1. For more on Courtenay, see Luke Beckerdite, “Philadelphia Carving Shops, III,” Antiques 131, no. 5 (May 1987): 1044–64. The Stiegel stove is illustrated and discussed in Morrison H. Heckscher and Leslie Greene Bowman, American Rococo, 1750–1775: Elegance in Ornament (New York: Harry N. Abrams, 1992), p. 227, no. 163. 2. Edward Hodnett, Francis Barlow, First Master of English Book Illustration (Berkeley: University of California Press, 1978), pp. 220–22. The book was initially printed in 1666. 3. Listed with donor’s names in the card catalogue of the Library Company, Philadelphia. 4. The influence of Barlow’s illustrations continued well after 1770, and they can be found in use by John Stockdale in London in 1793 and, more significantly, were the basis of the famous wood engravings of Thomas Bewick, published in 1784 and 1818. An edition of La Fontaine, printed in Paris in 1799, had plates by Augustin Legrand based on Barlow, and another collection of fables with cuts after Barlow was printed in French by Ramoissenet about 1790. A Berlin edition, Hundert Fabeln, was published in 1830 with color added to the illustrations. 5. Georgian Society Records, Dublin, 1913, pl. 64. The left frieze panel on the ca. 1770 chimneypiece from the Stamper-Blackwell Parlor (in the Winterthur Museum) features a stag being pursued by hounds. A similar scene appears in the background of Aesop’s “Stag and Reflection.” 6. Morrison H. Heckscher, “English Pattern Books in Eighteenth-Century America,” in American Furniture, edited by Luke Beckerdite (Hanover, N.H.: University Press of New England for the Chipstone Foundation 1994), p. 188. 7. Catherine Hargrave, A History of Playing Cards (New York: Dover, 1966), fig. 203; H. T. Morley, Old and Curious Playing Cards (reprint; Secaucus, N. J.: Wellfleet Press, 1989), pp. 166–68. A complete set of these cards is housed in the museum of the United States Playing Card Company in Cincinnati and a second set has been noted in England. 8. David Stockwell, “Aesop’s Fables on Philadelphia Furniture,” Antiques 60, no. 6 (December 1951): 523. Helena Hayward, Thomas Johnson and the English Rococo (London: Alec Tiranti, 1964), fig. 15. The Howe high chest and Johnson design are illustrated in Philadelphia Museum of Art, Philadelphia: Three Centuries of American Art (Philadelphia: by the Museum, 1976), pp. 132–33, nos. 104a–b. For the phoenix high chest base and its matching dressing table, see Alexandra W. Rollins, ed., Treasures of State: Fine and Decorative Arts in the Diplomatic Reception Rooms of the U.S. Department of State (New York: Harry N. Abrams, 1991), pp. 150–51, fig. 66; and Edwin J. Hipkiss, Eighteenth-Century American Arts, the M. and M. Karolik Collection (Boston: Museum of Fine Arts, 1941), pp. 102–3, no. 55, respectively. The lamb and ewe chest is shown in Joseph Downs, American Furniture: Queen Anne and Chippendale Periods (New York: Macmillan, 1952), no. 184 and Gregory Landrey, “The Conservator as Curator: Combining Scientific Analysis and Traditional Connoisseurship,” in American Furniture, edited by Luke Beckerdite (Hanover, N.H.: University Press of New England, 1993), pp. 147–59. For the “Pompadour” chest, see Heckscher and Bowman, American Rococo, pp. 202–3, no. 138, fig. 48. 9. Henry Mercer, The Bible in Iron, revised, corrected, and enlarged by Horace H. Mann (1914; 3d. ed. reprinted, Doylestown, Pa.: Bucks County Historical Society, 1961), pls. 5, 242–44, 248. Mercer referred to the “17 batsto 70” plate as the “Squirrel Hunt.”