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 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
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 279?
 ?
 The?question?arises?as?to?why?Riesener?used?some?of?these?features.??For?example,?it?would?
 have?been?easier?for?him?to?use?one?single?door?that?stretched?all?the?way?across?the?front?
 of?the?piece.??This?would?place?the?hinges?on?one?side?of?the?cabinet/door,?and?the?locking?
 mechanism?on?the?other,?just?as?Chippendale?did?on?his?two?secr?taires.??While?it?is?only?
 speculation,?but?security?is?probably?one?reason?for?this.??A?lock?that?was?accessible?to?the?
 edge?of?a?piece?is?easier?to?pry?open.??The?tongue?and?groove?arrangement?prevents?the?
 insertion?of?a?sharp?object?between?the?two?doors?and?the?use?of?a?spring?loaded?lock?also?
 helped?to?reduce?the?possibility?of?manipulating?the?lock.??As?will?be?discussed?below,?
 security?appeared?to?be?an?important?issue?to?Riesener.?
 ?
 Security:??Without?a?doubt?Riesener,?was?more?concerned?with?security?for?his?secr?taire???
 abattants?than?Chippendale?was?for?his?furniture.??As?discussed?earlier,?this?seemed?to?be?an?
 issue?with?French?society.158?In?England?this?appeared?less?important.159??Chippendale?for?
 ???????????????????????????????????????????????????????
 158?C.?Sargentson,?Looking?at?Furniture?Inside?Out:??Strategies?of?Secrecy?and?Security?in?Eighteenth?Century?
 French?Furniture,?found?in?D.?Goodman?and?K.?Norberg,?(eds),?Furnishing?the?Eighteenth?Century:?What?
 Furniture?Can?Tell?us?about?the?European?and?American?Past,?Routledge,?London,?2007,?pp.?205?237.?It?should?
 also?be?pointed?out?that?Louis?XVI?and?Marie?Antoinette?were?also?thought?to?have?taken?a?keen?interest?in?
 ?
 Figure?5?58:??These?two?pictures?of?Riesener?s?secr?taire???abattant?F302?showing?the?locking?mechanism?that?is?
 frequently?seen?these?pieces.?On?the?left?is?the?actual?lock?showing?the?slot?for?the??D?Shaped??latch?to?slip?into,?
 and?on?the?right?is?the?latch.???
 ?
 Lock????
 ?
 ?D?Shaped??latch??
?
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 280?
 example,?used?the?same,?fairly?simple?locking?mechanism?on?nearly?all?of?his?library?tables;?
 this?included?the?Harewood?Library?Table,?Chippendale?s?most?elaborate?library?table.?160?By?
 contrast,?Riesener?applied?a?range?of?very?elaborate?locking?mechanisms?to?his?furniture.??
 Some?locks?were?spring?loaded;?nearly?all?required?double?turns?to?completely?lock?them?
 completely,?resulting?in?bolts?that?extended?much?further?than?any?of?the?locks?on?the?
 Chippendale?pieces.?These?bolts?were?also?thicker?and?heavier?than?those?seen?on?
 Chippendale.?On?the?abattant?and?the?safe,?Riesener?s?pieces?sometimes?had?multiple?bolts?
 emanating?from?them???some?extending?out?of?the?top?of?the?door,?others?extending?out?of?
 the?sides.??Furthermore,?Riesener?s?furniture?frequently?required?multiple?keys?and?the?keys?
 themselves?were?more?elaborately?cut?than?on?Chippendale?s?furniture.??Most?of?Riesener?s?
 secr?taire???abattants?also?had?what?are?commonly?called??safes??in?the?lower?section;?these?
 ?safes??were?compartments?with?heavy?solid?oak?doors,?generally?tighter?seals?around?the?
 inside?of?the?compartment?and?made?use?of?different?keys?than?those?used?to?open?the?rest?
 of?the?furniture.161??
 ?
 While?F302?used?some?of?these?features,?it?did?not?use?all?of?them.???In?fact?this?piece,?
 relative?to?other?pieces?made?by?Riesener?and?other?French?furniture?makers?had?a?fairly?
 simple?locking?mechanism;?while?there?was?a?double?bolt?in?the?top?of?the?abattant?lock,?
 there?were?no?side?locks?for?example???as?seen?on?F300?or?the?Waddesdon?Manor?example.??
 Similarly,?while?it?had?a?safe?and?it?did?have?a?special?lock,?it?did?not?make?use?of?the?kind?of?
 bolts?found?on?the?F300?and?the?Waddesdon?Manor?Secr?taire???abattant.??However,?
 despite?its?simplicity?relative?to?other?Riesener?pieces?of?furniture,?the?F302?is?more?
 complicated?than?what?one?could?argue?was?the?most?advanced?example?of?English?
 ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????
 complex?mechanical?devices?which?contributed?to?their?wanting?more?complex?locks.??However?the?inclusion?of?
 safes,?secret?compartments?as?well?as?the?complex?locking?mechanism?makes?security?appear?to?be?the?more?
 imporant?driver?for?these?complex?locking?systems.??
 159?This?conclusion?is?only?based?on?a?personal?observation?that?there?appeared?to?be?less?effort?by?the?
 cabinetmaker?to?make?the?furniture?more?secure.??While?there?was?probably?a?concern?in?England?about?
 security?of?documents,?money?and?other?valuables,?as?there?are?examples?of?furniture?in?England?with?hidden?
 compartments,?strong?locks,?etc,?it?appears?that?they?were?less?frequent?as?on?French?furniture?from?the?
 period.???Limiting?this?observation?to?the?furniture?made?by?Chippendale?and?Riesener?it?is?clear?that?
 Chippendale?was?not?as?concerned?with?security?as?was?Riesener,?suggesting?that?Chippendale?s?clients?were?
 less?concerned.??
 160?Chippendale,?as?seen?earlier?used?one?long?door?that?reached?all?the?way?across?the?front?of?his?secr?taire???
 abattant?(See?Appendix?C,?page?469).??Another?approach?used?by?Riesener?was?to?use?a?levered?door?that?slide?
 out?from?a?slot?on?the?left?side?to?form?a?door?across?the?entire?Lower?Storage?Section.??
 161?Many?of?them?had?fronts?that?looked?like?drawers?for?additional?security.??
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 ?
 281?
 furniture???the?Harewood?Library?Table.??In?order?to?lock?the?top?drawer?of?the?F302?for?
 example,?Riesener?created?a?unique?solution.??On?nearly?all?other?Riesener?secr?taire???
 abattants?included?in?this?research,?this?drawer?was?locked?using?the?mechanism?located?on?
 the?fall?front???essentially,?the?lock?on?the?fall?front?has?a?double?bolt?long?enough?to?reach?
 through?the?shelf?that?separates?the?two?sections?and?into?the?bottom?of?the?top?drawer.??
 The?person?locking?the?secr?taire?would?turn?the?key?on?the?fall?front?once?and?that?would?
 lock?the?Abattant?Section.??When?they?turned?the?key?a?second?time,?they?would?lock?both?
 the?Abattant?Section?and?the?top?drawer?(with?one?turn?the?two?bolts?extended?
 approximately?1.5?cm?and?the?second?turn?extended?the?bolts?out?approximately?3.0?cm.)???
 see?Figures?5?60?and?5?61.?On?the?following?page?are?examples?of?how?the?bolts?extended?
 out?two?different?levels?on?the?fall?front?for?F300?(Figure?5?61).???
 ?
 In?Figure?5?62,?the?internal?view?of?the?lock?for?F300?is?shown.??This?shows?how?the?lock?was?
 able?to?execute?the?different?bolts?and?locking?mechanisms.??While?the?lock?for?F302?was?not?
 this?complicated,?it?was?similar?in?its?basic?constructions.??While?F302?had?two?bolts?that?
 exited?through?the?top,?the?lock?for?F300?had?a?double?barrelled?bolt,?together?with?a?
 spring?loaded?lock,?two?side?bolts?and?an?extension?through?the?bottom?of?the?lock.162??
 While?the?bolts?extending?out?of?the?sides?were?designed?to?enhance?the?security?of?the?
 abattant,?the?one?from?the?bottom?was?used?to?open?up?a?secret?compartment.?
 ???????????????????????????????????????????????????????
 162?In?order?to?execute?this?complicated?locking?mechanism,?Riesener?s?workshop?had?to?carve?out?the?space?
 for?the?lock?as?well?as?the??trenches??for?the?different?extensions?such?as?the?side?bolts?and?the?bolt?on?the?
 bottom?of?the?lock.??
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 ?
 282?
 ?Figure?5?60:??This?is?the?bottom?of?the?top?drawer,?showing?where?
 one?of?the?bolts?enters?to?hold?the?drawer?closed.??
 ?
 ?
 ?Figure?5?59:??The?bottom?plates?for?the?locks,?the?first?(on?
 the?left)?is?at?the?top?of?the?Fall?Front?Section,?the?second?
 (on?the?right)?is?the?views?of?the?same?shelf?from?the?top.???
 ?
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 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 283?
 ?
 ?
 ?
 ?
 ?
 ?
 ?
 ?
 ?
 Figure?5?61:??Two?pictures?
 showing?how?the?double?turn,?
 double?barrelled?lock?on?the?
 abattant?of?one?of?Riesener?s?
 secr?taires?work.??The?top?picture?
 shows?the?bolts?partially?
 extended?after?one?turn?of?the?
 key.??The?lower?picture?shows?
 how?they?were?fully?extended.??
 Notice?also?to?the?left?of?the?two?
 bolts?is?the?spring?loaded?bolt.??
 These?photographs?were?based?
 on?the?Waddesdon?Manor?
 secr?taire???abattant,?however?all?
 other?secr?taire???abattant?
 explored?in?this?thesis?had?similar?
 locks?on?the?abattant?except?for?
 the?one?at?Versailles.??
