and to complete the furnishing of my Georgian house." Her glance fell before mine, and — was it fancy .? — the crimson seemed for the moment to leave her cheeks, only to return as quickly with its accustomed brilliancy. "Success to you, Mr. Blake! There you will be on the ground, and in the right place to take advantage of every opportunity. I hope, though, that you won't wait until you return to tell me of your progress." She bent forward to fasten in her belt a bunch of jonquils from a mass of the blossoms that raised their golden heads from a Sheraton table near by. "Should you care to write, you may count on my interest in all your experiences, and I shall welcome news of every important 'find' you make." [91] A CHIPPENDALE ROMANCE "You shall hear from me before my return," I re- joined, "although I shall of course be too closely occu- pied in my researches during the first month or six weeks, to leave any time for correspondence. Au revoir! Miss Lee, — luck with your colled:ion!" [92] PIE CRUST TOP TABLE Chippendale style. The edge of the top raised and broken into cyma and simple curves. Cabriole legs and feet ornamented with relief fret carved from the wood. EXTERIOR OF GEORGIAN HOUSE Ogden Codman, Jr., Architecft FRONT HALL Marble floor, groined ceiling. Winding stair-case with wrought-iron balustrading at rear. Mirrors in Chippendale style on left. 00 CO 01 Oh "! 1 ^Ij CJ Ui . O -> ■M o 1 ^ (U 1 Ui "VJ ■1^ ^ c •« (U g ^ « ^^ t^ 't; — 1 O D M !" c b ^ S W) j:: c .y o _C ;^ 15 ^ < - § p^ en D, h— 1 ^"^ hJ ^ -C 8 M a >- c M O c "S OJ _=; p3 ^^ n> en .r; -Q cjH M o id 4-J >. -C u tJ rt l-c 3 c -w O CA C OS ^ 6U ILI O ►v D O a. o o 1 'S- e t5 u C a; o r3 CJ M O O 4J (L) >^ dj ' ' < T3 rt C e^ S -^ C > -P oJ O ^^ o - « 1 1 re . cu < 3 1 — 1 i- U 1 — 1 m re (^ o 13 eorgi k [P servi __rt I I I I O ^1 — ' OJ JJ HH bC M i-r,0-', tjo re o I — I •^i-jO-^ o o 1 o ^ TS C O u (U CO tSj ^ ■LJ tJ/l -. Ut ■M 3 a 4_) s C o JiU o pi; 00 |>'^ H-t a r3 ^ -ra >. »— 1 c -n Q .1" "u B-^ ji ^ •M lU c _Q OJ CJ rt C -C o 5^ lU '> _orj C C c W Ta c E -2 a, S o ^ o C/3 03 E E o 1 o l-H na lU ^ § c 3 o o o o < p^ jS c^ a O ^ O jj M l-H 1— ( Q "9 OS nl 1- c (U (U C/D • t; a. 03 D, -C ^■^ M D iiO O l.s Q . -t-> )-< (U o . OJ > 3 ^ u +J OS I Cen -and-b O S ^ > J3 X " -a c I of with o c CJ !r: «> qj , 1 J= 11 h(l -4-1 c L-i 03 o 6 " p^ ID tJJ3 -^ d g ^— 2 1 I < C Q >— 1 ^ < ,-S CO >. ■I-J OJ CO ^ ,£ 6 ^ 03 ^ o O O eyl (U Q :5^ W s.s CQ Oh -a .rr oj -= > Cj ^ CJ •"■ T3 ^ i;; i-? Ti t-^ OJ Ji -G OJ mod right N c E tuO 11 ^ OT many blocks from Leicester Square, in a quiet shaded court, with terraced gardens lending color and fragrance to the air, stands the stone mansion of Yorke, the famous London colledtionneur. Its spacious rooms are filled with rare English XVIII Century furniture and silver, china, porcelain, and works of art, producing an effedt so complete that, when I first entered, it seemed almost unfair to my host's menage to suggest the pur- chase and removal of any portion of his household gods, had I not been previously informed that not only would no offence be taken, but that nearly everything in the house would be "parted with," — "at a price" — and with "apparent reluiflance " ! Truth told, old Yorke was householder, collector, and dealer in one, not to men- tion dabbler in oils, which pursuit he followed upon an upper floor in a studio with a North exposure. His figure was a picturesque one as he descended the stairs in black velvet blouse, his head snowed by many winters, with an expression that seemed forever searching for the beautiful, and with features that took fire when the subjed: turned upon art in whatever form. [127] A CHIPPENDALE ROMANCE "You are wise, Mr. Blake," he began, "in confining your coUedling to the golden era of furniture produdlion, in which the influence of Chippendale was paramount. He was the pioneer in the taste of his day, and it was to him that the group of cabinet-makers surrounding him looked for guidance and inspiration. His designs were the embodiment of form, symmetry, balance, and harmony." "I am quite in accord with your views of his talents," I replied: "but how do you explain the supremacy