Scant mention is made of Chippendale, in contemporary literature, but he has the distinction accorded to but few of having a large class of furniture design called by his name, instead of being designated by the period in which it was made. Mr. Clouston, in his book on "Chippendale Furniture" says that there were two Chippendales, father and son, and alludes to the author of the "Director" as "the elder Mr. Chippendale". The son, like many sons of great men, seems to have lost his identity in the reputation which has been gradually gathering about his father's name. He seems to have produced nothing of moment, and the family has sunk again into the obscurity from which one man had the genius to raise it. CHAPTER IV. ADAM, SHERATON, EMPIRE. The increased market offered to English merchants in the colonies, now more prosperous, produced in quick succession several cabinet-makers who worked in a different style from Chippendale, and made much very handsome furniture. Robert and James Adam, by training and profession architects, turned their attention to furniture which would be appropriate in rooms of Greek or Roman style. Their designs were all on classic lines, and were beautifully painted besides by the popular artists of the day, like Angelica Kauffmann and Pergolese, who, like Alma Tadema in our day, did not hesitate to expend their art upon fine pieces of furniture. The Adam brothers introduced the use of composition ornaments coloured and gilded, which were really a revival of the Italian process of "gesso," and which they had learned during their years of study in Italy. They designed many mantelpieces, also decorated in classic style, and had a decided influence in moulding the taste of their contemporaries and successors. Satin-wood was introduced by them, or at least at this period, and was used for inlaying as well as for the manufacture of whole pieces of furniture. Most of it, when used as the wood of the entire piece, is decorated with medallions of marquetry of some darker wood, as tulip, rosewood, or mahogany. The Adam brothers did not make any furniture themselves, but had it made by popular makers under their personal direction. In Figure 29 are shown three chairs of Adam design. The side chair retains its original covering of a heavy wool plush, with classic figures stamped in it of wreaths and maces. Its covering was also designed by Adam. This chair and the arm-chair like it are very delicately carved in low relief with a small leaf pattern. The legs are fluted and end in a form of spade-foot. The arm-chair on the top is very richly carved, and the entire woodwork is gilded. The covering has been restored. These three chairs are in the Museum connected with Cooper Institute.