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 ?
 284?
 ?
 Mechanism?to?extend?double?bolt?
 through?the?top?of?fall?front.?
 Spring?loaded?latch?to?hold?door?closed?
 without?locking?the?secr?taire???abattant???
 Extensions?to?bolt?the?fall?
 front?on?each?side.?
 Extension?to?open?the?secret?
 compartment.?
 ?Figure?5?62:??Internal?view?of?lock?for?Riesener?s?Secr?taire???abattant?F300,?showing?the?key?features.?
?
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 ?
 285?
 To?open?this?secret?compartment?in?the?main?part?of?the?Fall?Front?Section?in?F300,?the?key?
 had?to?be?turned?a?third?time,?in?order?to?operate?this?spring?loaded?mechanism.???
 ?
 The?safe?on?F302?was?locked?with?a?relatively?simple?lock?that?extended?two?bolts?through?
 the?top?of?the?door?into?the?bottom?of?the?shelf?immediately?above?it.??As?with?other?locks?it?
 required?two?turns?to?extend?these?bolts?their?entire?length?(See?Figure?5?61).??It?should?be?
 pointed?out?that?there?were?several?examples?where?the?security?of?the?lower?section?was?
 taken?to?even?more?extreme?that?on?F302.??For?example,?the?Waddesdon?Manor?secr?taire?
 had?a?similar?type?of?lock?on?the?lower?section?as?it?did?on?the?upper?fall?front?door.??In?this?
 example?had?the?lock?to?the?safe?had?bolts?which?exited?both?sides?of?the?door,?as?well?as?
 the?top.??None?of?the?Chippendale?pieces?examined?in?this?research?afforded?a?safe?of?any?
 kind.??
 ?
 The?security?for?the?Chippendale?secretaire?was?not?nearly?as?elaborate,?with?three?small?
 locks?were?used?to?lock?its?three?different?sections.?There?were?no?secret?compartments;?no?
 double?bolt?locks?that?allowed?for?extra?long?extensions?on?the?bolts;?the?lower?door?did?not?
 have?tongue?and?groove?joints?or?a?spring?loaded?lock;?nor?was?there?a?safe.?Similarly,?the?
 Harewood?Library?Table?made?use?of?one?type?of?lock,?used?for?each?of?the?drawers.?
 However,?there?were?a?larger?number?of?locks.??There?was?one?lock?was?located?on?each?of?
 the?corner?drawers?and?on?the?centre?front?drawer,?then?one?on?each?door???nine?in?total.??
 ?
 ?
 ?
 Figure?5?63:??Two?different?locks?for?the?safes?on?Riesener?secr?taire???abattant.??On?the?left?is?the?lock?
 for?F302;?the?one?on?the?right?is?for?the?Waddesdon?Manor?secr?taire,?which?is?exactly?the?same?for?
 F300.??
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 ?
 286?
 Despite?the?large?number,?each?used?the?same?lock?type?and?needed?only?one?key.??The?key?
 operated?with?a?single?turn,?turning?bolts?which?were?short?relative?to?the?locks?used?by?
 Riesener?on?F302.??
 ?
 F. Materials?Used?for?these?Two?Pieces?of?Furniture?
 ?
 This?section?compares?the?materials?that?were?used?on?these?two?pieces?of?furniture?
 wherever?possible.??In?cases?where?further?examination?was?deemed?necessary?to?properly?
 identify?materials,?the?best?guess?is?offered?along?with?some?suggestions?regarding?further?
 testing.??
 ?
 Wood:??Let?us?begin?by?looking?at?the?woods?that?the?two?makers?used?for?their?structural?
 components?and?the?carcase.???Chippendale?used?oak?and?some?type?of?a?softwood?
 (probably?what?was?commonly?called?deal???discussed?later??See?p.?281.)?on?the?Harewood?
 Library?Table.?163??Oak?was?used?for?the?inside?of?the?drawer?cavities,?the?lower?sections?of?
 the?file?dividers,?the?walls?of?the?pedestals,?and?the?top.?164?Deal?was?used?for?the?top?and?
 bottom?of?the?pedestals?and?the?top?of?the?upper?drawer?cavities.???This?use?of?materials?was?
 typical?of?most?of?Chippendale?s?work?with?the?notable?exception?of?the?ladies?secretaries?
 ???????????????????????????????????????????????????????
 163?Quercus?robur???English?oak?or?Quercus?Sessiflora???European?oak.?According?to?notes?in?the?files?at?Temple?
 Newsam,?English?furniture?makers?preferred?to?use?the?European?oak?from?central?Germany?(the?so?called?
 ?wainscot?)?because?it?was?of?a?better?cut,?had?fewer?knots?and?more?stable?than?the?English?variety.??In?part?
 this,?the?paper?suggested?because?so?much?of?it?was?used?to?build?houses?and?ships.??No?Author?Given,?Temple?
 Newsom?Files,?Outside?of?Leeds,?UK?Accessed?between?5?February?2007?and?29?September?2009.?
 164?While?Chippendale?was?a?frequent?user?of?solid?mahogany?on?his?furniture,?he?did?not?on?this?particular?
 piece.??Instead?on?this?piece?he?only?used?oak?on?the?doors?and?the?drawer?fronts.???This?is?different?to?what?
 Riesener?did?on?this?piece?(he?only?used?mahogany?on?the?drawer?fronts).??This?runs?counter?to?the?belief?by?
 some?that?mahogany?s?use?was?considered?to?be?much?more?limited?in?France.????A?visitor?to?England?in?1784,?
 Fran?ois?de?la?Rochefoucauld,?illustrates?this?point?as?he?concluded?that?England?must?be?wealthier?than?
 France?simply?because?of?the?amount?of?mahogany?that?was?used:?
 ??
 ?It?is?remarkable?that?the?English?are?so?much?given?to?the?use?of?mahogany;?not?only?are?their?tables?
 generally?made?of?it,?but?also?their?doors,?and?seats?and?the?handrails?of?their?staircases.??Yet?it?is?just?
 as?dear?in?England?as?in?France.??It?is?a?matter?which?I?do?not?pretend?to?understand,?but?I?am?inclined?
 to?think?that?the?English?must?be?richer?than?we?are?.???
 ?
 ?(F.?Rochefoucauld?(Translated?by?S.C.?Roberts)?,?A?Frenchman?in?England,?Cambridge?University?Press,?
 Cambridge,?UK,?1933?(Original?published?in?1784),?p.?30.)?This?suggests?a?few?things;?First?of?all?that?England?
 was?using?mahogany?more?frequently?than?France?(implying?that?it?was?more?available?and?less?expensive?in?
 England)?and?that?Rochefoucauld?had?high?regards?for?the?wood?and?that?in?France?mahogany?was?too?
 expensive?to?use?as?often.?
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 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
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 287?
 which?currently?resides?in?Harewood?House,?where?Chippendale?used?deal?to?construct?the?
 sides?of?the?lower?section.165???We?also?know?that?in?the?case?of?the?Harewood?Library?Table,?
 that?deal?was?used?to?build?plinth?that?covered?the?casters?we?do?not?know?if?this?were?the?
 case?for?the?other?Library?Tables?(See?Figure?5?15).??
 ?
 One?might?assume?that?the?oak?used?on?the?Harewood?table?desk?was?from?England,?as?
 there?was?an?abundance?supply?in?Britain?at?this?time.??However,?the?oak?preferred?by?
 London?cabinetmakers?was?a?variety?from?Europe,?referred?to?as?wainscot.166??This?variety?
 (Quercus?sessiflora)?came?from?Germany,?Poland?or?Prussia?via?the?Baltic?Sea167.??The?deal?
 was?also?probably?imported?from?Europe?and?would?have?been?one?of?a?number?of?different?
 conifers?such?as?Scots?pine?(Pinus?sylvestris),?Larch?(Larix?decidua),?or?Norwegian?Spruce?
 (sometimes?called?White?Deal???Picea?abies).??Spruce?was?generally?favoured?by?
 cabinetmakers,?as?it?was?paler,?softer?and?less?resinous.??Given?the?quality?of?this?piece,?the?
 colour?of?the?pine?and?the?lack?of?resin,?it?seems?reasonable?to?assume?that?the?conifer?used?
 in?the?Harewood?Library?Table?is?Norwegian?Spruce.?
 ?
 Riesener?s?only?used?oak or?ch?ne?(This?variety?is?also?probably?the?white?European?oak?that?
 was?used?in?England???Quercus?sessiflora)?as?his?construction.?168??Oak?was?used?for?the?
 framing?and?the?carcase?work?onto?which?the?outside?decoration?(veneers?and?ormolu)?was?
 attached?and?for?the?inside?of?drawer?cavities?and?feet???see?Appendices?D?and?E.???As?
 described?above,?there?were?a?few?cases?where?Riesener?used?a?harder?and?smoother?wood?
 ???????????????????????????????????????????????????????
 165?On?some?pieces,?the?primary?show?wood?was?mahogany,?but?still?Chippendale?used?oak?and?a?type?of?
 conifer?on?the?hidden?structural?components.?
 166?A.?Bowett,?Furniture?Woods?in?London?and?Provincial?Furniture:?1700?1800,?Regional?Furniture,?Vol?22,?
 2008,?pp.?83?113.?
 167?Lecture?by?A.?Bowett?on?The?Timber?Trade?In?London?18th?Century,?given?at?Bucks?New?University,?High?
 Wycombe,?Bucks,?Spring?2009,?A.?Bowett,?Furniture?Woods?in?London?and?Provincial?Furniture:?1700?1800,?
 Regional?Furniture,?Vol?22,?2008,?pp.?83?113.?
 168?There?were?several?sources?of?information?that?were?used?in?this?effort.??Obviously?the?catalogues?of?
 furniture?at?The?Wallace?Collection?(F.?Watson,?Wallace?Collection?Catalogues.?Furniture?and?P.?Hughes,?The?
