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The Chippendale Influence on Early American Colonial Furniture Style History of Early American Colonial Furniture

Unlike many of the great masters of furniture design­ing and manufacture the life story of Thomas Chippendale has no pathetic note. Though history does not tell us very much concerning the details of his life, it reveals to us, beyond much doubt, that Chippendale was not by any means allowed to give his treasures to the (this can be seen in early American colonial furniture ) world unrewarded except by that satisfaction which is only known to the craftsman who has done good work. On the contrary, there are not wanting indications that Chippendale's genius was recognised before it was too late for him to profit by such recognition, and though, indeed, no such fabulous figures were paid for his productions as those at which they have since changed hands, he reaped a sufficiently rich harvest to spend his days in comfort, and in the enjoyment of quite a moderate share of the world's pleasures.

Thomas Chippendale was born in the first half of the eighteenth century. The year and the place of his birth are both unknown. He came of a Worcester family of carvers, and his early training, therefore, may be taken to have been a practical introduction to the work of his life.

His father seems to have settled in London, and traded as a cabinetmaker in St. Martin's Lane, an aristocratic neighbourhood at that time. Here the great designer worked, and turned out his masterpieces, conscious, no doubt, that his work was good and valuable, but how little could he have recognised the true greatness of what he did! He has since become the author of one of the most popular styles - the creator of many of the most costly pieces of furniture in existence in the early American colonial furniture

Of his life but little more is known. His personal character can only be revealed to us by his works, yet if John Ruskin has taught us a true theory, may we not unhesitatingly attribute to Chippendale that honesty which covers and colours the whole life? It is only the true work that lives; untrue work may have its day, b the test of time banishes all save the true. Judged such a standard, Thomas Chippendale should occupy exalted position indeed.

Chippendale's book was published in 1754. A second edition followed five years later, and a third in 1762 The title according to the title page was, "The Gentleman and Cabinetmaker's Director: Being a large collection o the most elegant and useful designs of household furniture in the most fashionable taste." Then follows a long list of articles included in the volume and the title page goes on to say, "To which is prefixed a short explanation of the five orders of architecture, with proper directions for executing the most difficult pieces, the mouldings being exhibited at large, and the dimensions of each design specified. The whole comprehended in two hundred copper plates, neatly engraved. Calculated to improve and refine the present taste, and suited to the fancy and circumstances of persons in all degrees of life. By Thomas Chippendale, Cabinetmaker and Upholsterer in St. Martin's Lane, London." The following paragraph also appears:­" The title page has already called the following work, `The Gentleman and Cabinetmaker's Director,' as being calculated to assist the one in the choice and the other in the execution of the designs; which are so contrived that if no one drawing should singly answer the gentleman's taste, there will yet be found a variety of hints, sufficient to construct a new one in early American colonial furniture."

In the light of subsequent developments, the delightful egotism displayed in the wording of the title page, is over­looked. Or is it, after all, the consciousness of a master which inspires the language?

With regard to the "Five Orders of Architecture " referred to, we may dismiss this portion of Chippendale's book with the remark that it was not unusual for eighteenth century writers on furniture, to give such treatises. It will be remembered that Sheraton followed the practice in his "Cabinetmaker's and Upholsterer's Drawing Book." It was in this volume too, that Sheraton gave us his estimate of the work of his great predecessor. Speaking of Chippendale's productions, he says, " They are now wholly antiquated and laid aside, though possessed of great merit, according to the times in which they were executed." But Sheraton's verdict has been totally upset. Chippendale is not out of date yet, nor is there any sign that his popularity is on the wane in the design of early American colonial furniture.

The style of Chippendale of course varies considerably. It is said sometimes that "fashions all come from Paris," Be that as it may, unquestionably much of Chippendale's confidently that much of the Chinese-like fretwork in the backs of his chairs, on the face of chair-legs and else where, had its real origin no further east than St. Martin's Lane. The' Chinese influence also appears in much of Chippendale's ornament. In 'his looking-glasses in this style we come across pagoda-like pinnacles and other embellishments from the Far East has seen in early American colonial furniture.

The Gothic also influenced one period of Chippendale's productions, as there occurred a temporary revival of this style. The real strength and beauty of Chippendale is not, however, French, Chinese or Gothic, but rather is a combination of all three, blended and harmonised by the touch of a master hand. . And of such transcendent im­portance is that " touch," that it creates for us an original style, having new beauties of its own, belonging to none of the sources of its inspiration. That is where the great designer's power was –in his ability to use foreign influences in the production of a new English and early American colonial furniture style.

Nearly all of Chippendale's work was in mahogany, without any inlaying. He used brass mounts and sometimes silver and copper. Some of his productions were in rosewood. (Treat strength is a feature of his chairs, as he took great pains to make them durable, by fixing the chair splat into the frames, a practice which has not always been followed by subsequent makers.

Among Chippendale's contemporaries in America and the design of early American colonial furniture were there were lacking those who hesitated not to scoff at his Chinese and Gothic designs as impracticable. He answers them in his Preface. " I have here given no design but what may be executed with advantage by the hands of a skilful workman, though some of the profession (sic) have been diligent enough to represent them (especially those after the Gothic and Chinese manner) as so many specious drawings, impossible to be worked off by any mechanic whatsoever I will not scruple to attribute this to malice, ignorance and inability; and I am confident I can convince all noblemen gentlemen and others, who will honour me with their commands, that every design in the book can be improved in the execution of it, by their most obedient servant, Thomas Chippendale." Cabinetmaking was a "profession” to Chippendale. There is a lesson in his use of the word. Chippendale foresaw criticism. Indeed, he writes as though he had already experienced it. " I am not afraid,” he says, " of the fate an author usually meets with on his first appearance, from a set of critics who are never wanting to show their wit and malice on the performances of others: I shall repay their censures with contempt. Let them unmolested deal out their pointless abuse, and convince the world they have neither good nature to commend, judgment to correct nor skill to execute what they find fault with." Poor old Chippendale. Like many an one before and since, he, unmindful of the greatness of his work, concerns and frets himself with the "troublesome” insects of the hour," as Carlyle has it. Could he but return to his familiar haunts today, he would with emphasis agree that wisdom is justified of her children.

His furniture has realised; enormous prices in recent times, and a few years ago four armchairs were sold for £120. All records, however, were reduced to insignificance by the extraordinary result of the sale at Christie’s in 1902, of two armchairs for £1,050, though in the same year a pedestal table by Chippendale fetched £550.

The illustrations accompanying this chapter may accepted as generally representative of the Chippendale style-a style used in early American colonial furniture, be it said, that is not likely to decrease popularity for a long time to come.

It is in Chippendale's furniture that we first find anything like full advantage taken of the properties of mahogany, though he did not, like Heppelwhite, carry lightness to the extreme limits of safety. For a long time it was without a rival, but when satinwood, tulipwood and other fancy woods came into vogue, Hepplewhite slightingly mentions it as one of the " interior woods" in which certain designs may, for cheapness, carried out.

It is interesting, in passing, to note that the Preface to Chippendale's book, worded in pompous and grandiose language, was not his own unaided production. When one learns that Dr. Johnson had a hand in its compost the grandiloquent expressions are at once explained.

Certain it is, if Boswell may be trusted, that the Chinese designs of Sir William Chambers found an enthusiastic admirer in Dr. Johnson, who said of Sir William's book: "It wants no addition nor correction, but a few lines of introduction," which the good Doctor furnished an William adopted. Was his service to Chippendale less ready? We fancy not, and it opens up a fascinating vista of thought as to the possible relations of the two masters in widely different walks of life.