The reigns of the first two Georges had Hogarth for their illustrator, and in the set of drawings called "Marriage à la Mode" we see the hoods, skirts without trains, unruffled and often accompanied by a sack, or something between a cloak and a gown, and called a mantua. During the reign of George I. there was no queen to set the fashion, so it changed little. In 1735 Caroline, queen of George II. on the king's birthday appeared in a "beautiful suit made of silk of the produce of Georgia, and the same was acknowledged to excel that of any other country." The ladies who accompanied her wore flowered silks of various colours, of a large pattern, but mostly with a white ground, with wide short sleeves and short petticoats. These gowns were often pinned up behind in fantastic fashion, and generally quite narrow. It was also _à la mode_ to wear gold or silver nets on the petticoats, and to face and guard the robes with them and even to wear them on sleeves. Lady Harcourt, a famous beauty of Caroline's court, wore on one occasion a "white ground rich silk, embossed with gold and silver, and fine coloured flowers of a large pattern." What we know as a morning-gown they called, in the middle of the eighteenth century a nightgown, and we read of a "garnet-coloured lustring nightgown with a tobine stripe of green and white, trimmed with floss of the same colour and lined with straw-coloured lutestring." A gay garment truly. These were the styles in vogue when Chippendale began to design and make furniture for his patrons, whom he desired to see among the most fashionable. While the ladies were so gay, the gentlemen were quite as elegant, with three-cornered hats, wigs and patches, embroidered waistcoats, with stiffened skirts to their coats, knee-breeches, silk stockings, and snuff-boxes. Such modish people could not bestow themselves comfortably in chairs with arms, so chairs without arms, and tabourets, as they were called, were quite necessary for comfort. The fashionable ailment of the day, for men at least was gout, and we find designs for "gouty stools," in which the top could be raised or lowered as best suited the needs of the patient. His designs for sofas made these articles of great size; they ran from six feet nine inches to ten feet long. His ideas as to decoration seem amusing, for he mentions that the carvings on the sofa should be emblematic of Watchfulness, Assiduity, and Rest.