Sir William Chambers is a greater name to reckon with for his influence on furniture. He was born in 1726, and was of Scotch descent, though his father lived, and he himself was born, in Sweden. The son took to the sea, and went as a supercargo to Canton. So much was he struck by the Chinese buildings and furniture that in 1757 1 he published a work, illustrated by such men as Rooker and Paul Sandby. The idea was that the furniture illustrations should be 'useful to our cabinetmakers,' and they had, in fact, a great influence upon them. It is to be observed that Chippendale's book came out at least three years before Chambers's folio. In it we find evidence broadcast of the full development of the 'Chinese craze.' It is more than probable that Chippendale may have seen something of Chambers's collection of drawings before they were published. It is at any rate difficult to divest Chambers of his claims to be, though not the originator, at least a great advancer of the fashion, seeing that he actually went to China and drew inspiration from the fountain-head. Evidence that the craze was in full possession of the town some years before either Chippendale or Chambers published their books is afforded by an old coloured engraving in the writer's possession.

This print, drawn by J. Wale and engraved and published by Thomas Bowles, shows Vauxhall Gardens in the year 1751. It is entitled 'A View of the Chinese Pavillions and Boxes in Vaux Hall Gardens,' and shows in truth the wildest architectural miscellany which can be conceived. The Gothic pointed arch supports a classic dome, which is flanked by details combined, it seems, of Moorish and rococo. It is qualified to be called Chinese by certain figures - painted perhaps - in the central box, which are undoubtedly Oriental. There is the peculiar conical hat which appears in the Chinese figures upon furniture by Chippendale and others. The title of the print is, however, sufficient indication of the supposed nature of the conglomeration. The Chinese craze in various manifestations was, in fact, much older than either Chambers or Chippendale. Besides the fact that William Halfpenny published an inferior book of New Designs for Chinese Temples, etc., as early as 1750, we may go back to the year 1682 and find instances of silver toilet services decorated with the same Chinese personages as those of Vauxhall. Queen Mary, the consort of William III., was an ardent collector of Oriental porcelain, and there is little doubt that, the attention of Western nations having been once called to the art of China, the fashion in one form or another was bound to recur.

It is found in designs of Boulle-work furniture of a much earlier date than that of the period under discussion, and must have received an impetus from that Siamese embassy which is said to have brought over many specimens of Chinese lacquer as presents to Louis XIV. Evelyn, in 1664 (June 22), describes all sorts of things sent by the Jesuit missionaries to their order in Paris, including 'their idols, saints, pagods, of most ugly serpentine, monstrous and hideous shapes . . . pictures of men and countries rarely painted . . . flowers, trees, beasts, birds, etc., excellently wrought.' He himself translated a Relation of China by a Mr. Van der Douse. Addison refers to ornaments of China and Japan in 1711, and De Foe also in 1724. We may therefore conclude that while there was so much of Chinese in the air many very distant imitations were unduly called Chinese. Chambers's drawings must have been an admirable corrective of false notions as to Oriental shapes, and to him must be assigned the merit of at least having regulated the latest manifestation of the craze in furniture.

This, in fact, is the claim which Chambers makes in his preface, 'that they might be of use in putting a stop to the extraordinary fancies that daily appear under the name of Chinese, though most of them are mere inventions, the rest copies from the lame representations found on porcelain and paper-hangings.'

1 The Dictionary of National Biography gives 1759 as the date of this work, and 1752 for Chippendale's first edition.