Quite different from the sumptuous book by Robert and James Adam is the one that was published in 1788 by the firm of “A. Heppelwhite & Co., Cabinet-Makers.” This is a collection of three hundred designs by cabinet-makers for cabinet-makers and gentlemen. The title-page, which is also a table of contents, reads as follows:

“The Cabinet-Maker and Upholsterer’s Guide, or Repository of Designs, for every article of Household Furniture, in the Newest and most approved Taste, displaying a great variety of patterns for Chairs, Stools, Sofas, Confidante, Duchesse, Side Boards, Pedestal and Vases, Cellerets, Knife-Cases, Desk and Book-Cases, Secretary and Book-Cases, Library-Cases, Library-Tables, Reading-Desks, Chests-of-Drawers, Urn-Stands, Tea-Caddies, Tea-Trays, Card-Tables, Pier-Tables, Pembroke-Tables, Tambour-Tables, Dressing-Glasses, Dressing-Tables and Drawers, Commodes, Rudd’s Table, Bidets, Night-Tables, Bason-Stands, Wardrobes, Pot-Cupboards, Brackets, Hanging-Shelves, Fire-Screens, Beds, Field-Beds, Sweep Tops for Ditto, Bed-Pillars, Candle-Stands, Lamps, Pier-Glasses, Terms for Busts, Cornices for Library-Cases, Wardrobes, etc., at large, Ornamented Tops for Pier-Tables, Pembroke-Tables, Commodes, etc., etc., in the Plainest and most Enriched Styles.”

In his preface, Heppelwhite explains his ideas as follows:

“To unite elegance and utility, and blend the useful with the agreeable, has ever been considered a difficult, but an honourable task.

“It may be allowable to say, we have exerted our utmost endeavours to produce a work which shall be useful to the mechanic, and serviceable to the gentleman. With this view, after having fixed upon such articles as were necessary to a complete suit of furniture, our judgment was called forth in selecting such patterns as were most likely to be of general use—in choosing such points of view as would show them most distinctly—and in exhibiting such fashions as were necessary to answer the end proposed, and convey a just idea of English taste in furniture for houses.

“English taste and workmanship have, of late years, been much sought for by surrounding nations; and the mutability of all things, but more especially of fashions, has rendered the labours of our predecessors in this line of little use: nay, at this day, they can only tend to mislead those Foreigners, who seek a knowledge of the English taste in the various articles of household furniture.

“The same reason, in favour of this work, will apply also to many of our own Countrymen and Artisans, whose distance from the metropolis makes even an imperfect knowledge of its improvements acquired with much trouble and expense. Our labours will, we hope, tend to remove this difficulty; and as our idea of the useful was such articles as are generally serviceable in genteel life, we flatter ourselves the labour and pains we have bestowed on this work will not be considered as time uselessly spent.

“To Residents in London, though our drawings are all new, yet, as we designedly followed the latest or most prevailing fashion only, purposely omitting such articles whose recommendation was mere novelty, and perhaps a violation of all established rule, the production of whim at the instance of caprice, whose appetite must ever suffer disappointment if any similar thing had been previously thought of; we say, having regularly avoided those fancies, and steadily adhered to such articles only as are of general use and service, our principal hope for favour and encouragement will be, in having combined near three hundred different patterns for furniture in so small a space, and at so small a price. In this instance we hope for reward; and though we lay no claim to extraordinary merit in our designs, we flatter ourselves they will be found serviceable to young workmen in general and occasionally to more experienced ones.”

From the above quotation, it will be noticed that the firm of Heppelwhite and Company eschews extravagant designs, and aims to represent at the same time what is newest and most fashionable. We see, too, that previous publications sold, such as Chippendale’s, Ince and Mayhew’s, Edwards and Darly’s, and others that we have mentioned, are considered entirely out of date.

