The armoire is still in use. In 1760, we hear of the lower part of a large armoire in the form of a bookcase, of violet-wood veneered in mosaics. It was 7 1/2 feet long, 4 feet high, and 26 inches deep. The interior was divided into three compartments and a long shelf covered with crimson watered silk. In front were three doors, the middle one of which was enriched with a large medallion, bronze gilt or moulu, representing Minerva holding in her right hand a compass with which she is measuring a globe, on a background of lapis lazuli painted. The other doors were decorated with trophies in bronze gilt or moulu representing mathematical instruments. On the ends were cartouches of bronze gilt or moulu of various Chinese plants. The bookcase was ornamented with hasps and mouldings also of bronze gilt or moulu and stood on six feet, the four front ones being square and the two in the back round.

The form is still in use. In 1750, the archives of Versailles mention: "seven formes de moquette with coloured flowers on a white background, 5 or 6 feet long, and from 2 to 4 feet, by 18 inches high, and 15 inches wide, nailed with gilded nails, to serve the Queen at the grand convert."

These were also known as banquettes as early as 1732. In 1770, there is mention for the service of the King, of "nine banquettes covered with crimson plush 6 feet long and 17 inches wide to be used at the grand couvert" also, in the same year, to serve in the Salle de spectacle amphitheatre, four banquettes each having two elbows, covered with blue velvet garnished with gold braid nailed on with gilt nails, the wood painted blue picked out with gold."

The frames of the chairs and arm-chairs of this period were not only carved and gilt, but were painted or lacquered as well. Sometimes one colour only was used, which was brightened by threads of gold, or white, or some gay hue harmonizing, or contrasting, with the upholstery. Sometimes the wood was painted in several colours, and often, too, another kind of painting, known as camaieux, * was used. Simpler arm-chairs, and chairs that were met with in the drawing-room were of natural oak, or beech, polished with an encaustic. In the same room with the large arm-chairs smaller ones are often found. These were known as cabriolets, probably owing to the ease by which they were moved about, as well as to their shape. In general design, the cabriolet was like the large arm-chair, but it was even more curved, more arched, and more exaggerated than its parent. The elbows too were more wavy and were always of a most graceful sweep. At the beginning of this period, the back was of the form of a violin, but later the medallion form became more popular.

The upholsterers studied the proportions of the smaller chair as they did the large one, and gave the seats less thickness and a more square, or a rounder effect, according to the form and proportions of the seat and back, as well as the curves of the whole frame. The small arm-chair was placed in front of, or at the side of, one of the great arm-chairs in the drawing-room or boudoir. The cabriolet had to agree with its large companion either in its frame, or else its covering had to be of the same material.

* "Camayeu is a kind of painting of a single colour where light and shadow are seen on a background of gold or azure. A camaieu in grey is called grisaille, that in yellow is cirage. The richest camaieux are brightened with gold or bronze ... It is what Pliny calls Monochrome." (D'Aviler, 1755.)

The arm-chair(fauteuil) is represented on Plate No. XIII.

These chairs and sofas were upholstered with many of the textiles used in the reign of Louis XIV. One of the most popular coverings was Gobelin or Aubusson tapestry representing the graceful designs of Watteau, or Æsop's Fables. Utrecht velvet and Lyons damask with floral designs were also popular, as well as silk brocaded with coloured flowers. Sometimes a braid or lace (a very favourite pattern being the rat-tooth, "dentde rat") was used to hide the nails; but the material was also tacked to the frames by gilt-headed nails placed so close together that they touched one another.

A typical pattern of the period is shown in the sofa on Plate XXXII.

Turning now to special descriptions of chairs at Versailles, we find in 1722, "two fauteuils of varnished walnut and open-work cane; the manchettes (elbow-cushions) and backs upholstered in lemon - coloured leather," the backs curved; three fauteuils of varnished walnut wood and cane with sweeping backs and console feet, and carved with several ornaments; twelve chairs with backs, of cherry wood and open-worked cane, the backs having sweeping curves and feet in consoles, carved with various ornaments, including shells. The latter stood 39 inches high, including back, the seats measured 16 inches. In 1729, "six fauteuils of cane and cherry-wood carved with several ornaments and varnished, the backs curved and the elbows cushioned." They were upholstered in red leather with a braid of gold, nailed with gilt-headed nails. Also "four fauteuils of beech-wood, varnished and cane, had curved and carved backs ornamented with a carved border all around the seat, the arms also carved at the ends." These were upholstered in lemon-coloured leather fastened with silver-headed nails placed close together.

In 1730, there were "fourteen chaises a la Reine, covered with crimson and gold damask, the frames carved and gilt." Also "three chaises a la Reine covered with crimson and gold damask nailed to the frames with gilt-headed nails, very close together, the frames painted red and gold;" also " four fauteuils and two tabourets of walnut covered with black leather;" and finally a chaise d'affaires, the frame on a background of black lacquer and "aventurine de fapon" with landscapes and birds in relief in colours and gilt in the borders, a mosaic of mother-of-pearl and copper wire a la Chi-noise. The chair was lined with red lacquer, and the cushion was green velvet. This remarkable chair was 19X15 inches wide and 19 inches deep. The chaise a la Reine, mentioned above, had a very low seat with a very high back.