The chairs of Chippendale and his school are very characteristic.  If the outline of the back of some of them be compared with the stuffed back of the chair from Hardwick Hall (illustrated in Chap.  IV.) it will be seen that the same lines occur, but instead of the frame of the back being covered with silk, tapestry, or other material—­as in William III.’s time—­Chippendale’s are cut open into fanciful patterns; and in his more highly ornate work, the twisted ribands of his design are scarcely to be reconciled with the use for which a dining room chair is intended.  The well-moulded sweep of his lines, however, counterbalances this defect to some extent, and a good Chippendale mahogany chair will ever be an elegant and graceful article of furniture.

One of the most graceful chairs of about the middle of the century, in the style of Chippendale’s best productions, is the Master’s Chair in the Hall of the Barbers’ Company.  Carved in rich Spanish mahogany, and upholstered in morocco leather, the ornament consists of scrolls and cornucopiae, with flowers charmingly disposed, the arms and motto of the Company being introduced.  Unfortunately, there is no certain record as to the designer and maker of this beautiful chair, and it is to be regretted that the date (1865), the year when the Hall was redecorated, should have been placed in prominent gold letters on this interesting relic of a past century.

[Illustration:  Clock Case, by Chippendale.]

Apart from the several books of design noticed in this chapter, there were published two editions of a work, undated, containing many of the drawings found in Chippendale’s book.  This book was entitled, “Upwards of One Hundred New and Genteel Designs, being all the most approved patterns of household furniture in the French taste.  By a Society of Upholders and Cabinet makers.”  It is probable that Chippendale was a member of this Society, and that some of the designs were his, but that he severed himself from it and published his own book, preferring to advance his individual reputation.  The “sideboard” which one so generally hears called “Chippendale” scarcely existed in his time.  If it did, it must have been quite at the end of his career.  There were side tables, sometimes called “Side-Boards,” but they contained neither cellaret nor cupboard:  only a drawer for table linen.

The names of two designers and makers of mahogany ornamental furniture, which deserve to be remembered equally with Chippendale, are those of W. Ince and J. Mayhew, who were partners in business in Broad Street, Golden Square, and contemporary with him.  They also published a book of designs which is alluded to by Thomas Sheraton in the preface to his “Cabinet Maker and Upholsterer’s Drawing Book,” published in 1793.  A few examples from Ince and Mayhew’s “Cabinet Maker’s Real Friend and Companion” are given, from which it is evident that, without any distinguishing brand, or without the identification of the furniture with the designs, it is difficult to distinguish between the work of these contemporary makers.