When they are fitted up for beds, it will add to the effect if the bed be placed on a double plinth, in the form of two steps, laid with a carpet to suit the rest, and the effect will still be heightened, if a drapery be fixed, parting from the centre of the entrance and flowing down each side of the inner columns.

"There is a curtain under the drapery which slides on a rod, and may be brought forward to cover the whole bed. The other tied up may be considered as a fixed drapery, but may be taken down occasionally. The tester and cornice need not project more than twenty inches, and the length of the bed, including the volutes, about eight feet."

"Duchess, a kind of bed composed of three parts, or a chair at each end and stool between them. They are only intended for a single lady, and are therefore not more than about 30 inches wide. The chair ends, when apart, have the appearance of large arm or fau-teuil chairs, and the middle part may be used as a stool." The tester is made to fold. The arms of the chair part are dolphins, and an acanthus spray ending in a scroll ornaments the back. The duchess is covered with a striped material, a square or round cushion is at each end, and the drapery is composed of two curtains falling from a kind of dome (ornamented by a pineapple or pomme), while a scarf is slipped through rings and forms a swag in front of the dome and two festoons at each side." An illustration of Sheraton's duchess is given on Plate LIX., No. 2.

Of camp or field-bedsteads there is a great variety. They all have folding tester laths, either hexagonal or elliptical shaped, and hinged so as to fold close together. In size they run about 6 feet long and 3 feet, 6 or 9 inches in width, and between 5 feet 6 inches to 6 feet high to the crown of the tester. " Suitable for low rooms for servants or children, they receive their name on account of their being similar in size and shape to those really used in camps."

"A sofa-bed," which is really the lit anglaise that was so fashionable in France, appears on Plate LXIII., No. 1. Both of its ends are alike, and, of course, it is supplied with two bolsters. Sheraton's general directions regarding the "sofa-bed" are as follows:

"The frames of these beds are sometimes painted in ornaments to suit the furniture. But when the furniture is of very rich silk, they are done in white and gold, and the ornaments carved. The tablets may each have a festoon of flowers or foliage, and the cornice cut out in leaves and gilt has a good effect. The drapery under the cornice is of the French kind; it is fringed all round, and laps on to each other like unto waves. The valance serves as a ground, and is also fringed. The roses which tuck up the curtains are formed by silk cord, etc., on the wall, to suit the hangings; and observe that the centre rose contains a brass hook and socket, which will unhook so that the curtains will come forward and entirely enclose the whole bed. The sofa part is sometimes made without any back, in the manner of a couch. It must also be observed that the best kind of these beds have what the upholsterers call a fluting, which is done by a slight frame of wood, fastened to the wall, on which is strained in straight puckers, some of the same stuff of which the curtains are made."

On Plate LXIII. No. 2 appears what Sheraton calls a "Grecian squab." The frame is of white and gold or mahogany. The end not visible in the sketch turns up with a scroll. The back extends no further than shown. It is a kind of chaise longue, which Sheraton calls " a long chair, couch or squab." The "chaise longue," according to him, "has a stuffed back and arm on each side with a bolster and its use pretty much the same as the Grecian squabs or couches." In another place he says " their use is to rest or loll upon after dinner."

A novelty is the "Turkey sofa," which has been "introduced into the most fashionable homes." They are "an imitation of the Turkish mode of sitting," and are, therefore, "made very low, scarcely exceeding a foot to the upper side of the cushion. The frame may be made of beech and must be webbed and strained with canvas to support the cushions."

Sheraton seems to have taken a particular pleasure in all the convenient articles for the use of ladies, and these comprehend everything from dressing and work tables to tiny comb and pin trays. The work-table was generally a writing-desk as well, with compartments of all kinds arranged with the greatest economy of space. No. 2 on Plate LX. is a good specimen of a work-table dated 1793. The legs are lyre-shaped and the top rises for writing. When let down it locks into the frame and secures the bag where the work is kept. The work-bag is hidden by a drapery that is tacked to a rabbet at the under edge of the frame all around." The legs are lyre-shaped. No. 4 on the same Plate is a "Pouch-table" dated 1803. The work-bag is attached to a frame which pulls forward. In this bag ladies "deposit their fancy needlework." "When required to be elegant," Sheraton remarks, "black rosewood is used; otherwise they may be made very neat of mahogany." The example on Plate LX. has a brass rail around each end. Sometimes the top is finished as a chess-board. The "French work-table " was generally made of satin-wood with a brass moulding round the edge of the rim.

The tambour shutter is often introduced into the work-table.

The Ladys' Cabinet dressing-table on Plate L1X. is composed of an ordinary commode, upon the top of which is a case or nest of drawers "when the washing drawers is in, a slider which is above it may be drawn out to write on occasionally. The ink and stand are in the right-hand drawer under the centre dressing-glass. Behind the drapery, which is tacked to a rabbet and fringed or gimped to cover the nails, is a shelf on which may stand any vessel to receive the dirty water. Above the drapery are tambour cupboards, one at each end, and one in the centre under the drawer. Above the tambour at each end are real drawers, which are fitted up to hold every article necessary in dressing. The drawers in the cabinet part are intended to hold all the ornaments of dress, as rings, drops, etc. Behind the centre glass is drapery; it may be real to suit that below, or it may only be painted in imitation of it. This swings to any position, on centre pins fixed on the shelf above the candle branches. The side glasses fold in behind the doors, and the doors themselves, when shut, appear solid, with ovals in the panels and ornamented to suit the other parts."