rance, which we have seen took place during
the latter half of the seventeenth century, was not without its effect
upon the Industrial Arts of other countries. Macaulay mentions the "bales
of tapestry" and other accessories which were sent to Holland to fit up
the camp quarters of Louis le Grand when he went there to take the
command of his army against William III., and he also tells us of the
sumptuous furnishing of the apartments at St. Germains when James II.,
during his exile, was the guest of Louis. The grandeur of the French King
impressed itself upon his contemporaries, and war with Germany, as well as
with Holland and England, helped to spread this influence. We have noticed
how Wren designed the additions to Hampton Court Palace in imitation of
Versailles; and in the chapter which follows this, it will be seen that
the designs of Chippendale were really reproductions of French furniture
of the time of Louis Quinze. The King of Sweden, Charles XII., "the Madman
of the North," as he was called, imitated his great French contemporary,
and in the Palace at Stockholm there are still to be seen traces of the
Louis Quatorze style in decoration and in furniture; such adornments are
out of keeping with the simplicity of the habits of the present Royal
family of Sweden.

A Bourbon Prince, too, succeeded to the throne of Spain in 1700, and there
are still in the palaces and picture galleries of Madrid some fine
specimens of French furniture of the three reigns which have just been
discussed. It may be taken, therefore, that from the latter part of the
seventeenth century the dominant influence upon the design of decorative
furniture was of French origin.

There is evidence of this in a great many examples of the work of Flemish,
German, English, and Spanish cabinet makers, and there are one or two
which may be easily referred to which it is worth while to mention.

One of these is a corner cupboard of rosewood, inlaid with engraved
silver, part of the design being a shield with the arms of an Elector of
Cologne; there is also a pair of somewhat similar cabinets from the
Bishop's Palace at Salzburg. These are of German work, early eighteenth
century, and have evidently been designed after Boule's productions. The
shape and the gilt mounts of a secretaire of walnutwood with inlay of
ebony and ivory, and some other furniture which, with the other specimens
just described, may be seen in the Bethnal Green Museum, all manife