MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 232?
 Drawer?Cavity?or?Carcase?Construction:?Chippendale?s?workshops?did?vary?their?approach?to?
 constructing?the?inside?of?the?drawers.??On?most?occasions?oak?runners?were?employed???
 see?Figures?5?20?and?5?21.??However,?sometimes?the?workshop?used?straight?walls69?on?the?
 sides?of?the?carcass?(again?of?oak)?without?runners???see?Figure?5?22.??In?virtually?all?cases,?
 Chippendale?made?use?of?a?small?hexagonal?piece?of?oak?glued?to?the?front?of?the?drawer?
 cavity?to?act?as?a?drawer?stop???see?Figures?5?20?and?5?21.??On?the?Harewood?Library?Table,?
 each?of?these?approaches?is?exemplified;?on?the?top?centre?drawer,?there?are?drawer?
 runners;?on?the?four?
 corner?drawers?there?
 are?drawer?runners?and?
 on?the?inside?of?the?
 pedestal?drawers?there?
 are?straight?oak?walls.??
 All?three?have?small?oak?
 drawer?stops.???This?
 seems?to?be?the?pattern?
 for?Chippendale?s?
 library?tables???the?top?drawers?will?have?drawer?runners?of?oak,?whilst?the?drawers?in?the?
 pedestal?do?not?use?them;?and?all?drawers?will?have?oak?drawer?stops.?
 ???????????????????????????????????????????????????????
 69?If?these??walls??were?toward?the?outside?of?the?furniture,?they?were?frequently?the?sides?of?the?carcass.?
 ?
 ?
 Figure?5?20:?The?right?and?left?hand?views?of?the?inside?of?the?centre?drawer?cavity?of?the?Harewood?Library?Table?(not?
 shown?are?drawer?stops?at?the?front?of?the?cavity.???
 ?
 Drawer?Runners?
 ?
 Figure?5?21:??The?drawer?cavity?for?the?right?hand?drawer?(back?side)?of?the?
 Harewood?Library?Table.??
 Drawer?Runner?
 Drawer?Stops?
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 233?
 ?
 Locks:???Following?examination?of?
 the?locks?employed?across?the?
 case?study?samples?of?
 Chippendale?s?furniture,?a?
 surprising?uniformity?emerges???
 and?the?Harewood?Library?Table?
 is?no?exception.?This?is?somewhat?
 surprising?since?this?library?table?
 is?so?much?grander?than?most?of?
 the?other?library?tables?included?
 in?this?research.???
 ?
 On?the?left?are?pictures?of?the?locks?from?the?Harewood?Library?Table?which?were?the?same?
 as?those?found?on?all?of?the?other?library?tables?with?the?exception?of?the?Nostell?table,?
 which?had??S??shaped?keyholes?in?the?centre?of?each?door,?operating?a?piston?which?
 extending?to?the?edge.??In?all?cases,?the?locks?were?made?of?the?same?materials?(believed?to?
 ?
 Figure?5??22:??The?drawer?cavity?for?the?upper?left?hand?drawer?
 (back?side)?of?the?Wilton?Library?Table?showing?the?lack?of?
 specific?drawer?runner.?
 ?
 Figure?5?23:??Door?lock?from?Harewood?Library?Table?that?has?been?removed?from?the?door?of?one?of?the?
 pedestals.??The?key?is?also?shown?in?the?left?hand?picture.?
 ?
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 234?
 be?brass?and?steel)?and?required?only?
 one?turn?to?extend?the?bolt?to?its?full?
 length.???While?most?Chippendale?
 library?tables?had?a?very?simple?ward?
 system70,?as?evidenced?by?the?key?and?
 its?location?in?the?centre?of?the?door,?
 the?Nostell?table?had?a?much?more?
 complicated?design.??
 ?
 On?drawers,?the?locks?were?simply?
 located?in?a?recess?cut?in?the?inside,?
 top?edge?of?the?drawer?front?and?the?
 single?bolt?extended?into?the?top?of?
 the?drawer?frame.??
 ?
 To?house?the?lock?in?the?door,?
 Chippendale?frequently?used?a?similar?
 approach?where?a?recess?was?cut?into?
 the?door?and?the?frame?around?the?
 door?was?cut?to?allow?the?bolt?to?enter?
 and?finished?with?a?metal?cover?or?
 (more?commonly)?striking?plate??see?Figure?5?25.??
 ?
 ?
 ?
 ?
 ?
 ?
