,,french ,,and ,,english ,,furniture ,illustration3 ,,louis ,,xiii ,,interior ,,french ,,and ,,english ,,furniture ,,distinctive ,,styles ,,and ,,periods ,,described ,,and ,,illustrated ,illustration ,,by ,,esther ,,singleton ,,author ,,of ,,the ,,furniture ,,of ,,our ,,forefathers ,,illustrated ,,from ,,original ,,sources ,,by ,h4 ,d4 ,,nichols ,,new ,,york ,mc,c,l,u,r,e ,,phillips ,,co ,,mcmiii ,copyright #aijc ,,by ,,mcclure1 ,,phillips ,,co4 ,published ,december1 #aijc4 ,n ---------------------------------------- -------------------------------- ,,preface ,illustration ,,preface ,the purpose of this work is to provide all who are interested in ,french and ,english furniture since the ,renaissance period with a comprehensive and detailed view of the various periods or styles4 ,a chapter is devoted to each period1 and the chapters naturally vary in size1 in accordance with the importance and length of the different periods4 ,so far as ,i have been able to discover in my researches1 there is no work precisely of the same aim and scope as this one in existence4 ,many books have been written about furniture as a whole1 and the history of furniture1--especially the ,french styles2 but ,i do not know of one that enables the student to learn with slight expenditure of time and energy all that is necessary to know in order to fit up a room in any given style4 ,anyone who wants to furnish and decorate a ,louis ,,xv4 boudoir properly1 or a ,heppelwhite dining-room1 or an ,empire bedroom1 can find all about it in the following pages4 ,the collector1 the student1 the cabinet-maker1 the upholsterer1 and even the architect will find ready at hand valuable material gathered from many sources4 ,the ceilings1 wall-decorations and chimney-pieces proper to each period are described from contemporary authorities and illustrated from contemporary pictures and prints4 ,the furniture is described from specimens existing in many collections and museums2 and frequently in the words of the great makers and designers themselves4 ,in many instances the collector is forced to buy the survivals of whatever period he fancies1 instead of being able to select for reproduction the more artistic specimens that have perished1 and his rooms are filled with anachronisms because he cannot find articles to complete his set of furniture4 ,the reproduction of a beautiful model will give more pleasure to a person of taste than a piece of furniture whose only recommendation is that it is an 8antique02 and ,i think many persons will sympathize with me in my desire to see correct reproductions of beautiful models of furniture multiplied1 as well as the textiles that accord with them4 ,in all periods people have given much thought not only to beautifying their homes1 but to achieving the correctness of style that contributes elegance and dignity to an establishment1 unconsciously following the opinion that ,sir ,henry ,wootton gave about #afjj3 8,every man's proper mansion house and home being the ,theatre of his ,hospitality1 the seat of his self-fruition1 the ,comfortablest part of his own ,life1 the noblest of his ,son's ,inheritance1 a kind of ,private ,princedom--nay1 the ,possession thereof an ,epitome of the whole ,world1 may well deserve by these attributes1 according to the degree of the ,master1 to be delightfully adorned40 ,in order to give an even more thorough understanding of the appearance of the rooms1 ,i have included many partial inventories of representative homes and many descriptions of separate sumptuous beds and other pieces of furniture typical of the style4 ,upholstery has received minute attention4 ,any one can learn here how to drape a bed1 or a window2 what valances1 curtains1 lambrequins1 cords and tassels are appropriate1 and what materials1 braids and nails may be used4 ,the characteristics of the decorative art of each period are set forth with some detail1 and the motives of carving of the woodwork are clearly defined in the numerous line drawings and details of the many plates4 ,i have carefully selected the illustrations from the designs of the recognized representatives and leaders of the styles4 ,besides going to these fountain-heads1 ,i have not hesitated to adopt the views and translate in many cases the words of the recognized modern authorities on ,french furniture4 ,these include ,alexandre1 ,jacquemart1 ,havard1 ,deville1 and others4 ,in the ,chippendale1 ,heppelwhite and ,sheraton styles1 these writers speak for themselves4 ,i wish to express my thanks to ,mr4 ,arthur ,shadwell ,martin for his valuable assistance in my researches for both pictures and text4 ,e4 ,s4 ,new ,york1 ,december1 #aijc4 ,illustration ,,table ,,of ,,contents ,,page ,,louis ,,xiii4 ,,period #a ,frontispiece and ,plates ,i4-,,iv4 ,,jacobean ,,period #ce ,plates ,v4-,,xi4 ,,louis ,,xiv4 ,,period #fc ,plates ,,xii4-,,xvii4 ,,queen ,,anne ,,period #ajg ,plates ,,xviii4-,,xxiii4 ,,early ,,georgian ,,period #acc ,plates ,,xxiv4-,,xxviii4 ,,louis ,,xv4 ,,period #aeg ,plates ,,xxix4-,,xxxvi4 ,,chippendale ,,period #bai ,plates ,,xxxvii4-,,xlii4 ,,louis ,,xvi4 ,,period #bdi ,plates ,,xliii4-,,xlviii4 ,,adam ,,period #bhg ,plates ,,xlix4-,,lii4 ,,heppelwhite ,,period #cjg ,plates ,,liii4-,,lvii4 ,,sheraton ,,period #cbi ,plates ,,lviii4-,,lxiii4 ,,empire ,,period #cfe ,plates ,,lxiv4-,,lxviii4 ,,louis ,,xiii4 ,,period ,illustration ,,louis ,,xiii4 ,,period ,in decorative art1 the form of ,renaissance known as ,henri ,,ii41 which owed so much to the taste and influence of ,diana of ,poitiers1 lasted for three quarters of a century4 ,there was practically no change till the regency of ,marie de' ,medici1 when she invited ,rubens to ,paris4 ,in #afbe1 he had completed his ,luxembourg works1 and the commencement of his visit is generally regarded as the date of the beginning of the pure ,louis ,,xiii4 style4 ,flemish influence1 therefore1 is the keynote of this modified ,renaissance style4 ,marie de' ,medici called many of her own countrymen from ,italy to design the new works1 and ,rubens himself had spent eight years in ,mantua1 and therefore ,italian taste is often apparent in the ,louis ,,xiii4 style1 but is quite secondary to that of ,flanders4 ,the great fame that ,rubens enjoyed and his splendid reception in ,paris gave his work unquestioned authority with the contemporary ,french decorative artists4 ,his painting affected furniture with its luxuriant1 robust and somewhat heavy qualities4 ,a period of magnificence and lavish expenditure by art-lovers had begun4 ,richelieu at the beginning almost rivalled in luxury ,mazarin and ,fouquet at the end of this period4 ,the ,cardinal employed ,simon ,vouet and other artists on the decoration of his magnificent ,palais ,royal and the ,castle of ,rueil2 and his expenditures in art collecting attracted such undesirable public attention that he presented a great part of his treasures to the ,king in #afcf4 ,among these was a great silver buffet weighing about #afbe pounds4 ,vouet1 during this period1 occupied a somewhat similar position to that held by ,le ,brun during the ,louis ,,xiv4 period4 ,it is interesting to note the importance now held by goldsmiths in decorative art4 ,a great deal of the furniture of the day was designed by them4 ,architects also regarded furniture as an integral part of the interior decoration of their apartments1 and therefore designed the important pieces4 ,for instance1 ,crispin de ,passe 7#aegj-afdb7 shows1 besides his chimney-pieces 7which being the most important architectural feature in the room1 always received careful artistic treatment from the architects71 chairs and bedstead4 ,the latter still retains a good deal of ,renaissance feeling1 with carved posts1 open-carved colonnade in the high foot-board and bulb feet4 ,it is somewhat reminiscent of ,du ,cerceau's design4 ,illustration3 ,,plate ,i ,besides the names already mentioned1 the goldsmiths1 ,gideon ,legare and ,carteron1 the armorial designer1 ,jacquard1 and particularly ,abraham ,bosse1 ,picart1 ,stella1 and ,lepautre's master ,adam ,philippon have left stamps or engravings that how the ,louis ,,xiii4 style in all its details and characteristics4 ,the goldsmiths1 engravers and designers of this period were ,audran1 ,barbet1 ,berton1 ,betin1 ,betou1 ,biard1 ,bignon1 ,blosset1 ,bouquet1 ,boutemie1 ,boyceau1 ,brebiette1 ,brosse1 ,caillard1 ,callot1 ,carterson1 ,chrestollien1 ,collot1 ,cotelle1 ,daubigny1 ,david1 ,de la ,barre1 ,dorigny1 ,faber1 ,firens1 ,francard1 ,fornazoris1 ,gandin1 ,gautrel1 ,hedouyns1 ,heince1 ,hennequin1 ,huret1 ,hurtu1 ,jacquard1 ,jardin1 ,jousse1 ,la ,fleur1 ,la ,houe1 ,langlois1 ,le ,clerc1 ,lefebvre1 ,le ,mercier1 ,le ,rou1 ,le ,roy1 ,levesville1 ,lionnais1 ,loriot1 ,lorris1 ,marchant1 ,mellan1 ,menessier1 ,messager1 ,millot1 ,montcornet1 ,moriet1 ,mortin1 ,nolin1 ,picart1 ,pierretz1 ,piquot1 ,pompeus1 ,rabel1 ,rivart1 ,roussel1 ,sordot1 ,tavernier1 ,testelin1 ,thomassin1 ,torner1 ,tortebat1 ,toutin1 ,vignon1 ,vivot1 ,vouet and ,vovert4 ,rabel's ornaments are formed by a species of rinceaux of quite a particular kind1 which look like the curves of an ear4 ,many artists of this period were certainly inspired by this part of the human body4 ,it is impossible to imagine more strange productions2 the genre 7auricular style7 lasted only a short time in ,france1 and was carried to its apogee by the ,germans and ,flemings4 ,the age of ,louis ,,xiii4 saw the transformation of ,paris1 and the application of the decorative arts to private life4 ,the new manners in this period finally break with the ,middle ,ages and the ,renaissance4 ,it is a transitory1 but decisive1 period with its own originality2 a period which announces the splendours of the age of ,louis ,,xiv4 ,paris was so embellished1 and so many houses were rebuilt and new finer ones built1 that rents rose greatly1 and the authorities published five abortive ordinances regulating the excessive rents between #afbb and #afdi4 ,the new luxury had to be paid for4 ,under ,marie de' ,medici and ,richelieu1 a new city with characteristics of utility1 beauty and magnificence arose4 ,corneille's le ,menteur 7#afdb7 notes the wonderful change3 8,paris semble mes yeux un pays de romans2 ,j'y croyais ce matin voir une le enchante2 ,je la laissai deserte et la trouve habite4 ,quelque ,amphion nouveau sans l'aide des maons ,en superbes palais a chang ces buissons4 99 99 99 99 99 ,toute une ville entire avec pompe btie1 ,semble d'un vieux foss par miracle sortie40 ,so ,corneille tells us that the striking change in ,paris was one to pomp and grandeur4 ,even more than the magnificence of the dwellings1 the change to comfort is to be observed4 ,far from increasing during the reigns of the ,valois kings1 comfort had suffered4 ,viollet le ,duc says3 8,the excessively laboured refinement of the ,fourteenth and ,fifteenth ,centuries and the internal luxury of the apartments of the beginning of the ,sixteenth had been lost or laid aside during the long religious wars of the close of the ,sixteenth ,century1 and the furniture of a great lord under ,louis ,,xiii4 would have appeared barbarous and coarse to one of ,charles ,,vii4's vassals4 ,perhaps it was better to live under the reign of ,louis ,,xiv4 than under that of ,charles ,v42 but certainly ,charles ,v4 and the nobles and middle classes of his time had better lodgings and were more comfortably furnished than the lords and common people were under the reign of the ,great ,king40 ,however barbarous an interior of the ,louis ,,xiii4 period might have been in comparison with one of the age of ,charles ,,vii41 it certainly was changing for the better4 ,convenience was being sacrificed less for magnificence4 ,there was an attempt to combine usefulness with elegance4 ,mme4 de ,rambouillet was one of the heads of this movement2 and1 according to ,tallement des ,raux1 was the originator of it4 ,she established her salon as early as #afjh4 ,tallement says that she was the first to arrange suites of rooms through which guests could move easily4 8,being dissatisfied with the plans submitted to her 7it was in the ,marchal d',ancre's time7 for at that time they only knew how to make a hall on one side1 a chamber on the other1 and a staircase in the middle1 one day1 after long reflection1 she cried3 #8,quick6 some paper6 ,i have found how to do what ,i wanted4' ,she drew the plan1 and it was followed exactly4444 ,she it was who taught people how to put the staircases to one side1 so as to have a large suite of rooms1 to make high windows from the floor up and to make high and broad doorways opposite one another40 ,the decorative motives and accessories characteristic of this style are clearly defined4 ,an analogy has been traced between the general lines of the furniture and the contemporary costume4 ,in the latter1 as shown in ,abraham ,bosse's engravings1 the waist line is set unusually high1 giving an appearance of a short bust4 ,this division of the figure into two unequal parts1 the upper one being disproportionately short1 is carried into the furniture4 ,the characteristic chair of the period 7see ,plate ,i47 is short in the back4 ,the larger pieces of furniture follow the same general form1 being divided into two bodies by a horizontal cornice1 shelf1 or other line at above half the total height of the piece of furniture4 ,the cabinets1 architectural in form1 have greater width than height1 and rest on a frame or table with legs turned spirally and connected4 ,this style of cabinet was introduced early in the period4 ,one of the important decorative details and ornaments is the cartouche which also follows the prevailing taste3 it is wider than it is high1 and its field has always a somewhat exaggerated convex curve4 ,the rounded form also predominates in the cut-work fringing the frame1 and protuberance is also a noticeable feature of the balusters that are made use of in the various parts of furniture that require columns or supports4 ,the vases also are very corpulent in form1 which effect is exaggerated by their very small bases4 ,the faces of the mascarons are very chubby1 and are unusually lacking in expression4 ,the decorative garlands1 which are composed almost exclusively of leaves and fruits1 very seldom of flowers1 are arranged in heavy swags1 almost always disposed in a semi-circle4 ,pears1 and more especially apples1 are the fruits most frequently met with4 ,they are usually accompanied with short leaves without serrated edges4 ,the garlands are of uniform thickness throughout2 they are quite heavy4 ,cornucopias symmetrically disposed are often found on the frontons4 ,it is a peculiarity of these cornucopias that notwithstanding the considerable size and quantity of the fruits overflowing their mouths1 they are so slender that they might almost be taken for curved trumpets4 ,though rich and very abundant in detail1 this ornamentation does not show much relief1 because the composition1 as a rule1 does not present any important or dominant motive4 ,in the decoration it is seldom that the living form plays more than an entirely accessory part4 ,the bold round mouldings now dispense with the ornaments and details of preceding styles4 ,in many cases1 these mouldings frame panels in which the square form predominates4 ,when the square is extended into a rectangle1 its dimensions are always greater horizontally than vertically4 ,the hexagon1 so much employed in the ,henri ,,ii4 style1 is now supplanted by the octagon1 which is frequently to be noticed4 ,having now gone over the general characteristics and decorative features of this period1 we may proceed to describe the separate pieces of furniture that are appropriate for a room of the ,louis ,,xiii4 style4 ,first let it be said1 however1 that it is a mistake to suppose that a ,louis ,,xiii4 room need be in any sense bare1 cheerless1 or lacking in comfort or convenience4 ,the impression gained from the charming engravings of ,abraham ,bosse is one of cosiness as well as elegance4 ,the only sense of severity of this period in the interiors is produced by the massive chimney-pieces and the somewhat monumental forms of wardrobes1 presses1 cabinets1 armoires1 etc4 ,these are usually in two tiers1 the lower one usually being solid1 as on ,plate ,,ii41 ,no4 #d4 ,the frame1 or open lower part1 however1 was winning its way into favour4 ,a good example of the latter appears on ,plate ,,iii41 ,no4 #a1 and the more curious and ornate transitional form in ,no4 #d of the same plate4 ,another example of the armoire of this period1 having drawers between two compartments of doors is shown on ,plate ,,iv41 ,no4 #d1 the details of which are purely characteristic of this period4 ,the full drawing on the same plate shows a smaller cabinet with drawers beneath the two doors4 ,this is a very handsome example of marquetry work4 ,the patterns of the inlaid wood under the cornice are very effective4 ,it will be noticed that panelling plays a most important part in the decoration of these pieces of furniture4 ,many of them had pediments of an architectural character4 ,these pediments were frequently broken1 and in the centre on a pedestal stood an allegorical figure1 or similar ornament1 such as that of ,justice shown in ,plate ,,ii41 ,no4 #b4 ,the panels were frequently richly carved with characteristic ,louis ,,xiii4 ornaments1 or with ,biblical1 allegorical or mythological subjects1 such as ,juno and the peacock1 ,judith with the head of ,holofernes 7,plate ,,iv41 ,nos4 #b and #a71 and ,paris with the golden apple 7,plate ,,ii41 ,no4 #c74 ,the important part played by pillars1 whether straight or twisted1 in the decorative scheme is readily seen by a glance at the pieces of furniture on ,plates ,,iii4 and ,,iv4 ,no4 #d 7,plate ,,iii471 called a credence1 has three varieties of columns on the same tier4 ,the flat bulb foot1 plain or carved1 so typical of this period1 is also shown on ,plates ,,ii41 ,,iii4 and ,,iv4 ,the buffet credence 7,plate ,,iv41 ,no4 #d7 shows a peculiar combination of straight and twisted column4 ,the shield in its broken pediment is flanked by the peculiar ear decoration characteristic of this period which has already been referred to 7page #e74 ,the winged cherub1 which is so often found as a decorative accessory1 appears to splendid effect on the mirror on ,plate ,,ii41 under the cornice of ,no4 #d on the same plate and on ,plate ,,iii41 ,no4 #d4 ,several varieties of mascarons also appear on ,plates ,,ii4 and ,,iii4 ,the woods of which these massive cabinets1 chests-of-drawers1 etc41 were made were oak1 walnut1 chestnut and sometimes ebony4 ,the ,dutch were bringing great quantities of new exotic woods from the ,far ,east1 and the ,spaniards were also introducing beautiful woods from the ,central and ,south ,american forests and the ,west ,indies4 ,mahogany1 however1 was scarcely known as yet in ,france1 and was not generally used till a century later4 ,the ,french1 ,germans1 and especially ,netherland cabinet-makers1 however1 were making full use of the advantages offered by the beautiful grains and tints of the new imported woods for the purposes of marquetry4 ,ebony1 of course1 was also extensively used for inlay and in the cheaper work blacked pear-wood was substituted4 ,ebony was too costly except for the richest kind of work4 ,france was procuring it from ,madagascar2 the most highly-prized varieties1 however1 came from ,ceylon1 from which island green and yellow varieties were brought as well as the black4 ,the workers of ebony gave their name to the whole craft of cabinet-making2 the word bniste becomes generally used about this time4 ,in many of the larger pieces of furniture1 the severe1 rectangular and geometric character1 the antique columns1 pediments1 broken pediments1 garlands1 pagan gods and goddesses1 heroes1 caryatides1 grotesque figures1 arabesques1 vegetable and animal forms1 imaginary beings half animal and half vegetable issuing from foliage1 terms1 and heads are ornaments and characteristics of the preceding reigns which have been carried over into the ,louis ,,xiii4 period4 ,the importation of ,florentine and other ,italian artists and workmen by ,marie de ,medici is clearly discernible in the great cabinets of this period4 ,not only were they inlaid with exotic woods1 but also incrusted with precious metals and semi-precious stones4 ,a cabinet of the ,louis ,,xiii4 period made by a ,florentine artist frequently exhibits the most astonishing prodigality of material as well as workmanship4 ,one of more than usual sumptuousness is described as being composed of three tiers and being entirely covered with shell1 inside and outside4 ,an aspect of extraordinary richness is produced by pilasters of lapis-lazuli1 cornaline ornaments1 plates of embossed silver1 paintings and miniatures1 framings of delicately repouss and gilded copper and a top enriched with stones and silver figurines4 ,such a cabinet by its elaborate workmanship required the services of many craftsmen1--the cabinet-maker1 the smith1 the engraver1 the lapidary1 the mosaic-worker1 the miniaturist1 the sculptor and the ivory-worker4 ,illustration3 ,,plate ,,ii ,we should naturally expect to find fine examples of ,italian-made ,louis ,,xiii4 cabinets among the possessions of the magnificent ,cardinal ,mazarin4 ,in fact1 the inventory of his goods mentions many such4 ,one is thus described3 8,an ebony cabinet having a little moulding on the sides1 quite plain outside1 the front being divided into three arcades1 in the middle of which are six niches1 in four of which1 in the lower row1 are four virgins of ebony bearing bouquets of silver1 the said doors being ornamented with eight columns of veined lapis-lazuli1 the bases and capitals of composite order in silver1 the fronts of the doors and the rest of the cabinet being ornamented with various pieces1 viz41 cornalines1 agate and jasper1 set with silver2 and above the arcades are three masks in jasper and twelve roses of the same mixed with six oval cornalines2 the remainder is ornamented with silver let into the ebony in cartouche and leaf-work40 ,another cabinet owned by ,cardinal ,mazarin was of ebony1 the cornice ornamented with copper gilt1 resting on four copper lions silver gilt1 the base of lapis-lazuli with a dome between two pilasters ornamented with ten miniatures4 ,in the centre on the door1 ,apollo was represented2 on the front of the drawers1 the ,nine ,muses2 and1 on the four corners of each drawer1 a medal showing portraits of two ancient and two modern poets4 ,these were covered with ,venetian crystal and enclosed in a little cornice with festoons of copper1 silver gilt4 ,the cabinet was of two sections and stood on eight columns of pear-wood stained black4 ,it was #c feet1 #a inch high2 #c feet wide2 and #a foot1 #b inches deep4 ,two other ebony cabinets1 both known by the name of 8,cabinet de la ,paix10 also belonged to the ,cardinal4 ,one of these was made by ,dominico ,cussey4 ,this was of ebony inlaid with metal and was almost entirely covered with jasper1 lapis-lazuli and agates4 ,in front1 it was enriched by four figures representing heroes1 of bronze gilt on a background of lapis-lazuli4 ,in the centre1 there was a portico supported by two columns of lapis-lazuli with base and capitals of gilt bronze1 having on the frontispiece the arms of ,france crowned and supported by two angels1--all in gilt bronze on a background of lapis-lazuli4 ,in the depth of the portico1 there was a statue of ,louis ,,xiii4 seated and holding in his left hand a shield with the device of ,his ,majesty4 ,beneath his feet1 there were a carpet and a cushion1--all in gilt bronze4 ,in the top part of the cabinet there was a little niche which contained the figure of ,peace that gave the cabinet its name4 ,the cabinet stood upon a gilded wooden base supported in front by two pilasters on an azure background1 and four figures representing 8the four principal rivers of the world40 ,the whole was #h feet high2 #e feet1 #c inches wide2 and #ai inches deep4 ,the companion cabinet of the same dimensions and proportions was likewise in two parts 7 double corps72 and likewise incrusted with jasper1 lapis-lazuli and agates4 ,in the large portico1 the figure was that of ,queen ,marie ,thrse of ,austria dressed as ,pallas1 and above were the arms of ,france and ,spain supported by two angels4 ,on the sides were four figures of the ,virtues in relief1 standing on a base of sculptured and gilded wood1 which1 instead of rivers1 as in the companion piece1 represented the four geographical divisions of the world4 ,another of ,mazarin's cabinets that had formerly belonged to his great predecessor1 ,richelieu1 is described as being decorated with wavy mouldings 7guilloches7 and compartments ornamented with various flowers1 masques and half figures1 the frieze bearing marine monsters and the middle of the doors having an octagonal panel in which is an ,amphion on a dolphin4 ,it rested on a base of four ebony columns united in front1 and four pear-wood pilasters behind2 and between the columns was a cartouche bearing the arms of the deceased ,cardinal ,richelieu4 ,this cabinet was #e feet in length2 #a foot1 #g inches in depth2 and #e feet1 #aj inches in height4 ,this was evidently an excellent typical specimen of pure ,louis ,,xiii4 work1 since it was made for ,richelieu4 ,these rare cabinets were undoubtedly the origin of the ,boulle furniture of the next reign1 and they existed in great numbers until destroyed during the ,revolution4 ,the few that survived the ravages of the mob are preserved in museums and private collections4 ,the cabinets porte 7cabinets with doors7 were1 as a rule1 more severe than the sumptuous articles just described4 ,they depend far more upon the architectural form and talent displayed by the cabinet-maker and designer than upon the skill and art of the decorator4 ,the first cabinets porte date from the ,renaissance1 and received their name at the moment when one kind of bahut1 placed on four feet1 contested popularity with another kind that stood on a base with doors1 and foreshadowed the form of those pieces of furniture called deux corps4 ,the construction of these pieces1 no matter how fine the execution of their mouldings1 panels1 and doors1 was as a rule massive1 and was the work of the joiners and carvers instead of the bnistes and marqueteurs4 ,one of these double cabinets is shown on ,plates ,,ii4 and ,,iv41 the upper part appearing in ,no4 #b on ,plate ,,ii41 and the lower in ,no4 #b on ,plate ,,iv4 ,a carved oak bahut is shown on ,plate ,,iv41 ,no4 #a4 ,another walnut double cabinet is shown on ,plate ,,ii41 ,no4 #d4 ,a cabinet of another variety appears on ,plate ,,iii41 ,no4 #a4 ,this is made of oak and cedar inlaid with rosewood1 and has two doors in front with projecting panels1 and an oval moulding in the centre and one outside drawer with brass drop handles4 ,the cabinet-makers of ,southern ,germany also excelled in their art1 and their ,kunstschranken were sought for presents to princes4 ,the most famous piece of furniture of this class is known as the 8,pomeranian ,art ,cabinet10 now in the ,chamber of ,arts in ,berlin4 ,it was made between #afaa and #afag for ,philip ,,ii41 ,duke of ,pomerania4 ,philip ,heinhofer of ,augsburg designed it and it was made in that town by ,baumgartner4 ,the elaborateness of this cabinet may be appreciated from the great number of workmen employed in its construction4 ,these included three painters1 one sculptor1 one painter in enamel1 six goldsmiths1 two clock-makers1 an organ-maker1 a mechanician1 a modeller in wax1 a cabinet-maker1 an engraver upon metal1 an engraver of precious stones1 a turner1 two locksmiths1 a binder and two sheath-makers4 ,this cabinet is #d feet1 #aj inches high1 #c feet1 #d inches wide1 and #b feet1 #aj inches deep4 ,it is made of ebony with sandal-wood drawers lined with red morocco1 and mounted with silver and pietra dura work4 ,it is supported on four griffins with heads and manes of silver gilt but the real weight is borne upon a large scroll4 ,the base is inlaid with small panels of lapis-lazuli1 jasper1 cornelian and agate1 with plates of chased silver between them4 ,the upper and lower friezes are composed of fruit1 and other ornaments consist of female figures and boys playing musical instruments4 ,there are also medallions of silver and ,limoges enamel4 ,a fine example of a cabinet of the ,seventeenth ,century was owned by ,horace ,walpole at ,strawberry ,hill4 ,this was #e feet high and #c feet wide1 composed of ebony1 rosso antico columns1 lapis-lazuli and bloodstone panels1 with settings of or moulu and precious stones4 ,neptune was represented in the central niche and on either side ,tritons and sea nymphs sported4 ,beneath these were serpents and shells1 horses1 griffins1 lions1 bulls and dogs4 ,in the panels above children were fishing with nets and rods4 ,the whole was supported on four ebony legs ornamented with gold4 ,tables of the period were also most ornate4 ,vasari speaks of a 8splendid library0 table made by ,bernardo ,buontalenti1 at the order of ,francesco de' ,medici4 ,it was 8of ebony veneered with ebony divided into compartments by columns of heliotrope1 oriental jasper1 and lapis-lazuli1 which have the vases and capitals of chased silver4 ,the work is furthermore enriched with jewels1 beautiful ornaments of silver1 and exquisite little figures interspersed with miniatures and terminal figures of silver and gold in full relief united in pairs4 ,there are besides other compartments formed of jasper1 agates1 heliotropes1 sardonyxes1 carnelians1 and other precious stones40 ,the armoire did not lose its importance until the end of the ,seventeenth ,century1 when it was relegated to the ,garde-,robes2 but the armoires1 called placards1 hidden under the panels of the room1 remained4 ,mazarin had an armoire in his ,garde-,robe #g feet high and #e feet #c inches wide4 ,in the inventory of ,madame de ,mercur1 the garde-robe contains armoires1 a bed and seats1 and gives a hint of the dressing-table by 8a table with drawer1 having a housse of red serge d',aumalle40 ,the feature of a ,louis ,,xiii4 room that formed one of its chief attractions was its tapestries and other hangings4 ,wherever the furniture would admit of it1 a gay cloth was spread or hung4 ,the parquet1 boarded1 or tiled floor also was partly covered with rugs from the ,levant4 ,it is an age of rich textiles3 not only do we find tapestry with its mythological1 ,biblical1 allegorical1 historical and floral pictures1 but damasks1 silks1 velvets1 brocades1 serges and ,oriental goods occur in bewildering variety4 ,their designs have never been surpassed in effect and elegance4 ,when the materials were of one solid colour1 they were usually ornamented with embroidery1 braids1 passementerie and gold and silver lace in addition to fringes4 ,the latter existed in great number4 ,they were of various widths and materials as well as designs4 ,sometimes fringes of two widths were used on the same drapery1 and it was not infrequent that a fringe of gold was placed directly above one of silver1 or the reverse4 ,one of the most popular fringes was the crespine1 a very narrow fringe composed of slender threads placed close together and sometimes tufted4 ,this was used for trimming the bed-curtains1 tablecloths and chairs 7see ,frontispiece74 ,another favourite fringe was the ,milanaise or ,napolitaine1 composed of two kinds of threads1 frequently silver and a coloured silk rolled together in the form of a spiral4 ,the window curtains and portires were also trimmed with braid and fringe4 ,they hung from cornices of oak or walnut1 carved to accord with the rest of the furniture4 ,the centre of the cornice was decorated with a cartouche2 or a figure of some kind1 very frequently a mascaron1 and beneath this hung the curtain or the lambrequin4 ,the curtains were of tapestry1 brocade1 brocatelle1 lampas 7a kind of brocade71 ,genoa velvet or damask lined with silk or serge and bordered with braid1 lace and fringe of gold1 silver or silk1 or worsted4 ,the lambrequin used toward the end of the period consisted of a series of denticulated scallops or square flaps1 shaped like those that bordered the tops of tents and pavilions1 or in the form of the housings on which the knights' arms were emblazoned4 ,the bed is highly decorative4 ,it is almost solely dependent upon its furniture for its effect1 as the wood is seldom1 or never1 visible4 ,the typical bed of the period is known as the lit en housse4 ,it is the one that appears in ,abraham ,bosse's engravings4 ,we may note in passing that the word housse has the some origin as the housse or housings applied to the coverings of the horses in the ,middle ,ages4 ,the wooden framework is of comparatively little importance1 after the correct proportions have been assured4 ,the ciel1 or canopy1 which is supported by four posts must never quite touch the ceiling of the room4 ,the posts are covered with the same material as the curtains1 or painted in harmony1 and occasionally they are left plain4 ,iron rods surround the canopy beneath the valance for the support of the curtains1 which may be drawn up or down by means of cords and pullies4 ,when closed1 the lit en housse has the appearance of a square box4 ,the lit en housse consists therefore of the four posts1 the canopy or ciel1 the headboard and the base around which the lower valance is fastened4 ,the canopy is always lined and surrounded by a valance1 which is repeated around the base4 ,the straight curtains that hang from the canopy in rigid lines behind the headboard 7or bolster if there is no headboard7 are known as bonnes grces4 ,from the canopy and underneath the valance hang the three outside curtains4 ,the counterpane1 called courtepointe1 or couverture de parade1 is generally of the same material as the curtains or their linings4 ,the bolster is always long and round4 ,pillows never occur4 ,illustration3 ,,plate ,,iii ,the lit en housse is particularly easy to reproduce4 ,it is merely necessary to be sure of the correct proportions and the appropriate materials4 ,as we have already remarked in the days of ,louis ,,xiii41 there was a great variety of rich textiles4 ,a lit en housse was covered with any material from tapestry1 brocade1 damask1 silk and velvet1 to serge1 or cloth1 or even linen1 or ,east ,indian goods4 ,the fringe1 galloons1 braids1 laces1 tassels1 etc41 for the ornamentation of the curtains and counterpanes are legion4 ,when tapestry or striped goods were not employed1 the silk1 velvet1 serge1 or damask1 etc41 was usually decorated with handsome braid put on in the form of stripes1 or squares1 as shown in our ,frontispiece and on ,plate ,,iii41 ,no4 #c4 ,the linings of the bed-curtains were1 as a rule1 of different material1 and frequently of different hue from the curtains4 ,the valance was of the same material as the curtains2 but the lining of the canopy1 the covering of the headboard 7if there was one7 and the bonne grces matched the linings of the outside curtains4 ,the braids preferably were gold or silver lace with gold or silver fringe to edge the curtains1 the upper and lower valances and the rich counterpane4 ,the valance and curtains may be arranged as shown on ,plate ,,iii41 ,no4 #c1 or as in the ,frontispiece2 but1 in all cases1 the four corners must be decorated with a bunch of plumes or panache1 a 8bouquet10 of silk ornaments1 or a carved or turned wooden knob1 the 8pomme40 ,the courtepointe1 or counterpane1 must cover the entire mattress and fall to the floor on the three sides4 ,the beds1 to which we have just referred1 also show the peculiar square and rigid shape of the bed when made and the long round bolster that always adorns the head of the lit en housse4 ,the bed may stand lengthwise or 8vu de pied40 ,a lit en housse of later date appears as a full drawing on ,plate ,,iii4 ,this is represented 8vu de pied0 and is furnished with a headboard4 ,the latter is upholstered4 ,for the sake of suggestions for those who might wish to reproduce a lit en housse1 we give a few descriptions of beds taken from some ,french inventories of the day4 ,one of ,cardinal ,mazarin's beds is described as a 8green taffeta bed0 and fortunately the dimensions are given4 ,it was #f feet long and equally wide1 so that it was a perfect square4 ,it was #g feet1 #c inches high4 ,the housse was furnished with three curtains of cloth of ,holland green lined with taffeta and garnished at the base with gold and silver fringe4 ,a smaller fringe ornamented the sides4 ,the head-board and the cases for the bed-posts were of cloth of silver lined with green4 ,the four knobs decorating the tops of the bed-posts were covered with velvet and trimmed with lace1 and each of these was surmounted by a 8bouquet0 of gold and silk on wire4 ,another bed of the period is exquisite4 ,it was of old rose velvet embroidered with grotesque figures of animals1 festoons and cartouches4 ,on the ciel underneath the 8dais0 were five oval medallions1--one at each corner and one in the centre4 ,in these the story of ,david and ,saul was embroidered in silk illuminated with gold threads4 ,the ,chteau de ,turenne in #afae contained two green velvet beds1 one of which had its posts covered with green velvet2 the other had a double valance of green velvet trimmed with gold and silver lace1 a fringe of green silk and a fringe of gold and silver4 ,the head was ornamented with a fringe of green silk mixed with gold and silver and a fringe of violet silk mixed with gold and silver4 ,the ,chteau de ,chenonceau contained a number of beds of this kind4 ,one was a bed of green damask1 en housse1 the bottom and the headboard trimmed with a narrow fringe of green silk1 while a deep fringe surrounded the valance4 ,the curtains were fastened at the corners with shank buttons of green silk4 ,another was of green ,carize1 or kersey1 ornamented with green silk lace and trimmed with a narrow fringe of green silk4 ,a third was of violet ,carize trimmed with a narrow fringe of violet silk2 and a fourth of dun-coloured ,carize trimmed with a fringe of dun-coloured silk4 ,then there were four beds of black and white drugget1 trimmed with a fringe of black and white worsted4 ,there were also many hangings for beds en housse4 ,one was of needlework of many colours ornamented with a fringe of red1 yellow and green worsted4 ,two hangings of tapestry1 representing trees and flowers1 were trimmed with a deep fringe of red and yellow worsted4 ,another tapestry for bed-hangings represented all sorts of flowers4 ,the fringe that ornamented it was of red1 green and yellow worsted4 ,another tapestry1 representing fountains and savages1 had a deep fringe of green and red worsted4 ,another depicted foliage1 roses1 grapes and wild beasts1 and was ornamented by a deep fringe of green1 red and yellow worsted4 ,another had a greenish-brown background on which all kinds of flowers were thrown1 and it was ornamented with red1 white and green fringes4 ,another was of blue tapestry sown with yellow fleur-de-lis4 ,one of needlework was composed of squares of blue1 white and flesh colour2 the headboard and bottom valance were also like the curtains4 ,the worsted fringes were yellow1 white1 blue and red4 ,a very handsome bed was entirely made of crimson velvet lined with crimson taffeta4 ,the canopy was also of crimson velvet lined with crimson taffeta1 and so were the curtains1 which were fastened down the sides by forty-two buttons and buttonholes4 ,the hangings1 the valance1 the headboard1 and the curtains were all ornamented with gold and silver lace applied in the conventional stripes4 ,deep and narrow fringes of crimson silk1 crespines of gold and silver1 and small fringes of gold and silver contributed further decoration4 ,the fringe was put on double1 that is to say1 the crimson silk fringe was covered by the smaller fringes of gold and silver4 ,the ornamental counterpane was of crimson velvet lined with taffeta1 and ornamented with a crespine of gold and silver4 ,it was fastened tightly to the base of the bed by means of forty-four shank buttons and buttonholes1 and the whole length of the buttons there was a little fringe of crimson silk covered with a fringe of gold4 ,each curtain required five lengths of velvet4 ,another bed with its valance on three sides1 its valance around the base and its bonnes grces was of cloth-of-gold mingled with blue1 decorated with squares formed of raised crimson velvet1 and bordered with black velvet ornamented with gold and silver and tinsel4 ,the valance was lined with white taffeta garnished with fringes of blue silk with a gold crespine2 the curtains were lined with crimson taffeta and edged with little fringes of gold and blue silk2 and the lower valance was ornamented with fringes of gold and blue silk4 ,the ornamental counterpane was made of squares of crimson silk1 trimmed with gold braid1 ornamented with a deep fringe of crimson silk1 and headed by a gold crespine4 ,the outside curtains of crimson silk1 each three lengths and a half1 were ornamented with gold braid and a narrow fringe of crimson silk and gold4 ,the valances and curtains of another were of green and gold velvet with bars of crimson satin bordered with gold4 ,the valances were lined with white satin1 trimmed with a fringe of crimson silk and a gold crespine4 ,the bonnes grces were of crimson taffeta with narrow fringes of gold and crimson silk4 ,the lower valance was garnished with fringes of gold and silk4 ,another1 was of cloth-of-silver of ,milan1 damasked with flesh-coloured silk1 and trimmed with silver tinsel1 flesh-coloured silk1 and a crespine of gold and silver4 ,the bed-posts were covered with the same4 ,the curtains and valances were of flesh-coloured and white damask1 trimmed on the seams with a fringe of flesh-coloured silk1 covered by a narrow fringe of silver4 ,another1 was formed of squares of cloth-of-gold 7old gold7 and squares of cloth-of-gold and cloth-of-silver and violet1 separated by strips of crimson velvet covered with a braid of gold and silver1 and trimmed with a small fringe of gold and white silk4 ,the valances were lined with white taffeta1 garnished with a deep fringe of white silk and a crespine of gold4 ,the lining of the canopy and curtains was of cloth-of-silver bordered with cloth-of-gold2 the headboard was covered with cloth-of-gold and silver damasked with black4 ,the three curtains and the bonnes grces of white damask were ornamented down the seams with gold braid1 but had no fringe4 ,the bed-posts were covered with cloth-of-gold 7old gold7 ornamented with narrow gold and silver braid4 ,a tasteful bed was of violet velvet and violet damask1 the latter being used to cover the head-board and for the bonnes grces4 ,the fringes were violet silk1 and the braid and crespines of violet silk also4 ,the curtains were of violet damask1 each four lengths1 trimmed horizontally with violet silk lace and a narrow violet silk fringe4 ,a bed of dun-coloured serge was trimmed with silk fringe of the same hue1 its bonnes grces being dun-coloured taffeta4 ,the counterpane was of dun-coloured serge trimmed horizontally with a deep fringe of dun-coloured silk and forty-eight silk buttons and buttonholes4 ,the four posts were covered with serge ornamented with silk braid1 and the four 8pommes0 were also covered with serge ornamented with silk braid4 ,another bed was of scarlet lined with red taffeta and trimmed with gold braid and a deep fringe of common silk covered with crespines of gold4 ,the curtains were decorated with gold braid and a narrow fringe of gold4 ,the four posts were covered with scarlet ornamented with gold braid4 ,another bed was of flesh-coloured satin with squares of cloth-of-gold-and-silver4 ,the ornamental fringe was red4 ,another1 was of green satin embroidered in gold and silver4 ,the fringes were of green and white silk1 both deep and narrow4 ,the curtains were of green damask4 ,another1 of violet velvet embroidered in gold and silver flames1 bordered with cloth of silver1 was lined with violet taffeta4 ,the fringes were of violet silk4 ,another1 was of green velvet ornamented with gold and silver lace and fringes of green silk covered with crespines of gold and silver2 the headboard was of cloth-of-gold-and-silver ornamented with green silk fringe2 the lower valance was trimmed with gold and silver braid and a fringe of violet silk covered with a fringe of gold and silver4 ,the curtains were green damask trimmed with gold and silver braid and silk fringe1 and the ornamental counterpane of green taffeta trimmed with fringes of silk and gold4 ,another bed was of cloth-of-gold striped with black and crimson satin2 the curtains were flesh-coloured taffeta ornamented with crimson fringe4 ,the bed-posts1 as we have noted1 are always surmounted by ornaments1 known1 no matter what their form may be1 as 8pommes de lit40 ,the following kinds are mentioned in the inventory of the ,chteau de ,turenne in #afae3 8,four pommes de lit of wood covered with crimson velvet ornamented with gold and silver braid and garnished with bouquets of gold and silver and varied coloured silks and little egrettes of gold and silver2 four wooden pommes de lit covered with cloth-of-silver and green trimmed with gold lace1 belonging to the bed of green velvet on a gold background2 four pommes de lit covered with crimson velvet trimmed with gold and silver lace and three grey plumes1 belonging to the crimson velvet bed2 four pommes de lit of wood painted violet and gold1 belonging to the violet velvet bed2 twenty-eight pommes de lit of gilded wood belonging to various beds1 and twelve pommes de lit40 ,another bed that is characteristic of this period was the lit de baldaquin4 ,this is a bed with das of three sides4 ,its framework was of natural wood1 or wood carved and gilded1 or covered with some rich material4 ,this bed that dismisses the columns or posts1 was introduced during this reign and carried into the next one4 ,the baldaquin1 which replaces the canopy supported by posts1 must be slightly smaller than the bed it overshadows4 ,sometimes it is equipped with an arch that is covered with the same material as the general drapery of the bed1 and this arch1 which may be found in the old designs1 following the curved movement of the baldaquin is sometimes surmounted with a bunch of feathers4 ,when this arch contains a dome that surmounts the baldaquin1 it is called the 8,lit ,imprial40 ,a lit impriale of the period was one of green velvet and gold and silver1 trimmed with a gold and silver crespine and a little green silk fringe covered with a gold and silver fringe4 ,the curtains were of green damask trimmed with gold and silver braid4 ,another was of cloth of gold and yellow damask in squares with bands of white damask and a deep fringe of white and blue4 ,the valance was composed of squares1 but the head-board was in lengths4 ,this probably differed but slightly from the 8pavillon0 bed1 of which there are many descriptions in the old inventories4 ,mazarin1 for example1 had two 8pavillon0 beds in red serge4 ,in the ,chteau de ,turenne there was a pavilion of crimson damask ornamented on the seams with a wide braid of gold and silver4 ,a braid of gold and silver also surrounded the base1 as well as a narrow fringe of crimson silk covered with a fringe of gold and silver4 ,the chapiteau was of crimson velvet ornamented with the same braid on every seam and also upon the bottom with a deep fringe of crimson silk covered with a deep crespine of gold and silver4 ,the chapiteau was an ell in circumference4 ,upon the top was a 8pomme0 painted red and silvered1 to which was attached a silk cord of red1 yellow and white4 ,illustration3 ,,plate ,,iv ,another was of white gauze1 upon the seams of which little tufts1 or tassels1 of various colours were sewn4 ,the 8pomme0 painted in various colours1 had attached to it a green silk cord2 another was of crimson and gold2 and another of violet velvet trimmed with silk fringe of the same hue4 ,the 8pomme0 of the latter was painted violet and silver1 and the cord was of violet silk4 ,a glance at ,plate ,i4 will show that the general outlines of the chairs are square4 ,the usual set of seats comprised fauteuils1 or arm-chairs2 chairs with backs2 folding-stools 7pliants72 and a lit de repos4 ,in the ancient inventories the term 8chaises meublantes0 is given to chairs with covered backs1 while the chairs with wooden and open backs are called 8chaises cacquetoires0 and 8chaises perroquets40 ,the most characteristic chair of the period is the short1 square and rather squat1 yet well-proportioned chair that appears in nearly every one of ,abraham ,bosse's drawings1 and which in ,england is known as 8the low leather10 or 8,cromwell chair40 ,this chair is shown in the ,frontispiece and also on ,plate ,v41 while variants appear on ,plate ,i4 as ,no4 #c and as a full drawing4 ,this chair may be covered with leather1 serge1 silk1 damask1 brocade1 velvet1 tapestry1 or needlework2 but in every case the material is fastened to the woodwork by means of large brass1 gold1 or silver-headed nails1 and the back and seat are both usually ornamented with a short fringe1 as is shown in the ,frontispiece4 ,no4 #b and ,no4 #e on ,plate ,i4 are fauteuils of the period1 ,no4 #e being an ,italian chair decorated with a fringe4 ,many of the fauteuils of the day were 8in the ,italian taste10 that is to say entirely covered with velvet and trimmed with lace or fringe4 ,the framework of the arm-chair was sometimes visible1 as shown on ,plate ,i41 ,no4 #b4 ,it was of pear-wood stained to resemble ebony1 walnut1 oak1 or it was painted in a colour to harmonize with the covering4 ,among ,cardinal ,mazarin's many chairs were two fauteuils and two chairs with backs1 entirely covered with velvet nailed on the wood4 ,these were ornamented with a braid of medium width1 as were also the folding-stools1 or pliants4 ,the wood of the latter was painted red4 ,we also hear of two fauteuils trimmed with lace and fringe of medium width1 the wood being entirely covered with the velvet2 at the bottom of the back there was a double row of the crespine4 ,the six folding-stools that went with these arm-chairs were also garnished with lace and fringe1 but their frames were painted green and picked out with gold4 ,the seats were covered with green serge4 ,another set of furniture consisted of six fauteuils1 six chairs with backs1 six pliants and a lit de repos4 ,these were covered with needlework ornamented with a silk fringe of many colours4 ,the frames were of pear-wood stained black1 and they were decorated with twisted columns4 ,the twisted column shown in the side-supports and straining-rails of the chair in the lower right-hand corner on ,plate ,i41 and also in ,no4 #b and ,no4 #c on the same plate1 is derived from ,italy4 ,it is a favourite ornamentation of the day and occurs in bed-posts and wherever pillars are used4 ,another form of the spiral leg is shown on ,plate ,,iii41 ,no4 #f4 ,still another form is shown in the arm-chair with twisted and baluster arms that appears as ,no4 #e on ,plate ,,iii4 ,a favourite shape for the leg of a chair was also the ,x that so often appears in the pictures of the ,dutch masters4 ,these chairs were of ,flemish and ,italian origin4 7,see ,plate ,,vii41 lower right-hand corner47 ,this ,x is also present in the pliant or folding-stool1 an example of which is shown under the window in the ,frontispiece4 ,the coverings for the fauteuils1 folding-seats1 etc4 were1 as we have said1 of damask1 brocade1 silk1 serge1 tapestry1 or needlework1 but we must add that ,genoa and ,venetian velvets with floral designs in high relief were extremely popular4 ,two other typical chairs are shown on ,plate ,i4 ,no4 #a is a handsome fauteuil of noble proportions4 ,its back and seat are covered with two squares of material fastened in the correct way with large nails4 ,no4 #d is a very fine specimen indeed with a carved back panel of wood4 ,the favourite mascaron decorates the top rail4 ,on ,plate ,i4 is shown a typical chair of the period with an open back of turned spindles4 ,deville says this was the 8chaise caquetoire0 or 8chaise perroquet10 a name that was given to all kinds of chairs with open backs1 whether carved or turned1 or simply of two1 three1 four or five horizontal rails4 ,if this was so1 the chaise perroquet meant a different kind of chair later in the century1 for ,saint-,simon says3 8,monseigneur himself and all who were at the table had seats with backs of black leather which could be folded up for carriage use and which were called perroquets40 ,in the ,chteau de ,chenonceau 7#afjc71 there were 8more than two coverings for the petites chaises cacquetoires of silk of several colours brightened with gold and silver also on canvas estimated at forty sols1 apiece40 ,there were three other 8chaises cacquetoires like the three chairs just mentioned1 estimated at four livres dix sols apiece40 ,in ,cardinal ,mazarin's inventory1 there was 8an old chaise perroquet0 covered with moquette 7a kind of velvet or woolen tapestry71 and in the inventory of the ,garde ,meuble1 ten perroquets covered with 8tripe0 7a kind of red panne velvet7 occur4 ,another kind of chair is the 8chaise voyeuse40 ,the seat of this is quite high and the top rail resting upon the side supports 7which are continuations of the back legs7 is supplied with a manchette 7cushion71 upon which one may rest his elbows while watching the play at the card table4 ,the back of this chair is shaped like a violin1 or a bidet4 ,these chairs are mentioned in many old inventories such as ,cardinal ,mazarin's ,fontainebleau1 ,versailles1 etc4 ,in ,fontainebleau in the salons de jeux were 8four voyeuses en prie-dieu0 and 8two voyeuses en bidets40 ,the lit de repos1 or chaise longue 7see ,plate ,,viii47 is an elongated seat4 ,as a rule1 this couch1 or seat1 is six feet long1 and upon it rests a mattress or cushion4 ,it is also furnished with a bolster1 which should be covered with the same material as the mattress and back4 ,being exactly the width of the seat1 it is placed below the back at right angles to the mattress4 ,sometimes this piece of furniture has elbows1 and sometimes it has only turned supports at the sides of the back4 ,many of the handsome tables were of a fashion that was continued through the succeeding reign1 being of richly carved and gilded wood with hind's feet or with term legs with or without stretchers4 ,some of them were enriched with gilded bronze1 and incrustations and marquetry work of shell1 copper and other metal4 ,the tops1 like those of the preceding reign1 were frequently of marble or marquetry4 ,they were also covered with a cloth and a housse of leather1 serge1 tapestry1 etc4 ,the table-carpet1 as a rule1 reached to the floor and was garnished with a narrow or wide fringe4 ,this was the housse1 and above it was a second cloth 7see ,frontispiece74 ,these table-coverings were either simple or rich1 according to the purse or fancy of the owner4 ,cardinal ,mazarin1 for example1 had four table-coverings of crimson damask flowered1 bearing the arms of his ,eminence2 four of 8red crimson0 ,turkey leather trimmed with gold fringe and gold tassels and lined with red taffeta1 and a green flowered damask table-carpet with four sides1 lined with green cloth and trimmed with gold fringe la ,romaine4 ,one of the handsomest varieties of table appears as a full drawing on ,plate ,,ii4 ,although the console is known during the reigns of ,henri ,,ii4 and ,,iii41 it is in the reign of ,louis ,,xiii4 that the phrase table en console appears in the inventories4 ,the console was derived from the credence1 and was even in its earliest form a large table with a marble top1 jutting out like a bracket and serving to support a bust or vase4 ,the three visible faces of the console were in the early days frequently supported with chimras1 fauns1 etc4 ,the word table was gradually dropped and the article was known as console4 ,a variety of table1 known as the guridon1 was also popular4 ,this is a small round table mounted on a stem or baluster that ends in three legs 7,plate ,,iii41 ,no4 #b74 ,it was made of various woods1 sometimes of pear-wood stained black and sometimes painted4 ,it was of great convenience4 ,sometimes it was used for cards2 but more often it held a lamp1 or candelabra1 or a refreshment tray4 ,the chandeliers were usually of brass and hung from the centre of the room4 ,of course1 candles were inserted in the arms4 ,candelabra and small candlesticks were also used to give light1 and sconces were frequently attached to the walls4 ,pictures were framed and hung directly over the tapestries1 as shown in the ,frontispiece4 ,their frames differed but slightly from the frames of the mirrors1 specimens of which appear on ,plate ,,ii4 as a full drawing and as ,no4 #a4 ,another frame appropriate for either a picture or a mirror is seen on ,plate ,,iv41 ,no4 #c4 ,,the ,,jacobean ,,period ,illustration3 ,,plate ,v ,illustration ,,the ,,jacobean ,,period ,the ,jacobean ,period covers almost a century 7#afjc-afij74 ,in its earlier stages1 therefore1 it is still ,elizabethan in spirit1 and in its old age it is largely influenced by the taste of the dominant ,french court4 ,during the reign of ,james ,i41 the styles of furniture and interior decoration are still strongly ,tudor in character1 but the intimate connection with the ,low ,countries1 and the friction with ,spain and her ,western possessions have their effect in making the wealthy classes of ,england thoroughly acquainted with the best products of ,spanish1 ,dutch1 and ,flemish workmanship4 ,the ,tudor mixture of ,gothic and ,renaissance styles was gradually modified under the influence of ,inigo ,jones1 8the ,english ,palladio40 ,the political ties between ,england and the ,low ,countries1 based on mutual interests of a mercantile and religious nature1 were still further strengthened by dynastic alliances4 ,in ,norfolk and ,suffolk1 the population was largely composed of natives or descendants of natives of the ,low ,countries4 ,flemish and ,dutch art and manufactures1 therefore1 were extremely influential in forming what is known as the ,jacobean style4 ,this period covers1 of course1 a portion of the reigns of ,louis ,,xiii4 and ,louis ,,xiv42 and much of the furniture fashionable in ,france at this period was imported into ,england2 but with the exception of the wealthiest homes sumptuous articles are not common4 ,there is1 indeed1 a massive set of superbly carved silver furniture at ,knole1 ,sevenoaks1 ,kent1 but such luxury is rare4 ,oak and walnut are the woods chiefly used at this period1 but we also find lime1 cherry1 and cypress 7the latter especially for chests74 ,sometimes1 as even happened in ,tudor days1 the carving was gilded1 and1 in many instances1 we find the wood painted4 ,pear-wood stained black to imitate ebony is also popular4 ,mahogany is almost unknown in these days2 but exotic woods are used in the construction of cabinets4 ,towards the end of the ,seventeenth ,century a great deal of ebony was imported1 and even carved ebony furniture from ,india and ,ceylon found its way into many rich ,english homes4 ,shakespeare gives us a hint of the generous use of rich articles from various parts of the world1 showing what a cosmopolitan atmosphere a ,tudor home presented3 ,gremio says3 8,my house within the city ,is richly furnished with plate and gold2 ,basins1 and ewers1 to lave her dainty hands2 ,my hangings all of ,tyrian tapestry3 ,in ivory coffers ,i have stuff'd my crowns2 ,in cypress chests my arras counterpoints1 ,costly apparel1 tents1 and canopies1 ,fine linen1 ,turkey cushions boss'd with pearl1 ,valance of ,venice gold in needlework1 ,pewter and brass1 and all things that belong ,to house or housekeeping40#a ,illustration3 ,,plate ,,vi ,it is not unfitting that we should first recall a few of the distinguishing features of ,elizabethan ornament1 so frequently met with in the ,jacobean home4 ,the carving was characterized by bold and deep cuttings1 leaving the design in high relief4 ,the panels of the chests1 cabinets1 cupboards1 beds1 etc41 present a rich variety of subject4 ,figures taken from ,biblical or mythological lore1 grotesque monsters1 animals and floral forms are met with2 and of the latter we particularly find the rose1 vine1 carnation1 lily1 marigold1 sunflower and tulip predominating4 ,a typical floral panel is shown on ,plate ,x41 ,no4 #g4 ,then we often see a diaper pattern1 and1 occasionally1 the 8linen fold40 ,the cornices of cabinets1 bedsteads1 etc41 are often adorned with the 8egg and tongue0 pattern2 and the backs of settees1 cornices of overmantels1 etc41 are often enriched with rather grotesque dolphins1 placed back to back1 forming a kind of scroll the outline of which is shown on the table on ,plate ,x41 ,no4 #b4 ,another typical ornament is the swelling acorn-bulb4 ,it appears on the legs of tables1 posts of bedsteads1 and supports of cabinets1 cupboards1 etc41 as shown on ,plate ,x41 ,no4 #b4 ,a variety of this bulb occurs on ,plate ,,xi41 ,no4 #a1 showing the black ebony balls connected by plain stretchers1 or straining-rails4 ,the bulb also appears1 but somewhat smaller and connected by straight stretchers1 on the table on ,plate ,v4 ,the baluster legs of the court cupboard on ,plate ,x4 exhibit another kind of swelling leg4 ,this leg becomes slenderer until it dwindles into the type shown on ,plate ,x41 ,no4 #a4 ,other ornamental devices consist of interlaced bands1 strapwork1 shells1 lyres1 bell-flowers1 the acanthus1 arch panels1 branches and leaves in large flowing designs1 besides a great variety of mouldings1 panels and pierced scrolls4 ,turned work is rapidly superseding carving1 which1 however1 is never quite driven away4 ,the newest decoration is the 8spindle0 ornament which seems to have been introduced from ,england from the ,low ,countries about the middle of the ,seventeenth ,century4 ,this was made of ebony1 or of pear-wood stained black1 turned1 of course1 cut in half and applied4 ,eggs and lozenges were likewise made1 stained black and applied4 ,these ornaments decorate the cabinet on ,plate ,x41 ,no4 #a1 and the 8spindle0 is shown separately as ,no4 #d on the same plate4 ,the scroll is an excessively popular device3 it not only occurs upon mouldings and cornices1 but it also decorates the feet1 frames of panels and straining-rails of chairs and settees4 ,illustration3 ,,plate ,,vii ,during this period1 the hall was the most important room in the house4 ,guests were always received here1 and here meals were generally served4 ,in the baronial homes1 therefore1 of past generations1 the hall was used as both drawing-room and dining-room4 ,the table was set on a das1 or platform1 and a screen cut off the entrance from the kitchen4 ,at the other end of the hall was the minstrels' gallery4 ,in the course of time1 a bay window was added at the dais end of the hall1 which formed a private retiring-place for conversation while the table was being cleared4 ,this paved the way for the small 8prive parlour10 a little room built at the end1 or side of the hall4 ,the next addition was the 8,great ,chamber10 a larger room than the 8parlour10 to which the lord of the household often retired1 leaving the hall to his retainers and to such guests as were not of equal rank with himself4 ,the 8,great ,chamber0 was used as a bedroom by night and as a living-room by day4 ,here1 of course1 there was a sumptuous bed2 and a bed with rich furniture also stood frequently in both parlour and hall4 ,the general impression of a ,jacobean hall is elegance1--an elegance not merely derived from the dignified styles of the furniture contained in it2 but from the rich tapestries and hangings1 the warm panels1 the comparatively low and beautifully ornamented ceiling1 the stately mantel-piece1 the cosy bay window and the bright wood fire crackling upon the great andirons4 ,perhaps the first thing that attracts one's attention is the lavish use of the panel4 ,the doors are panelled1 as well as the ceilings and wainscots1--a fashion very popular in the days of ,elizabeth4 ,in some instances1 the room is panelled from floor to ceiling1 and in others only the wainscot and doors are panelled1 in which case the wall-space above the wainscot is completely covered with tapestry4 ,tapestry is often hung over the#b panels also1 as shown in our illustration 7,plate ,v474 ,english people had been fond of tapestry ever since the days ,king ,alfred1 fully appreciating the beauty derived from 8,hanging about the walls ,clothes of gold and halles ,arras#c of rich arraye ,freshe as flowers in ,maye40 ,tapestry1 which had become something of a lost art during the ,wars of the ,roses1 had been again brought into favour by ,henry ,,viii41 and a fresh interest is now given to it on account of the beautiful articles that are being made at the ,mortlake factory established by ,james ,i4 ,another hanging1 not quite banished as yet1 was 8painted cloth10 canvas painted in tempera1 or oil1 with various devices1 figures1 mottoes1 proverbs and wise sayings4 ,falstaff's comparison 8,slaves as ragged as ,lazarus in the painted cloth10 shows us that ,biblical subjects were represented4 ,the saucy ,beatrice of ,much ,ado about ,nothing admits that she took her witty answers from the painted cloth4#d ,illustration3 ,,plate ,,viii ,hangings of embossed leather from ,spain1 with figures in gold1 silver1 and various colours1 were also used1 especially in the adornment of the small rooms4 ,another novelty at this period was chintz1 figured or flowered4 ,in #affc1 ,pepys notes in his ,diary3 8,bought my wife a chint1 that is a painted ,indian calico for to line her new study40 ,the latter must have been a kind of boudoir1 or1 possibly1 a library4 ,in some houses there was a special room set apart for books4 ,these 8studies0 had been popular in ,england long before the time of ,mrs4 ,pepys1 since ,leland describes one that was called 8,paradise10 and which might be imitated with advantage in modern homes1 especially where there is a restricted space for books4 ,he writes3 8,at ,wressil ,castle1 ,yorkshire1 the seat of the ,percies1 there was one thing ,i liked exceedingly in one of the towers2 that was a study called ,paradise1 wher was a closett in the middle of eight squares lattised about2 and at the top of every square was a deske ledged to fit bookes on and cofers within them1 and these seemed as joined hard to the top of this closett2 and yet by pulling1 one or al would come down briste high in rabattes1 and serve for deskes to lay bookes on40 ,in some houses1 the ceiling is carved in elaborate fretwork1 ornamented with bosses and pendants1--a practice afterwards imitated in plaster4 ,the windows are furnished with small diamond1 or square1 panes1 and frequently in the centre of each window the armorial bearings of the family are displayed1 as shown in ,plate ,v4 ,sometimes these are encircled with floral1 or other devices4 ,the arms are also placed upon the chimney-piece4 ,in the bay windows we always find a low-cushioned seat bountifully supplied with soft1 movable cushions and pillows1 covered with rich silks of bright hues1 and often beautifully embroidered4 ,indeed the cushion#e is one of the features of every room1 being a necessity as well as a decorative accessory to the heavy chairs of the day4 ,the floor1 of polished oak or inlaid wood1 is occasionally enriched with a 8foot carpet40 ,in many of the older houses1 the floors are paved with tiles of various colours1 or laid with chequer-work4 ,the most important architectural feature of the room1 however1 is the chimney-piece4 ,the favourite ,tudor chimney-piece and overmantel was a mass of rich carving1 consisting of arch panels1 mouldings1 scrolls1 coats-of-arms1 flowers1 vines1 columns1 and interlaced strapwork1 supported by beautiful1 or grotesque1 terminal figures4 ,simpler styles are now being introduced in sympathy with the growing taste for ,classic severity4 ,the fire-place still remains large enough to admit of big logs1 and the hearth is equipped with andirons1 tongs1 bellows1 and sometimes a fender1--all of great artistic beauty4 ,behind the flames1 there is usually an iron 8chimney-back10 stamped with a decorative device1 or1 occasionally1 the arms of the owner4 ,illustration3 ,,plate ,,ix ,the illumination is obtained by means of lamps1 lanterns and candlesticks4 ,the latter are very ornate4 ,some of them are branched and hang from the ceiling4 ,others have sconce-arms and are placed on the walls4 ,tall standing candlesticks of metal are also used1 and are moved about the room at pleasure4 ,the illumination is also helped by means of small mirrors1 with frames carved and gilt1 or else made of ebony or olive-wood4 ,the furniture consists of one large table1 several small round or oval tables1 side tables1 chairs1 settee1 couch1 stools1 a 8court10 or 8livery cupboard0 7and sometimes both71 a screen1 cabinets1 chests1 and coffers2 while the decorations are pictures1 antlers1 armour1 vases and other ornaments of porcelain1 gold1 silver1 or pewter1 and table-clocks4 ,there has been much discussion regarding the 8court cupboard0 and the 8livery cupboard10 mentioned above1 but it is now generally accepted that the 8court cupboard10 which may have derived its name from the ,french word court 7short71 to distinguish it from the high standing cupboards1 corresponded to the ,french dressoir1 and was used for the display and keeping of plate1 glass1 etc41 etc4 ,the 8livery cupboard10 on the other hand1 still found in the farmers' and labourers' cottages in ,england1 where it is sometimes called the 8bread-and-cheese cupboard10 received its name from the ,french livrer 7to deliver7 and was used both for service and as a receptacle for broken victuals4 ,the difference between them is well defined in ,janua ,linguarum 7,london1 #afgc71 as follows3 8,golden and gilded beakers1 cruzes1 great cups1 chrystal glasses1 cans1 tankards and two ear'd pots are brought forth out of the cupboard and glass case2 and being rins'd and rubb'd with a pot-brush are set on the livery cupboard40 ,the 8court cupboard0 corresponded1 in a measure1 to the modern sideboard4 ,it was a great feature at festivals and it rose in several receding stages or shelves1 upon which the plate was displayed4 ,the number of stages varied according to the rank of the master or mistress of the house4 ,in ,les ,honneurs de la ,cour1 we learn that two steps were allowed to the wife of a baronet1 three to a countess1 four to a princess1 and five to a queen4 ,at ,cardinal ,wolsey's entertainment to the ,french ,ambassadors at ,hampton ,court1 ,cavendish relates3 8,there was a cupboard for the time in length of the breadth of the nether end of the same chamber1 six desks high1 full of gilt plate1 very sumptuous and of the newest fashions2 and upon the nethermost desk garnished all with plate of clean gold were two great candlesticks of silver and gilt most curiously wrought40 ,when the same ,ambassadors were entertained by ,henry ,,viii4 at ,greenwich1 there was a 8cupborde seven stages high and thirteen feet long1 set with standing cuppes1 bolles1 flaggons and great pottles all of fine golde1 some garnished with one stone1 and some with other stones and pearles40 ,when ,queen ,elizabeth was entertained at ,hatfield ,house 7the present seat of the ,salisburies7 in #aeef1 and there was a great and