THE THIRD EDITION. LONDON: Printed for the AUTHOR, and sold at his House, in St. Martin's Lane; Also by T. BECKET and P. A. DE HONDT, in the Strand. MDCCLXII. _Fac-simile of the Title Page of Chippendale's "Director."_ (_Reduced by Photography._) _The original is folio size._ ] [Illustration: _Two bookcases._ Nᵒ. LXXXVII. _T. Chippendale invᵗ et delins._ _Publish'd according to Act of Parliament 1769._ _J Taylor Sculp_ FAC-SIMILE OF A PAGE IN CHIPPENDALE'S "DIRECTOR." (The original is folio size.)] [Illustration: TEA CADDY, Carved in the French style. (From Chippendale's "Director.")] In the chapter on Louis XV. and Louis XVI. furniture, it has been shewn how French fashion went through a similar change about this same period. In Chippendale's chairs and console tables, in his state bedsteads and his lamp-stands, one can recognize the broken scrolls and curved lines, so familiar in the bronze mountings of Caffieri. The influence of the change which had occurred in France during the Louis Seize period is equally evident in Adam's treatment. It was helped forward by the migration into this country of skilled workmen from France, during the troubles of the revolution at the end of the century. Some of Chippendale's designs bear such titles as "French chairs" or a "Bombé-fronted Commode." These might have appeared as illustrations in a contemporary book on French furniture, so identical are they in every detail with the carved woodwork of Picau, of Canner, or of Nilson, who designed the flamboyant frames of the time of Louis XV. Other designs have more individuality. In his mirror frames he introduced a peculiar bird with a long snipe-like beak and rather impossible wings, an imitation of rockwork and dripping water, Chinese figures with pagodas and umbrellas; and sometimes the illustration of Æsop's fables interspersed with scrolls and flowers. By dividing the glass unequally, by the introduction into his design of bevelled pillars with carved capitals and bases, he produced a quaint and pleasing effect, very suitable to the rather effeminate fashion of his time, and in harmony with three-cornered hats, wigs and patches, embroidered waistcoats, knee breeches, silk stockings, and enamelled snuff-boxes. In some of the designs there is a fanciful Gothic, to which he makes special allusion in his preface, as likely to be considered by his critics as impracticable, but which he undertakes to produce if desired--