Antique Mahogany Sofa Table, Walnut Centre Table, Rosewood Card and Games Table - 18th-19th Antique Furniture

A ROSEWOOD LIBRARY TABLE, early 19th century and later.
With a tooled leather-lined top and two frieze drawers with dummy drawers to the reverse, on fluted column standard end supports and splayed and needed feet.
A PAIR OF WALNUT AND FEATHER-BANDED CENTRE TABLES, late 19th century
Each with a crossbanded oyster-veneered panel top inlaid with lines with lobed and roundel decoration, on cabriole legs terminating in pad feet.
A GILTWOOD SIDE TABLE, late 19th/early 20th century
With an associated green marble top, with a foliate frieze and pierced apron centred by an acanthus bound cartouche and hung with scrolls with oak and acorn swags, on acanthus headed cabriole legs terminating in
paw feet.
A GEORGE III AND SATINWOOD-BANDED CARD TABLE
With canted angles and baize-lined hinged top, on square tapering legs with spade feet.
A GEORGE III MAHOGANY, SATINWOOD BANDED AND MARQUETRY CARD TABLE
With canted angles, the top centred by a fan medallion within a flower and ribbon-tied husk decorated border, with a simulated fluted frieze, on husk decorated square tapered gaitered legs with brass caps and castors, the marquetry of a later date.
A VICTORIAN ROSEWOOD GAMES TABLE
With a sliding central panel with a chequerboard to the reverse enclosing a backgammon board, fitted with two frieze drawers, on tapered standard end supports joined by a ring-turned stretcher and terminating in
turned feet.
A WILLIAM IV ROSEWOOD READING TABLE
By Gillow, the adjustable top with two hinged racketed slopes, a pen compartment and a frieze drawer, on a tapered octagonal and baluster column, with a trefoil platform and castors, stamped twice Gillows.
A ROSEWOOD SOFA TABLE, early 19th century
With a rectangular hinged top and two frieze drawers, on standard and dual splayed end supports terminating in brass caps and castors.
A GEORGE III MAHOGANY SOFA TABLE
Inlaid with lines, the rectangular hinged top with D-shaped ends fitted with a frieze drawer and dummy drawer to each side, on standard and dual splayed end supports joined by a ring-turned stretcher terminating in brass caps and castors.
AN EDWARDIAN NEST OF THREE BLACK-LACQUER AND PARCEL-GILT OCCASIONAL TABLES
Each top decorated with birds, amongst bullrushes and trees, on dual ring-turned and splayed end supports joined by stretchers.
A REGENCY MAHOGANY BREAKFAST TABLE
Inlaid with ebony lines, the rectangular hinged top with canted angles with stellar motifs, fitted with a drawer to either end, one with a pen compartment, on two tapered supports, platform and stepped splayed
quadruped supports terminating in brass paw caps and castors.
A GEORGE III MAHOGANY SOFA TABLE
Inlaid with lines, with a rosewood and satinwood-banded hinged top and two frieze drawers, on standard and dual splayed end supports terminating in brass caps and castors A REGENCY MAHOGANY CENTRE TABLE
Fitted with two frieze drawers with dummy drawers to the reverse, on standard and reeded splayed supports, joined by a stretcher and terminating in brass caps and castors.
A GEORGE III MAHOGANY SOFA TABLE
With a rosewood-banded hinged top and two frieze drawers to either side on standard and dual splayed end supports terminating in brass caps and castors.
A VICTORIAN ROSEWOOD OCTAGONAL WORK TABLE
The hinged top enclosing a fitted interior and covered well, on four inswept and a central column extending to floral-carved splayed tripod supports terminating in scroll feet with castors.
A GEORGE III MAHOGANY OCCASIONAL TABLE
With a circular hinged top and extending baluster column with splayed tripod supports terminating in pad feet.
A MAHOGANY ENCLOSED GAMES TABLE
With a baize lined hinged top and two frieze drawers, on ring-turned tapered legs terminating in brass caps and castors 51in.
A REGENCY MAHOGANY OCCASIONAL TABLE
With a rectangular hinged top on a turned tapered and lotus-carved column and splayed tripod supports with brass caps and castors.
A REGENCY MAHOGANY READING AND WORK TABLE
The hinged racheted top with a stay, fitted with two drawers to one side on ring-turned tapered legs with brass caps and castors.
A GEORGE III MAHOGANY OCCASIONAL TABLE
The hinged top with a reeded edge and canted angles, on a ring-turned tapered column with splayed tripod supports terminating in brass caps and castors.
A REGENCY ROSEWOOD WORK TABLE
Inlaid with lines, with a satinwood-banded top and frieze drawer, on a ring-turned column and splayed quadruped supports terminating in brass paw caps and castors.
A SATINWOOD BREAKFAST TABLE
With a rectangular hinged top on a square section column and quatrefoil platform with bun feet and castors

A PAIR OF WILLIAM IV ROSEWOOD CARD TABLES.

