9.--During the Chippendale fashion all martial elements disappear, helmets and mantlings are swept away, and we see the style of Louis XV. borrowed from the prevailing French taste, broken shell-shaped woodwork, rocks, and shell curves (rocaille coquille), hence called "Rococo." It was well enough in the frames of mirrors and furniture, but seems strangely out of place around a cardioid shield of arms, with festoons of flowers and spikes of reeds or grass, while perhaps Cupids or Greek vases on brackets are introduced. Nevertheless, the genius of Chippendale sublimated this into specimens of great beauty. Chippendale's _Books of Designs_ were published in 1759, i vol., folio, and in 1762, i vol., folio. 10.--Mantlings, of course, continued to be shown in grants of arms. We find about 1775 they appear to be smaller again, and confined to the top of the shield, often being carried rather high up on each side of the crest, and frequently ending at the base in two tassels [see a grant 1779, _Miscell. Genealogica et Heraldica_, second series, vol. iii, p. 41]. 11.--This style continued to the beginning of the nineteenth century, when I have observed very light and graceful mantlings thrown about in airy and much hacked foldings, and generally ending in tassels (see a grant 1803, _Miscell. Genealogica et Heraldica_, original series, vol. ii, p. 20). This character is also seen in many book-plates of this date. 12.--I must now say a few words on the style introduced and skilfully enforced by Robert and James Adam. They, too, adopted from the French, and by their skill and artistic taste developed to great perfection the style of Louis XVI. (1774-90). The rage for this fashion arose in Europe upon the discovery at Pompeii of Roman frescoes preserved in their original colours. The brothers Adam caught the exact spirit of these, and produced heraldic designs, consisting of shell-fluted scrolls, with light and airy festoons of flowers and ribbons, surrounding shields almost invariably Georgian No. 25. The festoons were frequently extended in graceful curves, from pegs, just as we see them in the recovered Roman arabesques, or on the walls of the Petit Trianon. Robert and James Adam published their book in three vols., imp. folio, 1773-1822. For examples of this style see Dugdale's _Warwickshire_, 1765; Hutchin's _Dorset_, 1774; Hasted's _Kent_, 1778; Rudder's _Gloucestershire_, 1779 (one specimen only); Nichol's _Leicestershire_, 1795; Shaw's _Staffordshire_, 1798; Manning and Bray's _Surrey_, 1804. This long list will show how extremely popular the Adam style continued to be for about thirty years.