 Wallace?Collection?Catalogue?of?Furniture,?Vol?II.),?but?in?addition?there?was?Roubo?s?text?(see?A.?Roubo,?l?Art?
 Du?Menuisier?)??written?at?the?time?and?an?analysis?of?the?Roubo?list?of?furniture?woods.??(P.?D?tienne,?Les?Bois?
 Exotiques?D?crits?par?Roubo,?en?1774,?Bois?et?Forets?de?Tropiques,?No?274?(4),?2002,?pp.?89?96.).??The?primary?
 problem?with?using?period?literature?such?as?Roubo?s?text?is?that?they?did?not?know?how?to?identify?wood?
 except?by?outward?appearance?and?as?a?result?mis?identified?may?of?the?woods?that?were?listed.?It?was?very?
 likely?that?the?cabinetmakers?did?not?really?know?what?wood?they?were?working?with?many?times.??The?result?
 of?all?of?this?is?that?the?period?texts?are?unreliable.??
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 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
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 288?
 ??purplewood?or?amaranth???in?addition?to?the?drawer?runner.??In?the?case?of?F302,?
 purplewood?was?used?as?the?runners?of?the?small?drawers?inside?the?Abattant?section,?while?
 oak?was?used?in?the?upper?drawer.169??While?the?runners?were?of?solid?oak,?there?was?a?piece?
 of?purplewood?inserted?close?to?the?front?of?the?cavity?running?parallel?to?the?front?of?the?
 secr?taire???abattant.???Even?in?the?case?of?the?small?drawers?inside?the?Abattant?Section,?
 the?base?wood?behind?the?purplewood?was?oak.??
 ?
 There?were?a?number?of?woods?used?to?finish?the?Harewood?Library?Table.??The?primary?
 wood?on?the?outside?was?Indian?Rosewood?(originally?red?brown?in?colour),?with?Tulipwood?
 borders?and?banding?(originally?pink?and?tan).?Satinwood?(yellow)?and?Holly?(white)?were?
 used?for?the?marquetry.??The?end?result?of?this?combination?of?timbers?was?very?colourful.??
 However?it?should?be?borne?in?mind?that?much?of?the?colour?would?come?from?the?dyes?that?
 were?used?on?the?veneers?and?not?(strictly)?of?the?woods?themselves???these?dyes?will?be?
 discussed?later?(See?p.?293).??A?chart?of?the?different?woods?used?on?the?Harewood?table?and?
 Riesener?s?F302?can?be?seen?in?table?5?11.?
 ?
 On?F302?there?were?also?a?number?of?different?woods?employed?to?finish?the?piece.??On?the?
 inside?there?was?tulipwood,?boxwood,?ebony?and?purplewood.?170?Tulipwood?formed?the?
 drawer?faces?and?the?inside?of?the?compartments,?surrounded?ebony?and?boxwood?stringing?
 and?purplewood?banding.??The?result?was???like?with?the?Harewood?table???a?very?brightly?
 coloured?interior.???
 ?
 The?outside?was?similarly?colourful.??The?inlaid?flowers?were?made?of?a?type?of?fruitwood?
 (pinkish?brown)?with?a?centre?of?barberry/berberis?(yellow).?171?This?pink?and?yellow?flower?
 ???????????????????????????????????????????????????????
 169?In?F300,?also?at?The?Wallace?Collection,?the?strips?of?rosewood?were?added?to?the?drawer?itself.???It?can?be?
 speculated?that?the?use?of?rosewood?was?an?experiment?to?make?the?drawers?run?more?smoothly?and?for?the?
 surface?to?last?longer?as?rosewood?is?a?denser?and?oilier?wood?than?oak.??Because?Riesener?only?did?this?on?a?
 few?examples,?most?likely?this?was?an?experiment?that?his?workshop?tried?but?because?it?was?either?too?
 troublesome?or?too?expensive?to?continue?for?the?small?benefit,?they?decided?not?to?make?it?a?permanent?
 standard.??
 170?See?Appendix?G?for?more?details?and?the?French?translation?of?these?phrases.??
 171?Based?on?an?8x?magnified?analysis?of?the?wood?by?Y.?Chastang?and?his?prior?restoration?experience.??The?
 fruitwood?is?either?Pear,?Apple?or?white?beam?and?the?colour?is?based?on?prior?experience?at?another?
 workshop?when?these?flowers?were?removed?and?viewed?from?underneath.??Furthermore,?inspections?on?a?
 table?at?Waddesdon?also?suggests?that?these?flowers?did?not?have?a?hint?of?green?in?them?which?in?turn?is?
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 289?
 was?surrounded?by?holly?and?the?same?ebony?and?boxwood?stringing?seen?on?the?interior.??
 All?of?this?was?embedded?in?a?trellis?pattern?made?primarily?of?satine??(dark?red)?or?
 purplewood?(dark?purple)?and?sycamore?(light?yellow)?circles???see?Figures?5?64?and?5?65).???
 ?
 The?ormolu?on?F302?was?set?against?a?background?of?green?stained?sycamore?and?
 purplewood,?edged?with?boxwood?and?ebony.???On?the?corners,?underneath?the?ormolu,?was?
 more?green?stained?wood;?this?time?a?burr?walnut.?
 ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????
 suggesting?they?had?not?been?dyed.???Note?that?this?contradicts?what?was?published?in?The?Wallace?Collection?
 catalogue,?which?suggests?that?these?flowers?were?made?of?sycamore?and?dyed?green.??In?addition?to?being?a?
 source?that?has?been?confirmed,?the?pink?and?yellow?combination?is?more?logical?than?the?use?of?green?as?the?
 flower.??
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 290?
 ??
 What?follows?is?a?chart?summarizing?the?woods?by?Chippendale?and?Riesener.???
 ?
 Ebony?and?Boxwood?stringing?on?drawer?face?
 Purplewood?(banding?and?edges)?
 Tulipwood?(background)?
 ?
 Figure?5?64:??Inside?top?view?of?F302?showing?veneers?used.?On?the?left?is?an?overview?of?the?
 inside?of?the?top?section?of?F302,?on?the?right?is?a?close?up?of?a?drawer?front.??
 ?Figure?5?65:??Section?of?fall?front?of?F302?showing?the?different?woods?used?in?its?decoration??
 ?
 Ebony?(dark?stringing)?
 Sycamore?(Circles)?
 Satine??or?Purplewood?(bands)?
 Fruitwood?(Lily???petals)?
 Berberis?(Lily?centre)?
 Holly?(background)?
 Boxwood?(light?Stringing)?
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 291?
 ?
 ?
 Table?5???11?
 Summary?of?Woods?Most?Likely?Used?by?Chippendale?and?Riesener172?
 Cabinet?
 Maker?
 /General?
 Use?
 Common?
 Name?
 Latin?Name? Probable?
 Source?of?
 Timber?
 Specific?Use?
 Chippendale?
 European?Oak? Quercus?
 sessiflora??
 North?eastern?
 Europe?(Germany,?
 Poland?or?Prussia?
 via?the?Baltic)?
 For?structural?components.?Such?as?the?
 frames?for?drawer?cavities,?most?
 components?on?drawers,?etc.?Originally?
 light?brown?in?colour.?
 Structural?
 White?Deal?or?
 Norwegian?
 Spruce?
 ?Picea?abies? Norway,?Baltic?
 area173?
 Some?structural?elements?(top?of?
 pedestals)?Originally?it?was?whitish?in?
 colour.??
 Indian?
 Rosewood??
 ?
 Dalbergia?
 latifolia?
 Southern?India? This?was?the?most?widely?used?veneer?
 on?this?piece?as?it?formed?the?
 background?material?for?the?
 marquetry.??Originally?it?had?a?dark?
 purple?colour?with?some?dark?strips.??
 Satinwood? Fagara?flava? West?India? Some?of?the?detailed?marquetry.??
 Originally?it?was?a?yellowish?colour.??
 Tulipwood? Dalbergia?
 frutescens?
 South?America? Much?of?the?banding?that?surrounds?
 the?marquetry?was?executed?in?this?
 timber.?Originally?pink?and?tan.?
 Veneers?
 Holly? Ilex?aquifolia? England? Extensively?used?in?the?marquetry.??It?
 was?dyed?a?number?of?different?colours?
 to?form?the?decoration.??Originally?it?
 was?white?in?colour.??
 Riesener?
 Structural? Oak?or?ch?ne? Quercus?
 sessiflora?
 North?eastern?
 Europe?(Germany,?
 Poland?or?Prussia)?
 This?was?the?only?wood?used?in?the?
 construction?of?F302?this?included?
 making?the?drawers,?the?backs,?the?
 doors?and?the?frame.??Originally?it?was?
 light?brown?in?colour.?
 Decorative?
 ??Veneers?
 Sycamore?? Acer?pseudo?
 platanus??
 Southern?and?
 Central?Europe?
 Primarily?used?for?marquetry?designs.?
 In?this?case,?it?was?used?for?the?small?
 circles?in?the?centre?of?the?intersection?
 of?the?bands?and?for?the?lilies?(See?the?
 preceding?picture???Figure?58)?
 Originally,?yellowish?in?colour.?
 ???????????????????????????????????????????????????????
 172?Multiple?sources?were?used?to?compile?this?list?including?the?following:?L.?Hinckley,?Directory?of?the?Historic?
 Cabinet?Woods,?Bonanza?Books,?New?York,?1960,?H.?Zinnkann,?Furniture?Woods,?Prestel,?London,?2003,?P.?
 D?tienne,?2002,?Les?Bois?Exotiques?D?crits?par?Roubo?en?1774,?Bois?et?Forets?de?Tropiques,?No?274,?(4),?pp.?89?