 ???????????????????????????????????????????????????????
 70?See?V.?Eras,?Locks?and?Keys?Throughout?the?Ages,?Lips?Safe?and?Lock?Manufacturing?Company,?
 Dordrecht/Brussels/Milan,?1957?for?a?detailed?description?of?the?ward?lock.?The?wards?are?sometimes?called?
 curtains.??
 ?
 ?
 Figure?5?24:??Two?of?the?drawer?locks?used?on?the?
 Harewood?Library?Table.??The?top?picture?is?the?lock?on?the?
 centre,?front?drawer?and?the?lower?lock?is?for?the?left?front?
 drawer.?
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 235?
 ?
 ?
 Figure?5?26:??On?the?left?is?a?door?that?has?been?removed?from?the?desk?
 detailing?the?amount?of?ormolu?that?contributes?to?the?weight?of?the?doors.??
 The?picture?on?the?right?shows?the?door?on?the?library?table.??
 ?
 The?Doors?on?the?Harewood?Desk:?The?doors?on?the?Harewood?Library?Table?are?
 exceptionally?heavy.??There?are?a?number?of?reasons?for?this.????First?the?wood?used?for?the?
 doors?was?dense?(oak)?and?the?pieces?used?were?thickly?cut?(each?are?approximately?2?cm?
 thick)?and?finally,?each?door?carries?two?very?weighty?pieces?of?ormolu?and?four?smaller?
 pieces,?in?addition?to?the?lock.??The?resulting?weight?of?the?doors?clearly?necessitated?a?
 system?that?would?allow?for?the?doors?to?operate?effectively?while?supporting?their?weight.??
 This?solution?was?found?in?an?arrangement?of?steel?brackets?to?the?top?and?bottom?of?the?
 door?which?attached?to?similar?brackets?on?the?body?of?the?library?table?by?use?of?steel?pins?
 ??hence?its?name?the?pin?hinge.??
 ?
 ?
 Figure?5?25:??
 Lock?plate?on?
 left?hand?side?
 pedestal?on?the?
 backside?of?the?
 Harewood?
 Library?Table.??
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 236?
 ? ?
 Hole?for?pin?
 Pin??
 Figure?5?28:??A?similar?apparatus?is?positioned?on?the?bottom?of?the?door.??Here?the?
 pin?is?on?the?body?of?the?Library?Table?and?the?hole?is?positioned?on?the?bottom?of?
 the?door.??
 Figure?5?27:??Located?at?the?top?of?the?door,?two?strips?of?steel?are?screwed?onto?the?
 Library?Table,?one?to?the?body?of?the?Library?Table?(It?is?located?between?the?top?of?the?
 pedestal?and?bottom?of?the?top?section.)?and?the?other,?longer?piece?is?screwed?to?the?
 door?itself.?On?the?piece?screwed?to?the?door;?there?is?a?small?pin?that?is?fit?into?the?
 hole?that?is?drilled?into?the?strip?attached?to?the?body?of?the?table.??
 ??
 Pin?inserted?into?hole?
 This?should?not?imply?that?this?is?a?unique?or?unusual?solution?nor?that?the?only?reason?to?
 use?this?pin?hinge?for?this?table?is?because?of?the?weight?of?the?doors.??In?fact,?this?type?of?
 hinge?was?used?quite?often?because?the?most?common?alternative,?so?called?butt?hinges,?
 would?be?visible?from?the?outside?and?therefore?aesthetically?less?pleasing.??The?following?
 pictures?demonstrate?how?this?was?done.???What?was?unusual?about?this?particular?pin?
 hinge,?as?will?be?shown?on?the?next?few?pages,?was?the?weight?of?the?metal?used?for?these?
 hinges.??They?were?most?likely?custom?made?to?take?the?weight?of?these?doors.??
 ?
 ?
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 237?
 Figure?5?30:??These?pictures?detail?the?actual?wheel?assembly?located?at?the?base?of?each?of?
 the?pedestals.??The?first?picture?(left)?points?out?the?components?of?the?assemblages?and?
 the?second?picture?(right)?demonstrates?the?assemblage?s?movements.??
 ? ?
 Arrows?indicate?
 possible?
 direction?of?
 movement.?
 Roller?bearings?
 Rotating?joint? Base?
 Wheel?
 Triangular?
 Bracket?
 ?
 The?lock?that?was?used?on?this?desk?was?
