The furniture of Madame la Princesse de Talmont’s apartment at the Château de Saint-Germain-en-Laye in 1771 consisted of a bed, two settees, eight arm-chairs, two banquettes, two screens, three commodes, four writing-tables, a night-table, a bidet, three chairs, two corner-cupboards, three mirrors and two portières. The wall-hangings were white Chinese satin with figures, flowers, and animals richly embroidered in coloured silks. The same material was used for the bed, screens, sofas and chairs, but the two portières (10 feet, 9 inches long) were of white taffeta trimmed with a silk braid of many colours. The bed, a lit à impériale et à la duchesse, was composed of three outside valances of green taffeta ornamented with a deep lace of gold arranged in festoons; the four inside valances were trimmed in the same style with a narrower gold lace, and these, as well as the ceiling, back, headboard, bonnes grâces, counterpane, and three lower valances were of the white satin embroidered with figures and trimmed with gold lace. There were also two curtains of white taffeta lined with serge. The bed itself with its canopy crosswise was 5 feet, 4 inches wide, 6½ feet long, and 12½ feet high and was equipped with three mattresses, a feather bed and feather bolster. The spread was a Marseilles piqué. The two sofas were each 6 feet long of sweeping and bombé curves, the arms also rounded and adorned with the small cushion on top (manchette). The material was fastened to the frames with silver nails. Each had a mattress and two square pillows, also covered with the embroidered satin. The eight arm-chairs, the two banquettes and one screen were covered in the same style.

The folding-screen of six leaves, was 4 feet high. It was also covered with the same material, and its frame, like the wood of the rest of the furniture already described, was carved and varnished.

One of the mirrors had a border of carved leaves gilded. Its glass was 28 inches high and 21 inches wide. The other two had a gilded border, 4 inches wide; the glass of each was 26 inches high and 20 inches wide. The three commodes were à la Régence, violet and rosewood veneered. Each was surmounted by a slab of Flemish marble, and contained one large and two small drawers. All the mounts, locks, friezes, ornamental chutes, and feet were of bronze gilt. They were 34 inches high, about 4½ feet long, and 22 inches deep. 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 lock, that contained an inkstand and other writing materials. One contained in front a little shelf or flap, 2½ feet wide, covered with black leather and had gilt bronze feet; the other was ornamented outside with flowers applied and was 2 feet long, about 18 inches wide and 26 inches high. The other writing tables were 2 feet long, 15 inches wide, and 26 inches high. The night-table was of cherry-wood inlaid with threads of amaranth wood with a slab of Flemish marble. This was 27 inches high, 17 inches long and 11 inches deep. The bidet, 18 inches long, 15 inches wide and 10 inches high, was of cherry. Its top was a tabouret colored with red leather put on with gilt nails. The two corner cupboards were of various Indian woods veneered, and had tops of Flemish marble. In front were two doors that locked. The feet and ornamental metal and key-plates were of bronze gilt; these were about 30 inches high and were surmounted by a series of four shelves, 28 inches high and 11 inches square.

In 1729, a complete set of “Persian” furniture consists of hangings for the wall, a lit de repos, four fauteuils à bergère, two chairs with backs, two portières and a window-curtain. The “Persian” was a kind of figured chintz with a white background. The lit de repos en Ottoman was 10 feet long and 3 feet deep, and was equipped with a mattress, 2 bolsters and 6 square cushions, all covered with “Persian.” The two portières were of two lengths, each 7 feet, and were trimmed with a blue and white silk braid, and lined with white English taffeta. The window-curtain of the same was 7 feet, 10 inches long, containing three lengths. The seats were all covered similarly.

In 1730, a furnishing for a cabinet described as “mi-party of brocade of silver background on which are gold branches outlined in musk-colour, and crimson damask trimmed with gold,” consisted of wall-hangings, a niche, two portières, two lits de repos, an arm-chair, twelve folding-stools and six small and low folding-stools. The two portières were in two parts each; each half containing three half-lengths of brocade and two lengths of damask (3 ells long), trimmed all around with a deep gold braid and lined with crimson taffeta.

“The niche, in the form of an armoire, serving as a shelter for a lit de repos,” was hung outside with five lengths of brocade and three of damask (8 feet, 7 inches high), trimmed at the top, bottom and sides with a golden braid. Inside were five lengths of brocade and four of damask. Two curtains hung before the niche, each containing three half-lengths of the brocade and two lengths of damask (8 feet, 4 inches high). These were trimmed with gold braid and fringe, and lined with crimson taffeta. There were also two valances for the niche, one outside and one inside. The outside one was of the brocade and damask mi-party, the inside one of crimson damask. They were bordered with gold braid and fringe. Above the niche were four carved vases of flowers to serve as “pommes.”

