1 D> H" C «> c '^sn * / \ / THE PRACTICAL TREASURY OF DESIGNS HOUSE-FURNISHING & DECORATING ASSISTANT IN THE GRECIAN, ITALIAN, RENAISSANCE, LOUIS-QUATORZE, GOTHIC, TUDOR, AND ELIZABETHAN STYLES. gntcisperscD luitlj Designs EXECUTED FOR THE ROYAL PALACES, AND FOR SOME OF TFIE PRINCIPAL MANSIONS OF THE NOBILITY AND GENTRY, AND CLUB HOUSES. P,Y HENRY WHITAKER PETER JACKSON, LATE FISHER, SON, & CO. THE CAXTON PRESS, ANGEL STREET, ST. MARTIN’S-LE-G1!AND, LONDON; 11, POST-OFFICE PLACE. LIVERPOOL; 93 , PICCADILLY, MANCHESTER Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/practicalcabinetOOwhit INTRODUCTION. The late principal of the Manchester School of Design, Mr. G. Wallis, in delivering a lecture at the Bradford Mechanics’ Institute, on the Fine Arts, and their application to industrial purposes, introduced a French miniature jug, in order to show how the arts served to increase our wealth, and the value of manufactures. The clay, he said, of which the jug was formed, would cost about half-a-farthing; whereas, by the mental labour of the designer, its value was increased to half-a-crown. The material and form of another jug had, in like manner, its original value of half-a-farthing increased to four shillings, in consequence of the chemical colouring with which it had been decorated. More need not have been said, to prove the commercial value of the Arts of Design to a trading community ; hut he might have likewise dwelt upon their importance to purchasers—the public at large, and particularly to the nobility and gentry—as design is indeed the only quality which can give to articles of taste a lasting value. Gilding will lose its lustre, silk will fade, stone will decay, wood will turn black, hut the value which an object has received from the beauty of its form—and that it does receive a value we have just seen—it can never lose hut by total destruction. Decoration may almost be said to confer perpetuity on the productions to which it is applied. The unrivalled Etruscan vases were beautiful 2000 years ago; they are beautiful now , and from their beauty equally valuable: the antique ornaments in alto-relievo, basso-relievo figure, or gems, were beautiful when first executed, and they are still beautiful, and are as highly prized : B 2 INTRODUCTION. the elegant and graceful decorations on the walls of Pompeii attract nations to the spot, although the city itself is defaced and dilapidated. The cultivation of the industrial arts, in connection with design, must therefore he important to the public at large, as well as to the manufacturer. It is still more imperative to attend to the beauty as well as the utility of pro¬ ductions, when the superiority of our continental neighbours in taste, not only baffles us in neutral markets, but is said to claim a preference even on our own soil. Every man should do his duty, by encouraging the Art of Design in every way that his means or abilities will allow. To men of pro¬ perty and wealth, we would say. Encourage works of art, and publications of merit, having for their object improvements in the designs of manufactures ; study them, and render yourselves familiar with them, in order that your eye may become trained to discriminate good drawing, grace, proportion, homo¬ geneity in style, from had drawing, and the want of those qualities. The objects used in daily life must he regarded as having a twofold use —to gratify taste, and to subserve domestic convenience. Demand that both requisites should be fulfilled, and pay for both; allow a charge for brain-labour, as you would allow a charge for the labour of the hand ; expect not a trades¬ man to he a designer, any more than you would expect the driver of a loco¬ motive to he an engineer, or a stonemason an architect; hut encourage, or rather compel the manufacturer, to keep a designer. We are addressing ourselves to a class, not to individuals, for in that case we should have to exempt from the necessity of an appeal such as the present, many of the nobility and gentry of this country, who have greatly encouraged the decora¬ tive arts. At the head of the list would stand the Duchesses of Sutherland and Buccleuch, Earl de Grey, Lord Crewe, Adrian Hope, Esq., and a host of others, all deservedly eminent for cultivated taste. We bespeak the attention of purchasers at large, who, as a body, although greatly enlightened within these twenty years, have yet many individuals amongst them, who, in making- purchases, look only to have their money’s worth in material or labour, quite indifferent as regards artistic character, or merit of design. The inevitable INTRODUCTION. 3 result must be, that so soon as time has destroyed the varnish, lustre, polish, or gilding, upon which alone the attraction of the article depended, the value will depart with its adventitious causes. Design is something more than fashion, caprice, or fancy ; a designer can with certainty produce what is beautiful, and very often what shall strike both the learned and the ignorant, the young and the old, as being so at first sight. Let but the public become thoroughly enlightened, and our manufacturers will not be long before they meet their continental neighbours on nearly, if not quite equal terms, in the market of taste and beauty, which is now monopolized by the French and Germans. The intention of the present work, is to furnish designs which, when placed in juxta-position with ordinary productions of similar articles, will show purchasers that “ beauty