the "Gentleman's and Cabinet-maker's Director," and in some of his
finished work. Many of the designs in the "Director" were probably never
carried out, and some of them were probably added to by the soaring
imaginations of the engraver. This is true of all the books published by
the great cabinet-makers, and it always seems more fair to have their
reputations rest on their finished work which has come down to us.

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

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

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