rich 8maskinge in the great halle at ,hatfield10 at night 8the cupboard in the halle was of twelve stages1 mainlie furnished with garnish of gold and silver vessels and a banket of seventie dishes1 and after a voide of spices and suttleties1 with thirtie spice plates1 all at the charges of ,sir ,thomas ,pope40 ,illustration3 ,,plate ,x ,a good example of a 8court cupboard0 with five degrees of stages ornamented with plate is shown in a picture printed in ,laurea ,austriaca 7,frankfort1 #afbg71 representing an entertainment given by ,king ,james ,i4 of ,england to the ,spanish ,ambassadors during the negotiations for the marriage of the ,prince of ,wales to the ,infanta of ,spain4 ,the stages rest upon a frame of turned baluster legs connected by straining-rails4 ,below the first stage there is a drawer4 ,the 8carpets0 hang over the front of the cupboard instead of over the sides1 as was more usual4 ,this picture would seem to prove that an ordinary side table of the period might be converted into a court cupboard by simply placing the requisite number of shelves above it4 ,however1 in the inventory of ,sir ,thomas ,kytson 7#afjc7 the following occurs3 8,at ye ,great ,chamber ,dore one little joined boarde wt a fast frame to it1 to sett on glassis4 ,itm1 a thing like stayres to set plate on40 ,in the early days1 before the 8livery cupboard0 was brought from behind the screen into the hall1 the 8court cupboard0 was removed from the lower end of the hall4 ,the 8livery cupboard0 took its place4 ,the 8court cupboard0 was then placed on the das1 at the 8,lord's borde end10 or in a recess at the back of the high table4 ,sometimes it was placed in front of the bay window at the end of the das1 where it acted as a kind of screen4 ,the 8livery cupboard0 was not only used for service1 but for 8liveries0 of food and drink1 served at night and in between meals4 ,smaller livery cupboards were sometimes found in the bedrooms1 and these were usually furnished with doors and locks4 ,as food was kept in them1 the panels are frequently perforated for the sake of ventilation4 ,occasionally1 especially in later times1 the uses of the 8court0 and 8livery0 cupboards were combined4 ,between these pieces of furniture1 one difference long existed3 a portion of the court cupboard was enclosed at a very early period1 while the livery cupboard remained with its open shelves4 ,if we may believe the old inventories1 there were many varieties of the cupboard1 or many names for it4 ,we find cupboard and chest-of-drawers1 great cupboard1 table and cupboard1 table-cupboard1 livery cupboard1 side cupboard1 press cupboard1 sideboard cupboard1 half-headed cupboard1 standing cupboard1 8cort0 cupboard1 etc41 etc4 ,illustration3 ,,plate ,,xi ,its use was universal1 as it was an article of convenience1 beauty and ceremony4 ,on ,plate ,x4 a characteristic specimen of a ,seventeenth ,century 8court cupboard0 of oak is shown4 ,this is preserved in the ,vestry in ,jamston ,church1 ,nottinghamshire4 ,the lower part would resemble the ordinary side table of the day1 if the back supports were like the two turned baluster legs in the front4 ,the long drawer with carved panels is appropriated for linen1 or cutlery4 ,the enclosed cupboard is cut in the form of half a hexagon1--a favourite device of the period for cupboards1 and has three doors enriched with carved panels and mouldings4 ,the top slab or 8cupboard head0 is supported by spirally turned columns4 ,the proper way to adorn this piece of furniture is to place a cupboard cloth1 or 8carpet0 7of damask with fringed ends1 or a strip of the same material as the hangings of the room7 upon the top1 allowing the ends of the scarf to fall over the sides 7but not the front71 and then to arrange on it a few choice pieces of plate1 or porcelain4 ,it is interesting to compare this example with ,no4 #h and ,no4 #a on the same plate4 ,no4 #h is a portion of a cupboard of later date4 ,this has a 8double head10 and under the first stage the ornament is a pendant1 instead of a column or pillar4 ,this stands on a ball foot1 of an older form than the foot of ,no4 #a or ,no4 #c4 ,this example1 moreover1 has its lower portion enclosed with panelled doors4 ,the earlier specimens of the 8court cupboard0 are generally 7and often richly7 carved4 ,sometimes the pillars have ,ionic capitals1 sometimes they are ornamented with the swelling bulb or acorn enriched with the acanthus leaf1 as exhibited in ,no4 #b1 ,plate ,x4 ,the devices for the mouldings and panels open to the carver were innumerable4 ,towards the close of our period1 cupboards were decorated with applied ornaments of ebony 7or an imitation of it7 in the form of eggs1 spindles and lozenges1 as shown in the cabinet ,no4 #a on ,plate ,x4 ,the cabinet is a development of the enclosed cupboard4 ,the characteristic cabinet of ,james ,i4's time is adorned with pillars1 arch panels and spindle ornaments4 ,the specimen just referred to on ,plate ,x41 ,no4 #a1 has these decorations4 ,it stands on a frame of six legs1--a frame that was also used for the lower part of the high case-of-drawers that was coming into fashion towards the end of our period4 ,the cabinet was always a handsome piece of furniture equipped with shelves1 drawers1 compartments1 and doors1--a repository for jewels1 documents and curios4 ,it was sometimes defined as a set of boxes1 or drawers for curiosities1 and from it the cabinet-maker1 8one whose business it is to make cabinets and the finer kind of joiner's work10 took his name4 ,the cabinet was known in ,england at an early date4 ,in #aeej1 we read of a 8fayre large cabinett covered with crimson velvet with the ,king's arms crowned40 ,in the ,seventeenth ,century1 the cabinet was panelled and carved1 adorned with turned pillars1 pendants or swelling bulbs1 or it was of the newer style with applied ornaments and turned supports4 ,frequently also an imported cabinet was to be seen in the ,english home of this century1--a beautiful specimen of ,dutch marquetry1 of ,italian inlay1 of ,oriental lacquer1 or1 indeed1 of ,boulle work1 to say nothing of the splendid examples of ,flemish carving4 ,some of these cabinets were very ornate specimens of workmanship4 ,inlay or marquetry was the leading feature of decoration for them4 ,natural flowers1 birds1 animals and foliage in bright colours1 or in the colours of the exotic woods1 undyed1 were in use4 ,ivory and mother-of-pearl1 as well as shell were also employed4 ,even before the days of ,william and ,mary1 when the ,dutch marquetry became universally popular1 there was much inlaid furniture4 ,in #afig1 ,john ,evelyn notes3 8,emblema1 continued to this day by the ,italians in their ,pietra ,comessa4444 ,st4 ,lawrence at ,florence1 where the pavement and all the walls are most richly encrusted with all sorts of precious marbles1 serpentine1 porhirie1 ophitis1 achat1 rants1 coral1 cornelian1 lazuli1 etc41 of which one may number thirty sorts1 cut and laid into a fonds or ground of black marble 7as our cabinet-makers do their variegated woods7 in the shape of birds1 flowers1 landskips1 grotesks1 and other compartments40 ,the above reference shows that the ,english cabinet-makers were accustomed to work in inlay4 ,one of the designs of marquetry that came into vogue in the ,seventeenth ,century was the 8herring-bone0 pattern4 ,a clock made by ,daniel ,quare late in the ,seventeenth ,century1 and preserved at ,hampton ,court ,palace1 has its case inlaid with a border of herring-bone pattern4 ,the characteristic table of ,jacobean days is the 8drawing-table10 a solid piece of furniture with massive legs1 often carved1 and connected with rails near the floor4 ,the top is a large slab of oak and beneath it are two other slabs or leaves2 when these are drawn out at each end1 the large slab falls into the space they occupied1 and the table is thus lengthened4 ,another typical table1 called either 8round0 or 8oval10 is shown on ,plate ,,xi4 ,this is an eight-legged table provided with flaps1 or falling leaves1 supported by legs that can be pulled forward4 ,when not in use1 they fold into the frame4 ,sometimes this variety of table has six instead of eight legs4 ,a popular modern name for these is 8the gate-legged0 and 8the thousand-legged tables40 ,frequently the legs were turned spirally4 ,there was another round1 or oval table1 whose falling leaf was supported by a bracket1 shaped something like the wing of a butterfly1 from which it has received the modern and popular name of 8butterfly table40 ,the square table was also in use4 ,the table was always covered with its 8carpet02 indeed1 in the inventories of the period1 the 8table and carpet0 are often mentioned together4 ,on ,plate ,,xi4 are three specimen table legs4 ,no4 #a shows legs that are ornamented with a round globe1 which like the round ball foot1 is of ebony or wood stained black in imitation4 ,the stretchers and rest of the frame are oak4 ,frequently the table leg was decorated with the carved bulb or acorn1 as is shown in ,no4 #b1 ,plate ,x4 ,a similar leg to ,no4 #a1 ,plate ,,xi41 occurs on the table in ,plate ,v41 but the stretchers here are different4 ,no4 #b and ,no4 #c on ,plate ,,xi4 are good types of the ornamentation of the period and their legs are also connected by stretchers4 ,the latter would be used as side-tables or placed in the centre of a room4 ,the furniture of the parlour in the late ,tudor period consisted of high-backed carved chairs1 joined stools with cushions covered with rich material and fringed1 foot-stools1 turned chairs1 8lyttle guilt chairs for the women10 high folding screens with many leaves1 long1 square and round tables with 8carpets10 8conversation stools0 with ornamented ends and backs1 chests1 cabinets1 coffers and all the ornaments of the period4 ,a wood fire gives warmth1 and silver candelabra and sconces light to the room1 while further comfort is added by the tapestries1 curtains and innumerable cushions4 ,often1 indeed1 a bed occurs4 ,the ,jacobean parlour differed but little2 indeed1 in some houses this exact room survived2 but the new styles were gradually driving out the heavy chairs and cabinets for the lighter varieties with turned frames and cane webbing or their upholstered backs and seats2 and the old carving was being rapidly supplanted by the newer decoration of the black mouldings and applied ornaments4 ,the high-backed and richly carved settle had to give place to the 8couch and squab10 a handsome specimen of which appears on ,plate ,,viii4 ,this is also called a settee or a 8chaise longue40 ,our particular example is composed of a walnut frame covered with cane1 upon which are placed a mattress or long cushion and a round bolster1 both of which are covered with green silk damask bordered with a narrow fringe4 ,the back1 resembling the back of a chair1 is enclosed in an ornamental frame of scroll-work1 somewhat similar to that of ,no4 #a on the same plate1 and turned side pillars4 ,the top rail is surmounted by a pedimental scroll with a crown in the middle4 ,the six legs have projecting knees and feet connected lengthwise by ornamental rails upon which scrolls and crowns are carved4 ,this piece of furniture dates from #affj4 ,we have noted that the bed was generally met with in every room in the house4 ,there were1 however1 separate bedrooms even in the ,tudor age4 ,shakespeare's description of ,imogen's apartment gives a very charming picture of a rich sleeping-room of the time3 8,first her bed-chamber 7,where ,i confess ,i slept not2 but profess1 ,had that was well worth watching17 it was hang'd ,with tapestry of silk and silver2 the story1 ,proud ,cleopatra when she met her ,roman1 ,and ,cnydus swell'd above the banks1 or for ,the press of boats or pride2 a piece of work ,so bravely done1 so rich1 that it did strive ,in workmanship1 and value2 which ,i wonder'd1 ,could be so rarely and exactly wrought1 ,since the true life on't was4444 ,the chimney ,is south the chamber2 and the chimney-piece1 ,chaste ,dian bathing3 never saw ,i figures ,so likely to report themselves2 the cutter ,was as another ,nature dumb2 outwent her1 ,motion and breath left out4444 ,the roof o' the chamber ,with golden cherubins is fretted3 her andirons 7,i had forgot them7 were two winking ,cupids ,of silver1 each on one foot standing1 nicely ,depending on their brands40#f ,it is interesting to compare the above with the room that was prepared for the reception of ,james ,i4 at ,knole1 ,sevenoaks1 ,kent1 which is still intact4 ,the walls are covered with tapestry depicting the story of ,nebuchadnezzar4 ,the state bed1 which cost #h1jjj1 is richly ornamented and has a canopy top1 while its furniture is of gold and silver tissue1 lined with rose-coloured satin1 and embroidered and fringed with gold and silver4 ,the chairs and stools in the room are covered to correspond with the hangings and other furniture of the bed4 ,another room in the same house1 known as the 8,venetian ,bedroom10 because the ,venetian ambassador1 ,nicolo ,molino1 slept there1 contains a fine state bed1 said to have been arranged for the entertainment of ,james ,,ii4 ,the canopy and headboard are carved and gilt and surmounted by the royal arms4 ,the hangings and other furniture are of green cut velvet lined with lutestring1#g and the chairs and stools in the room are similarly upholstered4 ,another room at ,knole1 known as the 8,spangled ,bedroom10 on account of its ceiling1 is hung with tapestry and contains a handsome bed which is represented on ,plate ,,ix4 ,the stools and chairs in this room are covered with crimson silk embroidered in the same pattern as the bed-furniture4 ,the massive ,elizabethan 8four-posted0 bed died hard4 ,although in many homes the new styles were being introduced1 the 8beddes of tymbre0 were treasured and still formed objects of special bequests4 ,oliver ,cromwell's bed1 which is still in existence1 is similar in general style to the 8,great ,bed of ,ware10#h which was so large that it could hold twelve persons4 ,in #aeih1 ,paul ,hentzer1 visiting ,windsor1 notes the beds belonging to princes of preceding reigns measured #aa feet square and were covered with quilts shining with gold and silver4 ,the large ,tudor bed was the richest piece of furniture4 ,apart from the sheets of finest linen1 the soft and handsome blankets1 the counterpane of marvellous needlework1 the quilts of silk and rugs of fur1 and the curtains of tapestry1 samite1 silk or velvet1 it was a mass of superb carving luxuriantly expressed upon headboard1 canopy1 tester1 columns1 and panels4 ,the columns were often carved to represent the 8four gospellers10 or evangelists1 and angels3 which explain the old rhyme3 8,matthew1 ,mark1 ,luke and ,john1 ,bless the bed that ,i sleep on2 ,two angels at my head1 ,two angels round my bed1 ,two to watch1 and two to pray1 ,and two to carry my soul away40 ,one of the popular decorations of the columns was the acorn-shaped central bulb on the posts1 and the arch panel on the headboard4 ,even the under side of the canopy is formed of carved panels4 ,on either side of the headboard1 the terminal figures of men or women or angels were not merely decorative1 but formed supports for looping back the curtains4 ,many of these carved oak bedsteads were imported from ,flanders1 especially those whose testers are carved with designs suggested by drapery or fringe4 ,under this great bed1 which sometimes stood upon a low platform1 the 8trundle0 or 8truckle0 bed was rolled4 8,in the best bed the ,squire must lie1 ,and ,john in truckle bed hard by40 ,the bed shown on ,plate ,,ix4 is of the new style which lingered with a few changes far into the reign of ,queen ,anne4 ,it is therefore a typical ,jacobean or ,stuart bed4 ,the proportion is entirely different to that of the ,tudor four-poster4 ,the pillars1 or supports1 for the tester are taller1 and the whole framework is of lighter build4 ,this interesting specimen is still preserved at ,knole1 the home of the ,sackvilles at ,sevenoaks1 ,kent4 ,its hangings1 tester1 valance and counterpane are of crimson silk lined with satin and richly embroidered with gold and silver4 ,no4 #a on the same ,plate shows the bed with light1 spiral column that was also in use4 ,the post is surmounted by an ornament1 or knob1 or bunch of feathers which1 in ,france are called 8pomme40 ,this is the kind of bed which appears on ,plate ,,iii41 ,no4 #c4 ,it will be noticed that there is no carving on this bed which depends for its elegance upon the richness of its furniture4 ,at this period1 green1 yellow and crimson were the favourite colours for draping the bed4 ,the materials chosen were silk damask1 worsted damask1 plain satin1 silk1 or serge1 according to the wealth of the owner2 and when it is remembered that the windows were hung with the same stuff1 and the chairs1 stools1 cushions1 table-carpets and cupboard cloth and cushions were of similar stuff1 it will be admitted that a ,jacobean bedroom is lacking neither in beauty nor richness4 ,the rich materials mentioned above were often embroidered in gold or silver as is the case in bed shown on ,plate ,,ix4 ,striped silk was another favourite for the hangings of the bedroom4 ,as a rule1 when worsted materials were used1 the curtains of both bed and windows were lined with silk4 ,there was a great variety of silks1 known variously as lutestring1 paduasoy1 tabby1 taffetas1 sarcenet1 chaney1 cheney or ,china1 etc42 while the woollen goods included serge1 darnick or dorneck1 perpetuana1 mohair1 camoca or camak1 camlet1 say1 serge1 rateen1 watchet1 fustian1 damask1 and kitterminster or kidderminster1 some of which were mixed with camel's hair or threads of silk4 ,there were also dimity1 flowered chintz1 and callimanco 7a glazed linen71 as well as ,turkey-work and 8wrought0 7which1 of course1 was needlework74 ,east ,india goods1 such as printed calico and seersucker1 were also used at the end of the period4 ,white curtains for the bed are rarely employed4 ,the modern upholsterer will have no difficulty in finding suitable and equivalent materials for furnishing a ,jacobean bed and bedroom4 ,the valance hanging from the tester1 as shown on ,plate ,,ix41 is adorned with fringe1 as is also the stool that stands at the foot of the bed4 ,beside the bed1 there was always laid a narrow strip of carpet1 or tapestry1 or rug1 always referred to as a 8bedside carpet40#i ,in the bedroom1 we always find a large 8trussing chest10 used as a receptacle for the bed clothes1 and there may be another chest for the preservation of wearing apparel4 ,the latter is more likely to be a chest-with-drawers1 consisting of the chest proper1 below which are two long drawers1 appearing to the eye as four on account of the panels1 mouldings and knobs4 ,on lifting up the top1 a deep well is revealed1 at the side of which there is a 8till10 or compartment1 for small articles1 trinkets1 etc4 ,at first1 the chest was decorated with carved panels and mouldings1 and was usually rendered secure with a lock and great iron hinges that were extremely decorative4 ,the date and the initials of the owner were carved upon it1 as well as a fanciful motto or legend4 ,at a later period1 the chest was placed on a frame of short square legs4 ,the next development was the addition of a long drawer below the chest4 ,another drawer was added1 and another1 until this piece of furniture gradually became1 instead of a simple box or trunk1 a 8chest-of-drawers10 a 8chest-with-drawers10 a 8nest-of-drawers10 a 8case-of-drawers10 a 8press10 a 8cupboard-press10 etc41 etc4 ,the bureau1 or desk1 or 8screetore10 is another development2 and1 of course1 the cabinet in its simplest form is nothing but a chest-of-drawers with shelves inside shut in by doors4 ,this development will be apparent by glancing at the chest-of-drawers1 or case-of-drawers1 on ,plate ,x4 ,this contains but four drawers1 although at first sight it would seem that there were eight4 ,the panels of these drawers are edged with a flat bevelled moulding stained black1 and within that is a sunk panel1 in the centre of which is the brass handle-plate4 ,a moulding incised with cuts edges the top slab4 ,the chest-of-drawers stands on four turned knobs or balls4 ,a specimen handle and key-plate of the period appropriate for chest1 chest-of-drawers1 or cabinet are ,no4 #e and ,no4 #f on ,plate ,x4 ,the case-of-drawers is also found in the bedroom1 where the other furniture includes a dressing-table and glass1 tables1 chairs and stools1 very often a cupboard1 sometimes a desk or 8screetore10 and always plenty of cushions4 ,the 8drawing-table10 of course1 has no place in the bedroom2 such a one as that shown on ,plate ,,xi41 with either a square or round top is the most usual4 ,its 8carpet0 matches the hangings of the room4 ,the cupboard1 chairs1 stools1 and couch and desk do not differ from those already described4 ,the dressing-table is merely a simple table covered with drapery1 and upon it or above it stands or hangs a mirror1 the frame of which in general design is like the one shown on ,plate ,,xi4 ,in very rich homes1 this is of solid silver1 but more frequently it is carved and gilt1 or made of olive-wood1 or ebony4 ,sometimes it has merely a square and unornamented frame1 and again the frame may be inlaid4 ,turning now to the chairs1 we find the heavy wooden chairs1 such as are shown on ,plate ,,vii41 ,nos4 #a1 #b1 #c1 and #d1 and ,no4 #b on ,plate ,,viii41 are giving place to newer forms4 ,one of the most typical is the 8low leather0 chair1 which we have already spoken of in the preceding chapter4 ,this was generally covered with leather put on with large brass nails1 and was sometimes also decorated with fringe4 ,genoa velvet1 silk1 serge1 needlework1 etc41 were also used for covering this form of chair4 ,a square straining-rail usually connects the legs close to the floor4 ,it was popularly known as 8the ,cromwell10 and is shown on ,plate ,v4 and in the ,frontispiece4 ,two good variants occur on ,plate ,i41 ,no4 #c1 and lower right-hand corner4 ,another typical chair1 which is also reminiscent of ,abraham ,bosse1 appears on ,plate ,,vii4 ,this shape is frequently met with in the pictures of the old ,dutch masters4 ,this particular specimen1 which is preserved at ,knole ,park1 is covered with rose-coloured velvet1 divided into squares by means of a braid of mixed gold and silk threads1 and adorned with a fringe of the same4 ,the nails that fasten the material are copper-gilt1 and a large quatrefoil ornament marks the intersection of the legs4 ,the oval finials on the back are also decorated with copper-gilt nails4 ,the woodwork is painted with red lacquer ornamented with a floral design in gold4 ,all the styles shown on ,plate ,i4 are also known in ,england4 ,a very characteristic chair is the 8high backed0 chair1 known also to ,france and ,flanders4 ,it is very slender and upright4 ,examples are shown on ,plates ,v4 and ,,viii4 ,the side-posts are either spiral1 as in ,plate ,v41 or spindle1 as shown in ,no4 #a and ,no4 #f on ,plate ,,viii4 ,the back panel and seat are of cane webbing1 or stuffed and upholstered4 ,the frame of the panel may be rounded as in ,no4 #f on ,plate ,,viii41 or square as ,no4 #a on the same plate4 ,the top is usually carved in some kind of scroll-work4 ,sometimes the cane-webbing is framed with a simple moulding1 as shown in ,no4 #f4 ,plate ,,viii4 and again it may have an ornate combination of scrolls and leaves1 as shown in ,no4 #a on the same ,plate4 ,stretchers render the legs firm4 ,sometimes there are two spiral front rails as shown on ,plate ,v41 but more frequently the rail is an elaborate arrangement of scrolls1 as shown on the chair in the upper left hand corner on ,plate ,,vii4 or on ,no4 #d and ,no4 #e on ,plate ,,viii4 ,the feet are often made of a large and somewhat clumsy scroll turned outward1 as shown on ,no4 #e1 ,plate ,,viii4 ,another variety occurs on the arm-chair above4 ,another species of foot is moulded into a kind of embryonic claw1 known as 8the ,spanish foot40 ,the arm-chair on ,plate ,,viii4 is one of the richest productions of the age4 ,it is elaborately carved and gilt4 ,the border or frame surrounding the panel of the back is beautifully carved with the strawberry leaf1 and ,cupids and other figures enrich the top4 ,the side supports of the back are spirally turned1 ending in a decorative acorn 7which is repeated in detail on ,no4 #c74 ,the seat and back are upholstered in red velvet4 ,this valuable relic dates from #affj4 ,a simpler chair1 also dating from #affj1 occurs on ,plate ,,vii4 ,this is of walnut4 ,the side-supports are continuations of the back legs1 the front legs curve outward1 and the front rail is a series of scrolls4 ,the back is surmounted by a carved and pierced pediment4 ,the stuffed seat and back are covered with needlework on canvas4 ,other typical seats of the day are shown on ,plate ,,vi41 a settee or double chair1 and stool1 the frames of which are painted black4 ,the back of the settee is very high with a curved or wavy top4 ,the arms curve downward with a bold sweep4 ,the four short legs1 curving outwards1 with projecting knees and feet1 are connected by heavy straining-rails formed of heavy scrolls4 ,both settee and stool are upholstered in rich ,mortlake tapestry of the age1 representing sprays of flowers4 ----- ,footnote #a3 ,taming of the ,shrew1 ,act ,,ii41 ,scene #a4 ,footnote #b3 8,the usual manner10 says ,percy in his preface to the ,northumberland ,household ,book1 8of hanging the rooms in the old castles1 was only to cover the naked stone walls with tapestry or arras1 hung upon tenter hooks from which they were easily taken down upon every removal40 ,afterwards it seems to have been hung on projecting frames leaving a space between it and the wall1 affording a convenient hiding-place4 ,it will be remembered that ,hamlet killed ,polonius behind the arras1 where the latter had concealed himself4 ,footnote #c3 ,so called from the town of that name in ,flanders4 ,footnote #d3 8,read what is written in the painted cloth ,do no man wron2 be good unto the poor ,beware the mouse1 the maggot and the moth ,and ever have an eye unto the door40 7,old ,tract1 #afja74 ,footnote #e3 ,the cushion was in favour at an early date2 it is mentioned in ,sir ,gawain and the ,green ,knight1 8,whyssynes upon quelde-poyntes0 7#acdj c72 in the ,will of ,edward the ,black ,prince in ,nichol's ,royal ,wills1 8#gd curtyns quissyns0 7#acfa72 ,chaucer's ,troylus1 8,and down she sett here by hym upon a quysshon gold y-bete0 7#abbi72 ,isumbras1 8,bryn a chayere an a qwyschene0 7#adjj72 ,wyclif1 8,seetis of skynnes ethir cuyschuns0 7#achh7 ,wyclif1 ,ezek iii1 8,woo to hem that sewen tegider cusshens0 7#achb72 ,mallory1 8,and there was laid a cusshyn of gold that he should knele upon0 7#adgj-he72 and ,berners1 ,arth4 ,lyt4 ,bryt41 8,they set them down on cosshyns of sylke0 7#aecj74 ,footnote #f3 ,cymbeline1 ,act ,,ii4 ,scene ,,iv4 ,footnote #g3 ,a heavy ribbed silk4 ,footnote #h3 8,taunt him with the license of ink2 if thou thou'st him some thrice1 it shall not be amiss2 and as many lies as will lie in thy sheet of paper1 although the sheet were big enough for the bed of ,ware in ,england1 set 'em down40--,twelfth ,night1 ,act ,,iii1 ,scene ,,ii4 ,footnote #i3 ,this name occurs as early as #acja4 ,,louis ,,xiv4 ,,period ,illustration3 ,,plate ,,xii ,illustration ,,louis ,,xiv4 ,,period ,the culminating period of the long reign of ,louis ,,xiv4 7#afdc-agae7 was reached at the ,treaty of ,nimeguen in #afgh4 ,from this time forward1 ,france not only dominated ,europe by force of arms1 but also by her taste and achievements in art4 ,paris set the fashions for the whole ,continent and for the ,court of ,charles ,,ii4 across the ,channel4 ,the 8,roi magnifique10 now able to indulge every fancy and whim1 makes the ,palace of ,versailles the symbol of the time4 ,although the architect ,mansart began the improvements there in #affa1 it was not until #afhb that the residence of the ,court was fixed at ,versailles4 ,then it became the expression of pomp1 pleasure and magnificence4 ,magnificent ,versailles1 with its water-works1 its statues1 its groves1 its gardens1 its galleries1 its pictures and its furnishings1 cost the ,king a fortune4 ,the furniture alone1 not including either pictures or tapestries1 amounted to #ac1jjj1jjj livres4 ,anxious to exhibit a magnificence unknown since the days of ,rome and ,byzantium1 the 8,sun ,king0 conceived the idea of entrusting the designing and manufacture of carpets1 tapestries1 furniture1 plate1 etc41 etc41 to artists of the first rank4 ,his first plan was to gather around him a number of talented men1 to each of whom he granted apartments in the ,louvre2 but he found that it would be well to subject all the various individual works to one guiding spirit and thus to create harmony4 ,therefore1 in #affg1 he established the 8,manufacture des ,gobelins10 with the painter1 ,le ,brun1 at its head4 ,this manufactory of the crown became not only famous for the superb tapestry that bears its name1 but for cabinet work 7bnisterie71 goldsmith work 7orfvrerie71 etc41 etc41 and was the special pride of ,louis ,,xiv41 who1 according to a contemporary3 8,ne passe gure de semaine ,o toute sa cour il n'y mne40 ,among the famous artists and workers employed at the ,gobelins1 were the bniste ,andr ,charles ,boulle1 the goldsmiths ,claude ,ballin and ,delaunay1 the painters and decorators ,jean ,brain and ,jean ,lepautre1 and the engravers ,la ,barre1 ,viaucourt1 ,debonnaire1 and ,guillaume and ,alexandre ,loir4 ,nor must ,colbert be forgotten1 the great minister of finance who aided the ,king in founding this important establishment4 ,le ,brun dominated all productions with his taste1 which was that of ,louis himself1--magnificent1 splendid1 heroic and pompous4 ,here were produced not only the furnishings for the homes of the wealthy1 but those superb gifts that ,louis lavished upon the ambassadors from foreign courts4 ,massive silver#aj furniture1 which seems to have originated in ,spain1 and to have crossed the ,pyrenees with ,anne of ,austria1 the daughter of ,philip ,,iii41 became extremely popular at court and with those of ,louis's courtiers who could afford such a luxury4 ,when ,charles ,,ii4 ascended the ,english throne1 and brought with him from ,france all the styles of ,louis ,,xiv41 silver furniture was introduced into the country1 some of which is still preserved4 ,doubtless the richness and beauty of these rare articles developed the taste for carved and gilded wood4 ,its use was not confined to the wealthy2 in comparatively modest dwellings and htels the frames of the seats1 mirrors1 tables1 consoles1 etc41 were carved elaborately and gilded4 ,it is probably owing to this dazzling and glittering effect of gilded wood that has caused critics to refer to the preceding style of ,louis ,,xiii4 as 8sombre40 ,the luxury and splendours of the court penetrated to the middle classes1 who adopted all the styles of the day4 ,it was not long before great changes in interior decorations were sufficiently apparent to attract the notice of contemporary writers4 ,la ,bruyre speaks of the preceding reign when copper and pewter had not been supplanted by silver4 ,the enormous and monumental chimney-piece which reached to the cornice1 a typical example of which is shown in the frontispiece1 was banished for the 8petite chemine10 or little chimney-piece4 ,mirrors now made at the ,gobelin manufactory became far more common1 having been brought within the reach of many who could not afford the hitherto unrivalled glasses made in ,venice4 ,the flags and tiles were now superseded by floors of inlaid woods1 or parquetry1 and the tapestries and embossed leather that adorned the walls in the preceding period were gradually succeeded by painted and gilt panels4 ,there was a tendency everywhere for lighter hues4 ,this taste had already reached high expression in the ,marquise de ,rambouillet1 who astonished everyone with her 8,blue ,parlour10 which was decorated and draped in the colour of the sky4 ,it must not be imagined1 however1 that tapestry was rejected4 ,the magnificent productions of the ,gobelins reproducing in their bold colours the pictures of ,le ,brun1 ,van der ,meulen1 and others1 made superb wall-decorations for the homes of the wealthy2 and those who did not care for the hunting-scenes1 war-scenes1 mythological subjects1 or allegories1 could select ,brain's fine 8arabesques40 ,we notice1 however1 some new colours that were extremely popular4 ,these were particularly the yellowish pink hue of dawn1 called aurora1 flame-colour1 flesh-colour1 and amaranth1 a purplish red such as occurs in the common flowers1 ,love-lies-bleeding and ,prince's ,feather4 ,these colours occur chiefly in the sumptuous brocades and damasks from ,lyons1 ,genoa and ,flanders that were used to line the walls1 for covering the seats1 and draping the great beds4 ,illustration3 ,,plate ,,xiii ,the influence of ,le ,brun cannot be over-estimated4 ,all the industries of the day that had any connection with art passed into his control4 ,for at least twenty-five years1 he regulated all the types and models1 and was the arbiter and judge of the productions4 ,he furnished designs for painters1 sculptors1 cabinet-makers1 weavers1 etc41 etc4 ,let us in confirmation of this turn to the ,mercure de ,france for #afib2 8,although ,i have mentioned10 says the writer1 8many works1 ,i have forgotten to speak of those large and superb cabinets that they make at the ,gobelins from his designs and under his guidance2 it would seem that all the arts have contributed something to them4 ,finally1 ,m4 ,le ,brun is so universal that all the arts work under him1 and he even goes so far as to make designs for the locksmith4 ,i have seen very cultivated strangers gazing at the locks and bolts of the doors and windows at ,versailles and the ,galerie d',apollon at the ,louvre as if they were chefs-d'uvre1 from whose beauty they could not tear themselves away40 ,colbert's industrial system was founded upon the idea of useful luxury4 ,everything in common use had to be beautiful1 and the result was that1 although the taste was aristocratic1 the result upon ,france was democratic4 ,silk and velvet1 tapestry and rugs1 vases of porphyry and porcelain1 candelabra and andirons1 clocks and articles of silver1 rich cabinets and armoires1 in fact1 all kinds of useful and ornamental articles were soon to be found in middle-class houses as well as in the homes of the wealthy4 ,a great progress was noted in the art of the dyer2 the tapestries became brighter1 with the famous ,gobelin scarlet1 ,lyons black1 ,rouen blue1 ,tours green1 the ,nmes yellow1 etc4 ,to appreciate the general luxury of the day1 let us recall the magnificent entertainment that ,fouquet gave to ,louis ,,xiv4 at the ,castle of ,vaux1 when 8he went so far as to cause to be placed in the room of each courtier of the ,king's retinue a purse filled with gold to supply at the play those who had not enough1 or none at all20 and the still more remarkable lottery that ,cardinal ,mazarin held in his palace in #affj 7the year before his death71 for the benefit of the courtiers4 ,the prizes given on this occasion consisted of precious stones1 jewels1 textiles1 mirrors1 tables1 cabinets1 and other furniture1 crystal candelabra1 silverware1 gloves1 ribbons and fans1 valued altogether at half a million4 ,again1 when ,louis received the ,siamese ,ambassador1 he was seated on a throne of silver1 and his costume was so heavy with gold and jewels that he was soon forced to remove it4 ,it was an age of jewels4 ,travellers brought home from the ,east many precious stones1 particularly diamonds2 ,tavernier1 for instance1 made six voyages to ,india and ,persia1 and brought diamonds to the ,king4 ,chardin1 merchant to the ,king1 publishes his voyage to ,persia4 ,this contact with the ,east touches popular fancy1 and the ,persian1 the ,turk and the ,hindu appear in court-ballets1 and their art often inspires the art of the day1 as may be noted in some of the arabesques of ,jean ,brain4 ,the general impression of the ,louis ,,xiv4 style is that of imposing majesty1--a style that is more appropriate to ceremonial rooms than to familiar living4 ,it is an age of carved and gilded furniture2 the period indeed has been called 8the triumph of gilded wood40 ,the carving1 however1 is entrusted to sculptors who seem to find inspiration in the work of the goldsmiths1 for the complicated ornamentation that appears on the frames of chairs sofas1 consoles1 tables1 etc41 etc41 suggests the chiselling of metal4 ,dead gold and burnished gold are both used1 and the profusion of scrolls1 leafy boughs1 guilloches1 heavy foliage1 lozenge-shaped imbrications embossed with flowers in high relief1 shells and flowers in high relief1 arranged as festoons1 garlands1 bouquets1 and sheaves1 not to speak of the acanthus1 the mascaron and the cartouche1 produce an appearance of luxury and brilliancy that was unknown until the days of ,louis ,,xiv4 ,in the reign of ,louis ,,xiv41 it was generally understood that every piece of decorative work should consist of a combination of the straight line and the curve4 ,a series of bars interlaced1 or ending with scrolls1 is a distinguishing characteristic of this period4 ,this combination is found not only in the forms of the furniture1 but in the inlays of wood and brass and upon the walls of rooms1 both painted and carved4 ,a feeling of stoutness and width characterizes the mouldings1 the hollows of which never refuse to admit light1 and these architectural mouldings are usually rich in classic ornaments 7palm-leaves1 ovolos1 etc474 ,sometimes the mouldings are replaced by a torus enriched with imbricated laurel-leaves4 ,the bases and supports of the furniture rest broadly and firmly on the ground4 ,there are broad surfaces and few projections of detailed ornamentation that would cast shadows2 the colours are bold and brilliant1 the cornices resemble ,roman capitals1 the straining-rails are1 as a rule1 heavy and rectangular in section1 and1 with the exception of armoires and beds1 the furniture is not high above the floor4 ,tables are supported by pilasters1 or massive columns4 ,the characteristic ornamentation of the first period of the ,louis ,,xiv4 style1 which was dominated by ,lepautre1 is ,roman or heroic4 ,the motives are1 for the most part1 such as would appeal to a warrior or hero4 ,we find trophies of antiquity where the cuirass1 surmounted by a helmet1 is accompanied by swords1 and even by the lictor's fasces1 and sometimes they are heaped up in a mass1 suggesting the spoils of war1--such as cuirasses1 casques with plumes1 shields1 fasces1 laurel wreaths and clubs4 ,the winged ,victory is also omnipresent1 and ,victories blowing trumpets are used4 ,we also find allegorical figures1 mythological divinities1 river-gods resting on their urns1 great cornucopias much heavier and with wider openings than those of ,louis ,,xiii41 and heavy garlands1 or swags1 of fruits and leaves1 having much longer and fuller leaves than the ,louis ,,xiii4 style1 and these trails of foliage frequently display a wealth of ample scrolls4 ,the acanthus leaf1 which is so popular1 becomes very broad1 even bloated1 and all the other leaves in use are now strong and powerful4 ,the mascaron1 typical examples of which are seen on ,plate ,,xiv41 ,nos4 #a1 #b1 and #c1 the fleur-de-lis1 the double ,l 7the ,king's cypher7 represented on ,plate ,,xvi41 ,nos4 #b and #d1 complete1 with the cartouche1 the characteristic ornamentation4 ,upon the latter are displayed the coats-of-arms1 the fleur-de-lis and the double ,l1 as represented on the plate just referred to4 ,the cartouche has a strongly rounded and projecting field1 and its form is either circular or oval1--a real ellipse 7quite different from the egg-shaped oval of ,louis ,,xvi474 ,there is another peculiar decoration1 consisting of a strange combination of the scroll and shell2 the anthemion1#aa treated as a shell 7see ,plate ,,xv41 central ornament on ,no4 #b7 and the scroll mingled with the foliage of the acanthus4 ,the second period of the style ,louis ,quatorze is especially characterized by ,brain1 and is nothing more than an attenuated ,louis ,,xiv41 which forms a quite natural transition to the style of the ,regency4 ,the swelling curves and the heavy masses of decoration gradually become finer1 more delicate and more refined1 until at length they merge into the succeeding period4 ,another characteristic taste of the day was for the ,chinese style4 ,one of the ,trianon palaces exhibited in high degree this taste for la chinoiserie in decoration4 ,it was called the palais de porcelaine4 ,four of its small pavilions were ornamented with plaques of faence in imitation of porcelain4 ,the interior was painted also in porcelain4 ,the walls were covered with mirrors and the furniture was extremely sumptuous4 ,the flowers and shrubs were planted in handsome porcelain pots4 ,one of the distinctive styles of furniture at this period is that made by ,andr ,charles ,boulle 7also written ,boule and ,bhl74 ,he was the son of ,jean and the nephew of ,pierre ,boulle1 both of whom were 8menuisiers du roi0 and lived in the ,louvre4 ,our ,boulle1 born in #afdb1 also lived in the ,louvre from #afgb until his death in #agcb1 and when ,louis ,,xiv4 established his manufactory at the ,gobelins he was made 8bniste1 ciseleur1 et marqueteur ordinaire du ,roi40 ,boulle's furniture is exclusively de luxe1 or apparat1 and only harmonizes with rich surroundings4 ,it consists almost exclusively of consoles1 armoires1 commodes1 cabinets1 tables1 desks and clock cases1--forms that present large surfaces for the decoration that he carried to such perfection4 ,his designs are very heavy4 ,occasionally they take the curved1 or bomb forms4 ,this swelling curve is especially found in the commodes tombeaux 7tomb-commodes7 and commodes panse 7paunch chests74 ,boulle's furniture was an excuse for decoration1 which was carried so far that even the joinings of the panels were lost beneath the clever designs of foliage1 flower1 or scroll4 ,many pieces still exist that were merely intended for show 7apparat74 ,yet nothing could be richer than ,boulle's work1 with its marquetry of exotic woods1 its incrustations of tortoise-shell1 its threads of copper or pewter beautifully engraved1 its scarlet lines and its splendid gilt mascarons1 handles1 and bas-reliefs that form a sort of frame for the beautiful marquetry-work4 ,particularly handsome are the console-tables1 upon whose marble slabs should stand rich vases of goldsmith work1 jasper or porphyry1 perhaps1 with gilt mouldings and garlands2 and1 when these are reflected back by numerous mirrors1 the effect is dazzling4 8,no one would refuse to admit10 says ,havard1 8that the architecture is the least remarkable part of the creations of this celebrated artist4 ,his great merit independently of the perfection of the work of his bnisterie1 must be sought elsewhere4 ,boulle is a colourist in his art more than a designer4 ,the contours of his furniture are often heavy1 and he added nothing new4 ,you may find all the elements in the immense work of ,le ,brun1 the great master of decorative art under ,louis ,,xiv4 ,the superiority and the originality of this cabinet-maker consists in the admirable combination of the bronze and the copper with the background of the furniture which he understood how to vary infinitely by the multiplicity of incrustations and mosaics upon the groundwork of oak and chestnut4 ,this was his palette1 from which he drew his surprising effects and on which he played with his consummate virtuosity2 it is to this that he owes his legitimate renown1 greater even in ,england that it is in ,france40 ,boulle's furniture is now highly prized by collectors and brings enormous prices4 ,in #ahhb1 two large armoires by ,boulle from the ,duke of ,hamilton's collection fetched #ab1jge at ,christie's in ,london4 ,in the famous ,jones collection at ,south ,kensington there is an armoire specially noted for its beautiful decoration4 ,mr4 ,jones bought it from a house in ,carlton ,terrace1 ,london1 for a small sum many years ago1 and it is now valued at #aj1jjj4 ,it is supposed to have been designed by ,brain and made by ,boulle for ,louis ,,xiv4 ,in looking over the ,french inventories of ,louis ,,xiv4's time1 we frequently come across the description of a bed that belongs to an earlier period4 ,it is not surprising that these old beds1 with their magnificent hangings that are sometimes described as much faded1 or as lacking some of their decorations1 should have been valued and bequeathed from generation to generation4 ,in some of the castles1 therefore1 the beds were historic4 ,sometimes they had special names by which they were known4 ,for instance1 among the valuable beds owned by the ,crown was a bed mi-party of embroidered violet velvet and cloth of gold that was known as 8lit d',angleterre10 because the arms of ,england were embroidered in the centre of the headboard with the device 8,honi soit qui mal y pense40 ,another bed was anciently called the 8lit des satyres10 because upon its draperies were depicted ,diana and her nymphs and satyrs4 ,another was known as the 8lit de ,melusine10 because that serpent-princess was represented on the headboard as bathing in a fountain4 ,such beds1 belonging to a former age1 were frequently to be met with in luxurious and ancient dwellings2 yet we cannot associate them with the days of ,louis ,,xiv4 ,nor was the lit en housse abandoned4 ,it is indeed quite frequently found4 ,even as late as #agjh1 ,m4 de ,leger's chamber contains a lit en housse 7#c feet wide and #f feet long7 of violet and white damask trimmed with a mixed silk fringe4 ,the four folding-stools in this room were covered with the same4 ,on ,plate ,,xv4 7,no4 #a7 a transitional bed is shown2 this forms a link between the lit en housse of the ,louis ,,xiii4 period and the lit d'ange of the ,louis ,,xiv4 period4 ,the latter1 also represented on ,plate ,,xv41 is the characteristic bed of this age1 and is the model to be kept in view when reading the descriptions of the beds in the following pages1 and the model that should be imitated when arranging a bedroom of this period4 ,illustration3 ,,plate ,,xiv ,the position of the bed is always 8vu de pied10--standing out in the room4 ,according to the ,dictionnaire de ,trvoux1 a lit d'ange was a bed without pillars or posts1 and whose curtains were looped back4 ,to add to this1 other authorities say that the ciel1 or canopy1 while being the same width as the bed1 must not be as long4 ,if it covers the entire bed1 then it is a lit la duchesse1 and if it lacks a carved or decorative cornice1 then it becomes simply a lit pavillon4 ,finally1 according to ,havard1 the true difference between a lit d'ange and a 8lit vu de pieds0 of to-day is not to be determined by the dimensions of the canopy1 nor by the arrangement of the curtains or lambrequins1 which are the same1 but that the foot of the bed is not simply covered by a long courtepointe1 or counterpane1 but should have the squares of drapery 7cantonnires71 hanging from the mattress repeating the form and trimmings of the upper valance and rest of the bed furniture4 ,an early lit d'ange recorded occurs in ,cardinal ,mazarin's inventory1 dated #afec1 and is described as a lit d'ange of ,china gauze on a background of flame-coloured silk1 with flowers and syrens in gold4 ,the counterpane and six curtains were of this rich material adorned with gold fringe4 ,the lit d'ange continued in fashion for about a hundred years4 ,it became as popular as the lit en housse had been2 and1 if we may believe ,des mots la mode1 one of the merits of a courtier in #afib was to 8juger en dernier ressort du grand art de retrousser les rideaux d'un lit d'ange40 ,the lit d'ange was sometimes as high as #ab feet2 but it was generally #aa feet high1 #f feet wide1 and nearly #g feet long4 ,single beds were about #f feet long1 #f feet high1 and #c feet wide4 ,they were evidently comfortable1 as the average number of mattresses was three1 besides a feather-bed1 and the bolster was frequently of down4 ,pillows never seem to have been used on the bed at all4 ,for instance1 the furnishings of ,madame de ,maintenon's bed were3 two woollen mattresses covered with fustian1 one feather-bed1 one hair-bolster2 and1 in addition to the sheets1 she had a red blanket1 a ,marseilles quilt1 and a wadded white satin quilt1 the reverse being of white taffeta4 ,over the white ,marseilles quilt1 the crimson damask counterpane was smoothly drawn1 and the valance neatly adjusted4 ,mademoiselle d',aumale's bed had three mattresses and a feather-bed and a feather-bolster4 ,she had two white woollen blankets and a white ,marseilles quilt4 ,the various pieces of the bed were valances 7upper and lower71 cantonnires 7for definition1 see note on page #he71 straight curtains called bonnes grces1 outside curtains1 headboard1 canopy1 posts1 and pommes1 or knobs4 ,the four-post bedstead has nearly become extinct1 and now the beds have but two posts only at the head4 ,these are almost invariably covered with a kind of sheath1 or case1 made of brocade1 silk1 or velvet1 matching1 or contrasting with1 the curtains4 ,taffeta is a favourite material for lining the curtains1 and almost every bed is decorated with some kind of braid and fringe1 usually gold1 or gold and silver mixed4 ,in addition to the beds described in the preceding pages1 we may note here other typical beds that would serve as suggestions for the designer of to-day4 ,one is a bed of reddish brown velvet1 embroidered with gold1 and trimmed with a gold braid and fringe2 the valances1 headboard1 posts1 and canopy were of this material1 while the three curtains were of a gold1 silver1 and violet brocade lined with red taffeta4 ,another was of green and white muslin1 trimmed with a woollen braid and fringe of green and white2 a third1 is a pavilion bed of red and white muslin1 trimmed with red and white fringe2 and a fourth1 a 8lit en dome0 of striped gauze1 the stripes being gold1 silver1 and flame-colour4 ,the ornamental fringe was a narrow one of gold and silver4 ,the draperies were arranged in seven festoons4 ,the counterpane was also of this striped gauze4 ,returning to the lit d'ange1 one owned by the ,king himself is of extraordinary elaborateness1 being entirely embroidered on a gold background1 with flowers1 quivers1 cartouches with the arms and cypher of the ,king1 and1 moreover1 ornamented with gold lace4 ,on the ceiling1 there was painted a little picture representing ,night2 and on the centre of the counterpane1 a picture representing ,sleep4 ,a heavy gold cord1 tied in knots and decorated with tassels1 looped back the curtains4 ,the wood at the foot was visible4 ,it was carved in the form of two pillars at the foot representing children on eagles1 each carrying on his head a perfume-vase4 ,this frame and all the rest of the visible wood was gilded4 ,the detail 7,no4 #b7 on ,plate ,,xv4 represents the base of a less ornate bed and one of a later period than this of the ,king4 ,here there is a feeling that anticipates the coming period of the ,regency1 although the cloven foot1 or hind's foot has long been familiar1 and is of frequent occurrence in ,boulle's work4 ,the mascaron1 too1 above the foot1 is not new1 nor is the shell1 or anthemion ornament1 in the centre4 ,the general effect of the curve is what announces the coming style4 ,two beds belonging to ,louis ,,xiv4 were described in #agah after his death1 and as having been made especially for him4 ,one was la duchesse 7demi ciel71 and the other was l',impriale 7the dome surmounted by a crown74 ,the latter must have been very handsome1 as it was of yellow damask1 embroidered in silver1 the design being foliage1 leaves1 berries1 and seeds4 ,the whole bed was finished with a fringe of amaranth chenille4 ,what a charming combination6 yellow and silver with a touch of reddish purple6 ,in addition to the beds already mentioned the banc lit sometimes appears4 ,there were two in ,madame de ,maintenon's apartments3 one was #e feet1 #aj inches long1 and #b feet1 #b inches wide4 ,this was covered with moquette and furnished with two bolsters and a pavilion of red serge4 ,the other was #c feet long and #b feet wide4 ,it had a cover of crimson damask and was surmounted by a pavilion of red serge4 ,in nearly every room of the period1 a lit de repos is found4 ,two varieties of this piece of furniture are shown on ,plate ,,viii4 and on ,plate ,,xiii41 one having but one back and the other1 two4 ,it was always richly upholstered and furnished with a round bolster at each end and sometimes with two square cushions as well4 ,although frequently called chaise longue1 this couch is more generally known in ,france at this period as lit de repos4 ,toward the end of the reign of ,louis ,,xiv4 it was placed in the niche1 lengthwise of course4 ,its covering always agreed with the rest of the furnishings of the room2 but sometimes we come across one described by itself2 as for example1 one in #afga that had a double back1 that is to say1 a back at each end1 like the one from the ,chteau de ,chenonceau on ,plate ,,xiii4 ,this was furnished with two round bolsters1 two square pillows and two mattresses1 all upholstered in a silk brocade of violet1 aurora and white1 trimmed with a braid of the same colours and a fringe of gold1 silver and silk4 ,the wood of the frame was carved and painted violet and white and gold4 ,the slip cover for this beautiful couch was of changeable taffeta1 of the hue known as gorge de pigeon4 ,we may note here that all the sofas1 chairs and folding-seats1 as well as couches1 had separate housses or slip covers that were made as a rule of taffeta4 ,they were used to protect the furniture4 ,the seats of the period consisted of fauteuils1 or arm-chairs1 chairs with backs1 folding-stools1 tabourets1 and the sofa1 or canap4 ,it is not necessary to describe the court etiquette regarding the ceremonial use of the seats3 the details regarding the tabouret would fill a chapter4 ,the fauteuil and the canap were reserved for the highest in rank2 the characteristic fauteuil on ,plate ,,xiii4 consisting of a stuffed seat1 a square back1 scroll arms partly upholstered1 term legs and heavy straining-rails4 ,modifications of the frame of this chair appear in ,no4 #a1 ,no4 #b and ,no4 #c on the same plate4 ,the canap on ,plate ,,xiv4 is of the same general form4 ,the frames of the seats1 particularly those destined for ball-rooms and other extremely luxurious apartments1 were carved and gilt2 but many were painted in hues that harmonized with the hangings of the rooms1 and picked out with gold1 silver1 white1 or any other required thread of colour4 ,they were always richly upholstered in velvet1 damask1 brocade or tapestry1 as is shown on ,plates ,,xiii4 and ,,xiv4 ,the materials were fastened to the seats by means of gold or silver-headed nails1 as shown in ,no4 #b and ,no4 #c on ,plate ,,xiii42 and often1 too1 the nails were above fringe1 as shown in the arm-chair on ,plate ,,xiii4 ,sometimes a braid or lace was used to hide the ordinary nails1 and sometimes1 again1 a small lambrequin1 or valance surrounded the frame of the seat1 nearly reaching to the floor 7see ,plate ,,xxi41 ,no4 #c74 ,the splendid list of chairs at the ,chteau de ,turenne in #agjj gives a very excellent idea of the chairs of the day4 ,they include3 fauteuils of crimson velvet trimmed with gold braid and gold fringe2 of cloth-of-gold2 of violet velvet and of green velvet2 many folding-stools2 chairs covered with serge1 violet cloth1 moquette1 yellow moquette1 black leather1 yellow leather1 cloth-of-gold with designs of crimson velvet1 and chairs painted green and yellow and upholstered in green4 ,we also learn of six folding-stools covered with white satin1 embroidered with ,chinese figures and trimmed with gold fringe2 three fauteuils and three cushions of ,flanders brocatelle1--red1 aurora and white2 twenty-four folding-stools and twelve square cushions of blue velvet embroidered with gold and silver1 and two fauteuils1 six folding-seats1 two square pillows and tabouret of flesh-coloured and silver brocade4 ,the fringes used for the chairs1 stools and beds were very elaborate1 and there was an extremely large number of them1 in knots1 twists1 tassels1 tufts1 headed by plaited and twisted braids of many kinds and known under many names4 ,so many specimens of these have been preserved that one cannot go astray in upholstering any article in the ,louis ,,xiv4 style4 ,towards the close of this period1 a new fauteuil makes its appearance4 ,its back is arched and slightly curved1 and its feet end in a carved leaf4 ,this is one of the first indications of the coming style of ,louis ,,xv4 ,this is also felt in the curving chair-back that appears on ,plate ,,xiii4 7,no4 #d7 and on ,plate ,,xviii4 7,no4 #e74 ,the legs and feet of the chairs are usually cut in the tapering form with four faces1 and ornamented with marquetry1 paint or gilding4 ,many of them have straining-rails that intersect in the form of an ,x1 as is shown on ,plate ,,xiii42 and these usually carry at their point of intersection a little ornament such as a steeple1 or a rose4 ,some of them have a carved front rail1 and others have a wooden moulding below the seat instead of a fringe4 ,the arms nearly always end in the scrolled acanthus1 and some of them are padded4 ,plate ,,xiii4 gives several examples4 ,a piece of furniture that dates from this reign was the ,commode1 a kind of desk or bureau1 containing drawers for the preservation of linen1 or clothing or small articles4 ,its top slab is usually of marble4 ,the ,dictionnaire de ,trvoux says1 in #agga1 the name was given to it on account of its great commodity4 ,it seems to have been always a very handsome article4 ,although ,littr speaks of it1 in #agfj1 as a 8newly invented piece of furniture10 the ,inventaire du ,garde ,meuble of ,versailles1 in #agjj1 shows us that the ,duc d',orlans had a 8bureau de commode0 of walnut4 ,this was #c feet1 #e inches long and #be inches wide4 ,it contained two drawers with iron rings4 ,among the ,meubles de la ,couronne1 ,versailles 7#agbj-agcj71 there were two 8commodes de marqueterie10 of many-coloured flowers on a background of ebony4 ,upon the top1 the ornament was a vase of flowers standing on the end of a column with festoons of flowers1 birds1 butterflies and two grotesque masques4 ,six fleurs-de-lis ornamented the corners and the centre of the sides4 ,in front were three large drawers1 and the locks and rings were of gilt bronze4 ,these commodes were #d feet1 #b inches long1 #b feet1 #g inches wide and #b feet1 #h inches high4 ,another 8commode0 is described as veneered with palissandre 7violet-wood7 with a marble slab4 ,this was bomb in front and contained three drawers1 the locks1 handles and other ornaments of gilt bronze4 ,its dimensions were #ca inches high2 #c feet1 #h inches long2 and #bd inches wide4 ,illustration3 ,,plate ,,xv ,brain and ,lepautre designed many commodes of excessive richness1 which even the magnificent examples of ,boulle1 one of which is given on ,plate ,,xiv41 did not surpass4 ,the ,duchess of ,orleans owned a walnut commode #c feet1 #g inches long1 and #b feet wide1 containing three drawers with iron rings4 ,the ,duke had a bureau en commode1 #c feet1 #e inches long1 and #be inches wide1 containing two large drawers with iron rings4 ,madame de ,gaudry 7#agjh7 had an oak bureau containing three drawers with iron rings4 ,it was #c feet1 #d inches long1 and #b feet1 #a inch wide4 ,it was covered with a leather carpet lined with green serge4 ,she also had a pine bureau containing two large drawers with copper rings4 ,this measured #c feet1 #c inches by #bf inches4 ,a red leather carpet lined with red serge covered it4 ,madame de ,maintenon owned a veneered walnut bureau inlaid with threads of ebony4 ,it had seven drawers on each side with copper gilt key-plates4 ,this piece was #e feet long and #b feet wide1 supported by eight small columns4 ,it was covered with a carpet of red velvet bordered with a narrow gold braid4 ,the ,duchess of ,orleans had a walnut table in the form of a bureau with two large drawers4 ,it was #c feet1 #d inches long and #be inches wide4 ,there were two covers for it3 one of red leather and the other of red damask and gold moir4 ,both covers were trimmed with gold braid and gold fringe4 ,the dressing-table as a separate piece of furniture seems to have been unknown4 ,all the contemporary illustrations of ladies at their toilettes show them seated before a rather low table which is covered with a cloth1 sweeping the floor1 over which is spread another cloth probably of linen or leather4 ,upon it stand a small mirror and all the vases1 pots1 cushions1 and small articles for paint1 patches and perfumes4 ,sometimes the dressing-table was arranged like the one on ,plate ,,xxiii41 ,no4 #a1 or again a commode1 or table with drawers1 was placed under a mirror1 as shown in ,no4 #c and ,nos4 #e and #h1 also on ,plate ,,xxiii4 ,the handsomest tables of the day were of marquetry1 ornamented with mascarons1 or of carved and gilded wood4 ,many of them have the hind's foot1 or the term leg1 and are connected with straining-rails4 ,however1 tables were also made of violet-wood1 walnut1 pine1 cherry1 or other woods1 with simple turned feet4 ,these were always covered with a carpet1 or cloth1 that matched the hangings of the room4 ,the card-tables were sometimes three-cornered and sometimes cut into five faces4 ,the guridon1 the shape of which was a stem1 bearing a small round top and ending in three feet1 was often used for cards4 ,typical tables are shown on ,plates ,,xiii and ,,xvi4 ,madame de ,maintenon's tables included two tables of violet wood each #b feet1 #h inches long1 by #b feet wide4 ,their covers were black velvet trimmed with gold braid4 ,she also had a little table of cherry1 #b feet1 #c inches long1 and #ag inches wide1 with a drawer and compartments4 ,it was inlaid with ebony in a design of lozenges and foliage and stood on four term-shaped pillars4 ,the ,duke of ,orleans had a walnut table inlaid with ebony4 ,it stood on four twisted legs and contained a drawer4 ,the dimensions were #b feet1 #aa inches long1 by #bc inches wide4 ,the console is somewhat squarer than that of the former period1 and stands frequently with its back against a pier glass4 ,the slab is of marble and sometimes of rich mosaic4 ,the hind's feet here give place to the termed legs1 which are joined by straining-rails4 ,some of them have eight feet1 that is to say1 four double feet4 ,another form of the console is shown on ,plate ,,xvi41 ,no4 #a1 the leg of which appears also on ,plate ,,xvi4 as ,no4 #d4 ,this is decorated with the ram's head1 heavy swags of flowers1 the cartouche with the double ,l and the woman's head4 ,the curved scroll under the slab proclaims the advent of the new style4 ,cabinets1 desks and armoires were sumptuous4 ,a typical marquetry desk1 #c feet1 #aj inches long1 and #b feet1 #d inches wide1 inlaid with many coloured woods on a background of ebony1 contained seven drawers and a door on which a fleur-de-lis was represented4 ,the drawers were furnished with gilt bronze key-plates4 ,on the top of the desk1 the design was a vase of flowers1 foliage1 birds and butterflies1 all surrounded by a border of marquetry between two bands of violet wood and threads of white4 ,each desk stood on eight termed pillars with capitals and feet of gilt wood4 ,a marquetry cabinet inlaid with bright flowers on ebony and ornamented with bands of violet-wood and white was composed of two sections1 each having three doors with gilt copper locks4 ,the ,duchess of ,orleans owned a cabinet of marquetry in two parts1 containing three wings and three drawers of marquetry of copper and pewter on ebony1 enriched with columns1 pilasters1 squares1 bands and pyramids of lapis2 in the centre of each of the three wings were masques of men and women in copper-gilt carrying on their heads baskets of flowers and fruits1 also copper-gilt4 ,the feet were four consoles2 on the two central ones were two children of gilded wood1 and on the straining-rail a little child holding a blue shield in a cartouche of gilded wood4 ,the dimensions of the whole were #e feet1 #d inches long1 #ah inches deep1 and #d feet1 #c inches high4 ,the favourite clock is ,boulle's4 ,it stands on the mantel-piece1 or upon a pedestal1 or term4 ,the tall clock in the long pedestal-shaped box was also in use4 ,some of the frames of the clocks follow the designs shown on ,plate ,,xvii41 ,nos4 #b and #c4 ,the pedestal that ,boulle makes for his clocks have almost an architectural form2 they are like a kind of small pavilion1 at the top of which is the dial4 ,the legs are most frequently formed by a scroll of foliage terminating in a clawed paw4 ,the subject on top is usually ,time with his scythe1 or some mythological symbol4 ,on ,plate ,,xvi41 ,no4 #c1 is shown a portion of a console d'applique of carved wood painted in gray cladon1 dating from the end of the ,louis ,,xiv4 period1 the two scroll feet joined by a stretcher1 the side supports swelling into the bust and head1 the front curved rail having in the centre a cartouche with a woman's head enclosed with the skeleton ,c 7a broken scroll freely used later71 and the acanthus4 ,the head at the side supports is adorned with plumes and flowers4 ,the screen is met with in nearly every room4 ,sometimes it consists of several leaves1 and again it is in the form shown on ,plate ,,xvii4 ,sometimes the tapestry1 or the leather1 or damask1 or whatever material is used for the covering1 is garnished with gold braid and fringe1 or it is tacked to the frame by means of gold nails1 as shown in the above example4 ,the mirror is far more generally used than in the former reign4 ,it is seen in every home and in every room4 ,its frame is carved and gilded and in a variety of designs4 ,a characteristic example is shown on ,plate ,,xiii4 ,we may know what furniture was considered necessary for a room by the following information from inventories between #afge and #agjj3 ,one set of furniture consisted of a bed1 four fauteuils1 twenty-eight folding-stools1 a screen and a table-carpet of embroidery on a gold background depicting the history of ,moses4 ,another set consisted of a bed1 three fauteuils1 eight folding-stools1 two table-carpets1 two cushions1 a screen1 a das and wall-hangings4 ,the material for these decorations was velvet branches of bright amaranth on a silver background1 combined with another material of cloth-of-silver with little flowers of amaranth4 ,the bed1 which was #f feet long and #g feet high1 comprised three valances1 four curtains1 four cantonnires#ab and three lower valances1 all of the velvet2 while the three outside valances1 the sheaths for the two bed-posts1 and the couverture de parade1 and the linings of the curtains1 were of the cloth of silver with amaranth flowers4 ,the whole bed was trimmed with gold and silver braid1 and on the top of the canopy were four pommes with bunches of mixed feathers1 probably white and amaranth4 ,another set of furniture was of red satin and white taffeta in squares1 and ornamented with gold braid and gold fringe4 ,the pieces comprised a bed1 three fauteuils1 twelve folding-stools1 a table-carpet1 a screen and a square cushion4 ,the bed was #g feet high and #f feet wide2 its three valances1 four cantonnires and three lower valances were of the red and white taffeta embroidered with gold1 while its four curtains1 head-board1 interior hangings and two posts were covered with gold brocade4 ,we also learn of a set comprising a bed1 three fauteuils1 six chairs with backs1 twelve folding-stools1 a das and a chaise de commodit of blue velvet1 ornamented with gold and silver braid and fringe4 ,another set was of white damask trimmed with fringes of gold1 silver and green silk2 another was of white damask and gold2 and another set consisting of a bed1 eleven folding-seats and four fauteuils1 was of ,spanish leather1 cut out1 embroidered and edged with black1 and laid on blue damask4 ,the carpet for the table and the two square cushions were of the same4 ,in many rooms of the day1 the alcove occurs4 ,it was introduced from ,spain1 and took its name from the ,spanish alcoba and the ,arabic ,al ,koba1 the tent1 or the place where one sleeps1 or rests4 ,it was made fashionable by its appearance in the ,htel de ,rambouillet1 and1 of course1 the home of every ,prcieuse had to have one4 ,fouquet had rooms with alcoves at his ,chteau de ,vaux and when 8,la grande ,mademoiselle0 took refuge at her ,chteau de ,saint-,fargeau1 during the troubles of ,la ,fronde1 she at once conformed to the taste of the day4 8,on the very day0 7of her arrival7 she writes3 8,i wished to change the chimney-pieces and doors and to make an alcove40 ,the alcove became so fashionable that it soon supplanted the ruelle2 and the 8coureurs de ruelles0 were known thenceforward as 8coquets d'alcvistes40 ,but what they called alcove in the ,seventeenth was not what they called alcove in the ,eighteenth ,century4 ,at first1 it was a part of the room set apart from the rest by a railing or some columns of architectural pretensions4 ,in #afhd1 in the tat du mobilier de la couronne there is mentioned an alcove balustrade of chiselled silver of fabulous price4 ,the alcove was in reality a little room within a large room and here the bed and chairs for guests were placed4 ,typical and luxurious alcoves are shown in the designs by ,marot and ,lepautre4 ,fouquet had an alcove hung with crimson satin enriched with gold embroidery4 ,at ,president ,tubeuf's the hangings of the alcove were ornamented with bands of black velvet alternating with bands of ,english tapestry4 ,molire's was hung with red taffeta garnished with fringe and tassels of aurora silk4 ,madame de ,maintenon's apartments at ,versailles1 in #agjh1 consisted of the first antechamber1 the second antechamber1 the chamber1 the 8garde-robe0 behind the bed1 the 8grand cabinet upon the arcade10 and 8garde-robe en suite40 ,the walls of the first antechamber were hung with red damask of small pattern trimmed with ,venetian brocatelle of white background ornamented with red and green branches and flowers of various colours4 ,these same materials filled the space over the chimney-piece4 ,twelve chairs with backs of turned walnut wood were covered with tapestry on which birds figured4 ,the couch was covered with the same material and was furnished with a pavilion of red serge4 ,a small table was covered by a green cloth trimmed with green silk fringe4 ,the window curtain was white cotton4 ,the second antechamber was hung with crimson damask1 ornamented with gold braid and gold fringe4 ,the portires of the same1 and lined with red taffeta1 were #b ells long1 and comprised four lengths each4 ,the seats were six fauteuils1 six large folding-stools and two small folding-stools4 ,the frames were painted red picked out with gold4 ,the two little stools were upholstered in red velvet garnished with gold and silver fringe4 ,the other seats were covered with red damask1 ornamented with gold fringe4 ,the couch in this room was covered with crimson damask1 trimmed with gold braid and fringe1 and overhung by a pavilion of red serge4 ,a pine desk was covered