The genius of Chippendale justly puts him in the front rank of cabinet-makers and his influence was the foundation of much of the fine work done by many others during the eighteenth century.  He is often criticized for his excessive rococo taste as displayed in the plates of the “Gentleman’s and Cabinet-maker’s Director,” and in some of his finished work.  Many of the designs in the “Director” were probably never carried out, and some of them were probably added to by the soaring imaginations of the engraver.  This is true of all the books published by the great cabinet-makers, and it always seems more fair to have their reputations rest on their finished work which has come down to us.

[Illustration:  The dripping-water effect, of which Chippendale was so fond at one time, is plainly shown on the doors of this particularly fine example of his work.]

Chippendale, of course, must bear the chief part of the charge of over-elaboration, and he frankly says that he thinks “much enrichment is necessary.”  He copied Meissonier’s designs and had a great love for gilding, but the display of rococo taste is not in all his work by any means, nor was it so excessive as that of the French.  The more self-restrained temperament of the Anglo-Saxon race makes a deal of difference.  He early used the ogee curve and cabriole leg, the knees of which he carved with cartouches and leaves or other designs.  The front rail of the chair also was often carved.  There were several styles of curved leg, the cabriole leg of Dutch influence, and the curved style of Louis XV.  There were also several variations on the claw and ball foot.  Many Chippendale chairs were without stretchers, but the straight legged style usually had four.  The seats were sometimes in a box frame or rebate, and sometimes the covering was drawn over the frame and fastened with brass headed nails.  Chippendale in the “Director” speaks of red morocco, Spanish leather, damask, tapestry and other needlework as being appropriate for the covering of his chairs.

[Illustration:  A chair from early in the 18th century of the Dutch type.]

[Illustration:  One of the Chippendale patterns, dating from about 1750.]

[Illustration:  Hepplewhite’s characteristic shield-shaped back.]

[Illustration:  Thomas Sheraton’s rectangular type of chair-back.]

In about 1760 or 1765 he began to use the straight leg for his chairs.  The different shapes of splats will often help in deciding the dates of their making, and its development is of great interest.  The curves shown in the diagram on page 84 are the merest suggestions of the outline of the splat, and they were carved most beautifully in many different designs.  Ribbon-back chairs are dated about 1755 and show the adapted French influence.  His Gothic and Chinese designs were made about 1760-1770.  Ladder-back chairs nearly always had straight legs, either plain or with double ogee curve and bead moldings, but there