 96,?A.?Roubo,?L?Art?Du?Menuisier??b?niste,?Delatour,?Paris,?1772,?US?Forest?Service?Database?located?at?
 `http://www.fs.fed.us/,?Accessed?June?2009,?Temple?Newsom?file?notes,?Other?sources?included?file?notes?
 from?other?museums?and?museum?furniture?catalogues.?
 173?According?to?C.?Boyd?(of?his?majesty's?customs?house?London),?The?British?Tariff?and?Commercial?Guide,?S.?
 Richard?&?Co,?London,?1819,?Wainscot?logs,?fir,?and?deal?also?came?from?East?India?as?did?Rosewood,??
 ?
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 292?
 Table?5???11?
 Summary?of?Woods?Most?Likely?Used?by?Chippendale?and?Riesener172?
 Cabinet?
 Maker?
 /General?
 Use?
 Common?
 Name?
 Latin?Name? Probable?
 Source?of?
 Timber?
 Specific?Use?
 ? ? ? ?
 Bloodwood?or?
 Satan??
 Brosimum?
 rubescens?
 South?America? Used?to?produce?the?trellis?work?that?
 covers?the?outside?of?F302.??Originally?
 reddish?in?colour.?
 Purplewood?or?
 Bois?de?
 Amaranthe??
 Peltogyne? Central?or?South?
 America?
 Used?for?the?edges?of?drawers,?the?
 banding?around?the?doors.??Originally?
 dark?purple?in?colour.???
 Fruit?Wood?
 (Pear,?Apple?
 White?beam,?
 etc.)?
 Family?
 Rosaceae174?
 Europe??? Used?for?the?petals?of?the?leaves?of?the?
 water?lilies.??Most?likely?they?were?
 originally?pink?in?colour?(pear?).??
 Berberis?or?
 Barberry?or?
 ?pine?vinette?
 Berberis?
 vulgaris?
 Europe? Used?for?the?centre?of?the?water?lilies.??
 These?were?originally?yellow?in?colour.??
 Holly?or?Bois?de?
 houx?
 Ilex?aquifolia? Europe? Used?as?the?background?for?the?flowers?
 in?the?outside?decoration.??Originally?
 very?white?in?colour.??
 Boxwood?or?
 Bois?de?Buis?
 Buxus?
 sempervirens?
 Northern?France,?
 Mediterranean?
 basin?
 Used?for?stringing?around?different?
 decorative?treatments175?through?out?
 the?piece.?Originally?light?yellow?in?
 colour??
 Ebony?or??b?ne? Diospyros?
 celebica?
 Southeast?Asia?
 and?Africa?
 Always?found?along?side?the?boxwood?
 stringing.?Originally?black?in?colour?
 Tulipwood?or?
 Bois?de?rose?
 Dalbergia?
 frutescens?
 South?America? Used?as?the?central?element?in?the?
 veneer?for?the?drawer?faces?and?the?
 inside?of?the?compartments.??Originally?
 pink?and?tan.?
 ?
 Walnut?or?Bois?
 de?noyer?(Burr)?
 Juglans?regia? Southern?to?
 Central?Europe?
 Dyed?green?and?placed?on?the?bevelled?
 corners?under?with?the?ormolu.?
 Originally?a?very?light?brown.??
 ?
 As?can?be?seen,?both?England?and?France?made?use?of?imported?timbers.???England?imported?
 wood?from?Northern?Europe,?India,?West?Indies?and?South?America.??France?imported?
 timbers?from?Northern,?Central?and?Southern?Europe,?Southeast?Asia?and?South?America.???
 Note?that?only?England?imported?timbers?from?India.176?In?England?both?pine?and?oak?were?
 ???????????????????????????????????????????????????????
 174?Could?be?a?number?of?different?species.??
 175?These?included?bordering?the?tulipwood?on?the?drawer?faces?and?on?the?insides?of?the?different?
 compartments?in?both?the?upper?and?lower?sections,?around?each?of?the?marquetry?panels?on?the?front?and?
 sides?and?around?the?corner?decorations.??
 176?Perhaps?this?is?the?result?of?the?Seven?Year?War?when?France?lost?access?to?much?of?India?as?a?colony.???
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 293?
 commonly?used?for?construction,?while?in?France?only?oak?was?primarily?called?upon?for?this?
 function???even?though?some?forms?of?softwood177?were?readily?available?in?France.???
 ?
 In?terms?of?both?Chippendale?and?Riesener?s?work,?as?one?might?anticipate,?only?the?best?
 woods?were?selected,?with?very?few?knots?apparent?and?none?in?any?important?area.?More?
 than?200?years?later?they?show?very?little?shrinkage?or?warping???testament?to?this?quality.??
 Even?the?deal?used?by?Chippendale?had?few?knots?and?was?still?straight?after?all?of?this?time.??
 ?
 It?is?interesting?to?note?that?many?of?the?woods?identified?on?Riesener?s?secr?taire???
 abattant,?F302,?were?not?listed?in?timbers?described?in?A.?Roubo?s?L?Art?Du?Menuisier?
 ?b?niste,?which?suggests?that?neither?A.?Roubo?nor?most?cabinetmakers?or?timber?
 merchants?could?identify?exotic?woods?with?any?certainty.??Instead,?they?based?their?
 definitions?on?very?imprecise?descriptions???see?later?in?Appendix?I??(See?p.?643.)?for?a?listing?
 of?the?woods?in?A.?Roubo.??
 ?
 Dyes:??The?chart?that?follows?shows?the?colours?used?in?the?Chippendale?Harewood?Table?
 and?the?Riesener?Secr?taire???Abattant?F302,?suggesting?the?formulas?that?could?(might)?
 have?been?used?to?produce?them.??Further?testing?is?needed?to?identify?these?dyes?with?any?
 greater?certainty,?however?the?formulas?given?in?the?next?table?provides?a?useful?starting?
 point?for?comparison.178???
 ???????????????????????????????????????????????????????
 177?These??softwoods??were?usually?referred?to?at?the?time?as?deal,?they?were?probably?either?a?type?of?pine,?fir?
 or?spruce.?
 178?Note?testing?such?as?this?was?conducted?a?number?of?years?ago?by?a?Jack?Metcalf?however?the?findings?have?
 not?been?reported?at?the?time?of?this?documents?publication.???
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 294?
 ?
 Table?5???12?
 Colours?and?Dyes?Used?on?the?Harewood?Library?Table?and?F302?
 Cabinetmaker/?
 Colour?
 Item?Coloured?
 (Wood)?
 Possible?Type?of?Dye?(Key?
 Ingredients)?
 Where?Key?
 Ingredients?
 Originated?
 Chippendale?
 Red?(three?
 different?shades)?
 Holly? ? Brazilwood?and?water?
 ? Brazilwood,?alum?and?water??
 ? Tin?Chloride,?Brazilwood,?water?
 ? Brazilwood,?stale?urine,?water,?
 pearl?ashes?
 ? Brazilwood,?water,?saffron,?alum?
 or?quick?lime?
 ? Dragon?s?Blood,?Ethyl?alcohol?
 ? Cochineal?powder,?alum?and?
 water?
 ? Sandalwood?powder,?ethyl?
 alcohol?
 ? Madder?extract,?water?
 ?
 Brazilwood???South?
 America?
 Dragon?s?Blood???
 Mediterranean,?Monaco,?
 Socotra?(Middle?east).??
 Sandalwood???India?
 Cochineal?powder???
 Mexico,?New?Spain?
 Madder???Holland?
 Southern?Europe?
 India?
 Light?Green? Holly?
 Dark?Green? Holly?
 ? Barberry?yellow?and?Indigo?
 ? Liquor?made?from?green?ebony?
 ? Ferrous?sulphate?with?either?
 Cutch,?fustic,?henna?or?logwood?
 ? Verdigris?
 ? Vinegar,?Verdigris,?sap?green?
 ? Start?with?yellow?dyes?then?add?
 vitriolated?indigo?
 ? Alum,?Verdigris,?sal?armonac?
 ? Brass?or?copper?filings,?Nitric?Acid?
 ? Barberry,?turmeric,?water?
 ? Copper?nitrate?
 ? Metal?salts?in?aqueous?solution?
 ? Verdigrise,?green?vitriol,?water?
 Barberry???Central?and?
 Southern?Europe,?
 Northwest?Africa,?West?
 Asia.?
 Indigo???East?and?West?
 Indies.?
 Cutch???Indonesia??
 India?
 Fustic???Southern?Europe,?
 Northern?China,??
 West?Indies?
 Henna???Africa,?southern?
 Asia,?and?northern?
 Australasia??
 Logwood???Mexico?and?
 Central?America.?
 Tumeric???East?Indies?
 ?
 Riesener?
 Green? Background?for?
 Ormolu?on?Top?
 Drawer?Section?
 (Sycamore)?
 Green? Background?for?
 Ormolu?along?
 corners?of?cabinet?
 (Burr?Walnut)?
 ? Diluting?indigo?with?vitriol?then?
 water?to?produce?blue,?and?then?
 add?berberus?vulgaris?until?the?
 desired?shade?is?provided.179?
 Barberry???Central?and?
 Southern?Europe,?
 Northwest?Africa,?West?
 Asia?
 Indigo???East?and?West?
 Indies.?
 ?
 ???????????????????????????????????????????????????????
 179?A.?Roubo,?L?Art?Du?Menuisier??b?niste,?Paris,?1772,?p.?792.?
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 295?
 ?
 On?the?Harewood?table,?Chippendale?(typically)?favoured?holly,?and?dyed?it?various?colours?
 in?order?to?produce?the?desired?design.?180?He?then?employed?sand?shading?to?enhance?the?
 depth.181??Chippendale?made?some?use?of?other?woods?to?introduce?contrast?but?primarily?
 introduced?colour?into?the?design?through?the?application?of?dyes.??Interestingly?enough,?the?