may be obtained as cheaply as ugliness, and that the former, while equally useful, is surely more ornamental.” This truth will be at once manifest to those who attend to the simplicity of the designs, and the accurate drawing of the patterns. It has been intimated that the mercantile value of the Fine Arts is an object of the highest importance to all who are interested in the commercial prosperity of the country ; and we entreat such to disabuse the public of the erroneous idea that the Decorative Arts are an inferior branch of the Fine Arts. They differ not only in kind, but in degree ; each requires an edu¬ cation, and, moreover, each requires a special education. Persons are daily made to turn their hands to drawing, and rack their brains for design, who are, by their pursuits in life, and by their occupations, totally disqualified for the performance of the task they have undertaken. The designer, like the painter and the sculptor, has to produce harmonious conceptions of form and colour ; but while artists have the liberty of realiza¬ tion, he has to trust for the realizing of his designs and conceptions to the skill of the manufacturers. If difficulty constituted elevation, the designer would, from this circumstance, stand higher than the artist. Perhaps the noblest triumphs of artistic genius ever achieved, arose from the combination of 4 INTRODUCTION. design with that which is now exclusively called Art. No one, assuredly, who has looked at the cartoons, and still less any one who has meditated on their beauties, and investigated their merits, can say that Raphael descended, when he turned aside from his profession of an artist, specially so called, to become a designer for the manufacturers of tapestry. Painting was in its zenith in Italy while connected with arabesques, architecture, and ornamental metal work; some of the best Dutch painters designed for stained glass. Poussin and Le Sueur painted arabesques; Quintin Matsys designed for iron-work; there is a Book of Furniture now in existence, which bears the name of De la Fosse, who painted the ceilings of several public buildings in this country. The Fine Arts, properly so called, and the Arts of Design, are now flourishing conjointly in Bavaria. A painter has no difficulty to overcome, with which a designer has not to struggle. When a painter has done his part upon the canvass, and his work looks well, it is finished ; but a designer has to look much further: he, as well as an architect, must calculate upon the appearance his composi¬ tion will have when executed, and he has all sorts of difficulties to contend with, arising from plans, sections, expenses, materials, employers, and inefficient workmen. The prejudice that stamps him with inferiority, is one source of depression to the decorative artist, which ought to be removed. But, upon the whole, we are not farther behind the French or Germans than might be expected, considering that it is only within these twenty-five years that any attention has been paid to ornamental art in England, and only within these few years that models and examples could be got for students; whereas in France, copies and original works of art have been so multiplied for centuries, and by every day’s sight have become so familiar to amateurs and students, that taste is almost formed in infancy. Indeed, drawing is taught even in the primary schools. Yet French patterns for many articles of furniture are not equal to ours ; their designs for cabinet and upholstery furniture are very bad, and their cabinet furniture receives most of its effect from or-molu, not always introduced with judgment or good taste. Their INTRODUCTION. 5 designs for silver, although pretty, are not original, hut are mostly copies from existing examples of the fifteenth century. The drawing of their silk and paper patterns is far superior to what is produced in this country ; but even in these departments they produce nothing that could, with propriety, he made an academic study. With the pains that are now taken by the Government Schools of Design, to imbue all classes with a knowledge of drawing, and to render works of art familiar to the minds of students, we hope yet to see the day when England will stand as pre-eminent for ex¬ cellence of design, as it does for the execution of every article that employs the hand of man, and contributes to health, comfort, or refinement. But we must sow before we can expect to reap, and time must be allowed for growth. “ It is indispensably necessary that a great part of every man’s life should be employed in collecting materials for the exertion of genius,” says Reynolds ; “ for invention, strictly speaking, is little more than a new combination of those images which have been previously gathered and deposited in the memory.” Any man attempting to design in any style, until he has it almost at his finger’s end, or till he can put his combinations into good drawing—that is, harmonize the parts which he has gathered by references to the style—will most assuredly break down, much to his dismay and astonishment. It is not drawing from this or that object that is calcu¬ lated to make a designer, but drawing from everything that is beautiful, and rendering the mind familiar with those beauties. But certainly a student of ornamental drawing ought principally to study ornament, just as a student of painting should principally study the figure, or landscape—but not exclu¬ sively. A little genius, after all, is