Well-proportioned legs, club feet, original undercutting. Exemplary of professional country cabinet-maker's highest work.] [Illustration: OAK TABLE. _C._ 1720. With hoof feet and knee, possibly copied from a fine Queen Anne piece, exemplifying the best work of country cabinet-maker. Height, 2 ft. 7 ins.; top, 1 ft. 7-1/2 ins. × 2 ft. 3 ins. (_By the courtesy of Messrs. Phillips, Hitchin._)] =The Cabriole Leg.=--This form of leg, swelling into massive proportions where it joins the seat, and curving outwards and tapering to a ball-and-claw foot or a club foot, lasted till end of Chippendale period, roughly, for nearly half a century. It assumed various forms until it was supplanted by the straight leg, and the stretcher, which had disappeared with the use of the cabriole leg, again came into use. Examples of the cabriole leg appear as illustrations to various types of furniture in this chapter. At first its use did not interfere with the employment of the stretcher, but about 1710 the stretcher disappeared. The Lancashire Queen Anne settle illustrated (p. 159) shows the stretcher joining the front leg to the back. In the settle illustrated above, in date 1760, it will be seen the stretchers have vanished. =The So-called Queen Anne Style.=--Fashions slowly adopted in cabinet design do not readily arrange themselves in exact periods coinciding with the reigns of individual sovereigns. But it is convenient to affix a label to certain marked changes and attribute their general use to a particular reign. The innovation of the square panel with broken corners and ornamental curves at top is found in Queen Anne settles. The departure from the square panel and line of the curved and broken top is exhibited in the second Great Seal of Anne, commemorating the Union with Scotland. It is reminiscent of the Dutch influence, and is found in Sussex firebacks of an earlier period. The straight lines of early-Jacobean cabinet-work were rapidly undergoing a change; the square wooden back of the chair was shortly to be replaced by fiddle splats, which in their turn, in late-Georgian days, became pierced and fretted and carved under the genius of Chippendale's hand. The two settles illustrated (p. 159) show several interesting points. The panels are typical of the love of the curved line, which Hogarth defined as the line of beauty. In the upper one the arms still retain the old Jacobean form in this farmhouse example. The ball foot still clings to the earlier form. The seat is sunk to receive a long cushion. In the adjacent specimen the seat with its cushion and the curved =S= arms upholstered show the transition into the later type of modern settee.