 F302?made?use?of?only?one?dye?(green)?but?Riesener?used?several?different?colours?of?wood?
 to?produce?the?desired?effect.???Based?on?this?example,?one?could?conclude?that?Chippendale?
 made?much?greater?use?of?dyes?to?produce?the?colours?that?he?wanted?in?the?Harewood?
 Library?Table,?while?Riesener?used?a?wider?range?of?veneers?to?produce?the?colours?in?
 F302.182??However,?it?is?not?possible?to?generalise?from?this?particular?comparison.?There?are?
 several?pieces?of?furniture?made?by?Riesener?(for?example)?where?are?extensively?used???the?
 F300?at?the?Wallace?being?a?case?in?point.???Interestingly?enough,?it?is?generally?accepted?in?
 the?literature?that?the?French?were?ahead?of?the?English?when?it?came?to?colour?in?textiles?
 and?dyestuffs,?so?to?see?an?English?cabinetmaker?such?extensive?use?of?dye?is?quite?
 intriguing.?183?However,?further?research?would?be?needed?before?some?judgement?could?be?
 made?about?the?propensity?of?these?two?cabinetmakers?to?use?dyes.?It?is?more?likely?that?
 this?comparison?has?thrown?up?an?anomaly.?At?any?rate?both?England?and?France?were?to?
 move?away?from?the?use?of?marquetry?(and?as?a?result?the?use?of?dyes)?in?the?years?to?
 follow.???
 ?
 Surface?treatments:??There?is?currently?no?information?available?regarding?the?surface?finish?
 of?either?of?the?two?pieces?at?issue?in?this?case?history.??We?know?that?both?appear?
 (currently)?to?have?shellac?based?finishes?which?strongly?suggests?that?both?pieces?have?
 ???????????????????????????????????????????????????????
 180?The?holly?has?virtually?no?visible?grain,?it?is?white?in?colour?and?it?is?reasonably?stable.???
 181?Based?on?observations?on?the?furniture.???
 182?This?is?despite?the?fact?that?dyes?were?well?known?in?France,?in?fact,?it?had?been?an?subject?of?very?intense?
 study?supported?by?the?government?for?a?number?of?years?It?was?known?that?under?Louis?XIV?the?study?of?dyes?
 was?very?active,?primarily?in?the?area?of?producing?dyes?for?the?textile?industry,?however?much?of?this?learning?
 was?thought?to?have?influenced?the?dying?of?other?materials?such?as?wood.??The?primary?focus?was?to?
 standardize?colours?and?to?create?colours?that?would?last?longer.?(See?S.?Lowengard,?Colour?Quality?and?
 Production:?Testing?Colour?in?Eighteenth?Century?France,?Journal?of?Design?History,?Vol.?14,?No.?2,?2001,?pp.?
 91?103?and?S.?Lowengard,?The?Creation?of?Color?in?18th?Century,?Gutenberg<e>,?Columbia?University?Press.?
 2006?(Found?On??line?at?http://www.gutenberg?e.org/lowengard/,?Accessed?06/08))?
 183?As?far?back?as?Colbert?in?the?17th?Century,?the?French?government?was?very?interested?in?research?into?dyes,?
 in?order?to?produce?the?best?colours?and?to?enable?them?to?last?longer?(See?See?S.?Lowengard,?Colour?Quality?
 and?Production:?Testing?Colour?in?Eighteenth?Century?France,?Journal?of?Design?History,?Vol.?14,?No.?2,?2001,?
 pp.?91?103.)?
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 296?
 been??restored??or?refinished.184??However?there?are?clues,?which?would?suggest?some?of?the?
 possible?options?that?would?have?been?used?by?these?two?workshops?to?create?the?original?
 finish.???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????
 ?
 ?Gilbert?believes?Chippendale?would?have?used?a?varnish?to?protect?and?enhance?the?
 surfaces?of?his?furniture,?a?finish?which?Gilbert?defines?as:??
 ?
 ?A?clear?glossy?coating?of?shellac?applied?to?the?surface?of?marquetry?to?enhance?
 the?colours?and?protect?the?wood?185?
 ?
 ?He?then?sets?out?to?specifically?describe?what?he?calls??white?varnish??which?he?describes?as:??
 ?
 ?Clear?hard?spirit?varnish?used?for?coating?delicate?surfaces?such?as?japanned?
 chair?frames,?gilding?and?marquetry;?concocted?of?gum?sandarac,?spirits?of?wine,?
 white?resin?and?Venice?turpentine?.186??
 ?
 This?is?fairly?consistent?with?the?other?sources?of?recipes?for?finishes?that?were?used?by?the?
 English?during?this?time.?However,?a?review?of?the?literature?on?this?identified?a?number?of?
 resin?based?recipes?that?used?either?alcohol?or?turpentine?as?their?solvent.???The?most?
 commonly?cited?resins?were?Sandarac?(as?suggested?by?C.?Gilbert)?and?Copal.?Other?
 frequently?cited?resins?include;?amber,?shellac,?mastic,?resin?of?turpentine?and?dammar???see?
 Appendix?I:?Listing?of?Formulas?for?Dyes,?Varnishes?and?Glues?used?in?the?18th?Century?for?a?
 listing?of?all?the?different?formulas?that?were?found.?Most?books?of?the?time?suggested?that?
 these?resin?based?recipes?had?the?greatest?clarity?and?provided?the?highest?degree?of?
 protection?and?these?two?bases?(sandarac?and?copal)?appear?to?be?the?most?common.?187?188???
 ???????????????????????????????????????????????????????
 184?All?sources?suggest?that?the?shellac?based?formulas?for?protecting?and?enhancing?furniture?was?not?
 popularized?in?either?England?or?France?until?the?early?19th?Century,?although?shellac?was?both?known?and?used?
 in?some?instances?before?that?time.??
 185?C.?Gilbert,?The?Life?and?Works?of?Thomas?Chippendale,?p.?131.?
 186?C.?Gilbert,?The?Life?and?Works?of?Thomas?Chippendale,p.?132.?
 187?See?for?example:?Barrow,?J.,?New?and?Universal?Dictionary?of?Arts?and?Sciences,?John?Hinton,?London,?1754.?
 ??????E.?Chambers,?Cyclopaedia?or?a?Universal?Dictionary?of?Arts?and?Sciences,?London,?1781.?
 No?Author?Given,?Genuine?Receipt?for?making?the?famous?VERNIS?MARTIN;?or?as?it?is?called?by?the?English,?
 MARTIN'S?COPAL?VARNISH,?No?Publisher?Given,?Paris,?1773.?
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 297?
 It?would?seem?logical?that?the?quality?of?the?Harewood?table???indeed?of?most?of?
 Chippendale?s?work?that???that?the?clearest?and?hardest?varnish?would?be?used,?i.e.?a?copal?
 or?sandarac?formula.189??
 ?
 While?French?literature?in?this?area?also?
 talked?about?resin?based?varnishes,?
 they?appeared?to?go?to?a?different?
 direction?to?protect?their?furniture???a?
 wax?based?finish?was?preferred.??There?
 are?numerous?descriptions?of?the?wax?
 finish?on?Riesener?s?furniture?that?were?
 delivered?to?the?Royal?households.190?
 These?are?reported?in?A.?Prad?re?for?
 example.191?They?are?also?to?be?found?
 ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????
 R.?Dossie,?The?Handmaid?to?the?Arts,?J.?Nourse,?London,?1758.?
 G.?Siddons,?The?Cabinet?Maker?s?rules?and?instructions?in?the?Art?of?Varnishing,?dying,?staining,?japanning,?
 polishing,?lacquering?and?beautifying?Wood,?Ivory,?Tortoiseshell?&?Metal?(5th?Edition),?Sherwood,?Gilbert,?
 and?Piper,?London?(?),?1830.??
 T.?Sheraton,?The?Cabinet?Dictionary,?W.?Smith,?King?Street,?Seven?Dials,?London,?UK,?1803.?
 Tingry,?P.,?A?Painters?and?Varnisher's?Guide,?G.?Kearsley,?London,?1804.?
 P.?Weber,?The?Cabinet?Maker?s?Guide,?John?Arliss,?London,?1809.?
 188?Oil?finishes?were?also?mentioned?in?many?of?these?books,?among?them?were?poppy?seed?oil,?walnut?oil,?and?
 the?most?often?mentioned?as?the?most?prevalent?oil?based?finish?was?linseed?oil.??It?is?interesting?to?note?that?
 while?poppy?seed?and?walnut?oils?were?preferred?because?they?were?more?durable?and?they?were?lighter?in?
 colour?and?therefore?showed?more?detail?in?the?wood,?linseed?oil?was?the?easiest?to?work?with?and?one?of?the?
 least?expensive?oils.???
 189?While?it?was?written?in?the?18th?Century?that?Copal?and?Sandarac?were?clearest?and?hardest?of?the?resin?
 finishes,?more?recent?research?has?demonstrated?that?both?are?clear?to?start?(Sandarac?was?the?clearest)?but?
 that?while?all?ingredients?colour?with?age,?Copal?becomes?relatively?less?clear?as?it?ages,?relative?to?most?other?
 resin?finishes.??It?should?be?pointed?out?that?testing?such?as?this?is?very?difficult?as?there?are?a?number?of?
 different?sources?for?Copal,?Sandarac?and?other?resins?and?this?could?affect?the?quality?of?the?final?product.??
 Even?authors?of?that?time?mentioned?this?and?instructed?the?readers?on?how?to?select?the?best?ingredients.??
 See?R.?Heesters,?H.?Keulen?and?W.?Roelofs,?Natural?resins,?Artificially?aged?in?Steps,?Contributions?to?
 Conservation,?(J.?Mosk?and?N.?Tennent,?eds),?James?and?James,?London,?2002,?pp.?55???63.?