requisite ; for as Sir Peter Lely said to his tailor, when importuned to make his son a painter, “ God Almighty only makes painters ; ” and as the designer must be as specially qualified as the artist, and therefore as specially gifted, the words will hold good in both instances. The public must not depend too much upon any system of instruction for help against the importation of French or German articles ; all that c 6 INTRODUCTION. can be done is, to encourage youths of education to give their attention to the profession of design, by holding out adequate remuneration, and allow¬ ing that place to design among the arts—by which life is adorned as well as profited—to which it is justly entitled. GENERAL INSTRUCTIONS FOR FURNISHING. In furnishing houses, the most important consideration is the use of the several rooms. The decorations of each should he suited to the purpose for which the apartment is intended; and the furniture expressive or sug¬ gestive of that object. Libraries should have an air of quiet and repose. The predominant colour ought generally to be green, and the furniture of wainscot, that being the most quiet wood ; yet some of the best houses have the furniture of maple, and sometimes of rosewood. Sometimes the pre¬ vailing colour is crimson, with dark oak furniture, which, for small rooms, is the most beautiful. Perhaps one of the best libraries in England was that of Mr. Adrian Hope, son of the late Mr. Thomas Hope, whose work on furniture contributed greatly to introduce an improved style into this country. The book-cases were of light mahogany, with gold ornaments; the curtains chocolate brown, witli amber trimmings ; the ceiling painted with arabesques, on a drab ground ; the chairs covered with maroon leather ; the carpet was gay, the only fault about the room ; and the chimney was of white marble, which, perhaps, was not quite in keeping. The style of every room should agree with the general style of the house; great deviations can never be strictly good, or conduce to beauty. The Dining-room is generally still more unassuming than the library, and lighter in its decorations. The curtains are usually of a Rufus brown, or of crimson, with mahogany furniture ; the chimney-piece of dark marble, and all ornaments of bronze. There are, however, some pretty rooms with walls of a light green, Pompeian red curtains, light gilt cornices, bronze INTRODUCTION. 7 supports to the pier tables, and bronze ornaments on the ceiling, on a drab ground ; carpet of a light brown, with Roman red border, on a dark brown ground ; the curtains trimmed with dark brown. The Drawing-room is the j)lace where fancy and fashion have hitherto held undisputed sway; at present the Renaissance and the Italian style divide the fashionable world. The Louis-Quatorze style is going out very fast. The drawing-room is always expected to agree in splendour with a gentleman’s means, and therefore it cannot he too elegant. All, with respect to its decorations, is left to taste, regard being had only to the situation of the windows; if these are subjected to a mid-day sun, the colouring should he cold, and if not, it should he warm. The same rule will apply to other rooms. When it is said that the embellishments of a drawing-room depend upon fancy, it is not meant that this should be a wild, rambling, uncultivated caprice, hut the disciplined, matured, and culti¬ vated choice of the artist or amateur. This sort of fancy will always find circumstances that will lead to something new, and suggest something splendid. Nothing can be more varied than the treatment of drawing-rooms in the splendid mansions of the nobility and gentry. Some have the walls covered with silk ; others have glass panels, surrounded with arabesques; in one the w r alls are painted in distemper, with gilded panels ; in another they are covered with the richest paper, and the ceilings painted with ornaments in the Italian style. There is a very beautiful mode of decorating a drawing-room, with painted velvet panels, the ground of drab, with scrolls of various colours and figures in the Pompeian style, gilt mouldings, margins round the panels of light green tint; ceiling divided into panels, filled with painted scrolls and other ornaments upon drab ground; light gilt cornice; green curtains, trimmed with gold colour. Ball-rooms should have an air of festivity about them; marble and some sculpture should he introduced. Chandeliers are of great importance ; and a glass at the end of the room magnifies its length, and the number of 8 INTRODUCTION. the company. Chandeliers should be all of the same size, in order to assist the perspective effect of the glass. Hanging such a room with silk or with paper, would he improper ; scagliola cannot be too much used. The practice of making doors of dark wood should be avoided, unless the skirting of the room is of the same colour ; and in that case it is desirable to avoid violent contrasts. It will scarcely he worth while to say anything about minor rooms, as they may he safely left to the upholsterer, assisted by the lady or gentleman of the house. Drawings will, however, he given of hed and dressing-room furniture as this work proceeds. Entrances should be lower in tone than the rooms to which they lead, in order that the more important parts of the house may strike with the greater effect. Ante-rooms should he made interesting by works of art, hut still should he simple and severe. Hall-furniture, specimens of which