Hogarth should be a very valuable guide to the furniture of this period. As a rule, however, he seems to care very little about the delicate details and generalizes the forms, giving an impression of excessive heaviness and clumsiness. However, occasionally we get a good hint, as in the bed in the scene of the countess’s toilet in _Marriage à la Mode_. One of Hogarth’s tables is shown on Plate XXVIII., No. 1. It will be noticed how little trouble he has taken to indicate the special kind of foot, whether hoof or ball-and-claw. An _escritoire_ from one of the plates of the _Industrious Apprentice_ is shown on Plate XXVIII., No. 2. The ball-foot and drop-handles are clearly shown in this. One of Hogarth’s chairs, which was a very common pattern during this period, is that of No. 4, Plate XXVII. The models also numbered 9, 10 and 11 are generally known as Hogarth chairs. No. 7 is one of Halfpenny’s designs for a Chinese chair. Nos. 1, 2, 3, 6 and 8 are also types of chairs in use before Chippendale brought out his book. No. 5 is an early model of the “Windsor chair,” which came into favour during the reign of Queen Anne and maintained its place for a century and a half. This chair dates from about 1710. The central drawing represents a folding chair-bed. The frame is of mahogany and the back filled with cane. The back is curved at the top and straight at the sides, which have two curved pieces, or wings, projecting forward. The arms are curved and the four cabriole legs end in club feet. The backs of Nos. 9, 10 and 11 on this plate curiously agree with the form of the fire-back No. 3 on Plate XX. This general model appears in the inventories as the “Crown-back chair.” With the exception of the Windsor chair, which was very often made of cheap wood, the chairs on this plate were made of walnut or mahogany and upholstered with velvet, cloth, leather, Turkey-work, leather, or haircloth plain or figured. The seat is movable, and no upholstery nails or braids were used, the frame of the wood giving the necessary finish. The dumb-waiter on Plate XXVIII. dates from about 1740: it is of mahogany decorated with incised floral pattern in outline. No. 2, Plate XXVI., shows a toilet swinging-glass dating from about 1730 which exhibits a little of the French influence. It has a wood frame carved and gilt with flowers, foliage and scroll ornament. Nos. 1 and 3 are other common forms of mirrors of this period. The frames are frequently of mahogany picked out with gold. The general proportions of the room shown in Plate XXIV. are taken from Hogarth’s _Marriage à la Mode_.