See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

CHAIR (in. See also:

• MID

Mid. Eng. chcere, through O. Fr. chaire or chaiere, from See also:

• LAT

Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "See also:

• CATHEDRAL

cathedral"; the See also:

• MODERN

modern Fr. See also:

• FORM (Lat. forma)

form See also:

• CHAISE (the French for " chair," through a transference from a "sedan-chair" to a wheeled vehicle)

chaise, a chair, has been adopted in See also:

• ENGLISH

English with a particular meaning as a form of See also:

• CARRIAGE

carriage; chaire  in See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French is still used of a professorial or ecclesiastical " See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair," or cathedra), a movable seat, usually with four legs, for a single See also:

• PERSON, OFFENCES AGAINST THE

person, the most varied and See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar See also:

• ARTICLE (from Lat. articulus, a joint)

article of domestic See also:

• FURNITURE (from " furnish," Fr. fournir)

furniture . The chair is of extreme antiquity, although for many centuries and indeed for thousands of years it was See also:

• ART

art See also:

• APPANAGE, or APANAGE (a French word from the late Lat. apanagium, formed from apanare, i.e. panem porrigere, to give bread, i.e. sustenance)

appanage of See also:

• STATE
• STATE, GREAT OFFICERS OF

state and dignity rather than an article of See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary use . " The chair " is still extensively used as the See also:

• EMBLEM (Gr. Eµ3Xysa, something put in or inserted, from EµfiiXAew, to throw in)

emblem of authority in the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House of See also:

• COMMONS

Commons and in public meetings . It was not, in fact, until the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century that it became See also:

• COMMON

common anywhere . The See also:

• CHEST (Gr. Kiarl, Lat. cista, O. Eng. cist, test, &c.)

chest, the See also:

• BENCH (an O.E. and Eng. form of a word common to Teutonic languages, cf. Ger. Bank, Dan. baenk and the Eng. doublet " bank ")

bench and the See also:

• STOOL

stool were until then the ordinary seats of everyday See also:

• LIFE

life, and the number of chairs which have survived from an earlier date is exceedingly limited; most of such examples are of ecclesiastical or seigneurial origin . Our knowledge of the chairs of remote antiquity is derived almost entirely from v . 26monuments, See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture and paintings . A few actual examples exist in the See also:

• BRITISH

British Museum, in the See also:

• EGYPTIAN

Egyptian museum at See also:

• CAIRO
• CAIRO (Arabic Misr-al-Kahira, or simply Misr)

Cairo, and elsewhere . In See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• EGYPT

Egypt they appear to have been of See also:

• GREAT

great richness and splendour . Fashioned of See also:

• EBONY (Gr. E(3evos)

ebony and See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory, or of carved and gilded See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood, they were covered with costly stuffs and supported upon representations of the legs of beasts of the See also:

• CHASE
• CHASE, SALMON PORTLAND (1808-1873)
• CHASE, SAMUEL (1741–1811)
• CHASE, WILLIAM MERRITT (1849– )

chase or the figures of captives . An See also:

• ARM (a common Teutonic word; the Indo-European root is ar, to join or fit; cf. the Lat. armus, shoulder, and the plural word arma, weapons, Gr. apphs, joint, and the reduplicated apapilKSV, to join)

arm-chair in See also:

• FINE

fine preservation found in a See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb in the Valley of the See also:

• KINGS, FIRST AND SECOND BOOKS OF

Kings is astonishingly similar, even in small details, to that " See also:

• EMPIRE

Empire See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style which followed See also:

• NAPOLEON

Napoleon's See also:

• CAMPAIGN

campaign in Egypt . The earliest monuments of See also:

• NINEVEH (Heb. m}'?, in classical authors Nivos, Ninus; LXX. Ntsetni, Nnveun: Assyrian Nind or Ninua)

Nineveh represent a chair without a back but with tastefully carved legs ending in lions' claws or bulls' hoofs; others are supported by figures in the nature of See also:

• CARYATIDES (Latinized from the Greek; the plural of Caryatis, i.e. a woman of Caryae in Laconia)

caryatides or by animals .

