As far as Heppelwhite is concerned, neither the Chinese nor Gothic style ever existed. The straight line is insisted upon, and he prefers to any other the tapering and slender “term” leg ending in the “spade” foot. (See full drawings on Plates LIV., LV., LVI., and LVII., and Nos. 2 and 3 on Plate LIV.) The legs are frequently inlaid with the husk, or bell-flower, in satin-wood. His favourite ornamentations, whether carved, inlaid, or painted and japanned, are the bell-flower in swags and chutes, the lotus, the rosette, the acanthus, the shell, the urn with and without drapery, and the three feathers of the Prince of Wales’s crest. (See Plate LVI., Nos. 1, 3, 4, 6 and 8.) The brass-headed nail is always used for fastening the material to the frames of his seats. These are always placed close together, and are sometimes arranged in the form of festoons, or scallops, around the seat. The stripe is his favourite design for coverings. The festoon and the ornamental tassel he greatly admires. The Heppelwhite chair has attained great fame. Generally speaking, its proportions are as follows: height, 3 feet, 1 inch; height to seat frame, 17 inches; depth of seat, 17 inches; and width of seat in front, 20 inches. Many chairs, however, are recommended to be made “according to the size of the room or pleasure of the purchaser.” For coverings of drawing-room chairs, such as Nos. 1, 5 and 8 on Plate LVI., silks and satins of light colours with printed oval medallions, or floral designs were used, and more particularly stripes, which were becoming more and more fashionable in France. Blue, or red, morocco leather, put on with ornamental brass nails, is another popular method of upholstering these articles. One of Heppelwhite’s instructions is that “leather backs or seats should be tied down with tassels, of silk or thread.” For the open back and carved chair, such as Nos. 2, 3, 4, 6 and 7 on Plate LVI. silk, satin, and leather are used, and horsehair, figured, checked, plain, or striped, is also popular. No. 7 on Plate LVI., which may be of mahogany, or japanned, has a cane bottom in the original design, and “should have a cushion of linen, leather, etc.” Some of Heppelwhite’s carved chair-backs are square, and anticipate those of Sheraton represented on Plate LXII.; but he was fonder of the shield form. Backs of this shape were covered as in No. 5, Plate LVI., or had carved and open-backs, as the other examples shown on the same Plate. Of chairs he writes: “Chairs in general are made of mahogany, with the bar and frame sunk in a hollow, or rising in a round projection with a band or list on the inner and outer edges. Many of these designs are enriched with ornaments proper to be carved in mahogany. Mahogany chairs should have the seats of horsehair, plain, striped, chequered, etc., at pleasure, or cane bottoms with cushions, the cases of which should be covered with the same as the curtains.