Adam Period, 1754-1812

The Adam Brothers who lived in the eighteenth century, were, at first, architects and builders. They were inspired in making furniture by their admiration for Roman and pompeiian styles, but they preserved only the delicacy of these effects, intentionally omitting what was rich.

The Adam style is much like that of the Louis XVI period. Chair legs were almost entirely straight, as they neglected the bandy shape. Satinwood, adorned with exquisite paintings, was largely used, and cane was commonly brought into service for the seats and backs of sofas The Adam is a classic style. light and elegant of fashion, with characteristics of delicate fluting, turned legs and dainty garlands, and is fast becoming popular with the present-day reproducers.

Sheraton Period, 1754-1812

Thomas Sheraton was a designer of rare ability, and a great rival of Hepple-white. He had a shop in Soho, London. His work resembles both that of Chippendale and Hepplewhite. The one motif of his life work was Louis XVI, which he rendered with charming individuality. One of the chief distinctions of Sheraton is in the assembling together of carving, and the inlay of delicate woods, such as satinwood. tulipwood, sycamore and rosewood, which were his favorites. His legs were erally round and fluted, reeded or otherwise embellished, although he also used a tapering square, His-chair hacks were original, being frequently characterized by three straight ornamented bars surrounded by the frame. He made sofas long and simple, having but little curve, and his tables, of extreme daintiness, had tapering legs. Sheraton made many writing desks and was originator of the highly esteemed "kidney" shape. An absence of projecting ornaments is an essential feature of the Sheraton style. The most of his lines were straight, and he never used short, sharp curves, but whenever he employed curved lines, they were invariably long sweeps.

He was enticed by the popular demand into an attempt at the Empire style. His production in this vogue, however, remains to attest its utter failure.

Louis XIV Period, 1643-1715

This period has never been surpassed for supreme luxury and studied magnificence. It was during this time that the celebrated palace of Versailles was built, with its waterworks, statues, groves, galleries, pictures and extravagant furnishings. This cost the King a fortune, as the furniture alone, not including either pictures or tapestries, amounted to 13,000,000 livres ($2,535,000).

No period of decorative art has ever approached the magnificence and richness of the Louis XIV period. Not only the wealthy, but the middle class, indulged in the sumptuous furnishings and rich interiors. Early in the reign of Louis XIV, in the seventeenth century, there was founded a royal academy of artists and workers, domiciled in the Louvre, at Paris, where they were maintained at national expense. Boulle (or Buhl) was one who was selected for an academician, and he gathered together a devoted band of followers, including his own sons. Under his direction the Louis XIV style was formulated. Furniture was fashioned in a combination of curved and straight lines. The sides of large pieces were swelled outward, legs were curved, chairs were of ample size and comfort and gilding was freely used to add to the richness of the massive carving. Elaborate inlays were characteristic, executed in metal or tortoise shell in floral patterns, with mounts of gilded brass and ormolu. Tables had running border patterns, the egg-and-dart, the acan-thus and the laurel being units most frequently em-ployed. It is for the establishment of the famous factories for the manufacture of elegant tapestries that this reign is chiefly known. In 1677 Colbert, the Minister of Finance, persuaded Louis XIV to buy the factory owned by a family named Gobelins, with the celebrated painter Le Brun at its head. The Aubus-son factories were also established, and the products of Gobelins and Aubusson have ever since been famous for their beauty and artistic merit.

Old colors predominated, hut the yellowish pink hue of dawn, called Aurora, Flame color, Flesh color and Amaranth, a purplish red, such as occurs in common flowers, were seen in sumptuous brocades and damasks, manufactured in Lyons, Genoa and Flanders, and were used to line the walls, for covering the seats and draping the great be.