Chippendale published his "Director" in 1754, and it became a working guide to all ambitious craftsmen. Ince and Mayhew, cabinet-makers of Broad Street, Golden Square, had issued "Household Furniture" in 1748, and Hepplewhite & Co. followed later with the "Cabinet Maker and Upholsterer's Guide" in 1788, where the delicacies of ornament were related to the chaster classic models, and in 1794 came Sheraton with his "Drawing Book," rich with subtle suggestiveness. A rough generalisation shows the Chippendale school holding sway from 1730 to 1780, the Hepplewhite school from 1775 to 1795, and the Sheraton school from 1790 to 1805: and behind all, the strong influence of the Brothers Adam in their classic revival. What had previously been tradition came very speedily into line with current modes. Fashion, as we have shown, had a slow and impermanent effect upon village ideals. But the output of these great illustrated volumes, with working drawings, undoubtedly had a wide-reaching influence. The last quarter of the eighteenth century saw an intense outburst of interest in the arts of interior decoration. A great amount of finely designed and beautifully executed furniture belongs to those days, and the echo of the splendid achievements in mahogany and in satinwood is seen in the farmhouse and cottage furniture, which came singularly close upon the heels of fashion. Chippendale furniture in oak, elm, or beech is being largely collected. We illustrate a sufficient number of types to show that this class of design known as "Cottage Chippendale," has peculiar charms of its own. The arm-chair illustrated p. 225 is in elm, and is in the style Chippendale employed in his rich mahogany creations in 1760. The fine interlaced carving of the back is graceful and well proportioned. The adjacent chair, in elm, still follows the Chippendale style. The seat is rush, and the maker has confined himself to his own limitations and avoided in the splat the too intricate work of more sumptuous models. He has arrived at a very finely balanced result. The heart cut out of the splat is frequently found in cottage examples, suggesting that some of the more ornate examples may have been made as wedding presents for young couples just setting up housekeeping, or possibly the village cabinet-maker himself had thoughts in that direction, and such work was destined to equip his own home. The illustration of a chair, in beech, with a plain wooden seat, has a somewhat intricate ribbon-like pattern terminating in the Prince of Wales's feathers. The heart is present in the design at the base of the splat, cut out in fretwork. The arm-chair on the right, with its dipped seat, is in oak, and is an instance representing the adaptations of Sheraton styles in the provinces.