Cabinet, Louis XV., parquetry, with folding doors enclosing drawers, mounted with ormolu, surmounted by a Brescia marble slab, 30 in. high, 44 in. wide. Christie, April 29, 1904 31 10 0 Bergeres, pair of Louis XV., corner-shaped, the frames of carved and gilt wood, the seats and backs covered with old Beauvais tapestry. Christie, May 18, 1904 420 0 0 Settee, Louis XV., oblong, of carved and gilt-wood, covered with panels of old Beauvais tapestry, 3 ft. 8 in. wide. Christie, May 18, 1904 231 0 0 Canape, Louis XV., of carved and gilt wood, the borders carved with acanthus scrolls, the seat and back covered with old Beauvais silk tapestry, decorated, 4 ft. 6 in. wide. Christie, May 18, 1904 420 0 0 [1] By the kindness of the proprietors of the _Connoisseur_ these items are given from their useful monthly publication, _Auction Sale Prices_. VIII FRENCH FURNITURE. THE PERIOD OF LOUIS XVI VIII FRENCH FURNITURE. THE PERIOD OF LOUIS XVI Louis XVI. 1774-1793. 1730-1806. Riesener, _ebeniste_ to Marie Antoinette (born near Cologne). 1789. