A number of Beneman's signed works exist, and are of massive and severe form. His heavy commodes of rigid lines are ornamented with handsome metal mounts; and many of his pieces announce the coming Empire style.

At Fontainebleau and the Louvre, are preserved many articles by Dugourc, whose favourite ornament was the quiver.

Cauvet(b. 1731,d. 1788) designed ornaments, chiefly arabesques. Typical trophies and arabesques are shown on Plate XLV. Nos. 1, 2, 3, 4 and 5.

A great number of painters, decorators and designers devoted their attention to the urn and vase forms: innumerable volumes entitled "vases composed in the antique taste or suite des vases," were published by Vien, Jacques, Saly, Watelet, Pierre, Wailly, La Live de Juilly, Simon Challe, Saint Non, Petitot, Cauvet, Hou-dan, Beauvais, Bertren, Gachet, La Rue, Bonnet, Joly, Duplessis,fils;, Percenet, Scheemakers, Moithey l'aine, Nicolet, Dupuis, Courture, l'aine, Marchand, Perault, Pannier, Dore and Normand.

Others gave great attention to designing iron-work for balconies, locks, bolts and mounts for furniture; and even stoves received much consideration. Bosse, for instance, gives eighteen models in his Collection des dessins de Poeles de formes antiques et modernes, de l'invention et de la manufacture du sieur Olivier, rue de la Roquette, faubourg Saint-Antoine.

Other designers published books of arabesques, trophies, flowers and other ornaments for the use of interior decorators. Among the most interesting of these is Charton's Collection de douze cahiers de plantes etrangeres en fleurs, fruits, corail et coquillages, published in 1784.

One of the most prolific designers of textiles was Pillement (b. 1728; d. 1808), and his plates show all the popular motives and subjects of the day: branches, ribbons, stripes mingled with flowers, and those patterns of winding ribbons alternating with straight stripes bespangled with flowers called Dauphines, which were introduced at the time of the Dauphin's marriage with Marie Antoinette in 1770. From the time that the Princesse de Lamballe assumed charge of the Queen's household, feathers were much used as a design for textiles; and the affected pastoral life at Trianon gave rise to the gayest sort of materials in which the winding stripes and interlacing ribbons are not only sprinkled with flowers, but all the pastoral attributes. About 1780, the round medallions came in and lasted till the beginning of the Nineteenth Century. Of course, the growing taste for the antique had its effect upon the decoration of materials, and the columns, volutes, lyres, heads of Minerva and other Classic ornaments became more and more popular. However, amidst all the changes, one thing persisted. This was the stripe.

At first, it was hidden under ribbons and flowers, branches and feathers, but all the scattered ornaments became smaller and less noticeable until they disappeared altogether, and left the dominating stripe. Mercier wrote in 1788: "Everybody in the King's cabinet looks like a zebra."

The Marquise de Pompadour, who favoured the new styles, was fond of the stripe. Her bed at Marly was quite in advance of the style associated with Marie Antoinette. It was draped in a rich silk composed of blue and white stripes sprinkled with bouquets of flowers.

Typical coverings of the day are shown on Plates XLIV., XLV., and XLVI.

Fay was a famous designer of textiles, and wall paper which imitated them in pattern and colour. The material known as quinze seize, a kind of taffeta, whose name was derived from its width was much used for curtains, and also a heavy silk, called gros de Tours. They remained fashionable during the Empire. Another favourite material was the toile de Fouy, which was a kind of printed linen or cretonne made at the factory of Jouy in Josas, which Oberkampt established in 1759.

His productions there became enormously popular, and the designs were printed from the best talent that could be engaged, - such as Huet, for instance.

It is singular that the two most famous cabinet-makers of the Louis XVI. period were Germans, - Riesener and Roentgen. Riesener (b. about 1730) came from his native town near Cologne to Paris, and, as we have seen, worked in Œben's shop. When the latter died in 1768, Riesener carried on his business, and up to the outbreak of the Revolution, produced a great deal of furniture. He became "ebeniste du Roi," and worked for the Royal family until they left Versailles. Of course he began to work under Louis XV., his most important production having been made for that King himself (see page 213); but as the greater part of his work was accomplished during the following reign, he is always classed among artisans of the Louis XVI. period. Many of his pieces are from designs by De Lalonde. They include tables, chairs, cabinets, chests-of-drawers and corner-cupboards that are now prized. Riesener is particularly noted for his marquetry. He was fond of inserting a panel of a single piece of wood bearing in its centre a gay and graceful bunch of flowers, a wreath, or trophy, and enriching the border with a diaper pattern of three or four quiet colours. He often stamped his name upon the panel itself.

His favourite woods for inlaying were: tulip, rosewood, holly, maple, laburnam, and purple-wood [copaifera publiflora). Riesener also made furniture, particularly chests-of-drawers and cabinets of snake-wood, or other brown woods in which the grain is waved or curled, and also worked in plain mahogany and letter-wood, depending upon Gouthiere's metal mounts for the decorative effect. Fashion also forced Riesener to introduce, somewhat against his will, painted porcelain into his furniture in place of his inlaid panels. One of his productions of this class appears on Plate XLVII. It is a chiffonnier-secretaire of mahogany with ornaments of chiselled copper, and plaques of Sevres porcelain. The subjects of the latter are birds. The two lower plaques are apparently held by knots of ribbon made of copper chased and gilt. A little open-worked gallery runs around the back and sides of the top, the front moulding of which is ornamented with the festoon. The commode on Plate XLVIII. is also one of Riesener's works.