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Figure 1 Bishop Roberts, Charleston,
South Carolina, 1735–1739. Watercolor on paper. 15" x 43 3/8" (Courtesy, Colonial Williamsburg Foundation.)
Figure 2 Drayton Hall, Colleton County, South Carolina, 1738–1742. (Courtesy, Drayton Hall, National Trust for Historic Preservation; photo, Ron Blount.)
Figure 3 View of the chimneypiece in the great hall in Drayton Hall. (Courtesy, Drayton Hall, National Trust for Historic Preservation; photo,
Wade Lawrence.)
Figure 4 Tea table, Charleston, South Carolina, 1740–1750. Mahogany with cypress. H. 28 1/2", W. 29 1/4", D. 19 1/2". (Private collection; photo, Museum of Early Southern Decorative Arts.) The applied edge molding of the top is missing.
Figure 5 Sideboard table, Charleston, South Carolina, 1740–1750. Mahogany with cypress. H. 30 1/4", W. 40", D. 22 3/4". (Collection of the Museum of Early Southern Decorative Arts.)
Figure 6 Detail of the knee carving on the tea table illustrated in fig. 4.
Figure 7 Detail of the knee
carving on the sideboard table illustrated in fig. 5.
Figure 8 Side chair, Charleston, South Carolina, 1740–1760. Mahogany with yellow pine
and cypress. H. 38 3/4", W. 22 5/16", D. 18 1/4".
(Collection of the Museum of Early Southern Decorative Arts.)
Figure 9 Detail of the carving on the crest rail of the side chair illustrated in fig. 8.
Figure 10 St. Michael’s Church, 80 Meeting Street, Charleston, South Carolina, 1752–1762. (Photo, Gavin Ashworth.)
Figure 11 View of the interior of St. Michael’s Church. (Photo, Gavin Ashworth.)
Figure 12 Detail of the Ionic capital of a column supporting the gallery in St. Michael’s Church. (Photo, Gavin Ashworth.)
Figure 13 Pulpit in St. Michael’s Church. (Photo, Gavin Ashworth.)
Figure 14 Detail of a bracket on the stair
leading to the gallery in St. Michael’s Church. (Photo, Gavin Ashworth.)
Figure 15 Detail of a stair bracket on the pulpit in St. Michael’s Church. (Photo, Gavin Ashworth.)
Figure 16 Detail of the Corinthian capital of a column supporting the hood of the pulpit in St. Michael’s Church. (Photo, Gavin Ashworth.)
Figure 17 Detail of the carving on one of the supports for the pulpit in St. Michael’s Church. (Photo, Gavin Ashworth.)
Figure 18 Benjamin Savage House, 59 Meeting Street, Charleston, South Carolina, 1747–1750. (Photo, Gavin Ashworth.) This residence is commonly referred to as the Branford-Horry House. The piazzas were added by William Branford’s son Elias, probably during the second quarter of the nineteenth century.
Figure 19 View of the chimneypiece in the principal room on the second floor of the Benjamin Savage House. (Photo, Gavin Ashworth.)
Figure 20 Detail of the tablet appliqué on the chimneypiece illustrated in fig. 19. (Photo, Gavin Ashworth.)
Figure 21 Detail of the pulvinated frieze of the chimneypiece illustrated in fig. 19. (Photo, Gavin Ashworth.)
Figure 22 Detail of one of the floral appliqués of the architrave of the chimneypiece illustrated in fig. 19. (Photo, Gavin Ashworth.)
Figure 23 Detail of the keystone in the principal room on the second floor of the Benjamin Savage House. (Photo, Gavin Ashworth.)
Figure 24 Detail of the keystone in the second floor hall of the Benjamin Savage House. (Photo, Gavin Ashworth.)
Figure 25 Detail of one of the metopie flowers in the first floor hall of the Benjamin Savage House. (Photo, Gavin Ashworth.)
Figure 26 John Cooper House, 94 Church Street, Charleston, South Carolina, 1745–1755. (Photo, Gavin Ashworth.) This residence is commonly referred to as the Thomas Bee House. The architectural carving on the stair was added a few years after the house was built.
Figure 27 Staircase in the John Cooper House. (Photo, Gavin Ashworth.)
Figure 28 Detail of a stair bracket in the John Cooper House. (Photo, Gavin Ashworth.)
Figure 29 Detail of one of the metopie flowers on the stair frieze in the John Cooper House. (Photo, Gavin Ashworth.)
Figure 30 Detail of a keystone over a window
in the John Cooper House. (Photo, Gavin Ashworth.)
Figure 31 Detail of a lion head intended for use on the end of an anchor beam. (Courtesy, Old Sturbridge Village). This ornament was never attached.
Figure 32 Bureau and cabinet with carving attributed to Henry Burnett, Charleston, South Carolina, 1750–1755. Mahogany and mahogany veneer with cypress and mahogany. H. 93 1/4", W. 35 1/8", D. 20 1/2". (Collection of the Museum of Early Southern Decorative Arts.)
Figure 33 Design for a door on plate 26 in William Salmon’s Palladio Londinensis (1732). (Courtesy, Winterthur Museum Library.)
Figure 34 Overall view of the bureau and cabinet illustrated in figure 32, showing the interior of the upper section. The drawers in the cabinet are faced with mahogany veneer and have cross-banded edges that appear to be rosewood.
Figure 35 Detail of the pineapple ornament on the pediment of the bureau and cabinet illustrated in fig. 32.
Figure 36 Detail of the left rosette of the bureau and cabinet illustrated in fig. 32.
Figure 37 Detail of the small rosette on the capital of the left, exterior pilaster of the bureau and cabinet illustrated in fig. 32.
Figure 38 Desk-and-bookcase, Charleston, South Carolina, 1750–1755. Mahogany with cypress and mahogany. H. 97 3/4", W. 44 1/2", D. 24 1/4". (Collection of the Museum of Early Southern Decorative Arts.)
Figure 39 Detail of the small rosette on the capital of the left, exterior pilaster of the desk-and-bookcase illustrated in fig. 38.
Figure 40 Detail of the shell ornament on the pediment of the desk-and-bookcase illustrated in fig. 38.
Figure 41 Dressing chest and cabinet, Charleston, South Carolina, 1755–1760. Mahogany and mahogany veneer with cypress and mahogany. H. 87 1/2", W. 46 1/2", D. 22 1/2". (Private collection; photo, Museum of Early Southern Decorative Arts.)
Figure 42 Detail of the right rosette of the dressing chest and cabinet illustrated in figure 41.
Figure 43 Sideboard table, Charleston, South Carolina, 1750–1760. Mahogany with cypress. H. 27 3/4", W. 31 1/4", D. 25 1/2". (Private collection; photo, Museum of Early Southern Decorative Arts.) This table has been reduced in width approximately sixteen inches.
Figure 44 Detail of the knee carving on the sideboard table illustrated in fig. 43.
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