As the principles of selection have been dealt with in previous chapters few remarks are necessary regarding the assembling of furniture of this epoch. With ordinary care in choice and placing most of the pieces would accompany each other, and the different treatments, plain and decorative, would add a charming variety if too many phases were not employed in the one room. Here as elsewhere confusion should be avoided

In Plate 161 is illustrated a particularly fine console cabinet with mounts, by Carlin, in the Louvre. In the formal elegance of such furniture France stood alone and the only pieces of other nationality that would properly accompany it would be the finest furniture designed by Adam, such as the chairs shown in Plate 162 B. Such museum pieces are practically unprocurable and their value so great that few of us need be greatly concerned as to what to place with them. Specimens approaching this in merit should be used as centres of interest. The very beautiful decorated satinwood pieces of Hepple-white and Sheraton are, with all their elegance, more intimate and homelike, and therefore more adaptable to association. Of the same general degree of elegance as this type are the Spanish and Italian cabinet pieces illustrated in Plates 164 and 165 and what a degree of variety and relief would be given the usual British or American interior by the employment of a few such different mobiliary forms. The Venetian table (Plate 165 A) is likewise very interesting. It should be noted, too, that we have in these specimens solid walnut, painted, and inlaid examples.

Seating furniture is so characteristic of style that a variety is shown. The settee in Plate 162 A, that in the New York apartment (Plate 124) and that in the La Fayette boudoir (Plate 46) afford three distinct French styles of this period. In Plate 163 is given an Italian example which with handsome covering would be a very attractive piece of furniture. A number of Italian and Spanish chairs appear in Plates 163 and 166. These are of varying degrees of elegance and (as will be seen by the legends) of different affinities.

The Spanish six-legged bedstead (Plate 166) is both interesting and charming.

As is the case with all the furniture illustrated in these chapters (except those in modern rooms) these are original pieces. More good reproductions are made of the forms of this period than of the earlier ones, and the dealer, decorator and householder will, with care in selection, be able to secure many excellent things. The woman's room shown in Plate 170 shows a successful combination of Neo-Classic furniture with a simplified panelled background.