Thus, in Sheraton's Book on Furniture, to which allusion has been made, and from which illustrations have been given in the chapter on "Chippendale and his Contemporaries," there is evidence that, as in France during the influence of Marie Antoinette, there was a classical revival, and the lines became straighter and more severe for furniture, so this alteration was adopted by Sheraton, Shearer and other English designers at the end of the century. But if we refer to Sheraton's later drawings, which are dated about 1804 to 1806, we see the constrained figures and heads and feet of animals, all brought into the designs as shewn in the "drawing room" chairs here illustrated. These shew unmistakable signs of the French "Empire" influence, the chief difference between the French and English work being, that, whereas in French Empire furniture the excellence of the metal work redeems it from heaviness or ugliness, such merit was wanting in England, where we have never excelled in bronze work, the ornament being generally carved in wood, either gilt or colored bronze-green. When metal was used it was brass, cast and fairly finished by the chaser, but much more clumsy than the French work. Therefore, the English furniture of the first years of the nineteenth century is stiff, massive, and heavy, equally with its French contemporary wanting in gracefulness, and not having the compensating attractions of fine mounting, or the originality and individuality which must always add an interest to Napoleonic furniture. [Illustration: DRAWING ROOM CHAIR. Design published by T. Sheraton, April 1, 1804.] There was, however, made about this time by Gillow, to whose earlier work reference has been made in the previous chapter, some excellent furniture, which, while to some extent following the fashion of the day, did so more reasonably. The rosewood and mahogany tables, chairs, cabinets, and sideboards of his make, inlaid with scrolls and lines of flat brass, and mounted with handles and feet of brass, generally representing the heads and claws of lions, do great credit to the English work of this time. The sofa table and sideboard, illustrated on the previous page, are of this class, and shew that Sheraton, too, designed furniture of a less pronounced character, as well as the heavier kind to which reference has been made. [Illustration: "CANOPY BED." DESIGN PUBLISHED BY T. SHERATON, NOVEMBER 9TH, 1803.] [Illustration: "SISTERS' CYLINDER BOOKCASE." DESIGNED BY T. SHERATON, 1802.] [Illustration: SIDEBOARD. In Mahogany, with Brass Rail and Convex Mirror at back. Design published by T. Sheraton, 1802.] [Illustration: SOFA TABLE. Design published by T. Sheraton, 1804.]