will he given, must of course he plain. Vestibules are, however, now furnished handsomely—with ottomans, and sometimes with tables and glasses. In future numbers there will he opportunities of entering more into detail; and it is hoped that considerable additional information will he afforded by giving descriptions of particular designs. Before closing this Introduction, it may he necessary to state, that the intention of this work is to lay before gentlemen-amateurs, manufac¬ turers, artisans, and the public in general, a series of practical designs, in which the strictest attention will he paid to excellence of drawing and purity of style, so that the public eye and taste may he improved at the same time; and that the designs may become equally useful to gentlemen in giving orders, and to tradesmen in executing their instructions. H. WHITAKER. London, February, 1847 . CONTENTS. Wardrobe in the Elizabethan style, adapted only for oak, maple, or Russian birch, mahogany not suitable. Window Curtain and Cornice, designed for Baron de Goldsmid’s ball-room. The valance is kept simple, to show the pattern of the rich and splendid silk generally introduced. Sideboard in the Italian style, supported with cornucopias, and with a glass back; calculated either for mahogany or oak. If executed in oak, the mouldings and the flowers might be kept light, which would produce a novel effect. Table-Top for Marquetry: the best ground for the ornament would be walnut; the swans might be mother-of-pearl, and the heads ivory, on a bluish ground; the margin round the border should be light wood, and the body of the Top either amboyna or maple. Everything of the sort being exceedingly well executed at the present day, it would be superfluous to say more. Two Drawing-Room Chairs in the Italian style. One was designed for the Conservative Club-house, the back only in this design having a little more carving. The other was designed for Osborne House; it is only calculated for a gilt chair. Four-Post Bed in the Italian style, with fret¬ work in the cornice and fringe underneath. One Curtain is thrown aside to show the foot¬ board. Pillar and Claw Loo Tables in the style of Louis-Quatorze, well calculated for amboyna, and gold ornaments, which is the most splendid association that can be adopted. The Top may be filled with marquetry. Wing Cheffonier, with fret-work and fluted silk behind in the panels ; it has a plate-glass back, to reflect the china or articles of vertu that may be placed upon the marble top, or upon the shelf. The shelves between the ivings are intended for books. Window^ Cornice and Valance, in the Italian style, designed for her Majesty’s drawing-room at Osborne House. It is very simple but studied in its character, being calculated only for supe¬ rior execution in the carving and gilding, and for very rich silk in the valance, which is kept plain to show the pattern. Grand Pianoforte —a piece of furniture which has hitherto set designers at defiance, and which, although an expensive article, has always been unsightly. In the present design it is, hoivever, successfully treated, by the introduction of pillar- and-claw standards, as shown on the plan, and by making the pillar, at the smaller end, less in diameter. It is also greatly improved in appear¬ ance by lowering the top, which can be done where Burttiuyoung’s patent works are intro¬ duced, they being contained in the ridge which is seen over the first standard in the design, and which leaves the keys level with the other por¬ tions of the top. D 10 CONTENTS. Pier Bracket in the Italian style, and a Pier Table in the Renaissance. Two Fire Screens. No. 1 , Italian ; No. 2, style of Francis I. Cornice and Valance, designed for tlie honse- dining-room, Conservative Club, and which was executed with gilded cornice, scarlet cloth cur¬ tains, and gold-colour trimmings. Vertical Piano in the Italian style. This design would do very well for a writing-table and bookcase united, by having doors in the upper part instead of the silk panels. The design of the lower part might be preserved, but the ends would, in that case, be made to open, to render it useful, which it would be, to receive folios. The table-part would likewise be made to draw forward. Arabian Bed in the Elizabethan style. The character of that kind of bed is a low post at the foot, and one about three feet six inches at the head. The post at the head would be of the same design, only lengthened to the required dimensions. Two Hall Chairs. No. 1 in the Elizabethan style. No. 2, which is in the Italian style, was executed for Osborne House, Isle of Wight. Two Drawing-Room Chairs in the Renais¬ sance style. The lower one has a back with fret-work introduced in it. Drawing-Room Curtain in the Elizabethan style, executed for Crewe Hall, the Right Honourable Lord Crewe’s residence. Sideboard and Wine-cooler in the Eliza¬ bethan style. Two Fancy Chairs in the Italian style ; the one with a cane, and the other with, a stuffed seat. Two Writing-Tables, one in the Elizabethan, and the other in the Renaissance style. No. 1 is drawn to have a stretcher about half¬ way up the standard, but No. 2 is not calcu¬ lated for it; the plinth of the pillar might, how¬ ever, be continued from standard to standard, and to be . stuffed as a foot-stool, as is some¬ times done in this description of table. Seat in the Renaissance, and Ottoman in the Italian style. The seat is well calculated for needle-work. The Ottoman was executed