There was a tendency for patterns to become smaller; damask was ornamented with little figures, or stripes; Gobelin tapestries were supplanted by designs in grisaille on a red, blue, or green background. These many printed stuffs had pictures derived from Greek, Egyptian, or Roman subjects, or mythology, and appeared as if printed on paper.

The bed used during the Directoire was larger than the Louis XVI. bed.

Generally speaking, the beds were low; and were furnished with one or two mattresses. Some of them had head and footboards of equal height; others had only one headboard. During the Empire, the beds, most frequently of mahogany, were ornamented with gilded bronze trimmings. The frames were also painted with decorations painted in bronze effects. Some of the beds were rounded, or scrolled at the ends, some had pans a bateau and some had pilasters supporting vases, busts and even statuettes. The curtain was used. For some styles of beds, the curtains were cast negligently over an arrow. Beds were also made in forms appropriate to the calling of their owners. Some of the shapes seem to have been inspired by the models of Du Cerceau and Berain in the days of Louis XIV.; for instance, the boat and shell. In 1792, we hear of a bed shaped like a shell, with blue and white curtains. Lafayette had a bed like this.

The beds often had ends of heavy scrolls and most of them had the headboard and footboard of equal height. The round bolster appears at each end, or a cushion that follows the form of the scroll, as shown in the full drawing on Plate LXVIII. The canopy was frequently in the shape of a crown, and from it hung the curtains. The heavy curtain was not unfrequently accompanied with a thin diaphanous curtain that was formally draped.

The dining-room is decorated in stucco, or painted in imitation of marble. The furniture is mahogany. The chairs are covered with leather. The window-curtains are of "Persian" taffeta, cloth or cotton, trimmed with ball fringe. The dining-table is round or oval, and is often supported on the pillar-and-claw.

The dining-room table also is round, and stands on four feet decorated with lions' heads or chimaeras; or again it is supported by the pillar-and-claw. The drawing-room table is frequently finished with a marble top, or it is covered with a cloth. Upon it stands a lamp with its shade.

A very ornate tea-table of porcelain brightened with gold and bronze appears on Plate LXV. Above it is shown the decorative top. This is by Percier and Fontaine. No. 6, on the same plate is another table; No.

7 is a tea-table; and No. 5 is another table. All of these are by Percier and Fontaine. Another kind of table designed by Percier was the table a fleurs, or jardiniere. Some of his models, which were made by Jacob Desmalters, are quite ornate. One of these is in the shape of a vase, supported by sphinxes, and filled with growing plants. Upon this stands another basin for growing flowers, or gold-fish, and above this again is a decorative figure. Another design is a round basin or vase for flowers supported by columns, on either side of which are smaller vases.

The console was a large square table decorated with sphinxes, or other ornaments in gilded bronze. Often a mirror was placed at the back framed by the legs.

The commode, like all the rest of the furniture, became more rigid in form and decoration. It was made of walnut or mahogany; and during the Directoire few were supplied with metal ornaments. Indeed, many of them had neither rings nor handles on the drawers. The form of the commode became still heavier during the Empire; but it was enlivened by ornate metal trimmings. A richly decorated commode by Percier and Fontaine appears as No. 2 on Plate LXVII. The chif-fonniere, which had come into fashion during the last years of the Louis XVI. period, increased in popularity. It was generally a lady's article containing drawers for writing and needlework. The marble top was often surrounded by a railing or gallery.

During the Empire, a set of drawing-room furniture consisted of one or two sofas, six arm-chairs, six chairs, two bergeres and two tabourets. The sofas were placed on either side of the chimney-piece. One of the favourite varieties of the sofa was the canape pommier, introduced during the Directoire. Its back was square and quite low, and was extended around the sides to take the place of arms. Sometimes the seat was garnished with fringe, and sometimes the wood was left plain.

The many varieties of the draped sofa disappeared. The Directoire and the Empire demanded that the forms of the settee, sofa, and chaise longue should be severe to accord with the arm-chairs. The back of the sofa was stuffed, but not the sides or wings. At each end was placed a feather pillow covered with the same material as the sofa. The most popular sofa had a square back that was carried around the seat, forming wings at each side instead of the elbow or arm. The new sofas were called M'eridienne and canape pommier. Tapestry, figured satin, worsted damask or printed cloth, put on with braid, were used for coverings. At the end of the Empire period, the divan was introduced. This seat was suggested by the Eastern travellers.

The banquette was covered with velvet trimmed with gold or silk braid and fringe. The most fashionable chaise longue was of the kind upon which Madame Re-camier is lounging in David's celebrated portrait. Both ends of this piece were alike. One end of a similar piece of furniture appears as No. 2 on Plate LXV. The bergere en gondole was also popular. Its back was lower and more rounded than that of the bergere on Plate XLVI11., No. 3. Gondola-shaped chairs and bar-backed chairs and the heavy scrolled arm-chair were the favourites, also the double arm-chair.

The framework of chairs was generally mahogany, or painted and bronzed, and, for very rich homes, gilded wood. The square form was preferred, especially for the arm-chair, which rarely had cushions. Sometimes the front feet were in the sabre, or glaive shape. The shield shape too was used for the back and was ornamented with military trophies and laurel wreaths. The back and seat were stuffed, and braids and borders framed the cushions. The material used for covering was generally of a solid colour with a design printed on it. Silk velvet, damask, or satin was used. The design was often golden yellow. Sometimes back and seat were sprinkled with rosettes or stars. Braids were used to hide the nails. Printed cottons and worsted damasks were also used for cheaper upholstery work. Ball fringe was much used to go around the back.

Desk chairs kept somewhat to the rounded and gondola form. The seats were often a half circle, the feet turned or in the console shape. Sometimes they were even carved in the shape of chimaera or lions whose heads came up to the level of the arms. The back, too, was frequently curved in the shape of a half circle. The top rail was sometimes covered like the seat, - in leather. Some of these turning up in the centre of the back like a cocked hat gave to them the name fauteuils Bonaparte. Mahogany was chiefly used for the frames, though oak and walnut were sometimes employed.

During the Directoire, the legs of the arm-chair were often X-shaped and the arms ended in a lion's head. The open-backed chair was very popular. The one on Plate LXVIII, No. 2, is dated 1793; and Nos.

1, 3, and 5 are of the year 1796. The "Trafalgar" that persisted for so long was a development of No. 1. The chairs No. 1 and 3 on Plate LXV. are by Ch. Nor-mand (b. 1765; d. 1830), who also designed the chaise longue, No. 2, on the same plate. Normand's earlier work bridges the gulf between the styles Louis XVI. and the Empire.