W. Thomas was another designer in the Adam style; but of far greater importance was Michael Angelo Pergolesi, who was employed by the Adam brothers, and whose designs are equal to theirs. Pergolesi also employed Zucchi, Cipriani and Angelica Kauffman. His books of designs came out in parts from 1777 onward. One of Pergolesi’s rooms “has a low dado rail, plain plaster walls, panelled round with a moulding, a fine mantel-piece and a narrow ornamental compo frieze and plain ceiling.” Angelica Kauffman painted ceilings, table-tops, and furniture-panels, which, like Cipriani’s productions, represent cherubs, maidens, gods and goddesses, and _amorini_. ----- Footnote 21: Scagliola, mentioned above, was a kind of plaster made of gypsum and Flanders glue. It was coloured to imitate marble. The Adam brothers made great use of it, as well as plaster of Paris pressed in metal moulds. Footnote 22: Cosmo Monkhouse. Footnote 23: “By _grotesque_ is meant that beautiful light stile of ornament used by the ancient Romans in the decoration of the palaces, baths and villas. It is also to be seen in some of their amphitheatres, temples and tombs; the greatest part of which being vaulted and covered with ruins, have been dug up and cleared by the modern Italians, who, for these reasons, give them the name of _grotte_, which is perhaps a corruption of the Latin _Criptæ_, a word borrowed from the Greeks, as the Romans did most of their terms, in architecture; and hence the word _grotesque_, and the English word signifying a cave. “In the times of Raphael, Michael Angelo, Julio Romano, Polidoro, Giov. d’Udine, Vasari, Zuchero and Algardi, there is no doubt but there was much greater remains of the grotte, than what are now to be seen, and in imitation of them were decorated the _loggias_ of the Vatican, the villas Madama, Pamfili, Caprarola, the old palace at Florence; and indeed whatever else is elegant and admirable in the finishings of modern Italy. The French, who till of late never adopted the ornaments of the ancients, and jealous as all mankind are of the reputation of their national taste, have branded those ornaments with the vague and fantastical appellation of arabesque, a stile which, though entirely distinct from the grotesque, has, notwithstanding, been most absurdly and universally confounded with it by the ignorant. “This classical stile of ornament, by far the most perfect that has ever appeared for inside decorations, and which has stood the test of many ages, like other works of genius, requires not only fancy and imagination in the composition, but taste and judgment in the application; and when these are happily combined, this gay and elegant mode is capable of inimitable beauties.