As far as Heppelwhite is concerned, neither the Chinese nor Gothic style ever existed. The straight line is insisted upon, and he prefers to any other the tapering and slender “term” leg ending in the “spade” foot. (See full drawings on Plates LIV., LV., LVI., and LVII., and Nos. 2 and 3 on Plate LIV.) The legs are frequently inlaid with the husk, or bell-flower, in satin-wood. His favourite ornamentations, whether carved, inlaid, or painted and japanned, are the bell-flower in swags and chutes, the lotus, the rosette, the acanthus, the shell, the urn with and without drapery, and the three feathers of the Prince of Wales’s crest. (See Plate LVI., Nos. 1, 3, 4, 6 and 8.) The brass-headed nail is always used for fastening the material to the frames of his seats. These are always placed close together, and are sometimes arranged in the form of festoons, or scallops, around the seat. The stripe is his favourite design for coverings. The festoon and the ornamental tassel he greatly admires.

The Heppelwhite chair has attained great fame. Generally speaking, its proportions are as follows: height, 3 feet, 1 inch; height to seat frame, 17 inches; depth of seat, 17 inches; and width of seat in front, 20 inches. Many chairs, however, are recommended to be made “according to the size of the room or pleasure of the purchaser.” For coverings of drawing-room chairs, such as Nos. 1, 5 and 8 on Plate LVI., silks and satins of light colours with printed oval medallions, or floral designs were used, and more particularly stripes, which were becoming more and more fashionable in France. Blue, or red, morocco leather, put on with ornamental brass nails, is another popular method of upholstering these articles. One of Heppelwhite’s instructions is that “leather backs or seats should be tied down with tassels, of silk or thread.” For the open back and carved chair, such as Nos. 2, 3, 4, 6 and 7 on Plate LVI. silk, satin, and leather are used, and horsehair, figured, checked, plain, or striped, is also popular.

No. 7 on Plate LVI., which may be of mahogany, or japanned, has a cane bottom in the original design, and “should have a cushion of linen, leather, etc.”

Some of Heppelwhite’s carved chair-backs are square, and anticipate those of Sheraton represented on Plate LXII.; but he was fonder of the shield form. Backs of this shape were covered as in No. 5, Plate LVI., or had carved and open-backs, as the other examples shown on the same Plate.

Of chairs he writes:

“Chairs in general are made of mahogany, with the bar and frame sunk in a hollow, or rising in a round projection with a band or list on the inner and outer edges. Many of these designs are enriched with ornaments proper to be carved in mahogany. Mahogany chairs should have the seats of horsehair, plain, striped, chequered, etc., at pleasure, or cane bottoms with cushions, the cases of which should be covered with the same as the curtains.

“For chairs, a new and very elegant fashion has arisen within these few years, of finishing them with painted or japanned work, which gives a rich and splendid appearance to the minuter parts of the ornaments, which are generally thrown in by the painters. Several of these designs are particularly adapted to this style, which allows a framework less massy than is requisite for mahogany, and by assorting the prevailing colour to the furniture and light of the room, affords opportunity, by the variety of grounds which may be introduced, to make the whole accord in harmony, with a pleasing and striking effect to the eye. Japanese chairs should have cane bottoms, with linen or cotton cases over cushions to accord with the general hue of the chairs.”

The full drawing on Plate LVI. is “an easy chair,” which Heppelwhite calls also a “Saddle Check,” the “construction and use of which is very apparent: they may be covered with leather, horsehair, or have a linen case to fit over the canvas stuffing, as is most usual and convenient.”

Chairs with stuffed backs he called “cabriole.” No. 5, on Plate LVI., is labelled a “cabriole chair.” Heppelwhite assures us that it “is of the newest fashion.” It consists of a shield-shaped back; a little cushion upon the arm, fastened by means of tiny nails; and a leg composed of reeds bound with ribbon, surmounted by the square patera that hides the joining.

Twelve designs of chair backs, resembling chairs of the Sheraton style, are “proper to be executed in mahogany or japan; some of them applicable to the more elegant kind of chairs with back and seats of red, or blue, morocco leather; in these backs, which are sometimes made a little circular, are frequently inserted medallions, printed or painted on silk of the natural colours; when the backs and seats are of leather, they should be tied down with tassels of silk or thread.”