Each with a circular baize-lined hinged top and turned tapered column, on a quatrefoil platform with paw feet and castors.The dished top (possibly associated) with re-entrant angles, on angled and turned cabriole legs terminating in faceted pad feet, restorations 32in.
A MAHOGANY TRIPOD TABLE
The circular top with a galleried edge, on an inverted baluster column and splayed supports terminating in pointed pad feet.
A GEORGE III MAHOGANY CENTRE TABLE
Fitted with a drawer to one end, on square chamfered legs 24V4in.

TABLES  side, lowboys (mainly cabriole leg)
Largely ignored in standard textbooks concerned with the development of furniture design is a delightful little group of tables which ranges from finely made town examples down (or should it be up) to enchanting small country fruitwood or yew pieces; these are eagerly sought after but are often impossible to prize from the hands of dealers in country furniture. We have reserved the term lowboys for three or four drawered side
tables often intended as dressing tables or for occasional use. As mentioned earlier, the dividing line between these and single drawer tables is often difficult to decipher. So we have produced this arbitrary distinction for the sake of convenience. On the question of fakes and improvements in general, little is done to these pieces. Some are veneered up which usually means walnut veneered top with oak legs or some other nonsense. However, when checking the underside note age on the bottom of the fretted front. It is not unknown for a large deep walnut veneered drawer front from an old bottom half of a tallboy to do service as a new front.
Rather more flashily veneered in high quality figured walnut. The cabriole legs are scrolled at the top and end in pointed feet. The form of drawers shows a variant, with a single long top drawer and two smaller ones
set beneath. The drawer edges are cock-beaded and there is an inlaid herring-bone line rather than crossbanding. The top is also quartered. c.1730
A solid walnut example with inlaid boxwood and ebony stringing lines. Note how a slight lip extends from one foot up the inside leg along the bottom of the carcase and down to the other foot as if emphasising the clean outline of the design. The cabriole legs are with shells and the feet show very interesting carved ‘folds’.
An attractive solid walnut example with good cabrioles all round, ovolo moulded drawer fronts and double half-round corners to the top (babies’ bottoms).
The bold brass handles are period if not original. As this a very good colour it is a desirable piece.
An example of the glorious individuality that British country furniture can provide and certainly one of the very few pieces of humorous furniture which exist. How else can one describe these legs but as `cobra cabrioles’ Apart from these extraordinary aberrations the piece has not too much in its favour. The arrangement of drawers makes it almost a writing table. c. 1730
A little cherrywood example. Note the same simple quarter-round moulding but ordinary corners. The drawer arrangement is unexciting and the cabrioles only just curve, nevertheless a pleasant country piece with glorious colour. Note the typical early decoration on the middle of the bottom rail. c.1740
The same top with half-round corners and tight quarter-round moulding of the period. This example is in oak and the cabrioles provide a problem; some collectors will find them attractive, others including this writer, will feel that they are poor-looking as though they have supported one of those large Chinese urns which weigh several hundredweights. Hence the wide price range.