with a piece of red damask1 trimmed with gold braid and fringe4 ,the one window curtain consisted of four lengths of red taffeta 7#c ells long71 bordered with a narrow gold braid4 ,illustration3 ,,plate ,,xvi ,the chamber was hung with twenty-five lengths of gold and green damask1 and twenty-four lengths of crimson damask of a large pattern 7the length being #b ells74 ,these hangings were trimmed all around and on the seams with gold braid4 ,the bed was composed of three outside valances1 two bonnes grces1 two cantonnires1 three valances on the frame of the bed1 three valances on the courtepointe1 and four pommes4 ,all the interior hangings were gold and green1 and all the outside ones were of crimson damask4 ,the courtepointe was crimson damask4 ,these draperies were ornamented with a wide gold braid and gold fringe4 ,the pommes supported four bunches of white feathers with aigrettes4 ,the three window curtains1 each #aa feet long1 contained three lengths each of crimson taffeta1 trimmed with gold fringe4 ,there were other hangings in this room3 two portires1 two alcove curtains1 and the interior draperies of the niche4 ,the portires were made of two lengths of gold and green damask and one of red damask1 trimmed with gold braid4 ,one was lined with red taffeta1 the other with green taffeta4 ,the two alcove curtains#ac were #c ells long1 each one being made of two lengths of gold and green damask1 and two lengths of crimson damask4 ,this large room contained three fauteuils1 twelve folding-stools1 four lounges1 a lit de repos1 a chaise d'affaires of crimson velvet1 two tables1 two little marquetry desks1 a screen1 a writing-table1 mirror and chandelier4 ,the seats were all covered with red damask1 bordered by a band of gold and green damask1 and finished with a narrow gold braid and fringe4 ,the lit de repos1 #f feet long by #b feet1 #d inches wide1 was covered with the same damasks as well as its four pillows4 ,the latter were finished with gold braid1 fringe1 and tassels at each corner4 ,another lit de repos stood in the niche4 ,the tables #d feet long by #d feet1 #d inches wide1 were of pine with walnut feet4 ,their covers were made of the two damasks already described 7mi-party71 the top being of red velvet4 ,these cloths were nailed to the table1 and trailed on the floor4 ,they were ornamented with gold braid and fringe4 ,the screen consisted of five leaves #c feet high4 ,three of its leaves were of gold and green damask1 and two of red damask4 ,gold braid brightened it4 ,the writing-table was of violet-wood1 #d feet1 #h inches long by #bj inches wide4 ,over it was a green velvet cover1 edged with gold4 ,the little desks of marqueterie d'tain were probably ,boulle's4 ,they were #b feet #i inches long1 and #a foot #i inches wide4 ,each one contained four drawers and a door in the front1 behind which were three interior drawers1 and stood upon eight termed pillars of marquetry the capitals and bases of which were of silvered wood4 ,the feet were pineapples silvered4 ,these were covered with a carpet of green taffetas1 lined with serge4 ,the niche#ad was of oak #e feet1 #aj inches long by #b feet1 #aj inches wide and #h feet high4 ,it was hung inside with four lengths of red damask and three lengths of the gold and green damask already described1 the seams being covered with narrow gold braid4 ,the outside was hung with three lengths of gold and green damask and two lengths of red damask1 the seams hidden by gold braid4 ,the lit de repos placed lengthwise in the niche was #e feet long and #b feet wide1 therefore nearly filling up the niche4 ,it was covered with a square of green taffeta1 to which were attached three valances of gold and green damask ornamented with gold braid and fringe4 ,the two pillows and bolsters were covered with the same damask1 ornamented with gold braid1 fringe and tassels4 ,a coverlet1 crimson satin on one side and green satin on the other1 was invitingly ready for the lounger4 ,the ,garde-robe behind the bed was hung with crimson damask of a small pattern1 trimmed with gold braid4 ,the portire was of the same4 ,here stood a tabouret covered with red velvet ornamented with gold and silver fringe4 ,the hangings of the ,grand ,cabinet on the ,arcade consisted of thirty-one lengths of gold brocade with flowers in gold thread1 and thirty-one lengths of red damask of small design4 ,the length was #b ells4 ,this was also used to decorate the space over the chimney4 ,the frames of the seats were painted red picked out with gold4 ,these comprised a fauteuil and eight tabourets covered with crimson velvet ornamented with gold braid and fringe1 two small and twelve large folding-stools covered with crimson damask4 ,in this room stood also a large sofa with two backs of gilded wood1 known in that day as canap cremaillres 7sofa with adjustable back74 ,it was furnished with a mattress1 covered on both sides with crimson velvet ornamented with gold braid1 and valances of red velvet ornamented with gold braid and fringe4 ,its two round bolsters and two square pillows were similarly covered and decorated with gold tassels4 ,the dimensions of this species of lit de repos were #g feet1 #b inches long and #b feet wide4 ,the window curtains were of red taffeta4 ,red taffeta was also used to line a handsome armoire here 7#g feet1 #i inches high1 #e feet wide1 and #c feet1 #b inches deep7 in which there were two shelves also draped with the said taffeta4 ,the top of the armoire and the spaces over the doors were also covered with crimson taffeta4 ,the two mirrors and the chandelier were supplied with cords and tassels of gold4 ,in this sumptuous room were three superb pieces of marquetry--two desks and a cabinet--a walnut bureau1 and about ten tables1 most of which were card tables of various kinds2 and one1 a little walnut table used for meals in bed4 ,the ,garde-robe en suite had a window curtain of white cotton and a small curtain of white taffeta4 ,it contained a small upholstered bed1 with a pavilion of red serge4 ,the two small folding-seats1 the frames of which were painted red picked out with gold1 were covered with red velvet trimmed with a narrow gold braid4 ,illustration3 ,,plate ,,xvii ,mademoiselle d',aumale's chamber at ,versailles 7#agjh7 contained both a bed and a lit de repos1 besides two fauteuils1 five folding-seats1 a small chair1 a screen1 two tables1 the lower part of an armoire and a bureau4 ,the bed #f feet long1 #c feet wide1 and #f feet1 #c inches high1 was hung with crimson and white damask of small pattern1 and trimmed with a braid and fringe of red1 white1 and black silk4 ,one fauteuil and the five folding-stools1 the frames of which were painted red picked out with white1 were covered with the same crimson and white damask1 and the same fringe as the bed4 ,the same fringe decorated a small chair with a back that was covered with red damask4 ,the other fauteuil was covered with red linen4 ,its frame was painted green picked out with gold4 ,the lit de repos was upholstered in crimson damask2 two of its pillows were of the same1 and two of red velvet1 trimmed with gold braid4 ,the window curtains were of white damask1 trimmed with a braid and fringe of gold and silver4 ,the screen1 #c feet #b inches high1 was of four leaves1 and was covered with red velvet1 trimmed with gold and silver braid4 ,one of the tables1 #c feet1 #c inches long by #b feet wide1 was of beech1 and was covered with a carpet of red ,london serge falling to the floor on all sides1 the other was a walnut table1 #be inches by #ah inches1 with a folding leg4 ,the lower part of the armoire was also covered with a cloth of red ,london serge4 ,the bureau was of marquetry of cherry-wood1 inlaid with green ebony in foliage design4 ,it had compartments1 four drawers1 and a door1 and stood on eight legs of term-shaped pillars of the same marquetry1 the bases and capitals being of gilded wood4 ,this piece of furniture was #b feet #i inches long1 and #a foot #i inches wide4 ,the cabinet of ,madame la ,marchale de ,rochefort 7#agjh7 contained a lit de repos1 a fauteuil1 four chairs with backs1 two banquettes1 and a table4 ,the lounge with its two round bolsters and two square pillows1 and the chairs were covered with aurora-coloured and blue damask1 trimmed with gold and silver braid1 the wood painted red picked out with aurora4 ,the window curtains1 each containing six lengths 7#b ells each7 were of white damask1 trimmed with a braid of gold and silver1 and there were also two small curtains of white taffetas1 and a portire of ,venetian brocatelle of blue background with flowers of aurora1 white1 and black1 lined with aurora-coloured serge4 ,the table1 #b feet #g inches long by #bc inches wide1 was of violet wood1 inlaid with ebony and white wood4 ,it contained a drawer1 and was supported on four termed pillars with gilt bases and capitals4 ,the chamber of ,mlle4 ,gaudry 7#agjh7 had in it a bed1 a fauteuil de commodit1 five folding-seats1 and two bureaux4 ,the bed1 composed of three outside hangings1 three large curtains1 two bonnes grces1 valances1 and pommes1 was draped in crimson ,lyons damask1 trimmed with a braid of aurora-coloured silk4 ,the seats were upholstered in red velvet1 trimmed with red and aurora-coloured silk4 ,one of the bureaux was covered with a carpet of red leather1 lined with red serge2 the leather carpet of the other was lined with green serge4 ,the apartments of the ,duke of ,orleans at ,versailles in #agjh consisted of an antechamber1 a chamber1 a cabinet and a garde-robe beside the chamber4 ,the antechamber was hung with gold leather on a red background1 the designs representing branches and masques of gold1 and children and birds in natural hues4 ,an eight-leaved screen1 seven feet high1 a form covered with red moquette and the lower part of an armoire furnished this room4 ,the chamber contained a bed1 four fauteuils1 three chairs with backs1 six folding-stools1 two screens1 a table1 a bureau en commode1 two guridons1 a fauteuil de commodit and six tabourets4 ,the window-curtains were of white damask1 trimmed with gold fringe1 but the room was hung with red velvet of a design of small branches1 trimmed with gold braid4 ,the portires1 lined with taffeta1 were also of this material4 ,the outside draperies of the bed1 which was #f feet long1 #f feet1 #c inches wide and #aj feet1 #aj inches high1 were of the same red velvet1 trimmed with gold braid and fringe1 but the inside curtains1 headboard1 etc41 were of gold watered silk4 ,in the centre of the headboard was a cypher and a fleur-de-lis4 ,the canopy was decorated with four red velvet pommes1 upon each of which was a bunch of white feathers4 ,the frames of all the seats were painted red picked out with gold4 ,one of the screens had a gilded frame and was covered with red velvet2 the other1 covered with red damask with a design of crowns and gold and silver flowers1 ornamented with gold braid and a double fringe of gold and silver1 was supported by a stem of gilded wood on three console feet4 ,the bureau en commode was of walnut1 as was also the small table4 ,the latter was inlaid with ebony1 contained a drawer and stood on four twisted columns4 ,this had two table carpets1 one of red velvet1 lined with taffeta and trimmed with gold braid and gold fringe trailing over the floor2 the other1 of leather1 lined with serge and trimmed with gold braid4 ,the bureau en commode had two large drawers with iron rings4 ,the two tables were of black ,chinese lacquer ornamented with gold4 ,they were each #c feet1 #e inches high1 the leg of each resting on three women's heads of gilt bronze4 ,the fauteuil de commodit was of crimson damask1 trimmed with gold and silver fringe1 and its frame painted red picked out with gold4 ,the wood of the six tabourets was also red picked out with gold1 the legs being term-shaped4 ,these were covered with red damask1 having a design of crowns and gold and silver flowers4 ,the cabinet contained a lit de repos1 four fauteuils and four folding-stools1 all upholstered in red velvet ornamented with gold braid and gold fringe4 ,the window curtains were of white damask1 trimmed with gold fringe4 ,in this room were also two bureaux of marquetry1 and a small walnut table1 #bg inches long by #ag wide1 standing on four turned pillars4 ,the cover for this was green serge bordered with an aurora-coloured braid4 ,having seen the apartments of the ,duke of ,orleans at ,versailles1 let us look at those of the ,duchess there in the same year 7#agjh74 ,the antechamber was rich with a 8set of tapestry hangings10--gilt leather on a white background2 and here were also represented festoons of fruits and garlands of flowers in red1 green and gold4 ,it was1 moreover1 enriched with figures of ,bacchus1 women1 children1 harpies and gold birds4 ,the entire room was hung with this 7#ah ells being required to cover the walls1 and #c ells were required for the space above the mantel74 ,the furniture included an eight-leaved screen #g feet high1 two forms covered with red flowered moquette1 a folding-stool with painted red frame and covered with red linen1 and a couch4 ,the chamber was furnished with a bed1 four fauteuils1 four chairs with backs1 six folding-seats1 twelve tabourets1 a bureau-table1 two tables and a screen4 ,the bed was superb4 ,it was #f feet wide1 #f feet1 #i inches long and #aa feet high4 ,it was mi-party 7i4 e41 divided half and half71 of red damask and gold moir1 lined with white moir and trimmed on the seams and all around the base and top of both valances and curtains with gold braid and gold fringe4 ,the three outside top valances1 three lower valances1 two bonnes grces1 two cantonnires and four curtains were of the red and gold moir2 the headboard1 four interior valances1 courtepointe and sheaths of the bed-posts were of silver moir2 the four pommes of red damask and gold moir carried bunches of white feathers with aigrettes4 ,the fauteuils1 chairs and folding-seats were of gilded wood1 covered with gold moir1 trimmed with a band of crimson damask1 edged with gold braid and gold fringe4 ,the frames of the tabourets were painted red2 the covers were red velvet1 trimmed with red silk braid4 ,there were two covers for the walnut bureau-table3 one of red damask and gold moir1 trimmed with gold braid and fringe2 the other of red leather1 lined with taffeta and trimmed with a gold braid and gold fringe4 ,the frame of the screen was gilded wood4 ,it was covered with red damask1 ornamented with narrow gold braid4 ,the windows were draped in white damask1 trimmed with gold fringe4 ,each curtain was #d ells long and contained six lengths of material4 ,the cord for the chandelier was of gold and silver and red silk4 ,the cabine1 or little chamber1 had similar curtains at the windows4 ,four fauteuils1 four chairs with backs and ten folding-stools were covered with green velvet1 trimmed with gold braid and fringe1 the frames being painted green1 picked out with gold4 ,there was also a small folding-stool1 the frame of which was painted red1 and the seat of red velvet trimmed with gold and silver fringe4 ,in this room stood a walnut commode1 a card-table and a large marquetry cabinet4 ,the prevalence of the fashionable hue of aurora is to be noted at ,val4 ,the ,salon was hung in ,venetian brocatelle1 aurora-coloured background with trailing branches of blue4 ,the space over the chimney-piece was also adorned with this rich textile1 although the spaces over the four doors were covered with aurora taffeta4 ,the nine tabourets in this room were upholstered with the rich ,venetian brocatelle and trimmed with a silk fringe of aurora and blue4 ,the frames were painted blue picked out with gold4 ,the stools had also coverings of aurora taffeta4 ,the ,king's ,chamber was furnished in aurora and white damask1 containing the bed and customary seats4 ,the portires were lined with aurora taffeta and trimmed with a braid and fringe of gold and silver4 ,the ,king's ,cabinet contained a lit de repos1 six folding-stools1 and two square pillows4 ,these were covered to match the draperies in a rich damask of aurora-coloured flowers on a blue background4 ,the lit de repos was somewhat unusual1 as over it hung a kind of pavilion4 ,the mattresses1 bolsters and pillows were upholstered with the damask just described1 but the pavilion was hung with a striped material of aurora1 white1 blue and black arranged in three little curtains looped over a large curtain which fell to the floor1 but which was looped back4 ,the drapery was trimmed with a braid and fringe of gold and silver4 ,the ,passage was draped in a blue silk damask with white woollen flowers trimmed with a blue silk ,flanders brocatelle with aurora and white flowers4 ,in the ,guard-room1 the hangings were of red ,flanders brocatelle with woollen flowers of aurora and white1 the borders of the hangings being green brocaded with branches of aurora and white4 ,there were six forms in this room1 covered with moquette of various colours edged with braid and fastened to the frames with gold-headed nails4 ,the ,square room was draped in green ,genoa damask1 which was also used for the portires1 lined with green taffeta1 and the twelve tabourets4 ,the frames of the latter were painted green picked out with gold4 ,in the ,oval room1 the hangings were of ,venetian brocatelle with aurora background upon which large green bunches were outlined with white4 ,there were four lounges in this room and eight oval tabourets4 ,the frames of the latter were painted green picked out with gold4 ,they were trimmed with gold fringe4 ,the ,round room was adorned with a similar brocatelle1 but the branches on the aurora-coloured background were red outlined in white4 ,the four lounges here were #d feet long1 and their frames were painted red picked out with gold4 ,the ,octagon room was hung in crimson damask from ,genoa4 ,the seats were eight octagonal tabourets1 painted red picked out with gold1 and covered with crimson damask nailed to the wood4 ,in #afge1 a little cabinet at ,val was furnished with a lit de repos with one back1 two chairs1 two fauteuils and two tabourets4 ,these were all covered to match the hangings with a brocade of gold and silver on a green satin background and trimmed with gold and silver fringe4 ,there was a curtain of green taffeta and a curtain of white taffeta1 and there were slip covers of green taffeta for all the seats4 ,the entire furnishings were given by the ,king to ,madame la ,princesse de ,conty4 ,the ,salon 7,plate ,,xii47 is of fine proportions and gives an idea of the rich frame required for the kind of furniture we have been describing4 ,the doors with two wings are of great importance4 ,their panels may be decorated with carved motives1 or cartouches4 ,the ornaments may be painted1 if preferred4 ,the chimney-piece is rarely of white marble3 red marble1 green marble and breccia were the kinds most frequently employed in ,louis ,,xiv4's time4 ,the slabs of the tables and consoles should be of the same1 unless they are of mosaic4 ,upon the chimney-piece1 a ,boulle clock1 or one with a carved and gilded1 or bronze frame1 may stand4 ,the candelabra1 on either side1 containing several arms1 are carved and gilt4 ,andirons in the form of chimra complete the furnishings of the chimney-piece1 where a wood fire should blaze4 ,torchres should also be placed in the corners of the room1 whose branching arms help to illuminate and decorate the room4 ,the chandelier1 in the centre of the room1 is crystal and gilt bronze4 ,the walls are arranged in panels for the reception of tapestry1 or hangings of some rich nature4 ,the mouldings surrounding the materials are often carved and covered with dull1 or burnished gold4 ,the hangings are frequently pictures of tapestry1 as shown in ,plate ,,xii41 or they are of damask1 brocade1 velvet1 or silk4 ,the wall space below the hangings should be wainscotted2 it must never1 however1 attract attention4 ,over the chimney-piece a mirror is placed2 and directly opposite is another mirror of similar frame4 ,beneath the latter1 a console may stand4 ,the floor is of parquetry1 and in winter is covered with a large ,persian or ,smyrna rug1 or it may have a velvet ,aubusson or ,savonnerie rug of sober colour1 so as not to detract from the hangings4 ,the ceiling is usually made into caissons1 or compartments1 painted to harmonize with the draperies4 ,sometimes1 however1 these are painted white and gold1 a deep oak1 aurora1 or a lilac grey4 ,the window curtains match the hangings2 sometimes they are of tapestry1 sometimes of brocade1 or damask1 or silk1 and beneath these heavy curtains white curtains of muslin or silk are hung4 ,in the evening1 the heavy curtains are always drawn4 ,they are rarely suspended below a cornice4 ,sometimes the silk or brocade curtains are trimmed with braid and fringe1 and sometimes with a wide border of silk or velvet forming a kind of frame all around the hanging4 ,if portires are used they are usually like the rest of the draperies4 ,if lambrequins are used1 they are cut and arranged in the shapes shown on ,plate ,,xix1 ,no4 #a and ,no4 #d4 ----- ,footnote #aj3 ,metal furniture1 however1 was known to the ancients4 ,to quote a single example1 in the palace of ,king ,ahasuerus1 8the beds were of gold and silver upon a pavement of red and blue and white and black marble40 ,the ,assyrian furniture was of gold1 silver1 and bronze1 and splendid furniture of gold1 silver1 and bronze1 likewise adorned the ,egyptian and ,roman palaces and villas4 ,the ,romans d'aventure of the ,middle ,ages contain descriptions of such rich furniture1 inspired by ,oriental luxury4 ,footnote #aa3 ,in the anthemion1 the springing point is the base1 and the units arrange themselves on either side of a central member1 and form a bi-symmetrical figure4 ,this anthemion type of form is met with in almost every style and period of art4 ,the anthemion is sometimes called the honeysuckle pattern4 ,it is an old dogma that the decorative form was suggested by this plant2 but its more or less remote resemblance to the buds of the honeysuckle is accidental1 not incidental2 and the charm1 both in nature and in art1 is the inherent beauty of a mass of radiating and upspringing forms1 instinct with the suggestion of vitality and growth4 ,hulme1 ,the ,birth and ,development of ,ornament4 ,london1 #ahic4 ,footnote #ab3 8,a cantonnire is a piece of material almost always of ,gobelin or ,aubusson tapestry1 which1 hanging flat in the manner of a lambrequin1 has two hangings or tails falling down the sides and forming a kind of frame for the curtains beneath4 ,sometimes these two hangings are held back by hooks which give the effect of curtains2 cantonnires for the decoration of beds are also made4 ,the richness1 the delicacy and the good design of tapestry can give much value to this kind of decoration4 ,the narrow curtains of less fullness that are called bonnes grces are an imitation of the cantonnires1 an imitation that is demanded by economy rather than the principles of decoration40 ,deville1 ,dictionnaire du ,tapissier1 ,paris1 #ahgh-ahhj4 ,footnote #ac3 ,in #agbf1 these curtains were used to upholster some furniture for the ,queen's apartments at ,st4 ,cyr4 ,footnote #ad3 ,all of the draperies of this niche1 like the alcove curtains already described1 were used in #agbf to cover a chair1 a lit de repos and four folding-seats as well as three portires for the ,queen's apartment at ,st4 ,cyr4 ,,queen ,,anne ,,period ,illustration ,,queen ,,anne ,,period ,the ,queen ,anne period is interesting on account of the favour in which it has been held of late years1 particularly by a class that knows nothing at all about it4 ,queen ,anne furniture1 ,queen ,anne silver1 ,queen ,anne cottages have been in great demand1 in ,england particularly4 ,when1 however1 the student asks the ,queen ,anne devotee for a list of objects that may fitly be included in an interior of that style1 he usually meets with a bewildering jumble4 ,charles ,,ii4 oak-framed cane chairs jostle others with cabriole legs and jar-shaped splats made of mahogany2 marquetry escritoires1 spindle-legged walnut tables1 ,frisian clocks1 brass fenders1 steel fire-irons and four-posted bedsteads are all brought together to produce the proper contemporary flavour4 ,the result is certainly unsatisfactory for the searcher after truth4 ,looking only at the manifest transitional features of the beginning and end of this short period1 some scoffers have even gone so far as to deny that there is any ,queen ,anne style at all1 but this is an extreme and unjustifiable view4 ,the ,queen ,anne period1 short as it was1 possessed special characteristics4 ,first let us recall the dates4 ,the easy-going lady who succeeded ,dutch ,william occupied the throne for only twelve years1 dying in #agad1--one year before ,louis ,,xiv4 ,at this date1 therefore1 we are on the threshold of the ,regency1 the characteristics of which in decorative art are already established4 ,for the beginnings of the ,queen ,anne style1 moreover1 we must revert to a date prior to her actual succession4 ,this date is #afij1 when the ,glorious ,revolution placed the ,prince of ,orange on the throne of ,england4 ,william used ,england as a weapon of defence of the ,netherlands against the aggression of ,louis ,,xiv41 and on her accession ,anne carried on his policy4 ,england1 therefore1 from #afij to the fall of ,marlborough in #agaa1 might almost be regarded as a ,dutch province4 ,considering the close dynastic1 political1 mercantile and religious ties between the two countries1 it would be strange if ,dutch taste did not predominate in ,england4 ,it was a ,dutch taste1 however1 tempered with ,french art4 ,the ,french forced the highest development of the ,louis ,,xiv4 style on ,england and the ,low ,countries by the ,revocation of the ,edict of ,nantes in #afhe4 ,in consequence of that edict1 many thousands of the best workmen in the ,french arts and crafts were forced to go into exile1 taking refuge in ,england1 ,germany and ,holland4 ,there they were welcomed by their co-religionists1 and their labours had a great and immediate influence on the native styles4 ,the artist who exerted the greatest influence in forming the ,queen ,anne style was ,daniel ,marot1 who left ,france in #afhf and went to ,holland4 ,there he found immediate employment in the service of the ,stadtholder1 and when the latter became ,king of ,england in #afij1 he appointed ,marot his chief architect and master of works4 ,till his death in about #agah1 ,marot designed the interior decorations and furniture for many mansions and palaces in ,england and ,holland4 ,the names of many joiners1 carvers and goldsmiths 7who at that day designed many minor pieces of furniture7 are to be found in the lists of ,huguenot refugees in ,london4 ,in that city1 ,french artists and designers found ready employment4 ,among others we find ,j4 ,b4 ,monnoyer 7,baptiste71 who died in ,london in #afii4 ,samuel ,gribelin also found much encouragement in ,england4 ,he had published three books of ornamental design before #agjj4 ,thus1 what the ,french call 8le style refugi10 crossed the ,channel4 ,traffic with the ,far ,east1 however1 was probably a more important factor in the formation of the ,queen ,anne style than any other influence4 ,the ,oriental taste had reached ,amsterdam and ,london before ,paris felt it4 ,throughout the ,seventeenth ,century1 the ,english and ,dutch ,east ,indiamen poured porcelain1 lacquer1 and other products of ,oriental art into their respective capitals1 and even the bitter trade rivalry between the two did not arouse the ,french from their indifference till the arrival of the ,siamese embassy in #afij4 ,long before this1 however1 ,mazarin had tried to bring ,oriental goods into favour4 ,the daughter of ,gaston d',orlans1 ,la ,grande ,mademoiselle1 notes in her diary 7#afeh71 that the ,cardinal 8took the two queens 7,anne of ,austria and ,henrietta1 wife of ,charles ,i4 of ,england71 the princess 7,henrietta's daughter7 and myself1 into a gallery that was full of all imaginable kinds of stone-work1 jewelry1 and all the beautiful things that came from ,china1 crystal chandeliers1 mirrors1 tables1 cabinets of all kinds1 silver plate1 etc40 ,all these ,oriental wares were given away by the magnificent ,cardinal in a lottery in which every guest drew a prize4 ,twenty-five years later1 the same adventurous lady who wrote the above had a quarrel with her unrecognized husband1 the ,comte de ,lauzan4 ,to patch up peace1 he sent her from ,england a cargo of ,chinese wares4 ,before the port ,l',orient gained its name by its trade with that quarter of the world1 ,paris received its ,chinese and ,indian goods chiefly through ,london4 ,consignments from the distant ,jesuit missions to their headquarters were largely instrumental in bringing ,eastern art to the notice of the public4 ,there is an entry in ,evelyn's ,diary 7,march #bb1 #affd73 ,illustration3 ,,plate ,,xviii 8,one ,tomson1 a ,jesuite shewed me such a collection of rarities1 sent from ye ,jesuites of ,japan and ,china to their order at ,paris1 as a present to be received in their repository1 but brought to ,london by the ,east ,india ships for them1 as in my life ,i had not seen4 ,the chiefe things were rhinoceros's horns2 glorious vests wrought and embroidered on cloth-of-gold1 but with such lively colours1 that for splendour and vividness we have nothing in ,europe that approaches it 444 fanns like those our ladies use1 but much larger1 and with long handles curiously carved and filled with ,chinese characters2 a sort of paper very broad1 thin and fine like abortive parchment1 and exquisitely polished1 of an amber yellow1 exceedingly glorious and pretty to looke on2 several other sorts of paper1 some written1 other printed2 prints of landskips1 their idols1 saints1 pagods1 of most ugly serpentine monstrous and hideous shapes1 to which they paid devotion2 pictures of men and countries rarely printed on a sort of gum'd calico transparent as glasse2 flowers1 trees1 beasts1 birds1 etc41 excellently wrought in a sort of sleve silk very naturall40 ,in ,england1 porcelain had been a comparatively rare luxury confined to the tables and closets of rich collectors until about #afcj4 ,cromwell laid a heavy duty on it4 ,china-shops under the ,restoration became one of the favourite lounging-places of fops and curiosity hunters1 and the appointments made there caused them to fall into bad repute4 ,later1 emporiums of ,oriental wares were known as ,india houses4 ,queen ,mary while only the ,princess of ,orange in ,holland1 had developed quite a craze for porcelain and ,indian goods of all kinds4 ,when she became ,queen of ,england1 ,sir ,christopher ,wren designed cabinets and shelves for her china in ,hampton ,court ,palace4 ,lord ,nottingham in his news-letter descriptive of ,queen ,mary's movements 7#afhi7 says3 8,her majesty being disappointed of her second play1 amused herself with other diversions4 ,she dined at ,mrs4 ,graden's1 the famous woman in the hall1 that sells fine ribbons and headdresses4 ,from thence she went to ,mrs4 ,ferguson's to de ,vetts and other ,indian houses40 ,with such tastes in high places1 it is not astonishing to find a popular furore for ,china and everything ,oriental1 spurious and real4 ,this ,chinese taste affected everything in architecture and interior decoration4 ,with regard to architecture1 the ill-understood ,gothic had fallen into very bad odour4 ,john ,evelyn's opinion of it 7#afig7 is worth quoting4 ,he says3 8,a certain fantastical and licencious manner of building which we have since called ,modern 7or ,gothic rather7 congestions of heavy1 dark1 melancholy and monkish piles without any just proportion1 use or beauty4444 ,so when we meet with the greatest industry and expensive carving1 full of fret and lamentable ,imagery a judicious spectator is distracted and quite confounded4444 ,not that there is not something of solid and odly artificial too1 after a sort2 but then the universal and unreasonable thickness of the walls1 clumsy buttresses1 towers1 sharp-pointed arches1 doors and other apertures without proportion2 nonsense insertions of various marbles impertinently placed2 turrets and pinnacles thickset with ,munkies and chimras and abundance of busy work and other incongruities dissipate and break the angles of the sight and so confound it that one cannot consider it with any steadiness4444 ,vast and gigantic buildings indeed but not worthy the name of architecture40 ,domestic architecture1 however1 was undergoing considerable changes under the new influences4 ,these changes were in the direction of comfort and cosiness1 to the sacrifice of grandeur and magnificence4 ,of course1 novelty aroused opposition4 ,evelyn 7#afig7 protests3 ,illustration3 ,,plate ,,xix 8,as certain great masters invented certain new corbels1 scrolls and modilions1 which were brought into use2 so their followers animated by their example 7but with much less judgment7 have presumed to introduce sundry baubles and trifling decorations 7as they fancy7 in their works4444 ,and therefore1 tho' such devices and inventions may seem pretty in cabinet-work1 tables1 frames and other joyners-work for variety1 to place china dishes upon2 one would by no means encourage or admit them in great and noble buildings40 ,the changes in domestic architecture are noticed by ,du ,bois1 who issued a new and sumptuous edition of ,palladio 7the plates engraved by ,picart7 in #agae4 ,among other things he says3 8,we see so many bungled houses and so oddly contrived that they seem to have been made only to be admired by ignorant men and to raise the laughter of those who are sensible of such imperfections4 ,most of them are like bird cages1 by reason of the largeness and too great number of windows2 or like prisons1 because of the darkness of the rooms1 passages and stairs4 ,some want the most essential part1 ,i mean the ,entablature or cornice2 and though it be the best fence against the injuries of the weather1 it is left out to save charges4 ,in some other houses1 the rooms are so small and strait1 that one knows not where to place the most necessary furniture4 ,others1 through the oddness of some new and insignificant ornaments1 seem to exceed the wildest ,gothic4 ,it were an endless thing to enumerate all the absurdities which many of our builders introduce every day into their way of building40 ,the changes in interior decoration that contributed to form the ,queen ,anne style were largely due to the requirements of the effective display and preservation of porcelain4 ,the chimney-piece1 especially1 was affected4 ,as early as #afia1 ,d',aviler says in his book on architecture3 8,the height of the cornice 7of the chimney-pieces7 should be raised six feet in order that the vases with which they are ornamented may not be knocked down40 ,a glance through ,marot's book of designs will show a most lavish use of china as an integral part of interior decoration4 ,he piles up his chimney-pieces with tier on tier on shelves loaded with porcelain of all shapes and sizes1 arranged1 however1 with an eye to symmetry4 ,brackets up the walls1 in the corners1 and between the panels1 all along the cornice1 and over the door are loaded with cups1 bowls1 and vases4 ,the panels themselves are sometimes painted with ,chinese subjects1 or covered with real ,oriental painted or embroidered fabrics4 ,a glance at ,plate ,,xviii41 the walls and chimney-piece of which are reproduced closely from one of ,marot's designs1 will show one of the more formal ,queen ,anne rooms1 properly decorated in accordance with the taste of the day4 ,this is a modest specimen of this style of decoration4 ,one of ,marot's plates shows more than #cjj pieces of china on the chimney-piece alone4 ,the china craze was rapidly increasing4 ,addison writes3 8,an old lady of fourscore shall be so busy in cleaning an ,indian mandarin as her great-grand-daughter is in dressing her baby40 ,in #agaa1 also he gives the following description of a lady's library3 ,illustration3 ,,plate ,,xx 8,the very sound of a ,lady's ,library gave me a great ,curiosity to see it2 and as it was some time before the ,lady came to me1 ,i had an opportunity of turning over a great many of her ,books1 which were ranged together in very beautiful ,order4 ,at the ,end of her ,folios 7which were very finely bound and gilt7 were great jars of ,china1 placed one above another in a very noble piece of ,architecture4 ,the ,quartos were separated from the ,octavos by a ,pile of smaller ,vessels which rose in a delightful ,pyramid4 ,the ,octavos were bounded by ,ten dishes of all ,shapes1 ,colours and ,sizes1 which were so disposed on a wooden ,frame1 that they looked like one continued ,pillar indented with the finest ,strokes of ,sculpture1 and stained with the greatest variety of ,dyes4 ,that ,part of the ,library which was designed for the ,reception of ,plays and pamphlets and other loose ,papers1 was enclosed in a kind of ,square consisting of one of the prettiest grotesque ,works that ,i ever saw1 and made up of ,scaramouches1 ,lions1 ,monkies1 ,mandarines1 ,trees1 ,shells1 and a thousand other odd ,figures in ,china ,ware4 ,in the midst of the ,room was a little ,japan ,table with a quire of gilt ,paper upon it1 and on the ,paper a ,silver ,snuff-box made in the shape of a little ,book4 ,i found there were several ,counterfeit ,books upon the upper ,shelves1 which were carved in wood1 and several only to fill up the number40 ,as an example of the decorative use made of china by arranging it on brackets even above mirror or panel1 the reader is referred to ,plate ,,xxiii41 ,no4 #b4 ,the ,queen ,anne room had its walls sometimes covered with tapestry and sometimes decorated with painted or carved panels4 ,in accordance with the ,french and ,dutch custom also1 pictures were used with a conscious decorative effect4 ,sometimes they were hung on the tapestry1 also1 though not when the latter depicted a story of itself4 ,in #agaj1 ,d',aviler defines the word picture 7tableau7 as a subject of painting1 usually in oil on canvas or wood1 and contained in a frame or border4 8,pictures greatly contribute to the decoration of the interior of buildings4 ,the big ones figure in churches1 drawing-rooms1 galleries and other big places4 ,those of medium size called easel-pictures are placed in the spaces above the chimney-piece1 above the doors and in the panels of the walls1 or else on the tapestry against the walls4 ,the small ones are symmetrically arranged in the chambers and cabinets of the curious40 ,in the ordinary house1 in the reign of ,queen ,anne1 there was a strange jumble of the old and the new4 ,the late ,jacobean carved oak1 or walnut1 cane-bottom chair had not yet gone entirely out of use1 but the new styles were varieties of the chair and stool on ,plate ,,xxi41 ,nos4 #a and #d4 ,these were usually of walnut1 but mahogany was just coming into fashion as a cabinet wood1 and ,queen ,anne chairs with the frames made of that wood still exist4 ,the characteristics of this chair consist of the cabriole leg1 with and sometimes even without stretchers1 the club foot1 and solid curved splat which very frequently assumes the jar shape4 ,later in the period1 the stretchers were discarded altogether4 ,there was very little carving except on the spring of the knee4 ,the claw-and-ball foot was rapidly coming into favour1 and the tendency was constantly towards increased lightness of frame4 ,even where the characteristic square tapering leg of the ,louis ,,xiv4 style is preserved1 increased lightness is noticeable4 ,the turned stretchers1 both of chairs and settees1 are shown on ,plate ,,xix41 ,nos4 #e1 #f and #g1 and ,plate ,,xxi41 ,nos4 #a1 #d and #aj4 ,marot clung to the flat curved stretchers of the ,louis ,,xiv4 style1 and his chairs are very large and heavy4 ,the reason of this is that he paid great attention to the upholstery1 and his large and brilliant designs required a correspondingly large surface for adequate display4 ,many of his plates are devoted entirely to patterns for materials for upholstery1 and the geometrical flower-bed is the apparent inspiration of much of his work of this nature4 ,some of ,marot's chairs and stools are shown on ,plate ,,xxi41 ,nos4 #b1 #c1 #e1 #h and #i4 ,the chairs on either side of the bed on ,plate ,,xxii4 are also ,marot's4 ,no4 #g on ,plate ,no4 ,,xxi4 shows the lighter form of frame of this class of chair4 ,the settees1 numbered #e1 #f and #g1 on ,plate ,,xix4 should also be carefully studied as types of this style4 ,they are taken from contemporary prints of court ladies4 ,on one of them1 ,anne herself is sitting in the original4 ,no4 #f1 ,plate ,,xxi41 represents the top of a chair back which is very characteristic of the ,marot school4 ,one of the favourite ornaments of this period was the urn in some form or other4 ,the acorn was also largely used for feet1 and the flattened bulb was not entirely superseded4 ,the effect produced by the above-mentioned detail is found in several other pieces of furniture of the day1 clocks and mirrors particularly4 ,the urn is seen in ,no4 #e1 ,plate ,,xxiii41 and the effect is repeated in ,nos4 #a and #f1 ,plate ,,xx4 ,nos4 #e and #f on that ,plate also show the combination acorn and flattened bulb employed as feet4 ,no4 #f also shows another decorative feature of the period in the heavy chutes of bell-flowers4 ,the handsome clock1 ,no4 #f1 ,plate ,,xx41 from ,marot's design1 shows many ,louis ,,xiv4 features4 ,the sun in splendour is noticeable and the winged cherub above the dial4 ,the latter was made great use of in the ,queen ,anne style4 ,the mascaron also was largely adopted4 ,another decorative feature which was carved on the centre lower rim of so many chests-of-drawers1 and dressing-tables was the shell4 ,the cabinet-makers were never tired of using the latter1 and its constant appearance may perhaps be accounted for by the fact that it was the principal charge in the arms of the ,english company of cabinet-makers4 ,it is seen on top of the mirror in ,no4 #b1 ,plate ,,xix41 and the mascaron is used to beautiful effect in the mirror ,no4 #c on the same plate4 ,the mascaron appears as the chief ornament in ,no4 #c1 ,plate ,,xx4 ,strange to say1 this is not a chair1 as might be imagined1 but a fire-back1 as is also ,no4 #d4 ,the shape of this fire-back1 however1 is going to be that which will dominate in chair-backs in many styles and even to the present day holds its own4 ,the chair ,no4 #h1 ,plate ,,xx41 is transitional between ,jacobean and ,queen ,anne4 ,the couch 7,no4 #i of the same plate7 is a fine example of the ,queen ,anne style with its scrolls1 cabriole legs and stretchers4 ,the winged effect of the scrolls connecting the legs is a very favourite feature of the day4 ,this should be compared with the couch by ,marot in ,plate ,,xviii41 which retains more of the ,louis ,,xiv4 characteristics4 ,the bed on ,plate ,,xxii4 is one of ,marot's designs and shows the ,louis ,,xiv4 influence4 ,the detail ,no4 #c1 on the same plate1 exhibits another variety of head-board4 ,no4 #a is a detail of a bed cornice and its drapery2 and ,no4 #b shows the pattern of a valance4 ,specimens of lambrequin drapery1 both for beds and windows1 moreover1 are shown in the details1 ,nos4 #a and #d on ,plate ,,xix4 ,typical contents of a fashionable home in ,england during the reign of ,queen ,anne are to be gathered from the will and inventory of ,la ,marquise de ,gouvernet1 a ,french ,protestant refugee1 who was naturalized at ,westminster in #afia1 and lived for thirty years in ,english aristocratic circles1 dying in #agbb4 ,she was very wealthy1 and occupied a distinguished position in ,london society4 ,to her grandson and heir1 she bequeathed an immense quantity of jewels1 furniture1 pictures and porcelain4 ,the mere enumeration of the pieces of furniture affords a good idea of a stylish interior of the ,queen ,anne period4 ,one small calico bed1 #c foot wide and #h foot high1 for the country1 being stitched with coloured flowers1 with five armed chairs of the same4 ,one suit of chamber hangings of cloth1 painted with ,indian figures1 nine pieces1 #g foot high4 ,one other suit of chamber hangings of cloth painted in the ,indias1 drawn in porticoes1 eleven in number1 #g foot high1 very old4 ,one suit of chamber hangings of white damask1 pillows of coloured stuff fixed thereon4 ,one blue gauze ,indian bed1 worked with gold straw work1 eight pieces of tapestry1 and the chairs of the same1 very old4 ,a furniture of ,indian damask of four colours1 with the bed1 #d foot wide1 the door curtains1 the window curtains and chairs of the same1 all very old4 ,one bundle of borders of old gold and silver brecard1 with coloured flowers embroidered thereon4 ,two tapestry armed chairs4 ,four pieces of blue damask hangings with borders of cross-stitch1 and three chairs4 ,nine chairs of tent-stitch1 the ground of gold colour4 ,two couches1 the ground violet with figures4 ,bottoms of ,hungarian ,irish stitch chairs and two door curtains4 ,two large ,marselian quilts1 and one ,indian quilt1 stitched in colour4 ,one ,indian quilt1 stitched in yellow silk1 basses and pillows of the same1 all old4 ,two satin quilts4 ,one large ,india lackerd cabinet with figures4 ,one small ditto4 ,two ,indian lackerd boards1 with varnished boxes and plates4 ,one table of ,calambour wood1 which encloses a toilette of the same wood1 ornamented with gold1 containing two dressing-boxes and looking-glass1 one pin cushion1 one powder box1 and two brushes of the same4 ,two ditto cabinets upon tables of the same4 ,one ,indian quilt stitched with coloured flowers4 ,six pieces of tent stitch with figures4 ,one cloth bed worked on both sides1 containing twelve pieces4 ,the lining of a bed of gold mohair1 the counterpane1 the head cloth and the small valances4 ,one bundle of gold thread laces1 very old4 ,two pieces of cloth embroidered with silver and thirty-two pieces of ,tent stitch4 ,thirteen breadths of dove-coloured silk serge #b yards high1 embroidered in flowers with figures2 #ce yards of the same in several pieces1 some of them drawn4 ,one four-leaf screen of the same damask1 with the furniture of four colours embroidered1 and of the same embroidered damask sufficient to make another four leaves at least4 ,one twelve-leaf lackered ,tonquin screen with figures4 ,one four-leaf folding low screen1 tent stitch1 with antique figures1 and four pieces of the same work to add to it on occasion4 ,two tables and two large stands of ,calambour wood4 ,one small bureau of ditto wood1 inlaid with rays of ,prince's metal and one scrutoire of the same4 ,one little table and one glass cupboard of ,calambour wood4 ,one lackered ,tonquin coffer with figures4 ,two small glass cupboards4 ,two large looking-glasses with green ebony frames1 and two other large looking-glasses4 ,one bed of ,spanish point1 with festoons of gold and silver colour1 fixed upon white damask1 four curtain valances and bases of the same lined with white satin1 the counterpane1 headcloth and tester1 embroidered1 five arm-chairs and two door curtains of the same4 ,one suit of hangings1 the ground white1 half painted and half worked1 containing five pieces1 one piece without a border4 ,one brown damask bed with gold coloured flowers1 ten armed chairs1 one couch1 one door curtain1 eight chair bottoms and four pieces of hangings of the same4 ,two carpets of ,india velvet1 the ground with red flowers4 ,one small tapestry carpet with gold ground4 ,one ,indian carpet with gold ground and coloured flowers4 ,one damask bed with a violet ground and flowers of gold straw-work and with colours with borders of velvet cut in ,persian figures1 six pieces of hangings belonging to the bed1 whereof the middle are ,persian carpets gold ground and the borders of gold coloured silk serge1 on which are fixed the same figures with the bed1 nine armed chairs1 two door curtains1 six borders1 with figures and birds4 ,eight curtains of white damask and twelve yards of white mohair4 #cj silver plates weighing #eca oz4 #a large silver dish1 #ff oz4 #d small do41 #abe oz4 #a silver pan1 #cf oz4 #a do4 basin1 one deep dish1 #cc oz4 #a silver kettle and cover1 #ajg oz4 #a do4 chafing-dish or lamp1 #dg oz41 #i dwt4 #a do4 water boiler1 #db oz41 #aj dwt4 #a do4 chocolate-pot1 #bd oz4 #a do41 do41 #aa oz41 #aj dwt4 #a do4 sugar mustard and pepper castor1 #da oz4 #b silver salt-cellars4 #ab forks and #ab spoons1 #eh oz4 #a large soup-spoon1 #aj oz41 #aj dwt4 #a skimmer #g oz41 #ai dwt4 #h fruit knives1 #h forks and #h spoons4 #ab silver hafted knives1 #bb oz4 #b ,german silver salvers1 gilt1 #ba oz41 #g dwt4 ,illustration3 ,,plate ,,xxi #h ,german silver salvers1 gilt1 #aah oz4 #f goblets and #c vases of silver gilt1 #gh oz41 #ae dwt4 #b large salt sellars1 #b goblets1 with covers of silver gilt1 #ia oz4 #a silver teapott1 gilt4 #a small silver skillet4 #b silver ,indian teapotts1 #cj oz4 #b pair silver branches1 #ach oz4 #a pair ,berlin silver candlesticks1 #ej oz41 #e dwt4 #c pair small silver candlesticks1 #bf oz4 #b pair silver candlesticks1 gilt4 #b pair silver candlesticks1 snuffers and snuff pan of same4 #a silver tea-table1 #acc oz41 #e dwt4 #a silver bason on pedestal in form of stand1 #gi oz41 #h dwt4 #a silver cistern pierced1 supported by #d dolphins4 #a small branched candlestick1 silver gilt1 #cd oz4 #a small ,german silver cistern1 gilt1 #cc oz4 #b ,triangular ,german salt sellars1 silver gilt4 #a small silver set half gilt1 containing #c small dishes1 #d plates1 #a goblet1 #a salt sellar1 #a knife1 #a spoon1 and #a fork of same1 #eh oz41 #b dwt4 #b silver knobs for a grate and #e handles for tongues fire shool1 c41 and four hooks to support the fire shool1 etc41 all of silver4 #a ,german silver pott for broach and cover gilt4 #a small ,german barrell ornamented with silver4 #a silver clock4 #b greenish bottles with white flowers4 #a marble veind urn4 #b great beakes with serpents4 #a large beaker with colored flowers4 #f green goblets4 #b marble veind ditto4 #a large pott and cover and #b small ones4 #b coruetts and covers4 #b coruetts without covers4 #b large coruetts4 #c large water pots4 #b bottles4 #c small bottles with colored flowers4 #b bottles1 ,phillimot with colored flowers4 #a pot1 ,phillimot and white4 #h urns4 #a large beaker4 #b small beakers4 #b beakers with figures4 #b bottles4 #b bottles of new ,china4 #b beakers of new ,china4 #a bottle all of one colour4 #b potts and covers of new ,china4 #a piece red china ware4 #b coruetts blew and white4 #a large dish4 #b ,japan bowles4 #b green bottles4 #b coruetts and #b beakers1 blew and white4 #d green cupps4 #b small muggs4 #a small coffee colored urn with white flowers4 #b blew and white cisterns4 #a marble veind cisterns4 #d small marble veind cisterns4 #a large colored dish4 #b large green dishes4 #ag green plates4 #a large blew and white dish4 #f dishes1 white and colored4 ,illustration3 ,,plate ,,xxii #aa plates1 white and colored4 #a bowle of the same sort4 #a blew and white bason1 dragons at the bottom4 #a large blew and white pott and cover4 #a large blew and white urns4 #b blew and white bottles4 #b yellow cupps4 #a large brown tea pott1 covered with a lyon4 #a other large brown tea pott4 #b colored tea potts4 #b colored sollet dishes4 #b colored beakers with roses4 #b cupps and covers of the same4 #a bowle of the same with roses4 #b black urns with colored flowers4 #b mustard potts4 #b potts and covers4 #b large blew and white urns4 #a blew and white bowle4 #a colored ,japand dish4 #bj plates1 the ground green with colored flowers4 #b beakers1 the ground white with circles4 #a bowle1 the ground white1 with colored circles4 #a teapot1 the ground white1 with colored circles4 #b other tea potts4 #d salvers with vine blossoms4 #f green dishes4 ,the above inventory deserves most careful study1 since it reveals so minutely the character of the objects that were to be found in the house of a noble lady who moved in the highest court circles during the reign of ,queen ,anne4 ,the list of pictures that she left to her grandson has not been reproduced here2 they were principally family portraits1 and other pictures by the celebrated ,french painters of the early part of the reign of ,louis ,,xiv4 ,these pictures1 of course1 had been brought over to ,england when the ,marquise was exiled4 ,considering1 however1 that she had lived for thirty years in ,london till her death in #agbb1 the great bulk of the furniture in the above inventory must have been 8,queen ,anne40 ,a study of the items1 however1 shows that some of them1 especially those marked very old1 were purely ,louis ,,xiv4 ,others1 especially the chairs that matched the beds1 were probably of the ,marot school4 ,the ,oriental goods are particularly noticeable1 especially the lacquer screens and ,indian stuffs4 ,the china also shows that the ,marquise followed the prevailing taste4 ,it is to be noted that there is no mention of mahogany1 and the wood that appears to be most in favour is the ,calembour4 ,this is otherwise known as eagle wood1 a sweet-scented species of aloes that comes from the ,east4 ,the ,dutch influence that prevailed during this period naturally resulted in marquetry coming into very high favour4 ,the ordinary cabinet woods were inlaid in geometrical1 floral and animal patterns with the warmer and more beautiful tints of the exotic woods4 ,complete pictures were often formed on broad surfaces1 such as table tops1 and narrower surfaces were also decorated in this manner4 ,plate ,,xxiii41 ,no4 #g1 shows a small chest-of-drawers1 or dressing-table1 of this period1 with inlaid floral ornamentation on the legs4 ,this dates from about the beginning of the ,queen ,anne period4 ,typical objects of this class1 dating between #afij and #agaj1 are described as follows3 ,illustration3 ,,plate ,,xxiii ,a dressing-table veneered with walnut containing three drawers with brass handles has the faces of the drawers inlaid with boxwood and ebony4 ,a band of inlay also ornaments the top4 ,the four legs are cabriole with web feet4 ,a dressing-table1 contains two deep drawers and a central one with brass key-plates and handles4 ,on the lower side the front is cut into three cusps with two pendants between them4 ,a chest-of-drawers1 veneered with walnut1 contains two short drawers and three long ones1 inlaid on their faces with narrow strips of sycamore and rosewood4 ,around the top is a deep cornice1 below which is a deep rounded moulding forming the face of a drawer in front4 ,the chest is placed on a stand1 containing three drawers1 upon short turned legs4 ,the front is cut into cusps and curves on the lower side4 ,another chest-of-drawers veneered1 contains three long drawers below and two small drawers above1 and a shallow drawer in the stand upon which the chest rests4 ,the chest is surmounted by a cornice and the stand by a moulding4 ,the lower part is cut into three circular arches1 with a decorative beading4 ,the feet are four square piers resting upon turned discs4 ,each side is cut into a flat arch without beading4 ,another chest-of-drawers contains five drawers1 with handles and key-plates of or moulu1 the whole of walnut decorated with inlaid arabesque ornaments in oval medallions4 ,a combination dressing-table and secretary with a swinging glass1 the whole of walnut1 decorated with beading and moulding4 ,the dressing-table stands on four cabriole legs carved with a shell ornament4 ,the looking-glass of walnut slightly carved and gilt1 the glass bevelled at the edges4 ,of cabinets1 we may note a walnut cabinet supported on four spirally turned legs with curved stretchers1 opening with two doors and furnished with brass lock-plates4 ,a cabinet of oak standing on large turned feet4 ,it has a flat top with a slightly overhanging moulded edge4 ,at the top is a drawer and below it two doors shutting in six drawers4 ,the drawers and doors are panelled and moulded1 with turned ebonized handles in the centre of each panel4 ,the sides of the cabinet are also panelled4 ,a cabinet of various kinds of wood1 on a stand of oak with four spirally turned legs and stretchers of the same4 ,the outside doors veneered with pollard oak1 the centre with hexagonal pieces of thorn acacia4 ,eleven drawers are enclosed within4 ,the cornice is of pear-wood at the sides and walnut in front1 the drawers at the top below the cornice are of burr walnut4 ,two dressing-tables from engravings of the day are shown in ,nos4 #a and #c1 ,plate ,,xxiii4 ,no4 #a4 is properly draped with the toilet1 usually muslin1 but often of richer material4 ,on the same plate1 ,nos4 #a1 #b1 #c1 #d and #e1 are details both of simple and more ornate mirrors of this style4 ,no4 #e is especially good with its carvings1 gildings and inlaid leaf ornamentation4 ,the glasses in the mirrors were gradually increasing in size as the manufacturers became more skillful4 ,nos4 #b and #c1 ,plate ,,xix41 show two oval mirrors of different proportions4 ,no4 #c is a specially fine example1 as it shows so many of the contemporary decorative motives1 including the mascaron1 shell1 chute1 swag1 scroll and wings4 ,the handles for cabinets1 chests-of-drawers1 etc41 were of various shapes1 but the brass drop-handle was the most usual4 ,its length for average drawers was two inches4 ,the ordinary model is reproduced in ,no4 #f1 ,plate ,,xxiii4 ,the tables still retained the late ,jacobean characteristics shown in ,no4 #h1 ,plate ,,xxiii4 ,far more common1 however1 were the so-called 8thousand-legged0 tables with round or square leaves and horse legs4 ,the legs were becoming slimmer and still connected with the centre frame by stretchers close to the ground4 ,the display of china had developed a new piece of furniture4 ,dyche thus defines it in #agdh3 8,buffet1 a handsome open cupboard or repository for plate1 glasses1 china1 etc41 which are put there either for ornament or convenience of serving the table10 and ,chambers1 #agea3 8,beaufait1 ,buffet1 or ,bufet1 was anciently a little apartment separated from the rest of the room by slender wooden columns1 for the disposing china and glassware1 etc41 also called a cabinet4 ,it is now1 properly1 a large table in a dining-room1 called also a sideboard1 for the plate1 glasses1 bottles1 basons1 etc41 to be placed1 as well for the service of the table as for magnificence4 ,the buffet1 among the ,italians1 called credenza1 within a balustrade1 elbow-high40 ,sometimes the 8beaufait0 consisted of a tier of shelves built into a niche in the wall of the dining-room4 ,even in the ,queen ,anne period1 however1 the word was sometimes used to signify a table4 ,murray quotes 7#agah73 8,the plate was placed upon a table or buffett40 ,the word in the sense of sideboard as we know it to-day came from ,france4 ,in #agaj ,d',aviler says3 8,bufet2 in a vestibule or a dining-room1 a large table with stages in the style of a credence upon which are displayed the vases1 the basins1 and the cristal as much for the service at the table as for magnificence4 ,this ,bufet1 which the ,italians calls credence1 is with them usually placed in the great salon and closed in by a balustrade breast high4 ,those belonging to princes and cardinals stand under a das of cloth40 ,,the ,,early ,,georgian ,,period ,illustration3 ,,plate ,,xxiv ,illustration ,,the ,,early ,,georgian ,,period ,the ,early ,georgian ,period covers an interval of about forty years1--from the accession of the ,house of ,hanover in #agad to the appearance of ,chippendale's ,the ,gentleman and ,cabinet-,maker's ,director in #aged4 ,during this period1 strange to say1 the art of the ,regency and ,louis ,,xv41 though not unfelt1 has not so much influence as a spurious ,gothic revival1 an equally spurious 8,chinese0 furore and a fetish worship of ,palladio and ,classic architecture4 ,the commanding figures in the taste of the day were ,william ,kent1 ,richard ,boyle1 third ,earl of ,burlington1 and ,john ,talman4 ,kent and ,talman studied in ,rome under the ,chevalier ,luti4 ,when the ,society of ,antiquaries was established in its present form in #agah1 ,talman was appointed its first director4 ,he died in #agbf4 ,kent attracted the attention of the ,earl of ,burlington1 and from #agaf to #agdh1 when ,kent died1 he received the shelter and hospitality of the ,earl's town house4 ,kent's charming personality1 and the authority he assumed in art matters in consequence of his foreign training1 enabled him to win a high position in fashionable circles4 ,he soon became the arbiter of taste4 ,horace ,walpole testifies3 8,he was not only consulted for furniture1 as frames of pictures1 glasses1 tables1 chairs1 etc41 but for plate1 for a barge1 for a cradle4 ,and so impetuous was fashion that two great ladies prevailed on him to make designs for their birthday gowns4 ,the one he dressed in a petticoat decorated with columns of the five orders2 the other1 like a bronze1 in a copper-coloured satin with ornaments of gold40 ,walpole also says3 8,kent's style predominated during his life40 ,besides the numerous mansions he built for the nobility in the ,classic style1 he also built a 8,gothic0 house for ,henry ,pelham4 ,pope says3 8,must bishops1 lawyers1 statesmen1 have the skill ,to build1 to plan1 judge paintings1 what you will8 ,then why not ,kent as well our treaties draw1 ,bridgman explain the gospel1 ,gibbs the law80#ae ,kent was a painter1 architect and general designer1 and nobody has been found to oppose ,hogarth's dictum that neither ,england nor ,italy ever produced a more contemptible dauber4 ,hogarth satirizes him in two of his prints3 ,masquerades and ,operas 7#agbd71 and ,the ,man of ,taste 7#agcb74 ,in the former1 the statue of ,kent surmounts ,burlington ,gate1 and supported on a lower level by the statues of ,raphael and ,michael ,angelo2 in the latter1 he again towers above the same two artists over the gate 7of taste71 which is being whitewashed4 ,on a scaffolding ,alexander ,pope's diminutive form is wielding the brush and spattering passers-by with the whitewash4 ,the ,duke of ,chandos gets most of it4 ,the ,earl of ,burlington is mounting the ladder with more material4 ,burlington ,house1 ,piccadilly1 was practically rebuilt about #agaf from the ,earl's plans4 ,it formed a striking exception to the mixed and commonplace architecture of the period1 and aroused the enthusiasm of contemporary writers4 ,gay writes3 8,beauty within1 without proportion reigns40 ,lord ,hervey1 however1 sneers at its lack of accommodation3 8,possessed of one great hall of state ,without a room to sleep or eat40 ,this mordant wit also satirizes another residence at ,chiswick owned by ,lord ,burlington1 which was built about #agcj after the model of the celebrated villa of the worshipped ,palladio4 ,according to ,hervey's1 8,it was too small to live in and too large to hang to a watch40 ,burlington designed mansions for others also4 ,one of these1 belonging to ,general ,wade1 in ,cook ,street1 provoked ,walpole to say3 8,it is worse contrived in the inside than is conceivable1 all to humour the beauty in front40 ,lord ,chesterfield also suggested3 8,as the general could not live in it to his ease1 he had better take a house over against it and look at it40 ,the discomfort of the interior arrangement of even the most magnificent houses built at the beginning of this period is attested by more than one writer4 ,pope sneers at ,blenheim as follows3 8,see1 sir1 here's the grand approach1 ,this way is for his ,grace's coach2 ,there lies the bridge1 and here's the clock1 ,observe the lion and the cock1 ,the spacious court1 the colonnade6 ,the chimneys are so well designed1 ,they never smoke in any wind4 ,the gallery's contrived for walking1 ,the windows to retire and talk in4 ,the council chamber for debate1 ,and all the rest are rooms of state4 ,thanks1 sir1 cried ,i1 'tis very fine1 ,but where d'ye sleep1 or where d'ye dine8 ,i find by all you have been telling ,that 'tis a house but not a dwelling40 ,how strong the fashionable taste of the day was for ,gothic1 ,chinese and ,french decorations is gathered from the indignant writings of contemporaries who could not bear to see their pet ,classic neglected4 ,we learn that by the middle of the century the craze for the ,french and ,chinese had somewhat abated4 ,in #agef1 ,isaac ,ware has much to say on the late tendencies4 ,he speaks bitterly of the degeneracy of modern taste1 and attacks those who 8flew into every absurdity that the scope of things could afford4 ,of this we see instances in many expensive works which stand1 and will stand to disgrace our country3 and we have models of them1 and of others as ridiculous1 proposed for imitation4444 ,we have seen architecture1 a science founded upon the soundest principles1 disgraced by ignorant caprice1 and fashion very lately attempted1 and it would be well if we could not say attempts now1 to undermine and destroy it by the caprice of ,france1 and by the whims of ,china4 ,illustration3 ,,plate ,,xxv 8,how must a man of true taste frown to see in some of the best buildings of that country1 as it would pretend for the encouragement of arts1 ,corinthian capitals made of cocks' heads4 ,it is called the ,french 7order7 and let them have the praise of it2 the ,gothic shafts and ,chinese bells are not below or beyond it in poorness of imagination4 8,it is our misfortune to see at this time 7#agef7 an unmeaning scrawl of 7,cs7 inverted1 turned and hooked together take place of ,greek and ,roman elegance1 even in our most expensive decorations4 ,this is not because the possessor thinks there is or can be elegance in such fond1 weak1 ill-jointed and unmeaning figures3 it is usually because it is ,french2 and fashion commands that whatever is ,french is to be admired as fine4 8,while these ,french decorations were driving out from the inside of our houses those ceilings which a ,burlington had taught us to introduce from ,roman temples1 and those ornaments of doors which a better taste under ,inigo ,jones had formed upon the models of the best ,roman structures2 the ,goths seemed to have seized upon pavilions1 and the ,chinese on rooms of pleasure4 ,the jointed columns rose without proportion for the support of the thatched roof in some lower ground1 while bells dangled from every corner of the edifice that caught the traveller's eye upon an elevation4 8,true taste and good admonitions have got the better of these2 and they are left for cake-houses for ,sunday apprentices4 ,the ,french are more difficult to conquer2 but let us rouse in every sense the natural spirit against them2 and no more permit them to deprave our taste in this noble science1 than to introduce among us miseries of their government or fooleries of their religion40 ,again he says3 8,the ,french have furnished us with abundance of fanciful decorations for these purposes 7ceilings and panels7 little less barbarous than the ,gothic2 and they were1 like that species of building 7for we will not descend to call it architecture7 received with great readyness2 the art seemed upon the point of being lost in ,england2 but a better taste has now prevailed4 ,we should1 in that danger1 have declared for banishing whatever came under the denomination of ,french ornament2 but1 now we see it over1 the art will be to receive these ornaments with discretion1 to adapt them to the few uses for which they are proper1 and to soften their luxurious use1 and blend them with better figures1 till we have reduced them into a more decent appearance4 8,a ceiling straggled over with arched lines1 twisted curves1 with ,x's1 ,c's and tangled semi-circles1 may please the light eye of the ,french1 who seldom carry their observation farther than a casual glance2 but this alone is poor1 fantastical and awkward2 it is a strange phrase to use for anything from ,france1 but those who have seen such ceilings as we here describe must acknowledge it is just40 ,he then goes on to recommend a ceiling which the plate shows to be ,louis ,,xv4 in style4 ,here then we have direct evidence of the favour in which the styles of the ,regency had been received in ,england4 ,the rocaille decoration and the excessive use of ,chinese subjects1 and monkeys1 arabesques and floral devices1 and particularly the broken curve1 quickly overcame the opposition encountered from conservative members of the old school and strongly influenced ,germany and ,england4 ,the expensive ,french wall-painting and silken hangings are imitated in wall-paper4 ,the taste even spread to ,america1 for ,mr4 ,hancock1 of ,boston1 sent to ,london in #agcf for paper-hangings for one of the rooms of his new house4 ,he says about three or four years ago one of his friends had a hanging like the sample he sends1 but he adds1 8,if they can make it more beautiful by adding more birds flying here and there1 with some landskips at the bottom1 should like it well4 ,let the ground be the same colour of the pattern4 ,at the top and bottom was a narrow border of about #b inches wide1 which would have to mine4444 ,in the other part of these hangings are great variety of different sorts of birds1 peacocks1 macoys1 squirril1 monkys1 fruit and flowers1 etc40 ,the macoys 7which1 of course1 are macaws or parrots7 and the monkeys proclaim the ,regency taste4 ,some characteristics of the ,regency style are as follows3 ,the legs of the furniture are slightly curved and not so heavy as the ,louis ,,xiv4 furniture4 ,however1 they retain a look of solidity4 ,round the edge of the table1 under the top1 is usually a frieze which forms a descending curve in the middle2 it sometimes assumes the form of a bow also4 ,this has been called the contour d'arbalte4 ,at the top of the legs1 and on the corners of other pieces of furniture1 are mountings of bronze often showing acanthus motives with a head which is more expressive than the antique mascarons of the preceding style4 ,sometimes heads of animals also appear4 ,the scroll and shell-work is rapidly becoming ornate4 ,a fine example of ,regency work is shown in the lower screen on ,plate ,,xxx41 in which the prevailing vogue of the monkey is noticeable4 ,besides ,watteau1 ,chinese designs were also produced by ,aubert 7d4 #agba71 ,la ,joe 7d4 #ageb71 ,fraisse 7d4 #agce71 and ,mondon le fils 7d4 #agch74 ,roumier 7d4 #agbd7 designed tables of this period4 ,the ,french school1 which ,chippendale was going to follow almost slavishly in his book of designs1 had many admirers in ,england long before4 ,in #agdj1 ,batty ,langley brought out ,the ,city and ,country ,builder's and ,workman's ,treasury of ,designs4 ,in this and other works1 he gives several hundred designs for buffets1 chimney-pieces1 cisterns1 clocks1 table-frames1 etc4 ,some of these are confessedly 8after the ,french manner40 ,of these1 we have the curious chest-of-drawers on ,plate ,,xxviii41 the dressing-table on ,plate ,,xxvi4 and the clock and bookcase on ,plate ,,xxv4 ,after examining ,batty's dressing-table and chest-of-drawers1 the latter of which he has even neglected to supply with handles1 we are astonished to come across anything so graceful as the console-table on ,plate ,,xxvi41 which also appears in his book4 ,however1 in our examination of ,french designs1 we come across this very table signed ,picau1 so that ,mr4 ,langley has shamelessly transferred a ,french design to his own book without acknowledgment1 as ,picau considerably antedated ,langley4 ,the influence of the ,french decoration is also noticeable in the bookcase1 ,no4 #a1 ,plate ,,xxv4 ,langley thus catered to some extent to the tastes of those who admired the ,french styles1 but he did not approve of them himself4 ,he says3 8,the great pleasure that builders and workmen of all kinds 7those called cabinet-makers1 ,i think1 only excepted7 have of late years taken in the study of architecture has induced me to the compiling of this work4 ,and indeed ,i am very sorry that cabinet-makers should have been supine therein2 because of all small architectural works none is more ornamental to buildings than theirs1 when well and justly executed1 as being generally made with such kinds of materials which ,nature has wantonly adorned with delightful textures of colours that contribute very greatly to their beauty4 8,the evil genius that so presides over cabinet-makers as to direct them to persevere in such a pertinacious and stupid manner that the rules of architecture1 from whence all beautiful proportions are deduced1 are unworthy of their regard1 ,i am at a loss to discover2 except ,murcea1 the ,goddess of ,sloth1 acts that part and has thus influenced them to conceal their dronish1 lowlife incapacities and prompt them1 with the fox in the fable1 to pronounce grapes sour that ripen out of their reach4 8,cabinet-makers originally were no more than spurious indocile chips1 expelled by joiners for the superfluity of their sap1 and also1 by instilling stupid notions and prejudice to architecture into the minds of youth educated under them has been the cause that at this time 'tis a very great difficulty to find one in fifty of them that can make a book-case1 etc41 indispensably true after any of the ,five ,orders without being obliged to go to a joiner for to set out the work and make his templets to work by4 8,but if these gentlemen persist much longer thus to despise the study of this noble art1 the very basis and soul of their trade1 which now to many joiners is well understood1 they will soon find the bad consequences of so doing and have time enough on their hands to repent of their folly--and more especially since that our nobility and gentry delight themselves now more than ever in the study of architecture1 which enables them to distinguish good work and workmen from assuming pretenders40 ,on ,plate ,,xxv4 are three of his eight designs of bookcases1 which1 8if executed by a good joiner1 and with beautiful materials1 will have good effects1 or even if by a cabinet-maker1 provided that he understands how to proportion and work the ,five ,orders1 which at this time1 to the shame of that trade be it spoken1 there is not one in a hundred that ever employed a moment's thought thereon1 or knows the ,tuscan from the ,doric1 or the ,corinthian from the ,composite ,order1 and more especially if the ,doric freeze hath its triglyphs and mutules omitted4 ,in short1 the ultimate knowledge of these sort of workmen is generally seen to finish with a monstrous ,cove1 on an ,astragal1 crowned with a ,cima ,reversa1 in an open pediment of stupid height4 ,illustration3 ,,plate ,,xxvi 8,when a ,gentleman applies himself with a good design of a book-case1 etc41 made by an able architect1 to most of the masters in this trade1 they instantly condemn it and allege that 'tis not possible to make cabinet works look well that are proportioned by the ,rules of ,architecture2 because1 they say1 the members will be too large and heavy1 etc41 whereas the real truth is that they do not understand how to proportion and work the members of these designs1 and therefore advise the unwary to accept of such stuff as their poor1 crazy capacities will enable them to make1 and wherein 'tis always seen that the magnitudes of their ,coves and ,cima ,reversas 7their darling finishing7 are much larger members than any members of a regular cornice 7even of the ,tuscan ,order7 of the same height1 wherefore1 'tis evident that all their assertions of this kind are used for nothing more than to conceal an infinite fund of stubborn ignorance which cannot be paralleled by any other set of mortals in the world4 ,this ,i mention that for the future ,gentlemen may have a more particular regard in the choice of works and workmen1 in this way1 than any have heretofore done4 ,for ,i do affirm that a good joiner will not only execute a design of this nature in much less time than any of the common run of cabinet-makers can1 but will perform it in that masterly manner which is known but to very few1 if any1 in the cabinet trade40 ,isaac ,ware1 who1 as we have seen1 was a determined enemy to the ,french innovations1 says3 8,we shall here direct the eye of the student from the frivolous decorations which ,france has furnished us to those which dignified the works of ,greece and ,rome1 and have been an honour to the names of some of our own architects in times of better taste40 ,though he prefers the nobler style of ,inigo ,jones1 he advises the architect 8to consider the other kind of richness4 ,we consider the proprietor dislikes the former kind2 he thinks it too heavy1 or he has corrupted his taste in ,france so far as to dislike the ,grecian science4 ,he desires to have a ceiling as rich as that proposed to him1 but more airy2 and he will have some of the ,french crooked figures introduced into it40 8,a continued chimney-piece can only be proper where there are ornaments of sculpture about the room2 for otherwise there will be nothing with which it can correspond4 ,therefore1 against all other considerations1 let him design at all times a simple chimney-piece for a room that is hung1 and a continued one for a room that is finished any other way4 ,no wainscot is or can be made without panels2 and it will be easy to make the upper part of a continued chimney-piece correspond with them1 let them be of whatsoever kind4444 ,no more will be required than to form a regular design of an upper part for the chimney-piece intended to be placed there1 and to execute it with the common mouldings of the panels4444 ,the purpose of the work is to raise an ornament like that of the other parts of the room from the chimney-piece to the ceiling2 and in such manner to adapt this to the chimney-piece itself that it shall seem naturally to rise from it and be connected with it2 that it shall be a regular and proportioned part of the chimney work at the same time that it is also a regular part of the ornament of the room4444 8,it is the first object that strikes the eye1 on entrance and the most conspicuous part of the room1 and for that reason1 while he gives it the same air as the rest1 let him make it somewhat richer4 ,when the common mouldings of the wainscot have some sculpture1 let those which are continued over the chimney have more1 as well as be laid in greater number1 and to whatever degree the rest is carried1 let this part exceed it4 8,rooms that are hung are debarred by the rules of the science from the advantage of this ornament2 but for all other kinds whatsoever1 it is very well adapted4 ,where the walls are plain stucco1 this upper part of the chimney-piece must have very little ornament2 but even in that case1 as the lower part will naturally be very plain1 a light representation of its most conspicuous parts in the space above will be far from unpleasing4 8,let him 7the student7 not suppose this circumstance of room finished with plain stucco to be a parallel case with that of one hung with paper or damask1 and in which we limited him to the use of a simple chimney4 ,here the space within the panel over the chimney being plain as the rest of the wall1 at the same time it admits the grace of this addition1 keeps up a similarity with the rest1 without anything improper in itself2 but1 in the other case1 the great contrast in the colour or figures of the paper or silk would break in upon the intended composure of the whole2 and the mouldings1 whether in wood or stucco1 would appear to be stuck on the paper1 not to rise from it1 as they will certainly appear to do from the stucco-wall4 ,the upper part of the chimney-piece1 which in the case of our plain stucco-wall shews itself only what it is1 that is1 a light ornament continued from the lower work of the chimney1 will1 where there is paper or silk1 have the aspect of a frame2 and these will appear as pictures in it4 ,all know how poor this must look1 since1 in the reality1 what could be so mean as the thought of framing a piece of the hanging80 ,having now learned from contemporary authorities the most approved styles of decoration of ceilings1 walls and chimney-pieces during the ,early ,georgian period1 we may proceed to say a few words concerning the ,gothic and ,chinese influence4 ,the ,chinese fad1 which is often wrongly attributed to ,sir ,william ,chambers1 was no new thing1 as we have already seen4 ,in the preface to his book of designs he had made in ,canton1 he clearly states that his object is to correct the absurdities that were daily produced for the public as 8,chinese40 ,he says3 8,it was not my design to publish them1 nor would they now appear1 were it not in compliance with the desire of several lovers of the arts1 who thought them worthy of the perusal of the publick1 and that they might be of use in putting a stop to the extraordinary fancies that daily appear under the name of ,chinese1 though most of them are mere inventions1 the rest copies from the lame representations found on porcelain and paper-hangings40 ,illustration3 ,,plate ,,xxvii ,towards the middle of the century1 many books appeared by ,johnson1 ,edwards and ,darly1 ,halfpenny and others1 giving designs for ,chinese temples1 arches1 garden-seats1 bridges1 palings1 etc4 ,when ,chippendale brought out his book1 as we shall see1 he felt compelled to bow to the prevailing taste1 and give designs of ,chinese character4 ,just as the ,chinese fashion is attributed to ,chambers1 so the ,gothic revival is frequently erroneously attributed to ,horace ,walpole4 ,it is true that he greatly liked to encourage that form of architecture1 but the taste was reviving before he had any influence4 ,in #agdb1 ,langley published his ,gothic ,architecture4 ,he says it is 8restored and improved by a great variety of grand and useful designs entirely new in the ,gothic ,mode for the ornamenting of buildings and gardens exceeding everything that's extant40 ,the subscribers to this work included eighty-one of the nobility1 two bishops1 nine judges1 two ladies of title1 sixteen gentlemen1 three carpenters1 one smith and one mason4 ,this list shows that it was already fashionable to take interest in 8,gothic40 ,horace ,walpole was one of the subscribers1 but the claim made for him of having originated revived interest in ,gothic architecture is disposed of by the fact that he was not yet in possession of ,strawberry ,hill1 and it was not till #agej that he wrote3 8,i am going to build a little ,gothic castle40 ,in fact1 in #agef1 ,isaac ,ware calls it a 8late taste0 and implies that it is already on the wane4 ,he writes3 8,the ,gothic is distinguished from the antique architecture by its ornaments being whimsical and its profiles incorrect4 ,the inventors of it probably thought they exceeded the ,grecian method1 and some of late have seemed1 by their fondness for ,gothic edifices1 to be of the same opinion2 but this was but a caprice1 and1 to the credit of our taste1 is going out of fashion again as hastily as it came in4444 ,the error of the late taste has been in attempting to bring the ,gothic into use in smaller buildings1 in which it can never look well40 ,the ,englishmen of taste had adopted the ,french fondness for ruins in decoration1 and real and artificial ruins in their gardens4 ,it is said that some even dismantled their castles to have respectable ruins of their own4 ,in ,langley's ,principles of ,gardening1 published in #agbh1 this taste is catered to4 ,among his plates is 8an avenue in perspective1 terminated with the ruins of an ancient building after the ,roman manner02 and eight plates are devoted to 8views of ruins after the old ,roman manner for the termination of walks1 avenues1 etc40 ,these ruins1 some of which are of a false ,gothic style1 are to adorn 8such walks that end in disagreeable objects10 and 8may either be painted upon canvas1 or actually built in that manner with brick1 and covered with plastering in imitation of stone40 ,we get a faint hint of the rococo also from the following advice3 8,when figures of shell-work are erected in the midst of fountains1 we receive a double pleasure of a fountain and cascade also by the waters agreeably murmuring down the rocky shells40 ,langley was far more responsible for the 8,gothic0 craze than ,walpole was4 ,besides writing books on the subject1 his services were engaged by the latter1 doubtless on account of his being the authority of the day on that subject4 ,walpole's good sense1 however1 soon taught him dissatisfaction4 ,when we look at the ,gothic chimney-pieces and other features that adorned the rooms of ,strawberry ,hill1 we cannot wonder at his dissatisfaction4 ,we learn from the ,gentleman's ,magazine3 8,through the inability of his architects1 particularly of ,langley 7who1 though esteemed capital in his day1 knew nothing of the art of constructing modern ,gothic71 his ideas were never properly executed4 ,mr4 ,walpole often complained they were rather ,moorish than ,gothic2 however he could not at that day procure better assistance4 ,he was always1 however1 among the first to depreciate his own architecture40 ,mrs4 ,delany's letters afford evidence of the prevailing ,gothic taste4 ,in #aged1 we hear3 8,i am working stools in worsted chenille for the ,gothic cell40 ,in #agef1 she mentions a great ,gothic hall in her description of ,lady ,oxford's house4 ,she also says3 8,the chapel is to be new built in the same taste2 the alterations ,lady ,oxford made in this place cost above #dj1jjj pounds1 and her apartment is the prettiest thing ,i ever saw1 consisting of a skylight antechamber or vestibule1 adorned in the ,gothic way4 ,the rooms that encompass it are a library1 a dressing-room1 a room fitted up with china and ,japan of the rarest kinds1 and a ,gothic room full of charming pictures1 and embellished with everything that can make it look gay and pleasant2 it is lighted by a window something of the ,venetian kind1 but prettier1 and the whole breadth of one side of the room40 ,then1 in #ageh3 8,my closet is just hung with crimson paper1 a small pattern that looks like velvet2 as soon as dry1 ,i shall put up my pictures2 and ,i am going to make a wreath to go round the circular window in the chapel1 of oak branches1 vines and corn2 the benches for the servants are fixed1 the chairs for the upper part of the chapel are a whim of mine1 but ,i am not sure till ,i see a pattern chair that ,i shall like it2 it is to be in the shape and ornamented like a ,gothic arch40 ,hogarth should be a very valuable guide to the furniture of this period4 ,as a rule1 however1 he seems to care very little about the delicate details and generalizes the forms1 giving an impression of excessive heaviness and clumsiness4 ,however1 occasionally we get a good hint1 as in the bed in the scene of the countess's toilet in ,marriage la ,mode4 ,one of ,hogarth's tables is shown on ,plate ,,xxviii41 ,no4 #a4 ,it will be noticed how little trouble he has taken to indicate the special kind of foot1 whether hoof or ball-and-claw4 ,an escritoire from one of the plates of the ,industrious ,apprentice is shown on ,plate ,,xxviii41 ,no4 #b4 ,the ball-foot and drop-handles are clearly shown in this4 ,one of ,hogarth's chairs1 which was a very common pattern during this period1 is that of ,no4 #d1 ,plate ,,xxvii4 ,the models also numbered #i1 #aj and #aa are generally known as ,hogarth chairs4 ,no4 #g is one of ,halfpenny's designs for a ,chinese chair4 ,nos4 #a1 #b1 #c1 #f and #h are also types of chairs in use before ,chippendale brought out his book4 ,no4 #e is an early model of the 8,windsor chair10 which came into favour during the reign of ,queen ,anne and maintained its place for a century and a half4 ,this chair dates from about #agaj4 ,the central drawing represents a folding chair-bed4 ,the frame is of mahogany and the back filled with cane4 ,the back is curved at the top and straight at the sides1 which have two curved pieces1 or wings1 projecting forward4 ,the arms are curved and the four cabriole legs end in club feet4 ,the backs of ,nos4 #i1 #aj and #aa on this plate curiously agree with the form of the fire-back ,no4 #c on ,plate ,,xx4 ,this general model appears in the inventories as the 8,crown-back chair40 ,with the exception of the ,windsor chair1 which was very often made of cheap wood1 the chairs on this plate were made of walnut or mahogany and upholstered with velvet1 cloth1 leather1 ,turkey-work1 leather1 or haircloth plain or figured4 ,the seat is movable1 and no upholstery nails or braids were used1 the frame of the wood giving the necessary finish4 ,the dumb-waiter on ,plate ,,xxviii4 dates from about #agdj3 it is of mahogany decorated with incised floral pattern in outline4 ,no4 #b1 ,plate ,,xxvi41 shows a toilet swinging-glass dating from about #agcj which exhibits a little of the ,french influence4 ,it has a wood frame carved and gilt with flowers1 foliage and scroll ornament4 ,nos4 #a and #c are other common forms of mirrors of this period4 ,the frames are frequently of mahogany picked out with gold4 ,the general proportions of the room shown in ,plate ,,xxiv4 are taken from ,hogarth's ,marriage la ,mode4 ,as a rule1 the bed was the four-poster of oak1 walnut or mahogany draped with upper and lower valances and curtains4 ,the window curtains always matched those of the bed1 and unless the chairs were of cane1 or leather1 they were also covered with the same material4 ,these hangings were of silk or worsted damask1 serge1 flowered or figured russell1 harrateen1 camlet1 mohair1 or chintz4 ,numerous products in silks and cotton from ,india were also used4 ,the ,early ,georgian bedroom was seldom draped in white3 the different bedrooms frequently are described as the 8,blue10 the 8,yellow10 the 8,red10 or the 8,green ,room40 ,sometimes a room contains an alcove and an alcove bed after the ,french style1 and the field-bed is not unfamiliar4 ,the latter1 however1 is chiefly reserved for the unimportant bedrooms4 ,the furniture includes small chairs and easy chairs1 chests-of-drawers1 cases-of-drawers1 chests-upon-chests1 sometimes a press1 a secretary1 and almost invariably two or three tables4 ,one small table always stood by the bed for such conveniences as a candlestick1 etc4 ,the dressing-table was a case-of-drawers1 such as is seen to the right in ,plate ,,xxiv4 ,upon this is spread a toilet and over it hangs a mirror4 ,this is1 of course1 a species of commode4 ,this piece of furniture of late years has been called improperly a 8low-boy10 as the high case-of-drawers that sometimes stands on cabriole legs and sometimes on six spindle-shaped legs joined by stretchers1 has been called a 8high-boy40 ,another variety is the chest-upon-chest consisting of a double case-of-drawers4 ,these pieces are made of mahogany1 walnut1 cherry1 or they are japanned1 painted with ,chinese or ,japanese subjects and lacquered1 or painted and lacquered in imitation of the ,french work of the day4 ,the tall clock is also frequently japanned and brightened with brass mounts4 ,the frames of looking-glasses and pictures are also frequently lacquered4 ,engravings and mezzotints1 which are very much in vogue1 are framed in this style1 or in black4 ,although the grate is rapidly gaining favour1 the brass andirons have not been banished4 ,in either case the hearth furniture1 tongs1 shovel1 etc41 is of brass1 more or less ornate4 ,two bedrooms described in #agch will give an idea of the appearance of the sleeping-rooms of the age4 ,one was a ,green ,room2 the bed-curtains1 window-curtains1 and chair coverings were of green harrateen4 ,the floor was covered with a ,turkey carpet1 and the chimney-piece was bright with brass andirons and other hearth furniture4 ,a pier-glass was hung between the windows1 and the rest of the furniture consisted of twelve chairs and a couch1 a dressing-glass and drawers1 a bureau-table and three large sconces with arms4 ,the other room was furnished in yellow mohair4 ,there were six chairs1 a large chair1 two stools1 a desk and bookcase with glass doors1 a dressing-table and glass1 a chimney-glass and sconce1 a bed and brass andirons1 etc4 ,the window curtains and window cushions matched the bed1 whose bolster and counterpane1 as well as draperies1 were of yellow mohair4 ,illustration3 ,,plate ,,xxviii ----- ,footnote #ae3 ,bridgman was a famous landscape gardener of the day1 and ,gibbs a noted architect4 ,,louis ,,xv4 ,,period ,illustration ,,the ,,louis ,,xv4 ,,period ,the gloom and solemnity of the last years of ,louis ,,xiv41 ruled by a morose monarch and his bigoted1 unacknowledged wife1 gave place to the license of the ,regency1 and the exuberant vitality of a young king1 the influence of which is fully reflected in decorative art4 ,the ,regency saw a short period of inflated wealth such as had never been dreamed of by any living man4 ,law's ,mississippi ,bubble1 before it was pricked1 enabled men to get rich in a day1 and some of the upstarts paid fabulous sums for the best work that artists of all kinds could produce4 ,architecture had to give up parade and magnificence1 and cater to comfort and convenience4 ,paris saw mansions and pretty little houses rise by the hundred4 ,their furniture and decoration bore the stamp of gaiety and caprice4 ,there was open rebellion against the rigid rule of the last reign4 ,le ,brun's divinities become gay and frisky and laugh at you4 ,fauns get very hairy about the snout1 plants climb and frolic along the limbs of the goddesses4 ,olympus becomes human2 partitions are built to break up the too cold and imposing grand galleries and transform them into cabinets particuliers4 ,the pier invades the walls1 the chimney-piece assumes shell forms4 ,in fact1 as the subtle 8,advice to lovers of design10 which heads ,oppenord's collection of engravings says1 these works are composed in a 8taste after the antique1--but richer40 ,then1 we are led on to the charming follies of ,meissonier1 whom later we shall see go even further1 growing ever and ever more 8rich10 but still thoroughly under the illusory conviction that his style is 8antique40 ,now we have arrived at what is perhaps the most exquisite and perfect period of the history of furniture in ,france4 ,the workers of the ,regency and of the reign of ,louis ,,xv4 united with an incomparable manual dexterity a grace1 fancy and caprice that is found nowhere else except perhaps in the best art of ,japan4 ,perhaps the greatest furniture-maker of this time was ,charles ,cressent 7b4 #afhe74 ,for the perfection of his workmanship1 he ranks as high as ,andr ,charles ,boulle1 and perhaps surpasses the latter in the qualities of seductiveness and elegance4 ,he was an engraver as well as a carver4 ,copper played a great part in the ornamentation of his coloured marquetry works1 and he was able to set his own mark of taste and finesse directly upon his productions4 ,illustration3 ,,plate ,,xxix ,the ,orient was exercising a powerful influence on ,french as on ,dutch and ,english taste4 ,we have seen that a liking for the contrast of richly coloured exotic woods was noticeable toward the end of the reign of ,louis ,,xiv4 ,the ,siamese embassy with its rich offerings of porcelain and lacquer had concentrated the eyes of the ,court for a moment on the art of the ,east4 ,french artists catered to the novelty1 and from then till the middle of the ,eighteenth ,century the lacquers of ,china and ,japan were actively though freely imitated4 ,first1 the monkey was all the rage as a decorative motive4 ,monkeys climb up piers1 swing on garlands in panels1 and not only play their usual malicious tricks1 but musical instruments also4 ,they appear in all attitudes and combinations4 ,watteau1 ,huet1 ,gillot and even ,chardin1 the realist1 bowed to the demand for ,singerie4 ,a good example of the use made of the monkey in furniture decoration is the beautiful ,regency screen on ,plate ,,xxx41 in which the characteristic scroll and shell also appear4 ,the monkey1 however1 was not the sole motive of decoration4 ,chinese and ,japanese screens1 jars and fans soon asserted their rights2 and 8chinoiserie0 was in full swing4 ,the walls and furniture for a time1 as in ,england1 show strong evidence of the 8,chinese0 taste4 ,in ,france1 however1 it is followed at a greater distance from the original1 and artistically modified and developed4 ,the 8chinoiserie0 of ,watteau and ,gillot has only a faint though delicate flavour of the real ,far ,east4 ,this 8chinoiserie0 had some effect on furniture in certain ornamental details1 and ,cressent's work shows traces of the prevailing taste4 ,the artist who perhaps had the greatest influence in producing the ,louis ,,xv4 rocaille style was ,j4 ,a4 ,meissonier 7b4 #afie71 who by his contemporaries was abused for having broken up the straight line outrageously and pushed the curve to extreme limits4 ,he was the abomination of all who held the angular and dry in reverence4 ,a very able designer1 ,cochin1 in #aged1 issues an appeal to goldsmiths1 chisellers1 interior woodwork carvers1 engravers1 etc4 ,he begs them 8when carving an artichoke or celery head in natural size to be kind enough not to set beside it a hare as big as a man's finger1 a lark of natural size1 and a pheasant one-fourth or one-fifth size2 children of the same size as a vine-leaf2 or figures of a supposed natural size supported by a decorative flower that could scarcely support a little bird without bending2 trees with trunks slimmer than one of their own leaves1 and many other sensible things of the same order4 ,we should also be infinitely obliged to them if they would be kind enough not to change the uses of things1 but to remember1 for instance1 that a chandelier should be straight and perpendicular1 in order to carry the light1 and not twisted as if it had been wrenched2 and that a socket-rim should be concave to receive the running wax and not convex to shed it back upon the chandelier2 and a multitude of equally unreasonable details that would take too long to particularize4 ,similarly1 carvers of interior decorations of rooms are begged to be obliging enough1 when executing their trophies1 not to make a scythe smaller than an hour-glass1 a hat or ,basque drum larger than a bass-viol1 a man's head smaller than a rose1 nor a sickle as big as a rake40 ,in reply we have the following protest3 8,it was necessary to find another kind of architecture in which every worker could distinguish himself and bring that kind of skill within the reach of everybody2 nevertheless1 accepted tastes should not be rudely shocked by the sudden production of novelties too remote from the reigning taste1 thereby risking a hissing4 ,at first the famous ,oppenord served us zealously4444 ,he made lavish use of our favourite ornaments and brought them into favour4 ,even now he is useful to us1 and there are some of us who take him as a model4444 ,we found a stronger support in the talents of the great ,meissonier4 ,it is true that the latter had studied in ,italy1 and consequently was not one of us1 but as he had wisely preferred the taste of ,boromini to the wearisome antique taste1 he had thereby come closer to us2 for ,boromini rendered the same service to ,italy that we have to ,france1 by introducing there an architecture gay and independent of all those rules that anciently were called good taste4 ,meissonier began by destroying all the straight lines that were used of old2 he curved the cornices and made them bulge in every way2 he curved them above and below1 before and behind1 gave curves to all1 even to the mouldings that seemed least susceptible of them2 he invented contrasts2--that is to say1 he banished symmetry1 and made no two sides of the panels alike4 ,on the contrary1 these two sides seem to be trying which could deviate most1 and most oddly1 from the straight line that till then they had been subject to40 ,as ,oppenord may be said to have presided at the opening of the ,regency style1 so ,meissonier inaugurated that of ,louis ,,xv4 ,his rocaille escaped the exaggerations of the contemporary foreign masters1 and kept within the bounds of good taste4 ,among other decorators1 less inventive but of charming taste1 who followed in the traces of ,meissonier were ,michel1 ,ren ,stoldz or ,la ,joe1 ,chevillon1 etc4 ,the ,print ,room of the ,bibliothque ,nationale possesses a collection of the beautiful designs of the two last-named artists in water-colour and gouache4 ,these designers used many of the same motives as ,meissonier1 the shell1 the cabbage-leaf1 the shrimp 7of course1 the forms derived from these objects71 but they added to their decorations still more fleeting and vague elements1 such as falling water1 the ostrich plume1 etc4 ,la ,joe is a real past master in the art of introducing into a decorative panel a cascade which sometimes falls from nowhere and loses itself in pearly foam3 for him everything serves as a pretext for a cascade3 neighing horses plunging in the water1 an open-jawed dragon clinging to the base of a column1 a hunted stag vomiting a jet of water into a fount whose marble rim is full of twists and contortions4 ,the list of artists who contributed to interior decorations during the ,louis ,,xv4 period is a long one4 ,it includes3 ,boffrand1 ,le ,roux1 ,oudry1 ,brisseux1 ,huquier1 ,pineau1 ,mondon1 ,cuvillis1 ,gravelot1 ,boucher1 ,blondel1 ,babel1 ,germain1 ,marvye1 ,chedel1 ,jombert1 ,babin1 ,cochin1 ,pillement1 ,peyrotte1 ,eisen1 ,demarteau and ,martinet4 ,these are the great masters of the style4 ,the principal smaller ones are3 ,aubert1 ,crepy1 ,vassy1 ,bachelier1 ,roumier1 ,vervien1 ,caylus1 ,lassurance1 ,lange1 ,la ,collombe1 ,dubois1 ,bouchardon1 ,prevost1 ,le ,grand1 ,fraisse1 ,blanchard1 ,marsenois1 ,de ,la ,cour1 ,canuc1 ,poulleau1 ,mollet1 ,mansart1 ,de ,jouy1 ,perault1 ,dumont1 ,aveline1 ,cornille1 ,chamblin1 ,bellay1 ,vanerve1 ,pelletier1 ,paty1 ,chopart1 ,borch1 ,la ,datte1 ,lamour1 ,girard1 ,ballechou1 ,herisset1 ,hubert1 ,metayer1 ,servandoni1 ,sloiste1 ,caque1 ,l',hermitais1 ,roy1 ,duval1 ,franois1 ,charpentier1 ,lebas1 ,radel1 ,de ,lorme1 ,courtelle1 ,viriclix1 ,tessier1 ,lattre1 ,de ,laborde and ,harpin4 ,illustration3 ,,plate ,,xxx ,one of the cabinet-makers who best produced the ideas of ,meissonier was ,jacques ,caffieri 7b4 #afgh71 who was 8sculpteur1 fondeur et ciseleur du roi40 ,even if he did not himself manufacture1 he directed the production of splendid cabinet-work4 ,his work is distinguished by grace and aristocratic elegance4 ,he executed a great quantity of bronze for the famous cabinet-maker1 ben4 ,many extant works bear the mark of a ,c surmounted by a fleur-de-lis1 and these are usually attributed to this master1 but the great inequality of excellence makes many critics doubtful4 ben was a pupil of ,boulle1 and devoted himself exclusively to the branch of marquetry in cabinet-making1 leaving the metal decoration to his assistants1 ,caffieri and ,duplessis4 ,his work was in the greatest favour with ,madame de ,pompadour1 who bought it through the merchant ,duvaux1 one of whose best customers was the king himself4 ben died about #agef1 and his works helped to furnish all the mansions and castles of the ,marquise and ,king in ,paris1 ,fontainebleau1 ,compigne1 ,versailles1 ,bellevue1 ,crcy1 ,champs1 ,saint-,ouen1 and la ,celle ,saint-,cloud4 ,his widow married his foreman1 ,j4 ,henri ,riesener4 ,the other great cabinet-makers of this period whose works are to be found in the ,rothschild1 ,wallace1 ,south ,kensington1 and other famous collections1 are ,bernard1 ,boudin1 ,ollivier1 ,dubois and ,cremer1 who worked principally in artificially coloured marquetry1 and ,gamier1 ,pafrat and ,roubo4 ,the latter wrote a very valuable treatise called ,l',art du menuisier4 ,the taste for ,chinese and ,japanese art was very insistent1 but at the same time only skin-deep4 ,there was no true feeling for the profundity of the wonderful art in the patient work that produced the ,chinese and ,japanese lacquer4 ,it was regarded as a toy4 ,however1 progress is noticeable1 and fashion gladly welcomed the art products of the ,far ,east4 ,in ,angola1 a novel within the period1 we read3 8,upon my word60 says the ,count to the ,countess1 8you have a splendid chimney-furnishing1 and those ,chinese cabinets are charming4 ,is this the rue du ,roule8#af ,i am simply crazy about that little man4 ,everything that he sells is so expensive and scarce40 8,oh10 says the ,countess1 8it is a pretty good selection40 8,well10 replies the ,marquis1 8there is simply a divine taste in everything there4 ,there are little divinities in the most wonderful forms4 ,this one1 for instance2 this and your fool of a husband are as like as two peas40 ,another description from the same work and in the same tone tells us a 8lit de repos1 in a niche of damask1 coloured rose and silver1 looked like an altar consecrated to delight2 an immense screen surrounded it1 and the rest of the furniture was in perfect accord with it2 consoles1 jasper corner-shelves1 ,china cabinets loaded with the most rare pieces of porcelain1 and the chimney-piece was decorated with corpulent gods of the most wonderful and clownish shapes40 ,these ,chinese cabinets were principally of lacquer1 more or less adapted to ,french demand4 ,just as soon as the ,french taste required ,oriental goods1 orders were sent abroad and the 8,heathen ,chinee0 was quick to supply the foreign market4 ,the native art was gladly modified by the merchants in accordance with the demands of foreign trade4 ,sometimes even ,french and other goods were transported to ,china to have the finishing touches added there4 ,of course1 the time came when native craftsmen tried to meet the demands of fashion by imitations of the ,eastern ware4 ,the trouble was that for a long time the home workmen could not produce the proper varnish and make a satisfactory lacquer4 ,some workmen boldly used native varnishes without attempting to imitate the ,chinese and ,japanese1 and produced charming work of the most delicate finish2 but these1 unfortunately1 scarcely outlasted the special entertainment for which they were manufactured4 ,the undoubted chiefs of these varnishers were the ,martins4 ,in #agdd1 a decree of the ,council allowed 8au ,sieur tienne ,martin le cadet exclusivement tous autres1 l'exception du ,sieur ,guillaume ,martin10 the privilege of manufacturing for twenty years all kinds of relief-work in the ,japanese and ,chinese taste4 ,in addition to the above-mentioned1 we must not forget the brothers ,julien and ,robert4 ,the number of panels1 carriages1 sedan-chairs1 boxes and ceilings and walls that they varnished is innumerable4 ,the rage for their work was such that the wonderful ,boulle-work in marquetry on the walls of ,versailles that ,louis ,,xiv4 had had executed for his son were destroyed and replaced by ,martin decorations on a green background4 ,they also did a lot of work for ,madame de ,pompadour at ,bellevue4 ,their fame spread1 so that ,frederick the ,great summoned ,robert's son1 ,j4 ,a4 ,martin1 to decorate ,sans ,souci4 ,voltaire even thought the ,martin work worth writing couplets in its praise4 ,like all fads1 the ,vernis ,martin aroused criticism and enmity4 ,mirabeau indignantly denounces the 8voitures ,vernis par ,martin40 ,notwithstanding jealousy and abuse1 the ,vernis ,martin held its own1 and to-day is a thing of great price4 ,good as it was1 it could not compare with the ,japanese and ,chinese lacquer1 and the specimens that have survived are relatively scarce4 ,it may be interesting to note that the old lacquers that sunk in the shipwreck of the ,nile1 in #ahgd1 near ,yokohama1 were found practically uninjured a year afterwards4 ,at the same time1 the modern products of ,kioto and ,yeddo were entirely destroyed4 ,in the ,louis ,,xv4 period1 the word apartment means a complete suite of living-rooms4 ,there are three kinds of apartments1 large1 medium and small4 ,a large apartment consists of a vestibule1 a first ante-chamber1 a second ante-chamber1 a principal chamber1 a salon or company-room 7reception-room or drawing-room71 a bedroom and several cabinets 7studies71 and garde-robe 7wardrobe rooms74 ,the medium apartment has fewer rooms and the small apartment still fewer4 ,however1 to be complete1 the smallest apartments must comprise four rooms1--an ante-chamber1 a chamber1 a cabinet 7dressing-room7 and a garde-robe 7a wardrobe71 to which a small staircase leads4 ,each room has its own especial decoration4 ,first comes the vestibule4 ,this is a passage leading into the apartment4 ,it is ornamented with columns1 or pilasters1 and circular niches1 in which statues are placed4 ,the ante-chamber comes next to the vestibule1 and is destined for the servants4 ,this room is ornamented in simple style3 the woodwork of the doors and windows gives it its chief decoration1 but mirrors and handsome paintings are often hung on the walls1 and sometimes the corners are rounded for the sake of effect4 ,this room frequently contains a stove1 so that the cold air from the vestibule may be tempered before it reaches the inner apartments4 ,next comes the second ante-chamber1 where the servants who are in direct attendance upon the master wait4 ,sometimes this room is used for a dining-room1 or a drawing-room4 ,if used as a drawing-room1 the woodwork is more or less richly carved1 handsomely framing mirrors and pictures4 ,console-tables with marble slabs stand underneath the mirrors1 contributing to the decoration of the room and exhibiting handsome vases1 ornaments1 etc4 ,sometimes the walls are adorned with rich tapestries reaching to the wainscot1 which is of the same height as the slab of the chimney-piece4 ,when used as a dining-room1 the buffet is the chief feature4 ,after indicating the place of the buffet1 ,d',aviler says3 8,the buffet can be incrusted with marble or ,portland stone1 or wainscotted with woodwork4 ,this consists of a recess which occupies one entire side of the room2 here you place a table of marble or stone supported on consoles1 beneath which you may stand a small stone basin for cooling the wine bottles4 ,on each side of the table is a deep niche1 ornamented with aquatic attributes1 such as ,tritons1 dolphins and mascarons of gilded lead1 which throw water into the little basins below1 from which it escapes1 as well as into the basin underneath the table4 ,the back of the buffet is ornamented with a little gallery with consoles1 above which is hung a picture1 usually representing fruits or flowers1 a concert of music1 or other pleasant subjects4 ,this one 7represented in ,d',aviler's book7 represents upon a background of foliage1 grapes and birds1 a bust of ,comus's ,god of ,festivity1 upon which two little ,satyrs are placing a crown of flowers and grapes40 ,the chamber is the principal room in an apartment4 ,formerly it included all the rooms inhabited by the master except the vestibules1 salons1 peristyles and galleries4 ,the bedroom is the sleeping-room where the bed is placed4 ,as a rule1 this faces the windows4 ,the decoration cannot be too rich1 but this does not mean an overloading of ornament1 as the best adornment consists of panels1 mirrors and pictures well distributed4 ,the large mirror is hung between the two windows opposite the bed1 and below it is placed a console-table of gilded wood with a marble slab4 ,each window is furnished with a seat and has glass panes and an outside railing4 ,on each side of the window1 in the corners of the room1 are pilasters1 like those that decorate the rest of the room4 ,opposite the chimney-piece is another glass1 beneath which stands a rich commode4 ,pictures are placed over the doors and mirrors4 ,the bedroom may also be hung with tapestries of silk like the hangings of the bed4 ,the pattern should be of large floral branches and leaves4 ,the chambre de parade demands the handsomest kind of furniture4 ,here visits of ceremony are received4 ,a magnificent bed stands here in a rich alcove1 or is separated by a balustrade from the rest of the room4 ,the railing is quite high1 gilded1 and terminates in ,corinthian columns4 ,carved panels with pilasters1 painted white and brightened with gold1 decorate the walls4 ,a rich cornice1 ornamented with consoles1 and whose metopes are enriched with bas-reliefs and trophies1 runs around these panels4 ,the ceiling should be tastefully painted1 and pictures1 mirrors and handsome furniture should complete the decoration4 ,white and gold1 according to ,d',aviler1 is the most elegant composition1 especially if the wall behind the balustrade1 where the bed is placed1 is covered with a tapestry of blue silk1 and the bed hung with blue and white curtains1 ornamented with gold braid4 ,the form of this room is important3 7#a7 it must be deeper than wide1 so that1 if the space occupied by the bed is excepted1 the room is square2 7#b7 the windows must be opposite the bed2 7#c7 the chimney-piece must mark the centre of the room and be exactly opposite the principal entrance4 ,as a rule1 the salon is rectangular4 ,its proportions are #d to #c or #b to #a4 ,there are square1 round1 oval and octagonal salons4 ,sometimes ,corinthian columns are used for decoration and to frame the mirrors and pictures4 ,the decoration is left largely to the taste of the owner1 but whatever is chosen must be of great richness and charm1 because the salon is supposed to be 8a retreat after a day spent in hunting or after a walk40 ,here the inmates and guests gather to enjoy the evening with cards or conversation and light refreshments4 ,the cabinet is a little room in the apartment1 consecrated to study4 ,it should be secluded and removed from all noise4 ,as a rule1 it is between the ante-chamber and the bedroom4 ,the morning hours are usually passed in the cabinet4 ,the servants go into the bedroom through the exits by the bed1 and the master or mistress is undisturbed in his cabinet1 which is decorated in the simplest kind of fashion so as not to take the thought away from study4 ,sometimes the cabinet consists of three little rooms1 one arrire-cabinet where books1 etc41 are kept and which is very private 7cabinet secret72 the next is a serre-papier1 where titles1 contracts1 business papers and money are kept2 while the third is a kind of wardrobe and toilet-room1 which communicates with the bedroom1 and has an exit for the servants4 ,the name cabinet is also given to the room where the ladies make their toilette1 have their oratory1 or take their noonday rest4 ,the garde-robe is the room where the clothes are kept and where the body-servants sleep4 ,some architects like a chimney-piece here1 for the sake of an occasional fire4 ,such is the arrangement and decoration of the large apartments4 ,it will be noticed that carved panels1 with or without pilasters1 and panelled doors surmounted by paintings or panes of glass occur in nearly every room4 ,the wall decorations are important4 ,d',aviler says3 ,illustration3 ,,plate ,,xxxi 8,the paintings in the spaces above the doors or other parts of the room should1 especially in the first rooms1 show the qualities of the master1 or his exploits1 so as to announce by these allegories the respect due to the person who lives there40 ,one of the favourite ways of arranging the bedroom1 particularly for the small apartment1 was to place the bed in a niche1 from which circumstance the room received the name of chambre en niche4 ,d',aviler describes it as follows3 8,as for the chambre en niche1 the bed is viewed from the front2 an arm-chair may stand on either side1 the alcove being ten to eleven feet wide4 ,if it is smaller1 the bed must be turned sideways1 and the width of the alcove must not be more than the length of the bed1 its depth also being restricted to the breadth of the bed4 7,see ,plate ,,xxix47 ,this will cause it to be called a niche1 and the room will also receive the same name4 ,in this case1 for the sake of symmetry1 a false bolster is placed at the foot of the bed1 which has caused it to be called the two-bolster bed 7lit deux chevets74 ,these rooms are usually covered with carpentry1 all the mouldings and ornaments of which are gilded4 ,sometimes people content themselves with varnish40 ,d',aviler1 however1 greatly prefers the chambre en alcove to the chambre en niche1 and goes on to explain that the alcove is the part of the bedroom in which the bed is placed4 8,usually the top of it is formed by a parallel headpiece of carpentry work1 accompanied by two other panels vertical or perpendicular to it4 ,sometimes1 also1 it is separated from the rest of the room by an estrade1 or by several columns or other architectural ornaments4 ,this makes quite a fine effect1 and it is susceptible of great decoration4 ,besides the magnificence in sculpture1 painting and gilding1 of which the panels are susceptible1 the back of the alcoves may also be adorned with mirrors2 which light up the room and do away with the deep shadows which a bed almost always produces in a room4 ,this kind of strengthening has a peculiar usefulness when it is well placed or arranged in a room2 there is then enough space remaining on both sides for small wardrobes1 or at least entrances into other wardrobes4 ,the alcove is thus accompanied by two doors with glass in them to admit light into these little wardrobes1 and they may be very richly decorated40 ,in ,blondel's ,maisons de plaisance 7#agcd71 he gives us a very clear insight into the arrangement and furnishing of a fashionable1 though somewhat modest1 house of the period4 ,we cannot do better than paraphrase his recommendations4 ,as the building is intended to receive only a few people at a time1 all the rooms1 with the exception of the ,salon1 in case of a reception1 are not very large4 8,the vestibule is graceful in form2 in the four angles are niches with statues4 ,the four doors are symmetrically arranged4 ,the outside door faces that leading to the ,salon4 ,this room is high in proportion to its size4 ,the decoration is of woodwork1 painted white1 without gilding1 because it is so situated as to serve as a passage to the outer rooms around it4 ,however1 the servants having the vestibule for retirement and the ,salon being then able to be occupied by the masters1 it is therefore adorned with pictures1 sculpture and mirrors4 ,in cold weather1 there is a fire here for those who want to warm themselves after their different amusements1 the apartments to the right and left being reserved for the relaxation of the masters of the house4 8,on the right of the ,salon is a room for play4 ,opposite the windows that light it1 is a niche for a sofa1 and in the two angles are recesses for cabinets for holding the chess1 tric-trac1 counters1 etc4 ,opposite the chimney-piece1 the wall is panelled and carved1 the ornaments being varnished and gilded4 8,all these small rooms being intended for recreation of the mind1 nothing should be neglected to render the decoration fine and gay4 ,it is here that genius may soar and abandon itself to the vivacity of its caprices1 whilst in the apartments de parade it must restrict itself to the most rigid rules of conduct and good taste1 and not fall into the unrestrained liberties of the carving of to-day1 which should be banished with all the more reason that true architects scarcely tolerate them in the rooms we are now describing4 8,this play-room leads into another one where coffee is served4 ,here ,indian and ,chinese plants and figures have full licence to take part in the decoration3 here they are naturally befitting2 and1 in my opinion1 this is the sole place where they should be admitted4 8,next we enter a cabinet en niche1 oval in form1 which is lighted by a glass door that leads into a little bosquet1 which serves as a private promenade for this chamber4 ,opposite this door is a chimney-piece in an arcade which matches the arcade in which the lit en niche is contained1 and opposite which another of the same form is imitated1 or the door leading into this room4 ,in this doorway is a staircase leading up to the entresols that are over this room and a little room behind it1 which are intended for the servants' sleeping-rooms4 8,from the coffee-room you enter a gallery that terminates the right side of this building4 ,this gallery is symmetrically decorated1 and the spaces between the windows are enriched with mirrors and consoles on which are placed various curios1 such as bronzes1 crystals1 porcelains1 etc4 8,from this gallery you enter the garden4 8,to the right of the ,salon is a billiard room of a shape appropriate to its use4 ,ornaments1 mirrors and pictures rarely form part of the decoration of this kind of a room on account of the accidents incidental to this game2 and the walls are simply covered with large panelling4 8,this billiard room leads into a room which in turn leads into a chambre en niche2 it may be ornamented with tapestries above a wainscot4 ,as for the chambre en niche1 its walls should be covered with carpentry work all the way up4 ,this will preserve it from the humidity it might have1 being on the ground floor1 and which always attacks apartments that are not constantly occupied4 ,the decoration is perfectly symmetrical4 ,to combine pleasure and convenience1 ,i have arranged close to it a small garde-robe that is lighted from and opens into a little court4 ,on each side of the niche that contains the bed1 there is a door2 one serves as a passage into the garde-robe1 and the other opens into a recess for keeping the linen in and keeping under key whatever the master desires4 ,illustration3 ,,plate ,,xxxii 8,the little court communicates with the kitchens4 8,the dining-room on the right of the vestibule is of an irregular form4 ,the chimney-piece faces the two windows2 the angles of the superfices on which it is placed are rounded1 and in them ,i have placed niches for marble tables1 on which can be set the silver1 crystal and dessert1 during the repast1 and afterwards be put away in the closet next to this room4 8,on the other side of the vestibule1 is the common room in which the servants dine4 ,next to it come the kitchens40 ,when the dining-room is separate from the suite1 it is usually situated on the ground floor1 near the large stairway4 ,the architects of the day insisted that it should be well lighted1 and1 if possible1 open upon a garden4 ,the floor was of parquetry1 and the walls wainscotted in oak and sometimes carved2 yet it was not unusual to have the panels carved1 painted white and gilded4 ,the buffet with its fountain and wine-cooler was the centre of attraction4 ,the curtains were of silk1 the chairs were upholstered and the floor warmed by a carpet or rugs laid4 ,on the mantel-piece stood a clock and candelabra1 and sconces and chandelier holding many candles brightly illuminated the rooms4 ,one of the changes of this reign was the appearance of the petit salon and boudoir1 smaller rooms beautifully and comfortably furnished1 which were more adapted for intimate social life4 8,in order to find useful furniture10 says ,jacquemart1 8we must pass to the reign of ,louis ,,xv41 the king who deserted the state apartments for by-places with secret doors and back staircases40 ,the ,palais ,soubise in ,paris1 the ancient home of the ,guises1 and the home of the ,prince de ,soubise1 a favourite of ,louis ,,xv4 and a devoted friend of ,madame de ,pompadour1 is happily extant4 ,the ,prince de ,soubise took for his second wife1 his cousin1 ,anne ,julie ,charbot de ,rohan1 so celebrated for her beauty and her intrigues4 ,the embellishments at the ,htel de ,soubise were begun by them in #agjd and continued by their son1 the ,duc de ,rohan1 who died in #agdi1 and the decorations of this mansion are considered among the triumphs of the 8lgances raffines0 of the ,eighteenth ,century4 ,germain ,boffrand1 a pupil of ,mansart1 is responsible for the interior architecture4 ,the two floors in which the ,prince and ,princess had their apartments were laid out identically4 ,the ,prince occupied the rez-de-chausse1 or ground-floor1 consisting of a bedroom1 a ,salon oval and ante-chambers1 etc4 ,the bedroom communicated directly with the ,salon oval and the many windows and glass doors of the latter opened upon a formal ,french garden4 ,the decorations of these rooms were in the pale grey tone known as gris de lin4 ,there were no bright colours and no mythological pictures of love and gallantry4 ,the panels were laden with beautiful wood carvings1 and in the upper part between the archivolts of the doors and windows were eight allegorical groups representing the arts and sciences4 ,music1 ,justice1 ,painting and ,poetry1 ,history and ,fame were painted by ,lambert ,sigisbert ,adam2 and ,astronomy1 ,architecture1 ,comedy and the ,drama by ,jean ,baptiste ,lemoine4 ,the ,princess's apartments above consisted likewise of a bedroom1 ,salon oval1 and an antechamber4 ,the bedroom was lighted by two windows that looked upon an interior court4 ,in the cornices and in the centre of the panels were groups of figures inspired by the stories of ,greek mythology4 ,on the piers1 a skillful carver related the amorous adventures of ,venus and ,adonis1 ,semele and ,jupiter1 ,europa and the ,bull1 and ,argus and ,mercury4 ,in the four corners of the ceilings1 the gilded medallions represented ,diana1 ,leda1 ,ganymede and ,hebe2 and1 finally1 in the cornice1 stucco figures of almost natural size stood out boldly4 ,they formed four groups4 ,between the windows1 ,bacchus and ,ariadne were represented2 in the depth of the alcove1 ,diana and ,endymion1 and at the side of the ,salon ,oval1 ,pallas and ,mercury1--opposite to ,venus and ,adonis4 ,innumerable little ,cupids1 bearing attributes of sciences1 arts and letters were everywhere4 ,over each door was a painted panel3 one1 by ,boucher represented the ,graces presiding at ,cupid's ,education1 the other1 signed ,trmolires and dated #agcg1 ,minerva teaching a ,young ,girl the ,art of ,making ,tapestry4 ,in the back of the room1 standing out from the red damask of the alcove1 were two pastorals by ,boucher1 with shepherds in satin garments1 and shepherdesses in panier-skirts1 and beribboned sheep4 ,all the frames1 so graceful in sweeping curves1 were in delightful harmony with this subject1 adding as ,jules ,guiffrey says1 8a fantastic piquancy to these mythological gallantries40 8,the ,oval room10 says the same art critic1 8will always remain one of the most artistic models of the ,eighteenth ,century2 and everybody knows that the period of ,louis ,,xv4 carried the science of decoration to its last limit40 ,the chief paintings were done by ,charles ,natoire in #agcg-agci1 and describe the story of ,cupid and ,psyche in the most charming colours2 but1 still quoting from ,m4 ,guiffrey1 8the details of the ornaments of the salon oval defy all description4 ,you must study in detail the entwinings of the rosace1 the little cupids clothed in a beautiful coating of gold1 all different in gesture1 attitude and expression1 to gain an idea of the infinite resources of the designers and sculptors of the time40 ,the original chimney-piece was removed to the ,tuileries1 where it was burned4 ,the floor originally was incrusted in the style of ,boulle's furniture1 in branches of copper and pewter4 ,illustration3 ,,plate ,,xxxiii ,the boudoir is generally smaller than the average room of the period4 ,the ceiling should be painted in the style of ,boucher1 with a pale sky scattered with clouds1 garlands and ,cupids4 ,the cornices are white and gold1 and the cartouches flowered and gilt4 ,the doors are white and gold1 and ornamented with painted motives very light4 ,the panels of the wall are covered with silk1 bearing flowers and birds on a pale rose1 blue1 or lilac background4 ,the nails are covered with a harmonious braid4 ,the alcove1 or niche1 is hung with the same material as the panels1 and the cornice matches the other woodwork4 ,opposite the alcove is the window1 the cornice of which repeats that of the alcove1 and from it fall the curtains1 made of the same material as the wall panels and alcove draperies1 heavily wadded and lined with silk4 ,they are surmounted by a light drapery1 caught into festoons here and there1 ornamented with shells or knots of the same stuff1 and tassels or bell-shaped balls of silk4 ,the under curtains are white lace1 and the heavy curtains are looped back by means of light tassels of various hues4 ,a scarf of drapery falls on either side of the alcove1 the cornice of which sometimes is decorated with pommes4 ,below this is a valance corresponding with the valance at the base of the lit de repos that is placed within it4 ,the chimney-piece is white marble1 surmounted by a mirror with a frame of gilded wood carved richly in palms1 flowers1 birds1 shells1 etc4 ,upon it should stand a clock and two small candelabra of like design1 or of ,svres or ,dresden porcelain4 ,opposite the chimney is a similar mirror1 below which is a pier table or a commode4 ,the carpet is ,aubusson of light colours1 and the doors1 if preferred1 can be hung with portires agreeing with the window curtains4 ,sofas1 easy-chairs1 arm-chairs1 secretaries1 small tables1 corner-cupboards and chiffonnires are all appropriate to the boudoir1 which may be heated with a wood fire on bright andirons1 or by a grate4 ,the light is supplied by candles4 ,a book called ,la ,petite ,maison 7#ageh7 contains a description of the furnishings of a wealthy home in the height of the reign of ,louis ,,xv4 ,taking the dining-room first1 we find that the walls are in stucco of many colours1 made by the famous ,milanese worker in stucco1 ,clerici1 who made the ,salon de ,neuilly for the ,comte d',argenson and the ,rendez-vous de chasse de ,saint-,hubert for the ,king4 ,in the compartments were bas-reliefs of stucco1 the work of the sculptor ,falconet4 ,they represented the feasts of ,comus and ,bacchus2 and the ,king's sculptor ,vass had adorned the pilasters with twelve trophies1 representing the pleasures of the chase1 fishing and good cheer4 ,on each of these trophies was fixed a torchre of gilded bronze1 bearing a six-branched girandole1 which could make this fine room as bright as day4 ,in the adjoining small cabinet1 in which coffee was served1 the panels were painted of a sea-green hue with picturesque subjects brightened with gold4 ,in this room were a number of baskets filled with fleurs d',italie4 ,the furniture was covered with embroidered moir4 ,next came the cabinet de jeu4 ,here the walls were done in ,chinese lacquer2 the furniture was also of lacquer1 with rich ,oriental material finely embroidered4 ,the girandoles were of rock crystal1 and upon finely carved and gilded brackets were valuable porcelains from ,saxony and ,japan4 ,a thick-piled carpet was spread upon the floor4 ,this room communicated by two doors with the dining-room and the boudoir4 ,the door into the latter was disguised by a portire of tapestry4 ,the salon1 which opened out upon the garden1 was circular1 arched en calotte and painted by ,hall1 a ,french painter1 who much resembled ,boucher4 ,the panels were painted in lilac and framed by very large mirrors4 ,the space above the door was also painted by ,hall in a mythological design4 ,the lustre and the girandoles were of ,svres porcelain1 with supports of gilded bronze or moulu4 ,the bedroom1 square in form and pans1 was lighted by three windows that looked upon the garden1--an 8,english garden0 it was4 ,it ended in an arch1 and this arch contained in a circular frame a picture representing ,hercules in the arms of ,morpheus1 awakened by ,love1 painted by ,pierre4 ,the panels were imprinted with a pale sulphur4 ,the parquet was marquetry of the odorous woods of amaranth and cedar4 ,in the four corners of the room were mirrors1 and beneath them console-tables with marble tops1 upon which were arranged with great taste fine porcelains1 handsome bronzes and marbles4 ,the bed was draped in a material from ,pekin1 jonquil colour1 ornamented with the gayest hues2 and was enclosed in a niche or alcove1 which communicated both with the garde-robe and bath-room4 ,the garde-robe was hung with gourgouran 7a kind of silk from ,india71 gros vert1 on which were hung rare prints by ,cochin1 ,lebas and ,cars4 ,the furniture here consisted solely of ottomans1 sultanes and duchesses4 ,in the bath-room1 marbles1 porcelains and muslin were not stinted4 ,the panels were covered with arabesques executed by ,prot after designs of ,gillot1 and distributed in compartments with much taste4 ,marine plants mounted in bronze by ,caffieri1 pagodas1 crystals and shells decorated the room4 ,in it were two niches3 in one was a silver bathtub2 in the other a bed draped in ,indian muslin1 embroidered and adorned with tassels4 ,this was a lit de repos1 and at its side opened the dressing-room4 ,the panels here were painted by ,huet1 the designs being medallions1 garlands of flowers1 birds1 fruits1 and some gallant subject in the style of ,boucher4 ,the upper part was finished with a cornice1 surmounted by architectural motives that also bordered a surbased calotte containing a mosaic of gold1 with bouquets of flowers painted by ,bachelier4 ,natural flowers filled the bowls of porcelain gros bleu1 ornamented with gold4 ,furniture1 gros bleu1 the wood of which was aventurine1 had been finished by ,martin4 ,the toilet service was of silver1 made by the goldsmith ,germain4 ,the boudoir was1 perhaps1 the most elaborate of all the rooms4 ,the walls were completely covered with mirrors1 whose joinings were masqued and disguised by the trunks of artificial trees massed and arranged so that they formed a quincunx that one might believe real4 ,these trees were loaded with flowers of porcelain and gilded girandoles1 which produced1 with their rose-coloured and blue candles1 a soft and diaphanous light1 reflected1 but moderated by the transparent gauze that had been spread over the mirrors at the back of the room1 where there reigned a voluptuous twilight4 ,in the niche1 also covered with mirrors1 was a lit de repos enriched with gold braid and accompanied with cushions of all sizes4 ,the parquet was of rosewood4 ,all the carpentry work and carving was painted by ,dardillon1 who1 in painting and gilding the panels1 had mingled with the colours some odorous ingredients for the purpose of having them exhale a perfume4 ,this boudoir was thus a natural bouquet1 exhaling from its paintings and gilding the combined perfume of violet1 jasmin and rose4 ,one wishing to furnish a room in the ,louis ,,xv4 style could hardly find a better model than the following that dates from #agcj4 ,this had a furnishing of ,lyons brocade of jonquil-coloured background embossed with silver flowers1 designed by ,lalli1 and trimmed with braid1 lace1 and silver fringe4 ,the set consisted of a bed1 two fauteuils1 two square cushions1 six folding-stools1 a screen1 a folding-screen1 wall-hangings1 and four portires4 ,the window-curtains were of plain jonquil taffeta1 trimmed at the sides and top with silver lace1 and at the bottom with a silver fringe4 ,each curtain was #ac feet1 #aj inches long1 divided into two parts1 each part containing two lengths4 ,the four portires of jonquil and silver brocade were lined with jonquil taffeta4 ,each was in two parts1 each of three lengths 7#b ells long71 and trimmed like the window-curtains4 ,the wall-hangings were trimmed with silver braid4 ,they comprised #bd lengths1 #aj ells around the course1 which was #c ells high4 ,the fauteuils were of the typical style with wavy top rail1 curving arms with cushions on the elbows and bomb fronts4 ,the frames were richly carved and silvered4 ,these chairs were covered with jonquil brocade and trimmed with silver braid and fringe4 ,the square cushions of the same brocade were trimmed with silver braid and had a silver tassel at each corner4 ,the frames of the folding-stools were carved and gilt2 the seats were covered with jonquil brocade4 ,the screens were also covered with the same material1 which was tacked on by silver-headed nails upon silver braid4 ,the bed was magnificent4 ,it was #aa feet1 #h inches high1 #f feet long and #e feet wide4 ,the draperies were exclusively of the jonquil brocade lined with jonquil taffeta and trimmed with silver braid and silver fringe4 ,the draperies consisted of three inside and four outside valances enriched with embroidery4 ,the latter were gracefully looped in irregular festoons and trimmed with a silver braid4 ,silver braid arranged in the form of shells fastened the curtains back to the columns4 ,the headboard was embroidered in silver with designs of flowers and peacock feathers in high relief4 ,the ,imperial1 or canopy1 to which were attached the inside valances1 was lined with jonquil taffeta and trimmed with silver braid4 ,four 8pommes0 in the shape of vases covered with jonquil brocade trimmed with silver1 supported by leaves and scrolls of embroidery1 held four 8bouquets10 containing altogether #abj plumes and four aigrettes4 ,the furnishings of the bed were luxurious in the extreme4 ,it was supplied with four woollen mattresses covered with some jonquil-hued material1 a down bolster covered with white taffeta1 a scarlet ratteen blanket of ,holland manufacture1 another blanket of white wool bordered with jonquil ribbon1 a counterpane of ,marseille piqu1 and a quilted and wadded counterpane of white satin4 ,the outside ornamental counterpane was of jonquil and silver brocade lined with jonquil taffeta and trimmed with silver braid and fringe4 ,another suggestion for furnishing may be gained from a description of ,madame de ,pompadour's room at the ,chteau de ,saint-,hubert1 which was furnished in #agfb with a rich damask from ,india of green and white stripes4 ,the two fauteuils and six chairs with backs were covered with this material1 ornamented with a braid of assorted silks4 ,the wood of the frames was carved and painted green and white4 ,a small tabouret1 a little footstool1 and a fauteuil en confessional#ag with its cushion were similarly covered and had also carved frames painted white and green4 ,there was also a fauteuil de toilette made of beech and cane1 the cushion and back of which were covered with green and white damask4 ,there was a folding-screen covered with the same damask on both sides and ornamented with silk tassels4 ,the carved frame was also painted green and white4 ,the one portire in the room contained three lengths of the same damask1 two ells in length1 and was lined with white taffeta and trimmed with silk braid4 ,the toilet-table was covered with a piece of the same damask1 #g feet1 #d inches long1 lined with white taffeta and ornamented at each corner with a tassel of green and white silk4 ,the window curtains were in two parts1 each part containing two lengths of white silk 7gros de ,tours71 #b ells long1 trimmed with a braid of green and white silk4 ,the bed was completely draped in the same damask4 ,it had four columns1 headboard and footboard1 and 8imperial0 or canopy 7with four outside and four inside valances7 four curtains en cantonnires1 containing altogether twenty lengths1 with four silk cords to attach them2 the counterpane1 three lower valances1 four sheaths for the pillows1 and four pommes were trimmed with silk fringe4 ,this bed stood on castors1 and was #d feet wide2 #f feet1 #c inches long2 and #h feet high4 ,three mattresses1 a down-bed1 two down bolsters1 soft woollen blankets bordered with ribbons1 a piqu ,marseilles counterpane1 and a white satin coverlet1 were among its comfortable furnishings4 ,in this room were also two commodes of rosewood veneered and set with mosaics1 the tops of violet breccia marble4 ,in front were two drawers4 ,the length was #c feet2 the width #bj inches2 and the height #cb inches4 ,the mounts1 trimmings and shoe of the leg were of bronze gilt or moulu4 ,the writing-table was of rosewood inlaid with flowers of violet wood1 with flap to let down4 ,this was covered with black leather4 ,on the right1 it had a drawer that contained writing-materials4 ,all the mounts and feet were of bronze gilt4 ,this table was #bf inches high1 #bc inches long and #ae inches wide4 ,a night-table was also in this apartment4 ,it was #bj inches long1 #ac inches wide and #cb inches high4 ,it was of violet wood and rosewood1 the top1 a slab of breccia marble from ,aleppo1 the height #cb inches2 the length1 #bj inches2 and the width #ac inches4 ,the shoes of the feet and the ring-handles were of gilt bronze or moulu4 ,the room was heated by means of a grate1 on each side of which was represented a child holding a bouquet4 ,the depth was #bb inches4 ,the shovel and tongs were gilded4 ,a peculiar feature was a niche en tabouret for two dogs1 covered with the same damask of white and green1 the wood painted white and green4 ,within it were two mattresses covered with white linen4 ,illustration3 ,,plate ,,xxxiv ,the furniture of ,madame la ,princesse de ,talmont's apartment at the ,chteau de ,saint-,germain-en-,laye in #agga consisted of a bed1 two settees1 eight arm-chairs1 two banquettes1 two screens1 three commodes1 four writing-tables1 a night-table1 a bidet1 three chairs1 two corner-cupboards1 three mirrors and two portires4 ,the wall-hangings were white ,chinese satin with figures1 flowers1 and animals richly embroidered in coloured silks4 ,the same material was used for the bed1 screens1 sofas and chairs1 but the two portires 7#aj feet1 #i inches long7 were of white taffeta trimmed with a silk braid of many colours4 ,the bed1 a lit impriale et la duchesse1 was composed of three outside valances of green taffeta ornamented with a deep lace of gold arranged in festoons2 the four inside valances were trimmed in the same style with a narrower gold lace1 and these1 as well as the ceiling1 back1 headboard1 bonnes grces1 counterpane1 and three lower valances were of the white satin embroidered with figures and trimmed with gold lace4 ,there were also two curtains of white taffeta lined with serge4 ,the bed itself with its canopy crosswise was #e feet1 #d inches wide1 #f feet long1 and #ab feet high and was equipped with three mattresses1 a feather bed and feather bolster4 ,the spread was a ,marseilles piqu4 ,the two sofas were each #f feet long of sweeping and bomb curves1 the arms also rounded and adorned with the small cushion on top 7manchette74 ,the material was fastened to the frames with silver nails4 ,each had a mattress and two square pillows1 also covered with the embroidered satin4 ,the eight arm-chairs1 the two banquettes and one screen were covered in the same style4 ,the folding-screen of six leaves1 was #d feet high4 ,it was also covered with the same material1 and its frame1 like the wood of the rest of the furniture already described1 was carved and varnished4 ,one of the mirrors had a border of carved leaves gilded4 ,its glass was #bh inches high and #ba inches wide4 ,the other two had a gilded border1 #d inches wide2 the glass of each was #bf inches high and #bj inches wide4 ,the three commodes were la ,rgence1 violet and rosewood veneered4 ,each was surmounted