Among his favourite ornaments are the husk, or bell-flower, the swag, or festoon, the column, the lyre, the lotus, the acanthus, the urn, the vase and the patera, the latter being used especially to hide the screws of beds and joining of chair-frames (see Plate LXIII. and Nos. 10 and 11, Plate LXII.). Like Chippendale, he gives an immense number of book-case doors composed of panes arranged in ornamental designs, and behind these he flutes green silk curtains. During his last period, the wire door appears for commodes, cabinets and other pieces. Sheraton’s drawing-room furniture was of white and gold, of satin-wood, wood painted and japanned, or of rosewood. The coverings for the drawing-room chairs were silk or satin, the designs being stripes or the oval medallion. In 1803, he advocates cane. Sheraton has very little to say about textiles or colours. He speaks of printed cottons, and silks and taffeta of all colours, plain, striped, checked, flowered and mixed with gold and silver. The only colour about which he has any thing to say is blue: “Blue and white, blue and black, very light blue and yellow will harmonize. Blue kills some colours; and on which account before any be used to join with another colour, they should be compared together; and if the more brilliant colour to which it is joined becomes therefore less vivid, some other colour should be chosen.” He gives many directions, however, regarding the arrangement of rooms. “As the entrance, or hall, of any well built house ought always to be expressive of the dignity of its possessor, so the furniture ought to be designed in a manner adapted to inform the stranger, or visitant, where they are, and what they may expect on a more general survey of every apartment. “As the hall is a general, or ought to be a general opening to all the principal apartments, it should be furnished so as not to be mistaken for the most superb division of the structure, or where they may expect to meet the nobler person who resides in it. The furniture of a hall should therefore be bold, massive and simple: yet noble in appearance and introductory to the rest.” It is interesting to note that the Adam stucco-work has had its day and that there is a return to the Boucher treatment of the ceiling. Sheraton remarks: “Plastered ceilings are supposed to be more common in Britain than in other countries. The manner of finishing ceilings has been various, at different times, in this country. A sort of very heavy ornamented plaster work was formerly introduced, together with pannelled work in heavy mouldings. Within about thirty years since, this kind of ceiling work has been composed in a much lighter style, and variegated with painted panels, often from the heathen mythology, or other poetical subjects. At present some of the most elegant rooms have no plastered ornaments in their ceilings, but are painted to imitate an open sky, with some faint scattering of clouds.” The walls were hung with paper.