“Stools,” he says, “should match the chairs, the framework should be of mahogany, or japanned, and of course should be covered like the chairs.” His “window stools” are particularly graceful. They are intended to be placed directly under the window, and their “size must be regulated by the size of the place where they are to stand; their heights should not exceed the heights of the chairs.” Two of his designs, which he considers “particularly adapted for an elegant drawing-room of japanned furniture,” are covered in “taberray or morine of pea-green or other light colour.” The one represented on Plate LV. is of “carved mahogany with furniture of an elegant pattern.” He assures us that this “will produce a very pleasing effect.” Another one he recommends to be “japanned and covered with striped furniture;” and two others are “covered with linen or cotton to match the chairs. One is tufted and ornamented with buttons and the other has a scalloped valance trimmed with fringe. A tiny tassel hangs in the centre of each scallop.”

The general characteristics of the stuffed Heppelwhite sofa appear in the full drawing on Plate LIV., which also shows the correct covering fastened to the frame by a border of gilt nails. The dimensions of the sofa vary according to the size of the room, but the “proportion in general use” is as follows: length from 6 to 7 feet; depth about 30 inches; height of the seat frame, 14 inches; and total in the back, 3 feet, 1 inch. “The woodwork should be either mahogany or japanned, in accordance to the chairs, and the covering also must be of the same.” A long square sofa he calls “the newest fashion,” and recommends that “the frame should be japanned, with green on a white ground and the edges gilt; the covering of red morocco leather.”

French forms and names were just as popular with Heppelwhite as with Chippendale. On Plate LIV., No. 5, is shown a confidante of Heppelwhite’s design. He writes:

“This piece of furniture is of French origin, and is in pretty general request for large and spacious suits of apartments. An elegant drawing-room, with modern furniture is scarce complete without a Confidante, the extent of which may be about nine feet, subject to the same regulations as sofas. This piece of furniture is sometimes so constructed that the ends take away and leave a regular sofa; the ends may be used as Barjier Chairs.” The last name refers to the bergÈre.

Heppelwhite writes of the duchesse:

“This piece of furniture also is derived from the French. Two Barjier chairs of proper construction, with a stool in the middle, form the Duchesse, which is allotted to large and spacious ante-rooms; the covering may be various, as also the framework, and made from 6 to 8 feet long. The stuffing may be of the round manner as shown in the drawing, or low-stuffed with a loose squab, or bordered cushion, fitted to each part; with a duplicate linen cover to cover the whole, or each part separately. Confidantes, sofas and chairs may be stuffed in the same manner.”

Another variety is the “bar back,” which appears as if four open-back chairs (similar to No. 7, Plate LVI.) are placed side by side, the two end ones being supplied with an elbow, the general outline of which follows that of No. 8, or No. 5, on Plate LVI. We are told that this kind of sofa is of modern invention; and “the lightness of its appearance has procured it a favourable reception in the first circles of fashion. The pattern of the back must match the chairs; these also will regulate the sort of framework and covering.”

Heppelwhite’s beds are much lighter in general appearance than Chippendale’s, both with regard to framework and the hangings. “Beds are an article of much importance,” he thinks, “as well on account of the great expense attending them as the variety of shapes and the high degree of elegance which may be shown in them. They may be executed of almost every stuff the loom produces. White dimity, plain or corded, is peculiarly applicable for the furniture, which, with a fringe or gymp-head, produces an effect of elegance and neatness truly agreeable. The Manchester stuffs have been wrought into Bed-furniture with good success. Printed cottons and linens are also very suitable, the elegance and variety of patterns of which afford as much scope for taste, elegance and simplicity as the most lively fancy can wish. In general, the lining to these kinds of furniture is a plain white cotton. To furniture of a dark pattern, a green silk lining may be used with a good effect.” One of Heppelwhite’s beds on the general model of the one represented as Nos. 1 and 2 on Plate LVII. was hung with dove-coloured satin curtains with a lining of green silk. “The Vallance to this bed,” he writes, “is tied up in festoons. The cornice of mahogany may come so low as to hide the curtain rods.” He also gives designs of “Venetian, or waggon top beds,” “dome top beds,” “square dome top beds,” “press beds” and “field beds,” and gives the following instructions with regard to the richest kinds:

“In staterooms where a high degree of elegance and grandeur are wanted, beds are frequently made of silk or satin figured or plain, also of velvet with gold fringe, etc. The Vallance to elegant beds should always be gathered full, which is called a Petticoat Vallance. The Cornices may be either of mahogany carved, carved or gilt, or painted and japanned. The ornaments over the cornices may be in the same manner; and carved and gilt, or japanned, will produce the most lively effect.

