[Illustration: Illus. 181.—Hepplewhite Chair, 1789.] The chair in Illustration 181 is also in Mr. Gilbert’s collection. Although the shield back is generally accredited to Hepplewhite, Adam made it before him and it was used by the other chair-makers of his time. This chair shows very strongly the Adam influence in the carved and reeded legs and the fine carving, which is called guilloche, upon the arms and around the back and the frame of the seat. [Illustration: Illus. 182.—Hepplewhite Chair, 1789.] The entire chair is beautifully carved. The arm-chair shown in Illustration 182 has stood since 1835 in front of the pulpit in the Unitarian church in Leicester, Massachusetts, but of its history nothing is known for the years before that date, when it was probably given to the new church, then just starting with its young pastor, Rev. Samuel May. This chair, like the one in Illustration 181, which it resembles, has characteristics of different styles. It is probable that both Hepplewhite and Sheraton had practised their trade some years, and had made much furniture before their books were published in 1789 and 1791, and had adopted and adapted many ideas from the cabinet-makers and designers of the day, as well as from each other. The chair in Illustration 183 was used by Washington in the house occupied as the Presidential mansion in Philadelphia. It is now owned by the Historical Society of Pennsylvania. This chair has the same guilloche carving as the chair in Illustration 181, extending entirely around the back. The legs are short and the chair low and wide, and this with the stuffed back indicates that the chair is French. [Illustration: Illus. 183.—French Chair, 1790.] [Illustration: Illus. 184.—Hepplewhite Chair, 1790.] The chair in Illustration 184 is also in the rooms of the Historical Society, and is one of the set owned by Washington. The urn and festoons in the back show a marked Adam influence, but the three feathers above the urn are Hepplewhite’s. [Illustration: Illus. 185.—Arm Chair, 1785.] A very fine arm chair is shown in Illustration 185, owned by Dwight M. Prouty, Esq. The mahogany frame is heavier than in later chairs of the same style, and the arms end in a bird’s head and bill. [Illustration: Illus. 186.—Transition Chair, 1785.] During the transition period between Chippendale and Hepplewhite, features of the work of both appeared in chairs. The chair in Illustration 186 has the Chippendale splat, with the three feathers in it, and the top rail has the Hepplewhite curve. It belongs to Mrs. Clarence R. Hyde, of Brooklyn, N. Y. Illustration 187 shows one of a set of six very beautiful Hepplewhite chairs bought originally by the grandfather of their present owner, Charles R. Waters, Esq., of Salem. This chair is carved upon the legs with the bell-flower, and the three middle rails of the back are exquisitely carved. Chairs of this design, with the ornament of inlay instead of carving, are also found.