iod-Thomas Chippendale-The mahogany period-Innovations of fo

though lacquered work continued to the middle of the eighteenth century. The year 1720 is not an arbitrary date, but this year is a convenient one. It marks the accession of the first of the Four Georges and the ad

Georgian era with more vigour than Early Victorians could stand. The eighteenth century is repellent by its stupidity and coarseness, by its insipidity and dulness, and yet it is relieved by a continuity of extraordinary forcefulness and freshness of v

g the will of the people. "The first and second Georges were not Englishmen, and therefore were not popular, and excited no enthusiasm in their subjects, but were simply tolerated as being better than the Popish Stuarts"; so says Lord Macaulay in his

CASE

enderson

abou

t. Width, 1

h, 1

colours in "Chinese taste" to keep touch with the Oriental parlours. But concurrent with the age of marquetry and lacquer was the great walnut period. The delightful veneer of burr-walnut in Queen Anne d

urther inventions became more of scientific use than popular. The "grandfather" clock has no equal within its limits. It runs for eight days. Its construction is so simple that when needing repair it need not be sent to a specialist. It has no delicate parts to confound the provincial maker. Hence it has lasted two centuries and more as a standard Eng

k was a good foundation for walnut veneer. Earlier, as we have seen, walnut was laid as a ground on oak and the marquetry design laid on the walnut. But in the burr-w

s, obtained from the gnarled roots of the walnut-tree. The peculiar pleasing effect of this and other mottled walnut is heightened by t

gether to London in 1729. The son, Thomas, published his Director in 1754. He was the leading cabinet-maker and designer of his day, and his day lasted till about 1780, when his son, Thomas Chippendale the third entered into partnership with Haig, and the firm became Chippendale and Haig, who also in turn produced magnificent work. Close upon the heels of the

CASE

(Gracechurch Street, Lo

n. Width, 1 ft. 7

of Percy We

CASE

hen Rimbault, ca

abou

Messrs. A. B.

r and Upholsterers Drawing Book, to herald another style, blended with the Adam, but departing from it at important points. In examining clock-cases of this prolific and restless period, it should be of exceptional interest to the

air. The clock, illustrated (p. 239), has a case of Spanish mahogany with fine figure. The hood is enriched with fretwork, and with elegantly moulded door, and the superstruc

the hood, and in the pillars on the waist below on each side of the panelled door. The base is decorated with a panel, in mahogany of fine figure

pediment of the hood reverts to types which are often found decorated with lacquer work, and the brass terminals are of similar character to thos

ed to Rimbault, who was especially noteworthy for his musical movements, and his cases were decorated by Zoffany. An examination of

F MUSICAL LON

with painting att

but suggestive of t

essrs. Harris & S

CASE

y case inlaid with satinwoo

Hatton, Lon

n base in Chip

essrs. D. Sherrat

lands betray it. The waist becomes tapered, terminating in a base of graceful proportions and reticent ornament. The fluted work and the scroll indicate the design of the architect. One can imagine such a chaste clock finding itself in the cold, un-English environment

r with satinwood shells, banding, and herring-bone stringing. The hood is massive and reverts to an earlier period, and the ornament of the base, in brickwork style

nd anachronism in date-a glorious intermingling of contemporary with bygone features, affording unequalled delight to the collector. In the case of provincial ma

vely. The main dial has two hands, which indicate Greenwich mean time and Bristol time. The type is known as a "regulator" clock, with the twenty-four-hour dial and other additions appertaining to the astronomical clock. The illu

E REGULA

hree dials, one showing hours and one seconds, the

EMENT

show difference of 10 minutes 22 secon

f Bristol Museum