“Arms or other ornaments to Stuffed Head Boards should be carved in small relief, gilt and burnished. The Pillars should be of mahogany, with the enrichments carved.”

The field-bed, of which a design dated 1787 appears on Plate LVII., is the French lit À tombeau and lit À double tombeau. In England it was known as the single-headed and double-headed field-bed. A single-headed bed of this kind appears on Plate XXXVI., No. 8; and this Louis XV. model was copied by Chippendale for his later plates, in which many varieties of the field-bed appear. The bed represented on Plate LVII. needs no explanation. The cornice, or “sweep,” is delicately carved. Urns surmount the bed-posts. Below it, on Plate LVII., are “sweeps for field-bed tops” dated 1787 (Nos. 3, 4, 5, 6 and 7). Another design in Heppelwhite’s book for a bed with a sweep top is intended to be made of plain mahogany or with gilt ornaments. The headboard and draperies are quite elaborate. “The drapery may be the same as the furniture or the lining, the ornaments gilt, the headboard is stuffed and projects like the back of a sofa. The addition of stuffed headboards gives an elegant and high finish to the appearance of beds.”

The “press bed” is nothing more or less than a folding-bed in the shape of a wardrobe, with two big doors beneath which are drawers. Heppelwhite says:

“Of these we have purposely omitted to give any designs: their general appearance varying so little from wardrobes, which pieces of furniture they are intended to represent, that designs for them are not necessary.

“The upper drawers would be only sham and form part of the door, which may be made to turn up all in one piece, and form a tester; or may open in the middle, and swing on each side; the under drawer is useful to hold parts of the bed furniture; may be 5 feet 6 inches high, 14 feet wide.

“Nine designs for Cornices which are suitable for beds or windows are here shewn; these may be executed in wood painted and japanned, or in gold. A mixture of these two manners produces an elegant and grand effect. The foliage may be gilt, and the groundwork painted; or the reverse.” One of these appears as No. 4 on Plate LIV. This exhibits the curtain and toothed lappets, or points, of the lambrequin below the cornice.

The sideboard with Heppelwhite is quite different to that of Chippendale. The latter merely designs a long plain table with carved legs and no drawers. Heppelwhite’s sideboard is a far more highly developed piece of furniture. Sometimes the drawers were arranged in compartments, for various uses, and the sideboard had a cavity between the front legs to accommodate a wine-cooler. Pieces of plate and knife-cases stood upon its wide slab. The sideboard represented on Plate LIV. has Heppelwhite’s characteristic inlay of the husk or bell-flower done in satin-wood and the characteristic “spade” foot. An inlaid floral ornament decorates the corners below the front drawer.

Heppelwhite remarks:

“The great utility of this piece of furniture has procured it a very general reception; and the conveniences it affords render a dining-room incomplete without a sideboard.” The one represented on Plate LIV. has several drawers. The right-hand drawer “has partitions for nine bottles. Behind this is a place for cloths or napkins, occupying the whole depth of the drawer.”

“The drawer on the left hand has two divisions, the hinder one lined with green cloth to hold plate, etc., under a cover; the front one is lined with lead for the convenience of holding water to wash glasses, etc., there must be a valve-cock, or plug, at the bottom, to let off the dirty water; and also in the other drawer, to change the water necessary to keep the wine, etc., cool; or they may be made to take out. The long drawer in the middle is adapted for table linen, etc.

“They are often made to fit into a recess, but the general custom is to make them from 5½ to 7 feet long, 3 feet high, and 28 to 32 inches wide.”

He also gives designs for “sideboards without drawers; the ornaments to the front of which may be carved, painted, or inlaid with various coloured woods.” This kind is merely the old sideboard table.

Of pedestals he writes:

“Pedestals and vases are much used in spacious dining-rooms, where the last-described kind of sideboards are chosen; at each end of which they are placed. One pedestal serves as a plate-warmer, being provided with racks and a stand for a heater; and is lined with a strong tin; the other pedestal is used as a pot cupboard.

