I have mentioned that there was one exception, and that is a work entitled "Household Furniture and Interior Decoration, executed from Designs by Thomas Hope," which was published in 1807. Hope was evidently a very severe critic, for, speaking of articles of furniture generally, as designed by Chippendale, Heppelwhite, Sheraton, and their contemporaries, he said: "Almost every one of these articles, however, abandoned, till very lately, in this country to the taste of the sole upholder, entirely ignorant of the most familiar principles of visible beauty, wholly uninstructed in the simplest rudiments of drawing " - poor old Sheraton! - "or. at most, only fraught with a few wretched ideas and trivial conceits borrowed from the worst models of the degraded French School of the middle of the last century, was left totally destitute of those attributes of true elegance and beauty, which, though secondary, are yet of such importance to the extension of our national pleasures" - and so forth for many pages. To remedy this, he endeavoured to transplant the severe refinement of the old Greek and Roman palaces at their best into the English home, and, as a natural result, he failed utterly and completely in his attempt. Some few - very few - of his simpler designs for chairs did "live" for a time, but the vast majority were either too costly in execution to gain popularity, or were altogether out of keeping with our national ideas of domestic comfort. We must admit, however, that the taste displayed throughout the work is of a very high order.

There are other books which might be mentioned, did space permit, but they are not of importance, and those named constitute as exhaustive a list as one need desire.

"Adam." I. Plate 66

Reference in Text. See pages 213-215

Towards the close of the eighteenth century, when extensive building operations were in course of procedure over that area in London which is now commonly known as the Adelphi, and which, I need hardly say, is situated on the north bank of the Thames, not far from Charing Cross, a quatrain was written to the following effect: "'Two brothers of the name of Adam, Who keep their coaches and their mesdames' - Quoth John, in surly mood, to Thomas - 'Have stol'n the very river from us!'"

The lines referred, of course, to the erection of those quasi-classic edifices which were then being completed after the designs of the two architects who flourished during the reign of George the Third, and afterwards became known as the "Adelphian Brothers."

The elder of the two - Robert Adam - was born, at Kirkcaldy in 1728. Having passed through the usual experiences associated with the average childhood, he commenced his studies in architecture, and elected to spend some years in Italy in order that he might imbibe his knowledge from the fountain-head. On his return to England, he joined hands with his brother James. In 1768 - before he was forty - he was appointed "Architect to the King," entered Parliament, won popular favour by the character of his rendering of the Classic, died in 1792, and was buried in Westminster Abbey.

It will be seen, therefore, that the brothers Adam were at work on the production of their designs during the period when "Chippendale," "Heppelwhite," and "Sheraton " were at the highest pitch of development; and by reason of the fact that they were responsible for the plans of many of the more important buildings furnished on the lines laid down by the originators of those three styles, they have received a great amount of credit to which they were never in the least entitled. What they really earned should suffice. Although they made some slight essays in the designing of furniture, these architects, as a matter of fact, exerted but small direct influence upon English furniture proper, notwithstanding the fact that their name is so frequently quoted in connection with it. The marks which they did leave upon the interior of our homes were, for the most part, in the way of stucco wall and ceiling decoration, and mantelpieces - of which they designed a vast number.

Their preferences were for the lighter and daintier phases of the Classic, and they delighted more in the effeminate conceits of the "Pompeian" than in the dignified grandeur of the "Palladian" school. The result was that they produced a style in architecture that depends largely on delicate stucco detail for its effect; and which, while generally refined in character, is certainly lacking in dignity. But of architecture as such it is not in my province to write here, and I must be content with giving a mere note or two upon the "Adam" interior which forms the subject of the accompanying plate, and which embraces many of the chief characteristics of the style in question.

As I have already mentioned, "Adam" mantels are very numerous, but all are more or less of the type illustrated, as regards the character of the detail with which they are enriched, though the majority were not so crowded with ornamentation. The mouldings are invariably of the simplest and purest classic order, the "dentil," "egg-and-tongue," and acanthus types being freely introduced. The cinerary vase and urn were favourite details, and were generally accompanied by delicate "swags," or festoons of drapery, leaves, or "husks." Acanthus scrolls and chimerical creatures also are characteristic of the style (see the mantel illustrated), but the foliations are of the lighter, almost wiry, description, rather than of the heavier "Roman" school; while the creatures themselves generally look as if they would be none the worse for a good hearty meal.

"Adam." II. Plate 67

Typical Adam Detail. (See pages 213-215)

Another typical feature is the "fan," disposed either in an oval, or employed to enrich corner spaces in the form of a spandril - "spandle" it was often styled in those old times. The "flute," both plain and "stopped," is of frequent occurrence; garlands and wreaths are plentiful, and it is not at all uncommon to find Wedgwood "Jasper" medallions framed-in amidst such enrichment. "But," the reader may exclaim, "most of the details enumerated are to be found in 'Sheraton.'" Precisely so, and it naturally follows that "Sheraton," and even "Heppelwhite," furniture is the very thing to accord with "Adam" decoration. The grand piano designed by the brothers Adam, which is illustrated herewith, can hardly be described as a triumph from the furniture designer's point of view; but the design was published in the Adams' book, and so finds a place here.

There can be no doubt at all that there is a certain delicate charm associated with the best phases of the "Adam" style; but we are never impressed by it, and in its presence we are more than a little tempted to fall into the phraseology of the ladies' penny paper, and exclaim "How sweetly pretty!"