What French furniture afterward became happily does not concern us now: our immediate consideration is with what (together with the restrained forms of the previous reign) the writer is not alone in feeling to be the most beautiful furniture ever designed for the use of man.

Let it be at once said that there was no difference whatever in the spirit of the times of Louis XV and Louis XVI - the unlikeness lay in the realm of form. To illustrate this, bergères of each period have been placed together in Plate 136. The first is of the restrained contour of the Rococo period; the second is the Neo-Classic design of Louis XVI; the one is all curves: the other preserves a number of them but has notable straight-line features as well, and the dissimilarity in the character of ornament will be immediately noted. The side-chair in the same plate is a faithful reproduction, and matching arm-chairs, together with a number of other pieces in this style, are supplied by the same manufacturers. The piano-bench is of course modern, but of good lines. Other fine furniture of this period will be seen in Plates 7,138, and 139, while an excellent modern bed-chamber suite of this type appears in Plate 137.

PLATE 136. LOUIS SEIZE SIDE CHAIR. REPRODUCTION. Height 37 in., Width 19 1/2 in.

LOUIS SEIZE PIANO BENCH. Top 50 1/2 in. x 18 1/2 in., Height 20 in.

LOUIS QUINZE BERGÉRE, REPRODUCTION. Height 41 in., Width 30 in.

LOUIS SEIZE BERGÉRE, REPRODUCTION. Height 40 in., Width 29 in.

Manufactured by Century Furniture Co., Grand Rapids, Mich.

PLATE 137. LOUIS XVI BEDROOM SET FINISHED IN ANTIQUE GREEN.

M. Schlesinger, Inc., Manufacturers, New York City.

Decorated in the Italian manner.

In the fine modern interior views it is to be noted that the pictures are correct in style and framing, and the other accessories excellent.

The flat-arched back seen in the bergère was a particularly esteemed form in seating-furniture, but settees and chairs were of infinite variety and many shapes, and the backs were also oval, circular, bowed, fiddle-backed, and square. The arms were conveniently and gracefully arranged. The most usual types of ornament are shown in the examples illustrated.

The straight, round, fluted-and-banded leg was universal in seating-furniture and most usual in tables. It also appears in many cabinet-pieces, but the cabriole leg survived from the previous reign, though with its curves very much straightened. The square, tapered-and-fluted leg with small block feet is also seen.

Even in simple cabinet pieces the metal work is exquisite, and the chiselled ornament in the elaborate commodes and desks of the great ébénistes of the three Louis is world-famous.

Owing, doubtless, to the reserve of the Anglo-Saxon temperament, cultivated Englishmen and Americans do not dislike the "slight dryness" remarked by Gallic writers in Louis Seize productions - for the style the uncultivated American has no appreciation whatever. We perfectly recognise that, in comparison with the suavity of the curves of Louis Quinze, a rigidity does exist, especially in some perfectly rectangular cabinet pieces with equally rectangular handles; but, except for the latter, it is little if any greater than we are accustomed to in Sheraton's more geometric forms. In any case its proportions are so discriminating and delightful, its air of refinement and elegance so appealing, its measure of ornament so satisfactory, that this furniture is not only to the greatest degree admirable but as truly lovable as what is usually designated "homelike" furniture. To the person of refinement and taste, to whom beauty includes elegance, it is indeed a perfectly comfortable and intimate style.

It is, nevertheless, as truly "French" as its predecessor; and those of Anglo-Saxon race who from association use English Neo-Classic styles as the basis for the furniture of their homes will find its best use in relieving and adding to the beauty of British and refined American pieces.

The style began about 1760, a number of years before Louis XVI took the throne in 1774, and it continued until the Revolution brought the deluge in 1789. It was a return to antiquity, but a return marked at first by a common-sense adaptation to modern needs. As time went on archaeology became an obsession, and we shall see the logical development of a craze when we reach the furnishings of the Empire. Toward the end of the reign its beginnings were becoming only too evident.

During the period, marqueterie and lacquer and gold remained partially in fashion, the employment of ebony was resumed, mahogany came into use, and furniture was also painted.

The colour and design of textiles were as exquisite as the furniture they accompanied. The beautiful Beauvais and Aubusson tapestries, damasks, brocades, silks, velvets, and printed linens were made in hues and designs even more refined than during the Rococo period, softer tones being used. Stripes were a "rage" both in France and England till the Empire brought in its meager design and hard and horrible hues. Crimson damask even then, however, still held its long popularity. Many reproductions or adaptations of these fabrics are upon the market and may readily be obtained through decorators.

PLATE 138. A BEDROOM IN LOUIS XVI STYLE, CHAIR TO LEFT, DIRECTOIRE.

Chamberlin Dodds, Decorator, New York.

Painted Furniture in Ivory, Desk in Tulipwood, Walls, cream Printed Linen in Rose and Blue.

PLATE 139. A DINING-ROOM IN LOUIS XVI STYLE.

Lewis P. Hobart, Architect.

The built-in paintings are characteristic.

The authentic carpets of the period were those of Aubusson and Savonnerie. Reproductions of some of them are made, but if too expensive, an oriental carpet of small design or a hard-wood floor, or plain, handsome carpet with a few oriental rugs will be perfectly in keeping. Oriental articles of all kinds, and particularly Chinoiserie, were most popular, Chinese, French, or Dresden vases, figures, human and animal, boxes, incense-burners, clocks, candelabra, and small objects of every description, provided that they were refined and beautiful, found their place as accessories.

Wall-paper was extremely popular during the last quarter of the century and was of many varieties, some of which are reproduced. Most of them are too aggressive for small rooms and the quiet stripes will be safer.

It has been mentioned that there is a fair supply of the furniture of this style upon the American market. Such bedroom furniture as the suite appearing in Plate 94 may be also used. Many pieces are also made for decorators and the highest class of dealers in furniture, and much is imported, several firms having their factories abroad and offices and show-rooms in New York. One of these firms reproduce all the furniture in the drawing-room of one of the historic French mansions.

It is unfortunate that what is known as the straw-seated pieces are not reproduced: these had turned legs with stretchers, lyre, slat, and baluster backs, and are charming examples of the simpler furniture of the times. They would admirably accompany English and American cottage furniture and they possess more elegance of line. Manufacturers are missing an opportunity in not introducing these pieces, instead of confining themselves to the ubiquitous Windsor and slat-back Anglo-Saxon varieties.