Chapter 12
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Copyright ©2024 Bloomsbury Publishing Inc. All rights reserved. No part of this presentation covered by the copyright hereon may be reproduced or used in any form or by any means–graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems–without written permission of the publisher.
ISBN: 978-1-5013-8560-5
High Street,
Lacock, Wiltshire,
United Kingdom,
medieval period.
Tudor timber-frame
houses.
cup-and-cover table
Georgian drop-down desk
Wainscot chair
Georgian chest
Cromwellian or back stool
Jacobean high chair with turning
x-frame chair
William & Mary highboy
Queen Anne knee-hole
Queen Anne sidechair
Gothic Revival armchair
comb-back Windsor chair
Samuel McIntire, Hepplewhite-style side chair, Salem, Massachusetts, United States, 1794–1799. Mahogany, ebony, ash, birch, and pine.
Thomas Chippendale, Ribband-back side chair, London, England, 1754. Mahogany and damask.
Unknown, early Jacobean Oak Room, 1603–1625. Published in The Connoisseur, 1912.
VOCABULARY - styles
Carolean
Cromwellian
Elizabethan
Georgian
Jacobean
Queen Anne
Restoration
Tudor
William and Mary
VOCABULARY
bartizan
chintz
fachwerk
great hall
half-timber
strap work
virtuoso
VOCABULARY - furniture
ball turning
bespoke
bow-back
chest-on-chest
chest-on-stand
comb-back
cup-and-cover
Farthingdale chair
gate-leg table
knee-hole
knee-hole
Mortlake Tapestry Works
ribband or ribbon back
screen
settle chair
sideboard
stick-back
tester
turned chair
Wainscot chair
Windsor chair
CONCLUSION
An important subtheme of this chapter is the transmission of design information. The efforts of
Hans Vredeman de Vries prove the importance of the printed image; he was more influential for
his published drawings, and the designs they inspired, than his own works. The key role of the
printed design book came full circle in the late eighteenth century when a trio of designerauthors
intuitively understood that their reputations would be based as much on those who
copied their works as on their own creations. It is poetic justice that Chippendale, Hepplewhite,
and Sheraton gave the world the means to copy their designs, for copying, adopting, adapting,
and changing is something that English architects and designers had been doing masterfully for
centuries.
