[Footnote 18: The Court room of the Stationers' Hall contains an excellent set of tables of this kind.] [Footnote 19: The late Mr. Adam Black, senior partner in the publishing firm of A. and C. Black, and Lord Macaulay's colleague in Parliament, when quite a young man, assisted Sheraton in the production of this book; at that time the famous designer of furniture was in poor circumstances.] CHAPTER VIII. First Half of the Nineteenth Century. The French Revolution and the First Empire--Influence on design of Napoleon's Campaigns--The Cabinet presented to Marie Louise--Dutch Furniture of the time--English Furniture---Sheraton's later work--Thomas Hope, architect--George Smith's designs--Fashion during the Regency--Gothic revival--Seddon's furniture--Other makers--Influence on design of the Restoration in France--Furniture of William IV. and early part of Queen Victoria's reign--Baroque and Rococo styles--The panelling of rooms, dado, and skirting--The Art Union--The Society of Arts--Sir Charles Barry and the new Palace of Westminster--Pugin's designs--Auction Prices of Furniture--Christie's--The London Club Houses--Steam--Different Trade Customs--Exhibitions in France and England--Harry Rogers work--The Queen's cradle--State of Art in England during the first part of Queen Victoria's reign--Continental designs--Italian carving--Cabinet work--General remarks. EMPIRE FURNITURE. There are great crises in the history of a nation which stand out in prominent relief. One of these is the French Revolution, which commenced in 1792, and wrought such dire havoc amongst the aristocracy, with so much misery and distress throughout that country. It was an event of great importance, whether we consider the religion, the politics, or the manners and customs of a people, as affecting the changes in the style of the decoration of their homes. The horrors of the Revolution are matters of common knowledge to every schoolboy, and there is no need to dwell either upon them or their consequences, which are so thoroughly apparent. To the confiscation of the property of those who had fled the country, was added the general dislocation of everything connected with the work of the industrial arts. Nevertheless it should be borne in mind that amongst the anarchy and disorder of this terrible time in France, the National Convention had sufficient foresight to appoint a Commission, composed of competent men in different branches of Art, to determine what State property in artistic objects should be sold, and what was of sufficient historical interest to be retained as a national possession. Riesener, the celebrated _ébeniste_, whose work we have described in the chapter on Louis Seize furniture, and David, the famous painter of the time, both served on this Commission, of which they must have been valuable members.