This design for a pier-glass by John Linnell is contemporary with the rococo forms which were being incorporated into furniture design during the middle of the 18^th century. The rococo became popular ca.1730, typified by curved decorative features, asymmetry and naturalistic imagery. During this period, Linnell was designing elaborately carved pieces of furniture such as in this design. The figure of the putti playing a violin (which surmounts the frame) and the squawking bird perched below are examples of the flamboyant and whimsical motifs that Linnell was using. These details which Linnell adopted were often inspired by the engravings of French designers such as Bernard Toro, Nicholas Pinneau and Jean Bérain as well as the illustrations to Aesop’s Fables by Francis Barlow. It attests to the influence of French forms upon Linnell’s designs, but also their popularity within English furniture design.

Pier-glasses were mirrors placed on a wall in between two windows within an interior. Extremely elaborate pier- glasses such as this one were often used to emphasize the grandeur of a wealthy household. They were also important sources of light within an 18^th century interior as they could reflect the light of nearby candles. Mirror glass was extremely expensive during the 18^th century and while it became increasingly available towards the end of the century, even the wealthiest clients often recycled existing mirror-glass.

This design is asymmetrical and, while this was common within the rococo style, furniture would not be asymmetrical to this extent. Therefore this drawing was probably intended as two separate designs and may have been shown to potential clients.