“The vases may be used to hold water for the use of the butter, or iced water for drinking, which is inclosed in an inner partition, the ice surrounding it; or it may be used as knife-cases, in which case they are made of wood, or of copper japanned. The height of the pedestal is the same as the sideboard and 16 or 18 inches square; the height of the vase about 2 feet, 3 inches.”

Of the knife-case, he says:

“The universality of this piece of furniture renders a particular description not necessary. It may be made of mahogany inlaid, or of satin or other wood at pleasure.”

Four designs of vase knife cases are given. “They are usually made of satin, or other light-coloured wood, and may be placed at each end on the sideboards, or on a pedestal; the knives, etc., fall into the body of the vase, the top of which is kept up by a small spring which is fixed to the stem, which supports the top; may be made of copper, painted and japanned.”

One of these is shown on Plate LV., No. 4.

“Cellerets,” he tells us, “called also gardes de vin, are generally made of mahogany, and hooped with brass hoops lacquered; the inner part is divided with partitions, and lined with lead for bottles; may be made of any shape. These are of general use where sideboards are without drawers.”

Plate LIII. shows all of these articles except the celleret. The sideboard is similar to that on Plate LIV. and upon it stand knife boxes and a lustre. Pedestals supporting the vases described above stand on either side. Above is an ornate mirror.

“Candlestands are very useful in large suits of apartments, as the light may be placed in any part at pleasure—in drawing-rooms, in halls and on large staircases, they are frequently used. These designs may be executed in mahogany or wood japanned.” A very graceful example appears as No. 6 on Plate LV. It has five branches, three of which only are shown in the sketch here. This is to be made in mahogany or japanned wood and the branches are lacquered brass.

No. 1 on Plate LIV. represents a little urn-stand “to set the teapot on.” This is about 26 inches high and can be painted or varnished or inlaid with various coloured woods.

The “Pole fire screen,” a specimen of which is shown on Plate LV., No. 5, “may be ornamented variously, with maps, Chinese figures, needlework, etc. The screen is suspended on the pole by means of a spring in the eye, through which the pole goes.” These articles are made of mahogany or japanned wood.

The Horse fire-screen is supported by uprights standing on feet. The screen slides up and down in grooves in these uprights. The framework is usually of mahogany and the screen is covered with green silk needlework, etc. Heppelwhite’s lamps are often ornamented with brass work. He gives, however, a square one to be made in mahogany. Of great importance are his mirrors with sconce arms, which he calls “Girandoles,” and remarks: “This kind of ornament admits of great variety in pattern and elegance; they are usually executed of the best carved work,—gilt and burnished in parts. They may be carved and coloured suitable to the room.” A very graceful example is shown as No. 3 on Plate LV. The mirror fills the entire oval. Girandoles also hang on the walls of the room shown as Plate LIII.

Pier-glass frames are “almost invariably of good carved work, gilt and burnished.” The square shape is most fashionable, Heppelwhite says, and directs that “they should be made nearly to fill the pier. They must be fixed very low, and the panels of the sides are frequently made of various coloured glass.” What he means by this will be understood by referring to the large mirror over the sofa in Plate LIII.

Pier tables “are made to fit the pier and rise level with, or above the dado of the room, nearly touching the ornaments of the glass.”

“Tables in general,” we learn, “are made of the best mahogany. Their size is various but their height should not exceed 28 inches.”

“Card-tables may be either square, circular or oval: the inner part is lined with green cloth; the fronts may be enriched with inlaid or painted ornaments; the tops also admit of great elegance.”

Specimen card-tables are shown on Plate LIV., Nos. 2 and 3. Pembroke tables are the most useful of this species of furniture; they may be of various shapes. The long, square and oval are the most fashionable. These articles admit of the greatest elegance in the workmanship and ornaments. The tops “are inlaid, painted or varnished.” A beautiful example is shown on Plate LV. This table is supplied with a drawer below the top, the leaves of which fall at the two sides of the drawer.

Heppelwhite made a great variety of other tables, such as “tambour writing tables,” “night-tables” shaving-tables, and dressing-tables of all kinds. His dressing-tables were the result of much thought. In them we see the convenient mechanical and folding arrangements that Sheraton carried so far in his various devices. In one of Heppelwhite’s dressing-tables, the drawer is divided into compartments for pins, combs, essences, etc., and the looking-glass rises from the drawer on hinges, or it can be made to lie flat. “Rudd’s Dressing Table” also appears, which Heppelwhite says is “the most complete dressing-table ever made, possessing every convenience which can be wanted; or mechanism, or ingenuity supply. It derives its name from a once popular character, for whom it was reported it was invented.” Here the drawers can be made to swing around in any desired position, and the looking-glasses also swing on pins after they are elevated.

