GODDARD FAMILY

celebrated New England cabinetmakers, whose furniture was among the finest made in America during the 17th and 18th centuries. Quakers of English ancestry, the Goddards intermarried with the Townsend family, who were equally famous as cabinetmakers. In four generations, 20 Goddard and Townsend craftsmen are known, the peak of their excellent productivity coming in the early and mid-18th century. They founded the Newport (R.I.) school of American furniture and were especially noted for designs in the Queen Anne and Chippendale styles, identified by an original type of shell carving and by an innovative surface treatment of which no exact European prototypes existed. The son of Daniel Goddard, a house carpenter in Massachusetts, John Goddard (1723/ 2485) moved with his family in the 1740s to Newport, where he and his younger brother James worked for Job Townsend. Shortly after they married Townsend's daughters, John established his own workshop, and by the 1760s he had become Newport's leading cabinetmaker, being commissioned by such eminent early Americans as Gov. Stephen Hopkins of Rhode Island and the famous philanthropist Moses Brown. In contrast with the Philadelphia school, which tried to imitate the more flamboyant Chippendale styles, Goddard, like the Townsends, created simple adaptations, unpretentious and sensible and possessing a solid dignity. A superb cabinetmaker following basically the Queen Anne tradition, he has been credited with having originated the blockfront, or tub front (although the Townsends have an equally qualified claim to this style), a distinctive furniture front that is divided vertically through alternating convex (sides) and concave (centre) panels. His blockfront desks, secretaries, and cabinets usually had readily identifiable ogee bracket feet (also called console legs, having curved inner edges and straight corner edges) and were decorated with his rather personal shell ornaments. Instead of using carving, marquetry, or metal mounts, so prevalent in contemporary European furniture, he decorated along the patterns of the wood grains, and many of his best known pieces, as with the Townsends, were of mahogany from the West Indies or South America. Above all, he strove for harmony, conceiving each piece as a unified whole. Among the cabinetmakers who imitated him were those of the Connecticut school. Only two of Goddard's sons, to whom he bequeathed his tools and shop, were cabinetmakers: Stephen (died 1804) and Thomas (17651858); Townsend Goddard (175090), probably his eldest son, was named executor of his will (written 1761). Both Stephen and Thomas had worked with John the elder and carried on his business for many years. Although they produced some works in their father's style, they shifted to the Hepplewhite and Sheraton styles current in England; but as their father had innovated on the idea of Queen Anne, so their treatment of these new styles was also adaptive. Their well-known pinewood card table (c. 17851804), veneered with mahogany and satinwood, reveals a restrained and selective treatment of Hepplewhite. Stephen Goddard's son, John Goddard II (17891843), was also a cabinetmaker. They were all survived by Thomas, who remained virtually a relic of the bygone Colonial era and whom his obituarist in the Newport Mercury honoured as one of the century's most humane and benevolent men.