was
probably the council or "court" itself, or the hall in which such was
held.

Thus do the habits and tastes of different nations act and re-act upon
each other. Western peoples have carried eastward their civilisation and
their fashions, influencing Arts and industries, with their restless
energy, and breaking up the crust of Oriental apathy and indolence; and
have brought back in return the ideas gained from an observation of the
associations and accessories of Eastern life, to adapt them to the
requirements and refinements of European luxury.

[Illustration: Shaped Panel of Saracenic Work in Carved Bone or Ivory.]

[Illustration: Boule Armoire. Designed by Le Brun, formerly in the
"Hamilton Palace" Collection and purchased (Wertheimer) for L12,075 the
pair. Period: Louis XIV.]

Chapter VI.

French Furniture.

PALACE OF VERSAILLES: "Grand" and "Petit Trianon"--the three Styles of
Louis XIV., XV. and XVI.--Colbert and Lebrun--Andre Charles Boule and
his Work--Carved and Gilt Furniture--The Regency and its
Influence--Alteration in Condition of French Society--Watteau, Lancret,
and Boucher. Louis XV. FURNITURE: Famous Ebenistes--Vernis Martin
Furniture--Caffieri and Gouthiere Mountings--Sevres Porcelain
introduced into Cabinets--Gobelins Tapestry--The "Bureau du Roi." Louis
XVI. AND MARIE ANTOINETTE: The Queen's Influence--The Painters Chardin
and Greuze--More simple Designs--Characteristic Ornaments of Louis XVI.
Furniture--Riesener's Work--Gouthiere's Mountings--Specimens in the
Louvre--The Hamilton Palace Sale--French influence upon the design of
Furniture in other countries--The Jones Collection--Extract from the
"Times."

[Illustration]

There is something so distinct in the development of taste in furniture,
marked out by the three styles to which the three monarchs have given the
names of "Louis Quatorze," "Louis Quinze," and "Louis Seize," that it
affords a fitting point for a new departure.

This will be evident to anyone who will visit, first the Palace of
Versailles,[13] then the Grand Trianon, and afterwards the Petit Trianon.
By the help of a few illustrations, such a visit in the order given would
greatly interest anyone having a smattering of knowledge of the
characteristic ornaments of these different periods. A careful examination
would demonstrate how the one style gradually merged into that of its
successor. Thus the massiveness and gran