The lit de repos that was placed in the niche was 6 feet long and 2½ feet wide. It was furnished with two mattresses, two bolsters and two square pillows. The valances and coverings were of the brocade and damask, trimmed with gold braid and fringe. The cushions were ornamented with gold tassels. The other lit de repos, 7 feet long and 2½ feet wide, was similarly draped. The fauteuil and folding-stools were covered with a square of crimson damask, bordered with a band of the silver and gold brocade. The frames were painted red, picked out with gold.

A furnishing of 1730 was of lemon-coloured leather, framed in red leather in large compartments, bordered with a narrow braid and cord of silver. The furniture included a sofa, two forms, twelve tabourets and a folding-screen of six leaves. The sofa was 7 feet, 8 inches long, 25 inches deep and 3 feet, 9 inches high from top to floor. The frame was carved and lacquered, and the leather was fastened to it by means of silver-headed nails. The screen was covered in the same fashion.

We also hear of a set of furnishings, dating from 1732, of white silk with a pattern of honeysuckle branches, with other ornaments forming cartouches of cut-out green taffeta. This was used for covering two arm-chairs, two square pillows, twelve folding-seats, and two screens, as well as for draping the bed and for the wall-hangings. The latter were 3 ells high in 27 lengths. The arm-chairs were trimmed with green silk braid, and the material was fastened by gilt-headed nails to the frames, which were carved and gilt, with curving arms and backs. They were furnished with square cushions, which were adorned with green silk fringe and green silk tassels. The bed was Impériale et à la Duchesse, and stood lengthwise. It was 12 feet high, 6 feet, 10 inches long, and 5 feet, 8 inches wide. It was draped with three outside valances, four inside valances, festooned, a headboard with sweeping top, inside and outside bonnes grâces, counterpane, three lower valances and two curtains of 16 lengths each. All of these were of the white silk with the honeysuckle pattern and green cartouches. The bonnes grâces were looped back and held by two ornamental hooks. On the top of the bed there were four consoles for “pommes,” bearing altogether eighty feathers.

This bed was equipped with four woollen mattresses, a down bolster, a red blanket, a white English blanket, a Marseilles counterpane piqué, a wadded quilt and a coverlet of white silk lined with taffeta.

The cabinet was furnished in the same material, which was used for two portières, two window curtains, a sofa, two arm-chairs, twelve folding-stools and two screens. The sofa was 6 feet long, with curving wings or cheeks, the frame carved and gilt. It had a mattress and two square cushions. The portières, 9 feet, 7 inches long, were lined with white silk, each containing three lengths of material. The windows were 12 feet, 10 inches high, and the curtains contained each two lengths.

The above detailed descriptions will enable anybody to furnish a Louis XV. room in the most fashionable and sumptuous style.

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 XV. period. 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 XXXII., Nos. 2, 3, 4 and 5. These elements were elaborated in a hundred various ways. This kind of curved ornament used on large pieces of furniture is exemplified in the sketch No. 1 on the same plate. This is a big china cupboard, or double-bodied buffet-vitrine. It is far more sober in its ornamentation than many objects of this class of the Louis XV. period. It was made in Liège.

On the same plate is a beautiful bras de lumière in gilded bronze by Caffieri, with arms for candles. The branches twisted in moulded volutes, enriched with acanthus, palm and oak leaves, flowers and buds, spring with masterly management from a central stem which is robust and in entire harmony with the dimensions of the whole. It is about 32 inches high.

The change from the Louis XV. to the Louis XVI. style, though marked, was by no means violent or sudden. Chairs and settees are often found with clearly defined transitional features in the mouldings and ornamentation of the framework. Some of the Fontainebleau furniture covered with tapestry from Boucher’s designs has the straight grooved leg and other Louis XVI. characteristics. On Plate XXXVI., Nos. 3, 4, 5 and 7 are shown the details of a charming causeuse of the transitional period. The general disposition preserves the undulous flexions of the Louis XV. style, and the details of the carving (bunches of flowers) obey the law that proscribes those parts that are too prominent and likely to form too sharp angles. The central cluster on the top of the back, No. 3, soberly follows in its flowers and leaves the Louis XVI. sweep, being in very low relief like the cluster No. 4 that heads the middle leg. The general interlacings that run round the entire framework are also in very low relief. This motive, borrowed from passementerie, harmonizes excellently with the surfaces covered by the woven stuff. No. 5 shows the sections, curves and deep grooves of the mouldings of the arms.

Towards the end of the Louis XV. period, the feet and general outlines of the chairs and other furniture become more restrained and less curved. The straight line that gradually asserts itself, and the knots of ribbon, shepherds’ and shepherdesses’ hats, crowns and garlands that appear as motives announce the coming style Louis Seize.

