sinuous curves. The chair, which in the old days any number of cushions could hardly render comfortable, so rigid and severe was it, began to be shaped so that, in some measure, it would accord with the lines of the body, and not only became really graceful but was also transformed into a delightfully comfortable asylum for the tired frame which needed repose. And every other article for the furnishing and adornment of the home was conceived and carried out with a close regard for the same considerations. Proportions and "quantities" were lightened in every way, and a spirit of elegance came upon the scene, which was entirely novel to our insular and old, familiar traditions.

We shall presently see in what forms this spirit found expression in British workmanship; but, before doing so, it will be well for us first to glance at one or two really Dutch models of the description from which our inspiration came. It may be taken that the "Queen-Anne " types which we shall consider are such as were in more or less general use here from the commencement of the eighteenth century until about 1760; indeed, until the influence of Chippendale and his contemporary workers really and seriously commenced to make itself felt. The examples chosen for illustration were all produced during that period. Fig. 4, Plate VII., is a Dutch cupboard; Figs. 2 and 7 tables of the same character and period; and Figs, r, 3, 5, and 6 are typical chairs. With these before us, our study of their English descendants will be rendered all the more interesting.

It will serve our purpose very well to master first the line of the " Queen-Anne " chair, sofa, and seat generally, before proceeding to the consideration of other articles; and these alone call for somewhat lengthy comment. Prior to going into greater detail we will deal with general constructional form ; and though the chair to which I shall now invite attention is, to a great extent, a hybrid production, and really cannot be described as pure "Queen-Anne," it reveals

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