TABLES  sofa, pillar supports
The final group of sofa tables is the one in which there is a central pedestal. These pieces are therefore linked with pedestal dining tables, for the same type of base was often used.
In mahogany and remarkably similar to a design in zebrawood which can be dated exactly to 1810. The pillars are well turned and the decoration of split beading lines (fine around the drawers, slightly greater round the platform) is restrained. White stringing line is also used. The table edge is reeded and there is a thin line of crossbanding on the top. c.1810
Another example with four pillar turning in which the knee has moved towards the peculiarly high Regency form. The piece is in rosewood and the pillars are well turned. A small amount of split beaded decoration and metal mounts on the leg. More cramped and not quite the quality of the first example. c. 1815
An example which illustrates the desire for show at not too much extra cost, and a type that became an obsession later on. Simply cut on a band-saw these solid mahogany supports are reeded to match the feet. The top, too, has the customary reeding around the edge and is cross-banded in the same wood. Not as good as it looks at first sight. c. 1830
Down to two pillars. The same ringed decoration marks the place where the top of the legs don’t pierce the platform. The turning on the pillars is getting somewhat aimless  a series of rings and the odd bulge, not like the careful baluster form of the first two examples. c. 1830
Equivalent to the previous example with a straight-sided pillar. Again plenty of brass inlay and some ebony in the leg which turns with the characteristic sharpness of the period.
As can be seen, it has high decorative quality, but the drawback is its being mahogany.
When restored
A very simple example where the decoration is confined to a modest black stringing line on the side of the legs and a broader band on the top of the legs and the table itself. The two unimaginative rectangular pieces supporting the top affect the value. c. 1825
A bit of light relief. The vast base, heavily gadrooned, is supported by an equally substantial humanised version of the ball-and-. One would expect the top to be about 8ft. long, but in fact it is a normal sized sofa table, again gadrooned in calamander wood. The misalliance is condoned by two very elegant and beautifully reeded vase-shaped pillars with rims. It was sold at auction by a very knowledgeable specialist firm, so it must be right. Early 19th century
A robust turned and heavily carved centre pillar rosewood table. Plenty of brass inlay and a Regency knee with good stylised design. The edges of the table have a very refined beading. Rich effect without undue ostentation.

TABLES  reading, writing and artists
Architects’ tables were large and solid; others were of lighter construction and designed to fit in with furnishings in the fine reception rooms. The best are to be counted among the most elegant furniture. Even the inelegant are loved  collectors love pieces that do things.
A much more simple reading table with adjustment by a series of notches, but none the less an elegant piece in the same rococo style as the first example. It has a good deep patination and one should not underestimate the desirability of metal fittings even when as simple as the band round the top of an elegant dark tripod. The band is, of course, part of the vertical adjustment fittings. c. 1760
A superb Chippendale example of a mahogany reading table with elegant curved supports and well carved tripod legs. The small repetitive decorative design sets off the bottom edge of the table. It is almost identical to, if not the pair of, one in the Victoria and Albert Museum and as provenance or comparability are important, especially in high quality pieces, the price is substantial. c. 1760
The well-shaped feet and solid gun barrel turning suggest the date. Two slides either side provide space for glasses, spectacles, etc. The adjustable top, controlled from beneath for height, folds down to make a rectangular leather topped tripod table. c. 1770
Again, elegance is the keynote of this superb piece which has two facing adjustable stands and folds down into a tripod table. The square box-like projection has two drawers, inlaid at the edges, which held rosin and hence the piece must have been a double music stand. The candlesticks are adjustable at three points. It is made in satinwood and cross-banded in a darker wood and again in rosewood at the edges. It has a lovely mellow colour and original patination. c. 1790
A good design for a table which can be made into a reading table. The front drawer is, of course, false, as are the ones on the opposite sides, hence the piece qualifies for a centre table. The flexibility enhances the value. The fact that it is in partridge wood adds considerably to the interest, since, although the little piece is solid and heavy, it has specks of brown and dark red which, being mellowed, will give it a good tone.
A well-made artist’s table (perhaps strictly not quite big or solid enough for an architect’s) with drawer under. The top comes down to make a not inelegant quatrepod. The ivory keyholes and reeded top to the legs suggest the date.
A mahogany adjustable reading table with feet and turned stretchers that seem to be anticipating a stack of folio ledgers or the weight of a collapsed bibliophile. Note the two fine tulip-shaped candleholders with elegant curved supports. c. 1820
A good, honest, Georgian mahogany reading table. It has tapering legs and slide and the usual adjustable top. From the point of view of design the small drawer bolted on the side seems an afterthought and detracts from the line of the piece. c. 1790
Shows a very good early form in oak, with cross-stretcher between the legs and ogee curves under the frieze edged by a small lip moulding. The simple drawers have a double-D moulding on the carcase around them and the legs show turned inverted cup or ‘bell’ forms which is a Dutch influence. The handles are period. Note the thinness of the top and compare with chests of the period and slightly earlier. c.1700
The classical Queen Anne walnut type  in fact of George I period  with veneered surfaces and solid cabriole legs ending in pad feet. The drawers are edged with herring-bone crossbanding and the top is quartered, inlaid with herring-bone and cross-banded. The  handles may well be original. c. 1720

