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 the sake of economy, as was the case with the houses of the middle classes, this elaborate and laboured enrichment was executed in the fashionable stucco of the day.

Large mirrors, with gilt frames of this material, held the places of honour on the marble chimney piece, and on the console, or pier table, which was also of gilt stucco, with a marble slab.  The cheffonier, with its shelves having scroll supports like an elaborate S, and a mirror at the back, with a scrolled frame, was a favourite article of furniture.