 190?Various?Authors,?Journal?du?Garde?Meuble,?1761?1784,?These?are?detailed?listings?of?all?furniture?that?was?
 either?delivered,?ordered?or?repaired?in?service?for?France's?Royal?Households.??Copies?are?located?in?The?
 Wallace?Collection?Library?and?are?available?in?France's?archives.?
 191?A.?Pradere,?(Translated?by?P.?Wood),?French?Furniture?Makers,?The?Art?of?the?Ebeniste?from?Louis?XIV?to?the?
 Revolution,?pp.?374,?379.?
 ?
 Figure?5?66:?Picture?of?a?French?cabinetmaker?applying?
 wax?to?the?surface?of?a?veneered?section?of?a?cabinet?or?
 table.??
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 298?
 in?L?art?du?peinture,?doreur,?vernisseur.192??A.?Roubo?also?discusses?finishes?but?wax?was?the?
 one?that?he?describes?at?length.193??While?modern?versions?of?wax?contain?mixtures?of?
 different?waxes?and?turpentine?(to?soften?it),?A.?Roubo?recommends?pure?beesway?
 (bleached,?filtered?and?melted)?applied?with?a?stiff?brush?made?of?bound?reeds.??
 ?
 Glues:??
 In?England,?historic?texts?discussing?furniture?refer?to?what?was?called?a??strong??glue,?while?
 the?leading?three?French?texts?all?refer?to?the?use?of??English?glue?.194??In?both?cases,?these?
 relate?to?a?hide?or?skin?glue?rendered?from?the?skin?of?cattle?or?sheep?and?(apparently)?older?
 cattle?produce?the?best?glue:???
 ?
 The?makers?of?Strong?glue?usually?employ?more?common?substances,?such?as?leather?
 clippings?of?oxen,?calves,?sheep,?horses,?etc.??.??&?the?older?and?thinner?these?animals?
 are,?the?stronger?the?glue?is.195?
 ?
 The?process?for?making?a?basic??strong??or??English??glue?was?to?first?soak?skins?in?water???
 sometimes?lime?water.??The?skins?are?repeatedly?rinsed?until?the?water?is?clear?which?serves?
 to?remove?dirt?and?impurities?and?to?dissolve?the?fleshier?and?bloodier?parts.??Sometimes?a?
 solution?of?alum?and?tallow?was?added?to?the?water.??The?next?step?is?to?put?clippings?of?
 rinsed?hide?in?water?that?is?to?be?boiled?in?a?copper?pot?for?12?to?15?hours,?skimming?off?the?
 scum?that?forms?on?the?surface.??One?needs?to?keep?the?solution?warm?and?remove?the?
 impurities?which?accumulate?on?the?bottom?of?the?pot.??Once?sufficiently?pure,?the?solution?
 is?poured?into?wooded?moulds?through?hair?sieves?to?filter?off?any?remaining?impurities?and?
 then?left?to?dry.???Once?dried,?the?glue?can?be?reheated?and?applied?when?needed.???
 ???????????????????????????????????????????????????????
 192?According?to?Godla?(See?J.?Godla,?The?Use?of?Wax?Finishes?on?Pre??Industrial?American?Furniture,?1991?WAG?
 Postscripts,?Albuquerque,?NM,?USA,?(No?Page?number?was?given,?article?was?located?on?the?web?page?
 http://cool.conservation?us.org/coolaic/sg/wag/1991/WAG_91_godla.pdf))?The?1755?edition?of?J.?Watins,?L?art?
 du?peinture,?doreur,?vernisseur?the?varnishing?section?starts?with?a?statement?that?the?preferred?method?of?
 coating?a?piece?of?furniture,?by?the??mid?century?Parisian?furniture?shops??was?to?use?wax?and?not?varnish.?This?
 was?not?included?in?the?1776?edition?of?this?same?text.??
 193?See?A.?Roubo,?l?Art?Du?Menuisier?,?Leonce?Laget,?Paris,?1977?(reprint?from?original?1765?1775)?pp.?857???865.??
 194?See?for?example:??D.?Monceau,(translated?by?A.?Higgenbotham?in?2005)?L'art?de?faire?diff?rentes?sortes?de?
 colles?(The?Art?of?Making?Various?Kinds?of?Glues),?The?Royal?Academy?of?Sciences,?Paris,?1771,?p.?2.??However,?
 this?is?also?true?in?Roubo?s?l?Art?Du?Menuisier?(See?A.?Roubo??l?Art?Du?Menuisier).?
 195?D.?Monceau?(translated?by?A.?Higgenbotham?in?2005)?The?Art?of?Making?Various?Kinds?of?Glues,?p.?4.?
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 299?
 ?
 It?is?interesting?to?note?that?English?texts?often?give?formulas?for?adulterating?the?glues???the?
 French?texts?(at?least?those?reviewed?by?this?author)?made?no?mention?of?these?variations.?
 196??These?adulterations?included?things?to?make?the?glue?moisture?resistant?or?make?the?
 glue?work?better?with?metals?or?glass???see?Appendix?B?for?a?listing?of?these?formulas.??
 However,?French?texts?do?mention?various?glue?types?such?as;?
 ?
 o Calves?Feet?Glue?(Flanders?Glue),?which?was?more?transparent?than??strong??glue???
 but?weaker.??Good?for?paper.??
 o Glove?glue?or?Parchment?Glue???made?from?white?glove?skin.??Again?weaker?but?less?
 inexpensive.??Good?for?Tempera?paints,?gilding,?and?clothing.?
 o Fish?glue???made?from?the?fins,?nervous?and?mucilaginous?parts?of?fish.??However?the?
 best?is?made?from?the?bladder?of?the?sturgeon.??
 o Flour?glue???usually?made?from?whole?wheat?flour?generally?but?also?from?rye,?black?
 wheat?or?buckwheat?flour.??Good?for?paper?and?cloth.??
 ????
 Metals:??There?were?a?number?of?metals?that?were?used?on?the?two?pieces?of?furniture?at?
 issue?in?this?case?study.??As?described?above,?both?the?Chippendale?and?the?Riesener?pieces?
 were?decorated?with?a?significant?amount?of?ormolu.??To?hold?these?in?place,?Riesener?
 attached?steel?screws?and?bolts?to?the?backs?of?the?ormolu.??Chippendale?used?brass?pins?
 and?screws,?inserted?through?the?front?of?the?gilded?metal.?197??Both?makers?used?locks?that?
 were?made?of?steel?and?brass,?which?used?steel?for?the?screws?to?hold?them?in?place.??
 Chippendale?used?screws?to?hold?the?top?in?place?and?fix?locks?in?place?and?he?used?small?
 pins?to?hold?the?lower?drawer?runners?in?place.??On?the?Riesener?piece,?hinges?were?made?of?
 brass?with?brass?screws.??Chippendale,?as?noted?earlier,?used?a?steel?support?that?was?
 attached?with?steel?screws.??To?hold?ormolu?in?place?on?the?Harewood?table,?Chippendale?
 used?small?brass?nails?and?screws?while?on?Riesener?s?F302,?most?of?the?ormolu?was?
 attached?with?a?steel?rod?that?was?attached?to?the?back?of?the?ormolu?and?inserted?through?
 ???????????????????????????????????????????????????????
 196?This?was?to?produce?glue?for?different?materials?(glass,?marble,?leather)?or?situations?(when?the?
 environment?is?to?get?wet,?or?when?a?flexible?glue?is?needed.??These?are?detailed?in?Appendix?B?or?see?T.?
 Sheraton,?The?Cabinet?Dictionary?or?E.?Chambers,?Cyclopaedia?or?An?Universal?Dictionary?of?Arts?and?Sciences.?
 197?There?were?occasions?where?steel?appeared?to?have?been?used,?but?it?is?unclear?if?these?were?original?or?
 replacements?that?were?added?at?a?later?time.??
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 300?
 the?wood?then?a?nut?was?attached?from?the?inside.??There?was?an?escutcheon?located?on?the?
 door?of?F302,?which?is?missing?at?this?time.???It?is?assumed?that?this?too?was?of?gold?ormolu.??
 The?keyhole?on?the?face?of?the?abattant?is?discreetly?incorporated?into?the?design?of?the?
 plaque?which?surrounds?it,?hidden?in?the?ribbon.?
 ?
 It?should?be?noted?that?while?the?general?perception?and?the?usual?description?of?ormolu?
 mounts?from?this?period?is?that?it?is?mercury?gilded?bronze?(Copper?plus?tin).??However?
 testing?has?been?accomplished?on?two?of?the?secr?taire???abattants?by?Riesener?that?were?
 discussed?in?this?thesis?as?well?as?several?other?French?pieces?that?were?made?during?this?
 period.??The?table?(Table?5?13),?which?follows?later?in?this?chapter?(see?p.?307)?details?these?
 findings.??
 ?
 Marble:???The?top?of?F302?is?a?white?veined?marble?slab?that?has?been?cut?in?the?shape?of?the?
 top?of?the?secr?taire?with?canted?corners?and?a?flat?front?and?sides?and?is?surmounted?by?an?
 ormolu?gallery.??The?edges?of?the?cut?of?the?sides?are?flat?with?no?profile.??Ormolu?top?railing?
 that?was?discussed?earlier?(See?p.?255).??While?no?petrographic?analysis?was?conducted?on?
 this?marble,?in?most?texts?this?is?identified?as?a?Carrara?marble?from?Italy.198??Chippendale?s?
 library?tables?made?no?use?of?marble.??
 ?
 Leather:???The?leather?used?on?the?fall?front?of?F302?is?known?to?have?been?replaced?since?it?
 was?originally?made.??Currently?the?leather?in?place?is?cow?leather?that?has?been?dyed?red.??
