In Shearer's work, as well as Hepplewhite's, a slender tapering leg is much in use, inlaid down about half its length, often with satin-wood or holly, and sometimes with ebony as well. Many of the sideboards made in America were on English models, and they are veneered on pine, the back and drawers being made of this same wood. There are many variations of shape,--what are known as serpentine and swell fronts being quite usual, the handles being the oval ones which are so common on all varieties of pieces with drawers, and there is also a fan-shaped piece of inlay which will frequently be seen. The position of this is not always the same, it may be found in the corners of closets, and long bottle-drawers, or it may be inserted as a sort of brace between the bottom of the sideboard and the legs. Hepplewhite was very fond of inlaying a band of holly or satin-wood around the legs of his pieces, three or four inches from the ground. It will be found on his sideboards, card-tables and desks, and is generally about an inch wide. His book was one of the most valuable ever given to English cabinet-makers. His individuality of shape is always pleasing, even if he did not concern himself about making his furniture structurally correct. He claims, and indeed with absolute correctness, "to unite elegance with utility and blend the useful with the agreeable." In Figure 31 is shown one of a pair of card-tables, Hepplewhite design, made of mahogany and inlaid with ebony and satin-wood. They belong to Mr. William M. Hoyt of Rochester, N. Y. Like Adam, Hepplewhite made great use of satin-wood for whole pieces of furniture. He used his well-known and characteristic shapes in chair-backs and little sofas, cabinets and workstands, table stands, harpsichord cases, and commodes. Satin-wood had been but recently introduced from the East Indies and was instantly popular. Even mantelpieces were made of it, to match the furniture, and there was a fancy to have the drawing-rooms and boudoirs very light and elegant. Clothes had shrunk in dimensions, no more hoops and farthingales embarrassed their wearers, the stiffness was banished from coat-tails, and consequently the furniture had shrunk too. Chairs were small and narrow, and window-seats, made in abundance by Hepplewhite, were deservedly popular, and the coverings were in accord with the gaiety of the woodwork. Figure 32 shows two Hepplewhite settees with shield-shaped backs. The upper one is of mahogany with low relief carvings on the tops, and the lower of satin-wood, with cane seat and the woodwork beautifully painted. The elegance of this painted satin-wood has long been admired. Unfortunately it has caught the popular taste, and it is now reproduced in such large quantities that it is freely offered for sale by dealers in our large cities. The pieces shown in our illustration are both fine specimens of the original maker and are owned by the Waring Galleries, London.