Another bed was of flesh-coloured satin with squares of cloth-of-gold-and-silver. The ornamental fringe was red.

Another, was of green satin embroidered in gold and silver. The fringes were of green and white silk, both deep and narrow. The curtains were of green damask.

Another, of violet velvet embroidered in gold and silver flames, bordered with cloth of silver, was lined with violet taffeta. The fringes were of violet silk.

Another, was of green velvet ornamented with gold and silver lace and fringes of green silk covered with crespines of gold and silver; the headboard was of cloth-of-gold-and-silver ornamented with green silk fringe; the lower valance was trimmed with gold and silver braid and a fringe of violet silk covered with a fringe of gold and silver. The curtains were green damask trimmed with gold and silver braid and silk fringe, and the ornamental counterpane of green taffeta trimmed with fringes of silk and gold.

Another bed was of cloth-of-gold striped with black and crimson satin; the curtains were flesh-coloured taffeta ornamented with crimson fringe.

The bed-posts, as we have noted, are always surmounted by ornaments, known, no matter what their form may be, as "pommes de lit." The following kinds are mentioned in the inventory of the Chateau de Tu-renne in 1615:

"Four pommes de lit of wood covered with crimson velvet ornamented with gold and silver braid and garnished with bouquets of gold and silver and varied coloured silks and little egrettes of gold and silver; four wooden pommes de lit covered with cloth-of-silver and green trimmed with gold lace, belonging to the bed of green velvet on a gold background; four pommes de lit covered with crimson velvet trimmed with gold and silver lace and three grey plumes, belonging to the crimson velvet bed; four pommes de lit of wood painted violet and gold, belonging to the violet velvet bed; twenty-eight pommes de lit of gilded wood belonging to various beds, and twelve pommes de lit"

Another bed that is characteristic of this period was the lit de baldaquin. This is a bed with dais of three sides. Its framework was of natural wood, or wood carved and gilded, or covered with some rich material. This bed that dismisses the columns or posts, was introduced during this reign and carried into the next one. The baldaquin, which replaces the canopy supported by posts, must be slightly smaller than the bed it overshadows. Sometimes it is equipped with an arch that is covered with the same material as the general drapery of the bed, and this arch, which may be found in the old designs, following the curved movement of the baldaquin is sometimes surmounted with a bunch of feathers. When this arch contains a dome that surmounts the baldaquin, it is called the "Lit Imperial."

A lit a imperiale of the period was one of green velvet and gold and silver, trimmed with a gold and silver crespine and a little green silk fringe covered with a gold and silver fringe. The curtains were of green damask trimmed with gold and silver braid. Another was of cloth of gold and yellow damask in squares with bands of white damask and a deep fringe of white and blue. The valance was composed of squares, but the headboard was in lengths.

This probably differed but slightly from the "pavilion " bed, of which there are many descriptions in the old inventories. Mazarin, for example, had two "pavilion" beds in red serge. In the Chateau de Turenne there was a pavilion of crimson damask ornamented on the seams with a wide braid of gold and silver. A braid of gold and silver also surrounded the base, as well as a narrow fringe of crimson silk covered with a fringe of gold and silver. The chapiteau was of crimson velvet ornamented with the same braid on every seam and also upon the bottom with a deep fringe of crimson silk covered with a deep crespine of gold and silver. The chapiteau was an ell in circumference. Upon the top was a "pomme" painted red and silvered, to which was attached a silk cord of red, yellow and white.

Another was of white gauze, upon the seams of which little tufts, or tassels, of various colours were sewn. The "pomme" painted in various colours, had attached to it a green silk cord; another was of crimson and gold; and another of violet velvet trimmed with silk fringe of the same hue. The "pomme" of the latter was painted violet and silver, and the cord was of violet silk.

A glance at Plate I. will show that the general outlines of the chairs are square. The usual set of seats comprised fauteuils, or arm-chairs; chairs with backs; folding-stools (pliants); and a lit de repos. In the ancient inventories the term "chaises meublantes" is given to chairs with covered backs, while the chairs with wooden and open backs are called "chaises cacquetoires" and "chaises perroquets." The most characteristic chair of the period is the short, square and rather squat, yet well-proportioned chair that appears in nearly every one of Abraham Bosse's drawings, and which in England is known as "the low leather," or "Cromwell chair." This chair is shown in the Frontispiece and also on Plate V., while variants appear on Plate I. as No. 3 and as a full drawing. This chair may be covered with leather, serge, silk, damask, brocade, velvet, tapestry, or needlework; but in every case the material is fastened to the woodwork by means of large brass, gold, or silver-headed nails, and the back and seat are both usually ornamented with a short fringe, as is shown in the Frontispiece. No. 2 and No. 5 on Plate I. are fauteuils of the period, No. 5 being an Italian chair decorated with a fringe.

Many of the fauteuils of the day were "in the Italian taste," that is to say entirely covered with velvet and trimmed with lace or fringe. The framework of the arm-chair was sometimes visible, as shown on Plate I., No. 2. It was of pear-wood stained to resemble ebony, walnut, oak, or it was painted in a colour to harmonize with the covering. Among Cardinal Mazarin's many chairs were two fauteuils and two chairs with backs, entirely covered with velvet nailed on the wood. These were ornamented with a braid of medium width, as were also the folding-stools, or pliants. The wood of the latter was painted red. We also hear of two fauteuils trimmed with lace and fringe of medium width, the wood being entirely covered with the velvet; at the bottom of the back there was a double row of the crespine. The six folding-stools that went with these arm-chairs were also garnished with lace and fringe, but their frames were painted green and picked out with gold. The seats were covered with green serge. Another set of furniture consisted of six fauteuils, six chairs with backs, six pliants and a lit de repos. These were covered with needlework ornamented with a silk fringe of many colours.