It may be seen that on Chippendale's title-page he refers to "frames for marble slabs." These were generally tables,--side or serving tables we should call them,--and they were elaborately carved on legs and edges. Nor were they unknown in this country, for inventories as early as the middle of the eighteenth century refer to sideboard tables with marble tops, as well as marble-topped parlor tables. In Figure 25 is shown an unusually elegant marble-topped parlor table. The profuse carving is in Chippendale's very best style, not flamboyant, but elegant and graceful. On each of the long sides is a grotesque mask, and the legs, carved over the knees with shells and flowers in low relief, end in a ball-and-paw, the hair on the foot being most delicately carved. The wood is dark, rich mahogany; the marble top is of brown tint with light veinings. This fine piece is at Memorial Hall, Philadelphia. To sum up, then, briefly, Chippendale's peculiarities may be expressed as follows: He used the ball-and-claw foot with the cabriole leg: this was succeeded by the straight leg. The tops of his chairs are almost invariably prolonged into little ear-like ornaments. He never used inlay on his furniture. He used carving as ornament, generally worked in solid mahogany for his larger pieces, and in a close-set pine which was gilded for his smaller and ornamental pieces. Many of the gold-frame looking-glasses have the glass pane divided by delicate ornament or pilasters. This was to save expense, as in this way several small panes of glass could be used instead of one large and more costly one. The glass made in England was in very thin plates, and the bevel was ground by hand, so that it followed every twist and turn in the convolutions of the frame which rested on it.