with
small, sliding screens.

Queen Anne hangings were of rich damasks, silks and velvets, and the
wainscot of rooms was painted some pale colour as an effective
background to set off the dark, turned walnut or gorgeous lacquer
made in red, green or black, and ornamented with gold. Some of the
Queen Anne pieces of this variety had hinges and lockplates of chased
brass. Another variety was of oak, veneered with walnut and inlaid.

The very high ceilings of the Queen Anne period led to the use of
"tall boys" or family bureaus, those many-storied conveniences which
comprised a book-case above, writing desk in the middle, and drawers
below.

Lockwood says in giving the history of chairs, in his "Cabinet Makers
from 1750 to 1840": "Extravagance of taste and fluctuation of fashion
had reached high water mark due to increase of wealth in England and
her colonies. From the plain, stately pieces of Queen Anne the public
turned to the rococo French designs of early Chippendale, then tiring
of that, veered back to classic lines, as done by the Adam brothers,
and so on, from heavy Chippendale to the overlight and perishable
Heppelwhite. Then public taste turned to the gaudily painted Sheraton
and finally, took to copying the French Empire."

The American Revolutionary War stopped the exportation of furniture
to America, with the result that cabinet-makers in the United States
copied Chippendale and neglected all other later artists. When America
began again to import models, Sheraton was an established and not a
transitional type. Beautiful specimens are shown in the Nichols house,
at Salem, Mass., furnished in 1783. The furniture used by George
Washington when President of the United States in 1789, and now in the
City Hall, New York, is pure Sheraton. (See Colonial Furniture, Luke
Vincent Lockwood.)

Sir Christopher Wren, architect, with Grinling Gibbons, designer and
wood-carver, were chiefly responsible for the beautifully elaborate
mouldings on ceilings and walls, carved from oak and used for forming
large panels with wide bevels, into which were sometimes set
tapestries.

The Italian stucco mouldings were also used at that time. The fashion
for elaborate ceilings and sidewalls had come to England via Italy and
France. The most elaborate ones of those times were executed under
Charles II and William III, the ceilings rivalling those of Louis XIV.

William and Mary (1687-1702) brought over with them from Holland,
Dutc