 (by?contrast)?was?entirely?typical???a?
 single?action?lock?that?sends?a?bolt?into?
 the?doorplate?placed?on?the?inside?of?the?
 body?of?the?Library?table.71??
 ?
 Casters:???Each?of?the?pedestals?on?the?
 Harewood?table?is?supported?by?two?
 custom?made?wheel?assemblies?
 comprised?of?brass?and?steel.???The?two?
 sets?of?casters?are?located?on?a?piece?of?pine?that?runs?from?front?to?back?at?the?centre?of?
 the?pedestal???see?Figure?5?29.??There?are?four?components?to?each?assembly;?firstly?the?
 wheel?itself;?second?a?double?pronged?bracket?holding?the?wheel?and?connecting?it?to?the?
 third?element,?a?triangular?bracket?mounted?on?in?turn?to?the?fourth?element,?a?circular?
 steel?plate,?attached?to?the?pedestal?with?four?large?steel?screws.???In?order?to?support?the?
 weight?of?the?table?and?to?allow?for?as?much?freedom?of?movement?as?possible,?each?
 assembly?was?made?to?move?in?three?ways.?The?arrangement?is?a?sophisticated?one.?The?
 wheels?spin?around?the?double?pronged?bracket?holding?them?(see?Figure?5?30).??This?is?then?
 connected?to?a?triangular?piece?with?housings?containing?ball?bearings,?so?called?Roller?
 ???????????????????????????????????????????????????????
 71?As?locks?were?discussed?in?more?detail?earlier?(see?p.233)?they?will?not?be?discussed?in?detail?at?this?time.??It?
 only?needs?to?be?pointed?out?the?type?of?lock?and?how?it?held?the?door?closed?
 ?
 Figure?5?29:??Bottom?of?pedestal?from?the?Harewood?
 Library?Table?showing?the?two?wheel?assemblies.??
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 238?
 bearings,?under?two?of?its?three?corners.?The?third?corner?is?attached?to?the?base?with?a?
 device?allowing?the?entire?triangular?bracket?to?pivot.?
 ?
 Overall?Design:??As?mentioned?above,?the?overall?design?of?the?Harewood?Library?Table?was?
 very?similar?to?the?design?put?in?Chippendales?Director.72??It?is?interesting?to?note?that?only?
 one?other?library?table?makes?use?of?the?canted?corner?columns?that?characterise?this?design?
 ??the?one?at?Nostell?Priory.?However,?the?corners?of?the?Harewood?table?are?finished?in?
 ormolu?and?terminate?in?a?goat?s?head,?while?the?corners?of?the?Nostell?table?makes?use?of?
 carved?timber?and?terminate?in?a?lion?s?head?(See?Figure?5?31).?
 ?
 ???????????????????????????????????????????????????????
 72?T.?Chippendale,?The?Gentleman?and?Cabinet?Maker?s?Director,?Third?Edition,?Dover?Publications,?NY,?1966?
 (reprint?of?volume?published?in?1762)?plate?LXXXIII?or?83.?This?is?shown?on?Figure?5?6?of?this?chapter.??
 ? ?
 Figure?5?31:??Columns?on?the?corners?of?the?pedestals?on?the?Harewood?Library?Table?(left)?and?the?
 Nostell?Priory?Library?Table.??
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 239?
 Marquetry?&?Marquetry?Sources:??This?section?concerns?both?the?techniques?used?in?the?
 marquetry?and?discussion?around?the?marquetry?designs.??
 ?
 The?Harewood?Library?Table?was?one?of?a?number?of?pieces?made?for?Harewood?House?that?
 were?decorated?with?marquetry,?a?technique?that?had?fallen?out?of?favour?but?appears?to?
 have?been?reintroduced?to?Harewood?through?the?combined?efforts?of?Chippendale?and?
 Adam.?73????
 ?
 Once?it?was?considered?that?Hepplewhite?and?Sheraton?were?the?earliest?of?our?
 English?cabinet?makers?to?avail?themselves?of?this?method?of?treatment,?but?it?now?
 seems?probable?that?the?credit?for?the?introduction?of?the?craft?is?due?no?less?to?Adam?
 and?Messrs?Chippendale.?74?
 ?
 In?designing?the?Harewood?table,?Chippendale?it?is?generally?thought?to?have?followed?the?
 lead?set?by?Robert?Adam.75??While?Adam?is?known?to?have?designed?furniture?as?part?of?his?
 interior?schemes76?in?this?case?several?factors?suggest?that?he?did?not?design?the?furniture?
 for?Harewood?House,?Chippendale?did.?
