The Adam Style

James Adam and his brother Robert probably never designed the furniture which is attributed to them, but to them was largely due the reaction that took place at this time, - a sudden great impetus toward simplicity and classic forms. The style was similar in many respects to that of Louis XVI. The straight line, the arabesque scrollwork, the gayety, lightness, and formality are common to both. The essence of the Adam style might be said to be simplicity, elegant slenderness, and low relief. The arm is an important ornament; the bell flower, delicate scrolls, drapery, the fluted shell, and medallion. Lions' and eagles' claws are used for feet.

The Sheraton Style

The influence of the Adams on the furniture makers of their time was very marked. Sheraton did not imitate them, but he embodied in his furniture a true Adam feeling for simplicity. While Sheraton was the last of the trio of great master furniture makers of the eighteenth century, he certainly cannot be said to be least. Infact, some authorities maintain that while Chippendale and Hepplewhite were fine workmen, Sheraton was a poet. Sheraton carved, painted, and inlaid his furniture, using, and often improving upon, the ideas of his two great predecessors. He seldom used the shield back of Hepplewhite, and never the pierced splat back of Chippendale. While Chippendale avoided the straight line, Sheraton used it a great deal. His chairs are almost always distinguished by a straight top to the back, and rectangular legs. In his sideboards, tables, and desks where curved lines were used, he introduced the fluted column of Louis XVI. His furniture always seems thoroughly consistent in design, that final test of consummate art.

A Fart of a Chippendale Dining-room. Chinese Influence Is Shown in the Detail of Ornament.

(Courtesy of Berkey & Gay Furniture Company).

A Hepplewhite Dining-room Which Is Restful in its Simplicity.

(Copr., 1916, Good Furniturt Magazine).

The Empire Style

The last great epoch in furniture making arose in the early days of the nineteenth century. It was influenced by the French Revolution, and victory is stamped over all its furniture in the form of wreaths and torches or other warlike emblems. The Empire artists lauded the classics as never before, and Roman and Grecian decorations were used lavishly. Marquetry was discarded, but plain surfaces were covered with massive carving. In its plainer form the Empire type was dignified and full of beauty, having qualities of repose and stability which outranked some of its predecessors. It is to be regretted that, toward the last, the decorations came to be extravagant, even to the grotesque. The Empire style probably had more effect upon furniture making in America than any other. It came at a time when the industry on this side of the water was at its height, and consequently a large majority of the so-called colonial furniture is of this type.