CHAIRS, SOFAS, BEDS, and COUCHES; CHINA-TABLES, DRESSING-TABLES, SHAVING-TABLES, BASON-STANDS, and TEAKETTLE-STANDS; FRAMES for MARBLE-SLABS, BUREAU-DRESSING-TABLES, and COMMODES; WRITING-TABLES, and LIBRARY-TABLES; LIBRARY-BOOK-CASES, ORGAN-CASES for private Rooms, or Churches, DESKS, and BOOK-CASES; DRESSING and WRITING-TABLES with BOOK-CASES, TOILETS, CABINETS, and CLOATHS-PRESSES; CHINA-CASES, CHINA-SHELVES, and BOOK-SHELVES; CANDLE-STANDS, TERMS for BUSTS, STANDS for CHINA JARS, and PEDESTALS; CISTERNS for WATER, LANTHORNS, and CHANDELIERS; FIRE-SCREENS, BRACKETS, and CLOCK-CASES; PIER-GLASSES, and TABLE-FRAMES; GIRANDOLES, CHIMNEY-PIECES, and PICTURE-FRAMES; STOVE-GRATES, BOARDERS, FRETS, CHINESE-RAILING, and BRASS-WORK, for Furniture,

    AND OTHER
    ORNAMENTS,
    TO WHICH IS PREFIXED,
    A Short EXPLANATION of the Five ORDERS of ARCHITECTURE;
    WITH

    Proper DIRECTIONS for executing the most difficult Pieces, the
    Mouldings being exhibited at large, and the Dimensions of each DESIGN
    specified.

    The Whole comprehended in Two HUNDRED COPPER-PLATES, neatly engraved.

    Calculated to improve and refine the present TASTE, and suited to the
    Fancy and Circumstances of Persons in all Degrees of Life.

    By THOMAS CHIPPENDALE,
    CABINET-MAKER and UPHOLSTERER, in St. Martin’s Lane, London.

    THE THIRD EDITION.

    LONDON: 

    Printed for the AUTHOR, and sold at his House, in St. Martin’s Lane;
    Also by T. BECKET and P.A.  DeHONDT, in the Strand.

MDCCLXII.
]

[Illustration:  Fac-simile of a Page in Chippendale’s “Director.” (The original is folio size.)]

[Illustration:  Tea Caddy, Carved in the French style. (From Chippendale’s “Director.")]

In the chapter on Louis XV. and Louis XVI. furniture, it has been shewn how France went through a similar change about this same period.  In Chippendale’s chairs and console tables, in his state bedsteads and his lamp-stands, one can recognise the broken scrolls and curved lines, so familiar in the bronze mountings of Caffieri.  The influence of the change which had occurred in France during the Louis Seize period is equally evident in the Adams’ treatment.  It was helped forward by the migration into this country of skilled workmen from France, during the troubles of the revolution at the end of the century.  Some of Chippendale’s designs bear such titles as “French chairs” or a “Bombe-fronted Commode.”  These might have appeared as illustrations in a contemporary book on French furniture, so identical are they in every detail with the carved woodwork of Picau, of Cauner, or of Nilson, who designed the flamboyant frames of the time of Louis XV.  Others have more individuality.  In his mirror frames he introduced a peculiar bird with a long snipe-like beak, and rather impossible wings, an imitation of