See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

THOMAS See also:

• THOMAS SHEARER

SHEARER  , See also:

• ENGLISH

English 18th-See also:

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

century See also:

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

furniture designer and See also:

• CABINET

cabinet-maker . The solitary See also:

• BIOGRAPHICAL

biographical fact we possess See also:

• RELATING

relating to this distinguished craftsman is that he was the author of most of the plates in The Cabinet Maker's See also:

• LONDON

London See also:

• BOOK

Book of Prices and Designs of Cabinet See also:

• WORK

Work, issued in 1788 " For the London Society of Cabinet Makers." The See also:

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

majority of these plates were republished separately as Designs for See also:

• HOUSEHOLD, ROYAL

Household Furniture . They exhibit their author as a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man with an See also:

• EYE
• EYE (O. Eng. edge, Ger. Auge; derived from an Indo-European root also seen in Lat. oc-ulus, the organ of vision (q.v.)

eye at once for simplicity of See also:

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

design and delicacy of proportion . Indeed some of his pieces possess a dainty and slender elegance which has never been surpassed in the See also:

• HISTORY

history of English furniture . There can be little doubt that See also:

• SHEARER, THOMAS

Shearer exercised considerable See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence over See also:

• HEPPLEWHITE, GEORGE (d. 1786)

Hepplewhite, with whom there is See also:

• REASON (Lat. ratio, through French raison)

reason to suppose that he was closely associated, while See also:

• SHERATON, THOMAS (c. 1751-1806)

Sheraton has recorded his admiration for work which has often been attributed to others . Shearer, in his turn, owes something to the See also:

• BROTHERS, RICHARD (1757-1824)

brothers 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, and something no doubt, to the stock designs of his predecessors . There is every reason to suppose that he worked at his See also:

• CRAFT (a word common to Teutonic languages for strength, or power; cf. Ger. Kraft)

craft with his own hands and that he was literally a cabinet-maker—so far as we know, he never made chairs . Much of the elegance of Shearer's work is due to his graceful and reticent employment of inlays of satinwood and other See also:

• FOREIGN

foreign See also:

• WOODS, LEONARD (1774-1854)
• WOODS, SIR ALBERT (1816-1904)

woods . But he was as successful in See also:

• FORM (Lat. forma)

form as in decoration, and no man ever used the See also:

• CURVE (Lat. curvus, bent)

curve to better purpose . In Shearer's 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 the See also:

• SIDEBOARD

sideboard was in See also:

• PROCESS

process of See also:

• EVOLUTION

evolution; previously it had been a table with drawers, the pedestals and See also:

• KNIFE (0. E. cuff, a word appearing in different forms in many Teutonic languages, cf. Du. knijf, Ger. Kneif, a shoe-maker's knife, Swed. knif; the ultimate origin is unknown; Skeat finds the origin in the root of " nip," formerly " knip "; Fr. canif is a

knife-boxes being See also:

• SEPARATE

separate pieces . He would seem to have been first to combine them into the See also:

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

familiar and often beautiful form they took at the end of the 18th century . The See also:

• COMBINATION (Lat. combinare, to combine)

combination may have been made before, but his See also:

• PLATE

plate is, in point of time, the first published document to show it .

Shearer, like many of his contemporaries, was much given to devising " See also:

• HARLEQUIN

harlequin " furniture . He was a designer of high merit and real originality, and occupies a distinguished See also:

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

place among the little See also:

• BAND

band of men, often, like himself, See also:

• ILL

ill-educated and obscure of origin, who raised the English cabinet-making of the second See also:

• HALF

half of the 18th century to an illustrious place in See also:

• ARTISTIC

artistic history .