 ?
 First?of?all?we?must?consider?Chippendale?s?lengthy?association?with?his?client.??Chippendale?
 started?work?for?Lascelles?in?1767?and?continued?working?for?him?until?1778???eleven?
 ???????????????????????????????????????????????????????
 73?Other?examples?of?marquetry?in?Harewood?house?include?the?side?tables?in?the?Music?Room,?the?Dianna?and?
 Minerva?side?table,?the?library?folding?stairs?and?the?Lady?s?Secretary.??
 74?J.?Swarbrick,?Robert?Adam?&?His?Brothers:??Their?Lives,?Work?&?Influence?on?English?Architecture?Decoration?
 and?Furniture,?B.T.?Batsford,?London,?1915,?p.?246.?
 75?As?noted?elsewhere,?Chippendale?did?not?have?the?classical?training?of?Adam;?also,?he?started?his?career?
 approaching?using?only?Rococo?designs.??It?was?only?after?working?with?Adam?that?Chippendale?began?to?use?
 the?Neo?Classical?designs.??Furthermore,?as?pointed?out?later?in?this?chapter,?many?of?the?design?elements?for?
 the?Harewood?Library?Table?obviously?mirrored?the?elements?that?Adam?used?for?the?room.??It?is?highly?
 doubtful?that?Adam?followed?Chippendale?on?the?inclusion?of?these?design?motifs?(See?p.?242).??
 76?Probably?the?most?known?example?of?Adam?designed?room?and?furniture?was?Croome?Court?s?tapestry?room?
 (C.?Musgrave,?Adam?and?Hepplewhite?and?other?Neo?Classical?Furniture,?Faber?and?Faber,?London,?1966.?p.?
 62.)??Adam,?usually,?thought?of?mirrors?and?side?tables?as?part?of?the?room?design,?while?other?pieces?of?
 furniture?were?less?important?to?the?overall?design.??Thus,?he?tended?to?design?the?mirrors?and?side?tables,?but?
 sometimes?designed?other?pieces.??Consider?for?example,?Syon?house?there?are?a?number?of?all?types?of?
 furniture?that?were?in?the?Adam?style?including?card?tables,?chests,?sofas,?stools?and?window?seats.?(C.?
 Musgrave,?Adam?and?Hepplewhite?and?other?Neo?Classical?Furniture,?pp.?87?88.)?
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 240?
 years.77?This?is?why?C.?Gilbert?describes?the?Harewood?commission?as??definitely?the?most?
 valuable?of?his?career?.78????
 ?
 Another?reason?for?assuming?that?Chippendale?took?responsibility?for?the?furniture?design?is?
 because?although?we?have?many?of?the?Adam?drawings?relating?to?Harewood?House,?we?do?
 not?have?designs?for?the?furniture?and?certainly?not?for?the?Harewood?table,?which?is?of?
 course?a?variation?on?a?design?found?in?Chippendale?s?Director.?79?80???Furthermore,?there?are?
 separate?bills?from?Adam?&?Chippendale?for?the?work?rendered.81??
 ?
 Furthermore,?while?it?is?true?that?the?marquetry?designs?set?into?the?Harewood?table?are?
 similar?to?those?associated?with?Adam,?they?are?different.?To?quote?E.?Harris:???
 ?
 ?His?(Adam?s)?authorship?can?also?be?ruled?out?on?stylistic?grounds.??The?choice?
 and?handling?of?ornament,?the?shape?of?the?parts,?and?the?general?proportioning?
 of?the?major?Harewood?pieces?are?typical?of?Chippendale,?but?markedly?different?
 from?any?authenticated?Adam?design.??82????
 ?
 Other?pieces?of?furniture?supplied?by?Chippendale?for?Harewood?(much?of?it?a?good?deal?less?
 ornate?than?the?library?table)?also?appear?entirely?consistent?his?work.83?84?However,?on?the?
 ???????????????????????????????????????????????????????
 77?C.?Gilbert,?The?Life?and?Works?of?Thomas?Chippendale,?Studio?Vista/Christies,?London,?1978,?p.?195.?
 The?foundation?of?Harewood?House?was?begun?on?1759?by?the?architect?John?Carr.??Adam?was?know?to?have?
 started?work?on?Harewood?House?interiors?in?1765,?just?a?few?years?before?Chippendale?was?brought?in?to?
 work?for?the?estate.??While?much?of?his?major?work?was?completed?by?1771,?he?was?still?submitting?plans?as?
 late?as?1777.??So,?Adam?was?working?for?the?Lascalles??estate?for?about?the?same?length?of?time?as?Chippendale?
 and?much?of?their?work?over?lapped.??