The bed was of many varieties. The great lit d’ange is still met with, but alcove and sofa-beds are far more popular. One of the new varieties of the latter was the lit d’anglaise, which seems to have come into fashion about 1750. This had three backs, or rather a back and a headboard and footboard. In his Principes de l’art du tapissier, Bimont says “the lit d’anglaise can be used as a sofa at need. Care must be taken that the backs fold exactly one over the other, which, of course, is a matter of mechanical excellence.”

The lit à la polonaise had four columns and a canopy. Sometimes the canopy was decorated with a little graceful carving. A “pomme” or a bunch of feathers, ornamented the centre and each corner of the canopy. Houdon, the sculptor, had a lit à la polonaise draped in yellow Indian damask trimmed with braid, the woodwork of which was carved and painted white. One of these beds, with a carved and gilt frame hung with crimson damask, was sold for 3,000 livres in 1770; another, for 2,500 livres in 1777; and a third for 1,100 livres in 1782. Sometimes the frames were made entirely of iron and draped.

The lit de duchesse was also popular. In 1743, when the Queen’s bedroom was refurnished for Marie Leczinska, a lit de duchesse was provided. The Duc de Luynes says: “This bed is of white silk, embroidered and painted. The bed is not composed of four posts, as all the Queen’s beds have been up to the present. It is what is called à la duchesse.”

Another favourite was the lit en ottamane which dates from about 1765. One is described as a “lit en ottomane” of 5 feet, the dome and the rest of the woodwork carved and gilt and the counterpane, the curtains and the interior of cherry-coloured Indian damask.

Another, in 1770, was of “blue and white moiré, 3½ feet wide, en ottomane, the wood carved and picked out with blue.” The lit en ottomane was a variety of the lit de repos.

The lit à romaine, which became popular about 1760, had a canopy and four festooned curtains. The lit à tulipe was similar to the lit à arc, or lit à flèche; only, instead of an ornamental arrow fixed to its pavilion, its decoration was a bronze, copper or gilded tulip from the hanging bell of which the curtains seemed to fall. The lit à la Turque, in fashion from 1755 to 1780, was a sort of sofa with three backs; a variation was introduced about 1766. The lit à tombeau (see Plate XXXVI., No. 8) was also a favourite. The two posts at its foot were shorter than the two at the head, and the canopy had in consequence a somewhat sharp slant. It much resembles what in England was called a “single-headed couch or field bed.” The lit à double tombeau had posts of equal height and the curtains fell down the sides in equal slants.

We also find among the beds of the day (1751) a lit en baldaquin of crimson damask, composed of a little canopy, two small and one large valances, a large headboard, counterpane, two backs and two hooks. It was 3½ feet wide and 6 feet long, and was equipped with two wool mattresses, a feather bed and two feather bolsters.

Another lit en baldaquin had its canopy, two small and one large valances and headboard hung in green and white stripes while the two large curtains (5 lengths each, 7½ feet long) were of green serge.

A lit à chassis (canopy bed) was draped entirely in a green and white striped material. It was composed of a canopy, four small and three large valances, two lower valances, a headboard and a counterpane. The frame was 9 feet, 8 inches high, and 4 feet wide.

Another lit en chassis en l’air had its four small valances, headboard, counterpane, two large curtains and two bonnes grâces of green serge and its three large valances and three lower valances of green and white stripes.

The lit de repos, a kind of chaise longue or couch, made for lounging upon and of which examples have already been given on Plates VIII., XIII., XVIII. and XX., becomes in this reign even of greater importance. Sometimes two of them occur in a bedroom or boudoir. One of these is represented in the niche or alcove on Plate XXIX.

A suggestion for a beautiful alcove bed may be taken from one dating from 1732. This was equipped with a mattress, two bolsters and two square pillows, and had three backs, all covered and draped with white satin embroidered in poppies of natural hues, and ornamented with a braid of silk embroidery. The feet of the bed were in the form of consoles, carved and varnished. The room in which this was placed, also contained a fauteuil of beech, carved, upon the cane back and seat of which was a cushion covered with the poppy-embroidered satin. Two similar cushions furnished a chair of acacia and fine straw, and the same material was used to cover two banquettes or forms, of beech, carved and varnished, and having hinds’ feet.

The first alcove beds were called lits en niche, and they were always lits de boudoir rather than beds for the sleeping room. In many old designs, curtains are lacking and the bed is adorned merely with a lambrequin, or a drapery across the façade of the niche or alcove, this drapery being similar to the covering of the bed itself, which is sometimes in the form of a lit de repos or a sofa.

Some alcoves under the reign of Louis XV. contained a bed vu de pied that stood very low and whose feet projected into the room. One of this kind was in the Hôtel de Soubise; and the model may be seen in many old designs.

