She was furnished with great magnificence, in the Empire style, the woods used in the saloon being mahogany and bird’s-eye maple, and the two settees in the saloon were each eleven feet in length. One is shown in Illustration 222, now owned by Frederic B. Crowninshield, Esq., of Marblehead. The backs are lyre-shaped, and when new the seats were covered with crimson velvet and edged with wide gold lace. The hook upon the back leg was probably to hold the settee to the wall in bad weather. Illustration 223 shows the influence of the fashion for heavier and more elaborate frames, which came in with the nineteenth century. The arms are made after the Sheraton type shown in Illustration 217 and Illustration 218, but where a simple pillar was employed before, this settee has a carved pineapple forming the support to the arm, which ends in a scroll. Instead of four front legs either plain or fluted, there are two of larger size carved with the same leaves which sheathe the pineapple. The covering is horsehair, which was probably the original cover. This settee now belongs to the Concord Antiquarian Society, and was owned by Dr. Ezra Ripley, who was minister of the old Congregational Church of Concord from 1777 to 1840, and who lived in the Old Manse, afterward occupied by Hawthorne. The settee remained in the manse until comparatively recent years. [Illustration: Illus. 223.—Sheraton Settee, 1800-1805.] The sofa in Illustration 224 belongs to the Misses Hosmer of Concord, and stands in their old house, filled with the furniture of generations past, and interesting with memories of the Concord philosophers. The lines of this sofa are extremely elegant and graceful, and its effect quite classic. The legs are what is known as the Adam leg, which was designed by the Adam brothers, and which Sheraton used frequently. The style of the sofa is that of the Adam brothers, and it was probably made from their designs about 1800-1810. The writer has seen a window seat which belonged to Charles Carroll of Carrollton, after exactly this design, without the back. [Illustration: Illus. 225.—Sofa in Adam Style, 1800-1810.] The back of the sofa in Illustration 225 follows the same graceful curves as the one in Illustration 224. This sofa was found by the writer in the shed of a farmhouse, on top of a woodpile, which made it evident what its fate would be eventually, a fate which has robbed us of many a fine piece of old furniture. After climbing upon a chair, then a table, the sight of these carved feet protruding from the woodpile was almost enough to make the antique hunter lose her insecure footing; but with the duplicity learned in years of collecting, all emotion was concealed until the sofa had been secured. [Illustration: Illus. 224.—Sofa, 1815-1820.]