The earliest known See also:

• FORM (Lat. forma)

form of See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek chair, going back to five or six centuries before See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ, had a back but stood straight up, front and back . On the See also:

• FRIEZE

frieze of the See also:

• PARTHENON (HapOevwv)

Parthenon See also:

• ZEUS

Zeus occupies a square seat with a See also:

• BAR
• BAR (0. Fr. barre, Late Lat. barra, origin unknown)
• BAR, CONFEDERATION OF
• BAR, FRANCOIS DE (1538-1606)
• BAR, THE

bar-back and thick turned legs; it is ornamented with winged sphinxes and the feet of beasts . The characteristic See also:

• ROMAN

Roman chairs were of See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble, also adorned with sphinxes; the See also:

• CURULE (Lat. currus, " chariot ")

curule chair was originally very similar in form to the See also:

• MODERN

modern folding chair, but eventually received a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• DEAL

deal of See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament . The most famous of the very few chairs which have come down from a remote antiquity is the reputed chair of St See also:

• PETER
• PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
• PETER (PEDRO)
• PETER, EPISTLES OF
• PETER, ST

Peter in St Peter's at See also:

• ROME
• ROME (Roma)

Rome . The wooden portions are much decayed, but it would appear to be See also:

• BYZANTINE

Byzantine See also:

• WORK

work of the 6th century, and to be really an ancient sedia gestatoria . It has ivory carvings representing the labours of See also:

• HERCULES
• HERCULES (0. Lat. Hercoles, Hercles)

Hercules . A few pieces of an earlier oaken chair have been let in; the existing one, See also:

• GREGOROVIUS, FERDINAND (1821-1891)

Gregorovius says, is of See also:

• ACACIA

acacia wood . The See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend that this was the curule chair of the senator Pudens is necessarily apocryphal . It is not, as is popularly supposed, enclosed in See also:

• BERNINI, GIOVANNI LORENZO (1598—1680)

Bernini's See also:

• BRONZE

bronze chair, but is kept under triple See also:

• LOCK (from the O. Eng. loc.; the word appears, in different forms, in many Teutonic languages, but with such various meanings as " hole," Ger. Loch, " lid," Swed. lock, &c.; probably the original was a root meaning " to enclose ")
• LOCK, MATTHIAS

lock and exhibited only once in a century . See also:

• BYZANTIUM

Byzantium, like See also:

• GREECE

Greece and Rome, affected the curule form of chair, and in addition to lions' heads and winged figures of Victory and See also:

• DOLPHIN

dolphin-shaped arms used also the See also:

• LYRE (Gr. Xupa)

lyre-back which has been made familiar by the pseudo-classical revival of the end of the 18th century . The chair of Maximian in the See also:

• CATHEDRAL

cathedral of See also:

• RAVENNA
• RAVENNA, EXARCHATE OF

Ravenna is believed to date from the See also:

• MIDDLE

middle of the 6th century . It is of marble, See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round, with a high back, and is carved in high See also:

• RELIEF

relief with figures of See also:

• SAINTS, BATTLE OF THE

saints and scenes from the Gospels—the See also:

• ANNUNCIATION

Annunciation, the See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi, the See also:

• FLIGHT

flight into Egypt and the See also:

• BAPTISM

baptism of Christ .

The smaller spaces are filled with carvings of animals, birds, See also:

• FLOWERS, ARTIFICIAL

flowers and foliated ornament . Another very ancient seat is the so-called "Chair of Dagobert" in the Louvre . It is of See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast bronze, sharpened with the See also:

• CHISEL (from the O. Fr. cisel, modern ciseau, Late Lat. cisellum, a cutting tool, from caedere, to cut)

chisel and partially gilt; it is of the curule or See also:

• FALDSTOOL (from the O.H. Ger. falden or fallen, to fold, and stool, Mod. Ger. Stuhl, a stool; from the medieval Latin faldistolium is derived, through the old form faudesteuil, the Mod. Fr. fauteuil)

faldstool type and supported upon legs terminating in the heads and feet of animals . The seat, which was probably of See also:

• LEATHER (a word which appears in all Teutonic languages; cf. Ger. Leder, Dutch leer or leder, Swed. leder, and in such Celtic forms as Welsh llader)
• LEATHER, ARTIFICIAL

leather, has disappeared . Its attribution depends entirely upon the statement of See also:

• SUGER (c. 1081-1151)

Suger, See also:

• ABBOT (from the Hebrew ab, a father, through the Syriac abba, Lat. abbas, gen. abbatis, O.E. abbad, fr. late Lat. form abbad-em changed in 13th century under influence of the Lat. form to abbat, used alternatively till the end of the 17th century; Ger. Ab
• ABBOT, EZRA (1819-1884)
• ABBOT, GEORGE (1603-1648)
• ABBOT, ROBERT (1588?–1662?)
• ABBOT, WILLIAM (1798-1843)

abbot of St See also:

• DENIS (DIoNysms), SAINT
• DENIS, JOHANN NEPOMUK COSMAS MICHAEL (1729-1800)

Denis in the 1 See also:

• ATH, or AATII

ath century, who added a back and anus . Its See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age has been much discussed, but See also:

• VIOLLET, PAUL MARIE (184o- )

Viollet-le-Duc dated it to See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early Merovingian times, and it may in any See also:

• CASE
• CASE, JOHN (d. 1600)

case be taken as the See also:

• OLDEST

oldest faldstool in existence . To the same generic type belongs the famous abbots' chair of See also:

• GLASTONBURY

Glastonbury; such chairs might readily be taken to pieces when their owners travelled . The faldisterium in See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time acquired arms and a back, while retaining its folding shape . The most famous, as well as the most ancient, See also:

• ENGLISH

English chair is that made at the end of the 13th century for See also:

• EDWARD

Edward I., in which most subsequent monarchs have been crowned . It is of an architectural type and of See also:

• OAK (O. Eng., (lc)

oak, and was covered with gilded See also:

• GESSO

gesso which See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long since disappeared . Passing from these historic examples we find the chair monopolized by the ruler, See also:

• LAY

lay or ecclesiastical, to a comparatively See also:

• LATE

late date . As the seat of authority it stood at the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of the See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

lord's table, on his See also:

• DAIS (Fr. dais, estrade, Ital. predella)

dais, by the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of his See also:

• BED
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

bed .

The seigneurial chair, commoner in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France and the See also:

• NETHERLANDS

Netherlands than in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, is a very interesting type, approximating in many respects to the episcopal or abbatial See also:

• THRONE

throne or See also:

• STALL (0. Eng. steall, stael, cf. Du. stal, Ger. and Swed. Stall, a common Teutonic word for a place, station, place for standing in; the root is the Indo-European std–, to stand, seen also in Latin stabulum, Greek vraO bs, and in stallion, an entire hors

stall . It early acquired a very high back and sometimes had a See also:

• CANOPY (through Fr. canape, from Med. Lat. canapeum, classical conopeum, a mosquito curtain, Gr. K6v(.4, a gnat)

canopy . Arms were in-variable, and the See also:

• LOWER

lower See also:

• PART

part was closed in with panelled or carved front and sides—the seat, indeed, was often hinged and ra sometimes closed with a See also:

• KEY
• KEY (in O. Eng. tang; the ultimate origin of the word is unknown; it appears only in Old Frisian kei of other Teutonic languages; until the end of the 17th century the pronunciation was kay, as in other words in O. Eng. ending in aeg; cf. daeg, day; clang
• KEY (the phraseograms being indicated by hyphens)
• KEY, SIR ASTLEY COOPER (1821-1888)
• KEY, THOMAS HEWITT (1799-1875)

key . That we are still said to sit " in an arm-chair and " on " other kinds of chairs is a See also:

• REMINISCENCE (from Lat. reminisci, to remember)

reminiscence of the time when the lord or seigneur sat " in his chair." These throne-like seats were always architectural in See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, and as See also:

• GOTHIC

Gothic feeling waned took the distinctive characteristics of See also:

• RENAISSANCE, THE

Renaissance work . It was owing in great measure to the Renaissance that the chair ceased to be an appanage of state, and became the customary See also:

• COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

companion of whomsoever could afford to buy it . Once the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of See also:

• PRIVILEGE

privilege faded the chair speedily came into See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general use, and almost at once began to reflect the fashions of the See also:

• HOUR

hour . No piece of furniture has ever been so See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close an See also:

• INDEX

index to sumptuary changes . It has varied in See also:

• SIZE

size, shape and sturdiness with the fas$See also:

• ION

ion not only of See also:

• WOMEN

women's See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress but of men's also . Thus the chair which was not, even with its arms purposely suppressed, too ample during the several reigns of some form or other of hoops and See also:

• FARTHINGALE (from the O. Fr. verdagalle, or vertugalle, a corruption of the Spanish name of the article, verdagado, from verdago, a rod or stick)

farthingale, became monstrous when these protuberances disappeared . Again, the costly laced coats of the See also:

• DANDY

dandy of the 18th and early 19th centuries were so threatened by the ordinary form of seat that a " conversation chair" was devised, which enabled the See also:

• BUCK
• BUCK, CARL DARLING (1866– )
• BUCK, DUDLEY (1839-1909)

buck and the See also:

• MILLER, HUGH (1802–1856)
• MILLER, JOAQUIN (CINCINNATUS HEINE) (1841- )
• MILLER, JOE (JosEPH or JosIAS( (1684-1738)
• MILLER, SAMUEL FREEMAN (1816-1890)
• MILLER, WILLIAM (1782-1849)
• MILLER, WILLIAM (1795-1861)
• MILLER, WILLIAM (1796–1882)
• MILLER, WILLIAM HALLOWES (18o1–188o)

miller to sit with his See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face to the back, his valuable tails See also:

• HANGING

hanging unimpeded over the front . The early chair almost invariably had arms, and it was not until towards the close of the 16th century that the smaller form See also:

• GREW, NEHEMIAH (1641-1712)

grew common . The See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of the chairs of all countries until the middle of the 17th century were of oak without upholstery, and when it be-came customary to See also:

• CUSHION (from O. Fr. coisson, coussin; according to the New English Dict., from Lat. coxa, a hip; others say from Lat. culcita, a quilt)

cushion them, leather was sometimes employed; subsequently See also:

• VELVET

velvet and See also:

• SILK

silk were extensively used, and at a later See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period cheaper and often more durable materials .

Leather was not infrequently used even for the costly and elaborate chairs of the faldstool form—occasionally sheathed in thin plates of See also:

• SILVER

silver—which See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice sent all over See also:

• EUROPE

Europe . To this See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, indeed, leather is one of the most frequently employed materials for chair covering . The outstanding characteristic of most chairs until the middle of the 17th century was massiveness and solidity . Being usually made of oak, they were of considerable See also:

• WEIGHT

weight, and it was not until the introduction of the handsome See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis XIII. chairs with See also:

• CANE

cane backs and seats that either weight or solidity was reduced . Although English furniture derives so extensively from See also:

• FOREIGN

foreign and especially French and See also:

• ITALIAN

Italian See also:

• MODELS

models, the earlier forms of English chairs awed but little to See also:

• EXOTIC (Gr. EWTIK6s, foreign, from few, outside)

exotic influences . This was especially the case down to the end of the Tudor period, after which France began to set her See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark upon the British chair . The squat variety, with heavy and sombre back, carved like a piece of panelling, gave See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place to a taller, more slender, and more elegant form, in which the See also:

• FRAME

frame-work only was carved, and attempts were made at ornament in new directions . The stretcher especially offered opportunities which were not lost upon the See also:

• CABINET

cabinet-makers of the Restoration . From a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere uncompromising See also:

• CROSS

cross-bar intended to strengthen the construction it blossomed, almost suddenly, into an elaborate See also:

• SCROLL

scroll-work or an exceedingly graceful semicircular ornament connecting all four legs, with a See also:

• VASE
• VASE (through Fr. from Lat. vas, a vessel, pl. vasa, of which the singular vasum is rarely found; the ultimate root is probably was-, to cover, seen in Lat: vestis, clothing, Eng. " vest," Gr. to-th c, and also in " wear," of garments)

vase-shaped knob in the centre . The arms 'and legs of chairs of this period were scrolled, the splats of the back often showing a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich arrangement of spirals and scrolls . This most decorative of all types appears to have been popularized in England by the cavaliers who had been in See also:

• EXILE (Lat. exsilium or exilium, from exsul or exul, which is derived from ex, out of, and the root sal, to go, seen in salire, to leap, consul, &c.; the connexion with solum, soil, country is now generally considered wrong)

exile with See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles II. and had become familiar with it in the See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

north-western parts of the See also:

• EUROPEAN

European See also:

• CONTINENT (from Lat. continere, "to hold together "; hence " connected," " continuous ")

continent . During he reign of See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William and See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary these charming forms degenerated into something much stiffer and more rectangular, with a solid, more or less See also:

• FIDDLE (O. Eng. fithele, fidel, &c., Fr. vide, viole, violon; M. H. Ger. videle, mod. Ger. Fiedel)

fiddle-shaped splat and a cabriole See also:

• LEG
• LEG (a word of Scandinavian origin, from the Old Norwegian leggr, cf. Swed. lagg, Dan. laeg; the O. Eng. word was sceanca, shank)

leg with See also:

• PAD

pad feet .

The more ornamental examples had cane seats and See also:

• ILL

ill-proportioned cane backs . From these forms was gradually See also:

• DEVELOPED

developed the See also:

• CHIPPENDALE, THOMAS (d. 1979)

Chippendale chair, with its elaborately interlaced back, its graceful arms and square or cabriole legs, the latter terminating in the claw and See also:

• BALL (in Mid. Eng. bal; the word is probably cognate with " bale," Teutonic in origin, cf. also Lat. falls, and Gr. 7raXXa)
• BALL, JOHN (1585-1640)
• BALL, JOHN (1818-1889)
• BALL, JOHN (d. 1381)
• BALL, SIR ALEXANDER JOHN, BART
• BALL, THOMAS (1819- )

ball or the pad See also:

• FOOT

foot . See also:

• HEPPLEWHITE, GEORGE (d. 1786)

Hepplewhite, See also:

• SHERATON, THOMAS (c. 1751-1806)

Sheraton and See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam all aimed at lightening the chair, which, even in the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master hands of Chippendale, remained comparatively heavy . The endeavour succeeded, and the modern chair is everywhere comparatively slight . Chippendale and Hepplewhite between them determined what appears to be the final form of the chair,for since their time practically no new type has lasted, and in its See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main characteristics the chair of the 20th century is the See also:

• DIRECT

direct derivative of that of the later 18th . The 18th century was, indeed, the See also:

• GOLDEN

golden age of the chair, especially in France and England, between which there was considerable give and take of ideas . Even See also:

• DIDEROT, DENIS (1713-1784)

Diderot could not refrain from See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing of them in his Encyclopedie . The typical Louis Seize chair, See also:

• OVAL (Lat. ovum, egg)

oval-backed and ample of seat, with descending arms and round-reeded legs, covered in See also:

• BEAUVAIS

Beauvais or some such See also:

• GAY, JOHN (1685-1732)
• GAY, MARIE FRANCOISE SOPHIE (1776-1852)
• GAY, WALTER (1856– )

gay See also:

• TAPESTRY

tapestry See also:

• WOVEN

woven with See also:

• BOUCHER, FRANCOIS (1703-1770)
• BOUCHER, JONATHAN (1738-1804)

Boucher or See also:

• WATTEAU, ANTOINE (1684-1721)

Watteau-like scenes, is a very gracious See also:

• OBJECT

object, in which the period reached its high-See also:

• WATER

water mark . The Empire brought in squat and squabby shapes, comfortable enough no doubt, but entirely destitute of See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration . English Empire chairs were often heavier and more sombre than those of French See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design . Thenceforward the chair in all countries ceased to attract the artist . The art nouveau school has occasionally produced something of not unpleasing simplicity; but more often its efforts have been frankly ugly or even See also:

• GROTESQUE

grotesque .

There have been practically no novelties, with the exception perhaps of the See also:

• BASKET

basket-chair and such like, which have been made possible by modern command over material . So much, indeed, is the See also:

• PRESENT

present indebted to the past in this See also:

• MATTER

matter that even the revolving chair, now so familiar in offices, has a See also:

• PEDIGREE

pedigree of something like four centuries (see also See also:

• SEDAN

SEDAN-CHAIR) . (J .