 Most?secr?taire???abattant?provided?to?the?Royal?family?by?Riesener?had?black?Moroccan?
 skivers?thought?to?have?been?made?from?goatskins.?Sometimes?a?gold?border?was?embossed?
 around?the?edge,?sometimes?silver.??The?Harewood?table?has?a?leather?skiver?to?cover?its?
 expansive?top?and?while?the?leather?has?been?replaced,?the?embossed?border?is?thought?to?
 match?the?original,?although?there?is?no?evidence?to?confirm?that?this?is?correct.??
 ?
 ???????????????????????????????????????????????????????
 198?This?marble?is?reported?to?come?from?the?province?of?Massa?Carrara?near?Tuscany.???
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 301?
 ?
 G. Special?Topics?
 ?
 In?addition?to?the?basic?structural?approaches?described?above,?there?are?several?smaller?
 issues?of?note.???This?section?begins?the?process?of?identifying?these?details?and?analysing?
 them.??
 ?
 Attaching?Ormolu?to?the?Piece?of?Furniture:??It?has?been?claimed?that?the?advantage?that?
 Riesener?had?in?working?directly?for?the?crown,?lay?in?the?access?to?the?range?of?artisan?skills?
 it?provided.??The?fact?that?Riesener?was?familiar?with?both?the?production?of?ormolu?and?the?
 problems?associated?with?attaching?it?to?furniture,?led?(for?example)?to?him?seeking?a?
 solution?to?the?problem?of?attaching?them?in?a?less?obvious?way.??Other?cabinetmakers?
 usually?secured?ormolu?by?simply?placing?a?screw?through?the?face?of?the?ormolu?(while?
 trying?to?hide?its?presence?as?much?as?possible)?into?the?wood.??Riesener?developed?a?
 technique?which?kept?the?screw?hidden?from?view,?perhaps?based?on?a?technique?developed?
 originally?by?Andre?Charles?Boulle.??Riesener?s?technique?was?to?cast?or?braise?post?with?a?
 threaded?hole?(to?take?a?screw)?to?the?back?of?the?piece?
 of?ormolu.?By?inserting?the?post?through?the?wood?and?
 using?a?screw?to?secure?the?ormolu,?fixing?was?
 rendered?invisible?from?the?front.?In?the?few?cases?
 where?these?bolts?would?have?interfered?with?the?
 appearance?of?the?inside?of?the?piece?of?furniture,?
 Riesener?covered?the?fixture?with?a?piece?of?veneer?to?
 match?the?surround.??A?series?of?photographs?that?
 demonstrate?how?Riesener?performed?this?trick?can?be?
 seen?below.?199??
 ?
 It?is?interesting?to?note?that?there?are?examples?when?Riesener?uses?conventional?methods?
 of?fixture????the?thuya?veneered?secr?taire???abattant?at?The?Wallace?Collection?for?example.??
 ???????????????????????????????????????????????????????
 199??F.?Watson,?Puzzles?and?Problems?in?French?Furniture?Mounts,?Apollo,?Vol?XCV,?no?121,?1972,?pp.?196?200.??
 ?
 Figure?5?67:??The?gallery?for?The?
 Trellised?secr?taire???abattant?
 located?in?The?Wallace?Collection?
 (F302).??Note:??the?screws?being?
 used?to?hold?the?gallery?to?the?top?
 of?the?furniture.??
 ?
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 302?
 Figure?5?68:??How?Riesener?attached?ormolu?to?a?Secr?taire???abattant.??The?picture?on?the?far?left?
 shows?three?different?variations?what?allow?the?ormolu?to?be?attached?without?a?screw?being?visible?
 from?the?back.??The?middle?picture?shows?how?the?bolt?and?screw?was?normally?seen?on?the?inside?of?
 the?piece.?Note?that?none?of?these?were?visible?from?the?inside?of?the?piece?as?this?was?covered?with?a?
 unit?containing?drawers?and?pigeonholes.??In?some?cases,?veneer?covered?the?screws?and?bolt.???When?a?
 repair?was?needed,?the?veneer?had?to?be?removed?and?a?patch?placed?over?the?screw/bolt.??The?far?right?
 picture?shows?how?a?replacement?patch?of?matching?veneer?covered?the?bolt?and?screw.???
 On?the?F302,?the?gallery?at?the?top?of?the?piece?also?uses?screws?to?hold?it?in?place???and?
 while?it?is?possible?these?have?been?added?later,?any?firm?conclusion?concerning?this?debate,?
 could?only?be?resolved?by?removing?the?gallery?to?ascertain?whether?this?ormolu?was?ever?
 attached?another?way.200????
 ??????
 The?fact?that?on?some?occasions?screws?were?inserted?into?the?front?at?a?later?date?points?to?
 a?common?problem?created?by?Riesener?s?technique.??On?many?of?Riesener?s?pieces?there?
 are?visible?signs?that?pieces?of?veneer?on?the?inside?have?been?replaced,?where?the?veneer?
 has?been?cut?out?in?order?to?access?a?bolt?holding?the?ormolu?which?has?had?to?be?removed?
 in?order?to?either?clean?or?repair?the?ormolu?or?simply?remove?the?ormolu?to?repair?or?clean?
 the?surface?of?the?wood.??Removing?ormolu?cannot?be?accomplished?without?risking?
 damage.???
 ?
 One?might?think?that?Chippendale?might?have?developed?similar?techniques?to?hide?the?
 screw?from?view?but?this?was?not?the?case.?In?fact?Chippendale?used?screws?and?pins?
 ???????????????????????????????????????????????????????
 200?A?review?of?the?files?at?The?Wallace?Collection?did?not?indicate?that?anyone?had?ever?looked?at?this?issue?or?
 they?had?simply?not?documented?any?observations?concerning?this.???
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 303?
 Figure?5?69:?The?inside?of?the?top?drawer?of?the?Riesener?secr?taire?
 ??abattant?(F302?at?The?Wallace?Collection)?notice?the?round?bolts?
 that?are?used?to?hold?the?ormolu?to?the?face?of?the?drawer.?This?is?
 often?seen?on?Riesener?pieces?of?furniture.??
 ?
 inserted?through?holes?drilled?through?the?ormolu?on?the?Harewood?desk.??However,?great?
 care?was?taken?to?trying?to?hide?
 the?pins?and?screws?by?setting?
 them?among?design?elements?
 that?would?help?conceal?them.??
 ?
 Quality?of?the?Ormolu??
 There?follows?below?a?series?of?
 photographs?which?show?a?close?
 up?of?a?couple?of?sections?of?
 ormolu?found?the?two?case?
 study?items.??Several?conclusions?
 are?immediately?evident.??The?
 Riesener?ormolu?is?of?a?better?
 quality?of?carving,?moulding?and?chasing?than?the?Chippendale?ormolu.??The?colour?of?the?
 metals?also?appears?different?too???though?further?testing?would?be?needed?to?confirm?the?
 specific?formulas?of?the?metals?used.?The?conclusion?that?the?Riesener?piece?appears?to?have?
 the?better?quality?of?ormolu?is?not?surprising?for?two?reasons:???
 ?
 ? Riesener?s?expertise?was?reflected?in?his?greater?use?of?ormolu;?its?use?was?quite?rare?
 for?Chippendale.???
 ? In?general,?French?furniture?was?also?more?likely?to?have?ormolu?than?English?
 furniture;?suggesting?that?the?industry?for?its?production?was?a?great?deal?more?
 developed?in?France?than?England.?
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 304?
 Pin?
 ?
 ?
 ?
 Screw?
 Screw?
 Screw?
 Pin?
 Pin?
 Figure?5?70:?These?picture?show?examples?of?the?
 various?locations?where?Chippendale?s?workshop?
 used?screws?and?pins?to?hold?the?ormolu?in?place.??
 While?this?is?probably?not?the?most?favourable?
 approach?to?attaching?ormolu?from?an?aesthetic?
 point?of?view,?Chippendale?s?staff?went?to?great?
 effort?to?disguise?the?locations?of?the?screws?and?
 pins?as?evidenced?in?these?pictures.??
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 305??
 ?
 Figure?5?71:??These?details?of?the?
 ormolu?on?the?Chippendale?
 Harewood?Library?Table?(top)?and?
 Riesener?s?F302?(bottom)?
 demonstrates?the?higher?quality?
 of?the?chasing?on?the?Riesener?
 piece.??Notice?the?brighter?
 highlights?and?the?smoother?
 finish?on?the?highlighted?sections.??
 One?example?is?the?forehead?on?
 the?ram?s?head,?which?shows?
 obvious?bumps?and?
 imperfections.??A?close?inspection?
 of?the?small?beads?also?shows?
 that?the?Riesener?ormolu?is?better?
 shaped,?more?distinct?and?more?
 consistent?in?their?shine.??Again,?
 this?suggests?an?improved?
 finishing.???Greater?detail?is?also?
 evident?on?other?sections?of?
 ormolu.???
 ?
 While?this?next?suggestion?could?
 be?due?in?part?to?photographic?
 imperfections,?or?differences?in?
 the?relative?conditions?of?the?
 metals,?the?colour?of?the?
 Harewood?Library?Table?s?ormolu?
 is?slightly?greener?than?that?of?the?
 Riesener?pieces?indicating?a?
 possible?difference?in?the?metals?
 used?to?base?or?to?coat?the?
 ormolu?on?these?two?pieces.?
 Further?testing?would?be?needed?
 to?confirm?what?the?differences?
 are.?(Note?all?but?one?picture?
 were?taken?by?the?author,?the?
 lower?left?picture?was?taken?from?
 P.?Hughes,?The?Wallace?Collection?
 Catalogue?of?Furniture,?Vol?II.?p.?
 999).??
 ?
 ?
 ?
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 306?
 ?
