This workshop design for a pier-glass by John Linnell demonstrates the fashion for chinoiserie. Chinoiserie was the style influenced by the art and design of China, Japan and other Asian countries and, as in this design, was often interpreted for popular consumption by British designers. The pagoda-shaped frame and the presence of a parrot embody this. The frame is also composed from frilly, rocaille details which were a popular feature of the rococo style which was also fashionable during this period. The rococo was a style which became popular in Britain ca.1730, characterized by curved forms, naturalistic imagery and asymmetry. Designers such as Linnell and also his contemporaries such as Matthias Lock, would often combine chinoiserie and the rococo to create fanciful effects. The shelves within this design, on top of which there seem to be pencil sketches of vases, demonstrates the popularity for collecting porcelain during the 18^th century and its subsequent display.

Pier-glasses were mirrors placed on a wall in between two windows within an interior. Elaborate pier-glasses 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.