 (No?author?given)?Harewood,?Yorkshire:??A?Guide,?Harewood?House?Trust,?Leeds,?(no?date?given),?p.?7.?
 78?C.?Gilbert,?The?Life?and?Works?of?Thomas?Chippendale,?p.?195.?
 79?T.?Chippendale,?(preface?by?R.?Symonds)?Chippendale?furniture?designs?from?the?Gentleman?and?Cabinet???
 ????makers'?Director,?Thomas?Chippendale,?London,?1762.?
 ????T.?Chippendale,?The?Gentleman?and Cabinet?Maker?s?Director,?Third?Edition,?Dover?Publications,?NY,?1966?
 ????(Reprint?of?the?volume?published?in?1762).?
 80?R.?Symonds,?Adam?and?Chippendale:??A?Myth?Exploded,?Country?Life,?Annual,?1958,?pp.53?56.?
 81?C.?Gilbert,?The?Life?and?Works?of?Thomas?Chippendale,?pp.?195??220.?
 ????E.?Harris,?Furniture?of?Robert?Adam,?A.?Tiranti,?London,?1963,?p.?27.?
 82?E.?Harris,?Furniture?of?Robert?Adam.??
 83?One?is?a?set???a?sideboard,?with?pedestals,?urns?and?a?wine?cooler.??Here?again,?it?is?obvious?that?the?designs?
 are?inspired?by?the?Adam?s?Style?and?to?the?decorative?elements?of?the?Harewood?House,?but?certain?
 characteristics?are?simply?not?like?anything?else?that?Adam?had?done.??Again,?there?are?no?paper?trails?that?
 make?a?direct?link?between?Adam?and?Chippendale?underlining?the?possibility?that?Chippendale?himself?
 designed?the?pieces?of?furniture.??
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 241?
 other?hand?there?is?no?question?that?Chippendale?was?influence?by?Adam?s?designs.??As?
 Rowe?notes:?
 ?
 The?motifs?and?general?layout?of?the?main?panels?derive?ultimately?from?the?source?
 books?available?at?the?time,?specifically?no?doubt?Wood?and?Dawkins's?Palmyra?and?
 Baalbek?and?Sir?William?Hamilton's?Vases;?more?directly?perhaps?from?the?Adam?
 interiors?and?designs???including?some?for?Harewood?House?itself???that?Chippendale?
 must?surely?have?seen?by?the?time?he?needed?to?think?about?this?piece?(the?Harewood?
 table).85?
 ?
 Certainly?as?Rowe?suggests,?many?of?the?motifs?used?on?the?Harewood?table?are?to?be?found?
 on?the?walls?and?the?ceiling?of?the?room?that?was?to?contain?the?Harewood?Library?Table,?
 suggesting?Chippendale?either?had?sight?of?the?room???or?Adam?s?scheme???before?creating?
 the?Harewood?table.??
 ?
 Another?interesting?observation?about?this?design?is?that?a?very?similar?table?was?produced?
 for?another?Adam?client,?Osterley?Park?in?1773.??This?other?table,?although?smaller?than?the?
 Harewood?Library?Table?share?many?of?the?same?design?characteristics?such?as?the?pieces?of?
 ormolu?in?the?pedestal?corners,?the?vase?motifs,?the?use?of?a?repeated?pattern?across?the?
 top?drawer?section.??Because?this?Osterley?Park?Library?Table?was?executed?after?the?
 Harewood?Library?Table?it?is?impossible?to?tell?if?it?was?a?Chippendale?design?that?influenced?
 Adam?or?the?other?way?around86.??It?does,?however,?demonstrate?that?they?too?were?
 thinking?in?similar?ways?about?how?to?approach?the?design?in?these?pieces?of?furniture.?
 ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????
 See?E.?Harris,?Furniture?of?Robert?Adam,?pp.?104?105.?
 84?These?include:??
 R.?Rowe,?The?Library?Writing?Table?from?Harewood?House,?The?Burlington?Magazine,?Vol?108,?
 ?No?759,?1966,?p.?294.?
 R.?Symonds,?Adam?and?Chippendale:??A?Myth?Exploded,?Country?Life,?Annual,?1958,?pp.?53?56.?