by a slab of ,flemish marble1 and contained one large and two small drawers4 ,all the mounts1 locks1 friezes1 ornamental chutes1 and feet were of bronze gilt4 ,they were #cd inches high1 about #d feet long1 and #bb inches deep4 ,two of the writing-tables were of violet-wood and rosewood veneered with cross-grained contrasts and on the right side each had a drawer with lock1 that contained an inkstand and other writing materials4 ,one contained in front a little shelf or flap1 #b feet wide1 covered with black leather and had gilt bronze feet2 the other was ornamented outside with flowers applied and was #b feet long1 about #ah inches wide and #bf inches high4 ,the other writing tables were #b feet long1 #ae inches wide1 and #bf inches high4 ,the night-table was of cherry-wood inlaid with threads of amaranth wood with a slab of ,flemish marble4 ,this was #bg inches high1 #ag inches long and #aa inches deep4 ,the bidet1 #ah inches long1 #ae inches wide and #aj inches high1 was of cherry4 ,its top was a tabouret colored with red leather put on with gilt nails4 ,the two corner cupboards were of various ,indian woods veneered1 and had tops of ,flemish marble4 ,in front were two doors that locked4 ,the feet and ornamental metal and key-plates were of bronze gilt2 these were about #cj inches high and were surmounted by a series of four shelves1 #bh inches high and #aa inches square4 ,in #agbi1 a complete set of 8,persian0 furniture consists of hangings for the wall1 a lit de repos1 four fauteuils bergre1 two chairs with backs1 two portires and a window-curtain4 ,the 8,persian0 was a kind of figured chintz with a white background4 ,the lit de repos en ,ottoman was #aj feet long and #c feet deep1 and was equipped with a mattress1 #b bolsters and #f square cushions1 all covered with 8,persian40 ,the two portires were of two lengths1 each #g feet1 and were trimmed with a blue and white silk braid1 and lined with white ,english taffeta4 ,the window-curtain of the same was #g feet1 #aj inches long1 containing three lengths4 ,the seats were all covered similarly4 ,in #agcj1 a furnishing for a cabinet described as 8mi-party of brocade of silver background on which are gold branches outlined in musk-colour1 and crimson damask trimmed with gold10 consisted of wall-hangings1 a niche1 two portires1 two lits de repos1 an arm-chair1 twelve folding-stools and six small and low folding-stools4 ,the two portires were in two parts each2 each half containing three half-lengths of brocade and two lengths of damask 7#c ells long71 trimmed all around with a deep gold braid and lined with crimson taffeta4 8,the niche1 in the form of an armoire1 serving as a shelter for a lit de repos10 was hung outside with five lengths of brocade and three of damask 7#h feet1 #g inches high71 trimmed at the top1 bottom and sides with a golden braid4 ,inside were five lengths of brocade and four of damask4 ,two curtains hung before the niche1 each containing three half-lengths of the brocade and two lengths of damask 7#h feet1 #d inches high74 ,these were trimmed with gold braid and fringe1 and lined with crimson taffeta4 ,there were also two valances for the niche1 one outside and one inside4 ,the outside one was of the brocade and damask mi-party1 the inside one of crimson damask4 ,they were bordered with gold braid and fringe4 ,above the niche were four carved vases of flowers to serve as 8pommes40 ,the lit de repos that was placed in the niche was #f feet long and #b feet wide4 ,it was furnished with two mattresses1 two bolsters and two square pillows4 ,the valances and coverings were of the brocade and damask1 trimmed with gold braid and fringe4 ,the cushions were ornamented with gold tassels4 ,the other lit de repos1 #g feet long and #b feet wide1 was similarly draped4 ,the fauteuil and folding-stools were covered with a square of crimson damask1 bordered with a band of the silver and gold brocade4 ,the frames were painted red1 picked out with gold4 ,a furnishing of #agcj was of lemon-coloured leather1 framed in red leather in large compartments1 bordered with a narrow braid and cord of silver4 ,the furniture included a sofa1 two forms1 twelve tabourets and a folding-screen of six leaves4 ,the sofa was #g feet1 #h inches long1 #be inches deep and #c feet1 #i inches high from top to floor4 ,the frame was carved and lacquered1 and the leather was fastened to it by means of silver-headed nails4 ,the screen was covered in the same fashion4 ,we also hear of a set of furnishings1 dating from #agcb1 of white silk with a pattern of honeysuckle branches1 with other ornaments forming cartouches of cut-out green taffeta4 ,this was used for covering two arm-chairs1 two square pillows1 twelve folding-seats1 and two screens1 as well as for draping the bed and for the wall-hangings4 ,the latter were #c ells high in #bg lengths4 ,the arm-chairs were trimmed with green silk braid1 and the material was fastened by gilt-headed nails to the frames1 which were carved and gilt1 with curving arms and backs4 ,they were furnished with square cushions1 which were adorned with green silk fringe and green silk tassels4 ,the bed was ,impriale et la ,duchesse1 and stood lengthwise4 ,it was #ab feet high1 #f feet1 #aj inches long1 and #e feet1 #h inches wide4 ,it was draped with three outside valances1 four inside valances1 festooned1 a headboard with sweeping top1 inside and outside bonnes grces1 counterpane1 three lower valances and two curtains of #af lengths each4 ,all of these were of the white silk with the honeysuckle pattern and green cartouches4 ,the bonnes grces were looped back and held by two ornamental hooks4 ,on the top of the bed there were four consoles for 8pommes10 bearing altogether eighty feathers4 ,this bed was equipped with four woollen mattresses1 a down bolster1 a red blanket1 a white ,english blanket1 a ,marseilles counterpane piqu1 a wadded quilt and a coverlet of white silk lined with taffeta4 ,the cabinet was furnished in the same material1 which was used for two portires1 two window curtains1 a sofa1 two arm-chairs1 twelve folding-stools and two screens4 ,the sofa was #f feet long1 with curving wings or cheeks1 the frame carved and gilt4 ,it had a mattress and two square cushions4 ,the portires1 #i feet1 #g inches long1 were lined with white silk1 each containing three lengths of material4 ,the windows were #ab feet1 #aj inches high1 and the curtains contained each two lengths4 ,the above detailed descriptions will enable anybody to furnish a ,louis ,,xv4 room in the most fashionable and sumptuous style4 ,at no period in the history of art have the masters of decoration given proof of more science and skill in the technique of curves than during the ,louis ,,xv4 period4 ,some of the skeletonized curves with which ,meissonier and his school loved to adorn mouldings and the framework of all kinds of furniture are shown on ,plate ,,xxxii41 ,nos4 #b1 #c1 #d and #e4 ,these elements were elaborated in a hundred various ways4 ,this kind of curved ornament used on large pieces of furniture is exemplified in the sketch ,no4 #a on the same plate4 ,this is a big china cupboard1 or double-bodied buffet-vitrine4 ,it is far more sober in its ornamentation than many objects of this class of the ,louis ,,xv4 period4 ,it was made in ,lige4 ,on the same plate is a beautiful bras de lumire in gilded bronze by ,caffieri1 with arms for candles4 ,the branches twisted in moulded volutes1 enriched with acanthus1 palm and oak leaves1 flowers and buds1 spring with masterly management from a central stem which is robust and in entire harmony with the dimensions of the whole4 ,it is about #cb inches high4 ,the change from the ,louis ,,xv4 to the ,louis ,,xvi4 style1 though marked1 was by no means violent or sudden4 ,chairs and settees are often found with clearly defined transitional features in the mouldings and ornamentation of the framework4 ,some of the ,fontainebleau furniture covered with tapestry from ,boucher's designs has the straight grooved leg and other ,louis ,,xvi4 characteristics4 ,on ,plate ,,xxxvi41 ,nos4 #c1 #d1 #e and #g are shown the details of a charming causeuse of the transitional period4 ,the general disposition preserves the undulous flexions of the ,louis ,,xv4 style1 and the details of the carving 7bunches of flowers7 obey the law that proscribes those parts that are too prominent and likely to form too sharp angles4 ,the central cluster on the top of the back1 ,no4 #c1 soberly follows in its flowers and leaves the ,louis ,,xvi4 sweep1 being in very low relief like the cluster ,no4 #d that heads the middle leg4 ,the general interlacings that run round the entire framework are also in very low relief4 ,this motive1 borrowed from passementerie1 harmonizes excellently with the surfaces covered by the woven stuff4 ,no4 #e shows the sections1 curves and deep grooves of the mouldings of the arms4 ,towards the end of the ,louis ,,xv4 period1 the feet and general outlines of the chairs and other furniture become more restrained and less curved4 ,the straight line that gradually asserts itself1 and the knots of ribbon1 shepherds' and shepherdesses' hats1 crowns and garlands that appear as motives announce the coming style ,louis ,seize4 ,the bed was of many varieties4 ,the great lit d'ange is still met with1 but alcove and sofa-beds are far more popular4 ,one of the new varieties of the latter was the lit d'anglaise1 which seems to have come into fashion about #agej4 ,this had three backs1 or rather a back and a headboard and footboard4 ,in his ,principes de l'art du tapissier1 ,bimont says 8the lit d'anglaise can be used as a sofa at need4 ,care must be taken that the backs fold exactly one over the other1 which1 of course1 is a matter of mechanical excellence40 ,the lit la polonaise had four columns and a canopy4 ,sometimes the canopy was decorated with a little graceful carving4 ,a 8pomme0 or a bunch of feathers1 ornamented the centre and each corner of the canopy4 ,houdon1 the sculptor1 had a lit la polonaise draped in yellow ,indian damask trimmed with braid1 the woodwork of which was carved and painted white4 ,one of these beds1 with a carved and gilt frame hung with crimson damask1 was sold for #c1jjj livres in #aggj2 another1 for #b1ejj livres in #aggg2 and a third for #a1ajj livres in #aghb4 ,sometimes the frames were made entirely of iron and draped4 ,the lit de duchesse was also popular4 ,in #agdc1 when the ,queen's bedroom was refurnished for ,marie ,leczinska1 a lit de duchesse was provided4 ,the ,duc de ,luynes says3 8,this bed is of white silk1 embroidered and painted4 ,the bed is not composed of four posts1 as all the ,queen's beds have been up to the present4 ,it is what is called la duchesse40 ,illustration3 ,,plate ,,xxxv ,another favourite was the lit en ottamane which dates from about #agfe4 ,one is described as a 8lit en ottomane0 of #e feet1 the dome and the rest of the woodwork carved and gilt and the counterpane1 the curtains and the interior of cherry-coloured ,indian damask4 ,another1 in #aggj1 was of 8blue and white moir1 #c feet wide1 en ottomane1 the wood carved and picked out with blue40 ,the lit en ottomane was a variety of the lit de repos4 ,the lit romaine1 which became popular about #agfj1 had a canopy and four festooned curtains4 ,the lit tulipe was similar to the lit arc1 or lit flche2 only1 instead of an ornamental arrow fixed to its pavilion1 its decoration was a bronze1 copper or gilded tulip from the hanging bell of which the curtains seemed to fall4 ,the lit la ,turque1 in fashion from #agee to #aghj1 was a sort of sofa with three backs2 a variation was introduced about #agff4 ,the lit tombeau 7see ,plate ,,xxxvi41 ,no4 #h7 was also a favourite4 ,the two posts at its foot were shorter than the two at the head1 and the canopy had in consequence a somewhat sharp slant4 ,it much resembles what in ,england was called a 8single-headed couch or field bed40 ,the lit double tombeau had posts of equal height and the curtains fell down the sides in equal slants4 ,we also find among the beds of the day 7#agea7 a lit en baldaquin of crimson damask1 composed of a little canopy1 two small and one large valances1 a large headboard1 counterpane1 two backs and two hooks4 ,it was #c feet wide and #f feet long1 and was equipped with two wool mattresses1 a feather bed and two feather bolsters4 ,another lit en baldaquin had its canopy1 two small and one large valances and headboard hung in green and white stripes while the two large curtains 7#e lengths each1 #g feet long7 were of green serge4 ,a lit chassis 7canopy bed7 was draped entirely in a green and white striped material4 ,it was composed of a canopy1 four small and three large valances1 two lower valances1 a headboard and a counterpane4 ,the frame was #i feet1 #h inches high1 and #d feet wide4 ,another lit en chassis en l'air had its four small valances1 headboard1 counterpane1 two large curtains and two bonnes grces of green serge and its three large valances and three lower valances of green and white stripes4 ,the lit de repos1 a kind of chaise longue or couch1 made for lounging upon and of which examples have already been given on ,plates ,,viii41 ,,xiii41 ,,xviii4 and ,,xx41 becomes in this reign even of greater importance4 ,sometimes two of them occur in a bedroom or boudoir4 ,one of these is represented in the niche or alcove on ,plate ,,xxix4 ,a suggestion for a beautiful alcove bed may be taken from one dating from #agcb4 ,this was equipped with a mattress1 two bolsters and two square pillows1 and had three backs1 all covered and draped with white satin embroidered in poppies of natural hues1 and ornamented with a braid of silk embroidery4 ,the feet of the bed were in the form of consoles1 carved and varnished4 ,the room in which this was placed1 also contained a fauteuil of beech1 carved1 upon the cane back and seat of which was a cushion covered with the poppy-embroidered satin4 ,two similar cushions furnished a chair of acacia and fine straw1 and the same material was used to cover two banquettes or forms1 of beech1 carved and varnished1 and having hinds' feet4 ,the first alcove beds were called lits en niche1 and they were always lits de boudoir rather than beds for the sleeping room4 ,in many old designs1 curtains are lacking and the bed is adorned merely with a lambrequin1 or a drapery across the faade of the niche or alcove1 this drapery being similar to the covering of the bed itself1 which is sometimes in the form of a lit de repos or a sofa4 ,some alcoves under the reign of ,louis ,,xv4 contained a bed vu de pied that stood very low and whose feet projected into the room4 ,one of this kind was in the ,htel de ,soubise2 and the model may be seen in many old designs4 ,an extreme example of the rococo decoration of a bed is shown on ,plate ,,xxxiv4 ,this is by ,j4 ,j4 ,schbler1 who died in ,nuremberg in #agda4 ,schbler1 an architect1 painter1 sculptor and mathematician1 was also one of the most famous masters of decorative design of his day4 ,his original drawings include ,french beds1 cabinets1 alcoves1 grates1 mantel-pieces1 writing-tables1 toilette-tables1 clock-cases1 commodes1 chaises longues1 dining-room tables1 candlestands1 dressoirs1 lustres1 tagres1 consoles1 jewel-cases1 buffets1 fountains1 garden-ornaments and grottoes4 ,his collection of #aej plates passed through twenty editions4 ,his works often resemble those of ,paul ,decker1 another celebrated ,german master1 who died in ,nuremberg in #agac2 and1 just as ,decker is a ,german exponent of the late ,louis ,,xiv4 emerging from the influence of ,brain and ,lepautre into the style of the ,regency1 so ,schbler exhibits the transitional stage between the ,regency and ,louis ,,xv4 as filtered through a ,german mind4 ,two of ,decker's designs are shown on ,plate ,,xxxiii41 ,nos4 #a and #b4 ,a bed of the late ,louis ,,xv4 period also appears on ,plate ,,xxxiv41 ,no4 #b1 showing the correct arrangement of the canopy and draperies above the sofa4 ,window-curtains were of great importance4 ,they hung from a cornice which was carved1 more or less ornately1 in curves1 scrolls and other characteristic motives4 ,occasionally the curtains were of muslin or gauze1 but more frequently of silk1 damask1 brocatelle or 8,persian40 ,they were of a solid hue1 or a mixture of two or three colours4 ,the designs of these rich materials were much smaller in pattern1 as a rule1 than those of the preceding reign and they were far gayer in colour1 for all the crimson1 gros bleu1 gros vert and other dark shades gave place to the light hues of rose1 pale green1 pale blue1 jonquil1 yellow1 etc4 ,the shapes and folds into which the curtains were cut and draped were spirited1 fantastic1 and even coquettish1 in order to harmonize with the general character of the decorations and furniture1 and it required the greatest skill on the part of the decorators to loop and tie them into the correct knots1 shells1 8choux10 8volants10 etc41 to give them the proper effect and light1 half frivolous air4 ,the lambrequin1 which was extremely popular1 differed from that in use in the reign of ,louis ,,xiv4 ,it was less severe and straight1 being cut more freely in order to accord with the cornice that surmounted it4 ,instead of the rounded scallop1 it often terminated in points1 to each of which a tassel was hung4 ,braids took the place of lace in trimming1 and the favourite fringe consisted of twisted strands of mixed colours4 ,the ravelled-out fringe1 long so popular1 at last disappeared4 ,an example of the pointed drapery is shown in the ,schbler bed on ,plate ,,xxxiv4 ,the commode was universally used in the bedrooms and boudoirs4 ,it generally stood opposite the mantel-piece4 ,it is now a superb piece of furniture1 being1 as a rule1 richly decorated with gilt bronze or moulu and often painted and lacquered in the ,chinese taste1--in ,vernis ,martin4 ,it was the famous ,cressent who made the ,commode la ,rgence1 la ,chartres1 la ,bagnolet1 la ,charolais1 la ,harant and la ,dauphine fashionable4 ,one of ,cressent's commodes1 sold in #agfa1 was thus described by himself3 8,a commode of a pleasing contour1 made of violet-wood1 having four drawers and ornamented with bronze gilt1 or moulu4 ,this commode is a work 7with regard to the bronzes7 of an extraordinary richness2 they are very well executed and the distribution of them very fine2 among other things1 you notice the bust of a ,spanish woman placed between the four drawers2 two dragons1 whose tails turned up in relief form the handles for the two upper drawers1 and the stems of two great leaves of a beautiful form are also turned up in relief to make handles for the two lower ones3 you must admit that this commode is a veritable curiosity40 ,another of ,cressent's commodes owned by the ,baron ,rothschild in ,london 8is of a most elegant form upon which the bronzes of an extraordinary richness represent1 on the front1 two children swinging a monkey40 ,jean ,jacques ,caffieri also made superb commodes4 ,one of his1 ornamented with superb bronzes in the rocaille style1 is in the ,wallace ,collection which also owns a commode by ,cressent4 ,sometimes the commode was ornamented with panels of rosewood1 or violet-wood1 or some other exotic product1 framed in spiky bronze work1 or again1 it was of lacquer1 the designs being flowers1 leaves1 ,chinese pagodas and landscapes4 ,two commodes are represented on ,plate ,,xxxv4 ,the lower one is made of violet-wood with ornaments of chiselled copper1 ,nos4 #b;a and #b;b show the handles and the end of another by ,pinaud4 ,this dates from #agej4 ,the decorative details are of gilt copper and show the mascaron and gracefully twining leaves4 ,the handles and key-plates are hidden by the ornaments4 ,the key-plates of the two drawers are different1 as will be noted4 ,on the upper one1 a woman's head is represented1 while the lower one has a fine shell4 ,the third ornament below these is a shell with the favourite device of dripping water4 ,a commode dressing-table appears as ,no4 #ab on ,plate ,,xxxvi4 ,the foot of a chest-of-drawers with beautiful ornamentation of chased and gilded copper1 is on the same plate1 ,no4 #aa4 ,at this date the ,cabinet de toilette is often called the ,cabinet la ,poudre1 the name not needing a definition when we recall the numerous pictures and caricatures of the fashionable lady seated before her glass1 with her coiffeur1 or femme de chambre1 mounted on a stool1 or ladder1 busy working on the towering headdress4 ,the toilet table was a commode or a simple table spread with linen1 silk1 or lace over silk1 and above which was hung a glass4 ,frequently lace1 muslin1 chintz1 or silk1 was looped over the table and caught back by knots of ribbon1 artificial flowers1 or gilded figures of ,cupids1 or dolphins1 or some favourite device of the day4 ,the small chiffonnier with drawers1 made of marquetry1 or ,vernis ,martin1 and ornamented with gilt bronze or moulu mounts1 dates from this period4 ,the armoire is still in use4 ,in #agfj1 we hear of the lower part of a large armoire in the form of a bookcase1 of violet-wood veneered in mosaics4 ,it was #g feet long1 #d feet high1 and #bf inches deep4 ,the interior was divided into three compartments and a long shelf covered with crimson watered silk4 ,in front were three doors1 the middle one of which was enriched with a large medallion1 bronze gilt or moulu1 representing ,minerva holding in her right hand a compass with which she is measuring a globe1 on a background of lapis lazuli painted4 ,the other doors were decorated with trophies in bronze gilt or moulu representing mathematical instruments4 ,on the ends were cartouches of bronze gilt or moulu of various ,chinese plants4 ,the bookcase was ornamented with hasps and mouldings also of bronze gilt or moulu and stood on six feet1 the four front ones being square and the two in the back round4 ,the form is still in use4 ,in #agej1 the archives of ,versailles mention3 8seven formes de moquette with coloured flowers on a white background1 #e or #f feet long1 and from #b to #d feet1 by #ah inches high1 and #ae inches wide1 nailed with gilded nails1 to serve the ,queen at the grand couvert40 ,these were also known as banquettes as early as #agcb4 ,in #aggj1 there is mention for the service of the ,king1 of 8nine banquettes covered with crimson plush #f feet long and #ag inches wide to be used at the grand couvert0 also1 in the same year1 to serve in the ,salle de spectacle amphithtre1 four banquettes each having two elbows1 covered with blue velvet garnished with gold braid nailed on with gilt nails1 the wood painted blue picked out with gold4 ,the frames of the chairs and arm-chairs of this period were not only carved and gilt1 but were painted or lacquered as well4 ,sometimes one colour only was used1 which was brightened by threads of gold1 or white1 or some gay hue harmonizing1 or contrasting1 with the upholstery4 ,sometimes the wood was painted in several colours1 and often1 too1 another kind of painting1 known as camaeux1#ah was used4 ,simpler arm-chairs1 and chairs that were met with in the drawing-room were of natural oak1 or beech1 polished with an encaustic4 ,in the same room with the large arm-chairs smaller ones are often found4 ,these were known as cabriolets1 probably owing to the ease by which they were moved about1 as well as to their shape4 ,in general design1 the cabriolet was like the large arm-chair1 but it was even more curved1 more arched1 and more exaggerated than its parent4 ,the elbows too were more wavy and were always of a most graceful sweep4 ,at the beginning of this period1 the back was of the form of a violin1 but later the medallion form became more popular4 ,the upholsterers studied the proportions of the smaller chair as they did the large one1 and gave the seats less thickness and a more square1 or a rounder effect1 according to the form and proportions of the seat and back1 as well as the curves of the whole frame4 ,the small arm-chair was placed in front of1 or at the side of1 one of the great arm-chairs in the drawing-room or boudoir4 ,the cabriolet had to agree with its large companion either in its frame1 or else its covering had to be of the same material4 ,illustration3 ,,plate ,,xxxvi ,the arm-chair 7fauteuil7 is represented on ,plate ,no4 ,,xiii4 ,these chairs and sofas were upholstered with many of the textiles used in the reign of ,louis ,,xiv4 ,one of the most popular coverings was ,gobelin or ,aubusson tapestry representing the graceful designs of ,watteau1 or sop's ,fables4 ,utrecht velvet and ,lyons damask with floral designs were also popular1 as well as silk brocaded with coloured flowers4 ,sometimes a braid or lace 7a very favourite pattern being the rat-tooth1 8dent de rat07 was used to hide the nails2 but the material was also tacked to the frames by gilt-headed nails placed so close together that they touched one another4 ,a typical pattern of the period is shown in the sofa on ,plate ,,xxxii4 ,turning now to special descriptions of chairs at ,versailles1 we find in #agbb1 8two fauteuils of varnished walnut and open-work cane2 the manchettes 7elbow-cushions7 and backs upholstered in lemon-coloured leather10 the backs curved2 three fauteuils of varnished walnut wood and cane with sweeping backs and console feet1 and carved with several ornaments2 twelve chairs with backs1 of cherry wood and open-worked cane1 the backs having sweeping curves and feet in consoles1 carved with various ornaments1 including shells4 ,the latter stood #ci inches high1 including back1 the seats measured #af inches4 ,in #agbi1 8six fauteuils of cane and cherry-wood carved with several ornaments and varnished1 the backs curved and the elbows cushioned40 ,they were upholstered in red leather with a braid of gold1 nailed with gilt-headed nails4 ,also 8four fauteuils of beech-wood1 varnished and cane1 had curved and carved backs ornamented with a carved border all around the seat1 the arms also carved at the ends40 ,these were upholstered in lemon-coloured leather fastened with silver-headed nails placed close together4 ,in #agcj1 there were 8fourteen chaises la ,reine1 covered with crimson and gold damask1 the frames carved and gilt40 ,also 8three chaises la ,reine covered with crimson and gold damask nailed to the frames with gilt-headed nails1 very close together1 the frames painted red and gold20 also 8four fauteuils and two tabourets of walnut covered with black leather20 and finally a chaise d'affaires1 the frame on a background of black lacquer and 8aventurine de ,japon10 with landscapes and birds in relief in colours and gilt in the borders1 a mosaic of mother-of-pearl and copper wire la ,chinoise4 ,the chair was lined with red lacquer1 and the cushion was green velvet4 ,this remarkable chair was #ai x #ae inches wide and #ai inches deep4 ,the chaise la ,reine1 mentioned above1 had a very low seat with a very high back4 ,in the same year1 there are two fauteuils1 ,chinese style1 painted at the ,gobelins1 with cartouches1 representing figures1 birds1 ,chinese houses1 etc4 ,the border was of carved and gilt wood1 the feet hinds' feet1 the backs ending in a shell1 and the seats and backs covered with crimson damask4 ,in #agcf1 two banquettes of beech-wood1 delicately carved and varnished1 #bd inches long1 #ad inches deep and #ae inches high1 have seats of cane1 each supplied with a hair cushion covered on both sides with crimson damask1 tufted4 ,there were also three tabourets like the above1 only shorter1--#af inches long1 #ad inches deep and #af inches high4 ,in #agcg1 a tall chair of beech lightly carved appears1 the curved back filled with cane1 and the seat1 lemon-coloured velvet fastened with silver-headed nails1 standing on four hinds' feet4 ,two little chairs of gilt cane1 the backs curved1 the wood delicately carved and gilt are also mentioned4 ,in #agea1 six chairs of fine straw were made1 each with two cushions for the seat1 the back of crimson damask1 tufted2 and six folding-stools covered with crimson damask garnished with a gold fringe1 the wood painted red picked out with gold1 for ,m4 le ,dauphin4 ,several arm-chairs of a new shape appear4 ,one1 usually placed by the hearth near the fire1 is of the 8gondola0 form4 ,the ornamentation1 of course1 followed the general style of the room4 ,this is the period at which they began to take the name of fauteuil de bergre1 or marquise 7see ,plate ,,xxxvi41 ,no4 #a74 ,the bergre1 or 8burjair10 played a very important part in the new styles put forth by ,chippendale1 ,ince and ,mayhew1 ,heppelwhite and others4 ,it was1 as a general rule1 quite large1 wider than it was deep1 and the seat was not very high from the floor4 ,the bergre was sometimes accompanied by a tabouret1 which was placed immediately in front of the chair1 and made of it a kind of chaise longue4 ,in this reign arm-chairs were also made1 especially for desks4 ,until this time1 they always used any ordinary chair1 or arm-chair at the desk4 ,the new arm-chair for this purpose was of the 8gondola0 form1 usually with back and seat of cane1 the elbows adorned with cushions 7manchette7 and covered with leather4 ,this chair spread out even more generously1 and the legs were balanced as follows3 one was placed directly under each elbow1 a third directly in front1 and the fourth in the centre of the back4 ,some of these arm-chairs were equipped with a removable leather cushion4 ,the first chaises comfortables followed the model of the gondola arm-chairs2 the wood1 or rather the moulding of the back1 served as a framework for more or less simple garniture4 ,the feet were either grooved1 or of sabre form4 ,dining-room chairs were specially designed1 and followed the general form of the drawing-room chairs4 ,as a rule1 they are covered with leather4 ,tapestry is met with also1 and 8,persian40 ,a fauteuil de commodit of the period is described as having a little mahogany desk attached to the right of the chair by means of a gilded steel support nicely divided into compartments for pens1 ink1 etc4 ,on each side of the chair1 two sconce-arms for candles were adjusted4 ,the chair and cushion were covered with blue leather4 ,leather was quite popular for covering furniture4 ,one set1 consisting of a sofa1 two banquettes1 twelve tabourets and a six-leaved screen1 were upholstered in red leather1 with applied ornaments of yellow leather edged with a narrow gold cord4 ,characteristic chairs are shown on ,plate ,,xxix4 and ,plate ,,xxxiii41 ,nos4 #c1 #d1 #e1 #f1 and #g4 ,these are by ,meissonier4 ,the very handsome canap shown on ,plate ,,xxxii4 is also one of ,meissonier's productions4 ,this was designed for ,count ,bielenski4 ,the frame was gilt4 ,the canap confident consisted of a sofa which had from two to four places1 and at each end by the elbows1 there was another seat at the corner rounded off4 ,it was supplied with an elbow at the other side4 ,the effect was as if an arm-chair had been placed at each end of the sofa at right angles4 ,it was a very popular piece of furniture4 ,the chaise longue is sometimes composed of two sections2 one1 a kind of very deep fauteuil with two elbows2 the other1 a kind of tabouret1 which also had a small back against which the lounger placed his feet4 ,the example on ,plate ,,xxxiii4 is of carved wood with cane seat and backs4 ,another kind1 with a 8gondola0 back1 was known as 8duchesse40 ,typical mirrors appear on ,plates ,,xxx41 ,,xxxiii41 and ,,xxxv4 ,the full drawing on ,plate ,,xxxv4 is the earliest1 being an example of late ,louis ,,xiv4 ,it is surrounded with an ornate border of carved and gilt wood1 showing leaves1 branches1 stems and an indented fronton1 surmounted by shells4 ,it is interesting to compare this mirror with ,chippendale's on ,plate ,,xlii41 which also has panels of glass4 ,nos4 #a and #b on ,plate ,,xxxiii4 come next in chronological order4 ,these are by the ,german1 ,decker1 to whom reference has been made on page #aii4 ,both are dated #agjj4 ,the lower one has the mascaron1 shell and chute of leaves1 or husks1 for its chief ornaments1 while the scroll somewhat timidly1 although strongly1 asserts itself4 ,this has no sconces4 ,on the one above it the scroll is more assertive4 ,the mascaron surmounts it1 and the chute of leaves is much heavier and shorter4 ,the three sconces1 two of which only are visible1 spring from the shell1 but they have not become as yet very branched4 ,the sconces really belong to the whole design in the example ,no4 #a on ,plate ,,xxxv41 the chief decorations of which are the mascaron1 the shell and the scroll4 ,a still more elaborate specimen1 by ,pinaud1 appears on ,plate ,,xxx41 ,no4 #b4 ,the curve here is delightfully exhibited1 almost as if the presiding genius in the winged helmet had taken a mischievous pleasure in its convolutions4 ,here we have not only the leafy scroll playfully twined1 but the old ear-motive known to the decorators of the ,louis ,,xiii4 age 7see page #e7 appears1 through which a winged serpent1 or dragon1 twists1--himself a series of curves4 ,below the head of ,mercury is carved his emblem1--the ,caduceus4 ,another 8illuminary0 appears on ,plate ,,xxxvi41 ,no4 #b4 ,no4 #c on ,plate ,,xxx4 represents the frame of a large toilet mirror by ,p4 ,germain4 ,another finely carved and gilded frame is that of the screen on ,plate ,,xxx41 which dates from the ,regency4 ,it is composed of shells and scrolls1 and a monkey sits on the top of each upright4 ,unfortunately1 the feet have been lost1 and the screen is supported on ordinary blocks of wood4 ,the covering is of the same period as the frame4 ,it is brocaded silk1 with flowers1 leaves and peacock feathers4 ,the mirror was not the only ornamental wall-decoration that was made use of to carry candles4 ,sometimes the bracket that held a china ornament1 or ornaments1 was pressed into this service4 ,the 8console for porcelain10 by ,pinaud 7,no4 #d1 ,plate ,,xxx471 is furnished with a sconce-arm on either side of the pedestal that supports the handsome piece of china1 or vase4 ,another 8console for porcelain10 also by ,pinaud1 appears on the same plate as ,no4 #f4 ,this is purely for decoration and has no branches for illumination4 ,upon it stand a beaker and two small cups4 ,the chief decorations are the mascaron1 which here seems to have horns1 and a snake1 which twists himself around the two scrolls1 placed back to back1 and threatens the mascaron with open jaws4 ,another beautiful frame for a rich piece of porcelain is shown on ,plate ,,xxx41 ,no4 #e4 ,this is a species of pier-table and is a fine example of ,meissonier's ,regency work4 ,the straining-rails form a kind of bracket for a china vase1 while the shelves above afford opportunity for the exhibition of smaller treasures4 ,another handsome piece of furniture for the display of porcelain is the encoignure 7,no4 #i1 ,plate ,,xxxvi471 made to stand in the corner4 ,the tall torchre1 or standing-candlestand1 on ,plate ,,xxxi41 ,no4 #c1 shows a well-balanced combination of the mascaron1 scroll1 shell and leaf4 ,two superb examples of console-tables occur on ,plate ,,xxxiv4 ,these are of carved and gilded wood4 ,the full drawing is one of ,cuvillis's designs1 and shows a bewildering combination of scrolls as a background for the beautiful carving of flowers and leaves4 ,in the foreground a dog attacks a very savage dragon1 whose wings bristle with anger and who darts forth his forked tongue4 ,the other frame1 ,no4 #a1 is by ,pinaud1 and though far simpler1 is quite as effective4 ,the scroll is most gracefully combined with the shell1 and here again we have the ear 7see page #baj71 through which a winged dragon1 with a most expressive face1 has slipped himself4 ,an early console support is shown on ,plate ,,xxxvi41 ,no4 #f4 ,the bureau1 or desk1 assumed great importance in the reign of ,louis ,,xv4 ,the long bureau-table was still made1 and sometimes at one end of it was placed a tier of ornamental shelves and pigeon-holes that was known as serre-papiers4 ,also in this reign the cylinder-bureau1 with a roll top1 came in to favour4 ,it is sometimes said to have been invented by ,prince ,kaunitz4 ,in contemporary writings1 this special form of desk is frequently called 8bureau la ,kaunitz40 ,the most famous desk of this period1 however1 is the 8grand bureau secrtaire du roi ,louis ,,xv40 that was made for the ,king from the design of ben1 who died before it was finished4 ,it was completed by ben's successor1 ,riesener1 who had been his apprentice4 ,this appears on ,plate ,,xxxi4 ,it is made of rosewood and amaranth and richly decorated with marquetry representing flowers1 leaves and the attributes of royalty and poetry4 ,above the cylinder top that hides the pigeon-holes1 is placed a horizontal ornament composed of rods twined with ribbons1 and above this is an open-worked gallery1 broken by figures of ,cupids playing above a little clock4 ,on each side of the cylinder1 a figure of gilt bronze holds a girandole of two branches1 each terminating in a floral cup for the candle1 something like the bras de lumire on ,plate ,,xxxii4 ,one figure is ,apollo and the other1 ,calliope4 ,the bronzes were modelled by ,duplessis and ,winant1 and chiselled by ,hervieux2 and in addition to the ornaments already described1 there are swags of leaves1 knots of ribbon and decorations on the legs and feet1--all of or moulu4 ,for many years these bronzes were attributed to ,caffieri4 ,this work is signed 8,risener fa1 #agfi40 ,a very interesting example of a low glass book-case and serre-papiers appears as ,no4 #b on ,plate ,,xxxi4 ,the serre-papiers1 surmounted by a clock1 stands upon a very characteristic table4 ,on either side of it is placed a low bookcase with glass doors1 the top moulding of which suggests the shape of a wing1 or bow4 ,this is flanked by a panel1 above which is another panel4 ,the wall space above the bookcase and behind the serre-papiers is intended to be hung with tapestry1 or damask4 ,a table1 similar in general form to the one on which the serre-papiers just described stands1 appears on ,plate ,,xxxi4 ,this is a ,regency piece1 with its slightly curving legs1 hinds' feet1 and or moulu ornaments4 ,the arrangement of scrolls in the centre of the drawer is very characteristic4 ,no4 #a on the same plate gives details of the ornamentation at the sides under the slab4 ,there were many varieties of desks1 cabinets1 jewel-cases1 etc41 designed especially for the boudoir4 ,some of these have already been described4 ,a 8petit-bureau10 however1 is shown on ,plate ,,xxxiii4 ,this is known as 8bonheur du jour10 and is made of sycamore1 ornamented with chiselled copper appliques and plaques of ,svres porcelain4 ,the foot is decorated with 8leaf-shoe0 of gilded metal1 also characteristic of the age4 ,one of the many varieties of card-tables appears on ,plate ,,xxxvi41 ,no4 #aj4 ,this has the hollows for counters and candlesticks4 ,nothing more impressively decorative in its proper surroundings can be imagined than the tall clock of the ,regency and ,louis ,,xv4 period4 ,in houses of the present day1 a tall clock is set up in some corner entirely irrespective of the wall-decoration of the hall1 or room4 ,the ,regency clock was strictly in keeping with the general decoration1 and deserves something better as a background than poor panelling1 or vulgar printed paper4 ,it requires a wainscot with solid mouldings1 severe and well studied lines1 and a high ceiling4 ,a somewhat plain specimen of the period1 in carved oak1 is shown on ,plate ,,xxxii4 ,two other clocks appear on ,plate ,,xxx4 ,the full drawing is a pendule d'applique1 the frame of which is most ornate4 ,it stands on a console of carved and gilded copper4 ,the detail ,no4 #a on the same plate is a clock appropriate to stand on a bracket1 chimney-piece or table4 ,its frame consists of bold sweeps with a fine display of scrolls1 leaves and shells4 ,the ,duc de ,bourgogne owned a very fine clock of black marquetry and copper1 with ornaments of bronze in colour4 ,on the top of the case1 a satyr was seated on a rock1 holding a pipe in his left hand4 ,the base ended in rock-work1 brightened with coloured copper ornaments4 ,the dial was of copper1 the hours were enamelled1 and the clock struck the hour and half hour1 and ran fifteen days4 ,it was #b feet1 #aa inches high1 and the dimensions of the foot were #i inches high by #ac inches wide4 ,juhel was the maker at ,versailles4 ,madame ,henriette owned a clock in #agdf that was made by ,jean-,baptiste ,baillon4 ,it was #a foot high and #f inches wide4 ,the case was of bronze gilt or moulu and carved with leaves and ornaments4 ,among the latter were a lion's head and a ,cupid4 ,the feet were of the console form4 ,the dial was enamelled4 ,another1 by the same maker1 is described in #agde as 8a beautiful gilt clock or moulu1 the frame of which is enamelled and the hands of bronze gilt1 standing on two consoles1 ornamented with palms1 in the centre of which is a woman's masque4 ,mosaic ornaments decorate the sides1 as well as two bouquets of flowers4 ,the top is surmounted by a ,cupid holding a scythe in his left hand4 ,the foot is gilt bronze of rocaille work1 flowers1 plumes1 two dragons and the head of ,boreas4 ,including the foot1 it is #d feet high and #ad inches wide40 ,about this time1 two of the ,king's daughters bought a clock of bronze gilt and porcelain1 #ba inches high1 made by ,godin4 ,on the front was a shepherd with his dog1 and a parrot perched on a gold tree1 from which hung several cherries4 ,the base was an irregularly shaped cartouche framed in leaves4 ,the dial was enamelled and surmounted by a little carved ,bacchus4 ,the list of new furniture of ,versailles for #ageb mentions a clock 8in the form of a lyre of bronze gilt or moulu1 the lyre surmounted by a sun and flanked on each side by two terms of women1 ending in scrolls that united at the base to form a sort of shield or cartouche of rocaille1 with festoons of leaves2 the dial enamelled on copper gilt2 #b feet1 #aj inches high1 and #ag inches wide40 ,in #agfc1 the ,king owned two splendid clocks1 the cases of which were violet-wood and rosewood veneered4 ,one of the clocks was solar1 ornamented with attributes of ,apollo in or moulu and surmounted by a perfume-box and ornamented with garlands4 ,the other was lunar1 with symbols of ,diana4 ,it was also surmounted by a perfume-box1 and was ornamented by a star4 ,each clock was #g feet high and #ba inches wide4 ,in #aggd1 in ,madame ,sophie's sleeping-room was a clock by ,tolleverk of ,paris1 which could run for #ae days and which struck hours1 and half hours1 besides containing a chime of bells that played thirteen airs4 ,the dial was #d inches in diameter and the hands were of gold4 ,the case was surrounded by garlands of laurel held at the top by ribbon4 ,on the right of the base was a celestial globe and the figure of a woman whose head was encircled by stars4 ,she held a trumpet in her right hand1 while her left rested on the clock2 on the left1 was a ,t-square1 a compass1 and other mathematical and scientific instruments1 and three volumes besides4 ,the whole was of bronze gilt or moulu and measured #af inches in height1 #af in length1 and #ag in depth4 ----- ,footnote #af3 ,a street where ,eastern goods were specially on sale4 ,footnote #ag3 ,this was a bergre 7see pages #bjg-bjh74 ,footnote #ah3 8,camayeu is a kind of painting of a single colour where light and shadow are seen on a background of gold or azure4 ,a camaieu in grey is called grisaille1 that in yellow is cirage4 ,the richest camaeux are brightened with gold or bronze4444 ,it is what ,pliny calls ,monochrome40 7,d',aviler1 #agee47 ,,the ,,chippendale ,,period ,illustration ,,the ,,chippendale ,,period ,all lovers of antique furniture are sufficiently familiar with the name of ,thomas ,chippendale1 but this name has been of late years used so carelessly that it has become a generic term for all the mahogany furniture of the first half of the ,eighteenth ,century1 and the 8,chippendale chair0 that is recognized as typical is the one with a pierced and carved back and claw-and-ball foot4 ,this is an erroneous interpretation of the ,chippendale style4 ,chippendale was a cabinet-maker1 and doubtless made furniture for his patrons in the old style that had been in vogue since #agad2 but the tastes for the ,chinese and ,gothic1 as well as the ,louis ,,xv4 rock-and-shell work had already been formed1 and ,chippendale claims more originality than he is entitled to when he says3 8,in executing many of the ,drawings1 my ,pencil has but faintly copied out those ,images that my ,fancy suggested40 ,it is clear then that the only way to understand and define ,chippendale is to go directly to his book1 there to learn what kind of furniture he made and wanted to make4 ,the first edition of ,the ,gentleman and ,cabinet-,maker's ,director was published in #aged4 ,a third edition appeared in #agfb1 when some of the patterns of the first book were dropped and many new plates were added4 ,the title-page of the latter shows very plainly that ,chippendale had turned his attention to almost every object for household use4 8,the ,gentleman and ,cabinet-,maker's ,director being a large collection of the most elegant and useful designs of ,household ,furniture in the most ,fashionable ,taste1 including a great variety of ,chairs1 ,sofas1 ,beds and ,couches2 ,china-,tables1 ,dressing-,tables1 ,shaving-,tables1 ,bason-,stands and ,tea-,kettle ,stands2 ,frames for ,marble ,slabs1 ,bureau-,dressing-,tables and ,commodes2 ,writing-,tables and ,library-,tables2 ,library ,book-,cases1 ,organ ,cases for private ,rooms or ,churches1 ,desks and ,bookcases2 ,dressing and ,writing ,tables with ,book-,cases1 ,toilets1 ,cabinets and ,cloaths-,presses2 ,china ,cases1 ,china-,shelves1 and ,book-,shelves2 ,candle-,stands1 ,terms for ,busts1 ,stands for ,china ,jars and ,pedestals2 ,cisterns for ,water1 ,lanthorns and ,chandeliers2 ,fire-,screens1 ,brackets1 and ,clock-cases2 ,pier-glasses and ,table-,frames2 ,girandoles1 ,chimney-,pieces1 and ,picture ,frames2 ,stove-,grates1 ,boarders1 ,frets1 ,chinese-,railing and ,brass-,work for ,furniture1 and other ,ornaments4444 ,the whole comprehended in ,two ,hundred ,copper ,plates1 neatly engraved1 calculated to improve and refine the present taste1 and suited to the ,fancy and ,circumstances of ,persons in all degrees of ,life40 ,he ends his ,preface to both editions as follows3 8,upon the whole1 ,i have given no ,design but what may be executed with ,advantage by the ,hands of a skilful ,workman1 though some of the ,profession have been diligent enough to represent them 7especially those after the ,gothick and ,chinese manner7 as so many specious ,drawings1 impossible to be worked off by any mechanick whatsoever4 ,i will not scruple to attribute this to ,malice1 ,ignorance and ,inability2 and ,i am confident ,i can convince all ,noblemen1 ,gentlemen1 or others1 who will honour me with their ,commands1 that every ,design in the ,book can be improved1 both as to ,beauty and ,enrichment1 in the ,execution of it1 by ,their ,most ,obedient ,servant1 ,thomas ,chippendale40 ,our accurate knowledge of ,chippendale and of his work outside his own book is very meagre4 ,he was evidently at work during the reign of ,george ,i4 and was probably busiest when he published his book of designs in #aged4 ,an examination of the plates contained in this collection of drawings shows that ,chippendale cared more about the carving and ornaments than the forms themselves4 ,he does not seem to have been an inventor of a style4 ,sheraton shares this view4 ,the latter writes in #agia3 8,i have seen one 7book of design7 which seems to have been published before ,chippendale's4 ,i infer this from the antique appearance of the furniture1 for there is no date to it2 but the title informs us that it was composed by a society of ,cabinet-makers in ,london4 8,chippendale's book seems to be next in order to this1 but the former is without comparison to it1 either as to size or real merit4 ,chippendale's book has1 it is true1 given us the proportions of the ,five ,orders1 and lines for two or three cases1 which is all it pretends to relative to rules for drawing2 and1 as for the designs1 themselves1 they are now wholly antiquated and laid aside1 though possessed of great merit1 according to the times in which they were executed4 ,after ,chippendale's work1 there appeared1 in the year sixty-five1 a book of designs for chairs only1 though it is called ,the ,cabinet-,maker's real ,friend and ,companion1 as well as the ,chair-maker's4 ,the succeeding publication to this seems to be ,ince and ,mayhew's ,book of ,designs in ,cabinet and ,chair ,work1 with three plates containing some examples of foliage ornaments1 intended for the young designer to copy from1 but which can be of no service to any learner now1 as they are such kind of ornaments as are wholly laid aside in the cabinet-branch1 according to the present taste4 ,the designs in cabinets and chairs are1 of course1 of the same cast1 and therefore have suffered the same fate2 yet1 in justice to the word1 it may be said to have been a book of merit in its day1 though much inferior to ,chippendale's1 which was a real original1 as well as more extensive and masterly in its designs40 ,strange to say1 the book ,sheraton thinks the earlier1 came out six years after ,chippendale's and contains designs that differ little in general form from those in the ,gentleman and ,cabinet-,maker's ,director4 ,illustration3 ,,plate ,,xxxvii ,it cannot fail to strike any one who examines ,chippendale's designs carefully that he was beyond everything else a carver and a decorator4 ,although he was most particular about proportion and joinery1 he took the greatest delight in ornamentation1 caring far more for his ornate carving and swags of drapery than for his wood1 or his materials4 ,indeed1 he nearly always desires his handsome pieces to be gilded1 or painted1 or japanned2 and he says nothing whatever about textiles1 although his beds and sofas with canopies are so dependent upon festoons and curtains for their effect4 ,the covers upon his 8,french chairs0 often exhibit ,chinese subjects1 flowers1 sop's fables1 or the gallant ,watteau-like scenes2 and we may conclude that the printed silks and satins of the day were too familiar to need any detailed description4 ,ornate as his designs are1 it will be noticed in the above ,preface that ,chippendale thinks further 8enrichment0 will add to the beauty of every design4 ,it will also be noticed that the descriptions of his plates contain very few references to mahogany4 ,he far prefers furniture made of soft wood japanned in any colour1 with the ornamental parts heavily gilt1 and carved and gilt frames1 to sombre walnut or mahogany4 ,rosewood he likes very much1 but brightens it with gilt ornaments4 ,chippendale's taste is very gay1 even fantastic1 and a room furnished and decorated by him must have been exceedingly brilliant4 ,many of his plates were engraved by ,m4 ,darly1 who lived in ,paris in the first half of the ,eighteenth ,century2 and some people think that ,darly is responsible for all of ,chippendale's designs4 ,whether ,chippendale was ever in ,paris or not1 makes little difference3 he knew the contemporary designs and he was saturated with the flavour of the ,louis ,,xv4 taste4 ,for instance1 he was so familiar with ,meissonier1 that he quietly appropriated some of his designs and issued them in his book with little change as his own conceptions1 without a word of acknowledgment4 ,one of these1 ,chippendale labels 8,french chair10 but this is really a chair designed by ,meissonier for ,madame de ,brezenval in #agce1 the only change being a little extra carving4 ,another theft of ,chippendale's is a 8sofa for a grand apartment40 ,the original was a canap designed by ,meissonier for the ,grand ,marshal of ,poland1 also in #agce4 ,chippendale put cushions upon the arms and added a little more carving1--and described it as follows3 8,a ,design of a ,sofa for a grand ,apartment1 and will require ,great ,care in the ,execution1 to make the several ,parts come in such a ,manner that all the ,ornaments join without the least ,fault2 and if the ,embossments all along are rightly managed1 and gilt with burnished ,gold1 the whole will have a noble appearance4 ,the carving at the ,top is the ,emblem of ,watchfulness1 ,assiduity and ,rest4 ,the ,pillows and ,cushions must not be omitted1 though they are not in the ,design4 ,the dimensions are #i feet long without the scrolls2 the broadest part of the ,seat from ,front to ,back #b feet #f inches2 the ,height of the ,back from the ,seat1 #c feet1 #f inches1 and the ,height of the ,seat #a foot #b inches without ,casters4 ,i would advise the workman to make a model of it at large before he begins to execute it40 ,the massive frame is carved with shells1 and on the top rail in a cloud is seated a ,cupid with his arm in the strap of a buckler4 ,two large birds are carved below him on either side in the centre of the sweeping curves and near them are bunches of flowers4 ,the arms are carved1 and upholstered in a silk or damask the pattern of which is a combination of flowers and large scrolls4 ,one of the arms ends in a grotesque head1--a kind of gnome with a long peaked beard4 ,illustration3 ,,plate ,,xxxviii ,neither does ,chippendale scruple to avail himself of one of ,meissonier's trophies consisting of a hunting-horn1 stag's head1 gun and net1 designed for the ,king's portrait and the ,royal ,hunt2 and ,meissonier's ,livre de ,lgumes and ,livre d',ornements have been attentively studied for the shell-work1 fountains1 balconies1 balustrades1 swags of bell-flowers and laurel1 colonnades1 flowers1 acanthus leaves1 fruits1 animals1 birds1 human beings1 dripping water1 cascades1 feathers1 flags1 scrolls1 musical instruments1 fragmentary peristyle effects1 implements1 weapons1 vegetables1 icicles and spiky effects4 ,the japanning and lacquering that ,chippendale so frequently recommends is doubtless inspired by the ,vernis ,martin2 and all the gilded ornaments1 handles1 shoes for legs of his pieces1 from the ,french or moulu work4 ,let us first examine the beds4 ,we find 8,dome ,beds10 8,canopy ,beds10 8,gothic beds10 8,chinese ,beds10 8,field0 and 8,tent ,beds10 and 8,couch0 and 8,sofa ,beds10 besides numerous designs for 8,bed ,posts0 and 8,cornices40 ,his four-post bedsteads are1 as a rule1 #g feet1 #f inches high2 #f feet1 #d inches high2 and #e feet wide4 ,the canopy is generally surmounted by a carved cornice furnished with an intricate arrangement of laths and pulleys by which the curtains are drawn up4 ,as the curtains and valances are sometimes required to fall in symmetrical festoons and loops when drawn up1 the mechanical devices require detailed description4 ,in one 8,gothic ,bed with a drapery curtain10 the four posts of which are 8made into eight cants and indented10 has pullies fixed at each corner to draw up the curtains4 ,this bed appears as ,no4 #b on ,plate ,,xxxviii4 ,no4 #c on ,plate ,,xlviii4 is a favourite with ,chippendale4 ,it appears in his first edition as ,plate ,,xxxi4 and in his third as ,plate ,,xxi4 ,this is more than #f feet high1 over #f feet long1 and #e feet1 #f inches wide4 ,he says this 8is a dome bed1 the side of the dome and the cornice ,i have form'd into an elliptical form1 to take off the seeming weight which a bed of this kind has when the cornice runs straight4 ,there are four dragons going up from each corner2 the curtains and vallens are all in drapery4 ,the head-board has a small ,chinese ,temple with a joss1 or ,chinese ,god2 on each side is a ,chinese man at worship2 the outside of the dome is intended to be japan'd and ,mosaic work drawn upon it2 the other ornaments to be gilt2 but that is left to the will of those who shall please to have it executed40 ,illustration3 ,,plate ,,xxxix ,of the full drawing on the same plate1 ,chippendale gives no description4 ,the dimensions that he gives are #f feet1 #d inches for the length2 #g feet1 #f inches for the height2 and #e feet for the width4 ,the long and tightly rolled and covered bolster below the ornamental head-board is the style he required for all his beds4 ,pillows never appear4 ,this bed1 as well as the ,dome ,bed just described1 is dated #agec4 ,this bed can be greatly simplified by substituting for the carved cornice and headboard plain ones following the same general outlines covered with the same materials as the curtains1 and plain feet may be covered with a deep valance that touches the floor4 ,chippendale himself suggests such treatment when his beds are thought too difficult of execution4 ,however1 he prefers the wood to show1 as is natural to a carver1 because in his ten very handsome designs for bed pillars he says 8they are all designed with pedestals1 which must certainly look better than ,bases of stuff around the ,bed1 and the ,pillars seem to be unsupported40 ,another bed has pillars 8composed of reeds with a palm branch twisting round10 the pillars being #h feet1 #f inches high2 and the bedstead #f feet1 #g inches long and #f feet wide4 ,the 8,field0 or 8,tent beds are heavily draped1 but the curtains and festoons are made to take off1 and the laths are hung with hinges for the convenience of folding up40 ,another1 is a 8,chinese ,bed10 the 8curtains and vallens are tied up in drapery1 the tester is canted at each corner1 which makes a sort of an elliptical ornament or arch1 and if well executed will look very well40 ,another bed 8may be gilt1 or covered with the same stuff as the curtains40 ,before dismissing the four-post beds1 the question of cornices must be considered4 ,chippendale gives numerous designs for 8,cornices for ,beds or ,windows40 ,these are carved and are supposed to be gilt1 or painted1 or japanned1 brightened with gold4 ,such designs as the scroll and leaf are frequent1 as shown in ,no4 #a on ,plate ,,xl4 while other ornaments are the crown1 the urn1 the shell1 the eagle1 the draped urn1 the grotesque dog or monkey's head holding the ends of two garlands in his mouth1 the long-tailed and open-beaked bird4 ,turning now to the ,canopy1 ,couch and ,sofa beds1 we find ,chippendale describing a 8,couch with ,canopy4 ,the ,curtains must be made to draw up in ,drapery1 or to let down1 when it is occasionally converted into a ,bed4 ,this sort of ,couch is very fit for alcoves1 or such deep ,recesses as are often seen in large ,apartments4 ,it may also be placed at the end of a long gallery4 ,if the ,curtains and ,valances are adorned with a large gold ,fringe and ,tassels1 and the ornaments gilt with burnished gold1 it will look very grand4 ,the ,crane at the top of the ,canopy is the ,emblem of ,care and ,watchfulness3 which ,i think it not unbecoming in a place of rest4 ,the length of the bed cannot be less than #f feet in the clear1 but may be more if required4 ,the ,breadth is #c feet or more1 in proportion to the length4 ,the height may be determined by the place it is to stand in40 ,another 8,couch bed10 he tells us1 8was made for an alcove in ,lord ,pembroke's house1 at ,whitehall40 ,this bed is a sofa of sweeping curve1 three short cabriole legs supporting it in front4 ,a stiff rolled bolster is placed at each end of the sofa crosswise4 ,four slender posts hold a canopy draped and decorated with a ,chinese feeling1 only tassels are used for ornaments instead of bells4 ,the drapery is arranged in four symmetrical festoons1 caught back gracefully at the sides and falling nearly to the short leg of the sofa4 ,this was really a kind of lit de repos rather than a bed properly speaking2 but there is one that can be used either as a sofa or a bed4 ,he describes it as follows3 8,a ,chinese ,canopy with ,curtains and ,valances tied up in ,drapery1 and may be converted into a ,bed by making the front part of the seat to draw forward1 and the sides made to fold and turn in with strong iron hinges and a proper stretcher to keep out and support the sides when open4 ,the curtains must be likewise made to come forward1 and when let down will form a ,tent40 ,another of his designs is a 8,chinese ,sopha with a canopy over it1 with its curtains and vallens all tied up in drapery4 ,this design may be converted into a bed1 by having the ,sopha so made as to come forward1 the curtains to draw to the front of the ,sopha1 and hang sloping1 which will form a sort of a tent1 and look very grand4 ,the ornaments are designed for burnished gold40 ,another 8is a ,chinese ,sopha1 intended for the same use as the former2 the design is different from the other1 and if well executed by an ingenious workman1 it cannot fail of giving content40 ,another 8,chinese sopha0 is represented on ,plate ,,xli41 which is purely a sofa and not a bed4 ,this has a pagoda-shaped canopy decorated with bells and the drapery arranged in formal festoons4 ,at the back is a piece of silk ornamented in the style of ,boucher1 and the sofa1 which is a ,french canap1 bears a design reminiscent of ,watteau1--a 8gallant scene0 showing a lady in a large hat and flowing gown seated on a bank while her companion is a gentleman in a cocked hat4 ,specific directions accompany four designs of ,sofas4 8,when made large1 they have a bolster and pillow at each ,end10 and ,cushions at the ,back1 which may be laid down occasionally and form a mattress4 ,the upper sofa is designed to have the ,back ,corners ,circular1 which must look well4 ,the ,sizes differ greatly2 but commonly they are from #f to #i or #aj feet long2 the ,depth of the ,seat from ,front to ,back from #b feet1 #c inches1 to #c feet2 and the ,height of the ,seat #a foot #b inches with casters4 ,the scrolls are #ah to #ai inches high4 ,part of the carving may be left out1 if required4 ,the chaise longue also appears1 and of it the designer says3 8,this is what the ,french call #8,pch ,mortel4' ,they are sometimes made to take asunder in the middle3 one part makes a large easy chair and the other1 a stool1 and the feet join in the middle1 which looks badly40 ,this1 of course1 is the duchesse1 consisting of a fauteuil and a tabouret 7see pages #bjh and #bji74 ,chippendale recommends for this a 8thick mattress1 #f feet long in the clear2 and #b feet1 #f inches to #b feet broad40 ,turning now to the chairs1 a close examination will show almost double the number actually represented2 because ,chippendale often gives different motives for carving on the two sides of the special chair4 ,he draws ,french chairs1 ,gothic chairs1 ,chinese chairs1 ,garden chairs1 ,hall chairs and his favourite 8,ribband ,back chairs40 ,the latter1 one variety of which appears to the reader's left on ,plate ,,xxxviii41 is one of 8three ,ribband-back ,chairs1 which1 if ,i may speak without vanity1 are the best ,i have ever seen 7or perhaps have ever been made74 ,the ,chair on the left hand has been executed from this ,design1 which had an excellent effect1 and gave satisfaction to all who saw it4 ,i make no doubt but the other two will give the same content1 if properly handled in the execution40 ,the length of the front leg is #ai inches2 the rail of the seat 7upholstered with small nails touching one another7 is #bb inches2 the seat is #ah inches square2 and the back from seat to top rail #bb or #bc inches high4 8,if the seats are covered with red morocco10 ,chippendale assures us1 8they will have a fine effect40 ,describing a series of eighteen chairs1 ,chippendale says these 8are various designs of ,chairs for patterns4 ,the front feet are mostly different for the greater choice4 ,the seats look best when stuffed over the rails and have a ,brass ,border neatly chased2 but are most commonly done with ,brass ,nails1 in one or two ,rows2 and sometimes the ,nails are done to imitate ,fretwork4 ,they are usually covered with the same stuff as the ,window ,curtains4 ,the ,height of the ,back seldom exceeds twenty-two inches above the ,seats40 ,another set is thus described3 8,eight designs of ,french chairs1 which may be executed to advantage4 ,some of them are intended to be open at the ,back2 which makes them very light1 without having a bad effect40 7,the ,dimensions are the same as those given above1 8only that the highest ,part of the ,back is #b feet1 #e in407 ,but sometimes these ,dimensions vary according to the ,bigness of the ,rooms they are intended for4 ,a skillful workman may also lessen the carving without any ,prejudice to the ,design4 ,both the ,backs and ,seats must be covered with ,tapestry1 or other sort of ,needlework4 ,we also find3 8,four designs of ,french chairs with ,elbows and for the greater ,variety1 the ,feet and ,elbows are different4 ,the little moulding1 round the ,bottom of the ,edge of the ,rails1 has a good ,effect40 ,the ,backs and ,seats are stuffed1 and covered with ,spanish leather or ,damask1 etc41 and nailed with ,brass ,nails4 ,the seat is #bg ,inches wide in front1 #bb ,inches from the ,front to the ,back and #bc ,inches wide behind2 the ,height of the ,back is #be ,inches1 and the ,height of the ,seat #ad including ,casters4 ,the 8,french chair0 is the fauteuil1 and the designs of the covers as represented in his third edition show design1 in the 8,chinese taste10 flowers1 birds1 pagodas1 balustrades1 mandarins and jars1 or designs from sop4 ,for example1 one dated #agei1 shows the dog crossing the brook with a bone in his mouth4 ,of 8,six ,designs of ,chairs for ,halls1 ,passages1 or ,summer ,houses10 he says3 8,they may be made either of ,mahogany or any other ,wood1 and painted1 and have commonly wooden ,seats4 ,the ,height of the ,gothic ,back is two ,feet1 four ,inches1 and the others one ,foot1 eleven ,inches1 and the ,height of the ,seat seventeen or eighteen ,inches4 ,if you divide the ,height of the ,backs in the ,number of ,inches given1 you will have a ,measure to take off the ,breadth of the circular ,parts of each ,back4 ,arms1 if required1 may be put to these chairs40 ,again1 he gives 8two designs of ,chairs for ,gardens and a long ,seat40 ,one1 considered 8proper for ,arbours10 has a branch for a leg1 garden tools crossed form the back1 which is surrounded by blades of grass bent in an oval form4 ,the seat1 which 8may be placed in ,walks or at the ,ends of ,avenues10 is #g feet and has in the centre a leaf or shell4 ,the second chair1 8proper for grottoes10 is composed of two shells1 one forming the back1 the other the seat1 the legs are dolphins standing on their tails1 the cabriole leg formed by the arch of the dolphin's neck4 ,four plates give 8a variety of new pattern chairs1 which1 if executed according to their designs1 and by a skillful workman1 will have a very good effect4 ,the fore feet are all different for your better choice4 ,if you think they are too much ornamented they can be omitted at pleasure4 ,the proper dimensions of those chairs are #a foot1 #aj inches in the front2 #a foot1 #e inches behind2 and #a foot #e inches from the front of the back foot to the front rail2 the back1 #a foot1 #aj inches high2 the seat #a foot1 #e inches high2 but that is made lower according as the seat is to be stuffed40 ,two plates present 8six new designs of ,gothic ,chairs2 their feet are almost all different1 and may be of use to those that are unacquainted with this sort of work4 ,most of the ornaments may be left out if required4 ,the sizes are the same as in the preceding chairs1 and may be lessened or enlarged1 according to the fancy of the skillful artist40 8,three ,gothic chairs0 8are suitable to a library and eating-parlours40 8,nine ,designs of ,chairs after the ,chinese ,manner 444 are very proper for a ,lady's ,dressing-,room3 especially if it is hung with ,india paper4 ,they will likewise suit ,chinese ,temples4 ,they have commonly ,cane-,bottoms1 with loose ,cushions2 but1 if required1 may have slipped ,seats and ,brass ,nails40 ,the backs and legs are of fret work4 ,the seat is #ai inches deep1 #ag inches long2 the back1 #bj inches high1 and the legs from floor to seat1 #ag inches1 and those made of pierced fretwork are #b inches wide4 ,three plates show 8nine ,chairs in the present ,chinese manner1 which ,i hope will improve that taste1 or manner of work2 it having yet never arrived to any perfection2 doubtless it might be lost without seeing its beauty3 as it admits of the greatest variety1 ,i think it the most useful of any other4 ,the sizes are all specified on the designs4 ,the three last ,i hope will be well received1 as there has been none like them yet made40 ,the width of the square leg was #b inches1 seat front rail1 #a foot1 #aj inches2 back of seat1 #ai inches1 depth1 #ag2 height of back1 #ai inches4 ,another leg1 #a inches wide2 #ag inches high2 7or #b if carved in open-work fret7 front seat rail1 #bb inches2 back of seat1 #ai inches2 depth1 #ag inches2 height of back from seat1 #bj inches4 ,four plates give 8eight different designs of ,french ,elbow ,chairs1 of various patterns1 which ,i hope will be of great use1 if properly applied4 ,some of those chairs are design'd to be open below at the seat1 which greatly lightens them1 and has no ill effect4 ,the common sizes are as follows3 #b foot1 #c inches in front1 #a foot1 #aa inches over behind2 #a foot1 #aj inches from the front of the back to the front of the seat rail4 ,the seat is #a foot1 #b inches high2 the height of the back1 from the seat1 is #b feet1 #c inches2 but those dimensions differ according as the rooms are larger1 or smaller3 the ornaments on the backs and seats are in imitation of tapestry1 or needlework4 ,the carving may be lessened by an ingenious workman without detriment to the ,chair40 ,illustration3 ,,plate ,,xl ,the full drawing to the reader's right on ,plate ,,xxxviii4 shows a ,gothic chair4 ,nos4 #e1 #f1 #g and #h are typical chair backs1 ,no4 #e being 8,chinese10 as is plainly shown by its fret-work and mandarin hats4 ,nos4 #c and #d are the legs of 8,chinese chairs10 and ,no4 #i the leg of a 8,french chair40 ,in not one of ,chippendale's drawings of chairs does the simple ball-and-claw foot occur4 ,in one or two instances1 however1 there is a lion's claw1 or paw4 ,we find the straight1 square leg2 the straight leg carved with a chute of husks and resting on a square base2 the cabriole leg1 ending in a kind of scroll and resting upon a leaf2 a leg resting upon a shell2 a leg formed of a bunch of reeds wrapped with a ribbon2 a leg ending in a hoof1 with a ram's head carved on the spring of the cabriole knee1 a lion's claw holding a very flat ball2 and a leg upon which a curious sort of wingless dragon is crawling4 7,see ,plate ,,xxxviii41 ,no4 #i47 ,another leg shows a dolphin's tail gracefully carved upon a cabriole curve1 while his head is used for the foot4 ,in another chair the dolphin's tail is used for the foot4 ,fret-work is used in the ,gothic and ,chinese designs4 ,the ,chinamania had by no means subsided in ,chippendale's day4 ,the case or shelf full of choice bits of porcelain was to be met with in many rooms1 and always in the lady's boudoir and dressing-room4 ,in ,chippendale's first book1 a number of china cases1 ,chinese cases1 ,chinese hanging shelves and ,chinese shelves standing on feet appear1 and even one labelled 8,india cabinet0 shows the same style of treatment1 which is1 of course1 either fret-work or a conglomeration of pagodas1 mandarin hats1 ,chinese figures1 bells and turned-up edges mingled with leaves and scrolls and dripping water4 ,in the first edition of ,chippendale's book 