The Dutch influence seems less to have entered the traditions of American furniture than that of England or of France. A fair amount of furniture was imported by the Dutch of New Amsterdam from Holland, and numerous authentic pieces of this Dutch furniture have come down to us; such, for instance, as the gate-leg table which is preserved in the Manor House at Croton-on-Hudson. But local cabinet-makers soon came to blend features of the English styles with those of the Dutch designers and finally purely English styles superseded the others. Still another local division of colonial furniture was that introduced by those settlers known as the Pennsylvania Dutch. This type of “Dutch” must not be confounded with the Dutch of New Amsterdam. Coming to Pennsylvania, these immigrants brought with them their gaily painted peasant furniture, and in the early days of the colony they produced much of that sort for their own use. Hence their furniture cannot be said to have been a product designed for the market. Examples of it did not stray far from the locality of their production, save in those instances where the settlers emigrated to other parts of the country. Even then it appears to have exerted little or no influence outside Pennsylvania territory. Stiff, conventional flowers and fruits, birds, and decorative bands characterize the decorations. Pieces of this sort are still to be found in central and southeastern Pennsylvania, although the majority of such decorated wood antiques extant consist of bridal chests and small boxes. In the North much of the early furniture, especially tables, was made of maple, pine and birch. Walnut, of course, was a great favorite, particularly with the earlier cabinet-makers of Pennsylvania, where superb slabs of beautiful black walnut were milled from the wonderful old trees, that so soon disappeared through this demand. We must not be surprised to find so little early furniture of the South, for, despite the wealth and culture of Virginia, the Carolinas, and Maryland in colonial times, these Southern colonists were equally fashionable, and discarded the old for the new before the dawn of the nineteenth century, earlier than did the Northerners. A search of the southern states will scarcely yield one piece of Jacobean design. A hunt for original William-and-Mary will be equally fruitless. But in the style of Queen Anne, many excellent pieces will be found. No story of American furniture, no matter how brief, can be written without mentioning the name of Duncan Phyfe, the New York cabinet-maker whose artistic products justly won him the sobriquet of “The American Sheraton.”