An extreme example of the rococo decoration of a bed is shown on Plate XXXIV. This is by J. J. Schübler, who died in Nuremberg in 1741. Schübler, an architect, painter, sculptor and mathematician, was also one of the most famous masters of decorative design of his day. His original drawings include French beds, cabinets, alcoves, grates, mantel-pieces, writing-tables, toilette-tables, clock-cases, commodes, chaises longues, dining-room tables, candlestands, dressoirs, lustres, étagères, consoles, jewel-cases, buffets, fountains, garden-ornaments and grottoes. His collection of 150 plates passed through twenty editions. His works often resemble those of Paul Decker, another celebrated German master, who died in Nuremberg in 1713; and, just as Decker is a German exponent of the late Louis XIV. emerging from the influence of Bérain and Lepautre into the style of the Regency, so Schübler exhibits the transitional stage between the Regency and Louis XV. as filtered through a German mind. Two of Decker’s designs are shown on Plate XXXIII., Nos. 1 and 2.

A bed of the late Louis XV. period also appears on Plate XXXIV., No. 2, showing the correct arrangement of the canopy and draperies above the sofa.

Window-curtains were of great importance. They hung from a cornice which was carved, more or less ornately, in curves, scrolls and other characteristic motives. Occasionally the curtains were of muslin or gauze, but more frequently of silk, damask, brocatelle or “Persian.” They were of a solid hue, or a mixture of two or three colours. The designs of these rich materials were much smaller in pattern, as a rule, than those of the preceding reign and they were far gayer in colour, for all the crimson, gros bleu, gros vert and other dark shades gave place to the light hues of rose, pale green, pale blue, jonquil, yellow, etc.

The shapes and folds into which the curtains were cut and draped were spirited, fantastic, and even coquettish, in order to harmonize with the general character of the decorations and furniture, and it required the greatest skill on the part of the decorators to loop and tie them into the correct knots, shells, “choux,” “volants,” etc., to give them the proper effect and light, half frivolous air.

The lambrequin, which was extremely popular, differed from that in use in the reign of Louis XIV. It was less severe and straight, being cut more freely in order to accord with the cornice that surmounted it. Instead of the rounded scallop, it often terminated in points, to each of which a tassel was hung. Braids took the place of lace in trimming, and the favourite fringe consisted of twisted strands of mixed colours. The ravelled-out fringe, long so popular, at last disappeared. An example of the pointed drapery is shown in the Schübler bed on Plate XXXIV.

The commode was universally used in the bedrooms and boudoirs. It generally stood opposite the mantel-piece. It is now a superb piece of furniture, being, as a rule, richly decorated with gilt bronze or moulu and often painted and lacquered in the Chinese taste,—in Vernis Martin. It was the famous Cressent who made the Commode à la Régence, à la Chartres, à la Bagnolet, à la Charolais, à la Harant and à la Dauphine fashionable. One of Cressent’s commodes, sold in 1761, was thus described by himself: “A commode of a pleasing contour, made of violet-wood, having four drawers and ornamented with bronze gilt, or moulu. This commode is a work (with regard to the bronzes) of an extraordinary richness; they are very well executed and the distribution of them very fine; among other things, you notice the bust of a Spanish woman placed between the four drawers; two dragons, whose tails turned up in relief form the handles for the two upper drawers, and the stems of two great leaves of a beautiful form are also turned up in relief to make handles for the two lower ones: you must admit that this commode is a veritable curiosity.”

Another of Cressent’s commodes owned by the Baron Rothschild in London “is of a most elegant form upon which the bronzes of an extraordinary richness represent, on the front, two children swinging a monkey.” Jean Jacques Caffieri also made superb commodes. One of his, ornamented with superb bronzes in the rocaille style, is in the Wallace Collection which also owns a commode by Cressent. Sometimes the commode was ornamented with panels of rosewood, or violet-wood, or some other exotic product, framed in spiky bronze work, or again, it was of lacquer, the designs being flowers, leaves, Chinese pagodas and landscapes.

Two commodes are represented on Plate XXXV. The lower one is made of violet-wood with ornaments of chiselled copper, Nos. 2a and 2b show the handles and the end of another by Pinaud. This dates from 1750. The decorative details are of gilt copper and show the mascaron and gracefully twining leaves. The handles and key-plates are hidden by the ornaments. The key-plates of the two drawers are different, as will be noted. On the upper one, a woman’s head is represented, while the lower one has a fine shell. The third ornament below these is a shell with the favourite device of dripping water. A commode dressing-table appears as No. 12 on Plate XXXVI. The foot of a chest-of-drawers with beautiful ornamentation of chased and gilded copper, is on the same plate, No. 11. At this date the Cabinet de toilette is often called the Cabinet à la Poudre, the name not needing a definition when we recall the numerous pictures and caricatures of the fashionable lady seated before her glass, with her coiffeur, or femme de chambre, mounted on a stool, or ladder, busy working on the towering headdress. The toilet table was a commode or a simple table spread with linen, silk, or lace over silk, and above which was hung a glass. Frequently lace, muslin, chintz, or silk, was looped over the table and caught back by knots of ribbon, artificial flowers, or gilded figures of Cupids, or dolphins, or some favourite device of the day. The small chiffonnier with drawers, made of marquetry, or Vernis Martin, and ornamented with gilt bronze or moulu mounts, dates from this period.

