The arm-chair illustrated p. 213 is a remarkable instance of intermingling of styles. The front legs are in Jacobean style, and are continued in the same manner as the usual type of oak chair as supports for the arms, but an original touch and naïve departure is in the curve given to this upright from the seat upwards. The seat is shaped like that of the Windsor chair. The arms are somewhat stiff for the back with its Cupid's-bow design, which has a sprightliness and grace making it a thing apart. The whole is not unpleasing. It is a remarkable instance of the attempted assimilation of several diverse styles by an undeveloped cabinet-maker with strong ideas of his own. The oak form is rigidly retained in all except the back and splat of Queen Anne days. [Illustration: COUNTRY-MADE OAK SETTEE WITH DOUBLE BACK IN CHIPPENDALE STYLE. The shaped underframing is a feature only found in farmhouse varieties.] [Illustration: COUNTRY-MADE OAK SETTEE IN CHINESE CHIPPENDALE STYLE. (_By the courtesy of Messrs. Phillips, Hitchin._)] The adjacent chair, with its tall back with curved splat and its cabriole legs, marks the transition between William and Mary and Queen Anne. The top rail indicates by its clumsy joinery the touch of the immature country cabinet-maker. It is an attempt to approach a fine model with insufficiency of skill by the maker. The use of the cabriole leg either in chairs or in dressers in homely furniture has always proved a stumbling-block to the minor craftsman. The delicacy of balance required in order to preserve the harmony of the whole has proved too subtle a problem for him to handle, and to the practised eye these farmhouse pieces at once proclaim their origin. The broad splat and the straight square front and the bold cabriole leg of the Queen Anne type in walnut were often copied in oak. The example of the chair with the later tapestry covering, illustrated p. 213, is a case where the local cabinet-maker has faithfully copied detail for detail from some fine original in walnut. His is in oak for more strenuous usage. The adjacent arm-chair is of the Queen Anne style, with a shaped front that is very rarely found in such pieces. The maker here has not been so successful in catching the bold lines of his original. There is a sense of something lacking in the curves of the back. The touches of his own that he has added in the arms, reverting to an earlier Jacobean type, reveal the unpractised hand.