Besides these styles Chippendale also used a modification of the Gothic, notably in such places as the doors of cabinets, or the doors and the tops of bookcases. Horace Walpole, in his little Gothic villa at Strawberry Hill, had awakened a still further taste for a revival of Gothic designs; and everybody, to be in the mode, had their cabinet doors and bookcases with embattled tops and Gothic tracery. Of all the styles Chippendale adopted and adapted, this one left the least enduring trace. More successful were his bookcases based on Louis XV. style. They are of mahogany and have the rococo ornaments peculiar to this style. This work shows off gilding admirably. These bookcases with drawers and desk, as well as the bureaus, were used in bedrooms which were often boudoirs and studies as well. So a receptacle which could be quickly locked was quite necessary. In Chippendale's catalogue are directions given for many small articles which were much in demand and highly fashionable when the book was written, but for which the present day and generation has no use. Such were the charming little tea-caddies with brass handles and locks, stands for candles, or china jars or animals with which the drawing-rooms of those days were crowded. There were also carved brackets, decorated with the bird we have spoken of before, and exquisite foliated designs making graceful adornments for any room, and often neglected in sales where other and better-known examples of this period bring fabulous prices. When carved in pine these brackets are always gilded, but occasionally they may be obtained in walnut and mahogany. The designs for such pieces are largely original with Chippendale, for their use had just become needed, and we must remember besides that it was Chippendale's misfortune to live in a transition period, and that the rococo which preceded him, and by which his first work was influenced, died very hard. Indeed his first style might be called rococo, and the designs swelled and bulged, were covered with meaningless and fantastic ornament, and ran riot through all styles and countries. It had for its chief merit the fact that it was executed with great delicacy and beauty and had a grace about it which was always pleasing. The two sides of a design are seldom alike, and the merit of such pieces is due purely to the skill of the carver. Yet it was under his skilful hand that later the beauty of simplicity was once more proved, and he sought classic models for his inspiration. Speaking himself of designs for French chairs he says, "for greater variety the feet and elbows are different." The moulding around the bottom of the edge of the rails also comes under his consideration, and he mentions Spanish leather or damask as good material for covering chairs.