The armoire is still in use. In 1760, we hear of the lower part of a large armoire in the form of a bookcase, of violet-wood veneered in mosaics. It was 7½ feet long, 4 feet high, and 26 inches deep. The interior was divided into three compartments and a long shelf covered with crimson watered silk. In front were three doors, the middle one of which was enriched with a large medallion, bronze gilt or moulu, representing Minerva holding in her right hand a compass with which she is measuring a globe, on a background of lapis lazuli painted. The other doors were decorated with trophies in bronze gilt or moulu representing mathematical instruments. On the ends were cartouches of bronze gilt or moulu of various Chinese plants. The bookcase was ornamented with hasps and mouldings also of bronze gilt or moulu and stood on six feet, the four front ones being square and the two in the back round.

The form is still in use. In 1750, the archives of Versailles mention: “seven formes de moquette with coloured flowers on a white background, 5 or 6 feet long, and from 2 to 4 feet, by 18 inches high, and 15 inches wide, nailed with gilded nails, to serve the Queen at the grand couvert.”

These were also known as banquettes as early as 1732. In 1770, there is mention for the service of the King, of “nine banquettes covered with crimson plush 6 feet long and 17 inches wide to be used at the grand couvert” also, in the same year, to serve in the Salle de spectacle amphithéâtre, four banquettes each having two elbows, covered with blue velvet garnished with gold braid nailed on with gilt nails, the wood painted blue picked out with gold.

The frames of the chairs and arm-chairs of this period were not only carved and gilt, but were painted or lacquered as well. Sometimes one colour only was used, which was brightened by threads of gold, or white, or some gay hue harmonizing, or contrasting, with the upholstery. Sometimes the wood was painted in several colours, and often, too, another kind of painting, known as camaïeux,^[18] was used. Simpler arm-chairs, and chairs that were met with in the drawing-room were of natural oak, or beech, polished with an encaustic. In the same room with the large arm-chairs smaller ones are often found. These were known as cabriolets, probably owing to the ease by which they were moved about, as well as to their shape. In general design, the cabriolet was like the large arm-chair, but it was even more curved, more arched, and more exaggerated than its parent. The elbows too were more wavy and were always of a most graceful sweep. At the beginning of this period, the back was of the form of a violin, but later the medallion form became more popular. The upholsterers studied the proportions of the smaller chair as they did the large one, and gave the seats less thickness and a more square, or a rounder effect, according to the form and proportions of the seat and back, as well as the curves of the whole frame. The small arm-chair was placed in front of, or at the side of, one of the great arm-chairs in the drawing-room or boudoir. The cabriolet had to agree with its large companion either in its frame, or else its covering had to be of the same material.

The arm-chair (fauteuil) is represented on Plate No. XIII.

These chairs and sofas were upholstered with many of the textiles used in the reign of Louis XIV. One of the most popular coverings was Gobelin or Aubusson tapestry representing the graceful designs of Watteau, or Æsop’s Fables. Utrecht velvet and Lyons damask with floral designs were also popular, as well as silk brocaded with coloured flowers. Sometimes a braid or lace (a very favourite pattern being the rat-tooth, “dent de rat”) was used to hide the nails; but the material was also tacked to the frames by gilt-headed nails placed so close together that they touched one another.

A typical pattern of the period is shown in the sofa on Plate XXXII.

Turning now to special descriptions of chairs at Versailles, we find in 1722, “two fauteuils of varnished walnut and open-work cane; the manchettes (elbow-cushions) and backs upholstered in lemon-coloured leather,” the backs curved; three fauteuils of varnished walnut wood and cane with sweeping backs and console feet, and carved with several ornaments; twelve chairs with backs, of cherry wood and open-worked cane, the backs having sweeping curves and feet in consoles, carved with various ornaments, including shells. The latter stood 39 inches high, including back, the seats measured 16 inches. In 1729, “six fauteuils of cane and cherry-wood carved with several ornaments and varnished, the backs curved and the elbows cushioned.” They were upholstered in red leather with a braid of gold, nailed with gilt-headed nails. Also “four fauteuils of beech-wood, varnished and cane, had curved and carved backs ornamented with a carved border all around the seat, the arms also carved at the ends.” These were upholstered in lemon-coloured leather fastened with silver-headed nails placed close together.

