While marble-tiled floors might now and then be employed in galleries and a few large apartments, wooden floors were almost universally prevalent and were very commonly parquetted with varicoloured woods and divers patterns.

In contrast with the "Style Louis Quinze," the "Style Louis Seize" was marked architecturally by a "four-square sobriety" and decoratively by a return to classical purity of expression and more restraint in the quantity and distribution of ornament. Both architecture and decoration became perceptibly simpler and more reserved, though not severe. There was no diminution in refinement of design nor in rendering, but there was a readier disposition to acquiesce in the "guidance of antiquity." There was no longer an "architectural tendency pulling in one direction and a decorative tendency pulling in another." Architecture and decoration were again wholly consistent the one with the other and the Style Louis Seize, with reference to both architecture and decoration, was unquestionably a "more completely homogeneous style than any of those which had obtained since Henri II."

For the chief specific characteristics of the Style Louis Seize and items of contrast with the preceding style, we may point to the reassertion of the principles of symmetry and of rectilinear and rectangular treat-ment (Plates 44, Fig. 1, and 46); the general avoidance of curved forms with the occasional exception of simple circles and ellipses which, however, were always kept snbservient to the rectangular environment; the carrying through of straight lines with the least possible interruption; the inclusion of such arched forms as were used within a rectangular panel or recess (Plates 48 B and 49); the use of undisguised and unrounded angles (Plate 46) except occasionally in the framing of panels whose corners were modified by square re-entering angles, the space thus formed being filled by a rosette (Plate 46) except occasionally in the framing of panels cornices, friezes, balustrades and lintels uninterrupted by cartouches, ornate keyblocks or sculpture.

Booms were scrupulously symmetrical and well proportioned in their dimensions and in the balanced disposition of windows and doors. Windows commonly extended all the way to the floor and even those that did not had low cills. They were almost invariably of the casement type with wooden muntins, stiles and rails and were frequently divided vertically by a mullion and horizontally by a transome, the upper section, when such divisions were made, being smaller than the lower, and, of course, opening independently. Window and door heads were commonly rectangular (Plates 47 A and B and 48 A), or, when round-arched (Plate 48 B), straight lines, and rectangular elements were so disposed as to maintain the rectilinear predominance.

Trims for doors and windows were of low projection and refined contour (Plates 47 B and 48). They were also of far more restrained design and of rectilinear emphasis. Wherever any curved features were retained in door heads (Plate 45, Fig. 1) or in overdoor treatment, they were always subordinated to the rectilinear note in composition as in all similar instances to which attention has already been called. Classic pilasters often framed door and window openings in the larger and more important rooms, while in smaller rooms, where it was desirable to keep the scale down and to flatten projections, the pilasters were not seldom replaced by thin strips (Plate 44, Fig. 1). All mouldings and projections were derived from Classic precedents and maintained the aspect of purity -and severe restraint consistent with their source of inspiration.

Walls were both panelled (Plates 46, 47 B, 48 and 49) and plain of surface. Panelled walls were executed in wood, either in its natural finish or painted, the latter being the more usual. They were also executed in plaster with mouldings of plaster or compo or of wood applied to the plaster background. Small ornaments of more or less intricate character in themselves were sometimes moulded in carton pierre or in compo and then applied.

The plain walls might be covered with wall-paper or with fabrics strained over their surface. For this purpose brocades, silks, reps, poplins, printed linens, chintzes and other appropriate fabrics were employed. Wall-paper, up to the latter part of the century, was printed with hand-blocks upon sheets about three feet long by a little more than a foot wide. About 1790 it began to be made in rolls.

It was customary to divide the walls horizontally by a dado about two and three-quarters feet to three feet high (Plates 46, 47 B, 48 and 49). This relieved what might otherwise sometimes have seemed too strong an emphasis of verticality, especially in the case of panelled walls where a number of the panels were tall and narrow. It likewise added an architectural note to the composition. Niches for sculpture, for urns and for large porcelain vases were now and then introduced into the walls of large rooms where such features of decoration were becoming.

Panels were large and vertically oblong and varied in width. One very common treatment was to alternate broad and narrow panels (Plate 47 B), and this alternation of panel widths, corresponding with the widths above, was often continued in the dado or immediately below the chair rail. The panels were regular in shape with straight aides, tops and bottoms, and all ornament was strictly confined within the limits imposed by the frames of moulding. Furthermore, the panels were either entirely rectangular or else relieved at the corners by square re-entrant angles, as previously mentioned, rosettes or some similar small device being introduced to fill out the vacancy thus created.

Colour was quite as important a factor in Louis Seize interiors as it had been in those of the preceding mode, although the schemes were somewhat differently managed. The prevailing colours were cool and generally receding in character and soft in tone. White and gold figured to some extent, but more characteristic of the spirit of the period were silver rose, pearly grey, tender blues and pale greens and putty colour. The colours just mentioned, of course, were chiefly employed for backgrounds and served as foils for the decorations subsequently painted thereon and the other items entering into the furnishing schemes.