In 1774, in Madame Sophie’s sleeping-room was a clock by Tolleverk of Paris, which could run for 15 days and which struck hours, and half hours, besides containing a chime of bells that played thirteen airs. The dial was 4½ inches in diameter and the hands were of gold. The case was surrounded by garlands of laurel held at the top by ribbon. On the right of the base was a celestial globe and the figure of a woman whose head was encircled by stars. She held a trumpet in her right hand, while her left rested on the clock; on the left, was a T-square, a compass, and other mathematical and scientific instruments, and three volumes besides. The whole was of bronze gilt _or moulu_ and measured 16 inches in height, 16 in length, and 17 in depth. ----- Footnote 16: A street where Eastern goods were specially on sale. Footnote 17: This was a _bergère_ (see pages 207–208). Footnote 18: “_Camayeu_ is a kind of painting of a single colour where light and shadow are seen on a background of gold or azure. A _camaieu_ in grey is called _grisaille_, that in yellow is _cirage_. The richest _camaïeux_ are brightened with gold or bronze.... It is what Pliny calls _Monochrome_.” (D’Aviler, 1755.) THE CHIPPENDALE PERIOD [Illustration] THE CHIPPENDALE PERIOD All lovers of antique furniture are sufficiently familiar with the name of Thomas Chippendale, but this name has been of late years used so carelessly that it has become a generic term for all the mahogany furniture of the first half of the Eighteenth Century, and the “Chippendale chair” that is recognized as typical is the one with a pierced and carved back and claw-and-ball foot. This is an erroneous interpretation of the Chippendale style. Chippendale was a cabinet-maker, and doubtless made furniture for his patrons in the old style that had been in vogue since 1714; but the tastes for the Chinese and Gothic, as well as the Louis XV. rock-and-shell work had already been formed, and Chippendale claims more originality than he is entitled to when he says: “In executing many of the Drawings, my Pencil has but faintly copied out those Images that my Fancy suggested.” It is clear then that the only way to understand and define Chippendale is to go directly to his book, there to learn what kind of furniture he made and wanted to make. The first edition of _The Gentleman and Cabinet-Maker’s Director_ was published in 1754. A third edition appeared in 1762, when some of the patterns of the first book were dropped and many new plates were added. The title-page of the latter shows very plainly that Chippendale had turned his attention to almost every object for household use.