TABLES  nests of
Antique nests of tables are illustrated by Sheraton in his Cabinet Directory of 1803 and have been much reproduced since then. They were described as ‘quartetto’ tables and, while Sheraton envisaged them as useful for needlework, George Smith in his Household Furniture of 1808 saw them in their more modernly accepted role  for refreshments. A rosewood set with the collared embellishment shown by Sheraton in his design. The clawfeet are curved over in ogee form. c. 1810
An unusual table design similar to a set illustrated by Edwards as coming from Leighton Hall, Lancashire, a house owned by Robert Gillow. It has satinwood and walnut veneer on the table tops and a chequer board inlaid on the smallest table. The nicely-turned cabriole legs are ebonised and have three tiers of stretchers. The smallest table also has a scooped tray between the bottom stretchers, perhaps for games pieces. c.1810
A papier mache set with varied top decoration including an inlaid and painted landscape as well as a chequer board.
A ‘quintetto’, with dragons decorating the japanned top surfaces and carved heads on the feet. The uprights are turned and reeded but the stretchers are heavy.

TABLES - occasional gateleg - Willian and Mary fruitwood small side tables - oak occasional table - French country rococo table - Regency carved wood - jacobian gate leg - walnut baroque gateleg table with drawers

First an example of a fruitwood  gateleg table. It has a main turned support at each end, showing baluster and bobbin forms, joined usually by a wide stretcher, which in this case is divided into two square sections for lightness of appearance. There is a wide sledge-shaped foot at each end for stability. The gates which open to support the flaps are flat with a fretted lower stretcher. Late 17th century Willian and Mary period.
Novelty gatelegs might be a better title for these small side tables which sometimes have slightly unusual methods of supporting the flaps, shaping of the legs, or are just good quality. Quite apart from being attractive, these little tables are very useful as they can be folded and put away when not in use. For this reason they command a good price, especially when that glorious white or black colour, which age and polishing (i.e. patination) can confer, is present.
In this oak jacobian occasional table the main columns are flat and fretted. There is a wider foot than in the previous example and again, two flatter stretchers. The flat carved wood gates with drawers are shaped to
echo the end supports.
A charming oak single flap clawfoot table, almost only a stand, in which the same constructional system is used but all uprights are turned with baluster forms. Third quarter 17th century Regency period
A really rare and charming ash ‘coaching’ antique wooden table in which the gates are on a pivot so that the whole top can be folded vertically. It was probably taken in a coach for use on picnic stops. End of 17th
century( c. 1680)
A conventional but charming walnut baroque occasional gateleg table with carefully graded bobbin turning and a small thick rectangular top. c. 1660
Small English Victorian mahogany occasional gateleg with the typical lion foot. The long square sections to the legs height. The small turned stretcher iand a claw feet are exellent in quality.

An antique British little bobbin turned fruitwood example with the additionally attractive feature of bobbin stretchers as well. The drawer with lock is a long one and is supported underneath by a central stretcher which runs the length of  the carcase. Made in Britain in the XVII century.

A simple version of an French country walnut gateleg table in ebony colour and white marble top with claw foot,  though the six claw legs are not as  good. The base is a single piece and it is generally more wormy but it makes an interesting comparison. Made in France in the 18th century and is a good example of antique Louis XVI style that you can easily identify.

