While in the domain of the toilet, it behoves us to see what manner of bedstead Sheraton was wont to provide for those who favoured him with their patronage. We will first examine the three characteristic pillars which appear in Figs. 6, 7, and 8, Plate VII. The reader will do well to study these in conjunction with those designed by Heppelwhite and Chippendale, but more particularly by the former (see "Heppelwhite," Figs. 9, 10, 11, and 13, Plate VII.) in order that the marked differences pointed out in preceding pages may be thoroughly understood and fully appreciated.

"Sheraton." VII.Plate 58

Reference In Text

In the last chapter I have laid special stress upon the fact that, in the treatment of the bed-pillar, the designs of Heppelwhite were, in almost every instance, much less ornate than those of Sheraton, greater reliance being placed by the earlier designer upon graceful proportion and the careful disposition of the various "members" of the turning, than upon elaboration of rich detail, either carved or inlaid; and a comparison of the two sets of designs specified will prove the correctness of this statement. The pillar shown in Fig. 6 is for a "rich state bed . . . carved in white and gold"; while the instructions concerning Figs. 7 and 8 were that they were "to be painted." The probability is, however, that if the designs were ever carried out, and possibly they were, plain mahogany was employed, simply carved, and without any other enrichment, such as painting, gilding, or marquetry. They, indeed, were not required. I am fully aware of the fact that the days of the old "four poster" have long since passed away; but some, though not many, of these old examples remain to us, though they are seldom to be met with in their entirety. In most cases they have been "cut down," as previously explained, in order that the pillars might be converted into decorative supports for the display of busts, statuettes, etc., or for the reception of lamps or candles, purposes which they serve exceedingly well, whether regarded from the utilitarian or decorative point of view.

In these three pillars it will be remarked that Sheraton was not disposed to let simple turning tell its own tale when circumstances permitted its embellishment by means of carving, gilding, or painting Plain surfaces, instead of possessing a beauty of their own in his eyes, were regarded simply as opportunities for enrichment of some kind or another.

It is clear that, about this time, the "four-poster" had "caught the decline," and was destined to give way before very long to structures of a less cumbersome, and certainly more healthy, description. This fact was fully recognised by Sheraton, and he made all preparations to be ready for the coming change in public taste. One alternative to the older type he provides by the design which is reproduced in Fig. 5, Plate VII., and which is "Louis-Seize" in every particular, even to the pattern of the silken covering. Another will be found in Fig. 4 on the same plate. These two are described as "sofa beds"; and though the first closely resembles the ordinary wooden bedstead so far as general form is concerned, the second is certainly nothing more nor less than a glorified sofa, and could hardly be honestly recommended with any degree of confidence to our friends if a comfortable night's repose were the end in view. The attempt to introduce such articles into common use was nevertheless made, and so must of necessity be recorded here.

Of Fig. 5 Sheraton wrote: "The frames are sometimes painted in ornaments to suit the furniture. But when the furniture is of rich silk they are done in white and gold and the ornaments carved. The drapery under the cornice is of the French kind, it is fringed all round, and laps on to each other like waves."

Finally, as regards what may strictly be described as bedroom furniture, Fig. 1, Plate VIII., should be particularly noted, as it marks a most notable development in the arrangement of the wardrobe; one that has been perpetuated to the present time, and constitutes, as a matter of fact, the leading feature of that article of furniture as we know it to-day - that is to say, the "hanging cupboard." We do not find it in Heppelwhite's Book, and even Sheraton, as we see, introduced it rather as an experiment than anything else, fitting up the major portion of the upper part of his wardrobes with sliding shelves, as was then the accepted custom. The hooks provided are not of the ordinary type, but are double ones, working on a swivel, and depending from a wooden rod, the ends of which fall into metal sockets fitted into the sides of the cupboard to receive them. These rods may be removed at will. This arrangement has been improved upon since by the introduction of swing "arms" and other arrangements, but it was quite a fresh innovation at the time of which I am writing.

"Sheraton." VIII.Plate 59

Reference In Text

It will doubtless have been observed that most of the "Sheraton" bedroom furniture with which we have, up to the present, dealt belongs to the more costly description; and that it should be so could hardly be avoided, for more than one reason. These old makers and designers did not include many models of the cheaper class in their books, although of course they provided for their supply when called upon to do so; they preferred rather to rely upon their higher flights of fancy to attract attention to their work, and bring business to their establishments. Though cheap, and probably "nasty," furniture was made in the so-called "good old days," just as it is now, but not, of course, in such large quantities, little of it has survived to the present time; to reproduce any such, therefore, from existing examples is altogether out of the question.