This design by John Linnell displays some of the neoclassical motifs and characters that were becoming popular in design towards the end of the 18^th century. The sphinx and the griffin are an example of the way in which designers were incorporating legendary creatures into furniture design. The perfume burner in between the two mythological creatures was also a popular neoclassical motif. It was originally a Classical form intended for sacrificial alters. Many neoclassical designers were using the perfume burner motif in different ways, for example the neoclassical architect James ‘Athenian’ Stuart designed burners for Spencer House, London. In this design, Linnell has depicted the perfume burner as a candelabra. The use of candles in front of the mirror glass would have been an effective lighting device, important during the 18^th century when there were extremely low levels of light.

This design is unusual; underneath the oval glass is another mirror glass which has architectural features that are reminiscent of a chimney piece frame. Once again neoclassical forms such as the central portrait medallion and the Vitruvian scroll decoration have been adapted by Linnell for their incorporation into this design. The ram heads either side of the glass are similar to the way in which neoclassical architects such as William Chambers were incorporating such figures into their designs for chimneypieces.

The foliage and festoons add flamboyance and grandeur to this design. Mirror glass and frames such as these could have been situated within the important state rooms of a wealthy household. The yellow watercolour that Linnell has used demonstrates that the frame would be gilded however the perfume burner is left uncoloured. While this piece has been accurately and elegantly composed, the pencil sketch of a vase at the top of the oval mirror suggests that this was an experimental design.