David Roentgen was born at Niewid near Luneville, in which latter city he worked as a contemporary of Riesener, but younger by some years in age. He also made marquetry in lighter woods and of rather a gayer tone than those of Riesener. Both of them often worked in plain mahogany, and in such cases trusted for the effectiveness of their pieces to the excellence of the mounts of chased and gilt metal by their contemporary, Gouthière. In his light marquetry David used various white woods. Pear, lime, and light-coloured woods were occasionally tinted with various shades by burning. This process, originally effected by hot irons, is better and more delicately managed by hot sand. Only browns and dark ochrous yellows are obtained by this means, and the more delicately toned marquetry is without hues of green or blue. Those tints, however, can be obtained by steeping the wood in various chemical solutions. As a maker of gilt bronze furniture mounts Gouthière had a wide reputation. He belongs to the period of Louis the sixteenth. With him Riesener and David worked in concert; all their best pieces are finished with the mounts of Gouthière. Among examples in this country is the cabinet in the royal collection at Windsor. No signature has been discovered on this piece, but the exquisite modelling of the flower borders, the metal mouldings and mounts, and the crown supported by figures of cupids that surmounts the whole, leave us in no hesitation as to its authorship. Gouthière modelled and chased up similar work for carriages, and mounts for marble chimney pieces, such as that in the boudoir just above referred to. The gilding on these mounts is so good and has been laid on so massively that the metal has in general suffered no substantial injury down to our own times, and can be restored to its original lustre by soap and water. Indeed, the fine old work dating from the two previous reigns by André Boule and other artists, after the designs of Berain, has suffered little. The boule clocks, with arched glass panels in front and spreading supports and figure compositions on the top, have in most cases come down to us clothed in their original water gilding, easily to be cleaned though looking black when they have been long left to neglect.