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 SHERATON (c. 1751-1806)

SHERATON (c. 1751-1806)  , next to See also:

• CHIPPENDALE, THOMAS (d. 1979)

Chippendale the most famous See also:

• ENGLISH

English See also:

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

furniture-designer and See also:

• CABINET

cabinet-maker, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in humble circumstances at See also:

• STOCKTON
• STOCKTON, FRANCIS RICHARD (1834–1902)

Stockton-on-See also:

• TEES

Tees . His See also:

• EDUCATION

education was rudimentary, but he picked up See also:

• DRAWING

drawing and See also:

• GEOMETRY

geometry . He appears to have been apprenticed to a cabinet-maker, but he was ever a See also:

• STRANGE, SIR ROBERT (1721-1792)

strange blend of mechanic, inventor, artist, mystic and religious controversialist . Indeed, it is as a writer on theological subjects that we first hear of him . Although his parents were See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church See also:

• PEOPLE

people he was a Baptist, and in 1782 he published at Stockton A Scriptural See also:

• ILLUSTRATION

Illustration of the See also:

• DOCTRINE

Doctrine of Regeneration, to which was added A See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

Letter on the Subject of See also:

• BAPTISM

Baptism, describing himself on the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title See also:

• PAGE
• PAGE, THOMAS NELSON (1853- )
• PAGE, WILLIAM (1811-1885)

page as a " mechanic, one who never had the See also:

• ADVANTAGE

advantage of a collegiate or academical education." Of his career as a maker and designer of furniture nothing is known until he is first heard of in See also:

• LONDON

London in 1790, when he was nearly See also:

• FORTY

forty . The date of his See also:

• MIGRATION

migration is uncertain, but it probably took See also:

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

place while he was still a See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man . In London he did See also:

• WORK

work which, although it has made him illustrious to posterity, never raised him above an almost sordid poverty . See also:

• BIOGRAPHICAL

Biographical particulars are exceedingly scanty, and we do not know to what extent, if at all, he worked with his own hands, or whether he confined himself to evolving new designs, or modifying and adapting, and occasionally partly copying, those of others . Such See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence as there is points to See also:

• ARTISTIC

artistic, rather than See also:

• MECHANICAL

mechanical work, after he began to write, and we know that some See also:

• PART

part of his scanty income was derived from giving drawing lessons . Even the remarkable See also:

• SERIES (a Latin word from serere, to join)

series of volumes of designs for furniture which he published during the last sixteen years of his See also:

• LIFE

life, and upon which his fame depends, were not a commercial success . He was a See also:

• GREAT

great artistic See also:

• GENIUS (from Lat. genere, gignere)

genius who lived in chronic poverty . The only trustworthy See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information we possess regarding his circumstances is found in the See also:

• MEMOIRS

Memoirs of 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 See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

Black, who when he first arrived in London lodged a See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

week in his 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, only two years before See also:

• SHERATON, THOMAS (c. 1751-1806)

Sheraton's See also:

• DEATH

death .

"Sheraton," he says, " lived in a poor See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

street in London, his house See also:

• HALF

half See also:

• SHOP

shop, half dwelling-house, and himself looked like a worn-out Methodist See also:

• MINISTER (Lat. minister, servant)

minister, with threadbare black coat . I took See also:

• TEA (Chinese cha, Amoy dialect t€)

tea with them one afternoon . There was a See also:

• CUP (in O.E. cuppe; generally taken to be from Late Lat. cuppa, a variant of Lat. cupa, a cask, cf. Gr. KuaeXXov)

cup and saucer for the See also:

• HOST

host, and another for his wife, and a little porringer for their daughter . The wife's cup and saucer were given to me, and she had to put up with another little porringer . My host seemed a See also:

• GOOD, JOHN MASON (1764-1827)

good man, with some See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent . He had been a cabinet-maker, and was now author, publisher, and teacher of drawing, and, I believe, occasional preacher." Black shrewdly put his See also:

• FINGER

finger upon the causes of Sheraton's failure . " This many-sided worn-out encyclopaedist and preacher is an interesting See also:

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

character . . .. He is a man of talent and, I believe, of genuine piety . He understands the cabinet business—I believe was bred to it . Heis a See also:

• SCHOLAR, SCHOLARSHIP

scholar, writes well, and, in my See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion, draws masterly—is an author, bookseller; stationer and teacher . . .

