In "Louis-Seize" forms themselves, then, we need not look for anything very striking or exceptional; if we do, our search will remain unrewarded by success. They are, in fact, precisely what they should be - speaking from the strictest point of view - admirably serving the purposes for which they were designed, and presenting no very great difficulties in execution to the craftsman possessed of average skill. Where the presence of supports, such as legs, trusses, brackets, and similar members, is called for, those provided are obviously of a character most exactly adapted for the requirements to be fulfilled, instead of being confused masses of contorted scrolls, leaves, shells, and other more or less extravagant detail, pressed into service to perform duties for which, by reason of their very nature, they appear to be quite unsuited, and have actually in many instances to be supported themselves in order to bear the weight imposed upon them. Need I say that the new rule was a vast step in the right direction? It was not beneficial only so far as regarded French furniture, for the British cabinet maker - at least those who take a pride in sustaining the best traditions of their craft - may be truly thankful that the change referred to came about in time to exercise a counteracting influence on the Rococo fever which had invaded this country, owing to the exertions put forth all too successfully by Thomas Chippendale to spread the infection which he had contracted, and from which he himself was suffering badly.

Had this reaction, to which I have intentionally referred at some length, not come about in France when it did, it is quite within the bounds of possibility that what we may term the "Chippendale-Rococo" would have enjoyed a far longer run of popularity in this country, which would unquestionably have been a great misfortune. Had Heppelwhite and Sheraton not had before them the example set by the "Louis-Seize" they might have continued on the old lines laid down by their predecessor, and the dainty creations which they eventually produced, based on this new French style, would never have seen the light. Thus it is that we are really as intimately concerned with the changes which took place in the applied arts of France at this time as were the people of that country themselves.

A glance at all the chairs and seats illustrated on the accompanying plates will at once make strikingly clear the extent of the change which came about in the designing of the forms of those articles alone, apart from any others.

Bedroom Of Marie-Antoinette. Chateau De Compiegne (See page 263) - "Louis-Seize." VI. Plate 80

As a beginning of our comparative analysis, let us look at the legs first - a most indispensable feature. The pure "Louis-Quinze" chair-leg was never, under any conditions, straight; it was always curviliuear, generally in that shaping which we have come to know as the "cabriole." The pure "Louis-Seize" leg, on the contrary, was never curved, but always straight, and almost invariably enriched in one way or another. This point is amply demonstrated by all the models shown; and, in order to appreciate fully how Heppelwhite and Sheraton followed the example of their French competitors, the reader may compare the types of the three styles specified below:

Chair-Legs

Louis-Seize

Heppelwhite

Sheraton

These are the most striking examples, but there are many others which on comparison will reveal the existence of a very close resemblance. As a matter of fact, there is not a single "Sheraton" turned leg which is not based in a certain degree - generally a very great degree - upon the "Louis-Seize."

Considering the general outline of chair-backs next, the following may be studied side by side: -

Louis-Seize

"Heppelwhite" Fig. 12, Plate II.

Chair-Arms

Sheraton

Here again I have only drawn attention to the most indisputable instances of direct inspiration, but I am sure they will induce my readers to search on their own account for others. There are, I need hardly point out, many modifications and variations in detail, but the "family likeness" is strong throughout. As regards the ornamental detail, there is not the least necessity for me to specify and particularise points of resemblance which are so apparent everywhere. It may be noted in passing that Sheraton's "conversation chair" (Fig. 1, Plate II., "Sheraton"), though different in form from the French type shown in Fig. 4, Plate II., was undoubtedly based on an idea borrowed from the " Louis-Seize."

With regard to the peaceful symbolism of the "Louis-Seize" enrichment, I may briefly draw the reader's attention to the caduceus on the table legs, Fig. 2, Plate I.; Cupid's blossom-bedecked bow and sheaves of arrows in the mantelpiece on Plate II.; the arrows, garlands, ribands, and bunches of blossom surrounding the monogram of Marie-Antoinette in the chair-back, Fig. 3, Plate II.; Cupid's bow and the torch of Hymen, with " love-birds" above in the buffet, Plate II.; the shield, on the bed-end, wreathed with laurel, Fig. 4, Plate III., and many other details which will tell their own story of placid enjoyment, amorous dalliance, and the pursuit of pleasure generally.

The marquetry of the diaper class previously mentioned is represented in the table, Fig. 2, Plate III.; while the work of the fondeur-ciseleur plays an important part in the ormolu mounts of Fig. 2, Plate I.; of the buffet, Plate II.; Fig. 4, Plate III., Fig. 4, Plate IV., and Fig. 2, Plate V., in which last we have a slight departure from the perfectly straight turned leg, and a most delightful one withal. Delicate enriched brass mouldings and "galleries" were much in favour with the "Louis-Seize" cabinet maker, as indicated in a number of the types illustrated. In dealing with tables, smaller cabinets, buffets, etc., I must not omit to mention that alabaster, onyx, and the rarest marbles were very frequently employed for the tops - another feature of which Sheraton was not slow to make a note. Still further comparison may be instituted between the under-framing of the "Louis-Seize" table, Fig. 2, Plate I., and the "Sheraton" under-framing, Fig. 9, Plate VI., and the "Louis-Seize" "claw" supports of the screen, Plate V., and those of the small table, Plate VI., with many in "Sheraton."

"Louis-Seize." VII. Plate 81

Louis-Seize Detail. Also Three Examples Of The Transitional Type, In Which The Curvilinear Element Is Still Retained

Enough has been said then, I think, to indicate how the "Louis-Seize" came into existence; to convey a knowledge of some of the most powerful influences that were instrumental in causing it to differ so vastly from the preceding mode; and to illustrate in some degree the extent of our indebtedness to it for much of that spirit which went to make our own late eighteenth-century furniture as refined and tasteful as it was.

In dismissing this most interesting section of our study for the time being we cannot do better than try to fix in our minds the picture of as perfect a complete scheme of actual "Louis-Seize" furnishing and decoration as it is possible for us to conjure up; and a better could not be found than the bedroom of Marie-Antoinette at the Chateau de Compiegne, which is illustrated on Plate VI. In this delightful chamber of sleep every turn of the carver's chisel, every mark of the ciseleur's graver, every thread from the loom, every touch of the brush, speaks of culture and refinement; yet does not the whole bring back to our memory the words of the dauphiness: "Alas! sire, for such kings as we shall be?"