Returning to productions in which mechanical ingenuity plays only a minor part - if any part at all - we will now deal with another piece of furniture designed to answer the requirements of the literarily inclined, that is to say, the "bureau bookcase," "escritoire," "secretaire," or "secretary" as Sheraton preferred to call it. This designer does not appear, so far as we can judge, to have thought much of the simple, and even then old-fashioned, but nevertheless popular, bureau-bookcase form, which was so great a favourite with Heppelwhite and with Chippendale before him; he did not deign to illustrate a single example of that particular type in his book, though doubtless many were made to his instructions. Possibly he deemed it too commonplace for one whose desire was that all his work should be marked by originality. Be the reason what it may, he confined his attention almost without exception - that is to say, so far as the illustrations in his book went - to much more elaborate creations, such as Figs. 5 and 6, Plate IV.; and Fig. 1, Plate V.

This complete disregard of a particular type which was so eminently useful in itself, and comparatively inexpensive so far as cost of manufacture was concerned, is a curious and interesting point; and one, withal, that should not be lost sight of, if only for the reason that it marks most distinctly another direction in which a line may be drawn between true "Heppelwhite" and "Sheraton."

In addition to his more ambitious "secretarys," for serious work, this designer, as has already been indicated, devoted considerable attention to the provision of smaller, and altogether daintier, articles, designed for the use of ladies wishing to transact their correspondence with some measure of privacy and comfort; and we will now notice one or two of these.

Figure 11, Plate V., is a compact and graceful little writing-table, "made for the convenience of moving from one room to another"; a handle is therefore duly provided on the upper shelf, as shown in the drawing. In the door is a slider to write on, and on the right hand of it ink, sand" (blotting paper was not common then), "and pens."

Figure 1, Plate VI., represents a "lady's secretary," to be made in "black rosewood and tulip cross-banding, together with brass mouldings, which produce a fine effect. The upper shelf is intended to be marble, supported with brass pillars, and a brass ornamental rim round the top. The lower part may be fitted up in drawers on one side, and the other with a shelf to hold a lady's hat." More thought for the wants of the women folk!

The "cylinder desk and bookcase," Fig. 2, Plate VI., is rather more ambitious in character, and is not dedicated to the fair sex, though I think that Sheraton must have had the boudoir or drawing-room in mind when he designed it, for it was to be "made of satinwood, cross banded, and varnished . . . green silk fluting behind the glass . . . drapery put on at the top, . . . the ornament in the diamond part" (in the centre of the doors) " to be carved and gilt, laid on to some sort of silk ground. . . . The rim round the top . . . to be brass."

Space will not permit me to illustrate more than three other examples of this type. The first of these is the "lady's cabinet and writing-table," Fig. 4, Plate VI., which is a light and graceful article, replete with handy conveniences for the reception of stationery, papers, small books, and the like. Fig. 3, on the same plate, is "a cabinet ... to accommodate a lady with conveniences for writing and reading and holding her trinkets and other articles of that kind;" and is to be "veneered with the finest satinwood;" and Fig. 9 is another "cabinet," the front of the upper part of which falls down to furnish a surface for writing purposes. Sheraton is careful to point out that "the flower-pot at the top and that on the stretcher are supposed to be real, not carved. . . . The candle branches turn to any form in a socket, and the whole may be taken away, as they are only screwed into a nut fixed into the legs of the table." Fig. 6 is a library table that calls for no explanation; and Fig. 7 a simple and most graceful card-table, to be made in mahogany, inlaid or japanned, and carved.

Reverting, for a moment or two, to bookcases, a word must now be said on the subject of traceried doors, and we must endeavour, if possible, to determine finally the respects in which those of Sheraton differ from the traceries of Heppelwhite, and decide by what details or characteristics one may be distinguished from the other. Typical "Sheraton" traceries are shown in Figs. 5, 6, and 7, Plate IV., and in Figs. 1 and 2, and, to an enlarged scale, in Figs. 3, 4, 5, 6, Plate V. These traceries, as I have previously pointed out, were most usually carried out in mahogany or in satinwood, but brass, lacquered or painted, was not infrequently, and with excellent effect, introduced in place of wood. Similar traceries were, of course, employed in carcase work other than bookcases, but not very often.

In my chapter on "Heppelwhite," I have emphasised the fact that a certain amount of similarity exists between the door traceries in that style, and those of the style we are now considering; but, at the same time, I have explained that, in most cases, the former are more angular in feeling and detail than the latter. A comparison of those illustrated in this book, as representative of the respective styles, will make this difference perfectly clear. It may be well to draw attention, also, to the fact that Sheraton favoured the oval greatly as a centre-piece, and was fond of introducing the vase and the "Prince of Wales's Feathers," with other detail, in connection with it.

Another most important feature by which "Sheraton" may be distinguished from "Heppelwhite," and which gives the originator of the former the greater claim to superiority, is the pediment, when it is present, in the larger and more pretentious cabinet work. We have studied Heppelwhite's ideas concerning the forms which this should take, and have come, I think, to the conclusion that, in that respect at least, he has been found sadly wanting. It is not necessary for me to recapitulate what I have already written upon that point; but I may remind my readers that the "Heppelwhite" pediment is almost invariably "finikin" and fragile in appearance as well as in fact, and quite unworthy to occupy a place on most of the structures which it sur- mounts. We have remarked that the design, in nine cases out of ten, was far more suitable for being rendered in painting, or marquetry, than in pierced carving - the medium usually adopted.