In 1730, there were “fourteen chaises à la Reine, covered with crimson and gold damask, the frames carved and gilt.” Also “three chaises à la Reine covered with crimson and gold damask nailed to the frames with gilt-headed nails, very close together, the frames painted red and gold;” also “four fauteuils and two tabourets of walnut covered with black leather;” and finally a chaise d’affaires, the frame on a background of black lacquer and “aventurine de Japon,” with landscapes and birds in relief in colours and gilt in the borders, a mosaic of mother-of-pearl and copper wire à la Chinoise. The chair was lined with red lacquer, and the cushion was green velvet. This remarkable chair was 19 x 15 inches wide and 19 inches deep. The chaise à la Reine, mentioned above, had a very low seat with a very high back.

In the same year, there are two fauteuils, Chinese style, painted at the Gobelins, with cartouches, representing figures, birds, Chinese houses, etc. The border was of carved and gilt wood, the feet hinds’ feet, the backs ending in a shell, and the seats and backs covered with crimson damask.

In 1736, two banquettes of beech-wood, delicately carved and varnished, 24 inches long, 14 inches deep and 15 inches high, have seats of cane, each supplied with a hair cushion covered on both sides with crimson damask, tufted. There were also three tabourets like the above, only shorter,—16 inches long, 14 inches deep and 16 inches high.

In 1737, a tall chair of beech lightly carved appears, the curved back filled with cane, and the seat, lemon-coloured velvet fastened with silver-headed nails, standing on four hinds’ feet. Two little chairs of gilt cane, the backs curved, the wood delicately carved and gilt are also mentioned.

In 1751, six chairs of fine straw were made, each with two cushions for the seat, the back of crimson damask, tufted; and six folding-stools covered with crimson damask garnished with a gold fringe, the wood painted red picked out with gold, for M. le Dauphin.

Several arm-chairs of a new shape appear. One, usually placed by the hearth near the fire, is of the “gondola” form. The ornamentation, of course, followed the general style of the room. This is the period at which they began to take the name of fauteuil de bergère, or marquise (see Plate XXXVI., No. 1). The bergère, or “burjair,” played a very important part in the new styles put forth by Chippendale, Ince and Mayhew, Heppelwhite and others. It was, as a general rule, quite large, wider than it was deep, and the seat was not very high from the floor. The bergère was sometimes accompanied by a tabouret, which was placed immediately in front of the chair, and made of it a kind of chaise longue.

In this reign arm-chairs were also made, especially for desks. Until this time, they always used any ordinary chair, or arm-chair at the desk. The new arm-chair for this purpose was of the “gondola” form, usually with back and seat of cane, the elbows adorned with cushions (manchette) and covered with leather. This chair spread out even more generously, and the legs were balanced as follows: one was placed directly under each elbow, a third directly in front, and the fourth in the centre of the back. Some of these arm-chairs were equipped with a removable leather cushion.

The first chaises comfortables followed the model of the gondola arm-chairs; the wood, or rather the moulding of the back, served as a framework for more or less simple garniture. The feet were either grooved, or of sabre form.

Dining-room chairs were specially designed, and followed the general form of the drawing-room chairs. As a rule, they are covered with leather. Tapestry is met with also, and “Persian.”

A fauteuil de commodité 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 pens, ink, etc. On each side of the chair, two sconce-arms for candles were adjusted. The chair and cushion were covered with blue leather.

Leather was quite popular for covering furniture. One set, consisting of a sofa, two banquettes, twelve tabourets and a six-leaved screen, were upholstered in red leather, with applied ornaments of yellow leather edged with a narrow gold cord.

Characteristic chairs are shown on Plate XXIX. and Plate XXXIII., Nos. 3, 4, 5, 6, and 7. These are by Meissonier.

The very handsome canapé shown on Plate XXXII. is also one of Meissonier’s productions. This was designed for Count Bielenski. The frame was gilt.

The canapé confident consisted of a sofa which had from two to four places, and at each end by the elbows, there was another seat at the corner rounded off. It was supplied with an elbow at the other side. The effect was as if an arm-chair had been placed at each end of the sofa at right angles. It was a very popular piece of furniture.

The chaise longue is sometimes composed of two sections; one, a kind of very deep fauteuil with two elbows; the other, a kind of tabouret, which also had a small back against which the lounger placed his feet.

The example on Plate XXXIII. is of carved wood with cane seat and backs.

Another kind, with a “gondola” back, was known as “duchesse.”