he held in his field? Granting his construd:ive thought and unfailing eye for contour, what features of decoration do you consider he used most effedlively.?" "His principal motifs were details from the orders, the acanthus leaf in infinitely varied forms, Gothic, rococo, the shell, modeled to life and in conventionalized running pattern, the scroll, volute, rope-edge, the fret, both open and applied in relief, cartouches, the heads, paws, and talons of birds and animals, and, in the choicest produdlions, mascarons bearing the human features. For the oak and walnut of Queen Anne and George I he substituted the warmer, richer mahogany, and with true mastery of technique applied to the cruder designs of those earlier days a lightness, grace, and ele- [128] CHINA TABLE Chippendale style. The shaped top is bordered by an open fret railing, beneath which runs a rosette-and-ribbon band and a graceful shell border which outlines the lower member. Cabriole legs, their knees decorated with acanthus, spring from the corners in curves flowing strudturally from the bed of the table. Volute feet resting on shells. The cross-bracing beneath is in the form of C scrolls supporting a large flower at the centre, with dripping-water efi^ed:s. Originally gilt. None but a master of his craft could have conceived and executed this superb example of Chippendale style, as afFeAed by the potent Chinese influence of the day. ROCOCO CHAIR One of four. Chippendale style. The stiles are reeded and join the top rail with a spray of acanthus. The splat is of delicate modeling, in which the shape of the spaces properly had equal consideration with that of the design. The seat-rail is richly ornamented with a shell pattern, and the cabriole legs with flowers on a matted ground. The feet consist of in-turnmg scrolls ornamented with acanthus. A richly ornate chair, of Louis Seize influence, whose back might be viewed as being rather light for its body. A CHIPPENDALE ROMANCE gance which they had not hitherto known. Where Grin- ling Gibbons largely confined his exquisite carvings in soft lime-wood to panels and chimney-breasts, Chip- pendale re-created them in miniature in his furniture. Ah! Mr. Blake, there was an era when men designed in rich and gay profusion for the pure love of their craft, and when infinite pains and conscientious handiwork were such potent fadlors in producing the repose which modern, machine-made art must ever lack!" "I am bound to admit that the influence of this period was a vital one upon American Colonial furniture, which was patterned after the English school existing at the time," I rejoined. "Yes; but like every copy following an original, the merit of that original is never quite reached; which I say without reflecting upon the quality of many superb specimens of Colonial furniture it has been my good fortune to view. But your Colonists at that time were as a rule limited in their financial resources, with the result that the bulk of your furniture of that day was modeled upon plainer and severer lines than ours, and as a rule lacked the fine sweep and exuberance of carving characteristic of the Chippendale period." "These fadls are interesting and pertinent, Mr. Yorke, [133] A CHIPPENDALE ROMANCE as throwing light on the origin and influences that created the school of Chippendale furniture, but have you con- sidered the high artistic achievements that France was making at the same time under the contemporary re- gimes of Louis Quinze and Louis Seize? While Mort- lake was producing the bulk of English tapestries, the immortal Gobelin, Boucher, and Aubusson were giving to the world their matchless weaves across the French border. Some of their finest work went into furniture- coverings decorated with designs in wreaths and gar- lands of flowers, and occasionally with scenes from j^sop's Fables. These tapestries, combined with the richly carved gilt rococo of the sofa, chair, fauteuil, bergere and chaise-longue of the period produced a sumptuous eff^ed: greatly prized by the connoisseur." "Granted, Mr. Blake, that that class of furniture pos- sesses the highest decorative value, and that its flamboy- ant style ideally suited it to the gilded salons of Versailles, where it formed an appropriate back-ground for the silk- clad courtiers and powdered and patched grandes dames of the day, I yet maintain that Chippendale, with its dignity, repose, and restraint, is the furniture to live with, — and why is not this after all the final test?" We had been seated in Yorke's drawing-room and [134] TAPESTRIED CHAIR Chippendale style. The stiles, decorated above with acanthus and pendants of husks curve mto the top-rail in the form of a volute, which feature is repeated at each end ot a broad band of acanthus leaves midway between, and still again where the splat joins the shoe of the seat. Masca- rons of lions' heads, with rings from which hang garlands. The front legs finish in a lion's foot grasping a ball, and are attached to the seat-rail by brackets of scrolls and acanthus. Contemporary upholstering of Mortlake tapestry, held in place by the original tacks. A somewhat severe, but rare, choice and dignified specimen of the Chip- pendale School. PRE-CHIPPENDALE CHAIR Showing strong Flemish influence. "Each end of the upper rail is carved as an eagle's head holding in its beak the flower-embossed stiles forming the sides of the chair-back. The central splat is modeled in the form of a convex cartouche narrowing at the sides into a band of drapery which is carried around the outside of the stiles and held in place by the talons of the same bird. Mascarons and a cupid's head adorn the seat- rail, and acanthus leaves follow the spring of the cabriole legs. [See page I39-] A design of striking originality, evidencing creative genius and technical skill of the highest order. A CHIPPENDALE ROMANCE now rose to inspedl his treasures in the adjoining apart- ments. My attention became at once riveted upon a chair of bold and original design, which I had never expedled to see again, outside the colledlions of Reming- ton and Chalmers. Each end of the upper rail was carved as an eagle's head, holding in its beak the flower- embossed stiles forming the sides of the chair-back. The central splat was modeled in the form of a convex car- touche narrowing at the sides into a band of drapery, which was carried around the outside of the stiles and held in place by the talons of the same bird. Mascarons and a cupid's head adorned the seat-rail, and acanthus leaves followed the spring of the cabriole legs. "Why! This is one of the same set of chairs I have seen in two American colled:ions ! " I exclaimed; "the arm- and a few side-chairs in Chalmers'; and other side- chairs and the double-chair, or settee, in Remington's." "That explains the final resting place of the settee," Yorke replied, with the joy of the genealogist who has discovered the missing link in a family tree, — "which I knew had gone somewhere in America. It was for- merly owned in this city, where it stood in the Burlington Hotel and was acquired not many years ago by a New York importer through the offer of a fabulous sum, C139] A CHIPPENDALE ROMANCE coupled with an agreement to replace it with a repro- duction. But the modern artisan, clever though he was, failed to realize the subtlety of design in the central cartouche, which is modeled to throw the refledlion of light upward, and by carving his copy in such a way as to produce the opposite effedt, he lost the lightness and grace of the original. Another stumbling-block pre- sented itself in the eagles' heads, whose fire and life are lacking in the replica." "I lately saw one of the arm-chairs from the same set at Lincoln's Inn Fields, in the Sir John Soane Mu- seum," I added. "Quite true," Yorke replied, "and that specimen, with this, accounts for the full set of chairs, — of as remarkable and perfect a design as ever entered into furniture construdtion. In truth, you can make no pos- sible mistake in grasping this opportunity to acquire an antique which is in a class by itself. The South Kensington and British Museums will never cease to regret the inadequacy of their present limited collec- tions of Chippendale. Failing to realize its true value at the time when its moderate cost would have permitted them to gather together a representative exhibit, they have seen prices soar many fold until now they have not [140] • — 4^ ^ qj cj S u oj — ■-*- ^ ^ -^ -Q ' c^" - O ^ -^ J£ '5 I « o • g n ^H 1) T3 rt 1- M "t: c ^ rt -^ O C o o -tJ c e: ;- o CJ CO w D. O O CD w QJ ■M 'O _c o o £ -I-' 1-1 4-J >. u- e^ r3 o ~ CJ r3 o o Cl, -C 0^ a O t3 C/} ' T3 E 4J 0^ -1-' OJ -T3 C c-3 1— 1 -C u CJ ^ < u w CO 1-H < -i-i O CO s ~CJ O o CJ O c Cu Dh -M ^ CJ CO l—H en CO ]^ H C OJ -M ? H ^ s < 5 ■t^ ■t-J ti_Q 3 C UJ c^ QJ +j ii is '^ 4j c CO O ;^. '~0 3 ct 4-J 3 cu O c (/^ O . !