Figs. 29 and 31 are rush-seated chairs of the Queen Anne period and are made of oak, probably in a country place where the prevailing walnut fashion had not reached. They are exceedingly simple and pleasing in shape and were sold at one pound each. The centre chair (Fig. 30) is a child's chair of the same period--a type which, in our experience, is not often met with. There is no example in the Victoria and Albert Museum, a fact we mention in case any reader would like to offer such a specimen. Here the splat is slightly different from those of its companions. The present piece lacks a front rail to prevent the child from falling. Queen Anne chairs of simple character should not be very difficult to obtain, nor should they make extravagant incursions upon the purse. To purchase a number of chairs of identical form sufficient to compose a set is a far more expensive method than to collect more or less odd chairs, singly or in pairs, and to make up a set for oneself. Each may not be exactly similar to the other, but the family likeness is amply sufficient to satisfy any reasonable taste. Indeed such little differences as are expressed, say, in the splats and the legs may be said to break the line of uniformity and to produce an effect which is permanently pleasing and interesting. Such a set of chairs would be admirable in a dining-room; and single chairs of this period and type would be scarcely out of place in any room in the house. Elaborately carved and marquetried chairs of this time are expensive, but it is a question whether the plain chairs are not as pleasing. At present the taste for old furniture runs to pieces which are highly carved and decorated, but this is often for the simple reason that such pieces are more uncommon, and therefore more expensive, than the plain ones. It is possible, however, that in a succeeding age, when all old furniture, both carved and plain, will be rare, that the latter may be as highly favoured as the former. In many of the plain old chairs the lines are charming and the woods rich and interesting, and possessing these, we need scarcely envy those whose means enable them to prefer the richer sorts. We now approach a departure in the designs of furniture which had a far-reaching and lasting effect upon style in England. We refer to the cabriole leg and the shaped foot, which ultimately developed into the claw-and-ball. The first movement appears to have occurred when the straight lines of the Stuart furniture were superseded by the curved lines of the Dutch style; and occasionally we find the cabriole leg on a William and Mary chair, as in Fig. 27.