One of the most characteristic motifs employed - we should not be far amiss in calling it the "trademark" of the Rocaille phase of Louis Quinze decoration, just as the scroll composed of interrupted curves had virtually been the trade-mark of Baroque decorative design - was the shell (Plate 38 A). It was often shaped very much indeed like a large oyster shell, more elongated than the usual Baroque cockle or escallop shell and much flared at the top with clearly defined flirtings, scallops or frillings of surface and edges. Along with rockwork, it was one of the stock motifs of the Rocaille system and was worked for all its might and main, being constantly in evidence under a wide diversity of guises but always recognisable. By cutting out all the body of the shell (Plate 43, Figs. 1 and 4) so that only the outer rim was left they derived a cartouche form which they sometimes employed for small mirror frames and for sconces as well as for the centres of decorative compositions.

Sinuous leaf and vegetable motifs (Plate 40), which lent themselves readily to expression in flamboyant curves, along with sundry scrolls and flourishes were likewise everywhere in evidence as were also ribbons, scrolled or tied in loose bows, wreaths and bunches of roses and other flowers, divers naturalistic details and masques.

One important resource of decorative enrichment, of which the Louis Quinze decorators fully availed themselves, was the use of chequered, latticed and other geometrically diapered groundwork (Plate 43, Figs. 4 and 8) to fill in the spaces between the rectilinear lines of panel heads or sides and the multiplex curving forms of other bounding lines; to fill in the distance between curving boundaries; and, finally, as a base upon which to superpose free groupings of decorative motifs. This device was a direct reflection of Spanish influence, derived by the Spaniards, in turn, from the Moors. The effect of this closely chequered or latticed diapering, with its seemingly endless succession of uniform repeats, was, as it always is, to produce a rich texture rather than to convey any conscious impression of pattern. Furthermore, it served as a medium to blend and pull together diverse forms into an united composition and helped to modify the sharpness of contrasts that, without some such tempering influence, might have seemed too incisive.

One evidence of the naturalistic tendency of the period in decoration is to be seen in the popularity of pastoral motifs (Plates 38 B and 42) of which Watteau, Fragonard, Lancret and other artists of scarcely less note were the chief exponents. Besides making use of the familiar shell, scroll and foliated accessories, they introduced into their panel paintings dainty, elegant dames and slim courtly beaux in gay attire, or masquerading as shepherds and shepherdesses, disporting themselves in the most fanciful pastoral scenes furnished forth with hedges, trees, flowers, fountains, birds and animals and the additional accompaniments of grilles, lattices and trellised arbours. Panels of a different tone, but in the same vein of elaborate and refined execution, were painted by Francois Boucher and his school who decorated both boudoirs and salons with voluptuous and erotic scenes from Classic mythology (Plates 38 A and 41).

All manner of Chinese motifs were combined into genial compositions for panels and other features, and from these graceful Chinoiseries it was but a step to the playful singeries or representations of apes and monkeys in human costume engaged in sundry pranks. Chinoiseries, singeries, bergeries and other pastoral scenes were commonly incorporated with and surrounded by freely rendered arabesques, many of which were even more open and slender in composition than were Berain's, and more modern and naturalistic in the subjects depicted.

To the foregoing stock of properties of the Louis Quinze decorator we must add the complement of palms, cartouches, ribbons, amorini, sprigs of "slim spidery foliage" of nondescript genus, along with a medley for ceiling adornment consisting of gods and goddesses, blue skies, birds, scattered flowers, butterflies, and rosy clouds inhabited by chubby cherubs.

Mirrors were immensely popular as decorative factors (Plates 38 A, 39 A and B, 40, 41 and 47) and were freely used in panels and incorporated in doors, as well as occupying an important place over mantels. Indeed, they were used to such an extent that, between them and the painted panels, there was little chance for pictures most of which, as a matter of fact, were of distinctly decorative character and were customarily empanelled as overdoor decorations or set into the heads of empanelled mirrors (Plates 38 A, 39 B, 41 and 42).

In not a few rooms, coved niches were provided at appropriate places for the display of sculpture or of carved urns, porcelain vases or other similar items of adornment.

As a natural accompaniment to the many mirrors there were numerous sconces (Plates 39 A and 40) elaborately wrought in chiselled ornudu, affixed to small mirrors of cartouche shape, or made of glass and crystal with pendants to catch and reflect the rays of the candles. Chandeliers also (Plates 39 B, 42 and 47), either in ormulu or made of glass and crystal, were objects of ingenious design and finished workmanship.

Fireplaces were low in dimension (Plates 39 A and B, 40 and 47) and sometimes wide, with low mantelpieces of wood, marble or stone carved in motifs consistent with the rest of the curvilinear decoration. The low mantel shelf terminated the decorative construction of the fireplace; there were no structural "continued chimney-pieces." The front of the chimney jamb above the mantel shelf was graced by a mirror or by panelling and treated in a manner precisely similar to the rest of the walls.

Cornices were low in projection (Plate 39 A), but were frequently coved (Plates 39 B, 40, 41, 42 and 47) and sometimes of considerable width. It was not an uncommon practice to divide the cornice into oblong panels with groups of decoration centred in them thus, in a way, echoing the treatment of the walls. Then again, as previously noted, the cornice decoration occasionally climbed up and encroached upon the ceiling (Plates 39 B, 40 and 41). Ceilings were frescoed or else decorated with a certain amount of relief in plaster which could be coloured or gilt.