^ D- _aj c -t— ' bJD o 3 n o3 C _li! "TD -T3 >^ C/j CD VI f^ o u- rt 1£ c5 CJ J2 C O OJ ^ ' 53 _u A CHIPPENDALE ROMANCE the means to acquire, even were it possible to secure at any figure, a suflficient number of fine examples. Why, the only full set of ribband-back-chairs, of which I have ever been able to learn as having come down intad: from Chippendale, are held in a certain house in England — but no offer, however tempting, will induce the family to part with them." "Have you abandoned the idea of ever securing the treasures?" I inquired. "No; I am waiting for the owners to die," gravely responded Yorke, subordinating the mere question of life and death to the ruling passion strong in the coUedlor. "And should you then succeed, will you give me an option on the set?" I asked in the same spirit. "I regret that the chairs are already under refusal, should they ever come into my hands." "A dozen years ago," Yorke resumed, "we secured our highest prices from wealthy, discerning Americans, but since then we have been buying back whenever possible, at constantly advancing quotations, until now Christie's may be counted on to secure top values, as against any other market. Some of your largest buyers maintain agents in London who give their whole time to attending auctions, visiting the antiquity shops, travel- [143] A CHIPPENDALE ROMANCE ing in the country, and keeping their principals advised of any choice piece that may from time to time become available. A curious instance of the zeal sometimes shown by these agents came to my notice not long ago. A certain old English manor house in a neighboring county was known to contain a number of important pieces of Chippendale, which up to the moment had been held intad: from the advances of would-be buyers. Our friend, undismayed, sought out the gardener, culti- vated him assiduously, and finally secured his permission to fish in a trout-stream which meandered through the place. A startled cry soon called the gardener to the spot, where the disciple of Walton had apparently lost his footing and lay drenched to the skin at the bottom of the brook. There naturally followed a visit to the house for a change of clothing, which furnished the needed opportunity to open furniture negotiations with the owner, to whom the agent made such flattering offers as enabled him to cable that day to his American principal that he had just secured several masterpieces!" As Yorke finished his tale of the zealous hunter of heirlooms, my glance fell upon three blue-and-white porcelain jars, which rested upon the top of a near-by cabinet. [144] SMALL BOOKCASE Chippendale style. Break-front cabinet with wings, the central compartment supporting a broken pediment, whose face is decorated with scrolls surrounding the richly carved plinth. A dentil band and relief fret run beneath. Glass doors in geometrical designs. The lower compartment is enclosed by wooden doors, with shaped panels formed of bead mould- ings with arabesque designs at each corner. A rope-band runs transversely above the lower doors and an egg-and-dart moulding below. Blue-and-white porcelain jars on cornice [Page 149]. GEORGIAN MANTEL AND MIRROR Mirror in Chippendale style, forming cover-design of this book. "Divided into panels with rock-decoration at its base, vines climbing around its upright lines, dripping-water elFeds across its top and surmounted by a pagoda with its inevitable tenant, a little Mandarin, who is being sere- naded by a cavalier on the steps below." [Page 149.] The cornice of the statuary marble mantel decorated with rich mouldings of acanthus and egg- and-dart. A lion's head in bold