latter in 1750, these can scarcely be the
immediate cause; the reason most probably is that a reversion to simpler
and purer lines came as a relief and reaction from the over-ornamentation
of the previous period. There are not wanting, however, in some of the
decorated ornaments of the time, distinct signs of the influence of these
discoveries. Drawings and reproductions from frescoes, found in these old
Italian cities, were in the possession of the draughtsmen and designers of
the time; and an instance in point of their adaptation is to be seen in
the small boudoir of the Marquise de Serilly, one of the maids of honour
to Marie Antoinette. The decorative woodwork of this boudoir is fitted up
in the Kensington Museum.

A notable feature in the ornament of woodwork and in metal mountings of
this time, is a fluted pilaster with quills or husks filling the flutings
some distance from the base, or starting from both base and top and
leaving an interval of the hollow fluting plain and free. An example of
this will be seen in the next woodcut of a cabinet in the Jones
collection, which has also the familiar "Louis Seize" riband surmounting
the two oval Sevres china plaques. When the flutings are in oak, in rich
mahogany, or painted white, these husks are gilt, and the effect is chaste
and pleasing. Variation was introduced into the gilding of frames by
mixing silver with some portion of the gold so as to produce two tints,
red gold and green gold; the latter would be used for wreaths and
accessories, while the former, or ordinary gilding, was applied to the
general surface. The legs of tables are generally fluted, as noticed
above, tapering towards the feet, and are relieved from a stilted
appearance by being connected by a stretcher.

[Illustration: Marqueterie Cabinet. With Plaques of Sevres China (_In the
Jones Collection, South Kensington Museum._)]

[Illustration: Writing Table. Made by Riesener for Marie Antoinette.
Collection "Mobilier National." (_From a-pen and ink drawing by H.
Evans._) Period: Late Louis XV.]

There occurs in M. Williamson's valuable contribution to the literature
of our subject ("_Les Meubles d'Art du Mobilier National_,") an
interesting illustration of the gradual alterations which we are noticing
as having taken place in the design of furniture. This is a small writing
table, some 3 ft. 6 in. long, made during the reign of Louis XV., but
quite in the Marie Antoinette style, the legs tapering