I believe his abilities and resources are his ruin in this respect—by at-tempting to do everything he does nothing." There is, however, little indication that Sheraton chafed under the tyranny of " those twin jailors of the daring See also:

• HEART
• HEART, LUNG

heart, See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth and See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron See also:

• FORTUNE, ROBERT (1813-188o)

fortune . " " I can assure the reader," he writes in one of his books, " though I am thus employed in racking my invention to See also:

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

design See also:

• FINE

fine and pleasing cabinet-work, I can be well content to sit upon a wooden-bottom 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, provided I can but have See also:

• COMMON

common See also:

• FOOD
• FOOD (like the verb " to feed," from a Teutonic root, whence O. Eng. foda; cf. " fodder "; connected with Gr. lrareicOae, to feed)

food and raiment wherewith to pass through life in See also:

• PEACE
• PEACE, BREACH OF THE

peace." His first See also:

• BOOK

book on furniture was published in 1791 with the title of The Cabinet-Maker and See also:

• UPHOLSTERER

Upholsterer's Drawing Book . It was issued in parts by T . Hensley, of See also:

• BOLT

Bolt See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court, See also:

• FLEET

Fleet Street; there was a second edition in 1793 and a third in 1832, each with improvements . In the first edition it was stated that copies could be obtained from the author at 41 See also:

• DAVIES (DAvIslus), JOHN (1679-1732)
• DAVIES, DAVID CHARLES (1826-1891)
• DAVIES, RICHARD (c. 1505—1581)
• DAVIES, SIR JOHN (1569-1626)
• DAVIES, SIR LOUIS HENRY (1845— )

Davies Street, Grosvenor Square; in the second, that he was living at 1o6 Wardour Street; the last address we have is 8 Broad Street, See also:

• GOLDEN

Golden Square . There was also an " See also:

• ACCOMPANIMENT (i.e. that which " accompanies ")

Accompaniment " and an " Appendix." In this book, which contained 111 See also:

• COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper-See also:

• PLATE

plate engravings, Sheraton gives abundant evidence of the arrogance and conceit which marred all his publications . He dismisses Chippendale's designs in a patronizing way as " now wholly antiquated and laid aside, though possessed of great merit according to the times in which they were executed." His lack of See also:

• PRACTICAL

practical common sense is suggested by the fact that more than half the book is taken up with a See also:

• TREATISE

treatise on See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective, needless then and unreadable now . He falls foul of every See also:

• VOLUME

volume on furniture which had been published before his 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, and is abundantly satisfied of the merit of his own work . The designs in the book are exceedingly varied and unequal, ranging from pieces of perfect proportion and the most pleasing simplicity to efforts ruined by too abundant See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament . Some of the chair-backs are delightful in their See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and delicacy, but in them, as in other of his drawings, it is easy to trace the See also:

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

influence of See also:

• HEPPLEWHITE, GEORGE (d. 1786)

Hepplewhite and Adam—it has even been suggested that he collaborated with the See also:

• ADAMS
• ADAMS, ANDREW LEITH (1827-1882)
• ADAMS, CHARLES FRANCIS (1807-1886)
• ADAMS, HENRY (1838— )
• ADAMS, HENRY CARTER (1852— )
• ADAMS, HERBERT (i858— )
• ADAMS, HERBERT BAXTER (1850—1901)
• ADAMS, JOHN (1735–1826)
• ADAMS, JOHN QUINCY (1767-1848)
• ADAMS, SAMUEL (1722-1803)
• ADAMS, THOMAS (d. c. 1655)
• ADAMS, WILLIAM (d. 162o)

Adams . Sheraton, indeed, like his predecessors, made extensive use not so much perhaps of the See also:

• WORKS

works of other men as of the artistic ideas underlying them which were more or less common to the See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of the time . He was sometimes See also:

• ORIGINAL

original, sometimes adaptive—what See also:

• ALEXANDRE, NOEL (NATALIS ALEXANDER) (1639-1724)

Alexandre See also:

• DUMAS, ALEXANDRE
• DUMAS, ALEXANDRE [" DUMAS FILS"] (1824-1895)
• DUMAS, GUILLAUME MATHIEU, COUNT (1753-1837)
• DUMAS, JEAN BAPTISTE ANDRE (1800-1884)

Dumas Pere called a " conqueror " —sometimes a copyist .

His " See also:

• CONQUEST

conquest " of Hepplewhite was especially unmerciful, for he abused as well as pillaged him . But his slender forms and sweeping curves were his own See also:

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

inspiration, and his extensive use of satinwood differentiated his furniture from most of that which had preceded it . It must be remembered that Sheraton's books, like those of the other great cabinet-makers of the second half of the 18th See also:

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

century, were intended not for the " See also:

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

general reader " but for the practical use of the See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

trade, which, no doubt, copied their designs extensively, although it is reasonable to suppose that he himself obtained orders by the publication of his books and employed other cabinet-makers to manufacture the work . It seems certain, however, that he himself never possessed anything more than a small shop . Of his own actual manufacture only one piece is known with certainty—a See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass-fronted book-See also:

• CASE
• CASE, JOHN (d. 1600)

case, of somewhat frigid See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm, stamped " T.S." on the inside of one of the drawers . It lacks the agreeable See also:

• SWAN (A. S. swan and swan, Icel. svanr, Du. zwaart, Ger. Schwan)
• SWAN, J
• SWAN, JOHN MACALLAN (1847-1910)
• SWAN, SIR JOSEPH WILSON (1828– )

swan-necked See also:

• PEDIMENT (equivalents, Gr. &ros, Lat. fastigium, Fr. ponton)

pediment so closely associated with his See also:

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

style . The Drawing Book, of which a See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German See also:

• TRANSLATION

translation appeared at See also:

• LEIPZIG

Leipzig in 1794, was followed in 1802 and 1803 by The Cabinet See also:

• DICTIONARY

Dictionary, containing an Explanation of all the Terms used in the Cabinet, Chair and Upholstery branches, containing a display of useful articles of furniture, illustrated with eighty-eight copperplate engravings . The See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text is in alphabetical See also:

• FORM (Lat. forma)

form, and, in addition to a supplement with articles on drawing and See also:

• PAINTING

painting, the bonk contained a See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of " most of 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-cabinet-makers, upholsterers, and chair 'makers," 252 in number, then living in and around London . Sheraton told his readers that he had hitherto derived no profit from his publications on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of the cost of producing them . Some of the designs in this volume show the earlier stages of the tendency to the tortured and the bizarre which disfigured so much of Sheraton's later work . This debased taste reached its See also:

• CULMINATION (from Lat. culmen, summit)

culmination in The Cabinet Maker, Upholsterer and General Artists' Encyclopedia, the publication of which began in 1804 . It was to consist of 125 See also:

• NUMBERS, BOOK OF
• NUMBERS, PARTITION OF

numbers, but when the author died two years later only a few had been issued .

The plates are in See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . The See also:

• SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope of this work was much wider than the title suggests . It dealt not only with furniture and decoration, but with See also:

• HISTORY

history, See also:

• GEOGRAPHY (Gr. yil, earth, and ypiickty, to write)

geography, See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography, See also:

• ASTRONOMY (from Gr. &arpov, a star, and v ,usiv, to classify or arrange)

astronomy, See also:

• BOTANY (from Gr. l3or6v17, plant; ,66vicety, to graze)

botany and other sciences . This fragmentary undertaking makes it clear that Sheraton ruined his style, once so graceful and so delicate, by an over-anxious following of the pseudo-classical taste which in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France marked the See also:

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

period of the Consulate and the See also:

• EMPIRE

Empire . The harmonious See also:

• MARQUETRY (Fr. marqueterie, from marqueter, to inlay, literally to mark, marquee)

marquetry, the dainty painting of See also:

• FLOWERS, ARTIFICIAL

flowers in wreaths and festoons, the lightness and finish were replaced by pieces of furniture which at the best were clumsy and at the worst were hideous . Some of the chairs especially which he designed in this last period are amazingly See also:

• GROTESQUE

grotesque, their backs formed of fabulous animals, their " knees " and legs of the heads and claws of crowned beasts . Many charming little work-tables See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear Sheraton's attribution, but even these graceful trifles in his later forms lose their delicacy and become squat and heavy . He designed many beautiful sideboards and bookcases, but he finished by drawing pieces that were ruined by insistence upon the characteristics, and often the worst characteristics, of the Empire manner . Sheraton's inventive ingenuity had led him to devise many of the ingenious pieces of See also:

• COMBINATION (Lat. combinare, to combine)

combination or " See also:

• HARLEQUIN

harlequin" furniture which the later 18th century loved . Thus a library table would conceal a step-See also:

• LADDER, (0. Eng. hlaeder; of Teutonic origin, cf. Dutch leer, Ger. Leiter; the ultimate origin is in the root seen in " lean," Or. KNiµat)

ladder for reaching the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top shelves of bookcases, a dressing table would be also a See also:

• WASH, THE

wash-stand and an escritoire—but this he admitted that he did not introduce—looking-glasses would enclose dressing-cases, See also:

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

writing-tables or work-tables . But his most astonishing See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy was an See also:

• OTTOMAN

ottoman with " See also:

• HEATING

heating urns " beneath, " that the seat may be kept in a proper temperature in See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold See also:

• WEATHER (O. Eng. weder; the word is common to Teutonic languages; cf. Du. weder, Dan. veir, Icel. ve8r, and Ger. Wetter and Gewitter, storm; the root is wa- to blow, from which is derived " wind ")

weather." How far he was responsible for the introduction of the hideous See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

hall chair, made of See also:

• MAHOGANY

mahogany, with the owner's See also:

• CREST
• CREST (Lat. crista, a plume or tuft)

crest painted on the back, which was common for three-quarters of a century after he died, is not clear; but he describes and illustrates it . That Sheraton can have been personally popular is incredible .

His books make it evident that his character was See also:

• TART

tart, angular and self-assertive, and that he was little disposed to be generous towards the work of predecessors or rivals . Such an attitude towards the See also:

• WORLD

world would suffice to explain his lack of substantial success . He appears to have preached occasionally to the end, and even in his furniture books he sometimes falls into improving remarks of a religious character . As we have seen, his first publication was a religious work, and when in 1794 his friend Adam Callender, the landscape painter, wrote a pamphlet entitled Thoughts on the Peaceable and Spiritual Nature of See also:

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

Christ's See also:

• KINGDOM

Kingdom, Sheraton contributed to it an exhortation upon Spiritual Subjection to See also:

• CIVIL

Civil See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

Government, which was reprinted separately with additions a See also:

• YEAR

year later . In 18os he issued A Discourse on the Character of See also:

• GOD

God as Love . He died on Oct . 2znd, 1806, at No . 8 Broad Street, Golden Square, aged about' 55, from, it is said, over-work . An obituary See also:

• NOTICE

notice of him appeared in the See also:

• GENTLEMAN (from Lat. gentilis, " belonging to a race or gens," and " man "; Fr. gentilhomme, Span. gentil hombre, Ital. gentil huomo, in its original and strict signification, a term denoting a man of good family, the Lat. generosus (its invariable transl

Gentleman's See also:

• MAGAZINE

Magazine of the following See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month, which stated that he had been for many years " a journeyman cabinet-maker, but since 1793 supported a wife and two See also:

• CHILDREN, LAW RELATING TO

children by authorship." He was described as " a well-disposed man, of an acute and enterprising disposition." The writer added that he had " See also:

• LEFT

left his See also:

• FAMILY

family, it is feared, in distressed circumstances," and that he had travelled to See also:

• IRELAND
• IRELAND, CHURCH
• IRELAND, CHURCH OF
• IRELAND, JOHN (1761-1842)
• IRELAND, JOHN (1838- )
• IRELAND, WILLIAM HENRY (1777-1835)

Ireland to obtain subscribers for the Encyclopedia, of which at the time of his death nearly r000 copies had been sold . In 1812 there appeared a See also:

• FOLIO (properly the ablative case of the Lat. folium, leaf, but also frequently an adaptation of the Ital. foglio)

folio volume, Designs for See also:

• HOUSEHOLD, ROYAL

Household Furniture exhibiting a Variety of Elegant and Useful Patterns in the Cabinet, Chair and Upholstery Branches on eighty-four Plates . By the See also:

• LATE

late T . Sheraton, Cabinet-maker .

This was in the See also:

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

main, if not entirely, a collection of plates from the Cabinet Dictionary and the Encyclopedia . 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 Sheraton is unquestionably the most remarkableman in the history of English furniture . His genius was less sane and less balanced than that of Chippendale, but despite his excursions into the See also:

• CHINESE, JAPANESE AND

Chinese and 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 Quinze See also:

• MANNERS, CHARLES (1857– )

manners, Chippendale always produced an impression of English work . Sheraton's greater adaptability, his readiness to receive See also:

• FOREIGN

foreign impressions, his adaptations of Louis Seize ideas, the lightness of his forms and the grace of his conceptions had about them a See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch of the See also:

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

exotic which was heightened by his lavish employment of satin-See also:

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

wood and other beautifully grained See also:

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

woods susceptible of a high See also:

• POLISH

polish . There are no more charming things outside See also:

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

French furniture than some of the creations of Sheraton in his great period . The severe and balanced forms, the delicate inlay, the occasional slight See also:

• CARVING

carving in low See also:

• RELIEF

relief, the painted enrichments, the variety of the backs and legs of his chairs produce an impression of lightness and grace that has never been surpassed; whether he designed a little 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-case or the See also:

• BODY

body of a See also:

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

long See also:

• CLOCK

clock, See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony, proportion and a delicate fancy were ever See also:

• PRESENT

present . It is true that he adapted and even copied extensively, but so did every one else, and it is impossible to be sure that a given conception is rightly attributed to the particular man whose name has become associated with it . Indeed " Sheraton," like " Chippendale," has come to indicate a style rather than a See also:

• PERSONAL

personal attribution . But the volume and the beauty of the designs in his books is such that, when every See also:

• ALLOWANCE (from "allow,' derived through 0. Fr. alouer from the two Lat. origins adlaudare, to praise, and allocare, to assign a place; so that the English word combined the general idea of "assigning with approval")

allowance has been made for See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation, there remains a See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass of beautiful work which cannot be denied to him . In later life his very adaptability was his undoing . The public, always ready to take its mobiliary fashions from France, demanded Empire furniture, and Sheraton may have been, or have believed himself to be, compelled to give them what they wanted . His extravagant creations in that See also:

• SPHERE (Gr. vclsa?pa, a ball or globe)

sphere—far worse thananything that was designed in France—had much to do with the development of a See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion of English Empire which finally ruined See also:

• BRITISH

British furniture design .

He rioted in sphinxes and lions and fabulous beasts, he evolved forms that were dull and cumbrous, and added to their heaviness by See also:

• BRASS
• BRASS (O. Eng. braes)

brass mounts at once massive and uninspired . After his death the eccentricity may have been less, but the 'heaviness and dullness were greater, and with the disappearance of Sheraton the brief but splendid summer of English furniture ended in gloom . It had lasted little more than half a century, but it was a half-century which only France ever could, or did, See also:

• RIVAL

rival . It is one of the strangest ironies in the history of See also:

• ART

art that the last and almost the- greatest exponent of the English genius in the sphere of furniture was in the end mainly responsible for a decay from which there has as yet been no See also:

• RENAISSANCE, THE

renaissance . (J .