 85?R.?Rowe,?The?Library?Writing?Table?from?Harewood?House,?The?Burlington?Magazine,?Vol?108,?No?759,?1966,?
 p.?297.?
 86?See?C.?Musgrave,?Adam?and?Hepplewhite?and?other?Neo?Classical?Furniture,?pp.?96?100?and?plate?39.?
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 242?
 ??
 ?
 ?
 ?
 ?
 Figure?5?32:?This?shows?some?of?the?key?neoclassical?design?elements?that?Adams?used?in?the?Harewood?
 House?Library.?The?guilloche?is?the?ornaments?that?act?as?borders?dividing?sections?of?the?designs?on?the?
 ceiling.??While?in?this?case?the?guilloche?does?not?include?flower?designs?in?the?centre?frequently?Adams?did?
 include?them.???On?the?upper?right?is?an?anthemion?that?was?copied?form?the?cornice?of?the?Temple?of?the?Sun?
 at?Palmyra?(See?Wood,?R.,?Ruins?of?Palmyra,?Plate?XV).??The?third?illustration,?below?the?anthemion,?on?the?
 right?is?the?patera?that?Adam?repeated?quite?often?on?this?ceiling.??Lastly,?is?the?circular,?enclosed?floral?
 pattern?that?was?also?repeated?throughout?the?ceiling.??
 ?
 As?shown?on?the?next?page?that?the?same?designs?were?used?on?the?desk,?obviously?suggesting?that?
 Chippendale?took?cures?from?Adams?in?order?to?produce?a?piece?of?furniture?that?fit?within?its?environment.??
 Architectural?Design?Elements?that?were?used?by?Adam?in?the??Old?Library??
 at?Harewood?House??
 ?
 ?
 Figure?0Figure?0?
 ?
 ?
 Figure?0?
 ?
 ?
 ?
 ?
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 243?
 Design?Elements?that?were?used?by?Chippendale?in?the??Old?Library??Table?at?
 Harewood?House??
 ?
 Figure?5?33:?The?same?design?elements?are?seen?on?the?Harewood?desk.??In?the?upper?left?there?is?the?
 Guilloche?pattern?which?runs?the?between?the?upper?section?and?the?tops?of?the?pedestals?across?the?entire?
 desk.??Next?(to?the?right)?is?the?circular,?enclosed?rose?pattern,?which?forms?a?banner?all?the?way?around?the?
 desks?upper?section.??The?palm?or?anthemion?design?is?seen?on?top?of?each?of?the?four?doors?and?finally?the?
 circular?patera?is?located?on?each?end.??
 ?
 ?
 ?
 ?
 ?
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 244?
 ?Shown?on?the?previous?page?are?(clockwise?from?the?top?left)?are:??
 ?
 o The?guilloche?pattern?that?is?incorporated?in?the?brass?ormolu?that?separates?the?top?
 section?of?the?Harewood?Library?Table.???
 o Details?of?the?embedded?flower?pattern?to?be?found?on?the?Harewood?table.???
 o The?anthemion?or?palm?pattern?that?is?embedded?at?the?top?of?each?of?the?doors?of?
 the?Harewood?table.??
 o The?patera?pattern?that?is?located?on?each?of?the?Harewood?table?s?sides.???
 o A?repeated?circular?patterns?on?both?the?ceiling?and?on?the?Harewood?table.???
 ?
 Many?of?the?other?elements?on?the?table?are?classical?in?origin;?the?vase?on?the?door?panels;?
 the?ram?s?heads?ormolu?on?the?doors;?the?ormolu?rosettes?also?on?the?doors?and?the?use?of?
 floral?swags???all?of?are?details?associated?with?Adam.???
 ?
 During?a?recent?restoration?of?the?doors?on?the?Harewood?Library?Table?(This?restoration?
 was?conducted?by?the?current?restorer?for?Leeds,?Ian?Fraser?in?the?year?2000.)?veneers?were?
 lifted?from?the?desk?in?order?to?identify?the?woods?employed?in?the?marquetry?and?to?access?
 the?colours?of?the?original?design?(long?since?faded?or?darkened)?and?examine?how?the?
 marquetry?was?executed.???While?it?was?established?that?a?standard?marquetry?technique?
 was?employed???i.e.?a??packet??was?put?together?and?pieces?cut?out?using?a?fret?saw,?then?
 put?together?in?such?a?way?to?remove?the?excess.??That?assembly?was?then?used?to?mark?and?