relief on central panel, the tail crossing the frieze diagonally and disappearing, only to reappear in the pilasters below the scroll-brackets supporting the cornice. A CHIPPENDALE ROMANCE "Mr. Yorke," I cried enthusiastically, "have you noticed the harmonious effedt of those two dissimilar materials in combination?" "Indeed I have!" Yorke exclaimed, his features kindling. "They form a symbol of earth, sky and cloud, — the red-brown of the mahogany typifying the earth, the blue decoration of the porcelain the sky, and its white ground the clouds! Cabinet and china are joined in a union that should never be divorced ! " "Then there is that pair of mirrors beyond the door, whose sumptuous, flowing scrolls clearly indicate the contemporary Louis Seize influence, as well as the ex- treme to which the imagination of the English maker went in creating the design." "Might they not even be classed as Baroque?" I inquired. "No; they did not reach the point of declining taste, — they are in no wise surcharge: see the incisive charadler of the carver's stroke, and the life-like expression of the birds-of-paradise, which seem about to spring from their perches among the scrolls. For a somewhat severer taste, nothing could surpass in beauty or dignity this mantel-mirror, — divided into panels, with rock decora- tion at its base, vines climbing around its upright lines, [149] A CHIPPENDALE ROMANCE dripping-water effedls across its top and surmounted by a pago'da, in which you will see the inevitable tenant, a lit- tle Mandarin, who is being serenaded by a cavalier on the steps below. Here my attention fell upon a Hawthorne-jar, which rested in opulent beauty in the centre of a tripod table, around whose circular top a running scroll-pattern was carved from the solid wood. The wild-prunus formed the theme of decoration for the porcelain, its white blossoms contrasting with a background of pulsating cobalt-blue. "All your arguments in favor of Chippendale furniture are quite in accord with my own convicflions," I re- marked, "but you have not given me your views upon porcelains, which, as you have made clear, are so closely related to fine mahogany furniture." "If my advice could be conveyed in a single phrase," Yorke resumed, "I would urge your confining yourself largely to the incomparable productions of the Chinese, which, both in form and color, easily surpass all others. The colledlor need not fear monotony in this wide field, for he will never find two pieces alike, even in the case of pairs, — one or the other of which is sure to be larger or smaller than its mate, and to vary in some degree in color. Avoid nicks, cracks, repairs of all kinds, and, [ISO] SMALL TRIPOD TABLE Chippendale style. Top encircled by raised scrolls. Column m form of sheaf. Cabriole legs in double C curves richly and incisively carved with roses and flowers in bold relief. The work of a designer and carver of rare artistic skill. A CHIPPENDALE ROMANCE as a general thing, covers of any material foreign to that of the body of the vase, any one of which defeats means a large falling off in value and desirability. Favor the shaped specimens, such as vases, jars, beakers, bottles, and the like, passing by plates, cups, and bowls, in which form is necessarily lacking." "On that theory," I returned, "you would exclude seven-bordered plates, produced at a time when Chinese decoration reached its zenith; and also the fragile, dainty, egg-shell china and rice-bowls, in the body of whose paste incised patterns were often introduced with charming effea." "They furnish exceptions to the general rule, Mr. Blake, but, other things being equal, if one-half of the effe6t depend upon decoration, then the other half must rely upon form. The most exquisite Chinese porcelain I have ever seen was a small peach-bloom amphora, of surpassing grace of line and charm of proportion. Had the same single-color decoration, beautiful though it was, been applied to a plate or bowl, the resulting value would have been nominal, as compared with that of the vase I refer to, examples of which are so rare that records are kept showing the ownership of the eight or nine authentic specimens