We will take "Sheraton " bookcases next; and it must be noted that this designer paid very considerable attention to the development of these articles, some capital types of which are illustrated on Plates IV. and V. In writing of these, I may point out, in the first place, that here again we find the same regard - remarked upon earlier in the chapter - paid to that cardinal principle of decorative art which dictates that ornament should be subordinated to construction - a principle Sheraton never intentionally violated. Of Fig. 5, Plate IV., a typical example, the designer says: "The use of this piece is to hold books in the upper part, and in the lower it contains a writing-drawer and clothes-press shelves. The design is intended to be executed in satinwood, and the ornaments japanned. It may, however, be done in mahogany, and, in place of the ornaments in the friezes, flutes may be substituted. The pediment is simply a segment of a circle, and it may end in the form of a fan, with leaves in the centre. The vases may be omitted to reduce the work; but, if they are introduced, the pedestal on which the centre vase rests is merely a piece of thin wood, with a necking and base moulding mitred round and planted on the pediment. The pilasters on the bookcase doors are planted on the frame, and the doors hinged as usual. The tops of the pilasters are made to imitate the Ionic capital."

"Sheraton." V. Plate 56

Reference In Text

Were we disposed to adopt a hypercritical attitude, some slight exception might be taken to this sham construction - that is to say, to the "planting-on" of what should really be constructive details - but the deceit is really so very harmless in every respect, and the construction underlying it all is so honest and genuine, that we are inclined to withhold condemnation. Where such a course is pursued in order to hide faulty material, or scamped workmanship, the case is altogether different; but an act like that would never have been condoned by Sheraton, who preferred to follow in the footsteps of the traditional builders of Milan Cathedral, rather than to emulate the example of those responsible for the erection of that famous church in the States which was described as "Queen-Anne' in front, and 'Mary-Ann' behind."

To give Sheraton's detailed description of all the pieces illustrated here would occupy far too great space, and would be to little purpose, for most of the particulars given are of greater interest to the manufacturer than to the student, collector, or connoisseur, consisting as they do of technical details regarding construction. Those who desire to refer to them can easily turn to the original book, or to the facsimile reproduction of it, one or the other of which is available at most public libraries, as well as in not a few private ones.

Reference to Figs. 6 and 7, Plate IV.; and to Fig. 1, Plate V., will show more fully still how fond Sheraton was of employing the vase as a finial in his pediments.

Turning to another important phase of this master's work, which we must consider at some length, we will examine one or two examples of what may be described as "Sheraton Inventive Furniture," and this is really worthy of more than passing notice on account of the fact that it is endowed with something more than grace of design and the average measure of usefulness to command the attention of the student. The exhaustive knowledge of geometry and perspective possessed by this craftsman - and it is in the light of a craftsman that we must now regard him for a moment - his love of mechanics, and never-failing regard for utility, led him to conceive, and work out, problems in cabinet construction such as had never before been attempted, or even dreamed of, by any other member of his craft. The solution of these problems resulted in the origination, and production, of household gods in which all manner of unexpected developments were most ingeniously provided, and which, in most cases, were of real practical utility, and exceptionally clever in conception and execution.

A better instance, perhaps, could not be cited to illustrate the lengths to which he was prepared to go in this direction than the one depicted in Fig. 8, Plate VI. Here we have a table apparently innocent of all complications, but which, by the raising of the hinged top and adjustment of the interior, can be almost instantaneously converted into something totally and altogether different - viz., library steps with hand-rail and book-rest complete - the least relationship between which and a table could hardly be imagined to exist. The step-chair is familiar enough to us, but this step-table, though designed and made over a century ago, will, I imagine, be a novelty to most of my readers.