In 1730, a furnishing for a cabinet described as "mi-party of brocade of silver background on which are gold branches outlined in musk-colour, and crimson damask trimmed with gold," consisted of wall-hangings, a niche, two portieres, two lits de repos, an arm-chair, twelve folding-stools and six small and low folding-stools. The two portieres were in two parts each; each half containing three half-lengths of brocade and two lengths of damask (3 ells long), trimmed all around with a deep gold braid and lined with crimson taffeta.

"The niche, in the form of an armoire, serving as a shelter for a lit de repos" was hung outside with five lengths of brocade and three of damask (8 feet, 7 inches high), trimmed at the top, bottom and sides with a golden braid. Inside were five lengths of brocade and four of damask. Two curtains hung before the niche, each containing three half-lengths of the brocade and two lengths of damask (8 feet, 4 inches high). These were trimmed with gold braid and fringe, and lined with crimson taffeta. There were also two valances for the niche, one outside and one inside. The outside one was of the brocade and damask mi-party, the inside one of crimson damask. They were bordered with gold braid and fringe. Above the niche were four carved vases of flowers to serve as "pommes."

The lit de repos that was placed in the niche was 6 feet long and 2 1/2 feet wide. It was furnished with two mattresses, two bolsters and two square pillows. The valances and coverings were of the brocade and damask, trimmed with gold braid and fringe. The cushions were ornamented with gold tassels. The other lit de repos, 7 feet long and 2 1/2 feet wide, was similarly draped. The fauteuil and folding-stools were covered with a square of crimson damask, bordered with a band of the silver and gold brocade. The frames were painted red, picked out with gold.

A furnishing of 1730 was of lemon-coloured leather, framed in red leather in large compartments, bordered with a narrow braid and cord of silver. The furniture included a sofa, two forms, twelve tabourets and a folding-screen of six leaves. The sofa was 7 feet, 8 inches long, 25 inches deep and 3 feet, 9 inches high from top to floor. The frame was carved and lacquered, and the leather was fastened to it by means of silver-headed nails. The screen was covered in the same fashion.

We also hear of a set of furnishings, dating from 1732, of white silk with a pattern of honeysuckle branches, with other ornaments forming cartouches of cut-out green taffeta. This was used for covering two arm-chairs, two square pillows, twelve folding-seats, and two screens, as well as for draping the bed and for the wall-hangings. The latter were 3 ells high in 27 lengths. The arm-chairs were trimmed with green silk braid, and the material was fastened by gilt-headed nails to the frames, which were carved and gilt, with curving arms and backs. They were furnished with square cushions, which were adorned with green silk fringe and green silk tassels. The bed was Imperiale et a la Duch-esse, and stood lengthwise. It was 12 feet high, 6 feet, 10 inches long, and 5 feet, 8 inches wide. It was draped with three outside valances, four inside valances, festooned, a headboard with sweeping top, inside and outside bonnes graces, counterpane, three lower valances and two curtains of 16 lengths each. All of these were of the white silk with the honeysuckle pattern and green cartouches. The bonnes graces were looped back and held by two ornamental hooks.

On the top of the bed there were four consoles for "pommes," bearing altogether eighty feathers.

This bed was equipped with four woollen mattresses, a down bolster, a red blanket, a white English blanket, a Marseilles counterpane pique, a wadded quilt and a coverlet of white silk lined with taffeta.

The cabinet was furnished in the same material, which was used for two portieres, two window curtains, a sofa, two arm-chairs, twelve folding-stools and two screens. The sofa was 6 feet long, with curving wings or cheeks, the frame carved and gilt. It had a mattress and two square cushions. The portieres, 9 feet, 7 inches long, were lined with white silk, each containing three lengths of material. The windows were 12 feet, 10 inches high, and the curtains contained each two lengths.

The above detailed descriptions will enable anybody to furnish a Louis XV. room in the most fashionable and sumptuous style.

At no period in the history of art have the masters of decoration given proof of more science and skill in the technique of curves than during the Louis XV. period. Some of the skeletonized curves with which Meissonier and his school loved to adorn mouldings and the framework of all kinds of furniture are shown on Plate XXXII., Nos. 2, 3, 4 and 5. These elements were elaborated in a hundred various ways. This kind of curved ornament used on large pieces of furniture is exemplified in the sketch No. 1 on the same plate. This is a big china cupboard, or double-bodied buffet-vitrine. It is far more sober in its ornamentation than many objects of this class of the Louis XV. period. It was made in Liege.

On the same plate is a beautiful bras de lumiere in gilded bronze by Caffieri, with arms for candles. The branches twisted in moulded volutes, enriched with acanthus, palm and oak leaves, flowers and buds, spring with masterly management from a central stem which is robust and in entire harmony with the dimensions of the whole. It is about 32 inches high.

The change from the Louis XV. to the Louis XVI. style, though marked, was by no means violent or sudden. Chairs and settees are often found with clearly defined transitional features in the mouldings and ornamentation of the framework. Some of the Fontaine-bleau furniture covered with tapestry from Boucher's designs has the straight grooved leg and other Louis XVI. characteristics. On Plate XXXVI., Nos. 3, 4, 5 and 7 are shown the details of a charming causeuse of the transitional period. The general disposition preserves the undulous flexions of the Louis XV. style, and the details of the carving (bunches of flowers) obey the law that proscribes those parts that are too prominent and likely to form too sharp angles. The central cluster on the top of the back, No. 3, soberly follows in its flowers and leaves the Louis XVI. sweep, being in very low relief like the cluster No. 4 that heads the middle leg. The general interlacings that run round the entire framework are also in very low relief.