Like Chippendale, they claimed more originality than they were entitled to when they wrote in their preface:

"We have not trod in the path of others, nor derived aid from their labours. In the books which we have had the honour to execute we have not only met with the approbation of our employers, but even with the imitation of other artists, to such a degree, as in some measure to have brought about in this country, a kind of revolution in the whole system of this useful and elegant art. These circumstances induced us to hope that to collect and engrave our works would afford both entertainment and instruction."

* Cosmo Monkhouse.

They paid much attention to colour, and remark:

"We have thought it proper to colour with the tints used in the execution, a few copies of each number, not only that posterity might be enabled to judge with more accuracy concerning the taste of the present age, and that foreign connoisseurs might have it in their power to indulge their curiosity with respect to our national style of ornament; but that the public in general might have an opportunity of cultivating the beautiful art of decoration hitherto so little understood in most of the countries of Europe."

The Adams tell us they intended to prefix to their book a dissertation regarding the rise and progress of architecture in Great Britain, "to have pointed out the various stages of its improvements from the time that our ancestors relinquishing the Gothic style, began to aim at an imitation of the Grecian manner, until it attained that degree of perfection at which it has now arrived."

Thus the Gothic had no more admiration from the Adams than it had when Evelyn denounced it.

It is interesting to let them exhibit their own taste and rating of British architects.

"Michael Angelo, Raphael, and other Italian architects of the Renaissance boldly aimed at restoring the antique. But in their time the rage for painting became so prevalent, that instead of following these great examples, they covered every ceiling with large fresco compositions, which, though extremely fine and well painted, were very much misplaced, and must necessarily, from the attitude in which they are beheld, tire the patience of every spectator. Great compositions should be placed so as to be viewed with ease. Grotesque ornaments and figures in any situation are perceived with the glance of an eye, and require little examination. Inigo Jones introduced them into England with as much weight, but with little fancy and embellishment. Van-burgh, Campbell, and Gibbs, followed too implicitly the authority of this great name. Kent's genius for the picturesque, and the vast reputation he deservedly acquired, made him in some measure withstand this prevalent abuse; he has much merit in being the first who began to lighten the compartments and to introduce grotesque paintings with his ornament in stucco; his works, however, are evidently those of a beginner.

Mr. Stuart, with his usual elegance and taste, has contributed greatly towards introducing the true style of the antique decoration; and it seems to have been reserved for the present times to see compartment ceilings, and those of every kind, carried to a degree of perfection in Great Britain that far surpasses any of the former attempts of other modern nations.

"Inigo Jones, who had long studied in Italy, rescued this art (architecture) in a considerable degree from the Gothicism of former times, and began to introduce into his country a love of that elegance and refinement which characterize the productions of Greece and Rome.

"Instructed and encouraged by his example, Sir Christopher Wren became more chaste; and having the felicity to be employed in executing the most magnificent work of English architecture, he was enabled to display greater extent of genius.

"Vanburgh understood better than either the art of living among the great. A commodious arrangement of apartments was therefore his peculiar merit. But his lively imagination scorned the restraint of any rule in composition; and his passion for what was fancifully magnificent, prevented him from discerning what was truly simple, elegant, and sublime.

"Campbell, Gibbs, and Kent have each their peculiar share of merit."

From their own testimony we can, therefore, not agree with them, when they write elsewhere:

"Inferior to our ancestors in science, we surpass them in taste." However, they insist that at the time they write, "greater variety of form, greater beauty in design, greater gaiety, and elegance of ornament are introduced into interior decoration."

They were greatly in demand, as we have seen, and not only altered the interiors and exteriors of many English mansions, but designed the decorations. Chimney-pieces, ceilings, walls, niches, the handles of doors, locks, key-plates, cornices, draperies, furniture, gold and silver ware, and even damask for the table. Nothing seemed too great, nor too slight for their hands. The attitude they had towards their work may be appreciated by the following words:

"If we have any claim to approbation, we found it on this alone. That we flatter ourselves we have been able to seize, with some degree of success, the beautiful spirit of antiquity, and to transfuse it, with novelty and variety, through all our numerous works."

The pictures on Plates L., LI., and LII. are taken from the book by the Adams. No. 1, on Plate L., is the curtain cornice of the Earl of Derby's Etruscan Room; No. 2 on the same plate is another cornice with drapery, which, with the mirror below it, were made for Sion House. No. 4 is the leg of a table and No. 5 is the upper part of the frame of a pier-glass. The lower drawing is a sideboard table, under which, in the original drawing, a wine-cooler stands. No. 3 is a table, also from Sion House.

The sofa appearing on Plate LI. is of mahogany, the woodwork fluted and mounted with brass reliefs. The legs are characteristic of Adam. The cover is woolen work on canvas.