Typical mirrors appear on Plates XXX., XXXIII., and XXXV. The full drawing on Plate XXXV. is the earliest, being an example of late Louis XIV. It is surrounded with an ornate border of carved and gilt wood, showing leaves, branches, stems and an indented fronton, surmounted by shells. It is interesting to compare this mirror with Chippendale’s on Plate XLII., which also has panels of glass. Nos. 1 and 2 on Plate XXXIII. come next in chronological order. These are by the German, Decker, to whom reference has been made on page 199. Both are dated 1700. The lower one has the mascaron, shell and chute of leaves, or husks, for its chief ornaments, while the scroll somewhat timidly, although strongly, asserts itself. This has no sconces. On the one above it the scroll is more assertive. The mascaron surmounts it, and the chute of leaves is much heavier and shorter. The three sconces, two of which only are visible, spring from the shell, but they have not become as yet very branched. The sconces really belong to the whole design in the example No. 1 on Plate XXXV., the chief decorations of which are the mascaron, the shell and the scroll. A still more elaborate specimen, by Pinaud, appears on Plate XXX., No. 2. The curve here is delightfully exhibited, almost as if the presiding genius in the winged helmet had taken a mischievous pleasure in its convolutions. Here we have not only the leafy scroll playfully twined, but the old ear-motive known to the decorators of the Louis XIII. age (see page 5) appears, through which a winged serpent, or dragon, twists,—himself a series of curves. Below the head of Mercury is carved his emblem,—the Caduceus. Another “illuminary” appears on Plate XXXVI., No. 2. No. 3 on Plate XXX. represents the frame of a large toilet mirror by P. Germain.

Another finely carved and gilded frame is that of the screen on Plate XXX., which dates from the Regency. It is composed of shells and scrolls, and a monkey sits on the top of each upright. Unfortunately, the feet have been lost, and the screen is supported on ordinary blocks of wood. The covering is of the same period as the frame. It is brocaded silk, with flowers, leaves and peacock feathers.

The mirror was not the only ornamental wall-decoration that was made use of to carry candles. Sometimes the bracket that held a china ornament, or ornaments, was pressed into this service. The “console for porcelain,” by Pinaud (No. 4, Plate XXX.), is furnished with a sconce-arm on either side of the pedestal that supports the handsome piece of china, or vase. Another “console for porcelain,” also by Pinaud, appears on the same plate as No. 6. This is purely for decoration and has no branches for illumination. Upon it stand a beaker and two small cups. The chief decorations are the mascaron, which here seems to have horns, and a snake, which twists himself around the two scrolls, placed back to back, and threatens the mascaron with open jaws.

Another beautiful frame for a rich piece of porcelain is shown on Plate XXX., No. 5. This is a species of pier-table and is a fine example of Meissonier’s Regency work. The straining-rails form a kind of bracket for a china vase, while the shelves above afford opportunity for the exhibition of smaller treasures.

Another handsome piece of furniture for the display of porcelain is the encoignure (No. 9, Plate XXXVI.), made to stand in the corner.

The tall torchère, or standing-candlestand, on Plate XXXI., No. 3, shows a well-balanced combination of the mascaron, scroll, shell and leaf.

Two superb examples of console-tables occur on Plate XXXIV. These are of carved and gilded wood. The full drawing is one of Cuvilliés’s designs, and shows a bewildering combination of scrolls as a background for the beautiful carving of flowers and leaves. In the foreground a dog attacks a very savage dragon, whose wings bristle with anger and who darts forth his forked tongue. The other frame, No. 1, is by Pinaud, and though far simpler, is quite as effective. The scroll is most gracefully combined with the shell, and here again we have the ear (see page 210), through which a winged dragon, with a most expressive face, has slipped himself. An early console support is shown on Plate XXXVI., No. 6.

The bureau, or desk, assumed great importance in the reign of Louis XV. The long bureau-table was still made, and sometimes at one end of it was placed a tier of ornamental shelves and pigeon-holes that was known as serre-papiers. Also in this reign the cylinder-bureau, with a roll top, came in to favour. It is sometimes said to have been invented by Prince Kaunitz. In contemporary writings, this special form of desk is frequently called “bureau à la Kaunitz.” The most famous desk of this period, however, is the “grand bureau secrétaire du roi Louis XV.” that was made for the King from the design of Œben, who died before it was finished. It was completed by Œben’s successor, Riesener, who had been his apprentice. This appears on Plate XXXI.

It is made of rosewood and amaranth and richly decorated with marquetry representing flowers, leaves and the attributes of royalty and poetry. Above the cylinder top that hides the pigeon-holes, is placed a horizontal ornament composed of rods twined with ribbons, and above this is an open-worked gallery, broken by figures of Cupids playing above a little clock. On each side of the cylinder, a figure of gilt bronze holds a girandole of two branches, each terminating in a floral cup for the candle, something like the bras de lumière on Plate XXXII. One figure is Apollo and the other, Calliope. The bronzes were modelled by Duplessis and Winant, and chiselled by Hervieux; and in addition to the ornaments already described, there are swags of leaves, knots of ribbon and decorations on the legs and feet,—all of or moulu. For many years these bronzes were attributed to Caffieri. This work is signed “Risener fa, 1769.”

A very interesting example of a low glass book-case and serre-papiers appears as No. 2 on Plate XXXI. The serre-papiers, surmounted by a clock, stands upon a very characteristic table. On either side of it is placed a low bookcase with glass doors, the top moulding of which suggests the shape of a wing, or bow. This is flanked by a panel, above which is another panel. The wall space above the bookcase and behind the serre-papiers is intended to be hung with tapestry, or damask.

