deur of the best Louis Quatorze
_meubles de luxe_, became, in its later development, too ornate and
effeminate, with an elaboration of enrichment, culminating in the rococo
style of Louis Quinze.

Then we find, in the "Petit Trianon," and also in the Chateau of
Fontainebleau, the purer taste of Marie Antoinette dominating the Art
productions of her time, which reached their zenith, with regard to
furniture, in the production of such elegant and costly examples as have
been preserved to us in the beautiful work-table and secretaire--sold some
years since at the dispersion of the Hamilton Palace collection--and in
some other specimens, which may be seen in the Musee du Louvre, in the
Jones Collection in the South Kensington Museum, and in other public and
private collections: of these several illustrations are given.

We have to recollect that the reign of Louis XIV. was the time of the
artists Berain, Lebrun, and, later in the reign, of Watteau, also of Andre
Charles Boule, _ciseleur et doreur du roi_, and of Colbert, that admirable
Minister of Finance, who knew so well how to second his royal master's
taste for grandeur and magnificence. The Palace of Versailles bears
throughout the stamp and impress of the majesty of _le Grande Monarque;_
and the rich architectural ornament of the interior, with moulded, gilded,
and painted ceilings, required the furnishing to be carried to an extent
which had never been attempted previously.

Louis XIV. had judgment in his taste, and he knew that, to carry out his
ideas of a royal palace, he must not only select suitable artists capable
of control, but he must centralize their efforts. In 1664 Colbert founded
the Royal Academy of Painting, Architecture, and Sculpture, to which
designs of furniture were admitted. The celebrated Gobelins tapestry
factory was also established; and it was here the King collected together
and suitably housed the different skilled producers of his furniture,
placing them all under the control of his favourite artist, Lebrun, who
was appointed director in 1667.

The most remarkable furniture artist of this time, for surely he merits
such title, was Andre Charles Boule, of whom but little is known. He was
born in 1642, and, therefore, was 25 years of age when Lebrun was
appointed Art-director. He appears to have originated the method of
ornamenting furniture which has since been associated with his name. This
was to veneer his cabinets, pedestals, armoires