TABLES  dining, refectory
Oak tables of the seventeenth century, with their rectangular boarded tops, are now generically referred to by their Victorian title of refectory tables. They evolved from trestle-supported boards, and developed into more sophisticated bulbous-legged tables and draw tables (tables with second leaves under, which pulled out to extend the table) in the sixteenth and seventeenth centuries. These bulbous-legged tables became more refined as the seventeenth century wore on and from about 1650 onwards more types of table became available, starting with the gateleg.
There are two schools of thought about the smaller type one commonly sees today. The first says that they were side tables, hence the decoration on the frieze is seen on one side only. The second suggests that they were on a raised dais with the decoration and the V.I.Ps who dined at the table facing those at lower tables. When one thinks back to the wainscot chair section and the throne concept, the second line of thinking rings true. For practical entertaining purposes tables less than 2ft.6ins. wide should be avoided as they
break up even the smallest dinner party.
Refectory tables sometimes acquire new tops and it is essential to check for signs of age on each, though new end cleats are perfectly acceptable. The bases should be slightly stained or a little rotted, where damp and stone floors have taken their toll. Refectory tables have been widely faked and reproduced.
The original gateleg tables were fairly crude and simple, with column turning of the legs. Later ones developed more elaborate and decorative turning, including the stretchers.
The gateleg form continued to be used with variation, through the eighteenth and nineteenth centuries, incorporating the stylistic features of the oak, walnut, mahogany and other periods. Early oak gateleg tables had the top held on by wooden pegs, but in later tables the top is screwed on from underneath.
The disadvantage of the gateleg is that its legs tend to be in the way of those seated at it and in the Georgian period a popular table was the D-end, connected by essentially one or more drop-flap tables which could be used to lengthen it. This, however, had the same disadvantage as the gateleg table, in that there were still a lot of legs to avoid and so the centre pedestal table, with one or more pedestals, came into being. These pedestal dining tables have remained popular ever since, for they can accommodate varying
numbers of people without legs getting in the way.
Refectory tables are now really rather a rich man’s affair, which is not surprising if you look at this example, which is mid-seventeenth century with elaborately carved bulbous legs and massive construction, needing the right type of room to set it off. It has a good old-looking top. As always there should be plenty of patination  caused by greasy fingers  on the underside stopping sharply where the frame meets the top. Stretchers open to doubt because they should come flush with legs, not be inset as here.
A good 9ft. oak example with six-column cannon (or sometimes gun barrel) turnings to the legs. Carving of lunettes along the frieze. The stretchers look a trifle thin compared with other examples shown. The fewer planks used to make up the top of a refectory table, the better. If in walnut with a good colour, add about 3,000. c. 1640
The vase-shaped turning suggests a date in the very early eighteenth century. Just under Eft long, this is a very pretty little oak table in which you can see the age on the stretchers, a mixture of rot and wear showing an irregular effect, not the smooth simulated wear of the fake. c.1720
Not really a refectory table at all  it is a farm table of a type which has become very popular for country kitchens and dining rooms, but its provenance is clear from the previous illustrations. These tables were made in oak, elm, pine and country woods throughout the eighteenth and into the nineteenth centuries until the turned leg was imposed on them.
When buying, do make sure that your favourite dining chair will allow you to sit at the table as the frieze is sometimes too low. Price will be increased by fruitwood with a good glowing colour, hence the wide price range. Late 18th century

TABLES, card, games and tea, centre pedestal
The centre pedestal applied to side and card tables is a late Georgian or early Regency form.
This table is in rosewood, with elegant curved legs ending in brass paw castors. The top is cross-banded in satinwood and the octagonal centre column has an inlaid boxwood line at the edge of each vertical surface. c. 1800
A similar base platform but the reeded legs are simpler. The column has been replaced by four curving supports with carved floral forms on the ends of the scrolls. This piece is in mahogany with a refined bead mould around the edges of the top and frieze.
A slightly later form in which the top has similar treatment but the centre column has been embellished with a turned base. This stands on a flat platform instead of flowing into the four legs which support the platform, shaped to give a ‘knee’ at the top of each leg.
A table in which can be seen the curving arc support, much valued by the antique trade as a cabinet maker’s sleight-of-hand.
A simpler form with a rather bulbously-turned centre support. Figured mahogany veneer and applied mouldings of the split-turned type. c. 1820
A high quality mahogany type with a four-column support and metal embellishments. An opening (i.e warped) top like this seriously reduces the value.
Classically Regency; the rosewood is profusely inlaid with brass decoration and the centre column terminates in a flat base supported on four scrolled feet carved with leaf decoration.
he top is relatively simple but the spiral column with heavy foliage decoration sits on a heavy circular gadrooned base supported by heavy Thomas Hope-type paws. c. 1830
A simpler variant of the previous example and on the type of rectangular base with hollowed-out sides that one associates with this period.
Straight out of W. Smee and Sons’ 1850 Catalogue and C. and R. Light’s for 1881. It was a popular and long-lasting design. A good example of the Victorian obsession with curves commented on elsewhere. A superb piece of decoration.