A table, similar in general form to the one on which the serre-papiers just described stands, appears on Plate XXXI. This is a Regency piece, with its slightly curving legs, hinds’ feet, and or moulu ornaments. The arrangement of scrolls in the centre of the drawer is very characteristic. No. 1 on the same plate gives details of the ornamentation at the sides under the slab.

There were many varieties of desks, cabinets, jewel-cases, etc., designed especially for the boudoir. Some of these have already been described. A “petit-bureau,” however, is shown on Plate XXXIII. This is known as “bonheur du jour,” and is made of sycamore, ornamented with chiselled copper appliques and plaques of Sèvres porcelain. The foot is decorated with “leaf-shoe” of gilded metal, also characteristic of the age.

One of the many varieties of card-tables appears on Plate XXXVI., No. 10. This has the hollows for counters and candlesticks.

Nothing more impressively decorative in its proper surroundings can be imagined than the tall clock of the Regency and Louis XV. period. In houses of the present day, a tall clock is set up in some corner entirely irrespective of the wall-decoration of the hall, or room. The Regency clock was strictly in keeping with the general decoration, and deserves something better as a background than poor panelling, or vulgar printed paper. It requires a wainscot with solid mouldings, severe and well studied lines, and a high ceiling. A somewhat plain specimen of the period, in carved oak, is shown on Plate XXXII.

Two other clocks appear on Plate XXX. The full drawing is a pendule d’applique, the frame of which is most ornate. It stands on a console of carved and gilded copper. The detail No. 1 on the same plate is a clock appropriate to stand on a bracket, chimney-piece or table. Its frame consists of bold sweeps with a fine display of scrolls, leaves and shells.

The Duc de Bourgogne owned a very fine clock of black marquetry and copper, with ornaments of bronze in colour. On the top of the case, a satyr was seated on a rock, holding a pipe in his left hand. The base ended in rock-work, brightened with coloured copper ornaments. The dial was of copper, the hours were enamelled, and the clock struck the hour and half hour, and ran fifteen days. It was 2 feet, 11 inches high, and the dimensions of the foot were 9½ inches high by 13 inches wide. Juhel was the maker at Versailles.

Madame Henriette owned a clock in 1746 that was made by Jean-Baptiste Baillon. It was 1 foot high and 6 inches wide. The case was of bronze gilt or moulu and carved with leaves and ornaments. Among the latter were a lion’s head and a Cupid. The feet were of the console form. The dial was enamelled.

Another, by the same maker, is described in 1745 as “a beautiful gilt clock or moulu, the frame of which is enamelled and the hands of bronze gilt, standing on two consoles, ornamented with palms, in the centre of which is a woman’s masque. Mosaic ornaments decorate the sides, as well as two bouquets of flowers. The top is surmounted by a Cupid holding a scythe in his left hand. The foot is gilt bronze of rocaille work, flowers, plumes, two dragons and the head of Boreas. Including the foot, it is 4 feet high and 14 inches wide.”

About this time, two of the King’s daughters bought a clock of bronze gilt and porcelain, 21 inches high, made by Godin. On the front was a shepherd with his dog, and a parrot perched on a gold tree, from which hung several cherries. The base was an irregularly shaped cartouche framed in leaves. The dial was enamelled and surmounted by a little carved Bacchus.

The list of new furniture of Versailles for 1752 mentions a clock “in the form of a lyre of bronze gilt or moulu, the lyre surmounted by a sun and flanked on each side by two terms of women, ending in scrolls that united at the base to form a sort of shield or cartouche of rocaille, with festoons of leaves; the dial enamelled on copper gilt; 2 feet, 10 inches high, and 17 inches wide.”

In 1763, the King owned two splendid clocks, the cases of which were violet-wood and rosewood veneered. One of the clocks was solar, ornamented with attributes of Apollo in or moulu and surmounted by a perfume-box and ornamented with garlands. The other was lunar, with symbols of Diana. It was also surmounted by a perfume-box, and was ornamented by a star. Each clock was 7½ feet high and 21 inches wide.

In 1774, in Madame Sophie’s sleeping-room was a clock by Tolleverk of Paris, which could run for 15 days and which struck hours, and half hours, besides containing a chime of bells that played thirteen airs. The dial was 4½ inches in diameter and the hands were of gold. The case was surrounded by garlands of laurel held at the top by ribbon. On the right of the base was a celestial globe and the figure of a woman whose head was encircled by stars. She held a trumpet in her right hand, while her left rested on the clock; on the left, was a T-square, a compass, and other mathematical and scientific instruments, and three volumes besides. The whole was of bronze gilt or moulu and measured 16 inches in height, 16 in length, and 17 in depth.