for the' Conservative Club, the only difference in the design being a greater degree of enrichment at the corners; it was executed in maple and gold. Bookcase and Writing-Table united, in the Italian style. It is the drawing of a piece of furniture, presented, with a chair, (the description of which is given in the follow¬ ing page,) to the Rev. Mr. Andrew, by the parishioners of St. James’s, Westminster. It was executed in oak, with plate-glass panels, by Messrs. Holland and Sons ; the chair by Messrs. Banting. Front and Side of a Drawing-Room Sofa, in the Italian style, designed for her Majesty’s residence, Osborne House. Front and Side of an open Cheffonier, in the Italian style, with a frieze and side panels of fret-work; the backboard over the shelf, and the standards supporting the shelf, are likewise of the same. It should have a glass back, to reflect the objects placed in it; and the lower shelf should be covered with red velvet within a margin of wood. Three Window Cornices, in the Elizabethan style. The two upper ones are intended for the library or dining-room, and for oak and gold, or maple and gold. The lower one is intended for a drawing-room, and for an entire gilt cornice. CONTENTS. 11 Chair in the Italian style-; and Arm-Chair, in the Elizabethan style. The chair might be made with a stuffed back, by filling in the spaces on each side of the splat. Two Window Cornices, in the style of Louis Quatorze ; and one in the Renaissance style. The Louis Quatorze style may be said to be thoroughly worn out, and. to have lost its dominion in the fashionable world; yet, at the same time, it is presumed that the two designs given will prove usefid in exhi¬ biting the characteristic difference of that style and the Renaissance, to those who are seeking information on the character of either. Bookcase, in the Grecian style. Although but one case is given, there would be no difficulty in carrying on a range of bookcases in the same design. The ornaments in the panels are intended for bold inlay, merely of light and dark wood; or for a japanned orna¬ ment on the wood. Couch in the Renaissance style. The design might easily be made into a sofa, and be sim¬ plified, if necessary, by taking away the festoon of fruit, and the ornament in the centre of the rail. Sideboard in the Elizabethan style. This design is, perhaps, richer than a work of general utility would justify, were it not for the carving companies, who very much now facilitate the hosting of carvings, and with whose assistance a design of the present description might be got up at a compara¬ tively moderate expense. Two Pillars for Eour-Post Beds, and Two Fancy or Bed-room Chairs, in tiie Eliza¬ bethan and Italian styles. Chair No. 1, has a tassel and robe upon the back, the ends of the valse being kept in with buttons at the back of the chair. Both the chairs might have cane seats, although drawn with stuffed ones. Ottoman Seat, executed in mahogany for the vestibule of her Majesty’s residence, Osborne House. Four-Post Bed, designed for the Marquis of Exeter, and executed in oak and gold, with velvet valance and rich trimmings. The inside of the top of the canopy was likewise richly ornamented with trimmings, and with the marquis’s initials and coronet. Wing Cheffonier in the Renaissance style, and intended to have solid panels in the pedestals, with carved or composition orna¬ ments. The central part has shelves, with glass at the back, they being covered with red velvet upon top. The pedestals should have marble slabs, but the central part should have the top of polished wood, and a back of the same, partly open. Three Seats for Needle-work. Nos. 1 and 3 in the Elizabethan style, and No. 2 in the Italian, which is the design best calculated for gilding, the others being designed for maple or walnut-tree. Dressing-Table and Glass in the Italian style. The Table has round corners, and the Glass-Frame is intended to swing with patent hinges, fixed at the plain part, a little above the pendent ornaments. The ivy is a fret ornament, laid on the drawer-front. Arm -Chair, presented to the Rev. Mr. Andrew, by the parishioners of St. James’s, Westminster. It was executed in oak, by Messrs. Banting. Sideboard on scroll legs, and Wine-Cooler in the Italian style. A straight pilaster is drawn for the back, although a plain shape, to agree exactly with the front leg, would have been preferable, if it could have been shown on the drawing, and is recommended in the execution, making it about two inches and a half thick. * 12 CONTENTS. Two Hall Tables. No. 1 was a small table, executed to stand near the door of the Entrance Hall of Osborne House, for the use of the porter. The stretcher is made with a tablet in the centre, to hold a jar, or vase, with flowers, as an additional ornament. It was executed in mahogany. No. 2 is in the Eli¬ zabethan style, and best calculated for oak, or walnut-tree; mahogany not being, at any time, at all suitable for Elizabethan furniture. Wing Bookcase in the Elizabethan style, with open fret-panels in the lower part. No projection of the break is given, as that must depend upon circumstances. Two DIFFERENT SIDE-VIEWS OF SETTEES, AND ONE front. No. 1 in the Louis Quatorze, and No. 2 in the Elizabethan style. They are well calculated for window-seats, and the design of the end of either would do well for an arm-chair. Cheffonier in the style of Louis Quatorze, with a rich glass frame back, which is well calculated for