We again repeat that no classification exists which is not defective; between the end of the reign of Louis XV. and the beginning of that of Louis XVI. there is certainly no marked transition; the sobered furniture in the style "a la reine," is still seen with its chequered marquetry and delicately chased bronzes. Louis XV., founder of the Porcelain Manufactory of France, no doubt caused Sevres plaques with bouquets, bordered with turquoise blue to be inlaid in the furniture he had around him or which he offered as gifts. And yet it is more particularly in the reign of Louis XVI., and at the time when Amboyna wood and thorny spotted mahogany were replacing marquetry mosaics, that porcelain and Wedgwood cameos were incrusted in panels, friezes, and the drawers of furniture; it may be permitted, therefore, for the sake of clearness, to call the overlaying of furniture with china by the name of the sovereign who so especially admired and patronised it.

In fact, the period of Louis XVI. is that in which cabinet-making employed its resources most largely, and multiplied its styles. Massive mahogany was in use from the time of Madame de Pompadour, but it only served as an additional auxiliary, and the marquetry trade was in no way injured by it; it was carried on, even with its excesses, during the reign of Louis XVI., and of this the elegant secretaire belonging to Doctor Voillemot, with its subjects, medallions, arabesques, and groups of flowers, affords proof; its minutely finished bronzes with dead gilding, show the high rank which this piece held amongst general productions. At that time not only were incrustations and veneering used conjointly, but solid woods were employed, ebony and mahogany, and even panels of lacquer brought from the extreme East.

The true characteristics of the period must therefore be sought in the form, and especially in the bronzes. We have already said how remarkable were those chased in the reign of Louis XV. by Caffieri; but the end of the eighteenth century raised the art to its highest degree of perfection. Martincourt, the celebrated Gouthiere, his pupil, Delarche, Jean-Louis Prieur, Vinsac, and Ravrio, brought the gilt bronze to a perfection unsurpassed even by the finest goldsmith's work. There are some lock plates and some bas-reliefs we feel tempted to use as personal ornaments.

Robert le Lorrain, who was a statuary when he chose, also carved in brass, and had Sautray for a pupil, who, together with Gallien and Vassou, distinguished themselves in mounting vases, the natural accompaniment of Louis XVI. furniture.

Here a rather singular observation presents itself; at the time when Madame de Pompadour was endeavouring to lead art once more into a better track, it was in the name of the sacred and immutable principles consecrated by antiquity. When in the reign of Louis XVI. simplicity of form and sobriety of style were sought, it was still the antique that was to be attained, although nothing could be further removed from it than the elegant coquetry and overcharged fastidiousness of the general decoration of the period, which was, however, to produce one genius, Clodion, who certainly had nothing in common with Greece and Rome. In the latter days of the reign when clock-cases without form, and rectangular commodes with engaged columns, appeared - in short, those articles of furniture of rather melancholy contour which were only worthy of remark from the manual perfection of their workmanship, it was still the antique that was invoked, while they were simply preparing the way for that false, stiff style which, through the instigation of David, and aided by stiff palmettes and meagre foliage, constituted the Greek art of the first empire.

Where then, it will be said, is the true character of the Louis XVI. style to be found? In our opinion it is in those works, which being freed from all exaggeration of contour and redundancy of accessories, represent perfectly the French taste of the eighteenth century, that is, aristocratic elegance and grace without affectation. We discover these qualities in the work-tables, jardinieres, and consoles, the pier tables, the armoire-etageres supported by delicate feet with light flutings, and adorned by those unrivalled bronzes, modelled by artists of the first merit, in which are often inserted either the productions of Wedgwood, or plaques of Sevres painted with subjects, or again simple bouquets of the same porcelain framed with gold arabesques in relief, on a ground of "bleu de roi" or "bleu turquoise," "rose Pompadour" or "ceils de perdrix." We find them again in the stands for candelabra, with triangular base and fluted stems, the quills cut into beads, or other ornaments, and surmounted by a carved top - in short, in that infinity of articles, without any real utility, which only serve as a pretext for displays of genius, and as an opportunity for wealth to exhibit its good taste.