d as one of the "Original Designs for Manufacturers" in
_Art Journal_, 1829.]

The cradle was also, by the Queen's command, sent to the Exhibition, and
it may be worth while quoting the artist's description of the
carving:--"In making the design for the cradle it was my intention that
the entire object should symbolize the union of the Royal Houses of
England with that of Saxe-Coburg and Gothe, and, with this view, I
arranged that one end should exhibit the Arms and national motto of
England, and the other those of H.R.H. Prince Albert. The inscription,
'Anno, 1850,' was placed between the dolphins by Her Majesty's special
command."

[Illustration: Design for One of the Wings of a Sideboard, By W. Holmes.
Exhibited at the "Society of Art" in 1818, and published by the _Art
Journal_ in 1829.]

In a criticism of this excellent specimen of work, the _Art Journal_ of
the time said:--"We believe the cradle to be one of the most important
examples of the art of wood carving ever executed in this country."

Rogers was also a writer of considerable ability on the styles of
ornament; and there are several contributions from his pen to the
periodicals of the day, besides designs which were published in the _Art
Journal_ under the heading of "Original Designs for Manufacturers." These
articles appeared occasionally, and contained many excellent suggestions
for manufacturers and carvers, amongst others, the drawings of H.
Fitzcook, one of whose designs for a work table we are able to reproduce.
Other more or less constant contributors of original designs for furniture
were J. Strudwick and W. Holmes, a design from the pencil of each of whom
is given.

[Illustration: Design for a Work Table, By H. Fitzcook. Published as one
of the "Original Designs for Manufacturers" in the _Art Journal_, 1850.]

But though here and there in England good designers came to the front, as
a general rule the art of design in furniture and decorative woodwork was
at a very low ebb about this time.

In furniture, straight lines and simple curves may be plain and
uninteresting, but they are by no means so objectionable as the over
ornamentation of the debased rococo style, which obtained in this country
about forty years ago; and if the scrolls and flowers, the shells and
rockwork, which ornamented mirror frames, sideboard backs, sofas, and
chairs, were debased in style, even when carefully carved in wood, the
effect was infinitely worse when, for