composition, should a carved frame be too expensive. The panels are intended to be filled with marquetry, the open portion on either side being backed with glass. French Bed, with a canopy, having elliptic cor¬ ners, to allow the curtain to draw as far as the break in the centre of it, on rods supported at one end by the break, and at the other by a bracket, close to the wall. The sides of the Bed are intended to be cut out like the foot¬ board, only deeper, and not to have any pattra in the central part. Two Dwarf Bookcases in the Italian style. The trusses might be adapted, with effect, for side-boards or cabinets. Small Loo - Table, on three claws; and two Work - Table Standards, in the Italian STYLE. Drawing-Boom, and Dining-room Chair; the last has a splat composed of a vine branch and a spike of corn on each side of the back. Two Couches. No. 1 in the Italian, and No. 2 in the Elizabethan style ; and both with stuffed-over ends. Bookcase, in the style of Louis Quatorze ; the upper part with open shelves, and the lower ivith glass doors, with drawers between, for prints or curiosities. It is a piece of furniture which would suit a back drawing-room or a lady’s boudoir, better than a regular library. Design of a Table-Top for Marquetry. It is almost impossible to draw anything of this sort that will not, at the same time, do for a ceiling or skylight; and this design does not prove an exception in that respect, but will suggest itself for adaptation to any person requiring a design for that purpose. Console Table in the Benaissance style. By referring to the plan, it will be seen that the portion of the frame of the Table behind the chimeras is concave, in order to make room for the heads of those animals, and prevent their too great projection in front of the marble top. Two Easy Chairs in the Italian style. Three Gothic Cornices. No. 1 is designed for a library; No. 2 for a large dining-room, saloon, or hall; and No. 3 for a drawing-room. Two Loo Tables in the Italian style : No. 1 with a turned, and No. 2 with a triangular pillar. Two Ciieval Eire Screens in the Elizabethan style : No. 1 with open ornament in the panel laid upon a silk ground, and No. 2 ivith a fluted silk panel; but either would bear the substitu¬ tion of glass in those parts, witli propriety of effect. CONTENTS. 13 Two Drawers ; one in the Elizabethan, the other in the Italian style. The ornaments, which are united to the knobs, are feet-orna- ments, laid upon the ground of the panel. Two Drawing-Room Chairs. No. 1 in the Italian, and No. 2 in the Renaissance style; both with stuffed backs. Pedestal Sideboard, with glass back, and in the Italian style. It is designed with a bronze rail, to hold up the salvers. Dining-Table Standard, and four different designs of Table-legs. The brackets under the top of the standard might be made to draw out, to receive additional pieces to increase its dimensions occasionally; it is drawn for a seven- foot circular table-top, but the standard would be a considerable addition to the circumference, when so required by circumstances. Console Table in the Louis Quatorze style. Drawing-Room Sofa in the Louis Quatorze STYLE. French Bedstead in the Italian style. The canopy is intended to have elliptic corners, and the head and footboard a brass bar attached to the back of the owl, to support the curtains, and to hold them higher than the board could possibly do when made of a proper height. Fancy Coffee Table and Loo Table in the Elizabethan style, and calculated to receive marquetry ornaments in the stand with advan¬ tage. It will be well to mention that the beak forming the toe of the claw of the coffee-table, is the mandible of the flamingo, lest its form should be looked upon as unnatural, turning down, as it does in the drawing, contrary to what is seen in ordinary instances. Wing Wardrobe in the Italian style. The little tablet in the pediment is intended to be ornamented with the owner’s initials. Drawing-Room Window Curtain and Cornice in the Italian style, with shaped velvet valance lying on the drapery; the centre por¬ tion designed to have the embroidered crest of the owner. Two Chairs in the Louis Quatorze style, with stuffed backs, and designed for a drawing-room. Wing Cheffonier in the Elizabethan style; the centre portion raised above the wings, and designed with a marble slab. The trusses on the pilasters are intended to be open, and the wings might be so likewise upon the sides, showing the shelves as in front. Two Rising Side-Tables, one in the Eliza¬ bethan, and the other in the Italian style. The construction of this kind of Table is so generally understood, that it is scarcely necessary to explain, that the upper portion of the top draws up, at the same time acting so as to draw down the lower, forming thereby three shelves, of which the one marked a b only is a fixture. Sideboard and Winecooler, executed in maho¬ gany, for the house dining-room of the Conser¬ vative Club. Two Gothic Chairs, one with a stuffed back, the other with an open one; the first being designed for a drawing-room, and the other for a library. Console Table, in the Elizabethan style. It has a glass back, to reflect the dogs and scrolls they stand upon, which, particularly in this instance, would produce a very fine effect. Two Ottomans : one in the Italian, and the other in the Louis Quatorze style, and with a seat of an elliptic form, divided into three compartments, to receive, as well as the back, pieces of