Hepplewhite also was designing and manufacturing about this time, and is noted principally for his japanned or painted furniture. In this process the wood was first coated with a preparation after the manner of Chinese or Japanese lacquer, and then decorated with fruit and flowers in gold on a background. Subsequently, furniture of this character, instead of being japanned, was merely painted white. Hepplewhite’s chair-backs differ in form from Chippendale’s, being shield or oval shaped. Satinwood came into use, and much of the work ascribed to Sheraton was made of it. Painted decoration of a delicate character, the details including ribbons, borders and medallions, was applied to table-tops, harpsichord cases, chair-backs and other objects. The names of Angelica Kauffmann and Cipriani are associated with this form of decoration. Hepplewhite and Sheraton were apparently influenced by the work of the brothers Adam, which was a distinct departure from the earlier style. The cabriole leg was rarely used, its place being taken by gracefully tapered forms. _Sheraton_ Although some of Sheraton’s furniture had painted detail, he more often used marqueterie and inlay of fine design. Panels were treated in marqueterie, with ovals or other simple shapes surrounded by narrow bands or lines of contrasting colour. Sheraton sideboards were usually without backs, and were sometimes furnished with brass rails on top. Bookcases had glass doors with well designed and finely worked sash bars. The general tendency was towards elegance and refinement, and led to simplicity of treatment rather than over enrichment. Indeed this may be taken as the culminating period for the finest production of furniture, not only with regard to design and exquisite workmanship, but in carefully studied utility. This consideration may be seen in the dressing-tables and secretaires, which were full of ingenious devices, and secret drawers and contrivances for hiding papers and valuables were quite a feature of the work. _Louis XVI_ Towards the end of the reign of Louis XV there was a distinct change in taste, and consequently in style. This was manifested by a return to simplicity of line, [Illustration: No. 126. Painted Interior Decoration. Marie Antoinette Boudoir. Louis XVI.] [Illustration: No. 127. Interior Treatment. Louis XVI.] [Illustration: No. 128. Chimney-piece with Mirror. Louis XVI.] [Illustration: No. 129. Library with fitted Book-cases. Louis XVI.] a more sparing use of enrichments and greater refinement of detail. [Illustration: No. 130. Door Treatment. Louis XVI.] Probably the same influence that inspired Adam was at work in France, when the license that marked the Rococo gave place to a more severe and restrained expression in the succeeding Louis XVI style, in which the curvilinear and plastic forms became once more structural in feeling and refined in detail.