TABLES  games and tea, Sheraton
As we have seen, the half-round (or demi-lune’) table, opening to a circular form, has a very early provenance, which continued in the early Georgian period and lent itself to taper- or turned-leg form as fashion progressed. It is commercially important that there is no warping of the top.
The form is more oval, the satinwood inlaid more simply, but the quality is evident. The inlaid stringing lines and the inlaid black line around the edge of the legs all point to quality. c. 1790
A veneered mahogany serpentine-fronted table of fine quality, showing the shaping that
related back to earlier forms and allied with an inlaid Sheraton shell and satinwood crossbanding.
A table of satinwood with kingwood crossbanding but the chamfered corners are not very successful despite the evident quality of the piece. The small square sections near the bottom of the legs are to balance the proportions. c. 1800
One meets this type of simple D-end card table frequently. Any inlay or stringing lines help the price, whereas warping or an awkward angle to the legs send the price down. c. 1810
The maker has tried to introduce more fashionable Regency forms of post-1820, with ’sabre’ legs, paw feet and lion masks, all made in rosewood but although, again, the quality of execution is high, the design is not of universal appeal. Still, it is highly decorative and that commands a good price.
A variant with carefully turned legs. The top is good quality, being in a pale faded mahogany.

TABLES  folding card and tea, square Chippendale
The fashion for taking tea and other refreshments such as chocolate undoubtedly led to more occasional use of folding side tables, some even being made in pairs, one with baize interior covering for games and one with a polished surface for use when entertaining. These latter are often referred to as tea tables although multipurpose use must have been frequent.
As in the last section we see the shape of the leg altered in sympathy with those of chairs. If you have read the chair section, it hardly needs to be pointed out that variations increased considerably during this period as did the decoration on fine examples. Rococo carving was back in fashion again and the solid, even grain of mahogany made it an ideal medium for the carver, who apart from a few acanthus leaves and some restrained husks and flowers, had been largely unemployed since the excesses of the Restoration.
A high quality mahogany Chippendale treatment with clustered column legs in the ‘Gothic taste’, carved edges and figured veneer on the frieze. The square bases to the legs are scooped underneath so that the fitted castors are not too prominent. Although not clearly discernible in this photograph, the edges of the table are decorated with two motifs, a simple four petal flower and a rounded oblong projection (cabochon) which are used alternately. A typical Chippendale style decoration.
This table also exhibits decorative treatment associated with Chippendale: bas-relief carving (or blind-fretting) in the `Chinese’ taste on all surfaces except the figured top. The castors are more prominent and the convex treatment of the frieze is perhaps a bit heavy. But then the table itself is very foursquare and lacks the grace of the earlier designs.
Notice that here too a number of standard devices are repeated to decorate the edge of the table. c. 1760
This is a much more restrained example with blind-fretting to the front edges of all four legs and fretting to the brackets. This piece looks lighter than the previous example because the insides of the legs are chamfered.
Carving appears on the top edges, the delicately gadrooned edge to the frieze, a pattern that last appeared in the early seventeenth century, and a beaded edge to the simple legs  a nice touch, this. Note the lightening effect of chamfering on the square leg. The carving applied to the frieze is light and rococo. In this table the concertina action for moving the back legs to support the open top is clearly visible on a simple straight-leg mahogany table. Normally one associates this mechanism with earlier examples but, clearly, individual cabinet makers continued to please themselves. The top surface is decorated with an inlaid boxwood and ebony stringing line and star.
This is another good mahogany example with just a remnant of the candlestand in the shaping of the corners. The serpentine top is echoed in the shaped frieze. The legs are chamfered and moulded on the front surfaces. c.1770
A serpentine three-flap example of a games-and-tea table. The legs are moulded in typical Chippendale manner. Interestingly, the leg which moves out to support the table when open is slightly out of place. This suggests that the hinge on which the leg moves is probably loose. c. 1760
A Sheraton form of the highest quality, in satinwood with inlaid ‘fan’ decoration on the top and legs, which are of tapering square section with reeded and fluted front surfaces ending in spade feet. There is a crossbanding of kingwood on the top and the frieze. c.1790
Another late eighteenth century table, made in solid mahogany, with a concave moulded edge to the top. The legs are thicker and less finely tapered. c. 1795