Another ladies’ dressing-table is a simple table, the slab of which lifts up or can be opened out. In the centre of it is the dressing-glass which can be made to rise and stand. Around it are little compartments for articles of the toilet. Then he makes also what he calls dressing-drawers. This is an “ordinary chest-of-drawers, one drawer of which is fitted up as a dressing-drawer.” Some varieties have serpentine fronts. Two of his mahogany bason-stands appear as Nos. 1 and 2 on Plate LV. Hanging-shelves for books or china are made of mahogany and are suitable for ladies’ rooms.

Commodes are often richly inlaid; some of them indeed are made of satin-wood and are shaped like half a drum. Chests-of-drawers, double chests-of-drawers and wardrobes are of the plainest forms and made of plain mahogany with a simple ring handle or knob.

The long bookcase of the type on Plate XXXIX. Heppelwhite calls library case. Describing these, he says: “They are usually made of the finest mahogany; the doors of fine waved or curled wood. May be inlaid on the panels, etc., with various coloured woods. The ornamental sash bars are intended to be of metal which, painted of a light colour, or gilt, will produce a light, pleasing effect.” The dimensions are determined by the place where it is to stand.

The dimensions of Heppelwhite’s desk and book-case are length, 3 feet, 6 inches; depth, 22 inches; height of desk, 3 feet, 2 inches, including 10 inches for the inside of the desk; total height about 6 feet; depth of bookcase, about 12 inches. These are “usually made of good mahogany. The drawers and internal conveniences admit of much variation. The designs show three different ways of making them: the patterns of the book-case doors may also be very much varied. On the top, when ornamented, is placed between a scroll of foliage, a vase, bust, or other ornament which may be of mahogany, or gilt, or of light-coloured wood.”

A tambour writing-table and bookcase appears on Plate LVII. This requires little explanation except to note that it has three drawers and a cylinder tambour shutter that rolls back and reveals all the pigeon-holes, nests of drawers and writing-table, while the upper part consists of shelves enclosed by two doors.

Of the latter, Heppelwhite says: “Tambour writing-table and bookcase, the doors to which are intended to be made of and ornamented with metal frames; these painted of a light, or various colours, produce a lively and pleasing effect. The reeds are here drawn forward to shew the appearance when shut.”

The library table is from 3 to 4 feet long and 3 feet deep. It is of mahogany, and covered on top with leather or green cloth. Some of them have cupboards in front for books, papers, etc.

The room on Plate LIII. is an arrangement of Heppelwhite’s own plan, regarding which he remarks: “Having gone through a complete series or suit of Household Furniture, we were strongly advised to draw out a plan, which should shew the manner of properly disposing of the same: with this intent, aided by the advice of some experienced friends, we here shew, at one view, the necessary and proper furniture for a Drawing-room, and also for a Dining-room or Parlour, subject to the following variations: If the object of this plan was a Drawing-room only, on each side of the chimney-piece there should be a sofa, and on the opposite side, instead of a sofa, should be a confidante: the sideboard also should be removed, and an elegant commode substituted in the place. The remaining space may be filled up with chairs. For a dining-room, instead of the pier-tables, should be a set of dining-tables. The rest of the furniture, and the general ordonnance of the room is equally proper, except the glass over the sofa, which might be omitted; but this is mere opinion, many of the Dining Parlours of our first nobility having full as much glass as is here shewn.”

The proper furniture for a Drawing-room and for a Dining-room or Parlour, being thus pointed out, it remains only to observe, that the general appearance of the latter should be plain and neat, while the former, being considered as a State-room, should possess all the elegance embellishments can give.”

The side of the room which the reader cannot see contains four windows, furnished with window stools and lambrequins; and, between each window, pier-glasses and pier-tables stand. These semi-circular tables were used, when necessary, to extend the square table in the centre of the room: one being placed at each end, for the extension table had not come into fashion.