known to exist. Among an infinite [153] A CHIPPENDALE ROMANCE variety of colors that the Chinese have used in treating their porcelains, the vidlorious combination of blue-and- white has perhaps the greatest decorative value. But care and discrimination need to be exercised in the matter both of color and texture. Take the ginger-jar you were just admiring, — note the depth and trans- lucence of the cobalt-blue, and the brilliant purity of the white ground. Were the blue of a paler hue or verging on purple, or were the paste of a muddy tinge, the vase would be 'off-color,' and its value seriously impaired. When, however, the coloring and glaze are right, the cover original and the whole jar flawless, there is almost no limit to the price it will fetch, as witness the late sale of a perfedt specimen from the Huth col- ledtion for the sum of £5,900. "Another combination of the same colors exists in the powdered blue vase, in moulding which the blue was blown through gauze, leaving reserves to be later deco- rated with other colors. A further produdl of this prolific K'ang-hi dynasty was the various 'families' of ceramics, — famille verte, famille noire, famille rose and famille jaune, which I have named in the order of their excellence. The examples of famille verte are especially to be desired, their body and glaze being faultless and their forms [154] GALLIPOT Coral-glaze monochrome with rose. GINGER-JAR Blue -and -white, showing p r u n u s flower and blossom. JAR AND COVER Powdered-blue with reserves. TALL VASE Five-color. K'ang-hi. A CHIPPENDALE ROMANCE irreproachable. Of almost equal merit is the famille noire, of which superb specimens exist in the form of jars, both round and square, and in the decoration of which the prunus-blossom and spray again charm the eye, — this time, in combination with deep, lustrous black." The old gentleman here turned to admire a peach- bloom gallipot, from whose mouth, as befitted the de- sign of its maker, blossomed forth a single rose, the Celestial who originally fashioned its narrow neck realiz- ing that one blossom would produce an efife 1-1 C CO .2 I o § o u = CL, 3 « o C en > (J C O O o ID c c < A CHIPPENDALE ROMANCE the original coat-of-arms which so frequently adorns and gives character to old English plate, and substituted his own for it," I added. "My feeling that old furni- ture should be left in the condition in which we find it may be safely extended to old silver, may it not ? — for as I view it, the two adls we have been discussing are little short of vandalism." "I quite agree with you, Mr. Blake. As in other branches of coUedling where value is materially enhanced by age, occasional instances arise of spurious antiquity in silver, and in spite of its being a state-prison offence, hall-marks are sometimes forged, and even genuine ones removed from pieces of lesser value to be braized into specimens of superior design, yet lacking in this all- essential endorsement of the Government. Such proc- esses, however, always leave ear-marks readily discernible to the pradlised eye. The great bulk of old English plate that has come down to us was produced in the three centuries beginning with 1478, — just prior to the discovery of your continent, and the year in which the date-letter was adopted by our Government, although its hall-mark system antedated this by several hundred years. Among the primitive forms of these early days, the spoon, with its straight handle and pear-shaped C165] A CHIPPENDALE ROMANCE bowl, is perhaps the favorite objedl of search of the modern colledlor." "Upon what grounds?" I inquired. "Because, as the sole dining utensil invented up to that time, it formed so important a part of the economy of life, a single spoon being the limit allowed each mem- ber of a well-to-'do family; while, in accepting an invi- tation to share another's hospitality, it was de rigueur for the guest to bring his own spoon, which, at that early day, could be folded and carried in the pocket! Then," the partner's eye twinkled, "we come into the world needing a spoon, and are apt to go out in the same way; so it is logical that connoisseurs should find joy in collecting