 cut?the?background?material.?The?clean?cut?of?the?edges?suggests?the?use?of?a?fret?saw?to?cut?
 the?pieces.???The?lack?of?space?between?the?individual?items?and?surrounding?areas?strongly?
 suggest?that?these?cut?out?designs?were?used?to?create?the?background?pattern.87??It?also?
 became?apparent?that?the?technique?made?use?of?considerable?repetition???which?in?itself?
 suggests?that?the?marquetier(s)?working?for?Chippendale?made?some?use?of?a?tool?that?
 allowed?for?cutting?multiple?objects?at?the?same?time.??These?would?most?likely?be?either?a?
 chevalet?de?marqueterie???with?an?arm?holding?the?saw?straight?and?perpendicular?to?the?
 ???????????????????????????????????????????????????????
 87?J.?Metcalf,?Chippendale's?Harewood?Writing?Table,?Article?found?on?website?
 Http:wwwleedsmarquetry.org.uk/chippendale%20desk/web?chippendale%20panel,?accessed?09/02/2007.??
 Written?in?2003.???
 A.?Bowett,?Chippendale's?Neo?Classical?Marquetry?Revealed,?Partridge??Furniture,?Silver?and?Works?of?Art,?
 2004,?pp.?164?167.?
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 245?
 cutting?surface,?or?a?type?of?jigsaw?saw?that?is?mounted?on?a?solid?frame.?88?According?to?the?
 author?Pierre?Raymond?the?cutting?arm?of?the?marquetry?saw?was?added?in?the?late?C18th.?
 89?However?one?should?be?cautious?here.?Raymond?has?more?recently?conceded?(in?
 interview)?that?it?was?perhaps?not?until?the?early?C19th?when?this?device?was?invented?and?to?
 date90,?no?evidence?has?surfaced?of?such?a?device?made?for?cutting?multiple?copies?at?one?
 time?in?England?before?the?C19th.91?One?attempt?to?resolve?this?issue?was?made?by?this?
 author?would?by?looking?for?an?error?or?distortion?in?one?piece?of?marquetry?that?was?
 repeated?elsewhere.??After?careful?examination?of?the?repeat?designs,?no?such?repeated?
 distortion?was?located???however?absence?of?evidence?(as?we?know?only?too?well)?is?not?
 evidence?of?absence.92???
 ???????????????????????????????????????????????????????
 88?In?P.?Ramond?s?book?Marquetry,?there?are?several?variations?of?this?saw.??Frame?jigsaw,?fixed?frame?jigsaw,?
 an?independent?recall?jigsaw,?or?just?a?jigsaw.??In?this?thesis,?it?will?be?referred?to?as?a?recipicating?jigsaw?or?a?
 fixed?frame?jigsaw?(See?P.?Ramond,?Marquetry?for?a?description?and?design,?here?they?are?called??frame?jigsaw?,?
 p.?208)?
 89?P.?Ramond,?Marquetry,?Taunton?Press?Classics,?New?Town,?CT,?USA,?1989,?p.?205?
 90?Interview?with?P.?Ramond,?21?6?2008.?
 91?In?support?of?this?research,?a?fairly?exhaustive?search?was?conducted,?from?visiting?tool?museums?in?both?
 England?and?France,?reviewing?all?available?literature,?contacting?experts?in?the?field,?etc.?and?no?one?had?any?
 firm?evidence?that?any?of?these?devices?were?in?use?for?marquetry?in?the?late?C18th.??A?few?of?the?organisations?
 contacted?are:??The?Ken?Hawley?Collection?Trust?(Yorkshire),?Museum?of?St.?Albans?(Herts),?The?Tools?&?Trades?
 History?Society?(TATHS),?Troyes?Maison?de?l'Outil?(Troyes),?Musee?des?Arts?et?Metiers?(Paris).??Furthermore,?
 there?were?no?texts?published?in?England?that?even?discussed?the?use?of?the?simple?clamp?for?marquetry,?
 however?in?France?there?were?several?texts?that?showed?variations?of?the?clamps?that?were?illustrated?in?this?
 text?(See?for?example;?J.?Coignard,?Des?Principes?de?l'Architecture,?de?la?Sculpture,?de?la?Peinture,?et?des?Autres?
 Arts?Qui?en?Dependent,?(no?publisher?listed,?however?listed?as?having?Royal?approval),?Paris,?1690.)?
 92?it?is?evident?that?this?logic?is?limited?as?just?because?I?did?not?find?such?a?repetition,?that?they?did?not?exist.??