needle-work, with which fancy-seats are often covered, to exhibit the owner’s taste, industry, and ingenuity. E 14 CONTENTS. Drawing-Room Window Curtain, with a Cor¬ nice, in the Renaissance style, and princi¬ pally composed of fringe, only a small portion of it being silk stuff. The curtains are drawn with a border upon the edge, which might he cut in velvet, and laid upon a light, different plain ground—a style of ornament which has been adopted in some first - rate houses with a very beautiful effect. Glass-Frame, in the Elizabethan style, and calculated only for carving, the design being too much connected to render its execution possible in composition. Table, in the Italian style, which was executed in oak for the morning-room of the Conserva¬ tive Club. Upon examination, it will be found that the head and neck of the griffin is perfectly detached, whereas all the other portions are in bas-relief only. This is not a common mode of treatment, but agreeable to antique models ; and when well executed, as it was in this instance, ; has an excellent effect* Pier Glass and Bracket in the Italian style. This design was executed for the Collegians’ Refreshment Room at the Cambridge railway station, and under Mr. L. H. Hunt, the archi¬ tect. Work and Chess Table in the Elizabethan style. Two Pole-Screens : one in the Italian, and the other in the Elizabethan style. No. I has a claw formed of the branch of an Australian plant, and which is a correct drawing from nature, to the very insertion at the pole; berries have, however, been drawn, where in nature small flowers proceed from. The wreath of drooping flowers above the claw is the crown- imperial. The Screen has the owner’s initials, which would have a fine effect embroidered with gold on a rich silk ground, surrounded by a gilt frame, and on a gilt standard; for the parrot, might be substituted the owner’s crest. Two High-back Chairs, in the Elizabethan style, one with a stuffed, and the other with an open fret back. Library Table in the Italian style. Stretchers go from standard to standard, and one along the centre, comrecting them. The claws, as they are placed, give the Table its full effect when seen in front, which is the view generally pre¬ sented when entering the room. The usual flat standards, parallel to the ends, have not unfre- quently a great deal of work thrown away, through a want of regard to this circumstance. Register Stove, in the Elizabethan style, suitable either for the drawing-room, the dining¬ room, or the library, according to the manner in which it may be treated in execution. With the introduction of brass, it would be well adapted for a drawing-room; in filed iron, for a dining-room ; and in black, for a library. Chimney piece, in the Elizabethan style. Staircase Railing, in the Elizabethan style; and one in the Italian style, which might be made very ornamental by gilding the flower, and colouring the other parts of a light green. Basket, calculated for silver or china, but origin- ally designed for the latter, and executed for his Grace the Duke of Northumberland, by Messrs. Copeland and Garret. Glass-Frame in the Renaissance style, now the prevailing fashion in this country and in France. Two Borders designed from nature : No. 1, a species of birthwort, curious for the long tail with which the petal of the corolla terminates; No. 2, a species of pepper, very curious for the knotty joints upon wdiich the branches and the leaves arise; it in fact grows exactly as drawn. Both the borders are calculated for stained-glass painting, china tiles, marquetry, silk, paper, japanning, plaster, and other objects. CONTENTS. 15 Fouu different Fire-Dogs in the Elizabethan style : the first one is drawn to receive a tile of china with the owner’s crest. They are calculated for .any material, hut nothing looks, so . well as filed iron or white metal. Two Iron Railings, the one in the Elizabethan, r and the other in the Italian style ; the latter is well calculated to go round a tomb. No scale is given, as the height depends entirely upon circumstances; and it will be well to state, that no scale will be given in similar cases, as a scale can always be made by dividing the height into the required feet and inches. Drawing-Room Ciiimneypiece in the Italian style, only calculated for white marble. Air Stove in the Italian style. It has an open fire, and open ornamental work in front and upon top, for the escape of the heated air, the cold air entering in the front of the plinth to supply the flues. The drawing is shown with a lamp, which, however, is not a necessary adjunct. Drawing - Room Register Stove, designed to agree with the style of Chatsworth House, the seat of his grace the Duke of Devonshire; it was executed in brass and steel. The spandrils were ornamented with inlay of brass and iron. Pattern for Silk or Paper, in the style of the fifteenth century. Drawing-Room Chimney-Piece, designed for white marble, but which would look very hand¬ some executed in black and gold for a Dining- Room, and in Sienna marble for a Library, by making the mouldings plain, and keeping simply the outline of the column. Two Fenders, which were executed in brass—the one for Chatsworth, and the other for Trentliam. The birds, which form a part in the composition of both fenders are fly-eagles—miniature eagles found in the East Indies. Design for a Silver Salver, or for a China Dessert Dish ; the wreath forming the inner moulding is composed of the flower and leaf