ed
for the panels; ultimately the whole surface became an encrusted mosaic
of figures, birds, and flowers, in coloured wood and stone, occasionally
framed in the precious metals. The gorgeous taste of Louis Quatorze
excited the fancy of the _ebenistes_ of his court to the most costly
invention. Furniture inlaid with engraved metal-work, or embossed with
coloured stones, oppressed the sense of utility; and when tables,
chairs, and picture-frames were made of silver, chased and overloaded
with the scroll-work he so abundantly patronised, common sense seems to
have yielded its place to mere display. Despite of the costly character
of such works, and their destination as the decoration of a palace, they
are positive vulgarisms, and we feel little regret when we read in
history of the disastrous wars at the close of the king's career, which
obliged him to melt down the silver furniture of Versailles, and convert
it into cash for the payment of his soldiers.

There was more honesty of purpose in the old art-workers, who never
swerved from a leading principle. Hence the educated eye can at once
detect a piece of genuine old decorative furniture from a Wardour Street
made-up bit of pseudo-imitation. It must be borne in mind that
specimens of genuine old work are by no means common; the abundance
which this street and other localities can supply to order by the
cart-load, are ingenious adaptations of fragments of old work pieced and
placed together for a general effect; but which are sometimes ludicrous,
from the mixture of bits of all ages and style in one cabinet or
sideboard. Some twenty years ago the city of Rouen was a mine of wealth
to furniture makers. The elaborately carved panels and chimney-pieces in
the stately houses of the old Norman capital, were converted into all
kinds of articles for domestic display. The progress of "improvement,"
as well as the slower process of decay, have cleared that place of many
of its fine features of domestic architecture; but its beauties have had
an enduring memento in the curious volumes by the artist Langlois, of
Pont-de-l'Arche, completed after his death by M. Delaquerriere. In this
work every ancient building is carefully noted and described, throughout
every street of the city; and the finest or most curious examples
engraved with a minute truthfulness for which Langlois was justly
celebrated; and which drew forth the plaudits of Dr. Dibdin, in the
sumptuous work devoted to his f