Boulle sometimes worked from his own designs, but more often from those of Jean Berain, whose arabesques and grotesques form the motive for much of the inlay. At the beginning of his career Boulle probably confined his inlay work largely to the use of different colored woods, and he never entirely abandoned them. Later he executed the style of work by which he is best known.

This consists of brass inlaid on a ground of black tortoise shell, and the whole surrounded by an ornamental frame of modelled brasswork. He at times used a background of different colors by applying the shell over a surface colored according to the effect desired.

By way of obtaining a variety and for economy, Boulle sometimes made two similar inlaid articles, of which one had a shell ground inlaid with brass and the other a brass ground inlaid with shell. The ornament being the same in both, they were obtained at one sawing by counterchanging the parts, with no waste of material. Before he died (February 29, 1732) the fashion tor furniture veneered with shell began to give way to that of satin-wood, with brass applique ornaments.

During the first years of the reign of Louis XVI., Boulle work became a fad among collectors, and several cabinet makers are known to have made copies of original pieces, but they are said to be weak and to show fussy chasing and tricky expression when compared to the bold, vigorous work of Boulle himself.

It may not be out of place to state that Boulle furniture is suited for decorative purposes only, and not for practical use, as the shell and brass veneers are constantly peeling off.

The second class of work belonging to the reign of the "Grand King" was richly carved in wood. Some of this was made by Jean Lepautre, who began life as a cabinetmaker, but later practiced architecture. His real influence, however, was felt as an orna-mentist and was produced by engravings of his compositions. His ornament is not as delicate as that of Berain, but it is more architectural and is full of character. It is based largely on the Roman work, and is crowded with figures entwined with leaves, scrolls, etc.

Tables of this period are supported by legs resembling a square baluster, decorated with masks and rich foliated ornaments. Beneath the top or suspended from the middle of the frame of the table is a centre ornament of perforated carving. Some of the console tables have legs curving in an arc, from the top downward toward the centre of the table and entwined with dragons or griffins. At the upper end of the leg, where it joins the frame, is perhaps a mask or figure. The tops of these tables are always of rare marbles.

Chairs have a rectangular back, a carved frame ornamented with foliated and cartouche forms. The legs of the same square baluster form we have noticed on the tables and the whole chair has an appearance of ceremony and pomp. The seat and back are of cane, or upholstered with tapestry of the Gobelins or Beauvais make. Such was the chair used in royal galleries during the seventeenth century, when its use was largely restricted by etiquette.

When Louis XIV. died his successor was too young to rule, and it was during the Regency, a time of corruption and extravagance, that stateliness of the salon gave way to the elaborate over-ornamented boudoir, and the change in furniture style took place.

Louis XV. reigned from 1715 to 1774, and the style of furniture associated with his name is that belonging to the best period of the French Rococo.

The fashion for furniture of ebony and inlay of shell gave way to that ornamented with veneers of rosewood, amaranth and brass applique.

Elaborately carved woodwork, wholly or partly covered with gold leaf; lacquer work, with Japanese panels, paintings of shepherds, nymphs, saytrs and love scenes was introduced. The artist whose work exercised a great deal of influence on furniture at this time was Charles Cressent (1685-1768). His grandfather was a cabinetmaker and his father a sculptor. The cabinet work is but a secondary part in Cressent's furniture. It is but a foundation on which is placed richly modelled bronze ornaments of a light and delicate character, quite different from that of Boulle, and yet not so small in detail as that which was employed in the reign of the next king. One peculiar feature of the bas-reliefs by Cressent is the representation of monkeys in acrobatic or musical acts. These subjects are carefully chased, well composed, and are an affectation of ornament quite a la mode at the time.

During the reign of Louis XIV., Chinese lacquer work began to gain favor, and several furniture makers endeavored to imitate it. A Dutchman was the first to successfully do this, but during the reign of Louis XV. (about 1744) a Simon Martin, the youngest of several brothers, varnish makers, was granted the exclusive right to manufacture all sorts of work after the manner of the Chinese and Japanese.

It was not, properly speaking, a new invention, but Martin perfected the experiments made by his predecessors and gave a greater field to the production.

The brothers Martin attempted at first to only imitate the Chinese lacquers, and in working thus they discovered the composition Vernis Martin, which afterward came so much in vogue. In the beginning they applied it to the decoration of carriages and sedan chairs, but soon its use extended to furniture. They did not copy exactly Oriental lacquer, but painted ornaments on a ground of yellow, brown, blue or green, spangled with gold. The subjects are usually pastoral, surrounded with a border composed of garlands of flowers. Many of the compositions seem to have been inspired by Watteau. Louis XVI. reigned from 1774 to 1793. During his reign there were many makers whose names are familiar to those who have studied French furniture, but not one of them introduced any individuality that has made him known to the public. Many articles were ornamented with extremely rich and delicate chased brasswork, principally of a floral character. Others were of carved wood, gilded or painted.

The hardwoods showing a rich grain, like rosewood, mahogany and maple, were used as veneers, arranged as plain panels or cut and glued together in such a manner that the grain formed a pattern on the panel.

In the centre of the panels, inlaid in colored woods, were wreaths, bunches of flowers and vases of fruits. These panels were surrounded by a border of diaper work in three or four quiet colored veneers. Chairs and sofas have generally a straight turned leg, which is fluted either vertically or has the fluting carried spirally around it. The backs of the chairs are rectangular or oval, with the frame elaborately ornamented by bead and spindle, heart and tongue, or similar mouldings. In the middle of the top rail of the back is a carved bunch of flowers, or some device tied with a riband. Often the lovers' knot alone is the central ornament.

LOUIS XIV. INLAY.