of the sweet violet, and the outer edge of a species of seaweed, called glasswort; the handle has the relief of a species of sea-shell. The flower in the centre, which should be only engraved for silver, and painted for china, is the maraco indica. Pattern for Silk or Paper ; the foliage round the dolphins is the acanthus, which supplies flower and foliage to most of the Grecian orna¬ mental compositions. The flower may be seen introduced alternately with the honeysuckle on a capital from the Temple of Erechtheus, and on a fragment from the pediment of the Temple of Apollo Epicurius, in the British Museum. The outline of this design being very determined, adapts it well for a double white ground, or for mat to fill a large surface of glass. Three Designs in the Italian style. The first a Jug, the second a Vase, and the third a Jar; they are all of a character suitable to the china or silver manufacturer. Five Designs for China Ware. No. 1 and No. 3 are ornaments for the Chimney or Boudoir Table, to contain flowers or other light matters ; they can scarcely be said to be in any particular style, as they are only in form of natural pro¬ ductions. No. 2 is a vase in the style of the FIFTEENTH CENTURY. No. 4 is ill tile ITALIAN style, and No. 5 in the Grecian ; both the latter are very well adapted to silver. Three Fenders. No. 1, which is in the Eliza¬ bethan style, is best calculated for a dining¬ room or library, as, in that case, expense being no object, it could be executed in bright iron, which brings out the style in a very superior mauner to brass or any other material. No. 2 is a Drawing-Room Fender, which would of course be executed in brass and steel. No. 3 is a small Gothic Library Fender, for ground I iron. 16 CONTENTS. Three Designs for China or Silver. No. 1, which, is in the style of Louis Guatorze, is a Jar to hold flowers on a cheffonier or chimney- piece, ornamented with shell-work in that style, and with handles formed of a vine-branch. No. 2 is a Grand Ornamental Vase in the Italian style, ornamented with festoons of Oriental flowers and fruit, and elephants’ heads under the handles. In the panel on the body of the Yase is a boa-constrictor, which, in china, should only be painted, all the other ornaments being in relief and gilded. No. 3 is a Jug in the Elizabethan style, calculated either for silver or china; if executed to a large size in china, it would make a good water-jug. The flower on the body is the frogbit, a water-plant. Dessert Stand in the Elizabethan style, exe¬ cuted for His Grace the Duke of Northumber¬ land. Two dragons balance the stand, and a shield is between them, to hold the owner’s crest. Chimneypiece in the Elizabethan style, cal¬ culated either for a drawing or dining-room, . the nature of the material being sufficient to give it character for either. For a drawing¬ room it should be white marble. Register Stove ; the vine on the splay stamps it as a dining-room stove, and for ground iron, but it would do very well for a drawing-room, by having steel splays, by making the mould¬ ings and ornaments in brass, and merely leav¬ ing out the vine branch, keeping the pedestal and fruit in the design. It will be perceived, by reference to the plan, that the fire is almost entirely open upon the sides, to obtain heat; this is an important part of the design, as the pattern of the fire would not do for a straight- fronted grate. Borders designed from Nature. No. 1 is a composition with the white rose and the ivy. No. 2 is the strawberry only. Arnott Stove ; it has a vase upon the top to hold water, which evaporates through holes iu the lid, giving moisture to the air, which is found greatly to obviate the ill effects of this kind of stove. Glass Frame in the Louis Quatqrze style. Epergne in the Italian style ; the base is trian¬ gular, excepting the lowest member, which is round. The centre dish is supported by six flowers of the Gladiolus ! Antwerpiensis. The small dishes are supported by star-flowers, with five petals and a cluster of filaments each, and the flowers on the branches are of the same character. The lightness with which china is executed now, leaves one in hopes of seeing designs of the present description executed in that material; ivith a little management by the modeller, the branch might be made sufficiently strong. fu--. Stair Railings. No. 1 is in the Italian style, and has an oval base, and round bars to the panel; No. 2 is Gothic, and has a lozenge bar, and open square plinth. The head of this bar, it will be seen by the section, will have to be cast separately, which will add a little to the expense of execution, but will very much improve the appearance. Glass Frame in the Renaissance style, with branches to hold lights, and open ornament forming the pediment. Tins Frame is best calculated for composition. Drawing-Room Chimney-Piece in the Italian style, with truss pilasters. The ornament on the splay is simply produced by sinking the ground about a quarter of an inch. Glass Frame, in the Elizabethan style. It could be got up with composition or leather flowers and fruit, when intended for gilding, and would then, although showy, not come very expensive. IP'ILATIE .= WQIMM)W CUmBM C©MO€ E OKI TIH1.E OTALIIM ST¥LE= ©Esnstai© F@M 1SAK@M ©IS ©@L®SM2.®"§ ®&IL!L M©M. H Whitaker, mv PISHER, SON . Sc LOUD ON H.Adlard,sc. H.Adlaxd FILMfIF Y/mit TCf fFTO MwpgTftY. HEAD' FOR OTHER HALF. HEAD FOR OTHER HALF. 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