7,plates ,,cv41 ,,cvi41 ,,cvii41 ,,cviii4 and ,,cix47 are china cases4 8,the latter10 he says1 8is a very neat china case upon a frame1 with glass doors in the front and ends2 betwixt the middle feet is a stretcher1 with a little canopy which will hold a small figure4 ,this design must be executed by the hands of an ingenious workman1 and when neatly japann'd will appear very beautiful40 ,this is the china case that is shown on ,plate ,,xxxviii41 and is dated #agec4 ,the glass doors are enriched with ornate vines thick with leaves and flowers and dripping water4 ,the ornaments of the top and sides are decorated with little bells1 and there is a generous use of fret-work4 ,plate ,,cx4 of the first edition also shows a 8china case with glass doors20 and ,plate ,,cxi4 another1 of which ,chippendale seems to be very proud4 ,he says it is 8not only the richest and most magnificent in the whole1 but perhaps in all ,europe4 ,i had a particular pleasure in retouching and finishing this design1 but should have much more in the execution of it1 as ,i am confident ,i can make the work more beautiful and striking than the drawing4 ,the proportion and harmony of the several parts will then be view'd with advantage and reflect mutual beauty upon each other4 ,the ornaments will appear more natural and graceful1 and the whole construction will be so much improv'd under the ingenious hand of a workman as to make it fit to adorn the most elegant apartment40 ,illustration3 ,,plate ,,xli ,china cases on which to place the china are most elaborately carved2 one of these in the ,chinese style 8may be soft wood and japanned1 or painted and partly gilt40 ,a china case very proper for a lady's dressing-room may 8be made of any soft wood and japanned any colour40 ,hanging shelves for china are shown in ,nos4 #c and #d on ,plate ,,xlii4 ,the latter is confessedly 8in the ,chinese taste40 ,in some of his highly ornamental cabinets the ornaments are intended to conceal the joining4 ,he says3 8,they may be brass or silver finely chased and put on1 or they may be cut in filligree work in wood1 brass or silver40 ,chippendale fills four plates with a variety of ,chinese railings1 8very proper for gardens and other places1 and may be converted 7by the ingenious workman7 to other uses40 ,it is not likely that any confessed admirer of the ,french would neglect the commode4 ,sometimes he labels them 8buroe dressing tables10 8commode bureau tables0 and 8,french commode tables40 ,this is what he calls one design1 dated #agec1 which appears on ,plate ,,xlii41 which has drawers at the top and in the middle and doors at the ends4 8,the ornaments should be carved very light10 he remarks1 and these are a delicate kind of fret-work below the three top drawers and a profuse display of dripping water with leaves in the ovals of the doors1 while the bottom is ornamented with leaves and the feet are leafy scrolls4 ,nos4 #f and #g 7,plate ,,xli471 are also portions of ,french commode tables1 the former has drawers at the side and is enriched with the rocaille work of which ,chippendale was so fond and the favourite dripping water4 ,no4 #g shows only the leg4 ,the lady's dressing-table received much attention from ,chippendale4 ,as a rule1 he made it of rosewood ornamented with rich brass-work1 and further decorated it with festoons of drapery4 ,one1 dated #agfa1 is described as a kind of commode4 ,on top was a glass that came forward on hinges1 on either side was a cupboard plain or silvered 7i4 e4 quick-silvered72 inside were drawers and pigeon-holes4 8,two have been made of rosewood1 which have given entire satisfaction10 adds ,chippendale4 ,all the ornaments were gilt and the dressing-drawer was full of compartments for all the little trinkets that are so necessary to women4 ,a ,toilet1 or ,dressing-,table1 for a lady is described as follows3 8,the ,dressing ,drawer under the glass should be divided4 ,on the top is a large looking-glass which comes to the front with joint hinges1 and over it a compartment1 and on each side1 and parts with doors that represent drawers4 ,the ornaments should be gilt in burnished gold1 or the whole work may be japanned and the drapery may be silk damask with gold fringe and tassels40 ,illustration3 ,,plate ,,xlii ,another toilet for a lady's dressing-room is thus described3 8,the glass1 made to come forward with folding ,hinges1 is in a carved frame1 and stands in a compartment that rests upon a plinth1 between which are small drawers4 ,the drapery is supported by ,cupids1 and the ,petticoat goes behind the ,feet of the ,table1 which looks better4 ,the ornamental parts may be gilt in burnished gold or ,japanned4 ,a ,china case in the ,chinese style1 may be of soft wood and ,japanned1 or painted and partly gilt40 ,a china case 8very proper for a lady's dressing-room may be made of any soft wood and ,japanned any colour40 ,chippendale's convenient shaving-tables1 and basin-stands1 dressing-boxes and all other furniture for the dressing-room with their folding glasses and compact arrangement of drawers and partitions1 prove that many years before ,sheraton's time there was a demand in ,england for such articles4 ,clothes-presses1 wardrobes1 chests1 etc41 also show that in ,chippendale's book nearly every article of furniture for every kind of a room is to be found4 ,one of his shaving-tables has rigid1 simple lines1 very like ,sheraton1 with 8a folding top and a glass to rise out with a spring catch40 8,there are places for soap1 razors1 bottles10 and there is a device 8to bring the glass forward when the gentleman is shaving40 ,with it is a bason stand with a glass to rise on the shaving table4 ,three other bason stands are merely frames for the bason to stand in4 ,the bookcase received a great deal of attention from ,chippendale4 ,the 8,gothic ,library ,bookcase10 a good example of which is shown on ,plate ,,xxxix41 seems to be one of his favourite types4 ,others he describes as 8a rich ,gothic ,library ,book-,case1 with ,gothic columns fix'd upon the doors to open with them2 the doors are different1 but may be made alike if required4 ,this design is perhaps one of the best of its kind and would give me great pleasure to see it executed1 as ,i doubt not of its making an exceeding genteel and grand appearance4 ,the upper doors are to be glazed40 ,again we have 8a ,desk and ,book ,case in the ,chinese taste3 the doors are intended for glass1 and will look extremely well4 ,the small columns on the canopy above the cornice project forwards4 ,the fret-work at the bottom of the ,book-,case is for two small drawers40 ,there is also 8a small desk and ,book ,case in the ,gothic taste40 ,for these he gives numerous designs of trimmings for ornamental glass-doors1 a specimen of which appears on ,plate ,,xlii41 ,no4 #b4 ,other bookcases were combinations of bookcases and writing-desks4 ,some of them he calls 8bureau desk and bookcase40 ,two examples of the desk and bookcase are shown as ,nos4 #b and #c on ,plate ,,xxxix4 ,one of these has many of the so-called 8,gothic0 characteristics1 with its pinnacles and crockets1 although the inverted ,c and shell-like scroll is in evidence1 while the other is quite 8,chinese10 with its fretwork and umbrella-shaped ornaments despite the dripping-water decoration upon the glass doors4 ,sometimes another combination appears of a dressing-table with a bookcase1 and a table and bookcase is not uncommon either4 ,a writing-table and bookcase for a lady has 8the middle feet come out with the drawer1 which hath a slider covered with green cloth or ,spanish leather for writing upon40 ,chippendale designed convenient library furniture1 the forms of which are solid and intended for comfort4 ,his 8buroe tables0 usually consist of two square tiers of drawers hollowed out in the centre and covered by a large slab4 ,sometimes he makes a sweeping line as in ,no4 #a on ,plate ,,xxxix4 ,on the same ,plate1 ,no4 #e exhibits the knee-hole of another 8buroe table0 ornamented with a little carving4 ,no4 #e on ,plate ,,xli4 shows one end of a 8library table40 ,other tables are described as follows3 8,a ,gothic ,table with different feet1 the one solid1 the other cut thro40 8,a ,gothic ,writing-,table1 with one long drawer at the top1 doors at each end1 drawers in the inside1 and a recess for the knees4444 ,the columns are fixed to the doors and open with them4444 ,this table has been made more than once from this design1 and has a better appearance when executed than in the drawing40 8,a ,gothic ,library ,table1 the corners canted1 and a ,gothic column is fixed at each corner2 that fixed upon the doors1 and opens with them40 ,another writing-table 8hath a writing ,drawer which draws out on one end and has ,term feet to support it40 ,the top 8rises with a double horse to stand to read or write upon40 ,another plate shows a ,library ,table with circular doors at each corner4 ,a writing-table in the ,gothic taste has a 8recess for the knees1 and the pillars are fixed to the ,doors and open with them40 8,a ,library table0 has 8drawers and doors on both sides with upright ,partitions for ,books and ,drawers for ,works40 ,of another ,library table he says3 8,the ends form an oval with carved terms fixed to the ,doors and which must be cut at the astragal1 base mouldings to open with the ,doors40 ,another writing-table has drawers in the under part1 small drawers and 8pigeon-holes0 and a place for books in the upper4 ,in another writing-table 8half of the front feet come out with the ,drawer10 and in one corner is a 8quadrant drawer for ink and sand40 ,another has a 8flap on hinges in the top that rises to write upon40 ,frames and brackets for marble slabs1 picture frames and frames for looking-glasses1 girandoles1 sconces1 etc41 etc41 appealed very naturally to the carver4 ,the very charming bracket1 ,no4 #a on ,plate ,,xlii4 with its frets1 its scrolls1 shells1 roses1 and leaves1 which was1 of course1 intended for gold leaf1 is very simple when compared with the girandoles and mirrors1 of which ,chippendale has given so many examples4 ,one frame for a marble slab 7really a console table7 he evidently likes4 ,it is 8supported by two piping ,fauns1 leaning against two vines1 intermingled with foliage1 etc4 ,it will have a grand appearance10 he adds1 8if executed with judgment and neatly gilt40 sop and mythology and ,chinese subjects afford ,chippendale plentiful suggestion for other consoles4 ,the pier glass on ,plate ,,xlii4 shows ,chippendale when he is most himself4 ,this is #dd inches high and #bh inches wide1 and the frames fairly bristle with spiky tufts of grass1 scrolls1 leaves1 flowers1 dripping water and long-tailed1 open-mouthed1 excited birds1 while at the top under a small canopy stands a ,chinese holding a tray of fruit4 ,the mirror is in three panels3 a large central one with a smaller one on each side4 ,the girandole was also subject to the most fantastic kind of carving1 out of which the sconce arms emerged in graceful sweeps4 ,one of great interest is carved with the fox and grapes from sop while another represents a piece of ruins intermingled with various ornaments1 and another shows a squirrel eating nuts4 ,no sideboard nor buffet appears in any edition of ,chippendale's designs4 ,he gives a number of sideboard-tables1 however1 which are long1 heavy tables that stand on four legs4 ,these he carves ornately in either the ,gothic or ,chinese style1 and specimens are shown on ,plate ,,xli41 ,nos4 #a1 #b1 #c and #d4 8,chandeliers10 ,chippendale says1 8are generally made of glass and sometimes of brass4 ,but if neatly done in wood and gilt in burnished gold1 would look better and come much cheaper40 ,a standing-candlestand appears on ,plate ,,xli4 ,this is delicately and gracefully carved in wreathing leaves and scrolls1 blossoming flowers and dripping water4 ,other articles for illumination are 8lanthorns0 for halls1 passages and staircases2 some of them are square1 some have six sides and others are egg-shaped4 ,these he directs to be 8made of brass cast from wooden moulds40 ,the chimney-piece afforded ,chippendale the greatest scope4 ,he published many designs far more ornate than the one that appears in ,plate ,,xxxvii4 ,indeed1 it is sometimes difficult to follow out all the details of carving bestowed upon them4 ,one very ornate example1 he says1 8requires great care in the execution4 ,the ,imbossments must be very bold and the ,foliage neatly laid down1 and the whole properly relieved4 ,the top may be gilt1 as likewise some other ornamental parts40 ,grates1 ornamental parts of grates of wrought brass and fire-screens also receive attention4 ,the cornice1 wall decorations1 borders for paper-hangings1 designs for frets that may be applied to various uses1 patterns for 8handles and escutcheons for brass-work0 appear among all the miscellaneous articles4 ,chamber organs1 book shelves1 china shelves1 terms for busts1 stands for tall china vases and beakers and fire-screens are all included4 ,among the latter we may note that those that stand on four legs are commonly called 8horse fire-screens40 ,some of them slide up and down1 others stand on the horse-leg1 and others fold4 ,clock-cases also appear2 one is ornamented with ,gothic columns1 and one with a serpent running around the oval dial1 8representing ,time lasting to ,eternity1 and the ,wings on the sides show how swiftly it flies away40 ,table clock-cases also occur4 ,one of his handsome cisterns1 or wine-coolers1 which always stood beneath the sideboard table1 was cut in the form of a shell supported by cherubs with tails that rose out of the grass4 ,this was to be executed in 8wood or marble and cut out of the solid40 ,the other designs 8may be made in parts and joined with the ,brass-work40 ,tea-kettle stands of delicate proportions1 tea-trays and tea-chests received much attention4 ,some of them had brass or silver ornaments and some were in the ,gothic or ,chinese taste4 ,the breakfast table and the china table1 intended both for use and the display of porcelain1 are represented4 ,no4 #a on ,plate ,,xxxvii4 is a breakfast table4 ,its height is #bh inches and its leaves #de inches4 ,its carved straining-rails are interesting4 ,no4 #b on the same plate is a china table1 the straining-rail of which drips profusely with icicles or falling water4 ,from a careful study of the ,gentleman's and ,cabinet-,maker's ,director we find that ,chippendale's favourite ornaments are the shell1 the fret1 the endive and acanthus leaves1 the dolphin1 the wyvern1 the ram's head holding swags1 the squirrel1 the crow1 the fox1 the long-tailed and long-billed bird1 the dog1 the lion1 the masque1 the quatrefoil1 ribbons1 flowers of various kinds1 the spiky thorn1 bells1 the ,chinese mandarin1 the ,chinese pagoda1 the ,chinese umbrella1 the ,chinese canopy with bells at the corners1 the monkey's head1 the cockatrice1 the pine cone1 ,cupids1 satyrs1 ,bacchantes1 boys blowing horns1 the rising sun1 the two c1 the eagle1 the horn1 violin1 pipes1 and the lion's head4 ,we also note an occasional use of the fluttering ribbon1 attributes of music1 poetry1 hunting1 emblems of war1 the sea1 the bull's head1 the serpent among flowers1 the caduceus1 and ,venus rising from the sea in her shell4 ,in his ,analysis of ,beauty1 ,hogarth says3 8,there is scarce a room in any house whatever where one does not see the waving line employed in some way or other4 ,how inelegant would the shape of our movables be without it6 ,how very plain and unornamental the mouldings of cornices and chimney-pieces without the variety introduced by the ogee member1 which is entirely composed of waving lines60 ,the above was printed in #agec1 just at the height of the ,louis ,,xv4 period and the year before ,chippendale published his designs4 ,in a few years all that ,hogarth so justly admired was destined to pass away1 for1 as we shall see in the following chapter1 the reaction against the graceful and fantastic curve had already begun4 ,,louis ,,xvi4 ,,period ,illustration ,,louis ,,xvi4 ,,period ,the ,louis ,,xvi4 style is easily recognizable4 ,in every kind of furniture whether viewed from the full face or profile1 the straight line strikes the eye4 ,it is everywhere1 in all the uprights1 in the leg and backs of tables and chairs1 and parallel lines are close together4 ,another striking object is a peculiarly slender oval that appears in medallions and vases and all kinds of ornaments4 ,oval medallions are to be met with on panels and wood marquetry in light tints4 ,these medallions1 in which the favourite device is a basket of flowers1 are surrounded by a frame1 or border1 of a straight row of eggs1 itself bordered within by a row of pearls4 ,at the top of the medallion is a knot or bow of ribbon1 from which falls on either side a little bunch of flowers4 ,the indications of the coming ,louis ,,xvi4 style really began between #agde and #agej1 and developed at the same time that the rococo was in full flower4 ,the discoveries made in ,pompeii and ,herculaneum are responsible for the enthusiasm of certain masters of decoration for the straight line and the regular forms of ,greek art4 ,madame de ,pompadour greatly favoured this new style4 ,this period is characterized by a peculiar liking1 or pretended liking for everything relating to the fields and to nature4 ,books of ,idylles and ,bergeries are multiplied2 l'homme de champs has appeared in literature2 and the word 8sensible0 is very fashionable4 ,the works of ,j4 ,j4 ,rousseau1 ,berquin and ,bernardin de ,saint-,pierre are now being widely read4 ,ornamentation includes all the pastoral attributes 7such as shepherds' crooks1 shepherds' and shepherdesses' hats1 scythes1 rakes1 spades1 watering-pots1 pipes1 flutes1 ,basque drums1 and bird-cages71 knots of ribbon1 wreaths of roses1 bunches of flowers1 baskets of flowers1 falling garlands1 sheaves of wheat1 architectural eggs and pearls1 or beads1 parallel groovings1 the thyrsus1 quivers1 torches1 the lyre1 the broken column1 the grooved shaft1 the little open galleries or rails on the tops of pieces of furniture 7see ,plates ,,xlviii4 ,no4 #a2 ,,xlvii4 and ,,xliv47 and round1 oval1 elliptical1 or long square medallions containing pastoral subjects4 ,acanthus scrolls with slender stems support the tablets2 and the mouldings are almost invariably bordered with pearl headings4 ,the laurel leaf in the form of a wreath1 or a swag1 is often used2 and the husk1 or bell-flower1 drops down the pilasters and legs of furniture4 7,typical legs appear as ,nos4 #f and #g on ,plate ,,xlvii47 ,the vase is exceedingly prominent4 ,sometimes it holds flowers1 sometimes a pine cone or a flame2 the shield is also evident2 the woodwork is often oak painted white2 the walls are divided up by pilasters delicately carved and painted in colours1 and often the mouldings are gilt4 ,the chairs and sofas are covered with rich silk or tapestry4 ,pastoral subjects1 flowers and trophies are worked for the backs and seats4 ,cabinets and tables are inlaid with woods of various colours3 tulip-wood1 rosewood1 pear1 holly and ebony are all in use2 and bright colours are obtained by chemical treatment4 ,a critic has asked3 8,how is this8 ,should a decorator lose all sense of appropriateness and invite you to sit down upon a pigeon1 to obliterate a love scene1 and lean your back against a panier of fruit1 or a basket of flowers80 ,the answer was3 8,is it not as absurd to eat from a plate decorated with flowers which will mingle with the sauces1 or to drink from a cup decorated with butterflies which might fly down your throat6 ,if the pigeons1 baskets of flowers and pastoral scenes delight the eye1 that is sufficient40 ,the materials used in this style are principally white marble1 bronzes covered with a soft burnished gold1 woods painted white1 or in pale delicate hues1 such as grey1 with which is mixed a little blue1 green1 or red4 ,to these numerous shades of grey the name 8celadon0 was given4 8,the effort was everywhere made to substitute straight lines for curved and broken lines and unsymmetrical forms1 so that simultaneously a right principle of construction was recognized and ornament was no longer required to serve constructive ends4 ,it recovered its place as mere decoration1 and as such was added or applied to furniture1 though not always happily1 for chairs and tables were adorned with freely modelled festoon and floating ribbons and garlands1 which were too loosely connected with the objects decorated1 and stood in too slight connection with them4 ,not only were the structural parts of furniture once more made rectilinear1 but their profiles and dimensions were decidedly more delicate1 and the legs of chairs and tables tapered downward to a point4 ,although this is essentially right in principle1 as it gives furniture a more portable appearance1 still it can be carried too far4 ,this was so much the case with the furniture of this period that tables1 chairs1 high-legged secretaries and cabinets look poor and thin1 stiff and stilted1--an effect which is not condoned by their elegant prettiness40 ,the above quotation is from ,falk1 who goes on to say3 8,that which was new in the style of ,louis ,,xvi4 consisted in the employment of antique ornamental designs1 which1 having lately been made known through the excavations at ,pompeii1 had become fashionable2 we mean those flowery1 conventional1 and charming arabesques interspersed with many graceful animal forms1 with which the decorators of the time skilfully and pleasingly added an approach to the realistic use of natural forms1 quite opposed to the system of ,rococo ornament4 ,perfectly preserved examples of this style of ornament1 which was used at the ,petit ,trianon1 still exist in the above-mentioned boudoir of ,marie ,antoinette at ,fontainebleau1 as well as in the palace at ,haga1#ai both painted on and carved in the woodwork1 although the latter is not left in its natural colour1 but is gilded in various shades40 ,pollen describes the interior decoration of the rooms of this period as follows3 8,the panelling of rooms1 usually in oak and painted white1 was designed in severe lines with straight moulding and pilasters4 ,the pilasters were decorated with well designed1 carved work1 small1 close and splendidly gilt4 ,the quills1 that fill the fluted columns still seen round so many interiors1 were cut into beads or other subdivisions with much care4 ,fine arabesque works in the style of the ,loggie of ,raphael1 partly carved in relief1 partly drawn and painted1 or gilt1 with gold of a yellow or a green hue1 the green being largely alloyed with silver1 and with silver leaf as well4444 ,the houses built for members of the brilliant court of ,marie ,antoinette at ,versailles and ,paris1 were filled with admirable work in this style1 or in the severer but still delicate carved panelling in wood plainly painted4 ,the royal factories of ,gobelins and of ,svres turned out their most beautiful productions to decorate the rooms1 the furniture1 and the table service of the young ,queen and her courtiers4 ,the former of these factories produced the tapestries for wall hangings4444 ,gobelins tapestry was used for chair backs and seats1 and for sofas4 ,rich silks from the looms of ,lyons1 and from those of ,lucca1 ,genoa and ,venice were also employed for this kind of furniture1 both in ,france and ,flanders1 ,germany1 ,italy1 and ,spain1 as well as in our own country4 ,but in all these matters ,france led the fashions40 ,one of the specialties of this period is the great use of porcelain applied to the front of furniture2 these placques are round or oval1 and frequently a long rectangle4 ,this fashion had already become popular during the former reign2 but it was carried to excess in the days of ,louis ,,xvi4 ,jacquemart says3 8,we again repeat that no classification exists that is not defective2 between the end of the reign of ,louis ,,xv4 and the beginning of that of ,louis ,,xvi4 there is certainly no marked transition2 the sobered furniture in the style la reine is still seen with its chequered marquetry and delicately chased bronzes4 ,louis ,,xv41 the founder of the ,porcelain manufactory of ,france1 no doubt caused ,svres plaques with bouquets1 bordered with turquoise blue to be inlaid in the furniture he had around him1 or which he offered as gifts4 ,and yet it is more particularly in the reign of ,louis ,,xvi4 and at the time when ,amboyna wood and spotted mahogany were replacing marquetry mosaic1 that porcelain and ,wedgwood cameos were incrusted in panels1 friezes1 and the drawers of furniture2 it may be permitted1 therefore1 for the sake of clearness1 to call the overlaying of furniture with china by the name of the sovereign who so especially admired and patronized it4 ,in fact1 the period of ,louis ,,xvi4 is that in which cabinet-making employed its resources most largely and multiplied its styles40 ,illustration3 ,,plate ,,xliii ,among the designers who are classed under the epoch of ,louis ,,xvi41 but whose works are a mixture of ,louis ,,xv4 and ,louis ,,xvi4 styles1 are ,roubo1 ,lucotte1 ,watelet1 ,jean ,baptiste ,pierre1 ,dumont1 ,demontigny1 ,charles de ,wailly1 ,le ,lorrain1 ,choffart and ,neufforge4 ,the latter1 a native of ,lige1 was one of the most prolific designers of the age4 ,his eight books of architecture with supplement give examples of interior decorations4 ,the fifth volume1 which appeared in #agfc1 is devoted exclusively to mantel-pieces1 ceilings1 tables1 stoves1 commodes1 parquet floors1 vases and other furniture2 and many designs of sofas1 cabinets1 buffets1 armoires1 clocks1 consoles and commodes are included in the eighth volume published in #agfh4 ,although ,neufforge published all his designs during the reign of ,louis ,,xv41 they form a complete illustration of both the exterior and interior decoration of houses of the ,louis ,,xvi4 style4 ,however1 ,neufforge did also produce some designs in the style ,louis ,,xv4 ,a mirror by ,neufforge appears on ,plate ,,xlvii41 ,no4 #b4 ,the most important designers of the ,louis ,,xvi4 period are3 ,delafosse1 ,ranson1 ,forty1 ,de ,lalonde1 ,salembier1 ,fragonard1 ,boucher fils1 de ,cuvillis fils1 ,marillier1 ,moreau le jeune1 ,prieur1 ,petitot1 ,cauvet1 ,fay and ,le ,canu4 ,others of reputation include3 ,boulanger1 ,simon ,challe1 ,houel1 ,bellicart1 ,saint ,non1 ,le,prince1 ,bachelier1 ,liard1 ,robert1 ,st4 ,aubin1 ,renard1 ,queverdo1 ,fonlanieu1 ,pariset1 ,moreau1 ,houdan1 ,beauvais1 ,le ,geay1 ,bertren1 ,janel1 ,la,rue1 ,parizeau1 ,bonnet1 ,duplessis fils1 ,fossier1 ,huet1 ,demarteau1 ,percenet1 ,pouget1 ,tibesar1 ,gardette ,ponce1 ,moithey1 ,panseron1 ,desvoyes1 ,taraval1 ,charton1 ,aubert ,parent1 and ,normand4 ,delafosse 7b4 #agba7 designed every species of interior decoration1 and every kind of furniture and ornament in use1 besides innumerable trophies1 pastoral attributes1 and attributes of music1 painting1 science1 hunting1 fishing1 etc41 etc4 ,his furniture includes sofas1 canaps and fauteuils in the picturesque taste1 and chairs in the antique taste1 ,turkey ottomans and beds1 gondola sofas1 ,french1 ,italian and ,chinese beds1 and couches and settees in all the novel forms of the day1 as well as window-seats1 secretaries1 corner-cupboards1 candlestands1 pedestals1 stoves1 and chimney-pieces4 ,in some of his designs there are reminiscences of the ,louis ,,xv4 style1 but he is regarded as one of the exponents of the ,louis ,,xvi4 style and their individuality has given them the name 8genre de la ,fosse40 ,fragonard 7b4 #agcc2 d4 #ahjf7 has among his designs bas-reliefs gay with fauns and ,bacchantes in luxuriant foliage1 panels and over-doors1 and charming studies for ceilings1 especially adapted for boudoirs4 ,forty1 designer1 engraver1 carver1 etc41 worked in ,paris from #agge to #aghj2 and in taste and execution his works are perfect examples of the time4 ,in addition to books of vases1 iron work for balconies1 gratings1 stairways1 and designs for goldsmiths1 he published eight books entitled uvres de ,sculptures en bronze1 in which are designs for girandoles1 lustres1 clocks1 candelabra1 dials1 barometers1 etc41 and a 8design for ,two ,toilettes10 representing everything that is appropriate to the use of a lady1 and ornamented with the proper figures and allegorical attributes4 ,jewel-boxes1 powder-boxes1 comb-trays1 etc41 are included4 ,de ,lalonde's first publications1 in the ,louis ,,xvi4 style1 are addressed 8to artists and persons who wish to decorate with taste02 and he assures them that everything is in the newest style4 ,they include borders and frames1 both square and round1 feet for furniture1 tables and consoles1 doors1 cornices1 entablatures1 girandoles1 lustres1 candelabra1 trophies1 soffits1 vases1 mantel-pieces1 over-doors1 ceilings and rosettes for ceilings1 fire-places1 locks and knobs for the use of doors and furniture1 chimney-pieces and sconces4 ,his thirteen books of furniture represent sofas1 lits de repos1 bergres1 duchesses1 banquettes confidents1 ottomans and other varieties of beds and sofas1 fauteuils of both the square and gondola form1 billiard and card-tables1 desks of the cylinder and tomb shapes and desks with hind's feet1 commode desks1 commodes of marquetry1 square commodes and commodes with hind's feet1 corner-cupboards1 screens1 chiffonniers1 bookcases with pilasters1 little toilette commodes1 demi-toilettes1 flower-stands1 etc41 etc4 ,other books show numerous designs for the table service4 ,the later publications of ,de ,lalonde approach the new ,classic taste4 ,in these there are numerous plates for the decoration of apartments1 cornices1 consoles1 ceilings1 doors1 alcoves1 windows1 chimney-pieces1 girandoles1 lustres1 sofas1 canaps1 fauteuils and beds1 most of which are 8in the antique taste40 ,among the chairs there is a chaise renverse bergre1 a fauteuil griffon1 a chaise lastique1 a fauteuil tte renverse1 and a fauteuil chimre antique4 ,de ,lalonde's designs were exceedingly popular4 ,his beds and sofas la duchesse1 la polanaise1 colonnes1 trois dossiers1 la turque1 etc4 are legion1 and his chairs1 arm-chairs1 bergres1 screens1 tabourets1 consoles1 etc4 appeared at ,trianon and ,fontainebleau1 and many of them survived the ,revolution4 ,de ,lalonde continued his work under the ,directoire and so slavishly followed the fashion that his work leads directly into the style of the ,empire as expressed by ,percier and ,fontaine4 ,de ,lalonde is fond of the ribboned leg 7see ,no4 #c1 ,plate ,,xlvi47 and the grooved leg2 and his favourite ornaments are the quiver1 the urn1 the lyre1 the garland1 the burning torch1 and1 in his combinations of trophies1 the ribbon plays an important part4 ,specimens of ,de ,lalonde's works are shown on ,plate ,,xlvi41 ,nos4 #a1 #b1 #c1 #e and #g4 ,ranson was particularly fond of trophies and flowers4 ,he composed many designs and motives for the embroidery of arm-chairs4 ,his books give all sorts of trophies and floral designs for various kinds of decoration4 ,he also designed a great deal of furniture1 particularly beds4 ,among the varieties exhibited in his plates are3 ,lit ,impriale colonnes1 lit chaire prcher4 ,lit la ,polonaise tombeau1 lit l'antique1 front and side view1 lit la duchesse1 lit la chinoise1 lit la ,romaine1 lit la militaire1 lit la ,panurge1 lit la ,polonaise tombeau retrouss la chinoise4 ,ranson was particularly fond of the pastoral accessories2 and he groups large hats1 shepherds' crooks1 spades1 trowels1 and bird-cages1 and throws around them garlands and ribbons4 ,the round or oval frames of his chairs are generally surmounted by a garland of roses wherein doves sometimes bill and coo1 or a quiver of arrows is set4 ,an example of the latter design appears as ,no4 #c on ,plate ,,xliv4 ,two sofas by ,ranson are shown on ,plate ,,xliv41 ,nos4 #a and #b4 ,the first is a 8sofa with drapery and cushions10 the second is an 8ottomane la reine40 ,illustration3 ,,plate ,,xliv ,the cabinet-makers made a vast number of ,ranson's designs4 ,salembier's publications are chiefly devoted to the study of ornaments1 particularly trailing foliage and arabesques1 the acanthus and the thistle leaf4 ,he designed no large pieces of furniture1 but there are a few plates of consoles1 guridons1 sconces1 chandeliers1 clocks1 feet and corners of tables2 friezes and panels for doors are also included4 ,in ,salembier's designs1 the foliage is not very luxuriant1 and the acanthus leaf takes the place of the shell4 ,the figures of ,cupid that he uses are more like the ,greek in treatment2 and although his ornaments are plentiful1 they grow slenderer4 ,his arabesques are very ornate1 although they are composed of light elements1 mingled with branches1 mosses and grass4 ,petitot's best book contains many views and studies of a salon in the purest ,louis ,,xvi4 taste4 ,he also published sets of vases4 ,jules ,franois ,boucher 7b4 #agcf1 d4 #agha71 the son of the famous painter1 published various decorations for panels1 elevations for alcoves1 windows1 buffets1 details of armoires and commodes1 libraries1 drawing-rooms1 cabinets1 bath-rooms1 dressing-rooms1 boudoirs1 bedrooms1 dining-rooms1 vestibules1 etc4 ,his work is particularly valuable2 for the decorations1 like those of ,neufforge1 give a more correct idea of the general ornamentation of the ,louis ,,xvi4 period than the very rich and elaborate designs of ,cauvet1 ,salembier and others4 ,cuvillis 7b4 #agcd1 d4 #ahje7 was for a time architect of the ,bavarian court1 and his stay in ,germany greatly influenced his taste4 ,his works deal chiefly with ornamentation1 but designs for stoves1 terms1 vases and fountains are found among his drawings2 and 8niches in two ,gothic styles0 were published about #aggj4 ,marillier 7b4 #agdj1 d4 #ahjh7 chiefly designed flowers1 trophies and cartouches4 ,he also produced 8new ornament composed in the most modern taste to be made in gold1 silver1 copper and other metals40 ,these include trimmings for commodes1 buffets and other pieces of furniture1 besides lamps1 candelabras1 sconces for mantel-pieces1 hearth furniture1 etc4 ,marillier's work shows the best characteristics of the ,louis ,,xvi4 style4 ,prieur's taste led him to arabesques1 but1 among his large collection of designs1 one book is devoted to the decoration of apartments4 ,its six plates comprise a round dining-room1 drawing-room1 bedroom1 boudoir1 vestibule door and two ceilings4 ,a number of ,beneman's signed works exist1 and are of massive and severe form4 ,his heavy commodes of rigid lines are ornamented with handsome metal mounts2 and many of his pieces announce the coming ,empire style4 ,at ,fontainebleau and the ,louvre1 are preserved many articles by ,dugourc1 whose favourite ornament was the quiver4 ,cauvet 7b4 #agca1 d4 #aghh7 designed ornaments1 chiefly arabesques4 ,typical trophies and arabesques are shown on ,plate ,,xlv4 ,nos4 #a1 #b1 #c1 #d and #e4 ,a great number of painters1 decorators and designers devoted their attention to the urn and vase forms3 innumerable volumes entitled 8vases composed in the antique taste or suite des vases10 were published by ,vien1 ,jacques1 ,saly1 ,watelet1 ,pierre1 ,wailly1 ,la ,live de ,juilly1 ,simon ,challe1 ,saint ,non1 ,petitot1 ,cauvet1 ,houdan1 ,beauvais1 ,bertren1 ,gachet1 ,la ,rue1 ,bonnet1 ,joly1 ,duplessis1 fils1 ,percenet1 ,scheemakers1 ,moithey l'ain1 ,nicolet1 ,dupuis1 ,courture l'ain1 ,marchand1 ,perault1 ,pannier1 ,dor and ,normand4 ,others gave great attention to designing iron-work for balconies1 locks1 bolts and mounts for furniture2 and even stoves received much consideration4 ,bosse1 for instance1 gives eighteen models in his ,collection des dessins de ,poles de formes antiques et modernes1 de l'invention et de la manufacture du sieur ,olivier1 rue de la ,roquette1 faubourg ,saint-,antoine4 ,other designers published books of arabesques1 trophies1 flowers and other ornaments for the use of interior decorators4 ,among the most interesting of these is ,charton's ,collection de douze cahiers de plantes trangres en fleurs1 fruits1 corail et coquillages1 published in #aghd4 ,one of the most prolific designers of textiles was ,pillement 7b4 #agbh2 d4 #ahjh71 and his plates show all the popular motives and subjects of the day3 branches1 ribbons1 stripes mingled with flowers1 and those patterns of winding ribbons alternating with straight stripes bespangled with flowers called ,dauphines1 which were introduced at the time of the ,dauphin's marriage with ,marie ,antoinette in #aggj4 ,from the time that the ,princesse de ,lamballe assumed charge of the ,queen's household1 feathers were much used as a design for textiles2 and the affected pastoral life at ,trianon gave rise to the gayest sort of materials in which the winding stripes and interlacing ribbons are not only sprinkled with flowers1 but all the pastoral attributes4 ,about #aghj1 the round medallions came in and lasted till the beginning of the ,nineteenth ,century4 ,of course1 the growing taste for the antique had its effect upon the decoration of materials1 and the columns1 volutes1 lyres1 heads of ,minerva and other ,classic ornaments became more and more popular4 ,however1 amidst all the changes1 one thing persisted4 ,this was the stripe4 ,at first1 it was hidden under ribbons and flowers1 branches and feathers1 but all the scattered ornaments became smaller and less noticeable until they disappeared altogether1 and left the dominating stripe4 ,mercier wrote in #aghh3 8,everybody in the ,king's cabinet looks like a zebra40 ,the ,marquise de ,pompadour1 who favoured the new styles1 was fond of the stripe4 ,her bed at ,marly was quite in advance of the style associated with ,marie ,antoinette4 ,it was draped in a rich silk composed of blue and white stripes sprinkled with bouquets of flowers4 ,typical coverings of the day are shown on ,plates ,,xliv41 ,,xlv41 and ,,xlvi4 ,fay was a famous designer of textiles1 and wall paper which imitated them in pattern and colour4 ,the material known as quinze seize1 a kind of taffeta1 whose name was derived from its width was much used for curtains1 and also a heavy silk1 called gros de ,tours4 ,they remained fashionable during the ,empire4 ,another favourite material was the toile de ,jouy1 which was a kind of printed linen or cretonne made at the factory of ,jouy in ,josas1 which ,oberkampt established in #agei4 ,his productions there became enormously popular1 and the designs were printed from the best talent that could be engaged1--such as ,huet1 for instance4 ,it is singular that the two most famous cabinet-makers of the ,louis ,,xvi4 period were ,germans1--,riesener and ,roentgen4 ,riesener 7b4 about #agcj7 came from his native town near ,cologne to ,paris1 and1 as we have seen1 worked in ben's shop4 ,when the latter died in #agfh1 ,riesener carried on his business1 and up to the outbreak of the ,revolution1 produced a great deal of furniture4 ,he became 8bniste du ,roi0 and worked for the ,royal family until they left ,versailles4 ,of course he began to work under ,louis ,,xv41 his most important production having been made for that ,king himself 7see page #bac72 but as the greater part of his work was accomplished during the following reign1 he is always classed among artisans of the ,louis ,,xvi4 period4 ,many of his pieces are from designs by ,de ,lalonde4 ,they include tables1 chairs1 cabinets1 chests-of-drawers and corner-cupboards that are now prized4 ,riesener is particularly noted for his marquetry4 ,he was fond of inserting a panel of a single piece of wood bearing in its centre a gay and graceful bunch of flowers1 a wreath1 or trophy1 and enriching the border with a diaper pattern of three or four quiet colours4 ,he often stamped his name upon the panel itself4 ,his favourite woods for inlaying were3 tulip1 rosewood1 holly1 maple1 laburnum1 and purple-wood 7copaifera pubiflora74 ,riesener also made furniture1 particularly chests-of-drawers and cabinets of snake-wood1 or other brown woods in which the grain is waved or curled1 and also worked in plain mahogany and letter-wood1 depending upon ,gouthire's metal mounts for the decorative effect4 ,fashion also forced ,riesener to introduce1 somewhat against his will1 painted porcelain into his furniture in place of his inlaid panels4 ,one of his productions of this class appears on ,plate ,,xlvii4 ,it is a chiffonnier-secrtaire of mahogany with ornaments of chiselled copper1 and plaques of ,svres porcelain4 ,the subjects of the latter are birds4 ,the two lower plaques are apparently held by knots of ribbon made of copper chased and gilt4 ,a little open-worked gallery runs around the back and sides of the top1 the front moulding of which is ornamented with the festoon4 ,the commode on ,plate ,,xlviii4 is also one of ,riesener's works4 ,david ,roentgen is often known as 8,david40 ,he was born near ,coblentz1 and seems to have kept his shop there1 visiting ,paris to dispose of his wares2 and1 obtaining the interest of ,marie ,antoinette1 he established a shop in ,paris4 ,he introduced a new kind of marquetry1 in which the shadows and shading were actually done by pieces of wood2 and1 as a journalist of the period said1 was done like 8stone mosaic40 ,the woods he used for his marquetry work were lighter and gayer than ,riesener's4 ,he employed various white woods1 such as pear1 lime1 and other light-coloured woods1 and frequently tinted them other shades by burning them1 or by chemical processes4 ,like ,riesener1 he worked also in plain mahogany and letter-wood1 and also veneered furniture with these woods4 ,his productions were also brightened by ,gouthire's chased and gilt handles and key-plates4 ,roentgen was particularly clever about introducing mechanical devices into his furniture4 ,his greatest period of activity was between #aghj and #agij4 ,among other noted cabinet-makers were ,leleu1 ,saunier1 ,carlin 7who made many articles for ,marie ,antoinette71 ,levasseur1 ,avril1 ,pafrat 7who worked with ,carlin71 ,philippe-,claude ,montigny 7who copied the works of ,boulle71 ,benman1 ,stockel1 ,weisweiler1 and ,schwerdfeger4 ,quite a colony of ,german cabinet-makers1 attracted by the success of ,riesener and ,roentgen1 as well as the hope of gaining the interest of the young ,austrian ,queen1 settled in the faubourg ,saint-,antoine4 ,although some of the beds popular during the last reign survived1 particularly the alcove and niche beds1 many new varieties were introduced1 and the books of such designers as ,ranson1 ,delafosse1 and ,salembier1 contain many drawings of beds4 ,the canopy generally becomes smaller and smaller1 until it dwindles into a crown or ring to hold the curtains1 and is known as lit couronne1--a variety that continued popular throughout the ,empire4 ,the great four-post bed and the lit en housse1 occasionally recorded in inventories and sales1 are survivals of the past2 most of the new beds take some form of the sofa4 ,the favourite lit l'anglaise is really nothing but a square sofa4 ,indeed the dividing line between the beds and sofas is not clearly marked1 for the 8bed with three backs10 as they still defined it1 is draped and furnished with the customary two bolsters and a decorative canopy and curtains4 ,the distinction was not very rigidly observed even at the time4 ,for example1 in #aggc we read3 8,for sale at ,m4 ,carr's1 rue d',enfer a lit l'anglaise of yellow damask that forms a sopha #e feet wide and #f feet long2 the frame of carved walnut40 ,in #aghe1 8a cane bed with three backs that may serve as an ottoman in a summer drawing-room10 is offered for sale4 ,columns rarely appear now1 and when they do1 they are usually light4 ,sometimes1 indeed1 they are of iron1 and covered with the same material as the curtains4 ,it is preferred to place the bed sideways 7vu de face7 against the wall4 ,in this case1 the headboard and footboard are of equal height and exactly alike4 7,see ,plates ,,xliv4 and ,,xlv47 ,often the headboard and footboard are covered with the curtain-material2 they are also left plain and printed1 or lacquered or gilded4 ,natural wood ornamented with bronze gilt or moulu decorations is used4 ,the use of veined woods gradually did away with the practice of covering the head and footboards4 ,when the headboard was higher than the footboard1 the head was placed against the wall 7vu de pied71 or it stood in the corner4 ,muslin1 ,persian1 silk1 and other materials were used for draperies1 and these were trimmed with bows of ribbon1 fringe1 cords and tassels4 ,the curtains and counterpane were subject to a formal arrangement of loops and festoons1 and feathers still decorated the canopy4 ,among the most popular varieties were lit la ,polonaise1 la ,turque1 la ,chinoise1 tombeau1 double tombeau1 and l'anglaise4 ,there was another new bed called la dauphine1 which did not long remain in fashion4 ,ranson designed one in #aghj4 ,this was a lit impriale or dme1 which was light and rather graceful4 ,instead of being supported by columns the dome was held by an iron armature4 ,the lit l',italienne1 so named on account of the draping of the curtains1 was very popular in #agge2 and the lit couronne had a round or oval canopy1 surmounted by a festoon drapery1 trimmed with ball fringe4 ,two curtains1 similarly trimmed1 fell from the canopy on either side of the bed to the floor4 ,illustration3 ,,plate ,,xlv ,the forms1 colours1 and styles of the beds in use during the ,louis ,,xvi4 period may be gathered from the following list3 lit housse1 crimson velvet1 trimmed and embroidered with gold1 ,marchal ,duc d',estres1 #agga2 lit la polonaise1 blue damask and moir1 ,boucher 7the painter71 #agga2 lit housse1 green damask1 ,madame ,favart1 #aggb2 bed of embroidered muslin1 the ,duc de ,bouillon1 #aggb2 lit de ,perse1 white background with various cut-out decorations1 ,duchesse de ,brissac1 #aggc2 bed of ,indian damask1 ,chevalier d',hestin1 #agge2 crimson velvet with gold braid1 ,duke of ,saint-,aignan1 #aggf2 yellow satin embroidered with gold flowers1 ,marquise de ,courcillon1 #aggg2 ,indian damask1 ,mme4 le president ,talon1 #aggi2 bright yellow damask 7worth #bd1jjj livres71 unknown1 #aggi2 crimson damask1 ,marquise de ,saint ,georges1 #aggi2 and crimson and white moir1 la ,comtesse de ,brulle1 #aggi4 ,in #aghj1 crimson seems to be the favourite hue1 but there are also fine beds of blue and white damask1 crimson and white brocade1 and yellow damask1 and in #agha-aghb1 yellow and white damask1 green damask1 blue damask1 blue and white watered silk1 blue and white brocade1 ,persian1 tapestry and blue satin embroidered with gold and silk4 ,yellow camlet and damask in three colours occur in #aghd1 and in #aghg ,oriental stuffs and imitations of them are the rage4 ,in #aghg1 the ,marquis de ,mnars had a beautiful bed of embroidered blue moir2 the ,duc d',orlans1 a lit la duchesse of flowered silver velvet1 trimmed with gold braid and fringes2 and the financier1 ,beaujon1 a large canopy bed hung with ,gobelin tapestries4 ,in addition to these1 we may call attention to the following folding-beds3 a 8lit d'ante-chambre in the form of a secretary0 was offered at the sale of the ,marquise de ,vigean's effects in #aghc2 and at the sale of ,mme4 ,le ,gros's articles in #aghd 8a bed of crimson damask enclosed in an armoire en secrtaire40 ,a ,french newspaper also offered for sale in #aghe 8a pretty bed enclosed in a secretary made of mahogany with trimmings of gilded or moulu1 #g feet high and #c feet wide1 proper for both city and country02 and four years earlier a 8bed in the form of a commode and garnished with copper0 was also offered for sale4 ,the lower drawing on ,plate ,,xliv4 represents a lit de repos1 or 8causerie10 such as was used at ,trianon4 ,the wood is walnut1 gilded all over4 ,a carved garland of flowers decorated the top of the head and foot-board1 and the grooved columns are surmounted by a carved pineapple4 ,the drapery is a light ,florentine silk1 green in hue1 trimmed with cords and tassels and fringe of white1 green and pink4 ,the bed on ,plate ,,xlv4 is from a water-colour design by ,rousseau de la ,rottire4 ,the window-curtains and draperies have also changed1 to be in sympathy with the furniture4 ,they are far more studied than ever before1 and it is the cutter whose abilities are required rather than the graceful draper4 ,every bit of material must count1 and the shape is determined upon by the scissors4 ,the straight line is insisted upon1 and festoon1 scarf and lambrequin are combined in a precise and formal manner4 ,when a lambrequin is cut in denticulated ornaments1 sometimes the teeth end in a point1 and sometimes they are rounded4 ,the cantonnire has entirely disappeared1 and the scarf is now an obligatory accompaniment to bed curtains and window-curtains4 ,the curtains are heavily wadded and lined1 and beneath them thin muslin or taffeta curtains hang4 ,the draperies are trimmed with braids1 cords1 fringes1 small bell-shaped balls1 and long or short but rather slender tassels4 ,gilded and lacquered cornices are used1 and cornices of white and gilt whose flowers and other ornaments are painted in appropriate colours4 ,the latter style was known as camaeux4 ,on ,plate ,,xliv41 ,nos4 #c and #d1 specimen cornices with the correct drapery are shown4 ,the central ornament of each is a composition of garlands1 quivers and burning torches4 ,another arrangement of window drapery appears in ,plate ,,xliii4 ,the lyre clock 7,no4 #c1 ,plate ,,xlvii471 and the screen 7,no4 #d1 ,plate ,,xlviii471 are also typical examples4 ,the commode becomes more popular than ever4 ,the bomb commode of the preceding reign is succeeded by a piece of furniture in which the straight line predominates1 and which usually stands on grooved feet4 ,some commodes have doors and others long drawers1 with two simple handles on either side of the key-plate4 ,when five drawers are placed one above the other1 the feet naturally become lower than those of the ,louis ,,xv4 period4 ,commodes were made of plain mahogany1 amaranth and violet-wood4 ,marquetry work gradually yielded to plain panels bordered with a delicately chased bronze moulding1 and the top was covered with a marble slab4 ,doors and drawers1 however1 were sometimes ornamented with inlays of flowers or trophies in the centre of the panel4 ,very few lacquered commodes were made4 ,the commode on ,plate ,,xlviii4 is a transitional piece by ,riesener4 ,it is of marquetry1 ornamented with chased gilt bronze mounts4 ,the legs show the ,louis ,,xv4 influence4 ,above it1 on the same ,plate1 is another piece that retains sympathy with the former period4 ,this is a 8demi-toilette40 ,its curving hind's feet are ornamented with a bronze gilt acanthus1 and delicate metal-work decorates the moulding above the three drawers4 7,see detail ,no4 #e74 ,the chiffonnier1 or tall case of drawers1 occurs in the inventories of this reign4 ,it was used in the dressing and bedrooms4 ,the console1 or pier-table1 still holds its place under the mirror between the windows4 ,it bears little resemblance to the superbly carved and decorative console of the former reign4 ,it is composed of straight lines1 a straight grooved leg1 or a leg grooved and tapered1 as shown on ,plate ,,xlviii41 ,no4 #a4 ,the ornaments are slight1 merely a little gilded metal gallery around the top and base1 a small ornament1 a rosette or trophy1 in the centre under the slab1 and sometimes a little decoration on the legs4 ,the straining-rails sometimes unite to form a sort of basket or tray to hold flowers or a piece of porcelain1 and sometimes the legs are united by a solid piece of wood1 as appears on ,plate ,,xliii41 which also shows the favourite style of standing upon it a single ,svres vase4 ,the console was not only made of mahogany and brass work1 but it was frequently painted in a light colour4 ,grey or celadon was a favourite hue4 ,at the sale of the ,versailles furniture1 during the ,terror1 8two consoles1 painted in pearl-grey1 elegantly ornamented with carving and having very handsome slabs of ,carara marble10 were sold4 ,illustration3 ,,plate ,,xlvi ,a console in which the characteristics of the approaching ,empire style are evident is shown as ,no4 #e on ,plate ,,xlvii4 ,in the original1 a double eagle sits upon the straining-rail directly below the chubby cherub4 ,the eagle is accompanied by a branch of laurel4 ,it will not be long before the classic head of the term leg is succeeded by the sphinx4 ,typical drawing-room tables are shown on ,plate ,,xliii4 ,it is very rarely that a table of gilded wood is met with in a drawing-room or petit salon4 ,solid or veneered tables of rosewood1 amaranth1 violet-wood or mahogany1 decorated with brass-work or gilded copper1 are the favourites4 ,sometimes the top consists of a marble slab1 and sometimes a square of velvet or cloth is framed in a border of wood ornamented with a metal moulding2 but the table-cloth is rigorously avoided4 ,in the boudoir1 tables painted and lacquered in the ,vernis ,martin style are met with4 ,in the boudoir as well as in the drawing-room1 the 8flower table0 also occurs4 ,this must have been a jardinire1 because ,percier uses the word table fleurs for his jardinires4 ,growing flowers were greatly preferred to cut flowers for decoration1 and were placed on tables or stands in vases and baskets made of gilded metal or gilded osiers4 ,the flower table1 however1 was arranged purposely for growing plants4 ,it resembled the pier-table1 and was often ornamented with porcelain plaques4 ,in #aggg1 a ,parisian advertisement reads3 8,for sale1 a beautiful table fleurs1 now being made1 of satin-wood lined with lead1 the four feet in scrolls ornamented with shoes gilded or moulu1 as also the rings that form the handles2 with a drawer also lined with lead to drain the water40 ,writing-tables with desks that lift up and down at pleasure to any height required1 by means of mechanical devices1 were also placed in the boudoir4 ,work-tables were sometimes combined with the writing-tables4 ,numerous kinds of card-tables were in use and tables called 8de bouillote10 which were round1 folding or fixed1 and stood on four feet4 ,the extension dining-table1 mounted on four1 six or eight feet and opening at the middle1 appears in this period1 and a very useful article is introduced into the dining-room4 ,this is the table servante1 a species of dumb-waiter1 with drawers and shelves arranged in tiers and supported on four feet4 ,some of the drawers are large enough to hold bottles or a carafe1 while others are intended for corkscrews and small articles4 ,the feet1 which are grooved1 are mounted on casters4 ,this piece of furniture is represented in the caricatures by ,charlet1 ,grandville and ,h4 ,monnier4 ,a kindred article is represented in the upper right-hand corner of ,plate ,,xlviii4 ,this is a breakfast table made by ,carlin and ,patrat4 ,it is now in the ,south ,kensington ,museum4 ,desks or bureaux1 like the commodes1 became heavier and approached the sarcophagus in shape4 ,the rolltop cylinder was the most popular design4 ,one of these is represented on ,plate ,,xlvii41 ,no4 #d4 ,the cabinet was also in use1 and sometimes it was constructed especially for the corner of a room4 ,a corner cabinet is shown on ,plate ,,xlvii41 ,no4 #a1 with its panel inlaid with a floral design1 and its grooved column at the side that is of the vase shape1 and supports a small urn with a burning torch4 ,it was considered proper to place a vase on the top of the cabinet4 ,the tall vase was greatly used as a decoration1 and was placed not only on cabinet and pier-table1 but a pedestal was frequently provided for it4 7,see ,plate ,,xliii47 ,another specimen of a cylinder desk is represented on ,plate ,,xliv4 ,it is in the style of ,riesener1 and is made of mahogany with delicately chased metal trimmings4 ,the frieze is a combination of scrolls1 griffins and leaves2 the panels of the doors and the cylinder are also bordered with metal2 the foot is encased in a metal leaf2 and the key-plates are ornately worked4 ,the legs and pilasters are grooved4 ,the top is covered with a marble slab surmounted by an open-worked metal gallery4 ,the seats differ greatly from those of the former period4 ,in these1 the curved outline entirely vanishes4 ,during the transitional period1 the feet are of the console outline1 ending in a scroll or shell1 or peg-top shape that succeeded the leaf shoe2 and before the medallion was used for the back of the chair frame1 the violin shape was employed4 ,the next change was a sort of projecting square1 then the shape of the handle of a basket1 until the form is reached that shows a perfect square between two straight columns1 each ending in a steeple ornament and making a kind of frame for the covering4 7,see ,plates ,,xlvi4 and ,,xlviii47 ,the small arm-chairs were called cabriolets1 but the frames of each were similarly ornamented with beads1 winding ribbons1 laurel leaves1 etc4 ,the richest chairs had a carved and gilt ornament in the centre of the top rail1 usually a bow of ribbon1 a bouquet of flowers1 or a garland of small blossoms or leaves4 ,plain woods1 such as mahogany1 walnut1 or amaranth1 are often used for the frames1 but far more universal is the use of wood carved and gilded1 or carved and painted according to fancy4 ,some mahogany and rosewood arm-chairs are brightened by the application of chased and gilded bronze ornaments4 ,the upholsterers of the day furnished the chairs with round1 flattened or half round cushions4 ,the projection of the back cushion was regulated by the material with which it was covered1 so that the latter should be exhibited to its best advantage4 ,many arm-chairs had removable cushions that fit into the frame of the chair4 ,the cushions were sometimes tufted4 ,illustration3 ,,plate ,,xlvii ,the old damask of the past used for furniture coverings now gave place to figured and embroidered satin1 the designs representing birds1 vases full of flowers1 ,cupids1 quivers smothered with garlands of flowers1 a bouquet held by a bunch of ribbon1 and1 finally1 stripes4 ,the tones were light3 two colours1 one of which in two or three shades1 were often employed1 the favourites being pale blue1 rose1 yellow1 lilac and grey4 ,the manufactories of the ,gobelins1 of ,beauvais and ,aubusson produced the same designs and pictures in their tapestries which were in great vogue for chairs and sofas4 ,garlands1 shepherds and shepherdesses1 subjects from ,boucher and ,fragonard and trophies were reproduced most exquisitely upon light backgrounds4 ,persian1 ,chinese and ,polish subjects witness how the decorators tried to study the designs of foreign and ,oriental countries4 ,the stamped velvets of ,utrecht had smaller patterns and very frequently were striped4 ,braids were of innumerable varieties1 and tassels and ball-fringe were universally used for trimmings4 ,arm-chairs were ornamented also with festoons of drapery1 and were called fauteuils la polonaise1 la turque1 la chinoise1 and in all probability matched the beds and sofas of these names4 ,radel1 ,de ,lalonde1 ,salembier1 and others give many designs of the draped arm-chair4 ,typical chairs are represented on ,plates ,,xlvi4 and ,,xlviii4 ,the arm-chairs on ,plate ,,xlvi4 are by ,de ,lalonde4 ,nos4 #b and #c are drawings of the same chair1 ,no4 #b1 showing the correct projection of the cushion of the back1 which was a subject of so much study4 ,no4 #e is a 8voyelle10 also by ,de ,lalonde4 ,the plan of its seat appears as ,no4 #d4 ,no4 #b on ,plate ,,xlviii4 is an arm-chair of walnut and gold4 ,the arm-chairs for the desk were made of mahogany1 or painted wood4 ,they were of the gondola form1 and were supplied with cushions for the back and seat1 which were not unfrequently of cane4 ,the third foot placed directly in front now seems to have been given up4 ,the fauteuil bergre still belongs to the drawing-room1 but its lines are straighter than its parent 7see ,plate ,,xxxvi41 ,no4 #a71 and the elbow is more aggressive4 ,a typical ,louis ,,xvi4 fauteuil bergre is shown in ,no4 #c on ,plate ,,xlviii4 ,this is also called fauteuil confessional4 ,in this reign the cushions of seat and back are often stuffed with hair instead of feathers1 and tufted4 ,like the specimen on ,plate ,,xxxvi41 this fauteuil bergre is often supplied with a separate cushion for the seat1 covered like the rest of the chair4 ,another typical chair was the 8voyeuse10 the back of which was shaped like a lyre1 and reached from the seat to the top rail4 ,the latter was stuffed4 ,men sat astride the seat1 and rested their arms upon the rail4 ,this chair was generally in the card-room4 ,the dining-room chairs usually had cane backs and seats1 or rush4 ,the frames of oak or ebony followed the forms of the dining-room chair1 or had turned bars or carved splats4 ,mahogany was also used1 and often the frames were painted4 ,as a rule1 the chairs were furnished with removable cushions1 but sometimes they were covered with velvet or leather4 ,the form of the sofa1 or canap1 was similar to that of the chair1 as will be noticed by an examination of ,plate ,,xlv4 ,sofas were of the gondola1 basket1 or medallion form1 and were slightly lower and deeper of seat than those of the former reign4 ,sometimes they had high wings or cheeks at the ends1 something after the shape of ,no4 #c1 on ,plate ,,xlviii41 which gave them a cosy1 comfortable appearance4 ,a typical canap is represented on ,plate ,,xlvi4 ,the frame is of carved and gilded wood1 and it is covered with tapestry in the style of ,boucher4 ,the central medallion represents a pastoral subject1--a child with a dog1 cock1 and birdcage with a border of roses and daisies1 and on either side are two trophies of musical instruments4 ,the seat is similarly covered4 ,the sofa1 ,no4 #g1 on the same plate1 is one of ,de ,lalonde's4 ,this has a good deal of metal work1 and the familiar patera that is placed at the head of the leg1 and1 in fact1 wherever the wood is joined4 ,this 8sopha0 has four front legs4 ,like the model below there is an open space under the arm4 ,the omission of the cushion stamps it of a later date4 ,the little rounded and low sofa was often called an ottoman2 but this name is also applied to large pieces4 ,for instance1 ,no4 #b1 on ,plate ,,xliv41 is called 8,ottoman la reine40 ,this is by ,ranson1 who is also responsible for the sofa above it4 ,the latter permits the square pillow as well as the round bolster4 ,the varieties of the draped sofa1 known variously as lit de repos1 chaise longue1 duchesse1 bergre1 la turque1 la polonaise1 la chinoise1 etc41 are too numerous to mention1 and merge into the bed4 ,it is hard to tell even from the contemporary drawings what is a sofa and what is a bed1 as both appear with and without canopies4 ,for example1 ,no4 #f1 on ,plate ,,xlvi41 is called 8sofa bed l'antique40 ,the frame is of plain mahogany1 and the drapery is arranged in scant festoons4 ,this piece is very close in feeling to the ,empire sofas1 and the scroll end sofas of the early ,nineteenth ,century that exactly follow the outline produced by the bird1 cushion and roll of ,no4 #f4 ,the duchesse is still composed of the fauteuil and tabouret4 ,sometimes it is made in three instead of two divisions4 ,the apartments of the ,princesse de ,lamballe consisted of an ante-chamber1 a dining-room1 a dressing-room1 a billiard-room1 a bedroom and a boudoir4 ,they display the ,louis ,,xvi4 furniture in full flower 7#aghe74 ,some idea of the height of the rooms can1 of course1 be gained from the length of the curtains4 ,the ante-chamber contained twelve square chairs covered with yellow bazanne1#bj the frames painted white2 a six-leaved screen covered with red cloth1 #f feet high2 and a sofa-bed4 ,the dining-room was furnished with twenty chairs1 three screens and a commode4 ,the curtains1 #ad feet1 #f inches high1 were of heavy crimson silk trimmed with gold braid4 ,the woodwork of the chairs was painted yellow1 and they were covered with crimson panne velvet fastened by gilt nails on a gold braid4 ,two of the screens had six leaves and were #f feet high4 ,one was covered with crimson panne fastened by gilt nails on a gold braid2 the other with crimson silk velvet1 fluted and nailed similarly4 ,the third screen was covered with crimson damask2 its frame was carved and gilt4 ,the commode was la ,rgence1 #d feet long1 of veneered wood with a marble slab on top1 and two long drawers with lock-plates1 rosette handles1 chutes and shoes of copper gilt4 ,the room was lighted by a splendid lustre of ,bohemian crystal1 with eight gilded branches 7#b feet1 #g inches high and #b feet wide72 and a pair of arms1 each with three rocaille branches 7#bb inches high and #ae inches wide74 ,the heat was supplied by a grate4 ,the drawing-room was hung with green and white damask4 ,it had a frieze of carved wood1 partly gilt and partly painted white4 ,two large square arm-chairs1 eighteen square chairs of gilded wood1 four voyeuses1 and two little chairs were covered with the same green and white damask as the hangings4 ,the framework was carved and painted white4 ,there were also twenty-four mahogany chairs with lyre backs1 the seats of which were covered with green leather fastened by gilt-headed nails that touched one another4 ,the window-curtains1 of two lengths each 7#i feet1 #h inches long71 were of heavy green silk1 trimmed with silk braid4 ,a rich carpet covered the floor4 ,the light was obtained by means of a ,bohemian crystal lustre1 over #c feet high1 with six silver branches and three pairs of sconce-arms4 ,the fire-place was highly ornamental1 and the tongs and shovel had gilded knobs4 ,the billiard-room was hung with green damask1 and the curtains were of heavy green silk4 ,here were twelve chairs and four voyeuses1 and a banquette covered with green ,utrecht velvet1 fastened with gilt-headed nails4 ,the framework of these seats was painted white4 ,there were also several stools and benches covered with green morocco4 ,the bedroom had a moquette carpet 7#ad feet1 #f inches by #be feet7 of a white background on which were ovals of green1 upon which flowers tied with ribbons were represented4 ,a very ornamental grate furnished the heat4 ,the boudoir reflected the taste of the age4 ,the hangings and furniture coverings were of heavy silk with a white background1 on which a lozenge design was represented1 as well as bouquets of flowers tied with blue ribbons framed in a kind of trellis-like border4 ,the frames of the furniture were carved and gilt4 ,the seats consisted of a settee1 with a square cushion1 two pillows and two round bolsters2 six square arm-chairs1 a bergre with a square cushion1 and a screen4 ,the niche 7#f feet wide and #i feet1 #i inches high7 was hung with the same material as the rest of the boudoir1 and was lined with white silk4 ,the window-curtains matched the alcove and bed draperies4 ,there was a handsome lustre of rock-crystal with eight branches of copper gilt1 a screen of crimson damask with a beech frame2 an 8ottoman en gondole0 painted white1 covered with crimson damask1 fastened with gold nails to the frame1 and equipped with a square hair pillow and two feather pillows with tassels2 seven crimson damask arm-chairs and a walnut writing-table with drawer4 ,the apartments of ,mlle4 ,guimard1 the actress1 in #aghf1 give excellent hints for furnishings of this period4 ,in the ante-chamber1 on the ground floor1 were twelve chairs covered with green moquette1 two buffets1 a fountain with a filter1 a stove1 a wooden coffer and figures in the niches4 ,in the dining-room1 there were three tables for ten1 fifteen1 and thirty covers4 ,the eighteen chairs were upholstered in green and white ,utrecht velvet4 ,the greenhouse contained five banquettes1 or forms1 covered with green ,utrecht velvet1 and three girandoles carried by plaster figures standing on white marble pedestals4 ,in the passage to the boudoir was a banquette covered with 8,pekin40 ,the boudoir was furnished with two settees1 two bergres1 and two chairs covered with tapestry2 and a desk stood in a counterfeit doorway4 ,the window-curtains were of green taffeta1 and a carpet covered the floor4 ,in the bedroom1 two large pictures took the place of hangings4 ,a sofa-bed stood in the niche1 draped with crimson and white ,genoa velvet4 ,the niche was hung with the same material4 ,two sofas1 six square-backed arm-chairs1 and a two-leaved screen and two banquettes were covered similarly1 but the four cabriolets were upholstered in brocade4 ,another screen was covered with tapestry4 ,there were also a foot carpet1 an open fire-place with rich hearth furniture1 pictures1 and two lily-shaped girandoles of copper gilt1 or moulu4 ,a moquette portire screened the passage to the garde-robe4 ,the 8,baths0 occupied three rooms4 ,the bath-room and its niche were hung with ,persian2 the window curtains were white1 and here stood a canap and four cabriolets4 ,the cabinet next to the bath contained a settee1 four cabriolets1 and two window-curtains1 all in 8painted ,pekin40 ,the furnishings of the fireplace were gilt or moulu4 ,the dressing-room was hung in damask paper1 and its six cabriolets were upholstered with crimson and white velvet4 ,mlle4 ,grimard's suite upstairs consisted of antechamber1 dining-room1 drawing-room1 dressing-room1 bedroom1 writing-room1 and garde-robe4 ,the ante-chamber was furnished with six cane chairs and a faence fountain4 ,the dining-room seats1 covered with blue and white velvet1 comprised six chairs and two arm-chairs4 ,the salon1 or drawing-room1 contained five tables3 one stood in each corner and one in the centre4 ,there were six square arm-chairs1 four chairs1 and a settee of green and white damask1 and the one tabouret was covered with tapestry4 ,the walls were hung with watered silk1 and the curtains were green taffeta4 ,the dressing-room contained four arm-chairs1 and four chairs covered in blue and white damask2 and the window-curtains were of blue taffeta4 ,the arm-chair used at the toilette was upholstered in leather4 ,the chimney-piece was 8 la ,prussienne10 and the hearth furniture was gilt or moulu4 ,the bedroom was lighted by two windows1 which were hung with curtains of green taffeta4 ,the lit en niche and the alcove draperies were of ,indian dimity4 ,the four arm-chairs and four chairs were covered with toile de ,jouy4 7,see page #bfd47 ,the fireplace furnishings were gilt or moulu4 ,in the writing-room1 the two curtains were of green taffeta2 and the desk arm-chair was covered with green velvet4 ,two china corner-cupboards stood in the garde-robe4 ,the ,cabinet des ,modes from #aghf to #agij gives many examples of furniture and interior decorations that are excellent records of the taste of the last years of the ,louis ,,xvi4 style4 ,the volume for #aghf gives designs for a clock and candelabra2 bed in the form of a pulpit1 front and side view1 lit de repos1 or causeuse1 arm-chairs 8in the latest fashion10 bergres1 chaise chapeau and chaise resaut1 8temple flambeaux and cassolettes for the decoration of a mantel-piece10 bed 8 la ,turque10 and decoration for a boudoir4 ,illustration3 ,,plate ,,xlviii ,a lit la ,polonaise1 a decoration for a bedroom with alcove with columns1 cabinet clock1 sofa with three backs1 or 8sofa pommier10 large arm-chair for a drawing-room1 two voyeuses for a card room1 and a chair appear in the second volumes4 ,the third contains mantel-pieces1 girandoles1 clocks1 a cylinder desk1 a console1 and the decoration for a salon4 ,another decoration for a salon appears in the volume for #aghi1 also a clock1 girandoles1 a ,chinese lantern1 pots pourris1 or perfume-burners1 a sofa of three divisions1 a fauteuil chapeau et colonnes1 a hearth and a settee4 ,the volume for #agij leads directly into the ,directoire style1 as the plates for the 8lit la fdration10 8new arm-chairs of antique form10 8antique arm-chair10 8,etruscan chair10 candelabra1 and 8salon nouveau0 plainly show4 ,most of these designs are by ,charpentier4 ----- ,footnote #ai3 ,copy of the ,little ,trianon built by ,gustavus ,,iii41 of ,sweden1 in his park at ,haga near ,stockholm4 ,footnote #bj3 ,a kind of dimity4 ,,the ,,adam ,,period ,illustration3 ,,plate ,,xlix ,illustration ,,the ,,adam ,,period ,reaction from the rococo style doubtless marched with the same gradual and certain steps in ,england as in ,france4 ,the ,louis ,,xvi4 style crossed the channel and brought with it all its bitter contempt for 8rock and shell10 its passion for the straight line1 and its love for mortuary urns and arabesque ornamentation4 ,in ,english decorative art1 this style is known as 8,adam40 ,although ,robert and ,james ,adam had great influence in creating and strengthening the 8taste for the antique10 they were not the only ones who made war upon the rococo1 ,gothic and ,chinese4 ,one of these was ,george ,richardson1 who1 like ,adam1 travelled in ,italy4 ,he published ,a ,book of ,ceilings composed in the style of the ,antique ,grotesque1 in #aggf2 ,a ,new ,collection of ,chimney-,pieces in the style of the ,etruscan1 ,greek and ,roman ,architecture1 in #agha2 and ,a ,series of ,original ,designs for ,country ,seats or ,villas1 containing ,plans1 ,elevations1 ,sections of ,principal ,apartments1 ,ceilings1 ,chimney ,pieces1 ,capitals of ,columns1 ,ornaments for ,friezes1 and ,other ,interior ,decorations in the ,antique ,style1 in #agie4 ,placido ,columbani published ,a ,new ,book of ,ornaments1 in #agge2 and ,a ,variety of ,capitals1 ,friezes1 ,cornices and ,chimney-pieces1 in #aggf4 ,these are designs for the interior decoration of rooms1 chiefly of panels to be made in wood1 or stucco1 or painting4 ,john ,crunden was another4 ,he issued ,designs for ,ceilings1 in #agfe2 ,convenient and ,ornamental ,architecture1 in #agfh2 ,the ,joiner and ,cabinet-,maker's ,darling1 in #aggj2 and1 with ,thomas ,milton and ,placido ,columbani1 ,the ,chimney-,piece ,maker's ,daily ,assistant1 or a ,treasury of ,new ,designs for ,chimney-,pieces4 ,n4 ,wallis published1 in #agga1 ,a ,book of ,ornaments in the ,palmyrene ,taste1 which was followed by ,the ,carpenter's ,treasure and ,the ,complete ,modern ,joiner1 which contain designs for ceilings1 panels1 pateras1 mouldings1 chimney-pieces1 door-cases1 friezes1 tablets for the centre ornaments1 chimney-pieces1 and door-cases and ornaments for pilasters1 bases and sub-bases4 ,the greater number were of allegorical subjects4 ,wallis was fond of the 8,raffle0 leaf 7indented foliage1 such as the acanthus74 ,j4 ,carter was another designer in the ,adam taste4 ,his ceilings greatly resembled ,richardson's4 ,the latter describes one of his own chimney-pieces as follows3 8,the plain ground round the pilasters and architrave may be of jasper1 or antique green2 and the ornaments of the frieze and pilasters might be done of scagliola1#ba and should be executed in wood2 the ornaments will produce a fine effect if painted in the ,etruscan manner--in various colours40 ,a ,triumph of ,venus is a tablet of another chimney-piece1 8suitable for an elegant gallery or ,drawing-room4 ,she is sitting in a shell drawn by ,dolphins guided by ,cupid1 in the air and accompanied by a ,triton blowing his shell trumpet1 and holding ,neptune's trident4 ,the plain ground round the pilasters with termes may be of variegated colours1 but all the rest should be of plain white marble40 ,of the ceiling for a dressing-room he says3 8,the oval picture represents ,diana bathing attended by her ,nymphs4 ,the small circles contain figures representing hunting-pieces and sacrifices1 which may be painted in chiaro-oscuro1 or executed in stucco in the manner of antique bas-reliefs40 ,a chimney-piece1 suitable for a ,parlour or ,dining-room1 is thus described3 8,the ornaments of the frieze may be of white marble1 laid on dark grounds4 ,if the cornice1 with the frieze and back pilasters1 be carved in wood1 the moldings of the architraves in marble1 might be quite plain40 ,it will therefore be seen that the 8,adam style0 was a fashion4 ,taste was running its natural course and the reaction to the antique1 from the curve in favour of the straight line1 had set in4 ,the social position of the ,adam brothers helped them greatly in towering above the other ,english designers and decorative artists of the day4 ,their father1 ,william ,adam1 was an architect of reputation in ,scotland2 and sent his second son1 ,robert1 to the ,university of ,edinburgh1 where he formed important friendships4 ,in #aged1 he went to ,italy with a ,french architect and made a careful study of the ruins of the ,emperor ,diocletian's palace at ,spalatro in ,dalmatia4 ,he was made ,f4,r4,s4 and ,f4,s4,a4 while abroad2 and1 on his return to ,england1 in #agfb1 become royal architect4 ,his brother ,james was closely identified with him in all his work4 ,the nobility and gentry not only patronized them1 but received them socially2 and when ,robert died in #agib1 and was buried in ,westminster ,abbey1 the state of his funeral and the high rank of the persons who attended and officiated1 prove the regard in which he was held4 ,adam1 therefore1 is of a very different class from ,chippendale1 ,heppelwhite and ,sheraton2 and1 although he designed much furniture to accord with the rooms that he altered and decorated1 he never made any4 ,the ,adam brothers were purely designers3 they employed special artists to work for them4 ,these were ,angelica ,kauffman1 and her husband1 ,antonio ,zucchi1 and ,cipriani2 also ,pergolesi1 whom they brought from ,italy1 and who ,mr4 ,heaton says 8beyond doubt was the unacknowledged author of most of the beautiful details of ,adam's book40 ,among their most important works that include interior decoration were3 ,sion ,house1 the ,duke of ,northumberland's seat in ,middlesex2 ,kenwood1 ,lord ,mansfield's house near ,hampstead2 ,osterley ,house1 near ,brentford2 ,shelburne 7now ,lansdowne7 ,house1 ,berkeley ,square1 ,london2 ,keddlestone1 ,derbyshire2 ,luton ,house1 ,bedfordshire2 and ,compton ,verney1 ,warwickshire4 ,illustration3 ,,plate ,l 8,whatever were the architectural defects of their works1 the brothers formed a style1 which was marked by a fine sense of proportion1 and a very elegant taste in the selection and disposition of niches1 lunettes1 reliefs1 festoons1 and other classical ornaments4 ,it was their custom to design furniture in character with their apartments1 and their works of this kind are still highly prized4 ,amongst them may be specially mentioned their sideboards with elegant urn-shaped knife-boxes1 but they also designed bookcases and commodes1 brackets and pedestals1 clock-cases and candelabra1 mirror-frames and console tables of singular and original merit1 adapting classical forms to modern uses with a success unrivalled by any other designer of furniture in ,england4 ,they designed also carriages and plate1 and a sedan-chair for ,queen ,charlotte4 ,of their decorative work generally it may be said that it was rich but neat1 refined but not effeminate1 chaste but not severe1 and that it will probably have quite as lasting and beneficial effect upon ,english taste as their architectural structures40#bb ,like ,chippendale1 they claimed more originality than they were entitled to when they wrote in their preface3 8,we have not trod in the path of others1 nor derived aid from their labours4 ,in the books which we have had the honour to execute we have not only met with the approbation of our employers1 but even with the imitation of other artists1 to such a degree1 as in some measure to have brought about in this country1 a kind of revolution in the whole system of this useful and elegant art4 ,these circumstances induced us to hope that to collect and engrave our works would afford both entertainment and instruction40 ,they paid much attention to colour1 and remark3 8,we have thought it proper to colour with the tints used in the execution1 a few copies of each number1 not only that posterity might be enabled to judge with more accuracy concerning the taste of the present age1 and that foreign connoisseurs might have it in their power to indulge their curiosity with respect to our national style of ornament2 but that the public in general might have an opportunity of cultivating the beautiful art of decoration hitherto so little understood in most of the countries of ,europe40 ,the ,adams tell us they intended to prefix to their book a dissertation regarding the rise and progress of architecture in ,great ,britain1 8to have pointed out the various stages of its improvements from the time that our ancestors relinquishing the ,gothic style1 began to aim at an imitation of the ,grecian manner1 until it attained that degree of perfection at which it has now arrived40 ,thus the ,gothic had no more admiration from the ,adams than it had when ,evelyn denounced it4 ,it is interesting to let them exhibit their own taste and rating of ,british architects4 8,michael ,angelo1 ,raphael1 and other ,italian architects of the ,renaissance boldly aimed at restoring the antique4 ,but in their time the rage for painting became so prevalent1 that instead of following these great examples1 they covered every ceiling with large fresco compositions1 which1 though extremely fine and well painted1 were very much misplaced1 and must necessarily1 from the attitude in which they are beheld1 tire the patience of every spectator4 ,great compositions should be placed so as to be viewed with ease4 ,grotesque ornaments and figures in any situation are perceived with the glance of an eye1 and require little examination4 ,inigo ,jones introduced them into ,england with as much weight1 but with little fancy and embellishment4 ,vanburgh1 ,campbell1 and ,gibbs1 followed too implicitly the authority of this great name4 ,kent's genius for the picturesque1 and the vast reputation he deservedly acquired1 made him in some measure withstand this prevalent abuse2 he has much merit in being the first who began to lighten the compartments and to introduce grotesque paintings with his ornament in stucco2 his works1 however1 are evidently those of a beginner4 ,mr4 ,stuart1 with his usual elegance and taste1 has contributed greatly towards introducing the true style of the antique decoration2 and it seems to have been reserved for the present times to see compartment ceilings1 and those of every kind1 carried to a degree of perfection in ,great ,britain that far surpasses any of the former attempts of other modern nations4 8,inigo ,jones1 who had long studied in ,italy1 rescued this art 7architecture7 in a considerable degree from the ,gothicism of former times1 and began to introduce into his country a love of that elegance and refinement which characterize the productions of ,greece and ,rome4 8,instructed and encouraged by his example1 ,sir ,christopher ,wren became more chaste2 and having the felicity to be employed in executing the most magnificent work of ,english architecture1 he was enabled to display greater extent of genius4 8,vanburgh understood better than either the art of living among the great4 ,a commodious arrangement of apartments was therefore his peculiar merit4 ,but his lively imagination scorned the restraint of any rule in composition2 and his passion for what was fancifully magnificent1 prevented him from discerning what was truly simple1 elegant1 and sublime4 8,campbell1 ,gibbs1 and ,kent have each their peculiar share of merit40 ,from their own testimony we can1 therefore1 not agree with them1 when they write elsewhere3 8,inferior to our ancestors in science1 we surpass them in taste40 ,however1 they insist that at the time they write1 8greater variety of form1 greater beauty in design1 greater gaiety1 and elegance of ornament are introduced into interior decoration40 ,they were greatly in demand1 as we have seen1 and not only altered the interiors and exteriors of many ,english mansions1 but designed the decorations4 ,chimney-pieces1 ceilings1 walls1 niches1 the handles of doors1 locks1 key-plates1 cornices1 draperies1 furniture1 gold and silver ware1 and even damask for the table4 ,nothing seemed too great1 nor too slight for their hands4 ,the attitude they had towards their work may be appreciated by the following words3 8,if we have any claim to approbation1 we found it on this alone4 ,that we flatter ourselves we have been able to seize1 with some degree of success1 the beautiful spirit of antiquity1 and to transfuse it1 with novelty and variety1 through all our numerous works40 ,the pictures on ,plates ,l41 ,,li41 and ,,lii4 are taken from the book by the ,adams4 ,no4 #a1 on ,plate ,l41 is the curtain cornice of the ,earl of ,derby's ,etruscan ,room2 ,no4 #b on the same plate is another cornice with drapery1 which1 with the mirror below it1 were made for ,sion ,house4 ,no4 #d is the leg of a table and ,no4 #e is the upper part of the frame of a pier-glass4 ,the lower drawing is a sideboard table1 under which1 in the original drawing1 a wine-cooler stands4 ,no4 #c is a table1 also from ,sion ,house4 ,the sofa appearing on ,plate ,,li4 is of mahogany1 the woodwork fluted and mounted with brass reliefs4 ,the legs are characteristic of ,adam4 ,the cover is woolen work on canvas4 ,the table on the same plate is inlaid and has a border of inlaid brass and wood around the top4 ,the two drawers under the top have borders of brass and are decorated with brass lions4 ,in the centre of each crosspiece there is a decoration of leaves surrounding a rosette4 ,the legs are gilded at intervals1 and are ornamented with gilt lion's heads and end in claw feet4 ,this dates from about #aghj4 ,the screen on the same plate is supported on a stand of wood fluted and gilded1 out of which rises a brass rod4 ,the oval frame encloses a piece of silk embroidery said to have been made by ,queen ,caroline4 ,the little picture in the centre is painted4 ,no4 #a is a curtain cornice1 of which ,adam says3 8,these curtains were intended as an attempt to banish absurd ,french compositions40 ,no4 #b is a ewer1 that also appears in the ,adam book4 ,plate ,,xlix4 is a library after the ,adam style4 ,the full drawing on ,plate ,,lii4 is a commode from the ,countess of ,derby's dressing-room2 it is richly decorated4 ,no4 #b is a detail4 ,no4 #c on the same plate from it is a girandole1 made for a niche in the ,earl of ,derby's ,etruscan ,room4 ,the full drawing is 8a design of a vase for candles to be fixed to the wainscoting of a room02 the central vase is a perfume-burner4 ,no4 #a is a tripod of gilded wood1 intended to support a base with candles4 ,among the ornaments used by the ,adam brothers were mythological subjects1 lozenge-shaped panels1 octagons1 ovals1 hexagons1 circles1 wreaths1 fans1 husks1 medallions1 draped medallions1 medallions with figures1 the sphinx1 the faun1 goats1 drapery1 ribbons1 eagle-headed grotesques1 griffins1 sea-horses1 the ram's head1 the patera1 the rosette1 caryatides and other ,classic motives4 ,the ornaments of the ceilings and walls were stucco picked out with different tints1 frequently pink and green4 ,in handsome rooms1 the chimney-piece was of statuary marble1 the overmantel carved in wood and gilt1 or painted4 ,the drawing-room ceiling was coved and the compartments painted4 ,pilasters were often used to divide the rooms and the ornaments of these1 like the arches and panels of the doors1 were painted4 ,the frieze was stucco4 ,ornaments in the niches were frequently gilt1 as well as the girandoles and stucco ornaments of the ceilings4 ,the ,adams also recommended ornaments printed on papier mach and 8so highly japanned as to appear like glass40 ,damask and tapestry were used for hanging the drawing-room1 but not the dining-room4 ,they assert that within the past few years there has been 8a remarkable improvement in the form1 convenience1 arrangement and relief of apartments2 a greater movement and variety1 in the outside composition and in the decoration of the inside1 an almost total change4 ,the massive entablature1 the ponderous compartment ceiling1 the tabernacle frame almost the only species of ornament1 formerly known in this country1 are now universally exploded1 and in their place we have adopted a beautiful variety of light mouldings1 gracefully formed1 delicately enriched and arranged with propriety and skill4 ,we have introduced a great diversity of ceilings1 frieze and decorated pilasters1 and have added grace and beauty to the whole1 by a mixture of grotesque#bc stucco and painted ornaments1 together with the flowing rinceau1#bd with its fanciful figures and winding foliage4 8,a proper arrangement and relief of apartments are branches of architecture in which the ,french have excelled all other nations2 these have united magnificence with utility in the htels of their nobility1 and have rendered them objects of universal imitation4 ,illustration3 ,,plate ,,li 8,to understand thoroughly the art of living1 it is necessary1 perhaps1 to have passed some time among the ,french1 and to have studied the customs of that social and conversible people4 ,in one particular1 however1 our manners prevent us from imitating them4 ,their eating-rooms seldom or never constitute a piece in their great apartments1 but lie out of the suite1 and in fitting them up1 little attention is paid to beauty or decoration4 ,the reason of this is obvious2 the ,french meet there only at meals1 when they trust to the display of the table for show and magnificence1 not to the decoration of the apartment2 and as soon as the entertainment is over1 they immediately retire to the rooms of company4 ,not so with us4 ,accustomed by habit1 or induced by the nature of our climate1 we indulge more largely in the enjoyment of the bottle4 ,every person of rank here is either a member of the legislature1 or entitled by his condition to take part in the political arrangements of his country1 and to enter with ardour into those discussions to which they give rise2 these circumstances lead men to live more with one another1 and more detached from the society of the ladies4 ,the eating-rooms are considered as the apartments of conversation1 in which we are to pass a great part of our time4 ,this renders it desirable to have them fitted up with elegance and splendour1 but in a style different from that of other apartments4 ,instead of being hung with damask1 tapestry1 etc41 they are always finished with stucco1 and adorned with statues and paintings1 that they may not retain the smell of the victuals40 ,the ,adam brothers now describe what seems to them a correct arrangement of a suite of apartments4 ,these they themselves planned and decorated for the ,duke of ,northumberland's estate1 ,sion ,house1 near ,london4 8,the hall1 both in our homes and in those of ,france1 is a spacious apartment1 intended as the room of access where servants attend4 ,it is here1 a room of great dimensions1 is finished with stucco1 as halls always are1 and formed with a recess at each end1 one square and the other circular1 which have a noble effect and increase the variety4 8,the ante-rooms on each side are for the attendance of the servants out of livery1 and also for that of the tradesmen1 etc4 ,these are relieved by the back stairs in the towers4 ,that on the side of the great apartment is square1 and is decorated with columns of verd antique marble1 which serve to form the room and heighten the scenery4 ,the ante-room1 on the side of the private apartment1 is formed into an oval1 a figure seldom or never used by the ancients1 but has been sometimes introduced by the moderns with success1 and was here in some respect necessary from the oblong shape of the room4 8,next to the ante-rooms are the public and private eating-rooms2 the public one is a room of great extent1 finished with stucco and adorned with niches and statues of marble2 it is formed into a great circular recess at each end and decorated with screens of columns4 ,the private one has also its recesses and stucco-finishing1 and is relieved by a back-stair for the use of the servants4 8,next to the great eating-room lies a splendid withdrawing room1 for the ladies1 or salle de compagnie1 as it is called by the ,french2 this is varied from the other rooms by the form of its ceiling1 which is coved and painted in compartments4 ,it gives access into a gallery of great length1 though rather too narrow and too low to be in the just proportion we could have wished4 ,it is1 however1 finished in a style to afford great variety and amusement1 and is1 for this reason1 an admirable room for the reception of company before dinner1 or for the ladies to retire to after it3 ,for the withdrawing-room lying between this and the eating-room1 prevents the noise of the men from being troublesome2 and for this reason we would always recommend the intervention of a room in great apartments to prevent such inconvenience4 8,the little closets or cabinets1 the circular one for china1 and the other square one for miniatures1 at each end of the gallery1 serve only for an additional ornament4 ,the gallery itself1 as well as the private apartments1 is relieved by the circular back stairs1 and gives access to the ranges of apartments on both sides4 8,the great circular saloon is a noble room entering from the hall1 and leading into the gallery and great stairs1 relieves all the other apartments3 this serves also for a room of general rendez-vous1 and for public entertainments1 with illuminations1 dancing and music4 ,the form is new and singular2 it is a circle within a circle1 the smaller opening into the larger1 by eight piercings adorned with columns and terminated with niches and statues1 so that the scenery1 like the decorations of a theatre1 apparently increases the extent1 and leaves room for the imagination to play4 8,the private apartments are now the only part of the plan remaining undescribed2 on one hand is the ,duchess's bed-chamber1 an ante-chamber for the attendance of her maid2 her toilet or dressing-room1 her powdering-room1 water-closet and outer ante-room1 with a back stair leading to the intersols for the maids' bedrooms and wardrobes1 etc4 ,on the other hand is a dressing-room for the ,duke1 a powdering-room1 writing-room1 with closet and stairs to intersols for ,his ,grace's valet-de-chambre1 and wardrobe1 etc40 ,the ,adams also made changes at ,kenwood in #aggd1 introducing their plans and decorations into an addition4 8,the great room with its ante-room was begun by ,lord ,mansfield's orders in #agfg1 and was intended both for a library and a room for receiving company4 ,the circular recesses were therefore fitted up for the former purpose1 and the square part or body of the room was made suitable to the latter4 ,the whole is reckoned elegant in its proportions and decorations1 and the ceiling in particular1 which is a segment of a circle1 has been greatly admired40 ,this ceiling is in 8imitation of a flat arch1 which is extremely beautiful and much more perfect than that which is commonly called the coved ceiling10 and ,adam thus continues to describe it3 8,the stucco-work of this ceiling and of the other decorations is finely executed by ,mr4 ,joseph ,rose4 ,the paintings are elegantly performed by ,mr4 ,antonio ,zucchi1 a ,venetian painter of great eminence2 and the grounds of the panels and friezes are coloured with light tints of pink and green1 so as to take off the glare of white1 so common in every ceiling till of late4 ,this always appeared to me so cold and unfinished1 that ,i ventured to introduce this variety of grounds1 at once to relieve the ornaments1 remove the crudeness of the white1 and create a harmony between the ceiling and the side walls with their hangings1 pictures and other decorations40 ,the ,adams were very fond of this combination of colour4 ,osterley ,park1 the seat of the ,earl of ,jersey and one of the finest specimens of the ,adam style extant1 had its dining-room similarly painted by ,zucchi4 ,it is thus described3 ,illustration3 ,,plate ,,lii 8,the dining-room at ,osterley ,park1 owned by the ,earl of ,jersey1 was decorated by ,zucchi in the ,adam style4 ,the walls of this apartment are in tints of the tenderest green and the very palest pinks1 these colours being panelled by delicate scroll-work and artistic designs in the white composition which was known only to the ,adam brothers4 ,three large pictures and several smaller ones1 all being scenes and landscapes by ,zucchi1 are framed in this white scroll-work1 while the same curving lines1 with grapes and vine leaves1 outline the pink and green panels of the ceilings1 the design of which corresponds with the design of the neutral-tinted carpet4 ,the tiny scroll patterns of the window mouldings are repeated in the ornamentation of the mahogany doors with their artistic brass locks and are again found in the designs of the buffets and side tables1 where the ram's head is introduced1 which occurs more than once in both furniture and ornaments4 ,even the tablecloths were made to correspond in their woven pattern1 and some are still in use bearing the date #aggi4 ,this careful and minute arrangement of detail is found only in an ,adam ,house40#be ,w4 ,thomas was another designer in the ,adam style2 but of far greater importance was ,michael ,angelo ,pergolesi1 who was employed by the ,adam brothers1 and whose designs are equal to theirs4 ,pergolesi also employed ,zucchi1 ,cipriani and ,angelica ,kauffman4 ,his books of designs came out in parts from #aggg onward4 ,one of ,pergolesi's rooms 8has a low dado rail1 plain plaster walls1 panelled round with a moulding1 a fine mantel-piece and a narrow ornamental compo frieze and plain ceiling40 ,angelica ,kauffman painted ceilings1 table-tops1 and furniture-panels1 which1 like ,cipriani's productions1 represent cherubs1 maidens1 gods and goddesses1 and amorini4 ----- ,footnote #ba3 ,scagliola1 mentioned above1 was a kind of plaster made of gypsum and ,flanders glue4 ,it was coloured to imitate marble4 ,the ,adam brothers made great use of it1 as well as plaster of ,paris pressed in metal moulds4 ,footnote #bb3 ,cosmo ,monkhouse4 ,footnote #bc3 8,by grotesque is meant that beautiful light stile of ornament used by the ancient ,romans in the decoration of the palaces1 baths and villas4 ,it is also to be seen in some of their amphitheatres1 temples and tombs2 the greatest part of which being vaulted and covered with ruins1 have been dug up and cleared by the modern ,italians1 who1 for these reasons1 give them the name of grotte1 which is perhaps a corruption of the ,latin ,cript1 a word borrowed from the ,greeks1 as the ,romans did most of their terms1 in architecture2 and hence the word grotesque1 and the ,english word signifying a cave4 8,in the times of ,raphael1 ,michael ,angelo1 ,julio ,romano1 ,polidoro1 ,giov4 d',udine1 ,vasari1 ,zuchero and ,algardi1 there is no doubt but there was much greater remains of the grotte1 than what are now to be seen1 and in imitation of them were decorated the loggias of the ,vatican1 the villas ,madama1 ,pamfili1 ,caprarola1 the old palace at ,florence2 and indeed whatever else is elegant and admirable in the finishings of modern ,italy4 ,the ,french1 who till of late never adopted the ornaments of the ancients1 and jealous as all mankind are of the reputation of their national taste1 have branded those ornaments with the vague and fantastical appellation of arabesque1 a stile which1 though entirely distinct from the grotesque1 has1 notwithstanding1 been most absurdly and universally confounded with it by the ignorant4 8,this classical stile of ornament1 by far the most perfect that has ever appeared for inside decorations1 and which has stood the test of many ages1 like other works of genius1 requires not only fancy and imagination in the composition1 but taste and judgment in the application2 and when these are happily combined1 this gay and elegant mode is capable of inimitable beauties4 8,vitruvius with great reason condemns an over-licentiousness in compositions of this kind1 and blames the painters of his time for introducing monstrous extravagances4 ,we mean not to vindicate anything that deserves such appellations1 but surely in light and gay compositions1 designed merely to amuse1 it is not altogether necessary to exclude the whimsical and bizarre40 ,footnote #bd3 8,rainceau1 apparently derived from rain1 an old ,french word1 signifying the branch of a tree4 ,this ,french term is also used by the artists of this country1 to express the winding and twisting of the stalk or stem of the acanthus plant1 which flowing round in many graceful turnings spreads its foliage with great beauty and variety1 and is often intermixed with human figures1 animals and birds1 imaginary or real2 also with flowers and fruits4 8,this gay and fanciful diversity of agreeable objects1 well composed and delicately executed in stucco or painting1 attains a wonderful power of pleasing40 ,footnote #be3 ,e4 ,balch1 ,glimpses of ,old ,english ,homes4 ,,the ,,heppelwhite ,,period ,illustration3 ,,plate ,,liii ,illustration ,,the ,,heppelwhite ,,period ,quite different from the sumptuous book by ,robert and ,james ,adam is the one that was published in #aghh by the firm of 8,a4 ,heppelwhite ,co41 ,cabinet-,makers40 ,this is a collection of three hundred designs by cabinet-makers for cabinet-makers and gentlemen4 ,the title-page1 which is also a table of contents1 reads as follows3 8,the ,cabinet-,maker and ,upholsterer's ,guide1 or ,repository of ,designs1 for every article of ,household ,furniture1 in the ,newest and most approved ,taste1 displaying a great variety of patterns for ,chairs1 ,stools1 ,sofas1 ,confidante1 ,duchesse1 ,side ,boards1 ,pedestal and ,vases1 ,cellerets1 ,knife-,cases1 ,desk and ,book-,cases1 ,secretary and ,book-,cases1 ,library-,cases1 ,library-,tables1 ,reading-,desks1 ,chests-of-,drawers1 ,urn-,stands1 ,tea-,caddies1 ,tea-,trays1 ,card-,tables1 ,pier-,tables1 ,pembroke-,tables1 ,tambour-,tables1 ,dressing-,glasses1 ,dressing-,tables and ,drawers1 ,commodes1 ,rudd's ,table1 ,bidets1 ,night-,tables1 ,bason-,stands1 ,wardrobes1 ,pot-,cupboards1 ,brackets1 ,hanging-,shelves1 ,fire-,screens1 ,beds1 ,field-,beds1 ,sweep ,tops for ,ditto1 ,bed-,pillars1 ,candle-,stands1 ,lamps1 ,pier-,glasses1 ,terms for ,busts1 ,cornices for ,library-,cases1 ,wardrobes1 etc41 at large1 ,ornamented ,tops for ,pier-,tables1 ,pembroke-,tables1 ,commodes1 etc41 etc41 in the ,plainest and most ,enriched ,styles40 ,in his preface1 ,heppelwhite explains his ideas as follows3 8,to unite elegance and utility1 and blend the useful with the agreeable1 has ever been considered a difficult1 but an honourable task4 8,it may be allowable to say1 we have exerted our utmost endeavours to produce a work which shall be useful to the mechanic1 and serviceable to the gentleman4 ,with this view1 after having fixed upon such articles as were necessary to a complete suit of furniture1 our judgment was called forth in selecting such patterns as were most likely to be of general use--in choosing such points of view as would show them most distinctly--and in exhibiting such fashions as were necessary to answer the end proposed1 and convey a just idea of ,english taste in furniture for houses4 8,english taste and workmanship have1 of late years1 been much sought for by surrounding nations2 and the mutability of all things1 but more especially of fashions1 has rendered the labours of our predecessors in this line of little use3 nay1 at this day1 they can only tend to mislead those ,foreigners1 who seek a knowledge of the ,english taste in the various articles of household furniture4 ,illustration3 ,,plate ,,liv 8,the same reason1 in favour of this work1 will apply also to many of our own ,countrymen and ,artisans1 whose distance from the metropolis makes even an imperfect knowledge of its improvements acquired with much trouble and expense4 ,our labours will1 we hope1 tend to remove this difficulty2 and as our idea of the useful was such articles as are generally serviceable in genteel life1 we flatter ourselves the labour and pains we have bestowed on this work will not be considered as time uselessly spent4 8,to ,residents in ,london1 though our drawings are all new1 yet1 as we designedly followed the latest or most prevailing fashion only1 purposely omitting such articles whose recommendation was mere novelty1 and perhaps a violation of all established rule1 the production of whim at the instance of caprice1 whose appetite must ever suffer disappointment if any similar thing had been previously thought of2 we say1 having regularly avoided those fancies1 and steadily adhered to such articles only as are of general use and service1 our principal hope for favour and encouragement will be1 in having combined near three hundred different patterns for furniture in so small a space1 and at so small a price4 ,in this instance we hope for reward2 and though we lay no claim to extraordinary merit in our designs1 we flatter ourselves they will be found serviceable to young workmen in general and occasionally to more experienced ones40 ,from the above quotation1 it will be noticed that the firm of ,heppelwhite and ,company eschews extravagant designs1 and aims to represent at the same time what is newest and most fashionable4 ,we see1 too1 that previous publications sold1 such as ,chippendale's1 ,ince and ,mayhew's1 ,edwards and ,darly's1 and others that we have mentioned1 are considered entirely out of date4 ,as far as ,heppelwhite is concerned1 neither the ,chinese nor ,gothic style ever existed4 ,the straight line is insisted upon1 and he prefers to any other the tapering and slender 8term0 leg ending in the 8spade0 foot4 7,see full drawings on ,plates ,,liv41 ,,lv41 ,,lvi41 and ,,lvii41 and ,nos4 #b and #c on ,plate ,,liv47 ,the legs are frequently inlaid with the husk1 or bell-flower1 in satin-wood4 ,his favourite ornamentations1 whether carved1 inlaid1 or painted and japanned1 are the bell-flower in swags and chutes1 the lotus1 the rosette1 the acanthus1 the shell1 the urn with and without drapery1 and the three feathers of the ,prince of ,wales's crest4 7,see ,plate ,,lvi41 ,nos4 #a1 #c1 #d1 #f and #h47 ,the brass-headed nail is always used for fastening the material to the frames of his seats4 ,these are always placed close together1 and are sometimes arranged in the form of festoons1 or scallops1 around the seat4 ,the stripe is his favourite design for coverings4 ,the festoon and the ornamental tassel he greatly admires4 ,the ,heppelwhite chair has attained great fame4 ,generally speaking1 its proportions are as follows3 height1 #c feet1 #a inch2 height to seat frame1 #ag inches2 depth of seat1 #ag inches2 and width of seat in front1 #bj inches4 ,many chairs1 however1 are recommended to be made 8according to the size of the room or pleasure of the purchaser40 ,for coverings of drawing-room chairs1 such as ,nos4 #a1 #e and #h on ,plate ,,lvi41 silks and satins of light colours with printed oval medallions1 or floral designs were used1 and more particularly stripes1 which were becoming more and more fashionable in ,france4 ,blue1 or red1 morocco leather1 put on with ornamental brass nails1 is another popular method of upholstering these articles4 ,one of ,heppelwhite's instructions is that 8leather backs or seats should be tied down with tassels1 of silk or thread40 ,for the open back and carved chair1 such as ,nos4 #b1 #c1 #d1 #f and #g on ,plate ,,lvi4 silk1 satin1 and leather are used1 and horsehair1 figured1 checked1 plain1 or striped1 is also popular4 ,no4 #g on ,plate ,,lvi41 which may be of mahogany1 or japanned1 has a cane bottom in the original design1 and 8should have a cushion of linen1 leather1 etc40 ,some of ,heppelwhite's carved chair-backs are square1 and anticipate those of ,sheraton represented on ,plate ,,lxii42 but he was fonder of the shield form4 ,backs of this shape were covered as in ,no4 #e1 ,plate ,,lvi41 or had carved and open-backs1 as the other examples shown on the same ,plate4 ,of chairs he writes3 8,chairs in general are made of mahogany1 with the bar and frame sunk in a hollow1 or rising in a round projection with a band or list on the inner and outer edges4 ,many of these designs are enriched with ornaments proper to be carved in mahogany4 ,mahogany chairs should have the seats of horsehair1 plain1 striped1 chequered1 etc41 at pleasure1 or cane bottoms with cushions1 the cases of which should be covered with the same as the curtains4 8,for chairs1 a new and very elegant fashion has arisen within these few years1 of finishing them with painted or japanned work1 which gives a rich and splendid appearance to the minuter parts of the ornaments1 which are generally thrown in by the painters4 ,several of these designs are particularly adapted to this style1 which allows a framework less massy than is requisite for mahogany1 and by assorting the prevailing colour to the furniture and light of the room1 affords opportunity1 by the variety of grounds which may be introduced1 to make the whole accord in harmony1 with a pleasing and striking effect to the eye4 ,japanese chairs should have cane bottoms1 with linen or cotton cases over cushions to accord with the general hue of the chairs40 ,the full drawing on ,plate ,,lvi4 is 8an easy chair10 which ,heppelwhite calls also a 8,saddle ,check10 the 8construction and use of which is very apparent3 they may be covered with leather1 horsehair1 or have a linen case to fit over the canvas stuffing1 as is most usual and convenient40 ,chairs with stuffed backs he called 8cabriole40 ,no4 #e1 on ,plate ,,lvi41 is labelled a 8cabriole chair40 ,heppelwhite assures us that it 8is of the newest fashion40 ,it consists of a shield-shaped back2 a little cushion upon the arm1 fastened by means of tiny nails2 and a leg composed of reeds bound with ribbon1 surmounted by the square patera that hides the joining4 ,illustration3 ,,plate ,,lv ,twelve designs of chair backs1 resembling chairs of the ,sheraton style1 are 8proper to be executed in mahogany or japan2 some of them applicable to the more elegant kind of chairs with back and seats of red1 or blue1 morocco leather2 in these backs1 which are sometimes made a little circular1 are frequently inserted medallions1 printed or painted on silk of the natural colours2 when the backs and seats are of leather1 they should be tied down with tassels of silk or thread40 8,stools10 he says1 8should match the chairs1 the framework should be of mahogany1 or japanned1 and of course should be covered like the chairs40 ,his 8window stools0 are particularly graceful4 ,they are intended to be placed directly under the window1 and their 8size must be regulated by the size of the place where they are to stand2 their heights should not exceed the heights of the chairs40 ,two of his designs1 which he considers 8particularly adapted for an elegant drawing-room of japanned furniture10 are covered in 8taberray or morine of pea-green or other light colour40 ,the one represented on ,plate ,,lv4 is of 8carved mahogany with furniture of an elegant pattern40 ,he assures us that this 8will produce a very pleasing effect40 ,another one he recommends to be 8japanned and covered with striped furniture20 and two others are 8covered with linen or cotton to match the chairs4 ,one is tufted and ornamented with buttons and the other has a scalloped valance trimmed with fringe4 ,a tiny tassel hangs in the centre of each scallop40 ,the general characteristics of the stuffed ,heppelwhite sofa appear in the full drawing on ,plate ,,liv41 which also shows the correct covering fastened to the frame by a border of gilt nails4 ,the dimensions of the sofa vary according to the size of the room1 but the 8proportion in general use0 is as follows3 length from #f to #g feet2 depth about #cj inches2 height of the seat frame1 #ad inches2 and total in the back1 #c feet1 #a inch4 8,the woodwork should be either mahogany or japanned1 in accordance to the chairs1 and the covering also must be of the same40 ,a long square sofa he calls 8the newest fashion10 and recommends that 8the frame should be japanned1 with green on a white ground and the edges gilt2 the covering of red morocco leather40 ,french forms and names were just as popular with ,heppelwhite as with ,chippendale4 ,on ,plate ,,liv41 ,no4 #e1 is shown a confidante of ,heppelwhite's design4 ,he writes3 8,this piece of furniture is of ,french origin1 and is in pretty general request for large and spacious suits of apartments4 ,an elegant drawing-room1 with modern furniture is scarce complete without a ,confidante1 the extent of which may be about nine feet1 subject to the same regulations as sofas4 ,this piece of furniture is sometimes so constructed that the ends take away and leave a regular sofa2 the ends may be used as ,barjier ,chairs40 ,the last name refers to the bergre4 ,heppelwhite writes of the duchesse3 8,this piece of furniture also is derived from the ,french4 ,two ,barjier chairs of proper construction1 with a stool in the middle1 form the ,duchesse1 which is allotted to large and spacious ante-rooms2 the covering may be various1 as also the framework1 and made from #f to #h feet long4 ,the stuffing may be of the round manner as shown in the drawing1 or low-stuffed with a loose squab1 or bordered cushion1 fitted to each part2 with a duplicate linen cover to cover the whole1 or each part separately4 ,confidantes1 sofas and chairs may be stuffed in the same manner40 ,illustration3 ,,plate ,,lvi ,another variety is the 8bar back10 which appears as if four open-back chairs 7similar to ,no4 #g1 ,plate ,,lvi47 are placed side by side1 the two end ones being supplied with an elbow1 the general outline of which follows that of ,no4 #h1 or ,no4 #e1 on ,plate ,,lvi4 ,we are told that this kind of sofa is of modern invention2 and 8the lightness of its appearance has procured it a favourable reception in the first circles of fashion4 ,the pattern of the back must match the chairs2 these also will regulate the sort of framework and covering40 ,heppelwhite's beds are much lighter in general appearance than ,chippendale's1 both with regard to framework and the hangings4 8,beds are an article of much importance10 he thinks1 8as well on account of the great expense attending them as the variety of shapes and the high degree of elegance which may be shown in them4 ,they may be executed of almost every stuff the loom produces4 ,white dimity1 plain or corded1 is peculiarly applicable for the furniture1 which1 with a fringe or gymp-head1 produces an effect of elegance and neatness truly agreeable4 ,the ,manchester stuffs have been wrought into ,bed-furniture with good success4 ,printed cottons and linens are also very suitable1 the elegance and variety of patterns of which afford as much scope for taste1 elegance and simplicity as the most lively fancy can wish4 ,in general1 the lining to these kinds of furniture is a plain white cotton4 ,to furniture of a dark pattern1 a green silk lining may be used with a good effect40 ,one of ,heppelwhite's beds on the general model of the one represented as ,nos4 #a and #b on ,plate ,,lvii4 was hung with dove-coloured satin curtains with a lining of green silk4 8,the ,vallance to this bed10 he writes1 8is tied up in festoons4 ,the cornice of mahogany may come so low as to hide the curtain rods40 ,he also gives designs of 8,venetian1 or waggon top beds10 8dome top beds10 8square dome top beds10 8press beds0 and 8field beds10 and gives the following instructions with regard to the richest kinds3 8,in staterooms where a high degree of elegance and grandeur are wanted1 beds are frequently made of silk or satin figured or plain1 also of velvet with gold fringe1 etc4 ,the ,vallance to elegant beds should always be gathered full1 which is called a ,petticoat ,vallance4 ,the ,cornices may be either of mahogany carved1 carved or gilt1 or painted and japanned4 ,the ornaments over the cornices may be in the same manner2 and carved and gilt1 or japanned1 will produce the most lively effect4 8,arms or other ornaments to ,stuffed ,head ,boards should be carved in small relief1 gilt and burnished4 ,the ,pillars should be of mahogany1 with the enrichments carved40 ,the field-bed1 of which a design dated #aghg appears on ,plate ,,lvii41 is the ,french lit tombeau and lit double tombeau4 ,in ,england it was known as the single-headed and double-headed field-bed4 ,a single-headed bed of this kind appears on ,plate ,,xxxvi41 ,no4 #h2 and this ,louis ,,xv4 model was copied by ,chippendale for his later plates1 in which many varieties of the field-bed appear4 ,the bed represented on ,plate ,,lvii4 needs no explanation4 ,the cornice1 or 8sweep10 is delicately carved4 ,urns surmount the bed-posts4 ,below it1 on ,plate ,,lvii41 are 8sweeps for field-bed tops0 dated #aghg 7,nos4 #c1 #d1 #e1 #f and #g74 ,another design in ,heppelwhite's book for a bed with a sweep top is intended to be made of plain mahogany or with gilt ornaments4 ,the headboard and draperies are quite elaborate4 8,the drapery may be the same as the furniture or the lining1 the ornaments gilt1 the headboard is stuffed and projects like the back of a sofa4 ,the addition of stuffed headboards gives an elegant and high finish to the appearance of beds40 ,the 8press bed0 is nothing more or less than a folding-bed in the shape of a wardrobe1 with two big doors beneath which are drawers4 ,heppelwhite says3 8,of these we have purposely omitted to give any designs3 their general appearance varying so little from wardrobes1 which pieces of furniture they are intended to represent1 that designs for them are not necessary4 8,the upper drawers would be only sham and form part of the door1 which may be made to turn up all in one piece1 and form a tester2 or may open in the middle1 and swing on each side2 the under drawer is useful to hold parts of the bed furniture2 may be #e feet #f inches high1 #ad feet wide4 8,nine designs for ,cornices which are suitable for beds or windows are here shewn2 these may be executed in wood painted and japanned1 or in gold4 ,a mixture of these two manners produces an elegant and grand effect4 ,the foliage may be gilt1 and the groundwork painted2 or the reverse40 ,one of these appears as ,no4 #d on ,plate ,,liv4 ,this exhibits the curtain and toothed lappets1 or points1 of the lambrequin below the cornice4 ,the sideboard with ,heppelwhite is quite different to that of ,chippendale4 ,the latter merely designs a long plain table with carved legs and no drawers4 ,heppelwhite's sideboard is a far more highly developed piece of furniture4 ,sometimes the drawers were arranged in compartments1 for various uses1 and the sideboard had a cavity between the front legs to accommodate a wine-cooler4 ,pieces of plate and knife-cases stood upon its wide slab4 ,the sideboard represented on ,plate ,,liv4 has ,heppelwhite's characteristic inlay of the husk or bell-flower done in satin-wood and the characteristic 8spade0 foot4 ,an inlaid floral ornament decorates the corners below the front drawer4 ,heppelwhite remarks3 8,the great utility of this piece of furniture has procured it a very general reception2 and the conveniences it affords render a dining-room incomplete without a sideboard40 ,the one represented on ,plate ,,liv4 has several drawers4 ,the right-hand drawer 8has partitions for nine bottles4 ,behind this is a place for cloths or napkins1 occupying the whole depth of the drawer40 8,the drawer on the left hand has two divisions1 the hinder one lined with green cloth to hold plate1 etc41 under a cover2 the front one is lined with lead for the convenience of holding water to wash glasses1 etc41 there must be a valve-cock1 or plug1 at the bottom1 to let off the dirty water2 and also in the other drawer1 to change the water necessary to keep the wine1 etc41 cool2 or they may be made to take out4 ,the long drawer in the middle is adapted for table linen1 etc4 ,illustration3 ,,plate ,,lvii 8,they are often made to fit into a recess1 but the general custom is to make them from #e to #g feet long1 #c feet high1 and #bh to #cb inches wide40 ,he also gives designs for 8sideboards without drawers2 the ornaments to the front of which may be carved1 painted1 or inlaid with various coloured woods40 ,this kind is merely the old sideboard table4 ,of pedestals he writes3 8,pedestals and vases are much used in spacious dining-rooms1 where the last-described kind of sideboards are chosen2 at each end of which they are placed4 ,one pedestal serves as a plate-warmer1 being provided with racks and a stand for a heater2 and is lined with a strong tin2 the other pedestal is used as a pot cupboard4 8,the vases may be used to hold water for the use of the butter1 or iced water for drinking1 which is inclosed in an inner partition1 the ice surrounding it2 or it may be used as knife-cases1 in which case they are made of wood1 or of copper japanned4 ,the height of the pedestal is the same as the sideboard and #af or #ah inches square2 the height of the vase about #b feet1 #c inches40 ,of the knife-case1 he says3 8,the universality of this piece of furniture renders a particular description not necessary4 ,it may be made of mahogany inlaid1 or of satin or other wood at pleasure40 ,four designs of vase knife cases are given4 8,they are usually made of satin1 or other light-coloured wood1 and may be placed at each end on the sideboards1 or on a pedestal2 the knives1 etc41 fall into the body of the vase1 the top of which is kept up by a small spring which is fixed to the stem1 which supports the top2 may be made of copper1 painted and japanned40 ,one of these is shown on ,plate ,,lv41 ,no4 #d4 8,cellerets10 he tells us1 8called also gardes de vin1 are generally made of mahogany1 and hooped with brass hoops lacquered2 the inner part is divided with partitions1 and lined with lead for bottles2 may be made of any shape4 ,these are of general use where sideboards are without drawers40 ,plate ,,liii4 shows all of these articles except the celleret4 ,the sideboard is similar to that on ,plate ,,liv4 and upon it stand knife boxes and a lustre4 ,pedestals supporting the vases described above stand on either side4 ,above is an ornate mirror4 8,candlestands are very useful in large suits of apartments1 as the light may be placed in any part at pleasure--in drawing-rooms1 in halls and on large staircases1 they are frequently used4 ,these designs may be executed in mahogany or wood japanned40 ,a very graceful example appears as ,no4 #f on ,plate ,,lv4 ,it has five branches1 three of which only are shown in the sketch here4 ,this is to be made in mahogany or japanned wood and the branches are lacquered brass4 ,no4 #a on ,plate ,,liv4 represents a little urn-stand 8to set the teapot on40 ,this is about #bf inches high and can be painted or varnished or inlaid with various coloured woods4 ,the 8,pole fire screen10 a specimen of which is shown on ,plate ,,lv41 ,no4 #e1 8may be ornamented variously1 with maps1 ,chinese figures1 needlework1 etc4 ,the screen is suspended on the pole by means of a spring in the eye1 through which the pole goes40 ,these articles are made of mahogany or japanned wood4 ,the ,horse fire-screen is supported by uprights standing on feet4 ,the screen slides up and down in grooves in these uprights4 ,the framework is usually of mahogany and the screen is covered with green silk needlework1 etc4 ,heppelwhite's lamps are often ornamented with brass work4 ,he gives1 however1 a square one to be made in mahogany4 ,of great importance are his mirrors with sconce arms1 which he calls 8,girandoles10 and remarks3 8,this kind of ornament admits of great variety in pattern and elegance2 they are usually executed of the best carved work1--gilt and burnished in parts4 ,they may be carved and coloured suitable to the room40 ,a very graceful example is shown as ,no4 #c on ,plate ,,lv4 ,the mirror fills the entire oval4 ,girandoles also hang on the walls of the room shown as ,plate ,,liii4 ,pier-glass frames are 8almost invariably of good carved work1 gilt and burnished40 ,the square shape is most fashionable1 ,heppelwhite says1 and directs that 8they should be made nearly to fill the pier4 ,they must be fixed very low1 and the panels of the sides are frequently made of various coloured glass40 ,what he means by this will be understood by referring to the large mirror over the sofa in ,plate ,,liii4 ,pier tables 8are made to fit the pier and rise level with1 or above the dado of the room1 nearly touching the ornaments of the glass40 8,tables in general10 we learn1 8are made of the best mahogany4 ,their size is various but their height should not exceed #bh inches40 8,card-tables may be either square1 circular or oval3 the inner part is lined with green cloth2 the fronts may be enriched with inlaid or painted ornaments2 the tops also admit of great elegance40 ,specimen card-tables are shown on ,plate ,,liv41 ,nos4 #b and #c4 ,pembroke tables are the most useful of this species of furniture2 they may be of various shapes4 ,the long1 square and oval are the most fashionable4 ,these articles admit of the greatest elegance in the workmanship and ornaments4 ,the tops 8are inlaid1 painted or varnished40 ,a beautiful example is shown on ,plate ,,lv4 ,this table is supplied with a drawer below the top1 the leaves of which fall at the two sides of the drawer4 ,heppelwhite made a great variety of other tables1 such as 8tambour writing tables10 8night-tables0 shaving-tables1 and dressing-tables of all kinds4 ,his dressing-tables were the result of much thought4 ,in them we see the convenient mechanical and folding arrangements that ,sheraton carried so far in his various devices4 ,in one of ,heppelwhite's dressing-tables1 the drawer is divided into compartments for pins1 combs1 essences1 etc41 and the looking-glass rises from the drawer on hinges1 or it can be made to lie flat4 8,rudd's ,dressing ,table0 also appears1 which ,heppelwhite says is 8the most complete dressing-table ever made1 possessing every convenience which can be wanted2 or mechanism1 or ingenuity supply4 ,it derives its name from a once popular character1 for whom it was reported it was invented40 ,here the drawers can be made to swing around in any desired position1 and the looking-glasses also swing on pins after they are elevated4 ,another ladies' dressing-table is a simple table1 the slab of which lifts up or can be opened out4 ,in the centre of it is the dressing-glass which can be made to rise and stand4 ,around it are little compartments for articles of the toilet4 ,then he makes also what he calls dressing-drawers4 ,this is an 8ordinary chest-of-drawers1 one drawer of which is fitted up as a dressing-drawer40 ,some varieties have serpentine fronts4 ,two of his mahogany bason-stands appear as ,nos4 #a and #b on ,plate ,,lv4 ,hanging-shelves for books or china are made of mahogany and are suitable for ladies' rooms4 ,commodes are often richly inlaid2 some of them indeed are made of satin-wood and are shaped like half a drum4 ,chests-of-drawers1 double chests-of-drawers and wardrobes are of the plainest forms and made of plain mahogany with a simple ring handle or knob4 ,the long bookcase of the type on ,plate ,,xxxix4 ,heppelwhite calls library case4 ,describing these1 he says3 8,they are usually made of the finest mahogany2 the doors of fine waved or curled wood4 ,may be inlaid on the panels1 etc41 with various coloured woods4 ,the ornamental sash bars are intended to be of metal which1 painted of a light colour1 or gilt1 will produce a light1 pleasing effect40 ,the dimensions are determined by the place where it is to stand4 ,the dimensions of ,heppelwhite's desk and book-case are length1 #c feet1 #f inches2 depth1 #bb inches2 height of desk1 #c feet1 #b inches1 including #aj inches for the inside of the desk2 total height about #f feet2 depth of bookcase1 about #ab inches4 ,these are 8usually made of good mahogany4 ,the drawers and internal conveniences admit of much variation4 ,the designs show three different ways of making them3 the patterns of the book-case doors may also be very much varied4 ,on the top1 when ornamented1 is placed between a scroll of foliage1 a vase1 bust1 or other ornament which may be of mahogany1 or gilt1 or of light-coloured wood40 ,a tambour writing-table and bookcase appears on ,plate ,,lvii4 ,this requires little explanation except to note that it has three drawers and a cylinder tambour shutter that rolls back and reveals all the pigeon-holes1 nests of drawers and writing-table1 while the upper part consists of shelves enclosed by two doors4 ,of the latter1 ,heppelwhite says3 8,tambour writing-table and bookcase1 the doors to which are intended to be made of and ornamented with metal frames2 these painted of a light1 or various colours1 produce a lively and pleasing effect4 ,the reeds are here drawn forward to shew the appearance when shut40 ,the library table is from #c to #d feet long and #c feet deep4 ,it is of mahogany1 and covered on top with leather or green cloth4 ,some of them have cupboards in front for books1 papers1 etc4 ,the room on ,plate ,,liii4 is an arrangement of ,heppelwhite's own plan1 regarding which he remarks3 8,having gone through a complete series or suit of ,household ,furniture1 we were strongly advised to draw out a plan1 which should shew the manner of properly disposing of the same3 with this intent1 aided by the advice of some experienced friends1 we here shew1 at one view1 the necessary and proper furniture for a ,drawing-room1 and also for a ,dining-room or ,parlour1 subject to the following variations3 ,if the object of this plan was a ,drawing-room only1 on each side of the chimney-piece there should be a sofa1 and on the opposite side1 instead of a sofa1 should be a confidante3 the sideboard also should be removed1 and an elegant commode substituted in the place4 ,the remaining space may be filled up with chairs4 ,for a dining-room1 instead of the pier-tables1 should be a set of dining-tables4 ,the rest of the furniture1 and the general ordonnance of the room is equally proper1 except the glass over the sofa1 which might be omitted2 but this is mere opinion1 many of the ,dining ,parlours of our first nobility having full as much glass as is here shewn40 ,the proper furniture for a ,drawing-room and for a ,dining-room or ,parlour1 being thus pointed out1 it remains only to observe1 that the general appearance of the latter should be plain and neat1 while the former1 being considered as a ,state-room1 should possess all the elegance embellishments can give40 ,the side of the room which the reader cannot see contains four windows1 furnished with window stools and lambrequins2 and1 between each window1 pier-glasses and pier-tables stand4 ,these semi-circular tables were used1 when necessary1 to extend the square table in the centre of the room3 one being placed at each end1 for the extension table had not come into fashion4 ,,the ,,sheraton ,,period ,illustration ,,the ,,sheraton ,,period ,thomas ,sheraton1 an ,english journeyman cabinet-maker1 settled in ,london about #agij4 ,from that date until his death in #ahjf1 he seems to have stopped working at his trade and to have spent his time writing practical books on furniture4 ,his first publication1 ,the ,cabinet-,maker and ,upholsterer's ,drawing-,book1 appeared in #agia2 but he had previously published eighty-four ,designs for ,furniture4 ,in #ahjc1 he issued ,the ,cabinet ,dictionary2 and in #ahjd-g1 ,the ,cabinet-,maker1 ,upholsterer and ,general ,artist's ,encyclopdia appeared4 ,how many of the models in ,sheraton's books are his own it is hard to tell4 ,he claims very few of them1 and remarks in the ,cabinet-,maker and ,upholsterer's ,drawing-,book that 8it is intended to exhibit the present taste of furniture and at the same time to give the workman some assistance in the manufacture of it40 ,sheraton1 like ,chippendale1 whose 8designs10 he says1 8are now wholly antiquated and laid aside1 though possessed of great merit according to the times in which they were executed10 and like ,heppelwhite also1 therefore exhibits the fashions of his time--fashions that came from ,france4 ,from what he himself writes1 it would seem that he gathered designs from various sources and worked for popularity4 ,he says3 8,in conversing with cabinet-makers1 ,i find no one individual equally experienced in every job of work4 ,there are certain pieces made in one shop which are not manufactured in another1 on which account the best of workmen are sometimes strangers to particular pieces of furniture4 ,for this reason1 ,i have made it my business to apply to the best workmen in different shops to obtain their assistance in the explanation of such pieces as they have been most acquainted with4 ,and1 in general1 my request has been complied with1 from the generous motive of making the book as generally useful as possible40 ,he then informs the reader of 8the difficult task ,i have had to please all4444 ,i find some have expected such designs as never were seen1 heard of1 nor conceived in the imagination of man2 whilst others have wanted them to suit a broker's shop1 to save them the trouble of borrowing a bason-stand to shew to a customer4 ,some have expected it to furnish a country wareroom1 to avoid the expense of making up a good bureau and double chest-of-drawers1 with canted corners1 etc41 and though it is difficult to conceive how these different qualities could be united in a book of so small a compass1 yet1 according to some reports1 the broker himself may find his account in it1 and the country master will not be altogether disappointed2 whilst others say many of the designs are rather calculated to shew what may be done1 than to exhibit what is or has been done in the trade4 ,according to this1 the designs turn out to be on a more general plan than what ,i intended them1 and answer1 beyond my expectation1 the above various descriptions of subscribers4 ,however1 to be serious1 it was my first plan1 and has been my aim through the whole1 to make the book in general as permanently useful as ,i could1 and to unite with usefulness the taste of the times40 ,this taste changed gradually from the ,louis ,,xvi4 style to that of the ,empire4 ,sheraton1 consequently1 covers these two periods4 ,sheraton had his own tastes and his own ideas1 however1 and his books are full of his individual fancies and instructions4 ,he was a great admirer of carving4 ,when we read3 8,having possessed a strong attachment and inclination for carving in my youth1 ,i was necessarily induced to make attempts in this art1 and on succeeding in some degree1 ,i was employed in the country occasionally in it10 this explains the many graceful designs that he gives for carved splats and bannisters of chairs4 ,he was also fond of inlaid and painted furniture1 and greatly liked the new fashion of inlaying with brass1 especially for black woods4 ,satin wood1 too1 particularly of a 8fine straw colour10 which has a 8cool1 light and pleasing effect in furniture10 he also admired1 and thought tulip-wood and zebra-wood 7of the 8scarce brown and white streaked variety071 beautiful for cross-banding4 ,mahogany he uses for dining-room1 library and bedroom furniture1 and for chairs with carved backs4 ,he brightens much of his mahogany with such brass ornaments1 as handles1 key-plates1 columns1 rails and claw-feet1 and often inlays it with a few small lines of brass1 as he does rosewood4 ,rosewood he recommends for choice pieces1 such as work-tables1 secretaries1 etc4 ,brass beads is another form of ornament that he likes to use4 ,the straight line appears in the forms of the ,sheraton furniture4 ,the chair leg is frequently reeded1 or turned and decorated with twisted flutes and fillets4 ,the tambour shutter ,sheraton makes much use of1 and he likes to introduce all kinds of mechanical devices into his furniture4 ,among his favourite ornaments are the husk1 or bell-flower1 the swag1 or festoon1 the column1 the lyre1 the lotus1 the acanthus1 the urn1 the vase and the patera1 the latter being used especially to hide the screws of beds and joining of chair-frames 7see ,plate ,,lxiii4 and ,nos4 #aj and #aa1 ,plate ,,lxii474 ,like ,chippendale1 he gives an immense number of book-case doors composed of panes arranged in ornamental designs1 and behind these he flutes green silk curtains4 ,during his last period1 the wire door appears for commodes1 cabinets and other pieces4 ,sheraton's drawing-room furniture was of white and gold1 of satin-wood1 wood painted and japanned1 or of rosewood4 ,the coverings for the drawing-room chairs were silk or satin1 the designs being stripes or the oval medallion4 ,in #ahjc1 he advocates cane4 ,sheraton has very little to say about textiles or colours4 ,he speaks of printed cottons1 and silks and taffeta of all colours1 plain1 striped1 checked1 flowered and mixed with gold and silver4 ,the only colour about which he has any thing to say is blue3 8,blue and white1 blue and black1 very light blue and yellow will harmonize4 ,blue kills some colours2 and on which account before any be used to join with another colour1 they should be compared together2 and if the more brilliant colour to which it is joined becomes therefore less vivid1 some other colour should be chosen40 ,he gives many directions1 however1 regarding the arrangement of rooms4 8,as the entrance1 or hall1 of any well built house ought always to be expressive of the dignity of its possessor1 so the furniture ought to be designed in a manner adapted to inform the stranger1 or visitant1 where they are1 and what they may expect on a more general survey of every apartment4 8,as the hall is a general1 or ought to be a general opening to all the principal apartments1 it should be furnished so as not to be mistaken for the most superb division of the structure1 or where they may expect to meet the nobler person who resides in it4 ,the furniture of a hall should therefore be bold1 massive and simple3 yet noble in appearance and introductory to the rest40 ,it is interesting to note that the ,adam stucco-work has had its day and that there is a return to the ,boucher treatment of the ceiling4 ,sheraton remarks3 8,plastered ceilings are supposed to be more common in ,britain than in other countries4 ,the manner of finishing ceilings has been various1 at different times1 in this country4 ,a sort of very heavy ornamented plaster work was formerly introduced1 together with pannelled work in heavy mouldings4 ,within about thirty years since1 this kind of ceiling work has been composed in a much lighter style1 and variegated with painted panels1 often from the heathen mythology1 or other poetical subjects4 ,at present some of the most elegant rooms have no plastered ornaments in their ceilings1 but are painted to imitate an open sky1 with some faint scattering of clouds40 ,the walls were hung with paper4 ,the window generally reached to the floor1 with small panes of glass1 from four to eight in a sash4 ,the window was also furnished with a blind4 8,the most fashionable blinds10 ,sheraton assures us1 8are of wood painted green all except the frame which is of mahogany4 ,the blind part is either composed of upright or horizontal narrow laths of an inch thick painted a bright green and which move by means of a lever to any position for admitting more or less light40 ,the cornice was painted and japanned1 or carved and gilded1 and from it hung the draperies4 8,festoon window-curtains10 says ,sheraton1 8are those which draw up by pullies1 and hang down in a swag4 ,these curtains are still in use in bedrooms1 not withstanding the general introduction of the ,french rod curtain in most genteel houses4 ,a festoon window-curtain consists generally of three pulls1 but when a window is extensive they have four or five40 ,illustration3 ,,plate ,,lviii ,an example of the ,french rod is shown on ,plate ,,lix41 ,no4 #a1 dated #ahjc4 ,sheraton says3 8,the ,french window rod is made of brass about of an inch diameter1 having a pulley at the left end and two at the right1 one of which is fixed on a pin perpendicular to the rod4 ,at present1 they frequently make the ,french rods of satin wood two to a window to lap past each other about three inches in the centre2 so that the curtain draws half on each side separately1 or only half of it may be drawn at once2 and when they are both drawn out they lap over each other40 ,the chimney is invariably furnished with a glass4 ,sheraton says3 8,in elegant rooms1 the chimney-glass is usually carried to the under side of the cornice of the ceiling2 but to reduce the expense of the plate1 sometimes a broadish panel is introduced at the top of the glass with a frieze and cornice above all1 included in the frame of the glass4 8,the most generally approved pilasters for chimney and pier-glasses are those of #c1 #e1 or #g reeds1 worked bold2 but which1 in my opinion1 still look better by being parted with a ground one-third of the width of the reed which may be matted to relieve the burnished reeds4 ,it is not unusual to have a twisting branch of flowers1 or a ribband round the reeds rising upwards1 and terminating in some sort of ,composite1 ,corinthian1 or ,ionic capital4 ,the panel above the glass is sometimes made quite plain and covered with silk as a ground for drapery1 tacked under the cornice of the glass to match that of the windows40 8,glasses for chimney-pieces run various1 according to the size of the fire-place1 and the height of the wall above4 ,to save expense1 they are sometimes fitted up in three plates1 and the joints of the glass covered with small gilt mouldings or pilasters4 ,at other times with the naked joint only4 ,when they are of one plate1 the frame in general is made bolder and more elegant40 ,the floor is completely covered with a carpet having a border which has to be neatly mitred at the corners4 8,the kitchen1 the hall1 the dining-parlour1 the ante-room1 the dining-room1 the library1 the breakfast-room1 the music-room1 the gallery of paintings1 the bedroom and dressing apartments1 ought to have their proper suits of furniture1 and to be finished in a style1 that will at once1 show1 to a competent judge1 the place they are destined for4 8,the library should be finished in imitation of the antiques2 and such prints as are hung in the walls ought to be memorials of learning1 and portraits of men of science and erudition4 8,the music-room may be conducted in a more gay style2 and the paintings or prints of the muses and masters of music may consistently make a part of furnishing2 and chairs and stools of a richer variety of colours may be admitted with propriety40 8,the ante-room is an introduction to the drawing-room and partakes of the elegance of the apartment to which it leads1 serving as a place of repose before the general intercourse be effected in the whole company4 ,here may be placed a number of sofas of a second order with a pianoforte or harp or other matters of amusements till the whole of the company be collected4 8,the tea-room1 