 However,?it?was?a?fairly?thorough?review?without?finding?such?an?example?and?it?seems?very?probable?that?the?
 patterns?were?cut?out?individually.?
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 246?
 93?
 ?
 ?
 ???????????????????????????????????????????????????????
 93?The?pictures?of?the?different?marquetry?tools?came?from?the?following?sources:???
 ???????Upper?Left:?A.?Roubo,?l?Art?Du?Menuisier?,?Leonce?Laget,?Paris,?1977?(reprint?from?original?1765?1775).?Vol??
 ?????????????2,?p.?290.?
 ????????Upper?Right:?P.?Ramound,?Marquetry,?p.?205.?
 ????????Lower?Centre:??D.?Diderot,?J.?d'Alembert?(editors?and?writers),?Encyclop?die,?ou?dictionnaire?raisonn??des??
 ????????????sciences,?des?arts?et?des?m?tiers?,?Andr??Le?Breton,?Paris,?1751.?
 ? ?
 ?
 ?Figure?5?34:??Different?views?of?the?tools?used?to?cut?marquetry.??Upper?left?and?the?lower?pictures?show?
 different?versions?of?the?clamp?that?were?known?to?have?been?in?use?in?the?late?C18th.? The?picture?on?the?
 upper?right,?shows?the?version?with?the?arm?the?so?called?"chevalet?de?marqueterie."???
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 247?
 ?
 Another?issue?related?to?
 the?techniques?used?to?
 lay?the?marquetry?in?the?
 Harewood?table?relates?to?
 whether?or?not?a?knife?
 was?used?to?insert?the?
 pieces?of?marquetry.??
 According?to?one?source,?
 such?knife?cuts?are?
 present?in?the?surface?
 under?the?marquetry?
 suggesting?that?a?knife?
 has?been?used?to?apply?
 the?marquetry?on?the?
 Harewood?table.94?
 Bearing?in?mind?the?
 problem?outlined?above,?
 the?question?now?arises?
 as?to?whether?knives?
 were?used?to?cut?out?the?
 background?pattern?too?
 (not?some?kind?of?jigsaw)?
 or?just?used?to?help?inlay?
 and?make?final?
 adjustments?to?the?background?pattern,?as?would?seem?to?be?the?case?suggested?by?a?
 painting?of?two?marquetiers?by?Elias?Martin?(1739???1818)???conjecture?that?must?lie?for?the?
 moment?beyond?the?remit?of?this?thesis.95???
 ???????????????????????????????????????????????????????
 94?A.?Bowett,?Chippendale's?Neo?Classical?Marquetry?Revealed,?pp.?164?167.??It?should?be?pointed?out?that?
 there?has?been?some?questions?as?to?whether?or?not?these?were?knife?cuts,?however?none?of?these?other?
 comments?nor?the?evidence?to?back?them?up?have?been?published?or?backed?up?with?photographs.??
 95?Elias?Martin?(1739?1818)?was?a?Swedish?artist?who?studied?and?worked?in?both?England?and?France.??He?was?
 part?of?a?large?family?of?craftsmen?and?artists?while?he?was?taught?furniture?making?by?his?father,?he?went?on?
 ?
 ?
 Figure?5?35:??Top?picture?shows?an?example?of?a??distortion??that?could?
 have?been?repeated?if?multiple?copies?of?this?design?were?cut?at?the?
 same?time.?The?bottom?picture?shows?some?of?the?other?examples?of?
 this?design?without?the?distortion.??
 Distorted?leaf?
MAKING?FASHIONABLE?FURNITURE:??Chapter?V???Case?Histories? ??Page??
 ?
 248?
 ?
 ?
 ?
 ?
 ?
 ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????
 to?study?printmaking?and?design.??However,?he?still?produced?several?pieces,?such?as?the?marquetiers,?which?
 related?to?his?furniture?crafts?background.??
 ?
 Figure?5?36:??The?Marquetiers?a?painting?by?Elias?Martin,?showing?two?craftsmen?
 executing?a?marquetry?panel.??Notice?the?use?of?a?simple?version?of?the?
 marquetry?clamp?and?the?use?of?a?knife?to?fit?the?marquetry?into?place.??Two?
 things?that?are?not?evident;?the?arm?holding?the?saw?on?the?marquetry?clamp?or?
 the?use?of?a?shoulder?knife?(nor?is?there?a?shoulder?knife?appearing?elsewhere?in?
 the?picture.)?