The settee of the Jacobean period was a development of the double chair or love-seat. It followed the general styles of the period in legs and stretchers. The back usually was upholstered. It was not in general use until walnut had come to supersede oak. For this reason the Jacobean settees are for greater part of walnut. The William and Mary period settees found the double chair back in favor, and comfortable indeed were these settees, many of them being provided with squab cushions in addition to their upholstered seats, backs, and ends. The William and Mary settees were somewhat shorter than the generously long settees of the Jacobean period. Queen Anne settees were designed with straight backs, these backs doing away with the double-hoop backs of the settees of the reign that preceded Anne’s. These backs were considerably lower, and, as with the couches, the cabriole leg formed a distinctive characteristic. In the Queen Anne settees of a later time the double back without upholstery came in again. The seats of these settees were depended upon for occasional use at the back. Chippendale’s settees followed the lines of his designs for chairs. His window-seats did likewise. Colonel Wentworth’s “Chinese Settee” of the Chippendale style is now in the Ladd House at Portsmouth, New Hampshire. Very elegant indeed were the settees and the window-seats of the brothers Adam. Both coincided in lines with Adam chairs. The window-seats, though so often following Chippendale forms, were a refinement of these latter. They were supported by four or by six legs, usually, though several window-seats of Adam style have eight legs. These settees bear the characteristic fluting on the front rail. The Hepplewhite settees are, for the most part, double backs or triple backs and follow in design the chair styles of this type. A Hepplewhite settee of 1780 upholstered in silk brocade has the vase detail in the arm-post and the legs are turned and reeded. Other Hepplewhite settees were cane-seated and cushioned, and with these squab cushions were used. Sheraton himself tells us that cane-work as applied to furniture again came into favor with cabinet-makers about the year 1773. A very fine Sheraton two-back settee painted with medallions by Angelica Kauffmann is extant to test the skill of the eighteenth-century furniture-maker in the reintroduction of the use of cane for seating, and for the backs. Some of the Sheraton settees were upholstered and some were designed for cushion coverings. The settees of the various French periods followed the general chair-furniture lines in their styles, as did the settees of the English and the American Empire styles.