James Fergusson, in his _History of Architecture_, places their knowledge of classical art below that of Sir William Chambers. He adds: "Their great merit--if merit it be--is that they stamped their works with a certain amount of originality, which, had it been of a better quality, might have done something to emancipate art from its trammels. The principal characteristic of their style was the introduction of very large windows, generally without dressings. These they frequently attempted to group, three or more together, by a great glazed arch over them, so as to try and make the whole side of a house look like one room." Mr Fergusson thinks the college at Edinburgh the best of their works, and says: "We possess few public buildings presenting so truthful and well-balanced a design as this." Whatever were the architectural defects of their works, the brothers formed a style, which was marked especially in their interiors by a fine sense of proportion, and a very elegant taste in the selection and disposition of niches, lunettes, reliefs, festoons, and other classical ornaments. It was their custom to design furniture in character with their apartments, and their works of this kind are still greatly prized. Amongst them may be specially mentioned their side-boards with elegant urn-shaped knife-boxes, but they also designed bookcases and brackets, pedestals and cabinets, clock-cases and candelabra, mirror frames and console tables, of singular and original merit, adapting classical forms to modern uses with a success unrivalled by any other designers of furniture in England. They designed, also, carriages and plate, and a sedan chair for Queen Charlotte. Of their decorative work generally it may be said that it was rich but neat, refined but not effeminate, chaste but not severe, and that it will probably have quite as lasting and beneficial effect upon English taste as their architectural structures. [Illustration: THE SOCIETY OF ARTS DISTRIBUTING ITS AWARDS.] In 1773, the brothers Robert and James commenced the publication of their _Works on Architecture_, in folio parts, which was continued at intervals till 1778, and reached the end of the second volume. In 1822, the work was completed by the posthumous publication of a third volume, but the three bound up together do not make a thick book.[26]