The Louis XVI. acanthus is less free, the general flow of the leaf being in one direction The parts of the leaf are not separated, as much as in either of the other styles, but each lobe is divided and serrated. The edges are not sharp, but are rounded somewhat.

The acanthus is only one of the many ornaments employed. In Louis XIV. work there usually appears a series of small pendant bell flowers. The upper is the largest, the others diminishing in size downward. At times they are used in conjunction with a radiating scroll ornament resembling a conventionalized scallop shell, or crown, usually composed of five or seven rays ending in a scroll. A similar ornament is sometimes used as a head piece for masks and busts. Later, during the Louis XV. style, this becomes a fully formed shell. The head of a satyr or faun in brass is applied at the upper end of table legs and the cloven hoof is used as a foot.

LOUIS XV. METAL ORNAMENT.

LOUIS XVI METAL ORNAMENT.

LOUIS XV. END OF MOULDING AND SHELL ORNAMENT.

LOUIS XIV. SHELL AND HUSK ORNAMENTS.

Bronze applique ornaments, representing the Medusa's head or mask, crowned by the rays mentioned above; trophies with a monogram; coats of mail, etc., are common, though they are not confined to the style of Louis XIV.

The conical stub foot, either ornamented by spiral flutes, acanthus or turned mouldings, and the hoof, seem to be a usual support for Louis XIV. cabinets.

A popular ornament for Louis XIV. inlay is an irregular scroll resembling the tendrils of a vine.

Louis XV. ornament abounds in shell and scroll work, intertwined with wreaths, garlands and naturalistic flowers, the whole resembling a series of C's linked together. The end of nearly every scroll or curve is a leaf, either half or fully developed, and centre ornaments are often a shell, from which branch out scrolls and curves.

The head of a female figure or a satyr, used extensively during the Louis IV. period, is replaced by a combination of scrolls and leaves, with possibly a group of flowers or a shell introduced as a centre motive.

Chairs which before this, and again later, had straight backs and legs, are made with bandy legs, curved arms and an irregular contour for the backs. Panel mouldings are not mitred at a right angle but are united at the corners by a curve. Often the moulding is bent to a curve throughout its entire length.

The Louis XVI. style is in many respects more severe than those which had preceded it, and it is said to owe its origin to the renewed interest in classic forms induced by the excavations at Pompeii at the time. This style did away with the many scrolls and curved forms, substituting straight lines and rectangular panels.

Ornamental metal work continued to be an important feature, and was exquisitely modelled. The woodwork was veneered and inlaid in geometrical or diaper patterns of various colored woods, with flower designs, wreaths, etc., in the centre of a panel, bordered with delicate gilt mouldings. Table and chair legs became straight, turned or square, tapering towards the bottom and fluted. The ornamental work of the period is largely made up of leaves, flowers, wreaths and garlands extremely well modelled and naturalistic.

A characteristic ornament is a small husk and bead, which fills the fluting of the legs near the bottom or top, but rarely if ever extending the full length. Aside from the general forms and the ornamental details described above, there are varieties of material and workmanship introduced by the furniture makers in each style.

The desire for great show and magnificence in the furniture and decoration which was exhibited during the reign of Louis XIV. has perhaps never been exceeded. In looking over a collection of furniture of this period, two distinct varieties are seen. One is ornamented with inlay, veneers and metal applique ornaments; the other is richly carved. The inlay is of such a peculiar kind that once observed it is readily recognized again. Firstly, because of the materials; secondly, because of the style of the ornament. This work was made by Boulle, the most celebrated cabinetmaker of the Louis XIV. reign, and it is known as Boulle work. Cabinets, tables, etc., decorated in this manner are called Boulle cabinets, Boulle tables, etc.

Andre Charles Boulle was probably born November II, 1642. His first work, executed during his apprenticeship to his father, is not readily distinguished from that of the parent, but in 1679 he was permitted to work for His Majesty, and received the titles of architect, engraver and carver. Prior to this he had obtained honors because of his skill as a maker of inlay, gilder and chaser. He received large prices for his work, but was always in need of money, owing to his passion for collecting prints, drawings and objects of art, which caused him to spend all he could earn.

Furniture by Boulle has a simple outline, and is dependent on the brass mounts and inlays for its enrichments. It is inlaid in colored woods, brass, copper and tortoise shell of different colors. He also applied to his furniture gilt bronzes, either figures or bas-reliefs, and mouldings, often modelled by himself. The original use of these chased brass mouldings was to cover the edges of the inlay veneers, but afterwards brass mounts were added as enriched surface decorations.