In such a brief and necessarily inadequate review of epochs (each of which is a field for study) as can be given in the compass of a few chapters, it is plainly impossible to cover all phases or to illustrate more than a guiding selection of furniture: but in any case it has been felt that a broad view, sufficient to evolve principles and indicate the way, is better for the purpose in view than to obscure the subject with details, however interesting in themselves.

In illustration of the merging of the Baroque into the Rococo we have an excellent example in the two outside chairs of the three shown in one cut (Plate 152 B), the remaining, central chair being a more complete assimiliation of the later style but still heavier and stiffer in its lines than subsequent manifestations. The Baroque broken-curve persists in the legs of the pair of chairs, but lengthened and straightened on its way to the formation of the flowing double-curve or line of beauty evident in the Louis XV chairs appearing in Plate 160. A survival of the Baroque will also be seen in the sumptuous Venetian arm-chair (Plate 155 C).

The Portuguese chair (Plate 151 A) is at once noticeable by the broad swelling.of the leg, its individual ornament, and the claw-and-ball feet - a distinct variety indeed in the Rococo chair! Not even so apparent in the cut as in the piece itself is the severe rake of the back and the lines of the uprights of the arms which parallel it.

The Italian early Rococo chairs in Plate 157 C are also of great interest and the Spanish chairs (Plate 158 B) show an excellent restraint which we could wish might always have been employed in the furniture of the country. Such variations, in form and detail, from the usual French types as these foreign chairs afford are indeed to be appreciated in the assembling of furniture. Forcibly brought home to us is the curvilinear basis of the Rococo style when we realise that in all these chairs there is hardly a straight line.

A typical example of the French sofa appears in the modern interior illustrated in Plate 114, and with this we may compare the unusual Venetian specimen shown in Plate 155 A. The boldly swelling front of the latter, the peculiar feet and the ornament of the legs at once proclaim its interesting differences. It will be noted that this and the sumptuous chair adjoining it below are covered with the same fabric.

The textiles of the period were of great beauty (see "Decorative Textiles" by George Leland Hunter). Tapestry and the heavy brocades were appropriately employed upon seating furniture of the natural woods, while enamelled and gilt pieces were covered with the materials of lighter weight. The tones of the painting or enamelling of the framework were usually soft greys, fawns or deep ivory, often in two shades.

The Rococo style could not be better illustrated than by the console in wrought iron with brass mounts (Plate 152 C) and the cabinet and commode (Plate 153 A and B). In view of the now renewed commerce between Prance and China it was but natural that the always fascinating Chinese influence should be marked in this age, and it is exemplified in the cabinet in black and gold lacquer. The chased metal mounts of such furniture formed one of the most beautiful mobiliary developments in France.

Let us place with these the Venetian console table (Plate 155 D) and the English console cabinet veritably by Thomas Chippendale, owned by the late Mr. Canfield (Plate 154 B). In the latter the constructive material is the mahogany so beloved of that master and so adapted to the marvellous carving that was his decorative metier. We may consider the interest of the variety shown by such pieces as this and the above, all so illustrative of le style Rocaille yet so different in the means and material chosen for its embodiment. It is also to be noted that in this work of Chippendale, England, for the first time, has something to show'com-parable to the fine furniture of France.

In actual practice it will be found that this strictly Rococo furniture is not the only furniture of Chippendale's which will accompany Louis XV pieces. His lighter, more elegant and ornamental chairs and tables with their cabriole legs and handsome carving are well adapted to such association, and some of his upholstered chairs were quite in the vein of the French bergeres.

In the Venetian console table the manner in which the semi-naturalistic leaves and stems are disposed to form the Rococo lower edge of the table is particularly arresting. This console is painted in golden yellow, banded in green with multicolour, and with touches of rose in the flowers, thus making an altogether engaging piece. Even the rather halting curves of the legs and their proportions add a "difference" and qnaintness far from unpleasing. A carved and gilt Spanish console table is also shown (Plate 158 B). Consoles were usually gilded in order that they might properly accompany the frames of the mirrors (above them. One of the madly Rococo but marvellously designed mirrors of Chippendale is seen in Plate 154 A.

There are touches of both the pathetic and courageous in the Italian furniture of this period. If penury often forbade the use of expensive woods, the cheaper ones employed were rendered cheerfully gay by painting and decoration. This treatment, though not of great moment in the naturalistic design commonly used, was nevertheless of much charm and elegant though homelike feeling. Economy in labour may also have been responsible for hasty workmanship; for certain it is that carving did not usually display the impeccable quality of the furniture of France, and the painting grounds were often ill-prepared, so that some pieces have not withstood the test of time. Examples of this Italian decorated furniture appear in the set of three pieces (Plate 156) and the Venetian console table already referred to (Plate 155 D).

In international furnishing the Italian pieces shown on Plate 157 and the Spanish furniture on Plate 158 have particular interest. They have affinities both with the usual Rococo forms and with the English vein of Chippendale and even of Queen Anne. It will be seen that they might harmoniously be employed with furniture of either style.

The little cupboard (Plate 158 C) is an engaging and almost amusing mixture of metier - decidedly Classic upon its front, but as decidedly buttressed at the sides by the Rococo.

The carpets employed in this period were the Au-bussons and Savonneries. These and the delightful tapestries then made are described and pictured in Mr. Hunter's "Decorative Textiles."

The tapestries were usually employed in the stately rooms, either hung upon the panelling or forming the panel inserts. Where plaster walls occurred they were either hung upon the wall or inset in a plaster decoration. In the Murat Mansion a tapestry is suspended in an arched panel, a rectangular frame below the arch enclosing the tapestry. Beneath it is a long console table.

The accessories of the period were numerous and elaborate - side lights, candlesticks, clocks, vases and mantel-ornaments, caskets, attractive boxes and objects of art of all descriptions.