was not so successful, as he did not have their flexibility of
temperament, and was unable to give the warmer touch to the classic,
which they did so well. His paneled walls, however, have great dignity
and purity of line and feeling, and the applied ornament was really an
ornament, and not a disfigurement as too often happens in our day. With
Adam one feels the surety of knowledge and the refinement of good taste
led by a high ideal.

[Illustration: There are many details worthy of notice in this room, the
mahogany doors, the paneled walls with the old picture paper, the
over-mantel, the knife boxes on the sideboard, the Hepplewhite
furniture, and the side-lights. The chandelier is badly chosen.]

[Illustration: A fine old Hepplewhite sideboard, with old glass and
silver, but the modern wallpaper is not in harmony.]

[Illustration: A modern Hepplewhite settee, showing the draped scarf
carving he used so much.]




_Hepplewhite_


The work of Hepplewhite and his school lasted from about 1760 to 1795;
the last nine years of the time the business was carried on by his
widow, Alice, under the name of A. Hepplewhite & Co. For five years
after that some work was done after his manner, but it was distinctly
inferior. In the early seventies Hepplewhite's work was so well known