this little utensil throughout the reigns from Henry VH down to Queen Anne, when spoons, knives, two- and three-pronged forks, and other table- implements became general." "But," I added, "you have not yet made clear what period you would commend as supplying the choicest English plate. Take a hypothetical case: suppose you were furnishing a Georgian house, what silver would you provide for the table, in order that it should be in keep- ing with its surroundings?" "Nothing later than George HI in any event, — thus [i66] GILT CUP AND COVER James II, 1688. Tapering body, with domed cover surmounted by knob in form of melon with ring. Engraved with Royal Arms of England and A. R. (Anna Regina), the A still showing the first and last legs of W but imperfedlly erased — evidenc- ing its original ownership by William III. 3 P C a; u •-" 3 O faO u C C '-3 O c U3 ,JHr7: ^^ A CHIPPENDALE ROMANCE far your question is easy, but now I confess I am at a loss to know how to answer you further. So much depends upon taste, which in turn is so variable a quan- tity. Not many years ago, nothing later than XVII Century silver engaged the attention of our coUedlors; then George I came in for a share of favor, followed quickly by George II, while now George III and George IV are not without consideration, although the designs show a falling off in quality as the Vidtorian era is ap- proached, just as they do in English furniture. Fully to appreciate the feeling and rarity of the archaic forms and generally crude chasing of the reigns of Elizabeth, James I, and James II, Charles I and Charles II, and the Commonwealth, demands a sixth sense on the part of the collector, which is developed only after long study and research, the hall-mark necessarily playing an important part in his final judgment. But the at- mosphere imparted by the mazers, patens, tankards, tazzas, chalices, flagons, and loving-cups of those early days is unmistakable, and does not surround the pro- duAions of later periods. I recommend your being on the watch for such fine specimens to serve as decorative pieces. When it comes to your table, however, the Queen Anne, George I and George II periods will prove [171] A CHIPPENDALE ROMANCE a prolific field. Especially in the latter reign, corre- sponding to the height of the Chippendale influence, the specimens produced were masterpieces of the silver- smith's art, — imaginative in conception, pure in de- sign, and ornate in chasing. It was at this time that Paul Lamerie came over from France and still further enriched the English silver of the period with his florid conceptions and elaborate execution. With all these desirable qualities present, I look to see a continually increasing demand for mid-XVIII Century English plate, while the older forms must still further advance in value in proportion to their age and rarity." The month following this visit to Christie's, I passed in making pilgrimages to shire-towns and country-houses which promised opportunities in old furniture, silver, pidtures, and porcelains, browsed among the shops in Old Bond Street, and secured some rare specimens at audtions, both in and outside of London. Every requirement of my exadiing Georgian house had now been met, excepting always the bookcase and china-cabinet. Pieces of this charadler had turned up, to be sure, in the course of my wanderings, but never their equal in quality; and in order to maintain the standard I had set for myself, I preferred to return to [172] CUP AND COVER George I, 1723. Paul Lamerie, maker. A bold moulding divides the upper and lower halves of the cup. The decoration of the latter consists of arabesque straps in high relief on a matted ground, finishing alternately in a shell or mask. The domed cover has similar straps bearing masks. Hardwicke arms. A typical example of Paul Lamerie's ornate workmanship. c3 •" Ji iJ c S?„ OJ (U CJ -^ "i « ^-^ o- ^ C/D ^ ^ ■*-' '^ ,1-. -o Ji c c C a c 1) U C ^ O C 3 o OJ c^ 13 03 ■- O n C -C E >- o ^■ w -H 03 |>^ 03 3 C , O ^ a; jj T3 M Ui en O "IJ O ^ (U C 03 C-J c >- "^ N a.— — u, c 03 OJ ^ .-i bJO O 03 13 J3 OJ 13 03 S t-. c 2 S^ _£ 03"o '^ 15 en >■ O aj O . ,^ j= "= «j -a C 4-J