The Windsor table of silver has spiral legs, but its stretcher is of that elongated X-shape with circular central part which is found in various examples of French furniture of the period after that of spiral turning. This stretcher may be compared with that of a cabinet of wood inlaid with metal, which has long been known at Windsor as the William and Mary cabinet. In this case the four legs are terminal-shaped with Ionic capitals, all in the typically massive style characteristic of Lebrun, the great director of Louis XIV. art, and Boulle, the equally famous executant of furniture. There are three other pieces of silver furniture at Windsor to be noticed. A pair of gueridons with gadroon-edged circular table-tops have each a single pilaster support with a large bulbous lower member. This is supported on three legs, each formed of a concave upper and convex lower curve ending in a volute. Between them, for comparison, may be seen a most beautiful little work-table in the finest style of Boulle's work in metal and tortoise-shell. This has a terminal central pillar like the legs of the William and Mary cabinet, while its tripod is identical in general shape with those of the silver gueridons.

The differences of the style of ornamentation are such as naturally follow from the difference of material. The wooden work-table is smooth with flat inlay: the silver gueri-dons are rough, with repousse* work. These have the monogram of Charles II. upon them, and though there is no proof that they were made for him in England, yet it is possible. It is very likely that they were some of the silver furniture which Evelyn saw in the Duchess of Portsmouth's rooms.

The third piece at Windsor is a table with four caryatid legs upon bulbous, gadrooned feet. The foot-rail is again X-shaped, and the four arms of the X are sharply curved, ending at their junction in volutes which support a rather too realistic pineapple. The top slab is most elaborately engraved with the arms of William III. A large trophy in the centre is supported by the rose, fleur-de-lys, the thistle, and the harp. Each of these pairs of emblems is surmounted with crowns supported by cherubs, that favourite device of the period. Mr. J. H. Pollen in his catalogue of the furniture in the Victoria and Albert Museum, which contains a reproduction of this table, describes it as being ' in the finest French or Dutch-French manner of the period.' In explanation of the double attribution he traces its design to 'Daniel Marot who was much employed in Holland at the Court of William III., and may have executed the table in Holland, or sent his designs to this country.'