A certain sort of revival of Gothic design took place in England about this period: and later in the century feeble attempts at Gothic woodwork were made here and there; but there was little national taste in furniture apart from a close imitation of French fashions. A still greater change was produced by Sir William Chambers, the architect of modern Somerset house, who wrote a book on civil architecture and room decorations. Another name connected with furniture has been already mentioned, that of Thomas Chippendale. He published his book of designs in 1764, containing complete sides of rooms, looking-glass frames, chimney fronts, &c. He and his contemporaries designed tables, cabinets and moveable furniture of every description, including carriages, on which, indeed, furniture designers of all periods were employed. Chippendale and his sons or assistants produced frames and cornices for gilding so different from his well-made wardrobes, &c., that there must have been more than one of the family engaged in superintending these dissimilar kinds of objects. He is a representative maker. The son has been sometimes credited with the mahogany woodwork of which delicacy and exactness are the characteristics. Satin wood came into fashion in England during the last half of the century. Both Cipriani and Angelica Kauffmann painted medallions, cameo ornaments and borders on table tops and fronts, harpsichord cases, &c., made of satin wood or coloured in the manner of the vernis-martin work. The former decorated Carlton house. Mathias Lock, with whom was associated a cabinet maker named Copeland, also published designs of furniture of every kind. A semi-classic Pompeian or Roman arabesque feeling runs through the ornamentation of these pieces of furniture. They are light in make, often elegant, and more or less follow the taste prevailing in France and Italy. Gillow, the founder of a respectable existing firm, belongs to this period; but, as yet, nothing has come to light regarding his early history or apprenticeship. Another name connected both with furniture and decorative arts of all kinds was that of Robert Adam; he was of Scotch extraction and had travelled in Italy; and his brother John built many private houses; for example, the Adelphi and Portland place. Furniture, carriages, sedan chairs, and plate were amongst the objects for which Robert, perhaps both the brothers, gave designs. Classical capitals, mouldings and niches, circles and lunettes, with shell flutings and light garlands, were favourite features in their façade ornaments. The sideboards, bust terms (or pedestals), urn-shaped knife boxes; the chairs, commodes, &c., were all designed to accord with the architectural decorations. Polished-steel fire-grates belong to this period, and we believe to the authorship of the brothers Adam.