 It?should?be?noted?that?while?the?general?perception?and?the?usual?description?of?ormolu?
 mounts?from?this?period?is?that?it?is?mercury?gilded?bronze?(Copper?plus?tin).??However?
 testing?has?been?accomplished?on?two?of?the?secr?taire???abattants?by?Riesener?that?were?
 discussed?in?this?thesis?as?well?as?several?other?French?pieces?that?were?made?during?this?
 period.???The?findings?indicate?that?the?better?description?of?the?base?metal?would?be?brass?
 (Copper?plus?zinc).??However,?even?in?this?description?the?ratio?of?copper?to?zinc?is?quite?
 variable?with?the?percentage?of?zinc?ranging?from?25%?(for?the?Riesener?secr?taire???
 abattant????F303)?to?the?low?of?14%?for?a?commode?made?approximately?30?years?prior.??The?
 measurements?for?the?Riesener?pieces?varied?quite?significantly?with?the?percentage?of?
 copper?ranging?from?68%?to?78%?and?of?zinc?it?was?16%?25%?(the?other?materials?measured?
 were?quite?consistent).??While?there?was?one?English?piece?made?during?this?time?that?was?
 included?in?the?testing?it?had?slightly?smaller?proportion?of?copper?(78%)?and?zinc?(19%)?and?
 virtually?no?tin?(<1%).????
 ?
 The?following?table?(Table?5?13)?details?the?findings.??In?this?table?there?are?four?pieces?that?
 were?by?Riesener;?two?secr?taire???abattants?and?two?commodes.??It?should?be?pointed?out?
 that?three?(the?two?commodes?and?F303)?make?use?of?the?later?detailed?floral?designed?
 ormolu.??That?does?not?appear?to?be?a?factor?in?different?metal?formulations.??
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 307?
 ?
 Table?5?13?
 XRF?ANALYSIS?OF?ORMOLU?ON?WALLACE?COLLECTION?FURNITURE201?
 Element?(Est?%?of?Total?by?volumn)??
 Description?
 (Ref?
 No./maker)
 202?
 ?
 Date?
 Made?
 Copper?
 (Cu)?
 Zinc?
 (Zn)?
 Tin?
 (Sn)?
 Lead?
 (Pb)?
 Iron?
 (Fe)?
 ?
 Other?
 ?
 Total?
 69%? 21%? 2%? 0%? 2%? 6%? 100%?Secr?taire???
 abattant??(F300?
 Riesener)?
 1780?
 74? 21? 1? 1? 1? 2? 100?
 71? 24? 1? <1? 1? 2? 100?Secr?taire???
 abattant??(F303?
 ??Riesener)?
 1783?
 68? 25? 1? 1? 1? 4? 100?
 74? 19? 2? 1? 2? 2? 100?Chest?of?
 Drawers?(F86???
 Gaudreaus)
 203?
 1739?
 77? 20? 1? 1? 1? <1? 100?
 76? 18? 1? 1? 1? 3? 100?Commode?(F70?
 ??Marchand)204?
 1755?
 81? 14? <1? 2? <1? 3? 100?
 70? 24? 1? 2? 1? 2? 100?Chest?of?
 Drawers?(F246???
 Leleu205)?
 1772?
 77? 19? <1? 3? <1? <1? 100?
 71? 16? 2? 4? 2? 5? 100?Chest?of?
 Drawers?(F247??
 Riesener)??
 1780?
 74? 24? <1? 1? <1? <1? 100?
 76? 17? 1? 0? 4? 2? 100?Corner?
 Cabinet?(F275?
 Riesener)??
 1780?
 78? 18? 1? 2? 1? <1? 100?
 ?
 The?other?elements?that?were?uncovered?using?the?XRF?methodology?include?Nickel?(Ni),?
 and?Antimony?(Sb).??In?all?cases,?these?registered?at?less?that?1%.??
 ?
 ???????????????????????????????????????????????????????
 201?While?other?materials?were?detected?the?key?ingredients?of?interest?in?determining?if?the?base?metal?of?the?
 ormolu?was?brass?or?bronze?are?the?three?detailed?here.??The?tests?were?conducted?twice?and?both?sets?of?
 findings?are?shown?here.??Note?also?that?all?of?these?pieces?of?furniture?were?French.?
 202?All?pieces?tested?were?from?The?Wallace?Collection;?the?numbers?presented?are?those?catalogue?numbers?
 that?can?be?located?in?any?version?of?their?catalogue?whether?it?is?the?P.?Hughes?or?the?F.?Watson?versions.???
 203?The?use?of?the?term??chest?of?drawers??is?the?term?used?in?the?report.??The?furniture?maker?of?this?piece?is?
 Antoine?Gaudreaus?(1682?1746).??
 204?The?cabinetmaker?s?name?is?Nicolas?Jean?Marchand?(1697???1755)?
 205?The?cabinetmaker?s?name?is?Jean?Francois?Leleu?(1729?1807)?
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 308?
 An?interesting?study?would?be?to?track?the?changes?in?Riesener?s?work?across?his?career?to?
 see?if?his?ormolu?used?consistent?formulas?across?this?time.??It?is?suspected?that?that?there?
 would?have?been?a?difference?in?the?formulas.?
 ?
 It?should?be?pointed?out?that?similar?analysis?has?not?been?conducted?for?the?Chippendale?
 piece?of?furniture.?This?was?due?to?the?lack?of?funding?for?this?additional?analysis.??The?
 analysis?for?The?Wallace?Collection?had?been?conducted?by?The?Wallace?staff?and?did?not?
 require?additional?funding.??
 ?
 The?Internal?Structure?for?Inserting?Drawers:??Again,?there?were?some?very?interesting?
 comparisons?between?Chippendale?and?Riesener?in?the?approach?to?making?the?slots?or?
 cavities?for?holding?drawers.??Both?approaches?were?effective?and?reflective?of?the?high?
 quality?that?was?practiced?in?each?of?the?workshops?but?they?were?different.?
 ?
 For?example,?there?was?very?
 rarely?a?case?with?Chippendale?s?
 work?that?did?not?stop?the?
 drawers?with?two?small?
 (approximately?3?4?mm?thick)?
 hexagonal?piece?of?oak.??In?one?
 exception?on?the?Harewood?
 desk,?Chippendale?used?an?
 overhanging?lip?and?hexagonal?
 pieces?of?oak?to?stop?the?drawer?
 from?going?in?too?far???see?Figure?
 5?73.??The?use?of?these?
 hexagonal?pieces?allowed?for?slight?inaccuracies?or?error.??
 ?
 Riesener?on?the?other?hand?used?the?length?of?the?drawer?to?define?how?far?the?drawer?
 went?into?its?slot.??The?result?is?that?the?Riesener?pieces?were?entirely?dependent?on?the?skill?
 of?his?cabinetmakers?to?ensure?a?good?fit.??In?only?one?case???the?F300?at?the?Wallace???was?a?
 ?
 ?
 Figure?5?72:??Cavity?for?two?drawers?of?F302?showing?how?
 rosewood?was?used?as?a?type?of?guide?for?the?small?drawers?that?
 was?to?be?inserted.?
 ?
?
 MAKING?FASHIONABLE?FURNITURE:?Chapter?V???Case?Histories? Page??
 ?
 309?
 mistake?noticed?on?a?Riesener?secr?taire???abattant,?where?a?small?strip?of?wood?had?been?
 attached?to?the?end?of?the?drawer?to?correct?an?error?in?its?measurement.206???
 ?
 Riesener?also?used?thin?strips?(approximately?3?4?mm?thick)?strips?of?rosewood?(palissandre)?
 as?drawer?guides?and?it?was?reasoned?above?that?this?was?not?a?mistake.??There?are?several?
 possible?reasons?for?this?selection.??First?it?frequently?matched?the?edges?of?the?drawers?
 (even?though?most?people?never?saw?this?piece)?the?second?reason?is?that?it?is?a?very?hard?
 and?a?very?durable?wood?which?would?make?it?good?for?this?purpose.?Thirdly,?it?was?a?very?
 oily?wood?which?would?aid?in?the?working?of?the?drawer.?Chippendale?used?oak?as?the?
 runner?for?the?drawers?of?all?the?library?tables?examined?for?this?thesis.??
 ?
 Internal?Construction?of?the?Secr?taire:??Chippendale?and?Riesener?approached?the?design?
 of?the?internal?sections?of?the?Secr?taire?differently,?though?Chippendale?made?only?two?
 secr?taire???abattant?as?far?as?we?know???one?finished?in?marquetry?and?the?other?
 Japanned.207?Most?of?the?pictures?that?follow?are?of?Chippendale?s?Japanned?secr?taire?and??
 ?
 ???????????????????????????????????????????????????????
 206?Because?the?colouration?of?the?added?strip?of?wood?it?appears?to?be?the?same?age?as?the?wood?used?in?the?
 body?of?the?drawer?it?appears?that?the?piece?was?added?by?men?in?Riesener?s?workshop.???
 207?The?only?notable?difference?between?the?two?are?the?materials?used?for?the?outside?covering,?while?one?
 used?a?marquetry?veneered?technique,?which?was?typical?of?many?of?Chippendales?later?pieces,?the?other?used?
 special?Japanned?panels?that?had?been?purchased?by?Edwin?Lascelles?and?given?to?Chippendale?to?produce?this?
 and?a?couple?of?other?pieces?of?furniture.????Because,?structurally?they?appear?to?be?the?same,?and?they?were?
 built?around?the?same?time?as?each?other?it?is?assumed?that?they?actually?are?the?same?structurally.?
 ?
 ?
 Figure?5?73:??Different?ways?Chippendale?stopped?the?drawers?on?the?Harewood?Library?Table.??The?
 left?picture?shows?the?use?of?hexagonal?drawer?stops?and?the?picture?on?the?right?demonstrates?the?
 use?of?the?overhang?to?stop?the?drawer.??In?each?of?these?cases?both?the?overhang?and?the?drawer?
 stops?were?used.??The?drawer?stops?were?the?most?frequently?used?approach?by?Chippendale.?