The mahogany used by Chippendale, and in fact by all the eighteenth century cabinet-makers, was much more beautiful than is possible to get to-day, for the logs were old and well seasoned wood, allowed to dry by the true process of time, which leaves a wonderful depth of color quite impossible to find in young kiln-dried wood. The best furniture makers nowadays, those who have a high standard and pride in their work, have by careful and artistic staining and beautiful finish, achieved very fine results, but the factory article with its dreadful "mahogany" stain, its coarse carving, and its brilliant finish, shows a sad difference in ideal. The best reproductions are well worth buying, and, as they are made with regard to the laws of construction, they stand a very good chance of becoming valued heirlooms. There are certain characteristics of all the eighteenth century cabinet-makers, both English and French, which are picked out and overdone by ill-informed manufacturers. The rococo of Chippendale is coarsened, his Chinese style loses its fine, if eccentric, distinction, and the inlay of Hepplewhite and Sheraton is another example of spoiling a beautiful thing. Thickening a line here and there, or curving a curve a bit more or less, or enlarging the amount of inlay, achieves a vulgarity of appearance quite different from the beautiful proportions of the originals, and it is this which one must guard against in buying reproductions. The lack of knowledge of correct proportion is not confined to the cheaper grades, where necessary simplicity is often a protection, but is apt to be found in all. The best makers, as I have said, take a pride in their work and one can rely on them for fine workmanship and being true to the spirit of the originals.