The character of the architectural sarcophagus or
tomb is given to it by the bold base which curves
under in a sort of boat shape, and stands on feet.
It is divided into two panels on the front, each
panel being filled with a scroll acanthus ornament
loughly carved. The lid is well modelled where it
joins the sides. As before stated these coffers were used for holding the bride's linen, and hence were sometimes called marriage coffers. As such they are to be seen in Flemish and Dutch work, and
performed oftentimes in Scotch the same office
where they were called ' dower cliests.' See No.
231.
The Bj,a( K Oak Chair queried Italian is possibly Flemish, which may be determined by the character of the ornament used, namely conventional treat- ment of flowers in panels. The circular seat, the semicircular back, and the chair legs were adopted by Chippendale for some of his arm chairs. The proportions are extremely good, the lines made by the back and legs are excellent, and the demands of utility and beauty are amply satisfied. A com- parison of such a piece of furniture with some later examples shows the difference between construction ornamented, which is good art, and ornament constructed, which is bad art.
Oak Table, No. 423, and Oak Arjichaik, No. 496, from Heriofs Hospital. — Two extremely good examples probably of Scotch work executed under Flemish influence. The proportions of the table
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ADAM SHAlfl
are somewhat marred by the wood base which would seem to be a later addition, but the heavy acorn- shaped pierced legs and the well-moulded top are especially noticeable.
The severe lines of the chair are particularly- beautiful, — with no ornamentation save in the upper back panel in which is introduced a coat of arms. This article of furniture by its mere sim- plicity affords a good example of the power of line to convey the sense of beauty.
Abaji Chair, No. 34, formerly the property of Warren Hastings. — The brothers John and Robert Adam, cotemporary with Sir William Chambers, introduced a severity of treatment and a fineness of detail which correspond to some extent to the French style of Louis xvi. Architects by profession, their furniture was designed to accord with the architectural decorations of the house, and the desisn of this chair would be the better understood could we know the particular decoration which covered
