It is very sad to see such possibilities as his not reaping their true reward, for poverty dogged his steps all through life, and he was always struggling for a bare livelihood.  His books were not financially successful, and at last he gave up his workshop and ceased to make the furniture he designed.  He was an expert draughtsman and his designs were carried out by the skillful cabinet-makers of the day.  Adam Black gives a very pitiful account of the poverty in which Sheraton lived, and says:  “That by attempting to do everything he does nothing.”  His “nothing,” however, has proved a very big something in the years which have followed, for Sheraton is responsible for one of the most beautiful types of furniture the world has known, and although his life was hard and bitter, his fame is great.

Sheraton took the style of Louis XVI as his standard, and some of his best work is quite equal to that of the French workmen.  He felt the lack of the exquisite brass and ormolu work done in France, and said if it were only possible to get as fine in England, the superior cabinet-making of the English would put them far ahead in the ranks.  To many of us this loss is not so great, for the beauty of the wood counts for more, and is not detracted from by an oversupply of metal ornament, as sometimes happened in France.  “Enough is as good as a feast.”  Sheraton, at his best, had beauty, grace, and refinement of line without weakness, lightness and yet perfect construction, combined with balance, and the ornament just sufficient to enhance the beauty of the article without overpowering it.  It is this fine work which the world remembers and which gave him his fame, and so it is far better to forget his later period when nearly all trace of his former greatness was lost.

[Illustration:  A Sheraton bureau with a delightful little dressing-glass.]

Sheraton profited by the work of Chippendale, Adam, and Hepplewhite, for these great men blazed the trail for him, so to speak, in raising the art of cabinet-making to so high a plane that England was full of skilled workmen.  The influence of Adam, Shearer, and Hepplewhite, was very great on his work, and it is often difficult to tell whether he or Hepplewhite or Shearer made some pieces.  He evidently did not have business ability and his bitter nature hampered him at every turn.  The Sheraton school lasted from about 1790 to 1806.  He died in 1806, fairly worn out with his struggle for existence.  Poor Sheraton, it certainly is a pitiful story.

[Illustration:  One of Sheraton’s charming desks, with sliding doors made of thin strips of wood glued on cloth.]

[Illustration:  A sewing-table having the spirit of both Hepplewhite and Sheraton.]

Sheraton’s chair backs are rectangular in type, with urn splats, and splats divided into seven radiates, and also many other designs.  The chairs were made of mahogany and satinwood, some carved, some inlaid, and some painted.  The splat never ran into the seat, but was supported on a cross rail running from side to side a few inches above the seat.  The material used for upholstery was nailed over the frame with brass-headed tacks.