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SIDEBOARD , a high oblong table $tted with drawers, See also:cup-boards or pedestals, and used for the exposition or storage of articles required in the dining-See also:room. Originally it was what its name implies—a See also:side-table, to which the See also:modern See also:dinner-See also:wagon very closely approximates. Then two- or three-tiered sideboards were in use in the Tudor See also:period, and were perhaps the ancestors, or collaterals, of the See also:court-See also:cupboard, which in See also:skeleton they much resembled. See also:Early in the 18th See also:century they began to be replaced by side-tables properly so called. They were one of the many revolutions in See also:furniture produced by the introduction of See also:mahogany, and those who could not afford the new and costly See also:wood used a cheap substitute stained to resemble it In the beginning these tables were entirely of wood and comparatively slight, but before See also:long it became the See also:fashion to use a See also:marble slab instead of a wooden See also:top, which necessitated a somewhat more robust construction; here again there was a See also:- FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
- FIELD, CYRUS WEST (1819-1892)
- FIELD, DAVID DUDLEY (18o5-1894)
- FIELD, EUGENE (1850-1895)
- FIELD, FREDERICK (18o1—1885)
- FIELD, HENRY MARTYN (1822-1907)
- FIELD, JOHN (1782—1837)
- FIELD, MARSHALL (183 1906)
- FIELD, NATHAN (1587—1633)
- FIELD, STEPHEN JOHNSON (1816-1899)
- FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)
field for See also:imitation, and marble was sometimes replaced by scagliola. Many of the sideboard tables of this period were exceedingly handsome, with cabriole legs, claw or claw and See also:bill feet, friezes of See also:acanthus, much gadrooning and See also:mask pendants. Many such tables came from See also:Chippendale's workshops, but although that See also:great See also:genius beautified the type he found, he had no See also:influence upon the See also:evolution of the sideboard. That evolution was brought about by the growth of domestic needs. See also:Save upon its See also:surface, the sideboard-table offered no See also:accommodation; it usually lacked even a drawer. Even, however, in the period of Chippendale's See also:zenith See also:separate " See also:bottle cisterns " and " lavatories " for the convenience of the See also:- BUTLER
- BUTLER (or BOTELER), SAMUEL (1612–168o)
- BUTLER (through the O. Fr. bouteillier, from the Late Lat. buticularius, buticula, a bottle)
- BUTLER, ALBAN (1710-1773)
- BUTLER, BENJAMIN FRANKLIN (1818-1893)
- BUTLER, CHARLES (1750–1832)
- BUTLER, GEORGE (1774-1853)
- BUTLER, JOSEPH (1692-1752)
- BUTLER, NICHOLAS MURRAY (1862– )
- BUTLER, SAMUEL (1774-1839)
- BUTLER, SAMUEL (1835-1902)
- BUTLER, SIR WILLIAM FRANCIS (1838– )
- BUTLER, WILLIAM ARCHER (1814-1848)
butler in washing the See also:silver as the meals proceeded were, sparsely no doubt, in use. By degrees it became customary to See also:place a See also:pedestal, which was really a cellarette or a See also:plate-warmer, at each end of the sideboard-table. One of them would contain See also:ice and accommodation for bottles, the other would be a cistern. Sometimes a single pedestal would be surmounted by a wooden 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 lined with See also:- METAL
- METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)
metal and filled with See also:water, and fitted with a tap. To whom is due the brilliant See also:inspiration of attaching the
pedestals to the table and creating a single piece of furniture out of three components there is nothing to show with certainty. It is most probable that the See also:credit is due to See also:Shearer, who unquestionably did much for the improvement of the sideboard; See also:Hepplewhite and the See also:brothers See also:Adam distinguished themselves in the same field. The pedestals, when incorporated as an integral See also:part of the piece, became cupboards and the vases See also:knife-boxes, and, with the drawers, which had been occasionally used much earlier, the sideboard, in what appears to be its final See also:form, was completed. Pieces exist in which the ends have been cut away to receive the pedestals. If Shearer and Hepplewhite laid its See also:foundations, it was brought to its full fioraison by See also:Sheraton. By the use of See also:fine See also:exotic See also:woods, the deft employment of satin wood and other inlays, and by the addition of gracefully ornamented See also:brass-See also:work at the back; sometimes surmounted by candles to See also:light up the silver, Sheraton produced effects of great elegance. But for sheer See also:artistic excellence in the components of what presently became the sideboard, 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 stand unrivalled, some of their inlay and brass mounts being almost equal to the first work of the great See also:French school. By replacing the straight outline with a bombe front, Hepplewhite added still further to the 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 of the See also:late 18th-century sideboard. No See also:art remains long at its apogee, and in less than a See also:quarter of a century the sideboard lost its grace, and, influenced by the heavy feeling of the See also:Empire manner, See also:grew massive and dull. Since the end of the 18th century there has indeed been no advance, artistically speaking, in this piece of furniture.
End of Article: SIDEBOARD
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