or breakfast-room1 may abound with beaufets1 painted chairs1 flower-pot stands1 hanging bookshelves or moving libraries and the walls may be adorned with landscapes and pieces of drawings1 etc41 and all the little things which are engaging to the juvenile mind4 8,the lodging-room admits of furniture simply necessary1 but light in appearance1 and should include such pieces as are necessary for the accidental occasions of the night4 ,here should be a small book-shelf with such books as should tend to promote our pious resignation of body and soul to the care of the great author of the universe and divine superintendent of human happiness4 8,the dressing-room exhibits the toilet-table and commode with all the affairs requisite to dress as bason stands1 stools1 glasses1 and boxes with all the innocent trifles of youth4 8,the drawing-room is to concentrate the elegance of the whole house1 and is the highest display of richness of furniture4 ,it being appropriated to the formal visits of the highest in rank1 and nothing of a scientific nature should be introduced to take up the attention of any individual1 from the general conversation that takes place on such occasions4 ,hence1 the walls should be free of pictures1 the tables not lined with books1 nor the angles of the room filled with globes2 as the design of such meetings are not that each visitant should turn to his favourite study1 but to contribute his part towards the amusement of the whole company4 ,the grandeur then introduced into the drawing-room is not to be considered as the ostentatious parade of its proprietor2 but the respect he pays to the rank of his visitants40 ,he also informs us that3 8,the furniture used in a drawing-room are sofas1 chairs to match1 a commode1 pier-tables1 elegant fire-screens1 large glasses1 figures with lights in their hands and bronzes with lights on the cap of the chimney-piece1 or on the pier-tables and commodes1 and sometimes a mirror with lights fixed at the end of the room1 or the side1 as may best suit for the reflection or perspective representation of the room1 on the surface of the mirror40 8,a drawing-room is of that sort which admits of the highest taste and elegance2 in furnishing of which1 workmen in every nation exert the utmost efforts of their genius4 ,to assist me in what ,i have here shewn1 ,i had the opportunity of seeing the ,prince of ,wales's1 the ,duke of ,york's1 and other noblemen's drawing-rooms4 ,i have not followed any one in particular1 but have furnished my ideas from the whole1 with such particulars as ,i thought best suited to give a display of the present taste in fitting up such rooms40 8,in the drawing-room here 7see ,plate ,,lviii471 everything will appear easily understood to a workman in town1 who is accustomed to see such apartments2 but for a stranger1 and those workmen who reside in the country1 it will be proper to point out a few particulars4 8,the pier tables have marble tops and gold frames or white and gold4 ,the glasses are often made to appear to come down to the stretcher of the table2 that is1 a piece of glass is fixed in behind the pier table1 separate from the upper glass1 and by reflection makes the table appear double4 ,the small piece of glass may be fixed either in the dado of the room1 or on the frame of the table4 ,illustration3 ,,plate ,,lix 8,the arches above the windows are merely artificial1 being only wooden frames put up1 strained with canvas2 after which the same kind of stuff which the curtains are made of is formed to appear like a fan1 and drapery tacked on to it4 8,panelling on the walls are done in paper with ornamental borders of various colours4 8,the figures above the glasses are paintings in clare-obscure4 ,the sofas are bordered off in three compartments1 and covered with figured silk or satin4 ,the ovals may be printed separately1 and sewed on4 ,these sofas may have cushions to fill their backs1 together with bolsters at each end4 ,in ,france1 where their drawing-rooms are fitted up in the most splendid manner1 they use a set of small and plainer chairs1 reserving the others merely for ornament4 8,the commode opposite the fire-place has four doors2 its legs are intended to stand a little clear of the wings2 and the top is marble to match the pier tables4 ,in the frieze part of the commode is a tablet in the centre made of an exquisite composition in imitation of statuary marble4 ,these are to be had of any figure1 or on any subject1 at ,mr4 ,wedgewood's1 near ,soho ,square4 ,they are let into the wood1 and project a little forward4 ,the commode should be painted to suit the furniture1 and the legs and other parts in gold to harmonize with the sofas1 tables1 and chairs40 8,the dining-room is one of the principal apartments of a house1 and ought always to be of a bold and an accommodating proportion4 ,in noblemen's dining-rooms1 where the windows are all on the side opposite to the fires1 there may then be a recess at each end of the room in which a sideboard may stand1 with columns before it placed at the extremities1 which produces a very august appearance and renders the service considerably more easy at dinner than where there is but one sideboard4 ,the furniture of a dining-room ought to be bold1 substantial and magnificent1 in proportion to its dimensions4 8,the dining-parlour must be furnished with nothing trifling1 or which may seem unnecessary1 it being appropriated for the chief repast1 and should not be encumbered with any article that would seem to intrude on the accommodation of the guests4 ,the large sideboard1 inclosed or surrounded with ,ionic pillars2 the handsome and extensive dining-table2 the respectable and substantial-looking chairs2 the large face glass2 the family portraits2 the marble fire-places2 and the ,wilton carpet are the furniture that should supply the dining-room40 ,the ,prince of ,wales's dining-parlour in ,carlton ,house is recommended as a good type4 8,the ,prince's has five windows facing ,st4 ,james's ,park4 ,his windows are made to come down to the floor1 which opens in two parts as a double door1 leading to a large grass plot to walk in4 ,if ,i remember right1 there are pilasters between each window1 but this is intended to have grass4 ,in his is a large glass over the chimney-piece4 ,to these glass frames are fixed candle branches4 ,at each end is a large sideboard1 nearly twelve feet in length1 standing between a couple of ,ionic columns1 worked in composition to imitate fine variegated marble1 which have a most beautiful and magnificent effect4 ,in the middle are placed a large range of dining-tables1 standing on pillars with four claws each1 which is now the fashionable way of making these tables4 ,the chairs are of mahogany1 made in the style of the ,french1 with broad top rails hanging over each back foot2 the legs are turned1 and the seats covered with red leather40 ,illustration3 ,,plate ,,lx ,the curtains are 8of the ,french kind40 8,many dining-rooms of the first nobility have1 however1 only two columns and one sideboard1 and those of less note have no columns40 ,correct drawing-room seats are shown on ,plate ,,lxii4 ,the central one is purely ,louis ,,xvi4 in style1 painted in any colour and is covered with silk1 but ,sheraton recommends that the chair-frame be 8finished in burnished gold1 the seat and back covered with printed silk4 ,in the front rail is a tablet with a little carving in its panels4 ,the legs and stumps have twisted flutes and fillets done in the turning1 which produce a good effect in the gold40 ,another parlour arm-chair1 which he says can be made of carved mahogany or of black rosewood and gold1 8will produce a lively effect10 particularly if 8a brass beading is put round the stuffing to hide the tacks40 ,specimen backs of chairs that may be of carved mahogany or painted are shown on ,plate ,,lxii41 ,nos4 #a to #i4 ,these are dated #agib1 ,nos4 #aj and #aa are specimen chair legs4 8,it appears from some of the latest specimens of ,french chairs1 some of which we have been favoured with a view of1 that they follow the antique taste1 and introduce into their arms and legs various heads of animals2 and that mahogany is the chief wood used in their best chairs1 into which they bring in portions of ornamental brass2 and1 in my opinion1 not without a proper effect1 when due restraint is laid on the quantity40 ,of the sofa shown on ,plate ,,lxii4 ,sheraton says it may be 8done in white and gold1 or japanned4 ,the loose cushions at the back are generally made to fill the whole length1 which would have taken four2 but ,i could not make the design so striking with four1 because they would not have been distinguished from the back of the sofa by a common observer4 ,these cushions serve at times for bolsters1 being placed against the arms to loll against4 ,the seat is stuffed up in front about three inches high above the rail1 denoted by the figure of the sprig running longways2 all above that is a squab which may be taken off occasionally4 ,if the top rail be thought to have too much work1 it can be finished in a straight rail1 as the design shews40 8,our sofas are never covered with a carpet1 but with various pattern cottons and silks40 ,when the commode is decorated with wire-doors1 ,sheraton insists that green1 white or pink silk shall be fluted behind them4 ,the cabinet on ,plate ,,lx4 is treated in this way4 8,as pier tables are merely for ornament under a glass1 they are generally made very light1 and the style of finishing them is rich and elegant4 ,sometimes the tops are solid marble1 but most commonly veneered in rich satin or other valuable wood1 with a cross band on the outside1 a border about two inches richly japanned and a narrow cross band beyond it1 to go all round4 ,the frames are commonly gold or white or burnished gold4 ,stretching-rails have of late been introduced to these tables1 and it must be owned that it is with good effect1 as they take off the long appearance of the legs and make the under part appear more finished2 besides they afford an opportunity of fixing a vase or basket of flowers1 which1 with their reflection when there is a glass behind1 produce a brilliant appearance4 8,some1 in place of a stretcher1 have a thin marble shelf with a brass rim round it1 supported by a light frame2 in which case the top ought to be of marble also40 ,there are horse fire-screens1 pole screens and tripod screens4 ,pole ,fire-,screens 8may be ornamented variously1 with maps1 ,chinese figures1 needlework1 etc4 ,the screen is suspended on the pole by means of a spring in the eye1 through which the pole goes2 the feet of the two outer ones are loaded with lead to keep them steady2 may be made of mahogany1 but more frequently of wood japanned40 ,the framework of ,horse ,fire-,screens should be of mahogany2 the screen may be covered with green silk1 needlework1 etc41 at pleasure4 ,tripod ,fire ,screens he made in white and gold1 mahogany or japanned4 8,the rods of these screens are all supposed to have a hole through them and a pulley let in near the top on which the line passes1 and a weight being enclosed in the tassel1 the screen is balanced to any height4 ,the rods are often made square1 which indeed best suits those which have pulleys1 while those that are made round have only rings and springs4 8,such screens as have very fine prints or worked satin1 commonly have a glass before them4 ,in which case a frame is made1 with a rabbet to receive the glass1 and another to receive the straining frame1 to prevent it from breaking the glass2 and to enclose the straining frame a bead is mitred round40 ,there were various sorts of dining-tables in use4 8,the common useful dining-tables are upon pillars and claws1 generally four claws to each pillar1 with brass castors4 ,a dining-table of this kind may be made to any size1 by having a sufficient quantity of pillar and claw parts1 for between each of these there is a loose flap1 fixed by means of iron straps and buttons1 so that they are easily taken off and put aside2 and the beds may be joined to each other with brass fork or strap fastenings40 8,the sizes of dining-tables for certain numbers may easily be calculated by allowing #b feet to each person sitting at table2 less than this cannot with comfort be dispensed with4 ,a table #f feet by #c1 on a pillar and claws1 will admit of eight persons1 one only at each end and three on each side4 ,by the addition of another bed1 twelve1 with four times the room in the centre for dishes2 but if a third be joined1 with the insertion of two flaps of #cj inches each1 there will be agreeable room for twenty persons40 ,he recommends a 8dining-table for eight persons to be #e feet by #d at which two upon each side may sit1 but if reduced to #d feet1 #h inches long and #c feet1 #aj wide1 it will dine the same number1 and take the same quantity of wood as a table #f feet by #c40 ,illustration3 ,,plate ,,lxi ,the cellaret sideboard and sideboard with drawers which became fashionable under ,heppelwhite are still more developed in ,sheraton's early period2 but in his last period there seems to be a return to the old 8sideboard table0 without drawers4 ,the cellaret sideboard was always supplied with a partitioned place for bottles of wine4 8,in large circular sideboards10 ,sheraton tells us1 8the left-hand drawer has sometimes been fitted up as a plate-warmer1 having a rack in the middle to stick the plates in1 and lined with strong tin all round1 and on the underside of the sideboard top1 to prevent the heat from injuring it4 ,in this case the bottom of the drawer is made partly open1 under which is fixed a small narrow drawer1 to contain a heater1 which gives warmth to the plates1 the same as in a pedestal4 8,in spacious dining-rooms the sideboards are often made without drawers of any sort1 having simply a rail a little ornamented1 and pedestals with vases at each end1 which produce a grand effect4 ,one pedestal is used as a plate-warmer1 and is lined with tin2 the other is a pot cupboard1 and sometimes it contains a cellarette for wine4 ,the vases are used for water for the use of the butler1 and sometimes as knife-cases4 ,they are sometimes made of copper japanned1 but generally of mahogany4 8,there are other sideboards for small dining-rooms1 made without either drawers or pedestals2 but have generally a wine-cooler to stand under them1 hooped with brass1 partitioned and lined with lead1 for wine-bottles1 the same as the above-mentioned cellarette drawers40 ,on ,plate ,,lx41 ,no4 #c1 is a pattern of a 8sideboard table0 which has four marble shelves at each end4 8,these shelves10 he explains1 8are used in grand sideboards to place the small silver ware on40 8,it is not usual to make sideboards hollow in front1 but if a sideboard be required #i or #aj feet long1 as in some noblemen's houses1 and if the breadth of it be in proportion to its length1 it will not be easy for a butler to reach across it40 ,a hollow front1 ,sheraton thinks1 would 8obviate the difficulty and take off the appearance of great length4 ,besides1 if the sideboard be near the entering door1 the hollow front will sometimes secure the butler from the jostles of the other servants40 8,the pedestal is used to signify that part in cabinet furniture made nearly to the proportion and figure of a pedestal in architecture4 ,these are generally placed at the end of sideboards1 and are designed for holding plates for dinner2 for which purpose there are two wooden racks1 generally made of oak1 in which the plates are placed4 ,the plinth part of these pedestals is generally formed with a drawer1 containing an iron stand and heater1 which diffuses a warm air to the plates and keeps them in proper temperature at the time of dining4 ,these pedestals are lined with tin completely over on the inside to prevent the heat from injuring the wood4 ,and it may be necessary further to observe1 that when there are two pedestals to a sideboard1 one of them is generally fitted up in the inside1 either with plain drawers or as a cupboard4 ,on such pedestals is generally placed a vase40 ,this vase is usually a knife or spoon case4 ,on ,plate ,,lxi4 a sideboard with pedestals is shown4 ,the pedestal parts are made separately and screwed to the sideboard1 and the top is one large piece screwed to the pedestal4 ,under the long drawer of the front is a cupboard enclosed by a tambour shutter4 ,the ornament at the back is of brass 8intended as a stay for silver plate1 and has branches for three candles40 ,if preferred the centre 8may have a glass lustre hung within it as an ornament40 ,illustration3 ,,plate ,,lxii ,sheraton gives two designs for knife-cases1 one concave1 the other convex4 ,in one of them the corner pilasters have 8small flutes of white holly or other coloured wood let in1 and the middle pilasters have very narrow cross bands all round1 with the panels japanned in small flowers4 ,the top is sometimes japanned1 and sometimes has only an inlaid pattern4 ,the half-columns of the right-hand case are sometimes fluted out1 and sometimes the flutes are let in4 ,the feet may be turned and twisted which will have a good effect40 8,cellaret amongst cabinet-makers denotes a convenience for wine1 or a wine cistern40 ,these were mostly in the form of a sarcophagus1 8an imitation of the figure of ancient stone coffins40 ,they are adapted to stand under a sideboard1 some of which have covers1 and others without4 ,sheraton gives one design supported by dolphins1 whose heads form the foot1 while the tails curve upwards4 ,the other design is supported on lions' paws1 and ornamented with lions' heads4 ,he recommends rings at each end of the cellaret1 so that the servants can conveniently move these pieces about4 8,the rings and heads should be cast in brass and lacquered1 and also the dolphins and lions' paws40 8,buffet1 anciently an apartment separated from the rest of the room by small pillars or balusters4 ,their use was for placing china and glass ware1 with other articles of a similar nature4 ,in houses of persons of distinction in ,france1 the ,buffet is a detached room1 decorated with pictures suitable to the use of such apartments1 as fountains1 cisterns1 vases1 etc4 ,these ancient buffets seem in some measure superseded by the use of modern sideboards1 but not altogether1 as china is seldom1 if ever1 placed upon them3 and we therefore think that a buffet may1 with some propriety1 be restored to modern use1 and prove ornamental to a breakfast room1 answering as the repository of a tea equipage4 ,under this idea1 we have given a design of one intended to be executed in the following style4 ,the lower part is to be inclosed with doors1 having silk curtains1 with worked brass or wire before them4 ,the upright border on the top of the lower part is of brass1 together with those round the china shelves4 ,these shelves are supported at each end with four brass columns1 made very light4 ,the lights on each side are of brass1 and may be unscrewed and taken away occasionally4 ,as these buffets would suit well to be placed one on each side of the fireplace of a breakfast room1 they might very conveniently hold such branches with the addition of one on the top1 which may be screwed into a socket2 or a small figure holding a light may be placed upon it4 ,under the cornice is a ,gothic drapery and fringe above it40 ,this design1 dated #ahjc1 is represented on ,plate ,,lix4 8,there are three kinds of dumb waiters1 but they are all made of mahogany1 and are intended for the use of the dining-parlour1 on which to place glasses of wine and plates1 both clean1 and such as have been used40 ,the one represented on ,plate ,,lxi41 ,no4 #c1 is 8partly from the ,french taste1 on the top of which1 where the glass is represented1 is a slab of thin marble1 which not only keeps cleaner1 and looks neater than mahogany1 but also tends to keep the wine cool1 when a bottle for present use is placed upon it4 ,the shelves below are for plates and a knife tray4 ,the holes for the decanters have cases of tin fit into them1 and are japanned white1 which shows through the front panel in the rail1 and makes it look lighter40 ,another dumb waiter that ,sheraton recommends is a table similar in general form to ,no4 #a on ,plate ,,lx4 ,the drawers are used for knives1 etc4 ,in the centre a shelf or waiter rises on a stem1 and below it are four trays for decanters1 glasses and small plates4 ,the drawers are lined with 8a tin case to fit loose in and japanned white1 to have the plate trays with the balusters4 ,these are easily taken out1 and may be cleaned and replaced when necessary4 ,and the workman must observe that the waiters turn round on the pillars2 for the under pillow has a beechnut let into it1 and the upper part screws itself home into it1 so as to admit the waiter to turn4 8,the plate trays ought to be #aa inches in diameter in the clear1 and the opening for the hand #d inches4 ,there is a turned astragal for the top rail and the baluster40 ,a supper tray called a 8,canterbury10 ,sheraton says is 8made to stand by a table at supper1 with a circular end1 and three partitions crosswise1 to hold knives1 forks and plates at that end1 which is made circular on purpose40 ,an ,archbishop of ,canterbury is said to have invented this piece of furniture4 ,sheraton made a great variety of beds4 ,they include ,french beds1 state beds1 dome1 canopy1 alcove1 and sofa beds4 ,the former are very intricate4 ,he describes them as follows3 8,beds of this kind have been introduced of late with great success in ,england4 ,the dome is supported by iron rods of about an inch in diameter1 curved regularly down to each pillar where they are fixed with a strong screw and nut4 ,these iron rods are covered and entirely hid by a valance1 which comes in a regular sweep1 and meets in a point at the vases on the pillars4 ,behind this valance1 which continues all round1 the drapery is drawn up by pulleys and tied up by a silken cord and tassels at the head of the pillars4 ,the headboards of these beds are framed and stuffed1 and covered to suit the hangings1 and the frame is white and gold1 if the pillars and cornice are4 ,the bed-frame is sometimes ornamented1 and has drapery valances below4 ,observe that grooves are made in the pillars to receive the headboards1 and screwed at the top1 by which means the whole is kept firm1 and is easily taken to pieces4 ,square bolsters are now often introduced1 with margins of various colours stitched all round4 ,the counterpane has also these margins2 they are also fringed at bottom1 and have sometimes a drapery tied up in cords and tassels on the side40 ,illustration3 ,,plate ,,lxiii ,of the large bed on ,plate ,,lxiii4 ,sheraton says3 8,this design requires no explanation1 except that which relates to the tester4 ,the cove of the tester is to be formed by the ribs2 one at each mitre1 and other short ones joined to them with the rest about five inches apart from each other4 ,at the upper part of the cove is a square tester into which the ribs are fixed4 ,on the edge of this tester1 which is made very light1 is fixed a small moulding mitred all around4 ,the cove being formed1 the ribs may be covered with strong board-paper1 both inside and out1 which may either be japanned to match the furniture1 or it may be covered with the furniture itself4 ,the circular part above the cove is nothing more than a straight board fixed on to the upper tester4 ,for the sake of easy conveyance1 the cove may be made in four parts1 mitering at each corner1 and the ornament intended to be at each mitre on the outside running entirely up to the feathers1 will hide the joint4 8,the swags of silk that appear on the drapery should be fastened to the back part of the cornice in order that they may hang easy4 ,the pillars are to be japanned4 ,the panel that hides the screws are made to slip into a groove at the bottom1 and being bevelled off behind at the top1 when raised up a little from their place1 by pressing the finger on the front1 can easily be taken away to come at the screws4 ,the valance and drapery both together slip on to a lath as in common40 ,it may be interesting to note that ,sheraton preferred a 8firm bed0 to the soft down or feather4 ,he recommends first a straw mattress covered with a flock mattress1 upon which are placed a feather bed and then a hair mattress4 8,the alcove1 or recess10 he writes1 8is used in ,spain for seats and sometimes for beds of state4 ,the ,english have imitated these by sometimes fitting up the end of long rooms in this style2 which may answer both for ornament and to bring any apartment of undue length into proportion4 ,in forming such an alcove for a place of retirement to rest on1 a couple of ,corinthian columns may be placed on each side of the room1 so as to leave a spacious entrance into the alcove4 ,the columns should not be placed less than six feet from the end of the room1 nor more than nine1 except in extraordinary cases4 ,the seats are made low to receive their cushions1 and drapery valances are fixed to the under edge of the frame4 ,from surbase height the walls are covered with silk quilted1 or disposed into uniform panels1 in any other manner to suit the rest of the room4 ,in the space between the surbase are placed back cushions1 or a stuffed back1 framed to fit all round and screwed to4 ,from the frieze of the cornice below the ceiling is fixed draperies1 either with or without tails3 such alcoves when properly applied have a pleasing effect4 ,when they are fitted up for beds1 it will add to the effect if the bed be placed on a double plinth1 in the form of two steps1 laid with a carpet to suit the rest1 and the effect will still be heightened1 if a drapery be fixed1 parting from the centre of the entrance and flowing down each side of the inner columns4 8,there is a curtain under the drapery which slides on a rod1 and may be brought forward to cover the whole bed4 ,the other tied up may be considered as a fixed drapery1 but may be taken down occasionally4 ,the tester and cornice need not project more than twenty inches1 and the length of the bed1 including the volutes1 about eight feet40 8,duchess1 a kind of bed composed of three parts1 or a chair at each end and stool between them4 ,they are only intended for a single lady1 and are therefore not more than about #cj inches wide4 ,the chair ends1 when apart1 have the appearance of large arm or fauteuil chairs1 and the middle part may be used as a stool40 ,the tester is made to fold4 ,the arms of the chair part are dolphins1 and an acanthus spray ending in a scroll ornaments the back4 ,the duchess is covered with a striped material1 a square or round cushion is at each end1 and the drapery is composed of two curtains falling from a kind of dome 7ornamented by a pineapple or pomme71 while a scarf is slipped through rings and forms a swag in front of the dome and two festoons at each side4 ,an illustration of ,sheraton's duchess is given on ,plate ,,lix41 ,no4 #b4 ,of camp or field-bedsteads there is a great variety4 ,they all have folding tester laths1 either hexagonal or elliptical shaped1 and hinged so as to fold close together4 ,in size they run about #f feet long and #c feet1 #f or #i inches in width1 and between #e feet #f inches to #f feet high to the crown of the tester4 8,suitable for low rooms for servants or children1 they receive their name on account of their being similar in size and shape to those really used in camps40 8,a sofa-bed10 which is really the lit anglais that was so fashionable in ,france1 appears on ,plate ,,lxiii41 ,no4 #a4 ,both of its ends are alike1 and1 of course1 it is supplied with two bolsters4 ,sheraton's general directions regarding the 8sofa-bed0 are as follows3 8,the frames of these beds are sometimes painted in ornaments to suit the furniture4 ,but when the furniture is of very rich silk1 they are done in white and gold1 and the ornaments carved4 ,the tablets may each have a festoon of flowers or foliage1 and the cornice cut out in leaves and gilt has a good effect4 ,the drapery under the cornice is of the ,french kind2 it is fringed all round1 and laps on to each other like unto waves4 ,the valance serves as a ground1 and is also fringed4 ,the roses which tuck up the curtains are formed by silk cord1 etc41 on the wall1 to suit the hangings2 and observe that the centre rose contains a brass hook and socket1 which will unhook so that the curtains will come forward and entirely enclose the whole bed4 ,the sofa part is sometimes made without any back1 in the manner of a couch4 ,it must also be observed that the best kind of these beds have what the upholsterers call a fluting1 which is done by a slight frame of wood1 fastened to the wall1 on which is strained in straight puckers1 some of the same stuff of which the curtains are made40 ,on ,plate ,,lxiii4 ,no4 #b appears what ,sheraton calls a 8,grecian squab40 ,the frame is of white and gold or mahogany4 ,the end not visible in the sketch turns up with a scroll4 ,the back extends no further than shown4 ,it is a kind of chaise longue1 which ,sheraton calls 8a long chair1 couch or squab40 ,the 8chaise longue10 according to him1 8has a stuffed back and arm on each side with a bolster and its use pretty much the same as the ,grecian squabs or couches40 ,in another place he says 8their use is to rest or loll upon after dinner40 ,a novelty is the 8,turkey sofa10 which has been 8introduced into the most fashionable homes40 ,they are 8an imitation of the ,turkish mode of sitting10 and are1 therefore1 8made very low1 scarcely exceeding a foot to the upper side of the cushion4 ,the frame may be made of beech and must be webbed and strained with canvas to support the cushions40 ,sheraton seems to have taken a particular pleasure in all the convenient articles for the use of ladies1 and these comprehend everything from dressing and work tables to tiny comb and pin trays4 ,the work-table was generally a writing-desk as well1 with compartments of all kinds arranged with the greatest economy of space4 ,no4 #b on ,plate ,,lx4 is a good specimen of a work-table dated #agic4 ,the legs are lyre-shaped and the top rises for writing4 ,when let down it locks into the frame and secures the bag where the work is kept4 ,the work-bag is hidden by a drapery that is tacked to a rabbet at the under edge of the frame all around4 ,the legs are lyre-shaped4 ,no4 #d on the same ,plate is a 8,pouch-table0 dated #ahjc4 ,the work-bag is attached to a frame which pulls forward4 ,in this bag ladies 8deposit their fancy needlework40 8,when required to be elegant10 ,sheraton remarks1 8black rosewood is used2 otherwise they may be made very near of mahogany40 ,the example on ,plate ,,lx4 has a brass rail around each end4 ,sometimes the top is finished as a chess-board4 ,the 8,french work-table0 was generally made of satin-wood with a brass moulding round the edge of the rim4 ,the tambour shutter is often introduced into the work-table4 ,the ,lady's ,cabinet dressing-table on ,plate ,,lix4 is composed of an ordinary commode1 upon the top of which is a case or nest of drawers 8when the washing drawers is in1 a slider which is above it may be drawn out to write on occasionally4 ,the ink and stand are in the right-hand drawer under the centre dressing-glass4 ,behind the drapery1 which is tacked to a rabbet and fringed or gimped to cover the nails1 is a shelf on which may stand any vessel to receive the dirty water4 ,above the drapery are tambour cupboards1 one at each end1 and one in the centre under the drawer4 ,above the tambour at each end are real drawers1 which are fitted up to hold every article necessary in dressing4 ,the drawers in the cabinet part are intended to hold all the ornaments of dress1 as rings1 drops1 etc4 ,behind the centre glass is drapery2 it may be real to suit that below1 or it may only be painted in imitation of it4 ,this swings to any position1 on centre pins fixed on the shelf above the candle branches4 ,the side glasses fold in behind the doors1 and the doors themselves1 when shut1 appear solid1 with ovals in the panels and ornamented to suit the other parts40 ,sheraton devotes many plates to articles that appeal to gentlemen4 ,his shaving-stands and dressing-glasses are marvels of convenience4 ,the tambour shutter appears in many of the night-tables1 bason-stands1 etc41 etc41 and when it is not employed1 little silk curtains hang down across the shelves or doors4 ,no4 #e on ,plate ,,lx4 is a 8corner bason stand40 ,the bowl or bason fits into the hollow and the water-jug stands in the centre of the straining-rails4 ,the ,pembroke ,table differed little from ,heppelwhite's4 ,it is 8used for a gentleman or lady to breakfast on4 ,the style of finishing these tables is very neat1 sometimes bordering upon elegance1 being at times made of satin wood1 and having richly japanned borders round their tops with ornamental drawer fronts40 ,the ,harlequin ,pembroke ,table 8serves not only as a breakfast table1 but also as a writing table1 very suitable for a lady40 ,this was equipped with 8ingenious machinery10 and contained a 8nest of drawers0 that could be 8raised to any height40 ,a design particularly associated with ,sheraton is the 8kidney library table40 ,of the one appearing as ,no4 #c on ,plate ,,lix41 ,sheraton writes3 8,this piece is termed a kidney-table on account of its resemblance to that intestine part of animals so called4 ,the drawers are strung and cross-banded with mahogany laid up and down4 ,the pilasters are panelled or cross-banded1 and the feet are turned40 ,this is intended for a writing-table4 ,the ,french call this shape haricot4 ,the secretary and book-case was popular throughout the whole ,sheraton period4 ,two examples are shown on ,plate ,,lxi4 ,one is a full drawing1 which needs no description1 except to say that silk1 preferably green1 is fluted behind the glass doors4 ,the other1 appearing as ,nos4 #a and #b1 ,sheraton thus describes4 8,the use of this piece is to hold books in the upper part1 and in the lower it contains a writing-drawer and clothes-press shelves4 ,the design is intended to be executed in satin-wood1 and the ornaments japanned4 ,it may1 however1 be done in mahogany2 and in place of the ornaments in the friezes1 flutes may be substituted4 ,the pediment is simply a segment of a circle1 and it may be cut in the form of a fan with leaves in the centre4 ,the vases may be omitted to reduce the work2 but if they are introduced1 the pedestal on which the centre vase rests is merely a piece of thin wood1 with a necking and base moulding mitred round1 and planted on the pediment4 ,the pilasters on the bookcase doors are planted on the frame1 and the door hinged as usual4 ,the tops of the pilasters are made to imitate the ,ionic capital40 ,the cylinder desk and bookcase was also in use4 8,the style of finishing them is somewhat elegant1 being made of satin-wood1 cross-banded and varnished4 ,this design shows green silk fluting behind the glass1 and drapery put on at the top before the fluting is tacked to1 which has a good look when properly managed4 ,the square figure of the door is much in fashion now40 ,the rim around the top is brass4 ,a good library table is ,no4 #a1 on ,plate ,,lx4 ,no4 #a on ,plate ,,lx4 ,sheraton calls very modern 7#ahjc74 ,he recommends it to be made of mahogany4 8,the toes and casters are of one piece cast in brass4 ,the nest of drawers in the centre rise1 by two small springs placed opposite to each other1 which are constructed on the model of baize door springs1 which cannot but be understood by any workman who is acquainted with hanging a door of that kind4 ,in this table1 there are four real drawers made with square sides40 ,for card-tables1 he says3 8,the ornaments may be japanned on the frames and tongued in the legs40 ,turning now to smaller articles1 we find that convex and concave mirrors with gilt frames and branches for candles and standing tripods bearing lights are very fashionable4 ,brackets for lamps are made usually of brass and sometimes of mahogany4 ,they are often screwed to the handrail of the staircase4 ,brackets are also especially designed for clocks4 ,clocks are also placed upon the chimney-piece and upon the commode4 ,in ,sheraton's ,cabinet-,maker and ,upholsterers ,drawing-,book there are a number of tall clock-cases painted and japanned with ovals and arabesques and fanciful pictures2 but in #ahjc ,sheraton writes that the tall clock-case is 8almost obsolete in ,london10 and from what he says we gather that no fashionable person would think of having one in his house4 ,the footstool is stuffed with hair and covered generally with needlework4 ,its frame is oval1 square1 or octagon1 with turned legs4 ,its height without stuffing is #f or #f inches2 its length #i to a foot1 and its width #g to #h inches4 ,a group of three or four tables with very light frames made to draw out and inclosed within each other when not wanted are known as quartette and trio tables4 ,these are used at entertainments1 like the 8rout chairs10 which are 8small painted chairs with rush bottoms let out by cabinet-makers for hire for routs and other entertainments1 whence their name40 ,among ,sheraton's latest chairs there is an arm-chair with a movable desk1 having branching candle-sconces1--useful for the library2 another is a 8hunting-chair10 with a square back and wings 8stuffed all over except the legs which are of mahogany and having a slide out frame in front to make a resting-place for one that is fatigued1 as hunters usually are40 ,there is also a 8tub easy chair10 8stuffed all over and intended for sick persons1 being both easy and warm2 for the side wings coming quite forward keep out the cold air40 ,another is a bergre with a caned back and seat1 supplied with loose cushions4 8,the stumps and legs are turned and the frames are generally painted40 ,this bergre is dated #ahjc1 when ,sheraton recommends cane of 8a fine light straw colour40 ,he writes3 8,caning cabinet work is now more in use than it was ever known to be at any former period4 ,about #cj years since1 it was gone quite out of fashion4 ,but on the revival of japanning furniture1 it began to be brought gradually into use1 and to a state of improvement1 so that at present it is introduced into several pieces of furniture1 which it was not a few years past1 as the ends of beds framed in mahogany1 and then caned for the purpose of keeping in the bed clothes4 ,sometimes the bottom of beds are caned4 ,small borders round the backs of mahogany parlour chairs which look neat4 ,bed steps are caned4 8,the commonest kind made of one skain only is called bead-work and runs open4 ,the best work is termed bordering and is of three skains1 some of which is done very fine and close with the skains less than a sixteenth broad1 so that it is worked as fine apparently as some canvas40 ,two of ,sheraton's original designs show the ,empire influence4 ,one is the curricle which appears on ,plate ,,lxii41 ,no4 #ab4 ,sheraton named these chairs 8from their being shaped like that kind of carriage4 ,these may claim entire originality1 and are well adapted for dining-parlours1 being of a strong form easy and conveniently low affording easier access to a dining-table than the commonest kind4 ,the size of the front may be two feet over all and nearly that from back to front40 ,his other original design is the 8,herculaneum10 8which ,i have so named on account of their antique style of composition40 ,they are for 8rooms not only fitted up in the antique taste1 but where apartments are appropriated for the purpose of exhibiting ancient or modern curiosities2 and we particularly recommend them for the use of music-rooms40 ,he also presents 8conversation chairs10 which are exactly the voyeuse4 7,see pages #cb and #bgh47 ,,the ,,empire ,,period ,illustration ,,the ,,empire ,,period ,we have already seen in the ,louis ,,xvi4 period indications of the approaching ,empire style2 and noted that ,lalonde leads directly into the models of ,percier and ,fontaine4 ,there was1 however1 a short transitional period covering the years #agie to #agii1 when1 after the ,reign of ,terror1 the ,directoire endeavoured to restore order in ,france4 ,it was but natural that a society that held in high reverence the memories of the ancient republics of ,greece and ,rome should develop the 8antique taste0 under the guidance of 8philosophic artists40 ,as early as #agij1 a writer exclaims3 8,we have changed everything2 liberty1 now consolidated in ,france1 has restored the pure taste of the antique1 which must not be confounded with the old ,gothic taste4 ,hide yourselves1 ,boulle marquetry1 knots of ribbon and rosettes of gilt bronze or moulu1 bright and shining6 ,hide yourselves1 hide yourselves1 marvels of ,bernard6 ,now is the hour when objects must be made to harmonize with circumstances60 8,the boudoir1--the very sanctuary of coquetry--became a political cabinet10 says de ,goncourt1 who goes on to inform us that the charming pictures of ,boucher1 ,fragonard1 ,lawrence1 and ,lagrenes had to give place to caricatures and revolting prints of the hour1 while pictures of the destroyed ,bastille supplanted graceful mythological subjects4 8,france10 he continues1 8wished to dwell in the scenery of a tragedy1 with a ,spartan body1 in ,etruscan chairs made of mahogany whose backs were in the form of shovels1 or two trumpets and a thyrsus bound together4 ,after these chairs she reclined in antique arm-chairs whose framework was coloured bronze4 ,she heard the hours strike from that civic clock representing the federative altar of the ,champ de ,mars with columns of marble and gilded bronze1 and attributes of liberty4 ,she slept in #8patriotic beds4' ,in the place of the bunches of feathers1 caps were now placed on top of the fasces of lances that formed the bed-posts2 beds represented the triumphal arch erected in the ,champ de ,mars#bf on the day of the ,confederation4 ,she also slept in the #8lit la ,fdration1' of four columns in the form of fasces grooved and painted in greyish white varnished1 with the stems of the fasces gilded1 as well as the axes and iron supports of the canopy40 ,caffieri no longer designed the lustres and sconce-arms of or moulu2 the candelabra were now of porcelain1 and represented ,apollo and ,daphne4 ,these figures were flesh-coloured4 ,the body of ,daphne was half covered with the bark of the laurel1 her head with green leaves1 and her two hands turning into branches supported two gilded sconces4 ,illustration3 ,,plate ,,lxiv ,the geometrical panels of the new drawing-rooms were coloured that deep brown1 mingled with several other colours1 which received the name genre trusque4 ,listen to these discords3 8,on the ceiling is a reddish-brown rosette in the form of a parasol2 a sky-blue frieze is sprinkled with white cornucopi4 ,on the sides of the mirror1 sky-blue pilasters are bordered with violet and white grape-leaves for ornament4 ,large and small light brown panels with violet borders are ornamented with little green parasols1 and cameos with blue background with white figures and brown and red ornaments4 ,and in that loud chocolate colour where some reds and greens try to recall to your mind the forsaken hues of the past are mingled three shades of rose1 amaranth1 blue1 lilac1 grey1 emerald-green1 moss-green1 aventurine1 citron1 straw and sulphur4 ,that gentle scale that sang so sweetly on the furniture and walls of by-gone days6 that gentle scale that miserable taste has forsaken for the tri-colour1 and for wall-paper printed with the distinctive signs of equality and liberty1 from ,dugoure's ,republican ,manufactory1 place du ,carrousel at the so-called ,htel de ,longueville4 ,then the taste of the ,revolution runs after the factory of the rue ,saint ,nicaise1 place de la ,runion1 to find some pictures with the civic inscription ready for each citizen to place above his door bearing these words3 #8,unity1 ,indivisibility of the ,rpublic1 ,liberty1 ,fraternity or ,death4'0#bg ,the ,parisian htels that were remodeled and newly furnished for the newly rich could not suggest the slightest reminiscence of the aristocratic life that they had witnessed4 ,the artists1 therefore1 were forced to go to ,greece and ,rome for their models and motives4 ,after ,napoleon's campaign in ,egypt1 the sphinx is frequent as a decoration1 although it had long been familiar4 ,the chairs1 ,nos4 #a1 #b1 #c and #e on ,plate ,,lxviii41 are from a periodical of the ,directoire period #agic and #agif2 also the couch ,no4 #b1 ,plate ,,lxv4 ,these show that the so-called ,empire style was in process of formation before ,napoleon attained power4 ,the most important cabinet-maker of the period was ,jacob ,desmalter4 ,he was the son of ,georges ,jacob1 who1 during the reign of ,louis ,,xvi41 was famous for his furniture of gilded wood4 ,his two sons worked together in the rue ,mesle2 and1 in #agic1 got the order to make the furniture for the ,convention4 ,this brought them into relation with ,percier1 who had been commissioned to furnish the designs4 ,about #ahjd1 the younger ,jacob disappears from business and the elder added the name ,desmalter to his own1 and soon removed his workshop to the rue des ,vinagriers4 ,desmalter's fame became wide-spread3 he made furniture for the courts of ,spain and ,russia1 and many pieces found their way also to ,england4 ,the famous workers in metal were ,thomire1 ,j4 ,b4 ,c4 ,odiot and ,biennais4 ,the ,recueil de ,dcorations ,intrieures1 composed by ,c4 ,percier and ,p4 ,f4 ,l4 ,fontaine 7,paris1 #ahab71 is the recognized authority on the ,empire style4 ,the authors speak of the influence engraving has had in extending an acquaintance with styles1 and say they will make use of it to exhibit 8those of our works in the nature of furniture1 which1 by the importance of the places they were destined for1 or the rank of those who ordered them1 may be regarded as appropriate to attest the correct way of seeing things1 composing them and ornamenting them at the present period4 ,this style does not belong to us2 it is entirely the property of the ancients and as our only merit is to have understood how to conform our inventions to it1 our true aim in giving these to the public is to do all that is within our power to prevent innovations to corrupt and destroy the principles which others will doubtless use better than we4 8,the decoration and furnishing of houses are to houses what clothes are to people3 everything of this nature becomes old1 and in a very few years seems to be superannuated and ridiculous4 ,the industrial arts1 which concur with architecture in the embellishment of buildings1 receive the same impulse from the spirit of fashion1 and no kind of beauty or worth possessed by these articles of taste can assure them any longer existence than the interval of time necessary to find a new taste to replace them4 ,to do everything according to reason in such a way that the reason may be perceived and justifies the means used1--this is the first principle of architecture4 ,however1 the first principle of fashion is to do everything without reason and never to do otherwise4 ,the form and needs of the body give no reason for the forms of clothes2 because people do not dress to cover themselves1 but to adorn themselves4 ,furniture does not make a virtue of necessity with regard to the forms4 ,we pass from the straight line to the tortuous1 from the simple to the composite and vice vers4 ,this is only too well exemplified in the history of modern architecture and its vicissitudes40 ,the true inspiration of this period was ,david1 the painter2 and it has been aptly said that ,desmalter did little but 8translate into furniture the ,greco-,roman dreams of the painter of the ,sabines40 ,prudhon was another artist of influence4 ,the most famous decorative artists and designers were ,percier and ,fontaine4 ,the general characteristics of the ,empire style are stiffness1 severity and coldness4 ,the forms are cubic and rectangular1 without projections or carvings4 ,round tables on tripod legs1 sofas and beds with heavily-scrolled ends1 secretaries and desks with secret arrangements of drawers1 etc41 and a great use of metal ornamentation are among the prominent details of this style4 ,the decorative motives are rosettes1 allegorical figures1 mahogany columns of cylindrical shafts1 without flutings and surmounted by the ,doric capital 7and often with a bronze gilt bracket71 fasces1 sphinxes1 wreaths of laurel1 and the swan used upon the arms of chairs and sofas1 the sides of beds and for the feet of tripods4 ,no4 #a on ,plate ,,lxv4 is an interesting example of the use of the swan4 ,the sphinx was also used for decorating the arm of a chair1 as shown on ,plate ,,lxv41 ,no4 #c1 and on the double chair on ,plate ,,lxviii4 ,its use as a table leg is exhibited on ,plate ,,lxv41 and as a support for candles on ,plate ,,lxvii4 ,clocks and candelabra are decorated with heroes from ancient history in preference to divinities and allegorical figures4 ,a little clock supported by an eagle appears on ,plate ,,lxv4 ,this is one of ,percier and ,fontaine's designs4 ,illustration3 ,,plate ,,lxv ,the greater number of the designs on ,plates ,,lxv41 ,,lxvi41 ,,lxvii41 and ,,lxviii4 are taken from ,percier and ,fontaine4 ,plate ,,lxiv4 is a reproduction of one of ,percier and ,fontaine's bedrooms4 8,the ornaments that decorate this room10 they say1 8are painted in oil upon plaster2 they fill1 without being of any determined subjects1 various compartments2 and among them are pictures of fruit1 fragments of ordinary objects1 painted in grisaille on a light background40 ,all the furniture--the table opposite the bed1 the tripod1 the toilet1 the bed and the frame over the mantel-piece--is covered with bronzes1 enamelled paintings and incrustations of various kinds of wood4 ,the isolated pedestal at the head of the bed is an armoire1 which contains conveniences for the night4 ,on the top of the tall column is a winged goddess under which statue the letters 8,la bonne desse10 appear4 ,the bed is of the form of the large drawing that is shown on ,plate ,,lxvi4 ,the two chairs on either side of the mantel-piece the designers tell us were made by ,jacob4 ,the detail ,no4 #c1 on ,plate ,,lxvii4 is an enlargement of part of the mantel-piece1 the fire-back of which represents the forge of ,vulcan4 ,the open-worked grate is copper gilt4 ,the designs on ,plates ,,lxvi4 and ,,lxvii4 are all by ,percier and ,fontaine1 ,no4 #a4 on ,plate ,,lxvi41 they say1 is an arm-chair to stand in front of a desk2 ,no4 #b4 is a lustre made of rock-crystal and bronze2 ,no4 #c is a sofa-bed1 and below it is a large sofa bed that was designed for a patron who was fond of war and sport4 ,the hangings and the decorations of the wall behind the bed are therefore repeated here4 ,the frame of the mirror is of gilded bronze4 ,the glass swings forward4 ,the rich commode with drawers on ,plate ,,lxvii4 is an excellent example of the ,percier and ,fontaine work2 above it1 ,no4 #b1 is another commode and above that ,no4 #a the end of a bureau4 ,of the secretary on the same plate1 they say3 8,this little piece of furniture1 designed to preserve books1 papers and money1 has a clock in the upper part2 below are secret drawers2 in the centre a rolling cylinder and writing table4 ,chimras on each side of the table support girandoles for lights4 ,the whole is made of different kinds of wood ornamented with bronzes40 ,the rich sofa1 or 8double chair10 and the sofa-bed1 on ,plate ,,lxviii4 are also by these designers4 ,of the tea-table on ,plate ,,lxv41 they tell us3 8,the design of this table was sent to ,russia so that it might be executed there in porcelain and bronze2 the compartments and ornaments that decorate the table have to be painted in colour with the background and the parts that stand out in relief of gold4 ,the principal subject is the birth of ,amphitrite1 who is surrounded by ,tritons and dolphins40 ,illustration3 ,,plate ,,lxvi ,the cornice and lambrequin are unknown to the ,directoire period2 a pole ending in an arrow1 or thyrsus1 supports two curtains of calico1 or silk4 ,these curtains are relieved by a ,greek border4 ,the ,empire taste demands a little more4 ,satins and velvets are added to the above4 ,the drapery becomes very ample and beneath them are thin muslin curtains embroidered in dots1 stars and squares4 ,sometimes two rods are used at each window to support the inner and outer curtains4 ,a very fashionable method of furnishing the window was to have two curtains of silk and two of muslin4 ,decorative borders were used for these4 ,the cornice is restored1 and consists of the palm1 the thyrsus1 a bow1 or a laurel wreath in gilded bronze1 or painted wood4 ,the colours of these draperies are limited4 ,there are but five strong hues--crimson1 green1 blue1 yellow and white--and there are no shades of these4 ,there was a tendency for patterns to become smaller2 damask was ornamented with little figures1 or stripes2 ,gobelin tapestries were supplanted by designs in grisaille on a red1 blue1 or green background4 ,these many printed stuffs had pictures derived from ,greek1 ,egyptian1 or ,roman subjects1 or mythology1 and appeared as if printed on paper4 ,the bed used during the ,directoire was larger than the ,louis ,,xvi4 bed4 ,generally speaking1 the beds were low2 and were furnished with one or two mattresses4 ,some of them had head and footboards of equal height2 others had only one headboard4 ,during the ,empire1 the beds1 most frequently of mahogany1 were ornamented with gilded bronze trimmings4 ,the frames were also painted with decorations painted in bronze effects4 ,some of the beds were rounded1 or scrolled at the ends1 some had pans bateau and some had pilasters supporting vases1 busts and even statuettes4 ,the curtain was used4 ,for some styles of beds1 the curtains were cast negligently over an arrow4 ,beds were also made in forms appropriate to the calling of their owners4 ,some of the shapes seem to have been inspired by the models of ,du ,cerceau and ,brain in the days of ,louis ,,xiv42 for instance1 the boat and shell4 ,in #agib1 we hear of a bed shaped like a shell1 with blue and white curtains4 ,lafayette had a bed like this4 ,the beds often had ends of heavy scrolls and most of them had the headboard and footboard of equal height4 ,the round bolster appears at each end1 or a cushion that follows the form of the scroll1 as shown in the full drawing on ,plate ,,lxviii4 ,the canopy was frequently in the shape of a crown1 and from it hung the curtains4 ,the heavy curtain was not unfrequently accompanied with a thin diaphanous curtain that was formally draped4 ,the dining-room is decorated in stucco1 or painted in imitation of marble4 ,the furniture is mahogany4 ,the chairs are covered with leather4 ,the window-curtains are of 8,persian0 taffeta1 cloth or cotton1 trimmed with ball fringe4 ,the dining-table is round or oval1 and is often supported on the pillar-and-claw4 ,the dining-room table also is round1 and stands on four feet decorated with lions' heads or chimras2 or again it is supported by the pillar-and-claw4 ,the drawing-room table is frequently finished with a marble top1 or it is covered with a cloth4 ,upon it stands a lamp with its shade4 ,a very ornate tea-table of porcelain brightened with gold and bronze appears on ,plate ,,lxv4 ,above it is shown the decorative top4 ,this is by ,percier and ,fontaine4 ,no4 #f1 on the same plate is another table2 ,no4 #g is a tea-table2 and ,no4 #e is another table4 ,all of these are by ,percier and ,fontaine4 ,another kind of table designed by ,percier was the table fleurs1 or jardinire4 ,some of his models1 which were made by ,jacob ,desmalters1 are quite ornate4 ,one of these is in the shape of a vase1 supported by sphinxes1 and filled with growing plants4 ,upon this stands another basin for growing flowers1 or gold-fish1 and above this again is a decorative figure4 ,another design is a round basin or vase for flowers supported by columns1 on either side of which are smaller vases4 ,the console was a large square table decorated with sphinxes1 or other ornaments in gilded bronze4 ,often a mirror was placed at the back framed by the legs4 ,the commode1 like all the rest of the furniture1 became more rigid in form and decoration4 ,it was made of walnut or mahogany2 and during the ,directoire few were supplied with metal ornaments4 ,indeed1 many of them had neither rings nor handles on the drawers4 ,the form of the commode became still heavier during the ,empire2 but it was enlivened by ornate metal trimmings4 ,a richly decorated commode by ,percier and ,fontaine appears as ,no4 #b on ,plate ,,lxvii4 ,the chiffonnire1 which had come into fashion during the last years of the ,louis ,,xvi4 period1 increased in popularity4 ,it was generally a lady's article containing drawers for writing and needlework4 ,the marble top was often surrounded by a railing or gallery4 ,during the ,empire1 a set of drawing-room furniture consisted of one or two sofas1 six arm-chairs1 six chairs1 two bergres and two tabourets4 ,the sofas were placed on either side of the chimney-piece4 ,one of the favourite varieties of the sofa was the canap pommier1 introduced during the ,directoire4 ,its back was square and quite low1 and was extended around the sides to take the place of arms4 ,sometimes the seat was garnished with fringe1 and sometimes the wood was left plain4 ,the many varieties of the draped sofa disappeared4 ,the ,directoire and the ,empire demanded that the forms of the settee1 sofa1 and chaise longue should be severe to accord with the arm-chairs4 ,the back of the sofa was stuffed1 but not the sides or wings4 ,at each end was placed a feather pillow covered with the same material as the sofa4 ,the most popular sofa had a square back that was carried around the seat1 forming wings at each side instead of the elbow or arm4 ,the new sofas were called ,mridienne and canap pommier4 ,tapestry1 figured satin1 worsted damask or printed cloth1 put on with braid1 were used for coverings4 ,at the end of the ,empire period1 the divan was introduced4 ,this seat was suggested by the ,eastern travellers4 ,the banquette was covered with velvet trimmed with gold or silk braid and fringe4 ,the most fashionable chaise longue was of the kind upon which ,madame ,rcamier is lounging in ,david's celebrated portrait4 ,both ends of this piece were alike4 ,one end of a similar piece of furniture appears as ,no4 #b on ,plate ,,lxv4 ,the bergre en gondole was also popular4 ,its back was lower and more rounded than that of the bergre on ,plate ,,xlviii41 ,no4 #c4 ,gondola-shaped chairs and bar-backed chairs and the heavy scrolled arm-chair were the favourites1 also the double arm-chair4 ,illustration3 ,,plate ,,lxvii ,the framework of chairs was generally mahogany1 or painted and bronzed1 and1 for very rich homes1 gilded wood4 ,the square form was preferred1 especially for the arm-chair1 which rarely had cushions4 ,sometimes the front feet were in the sabre1 or glaive shape4 ,the shield shape too was used for the back and was ornamented with military trophies and laurel wreaths4 ,the back and seat were stuffed1 and braids and borders framed the cushions4 ,the material used for covering was generally of a solid colour with a design printed on it4 ,silk velvet1 damask1 or satin was used4 ,the design was often golden yellow4 ,sometimes back and seat were sprinkled with rosettes or stars4 ,braids were used to hide the nails4 ,printed cottons and worsted damasks were also used for cheaper upholstery work4 ,ball fringe was much used to go around the back4 ,desk chairs kept somewhat to the rounded and gondola form4 ,the seats were often a half circle1 the feet turned or in the console shape4 ,sometimes they were even carved in the shape of chimra or lions whose heads came up to the level of the arms4 ,the back1 too1 was frequently curved in the shape of a half circle4 ,the top rail was sometimes covered like the seat1--in leather4 ,some of these turning up in the centre of the back like a cocked hat gave to them the name fauteuils ,bonaparte4 ,mahogany was chiefly used for the frames1 though oak and walnut were sometimes employed4 ,during the ,directoire1 the legs of the arm-chair were often ,x-shaped and the arms ended in a lion's head4 ,the open-backed chair was very popular4 ,the one on ,plate ,,lxviii41 ,no4 #b1 is dated #agic2 and ,nos4 #a1 #c1 and #e are of the year #agif4 ,the 8,trafalgar0 that persisted for so long was a development of ,no4 #a4 ,the chairs ,no4 #a and #c on ,plate ,,lxv4 are by ,ch4 ,normand 7b4 #agfe2 d4 #ahcj71 who also designed the chaise longue1 ,no4 #b1 on the same plate4 ,normand's earlier work bridges the gulf between the styles ,louis ,,xvi4 and the ,empire4 ----- ,footnote #bf3 ,journal de la ,mode1 #agij4 ,footnote #bg3 ,de ,goncourt1 ,la ,socit ,franaise pendant la ,rvolution4 ,paris1 #ahed4 ,,the ,,end ,illustration3 ,,plate ,,lxviii ,,index ,illustration ,,index ,a ,adam1 ,james1 #bhi1 #bib ----1 ,robert1 #bhi1 #bib ----1 ,james and ,robert1 apartments planned by1 #bii-cjc ----1 colours used by1 #bid ----1 decorations at ,osterley ,park1 #cjd-cje ----1 decorations at ,sion ,house1 #cja-cjc ----1 dislike of ,gothic1 #bid ----1 furniture at ,sion ,house1 #big ----1 opinion of ,british architects1 #bid-bif ----1 ornaments of the1 #bih ----1 social position of1 #bia1 #bib ----1 taste of1 #bid-bif ,adam style1 the1 #bhi1 #bia1 #bic-bid ----1 designers in the1 #bhi-bij ,adam1 ,william1 #bib ,addison1 quotations from1 #aaf-aag sop's ,fables1 #bje1 #bbe1 #bdd1 #bde ,ahasuerus1 beds of ,king1 #fg ,alcove1 the1 #ij-ia1 #aed1 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,babin #afd ,bachelier1 #afd1 #beg ,baillon1 ,j4 ,b41 #bae ,ballin1 ,claude1 #ff ,banc lit1 #hj ,banquette 7,empire71 #cgh ,banquettes1 7,louis ,,xv471 #bjd ,barjier ,chairs1 #caf ,bason-stands1 7,chippendale71 #bda ,bathroom1 7,louis ,,xv471 #ahc-ahd ,bazanne1 #bhj ,beaufait1 #acj-aca ,beauvais1 #beg1 #bfc1 #bgg ,bed1 alcove1 #aed1 #aih-aii ----1 ,mlle4 d',aumale's1 #gh ----1 bateau1 #cge ----1 camp1 #cee ----1 ,chinese1 #bbh-bbi ----1 couch1 #bcj-bca ----1 ,cromwell's1 #ee ----1 duchess1 #cee ----1 field1 #aed1 #bbi1 #cah-cai1 #cee ----1 ,french1 #ceb ----1 ,gothic1 #bbh ----1 ,hogarth1 #aeb ----1 ,lafayette's1 #cgf ---- 7,louis ,,xiii471 #ai ----1 ,madame de ,maintenon's1 #gh ----1 ,marie ,leczinska's1 #aif ----1 by ,marot1 #abj-aba ----1 ,mazarin's1 #gg-gh ----1 ,mme4 de ,pompadour's1 #ahg-ahh ----1 press1 #cai ----1 7,queen ,anne71 #abj-aba ----1 rhymes about the1 #ef ----1 by ,schbler1 #aii ----1 shell-shaped1 #cgf ----1 sofa1 #cee-cef ----1 tent1 #bbi ----1 truckle1 #ef ----1 ,tudor1 #ee-ef ----1 of ,ware1 ,great1 #ee ----1 see ,lit ----1 curtains 7,jacobean71 #eg-eh ,bedroom1 description by ,shakespeare1 #ec-ed ---- 7,early ,georgian71 #aed1 #aee ---- 7,empire71 #cgc ----1 furniture 7,jacobean71 #eh ---- 7,jacobean71 #ed-ee ----1 ,mme4 de ,pompadour's1 #ahf-ahi ----1 spangled1 #ee ,bedrooms 7,louis ,,xv471 #agj-aga1 #ahc1 #ahe-ahf ,beds 7,chippendale71 #bbg-bca ---- 7,directoire71 #cfh1 #cge ---- 7,early ,georgian71 #aec-aed ---- 7,empire71 #cge-cgf ---- 7,heppelwhite71 #cag-cai ---- 7,jacobean71 #ef-eg ---- 7,louis ,,xiii471 #ai-bi ---- 7,louis ,,xiv471 #gf-hj ---- 7,louis ,,xv471 #ahe-ahf1 #ahi-aij1 #aic-aid1 #aif-bjj ---- 7,louis ,,xvi471 #bfg-bgj ----1 patriotic1 #cfh ---- 7,sheraton71 #cea-cef ----1 sofa1 #bfg ,bellicart1 #beg ,beneman1 #bfb1 #bfg ,brain1 ,jean1 #ff1 #fh1 #gc1 #hd ,bergre 7,empire71 #cgh ----1 fauteuil 7,louis ,,xvi471 #bgh ----1 en gondole1 #cgh ---- 7,louis ,,xv471 #bjh ---- 7,louis ,,xvi471 #bgi ---- 7,sheraton71 #cfb ,bernard1 #aff ,berquin1 #beb ,bertren1 #beg1 #bfc ,biennais1 #cgj ,billiard room1 #agf ,bimont1 quotation from1 #aif ,blanchard1 #afe ,blenheim1 ,pope's satire on1 #ach ,blondel1 #afd ----1 quotation from1 #agd-agg ,boffrand1 ,germain1 #afd1 #agh ,bomb form1 #gd ,bonheur du jour1 #bad ,bonnes grces1 #bj1 #hi-ij ,bookcase 7,chippendale71 #bda-bdb ---- 7,heppelwhite71 #cbe-cbf ---- 7,louis ,,xv471 #bac ,book of ,designs in ,cabinet and ,chair-,work1 #bbd ,bosse1 ,abraham1 #d1 #g1 #i1 #ai1 #fj ,bouchardon1 #afd ,boucher1 #afd ,boucher1 ,j4 ,f41 fils1 #beg1 #bfa ,boudin1 #aff ,boudoir1 #agg-agh ---- 7,louis ,,xv471 #ahj-aha1 #ahd-ahe ,boulanger1 #beg ,boulle1 ,andr ,charles1 #ff1 #gd ----1 clocks1 #hh ----1 furniture1 #gd-gf ,bourgogne1 ,duc de1 clock of1 #bae ,boyle1 ,richard1 #ace ,brackets 7,chippendale71 #bdd ---- 7,sheraton71 #cfj-cfa ,braids 7,empire71 #cgi ---- 7,louis ,,xv471 #bja1 #bje ---- 7,louis ,,xvi471 #bgg ,brass mounts 7,chippendale71 #bbg ,bridgman1 #acf ,brisseux1 #afd ,breakfast-room1 #cch-cci ,british architects1 ,adam on1 #bid-bif ,bufet1 #acj-aca ,buffet 7,queen ,anne71 #acj-aca ---- 7,louis ,,xv471 #afi-agj ---- 7,sheraton on71 #cej ----1 credence1 #aj ,buontalenti1 ,bernardo1 #ag ,bureau 7,jacobean71 #ei ----1 ,mme4 de ,gaudry's1 #he ----1 ,mme4 de ,maintenon's1 #he ----1 ,duchess of ,orleans's1 #he ----1 ,duke of ,orleans's1 #he ----1 cylinder1 #bab ----1 la ,kaunitz1 #bab ----1 ,louis ,,xv4's1 #bab-bac ----1 table 7,louis ,,xv471 #bab ,bureau4 ,see ,desk ,bureaux 7,louis ,,xvi471 #bge ,burjair1 #bjh ,burlington1 ,earl of1 #ace1 #acg ,burlington ,house1 ,piccadilly1 #acg ,buroe dressing-tables 7,chippendale71 #bci ,c ,cabinet1 #aj1 #agb ---- 7,jacobean71 #di-ej ---- 7,louis ,,xiv471 #hg-hh ---- 7,louis ,,xv471 #ahb ---- 7,queen ,anne71 #abh ----1 en niche1 #age ----1 la ,poudre1 #bjb ,cabinet des ,modes1 furniture in1 #bhd-bhe ,cabinet ,dictionary1 ,the1 #cca ,cabinet-maker's ,real ,friend and ,companion1 ,the1 #bbd ,cabinet-maker and 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,,xv471 #bab ---- 7,sheraton71 #cfj ,cane1 #ccd ,caning1 ,sheraton on1 #cfb ,canterbury1 the1 #cea-ceb ,cantonnire1 #hi ,canuc1 #afe ,carlin1 #bfg ,carpet 7,sheraton71 #cch ----1 bedside1 #eh ----1 foot1 #dd ----1 table1 #eb ,carter1 ,j41 #bij ,cartouche 7,louis ,,xiii471 #h ,carving1 #ch1 #ci ,case-of-drawers1 #di1 #ei1 #aed ----1 double1 #aed ,causerie1 #bgj ,cauvet1 #beg1 #bfb1 #bfc ,cavendish1 quotation from1 #df ,caylus1 #afd ,ceiling 7,sheraton71 #cce-ccf ,ceilings1 ,ware on1 #aci1 #adj1 #ada ,celadon1 #bec ,celleret 7,heppelwhite71 #cbb ---- 7,sheraton71 #cdi ,chair1 cabriole1 #cad ----1 conversation1 #cfc ---- 8,cromwell10 #bi1 #fj ----1 crown-back1 #aec ----1 curricle1 #cfb-cfc ----1 double1 #fb ----1 ,herculaneum1 #cfc ----1 ,hogarth1 #aeb ----1 hunting1 #cfa ----1 low leather1 #bi ----1 saddle check1 #cad ----1 ,trafalgar1 #chj ----1 tub easy1 #cfa-cfb ----1 ,voyeuse1 #cb1 #bgh1 #cfc ---- 7,chippendale71 #bcb-bcg ,chairs 7,chinese ,chippendale71 #bce-bcf ----1 dining-room 7,louis ,,xvi471 #bgh ---- 7,directoire71 #cgi-chj ----1 drawing-room 7,sheraton71 #cdc ---- 7,empire71 #cgi-chj ---- 7,french ,chippendale71 #bcc1 #bcd ----1 ,garden1 #bcd-bce ----1 gondola 7,louis ,,xv471 #bjg ---- 7,gothic ,chippendale71 #ace ----1 hall 7,chippendale71 #bcd ---- 7,heppelwhite71 #cab-cae ---- 7,jacobean71 #fj-fb ----1 japanned1 #cad ---- 7,louis ,,xiii471 #bi-cb ---- 7,louis ,,xiv471 #ha-hd ---- 7,louis ,,xv471 #bjd-bji ---- 7,louis ,,xvi471 #bge-bgf ---- 7,marot71 #aai ---- 7,meissonier71 #bji ----1 painted1 #cad ---- 7,queen ,anne71 #aah-abj ----1 rout1 #cfa ---- 7,sheraton17 #cdc-cdd1 #cfa-cfc ----1 at ,versailles 7,louis ,,xv471 #bje-bjg ,chaise longue1 #cb1 #ha1 #bgi1 #chj ---- 7,chippendale71 #bcb ---- 7,empire71 #cgh ---- 7,jacobean71 #ec ---- 7,louis ,,xv471 #bji ---- 7,sheraton71 #cef ,chaises cacquetoires1 #bi1 #ca-cb ----1 comfortables 7,louis ,,xv471 #bjh ----1 meublantes1 #bi ----1 perroquets1 #bi ,challe1 ,simon1 #beg1 #bfc ,chamber1 ,the1 #agj ----1 ,the ,great1 #da ,chambers1 ,sir ,william1 #adi ,chambers1 ,sir ,william1 quotation from1 #adh ,chambre en alcove1 #agc-agd ----1 en niche1 #agc1 #agf ----1 de parade1 #aga ,chandeliers 7,chippendale71 #bde ---- 7,louis ,,xiii471 #cd ,chardin1 #afa ,charpentier1 #bhe ,charton1 #beg1 #bfc ,chedel1 #afd ,cherub1 #aa ,chest 7,jacobean71 #ei ----1 trussing1 #eh ,chests-of-drawers1 #ei1 #cbe ,chests-of-drawers 7,heppelwhite71 #cbe ---- 7,queen ,anne71 #abh-abi ,chest-upon-chest1 #aed ,chest-with-drawers1 #ei ,chevillon1 #afd ,chesterfield1 ,lord1 quotation from1 #acg ,chiffonnire1 #cgb1 #cgg ----1 secrtaire1 #bff ,chimney-back 7,jacobean71 #dd ,chimney-glass 7,sheraton71 #ccg-cch ,chimney-piece 7,carter's71 #bij-bia ---- 7,chippendale71 #bde-bdf ---- 7,jacobean71 #dd ---- 7,louis ,,xiii471 #i-aj ---- 7,louis ,,xiii4-,louis ,,xiv471 #fg-fh ---- 7,queen ,anne71 #aaf ----1 ,ware on1 #adf-adg ,china as a decoration1 #aaf-aag ,china cases 7,chippendale71 #bcg-bci ,chinamania1 ,the1 #aaf-aag1 #bcg ,china-shops in ,england1 #aac ,chinese designs 7,chippendale71 #bbh1 #bbi1 #bca1 #bce-bcf1 #bcg-bci1 #bdb ,chinese fad1 ,the1 #adh ,chinese furore1 #ace ,chinese style1 craze in ,england for1 #ach ,chinese subjects1 #ada ,chinese subjects1 designers of1 #adb ,chinese art1 taste for1 #gc1 #aad1 #aff-afg1 #bba ,chinoiserie1 #gc1 #afa ,chintz1 #dc1 #aed ,chippendale1 ,thomas1 #ace1 #adb1 #adi ----1 carver and decorator1 #bbe ----1 ,chinese designs1 #bbh1 #bbi1 #bca1 #bce-bcf1 #bcg-bci1 #bdb ----1 fondness for japanned furniture1 #bbe ----1 fondness for ,louis ,,xv4 style1 #bbf-bbg ----1 furniture1 #bbb ----1 ,gothic designs1 #bbh1 #bce1 #bda-bdc ----1 little known about1 #bbc ----1 ornaments1 #bbg1 #bbi-bcj1 #bcg1 #bdg ----1 style erroneously understood1 #bba ----1 taste of1 #bbe ----1 theft from ,meissonier1 #bbf-bbg ----1 use of brass mounts1 #bbg ----1 use of mahogany1 #bbe ,choffart1 #beg ,cipriani1 #bib1 #cje ,cisterns1 #bdf ,city and ,country ,builder's and ,workman's 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---- 7,louis ,,xiv471 #ajd-aje ---- 7,louis ,,xv471 #aga-agb1 #agd-age1 #ahb-ahc ----1 petit1 #agg-agh ,saly1 #bfc ,satin-wood1 #ccd ,saunier1 #bfg ,scagliola1 #bia ,scheemakers1 #bfc ,schbler1 ,j4 ,j41 #aii-bjj ,schwerdfeger1 #bfg ,screens 7,chippendale71 #bdf ---- 7,heppelwhite71 #cbb-cbc ----1 horse fire1 #cbc1 #cde ---- 7,louis ,,xiv471 #hh-hi ----1 ,pole fire1 #cbb-cbc1 #cde ----1 ,regency1 #baa ---- 7,sheraton71 #cde-cdf ----1 tripod fire1 #cde-cdf ,screetore1 #ei ,secretary and bookcase 7,sheraton71 #cei-cfj ,serre-papiers1 #bab1 #bac ,settee 7,jacobean71 #fb ---- 7,queen ,anne71 #aai ,shakespeare1 quotations from1 #ch-ci1 #ec-ed1 #ee ,shaving-tables 7,chippendale71 #bda ,shell in ,cabinet-maker's arms1 #abj ,shell1 decorative use of1 #abj ,shelves 7,chippendale's71 #bcg-bci ,sheraton1 ,thomas1 #cca ----1 arrangement of rooms1 #cce ----1 books by1 #cca ----1 cane1 use of1 #ccd ----1 carving1 love of1 #ccc ----1 on ,chippendale1 #bbc-bbd ----1 on colour1 #cce ----1 ornaments of1 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7,louis ,,xiii471 #aa ---- 7,louis ,,xvi471 #bgf ,work-table 7,sheraton71 #ceg ,wren1 ,christopher1 #bif ,wressil ,castle1 #dc ,writing-tables 7,louis ,,xv471 #aij ,z ,zucchi1 ,antonio1 #bib1 #cjd1 #cje ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,changed 8feet long0 to 8feet wide0 on p4 #gh4 #b4 ,changed 8dairy0 to 8diary0 on p4 #aab4 #c4 ,silently corrected typographical errors4 #d4 ,retained anachronistic and non-standard spellings as printed4 #e4 ,enclosed italics font in underscores4 #f4 ,superscripts are denoted by a carat before a single superscript character or a series of superscripted characters enclosed in curly braces1 e4g4 ,mr4 or ,mister4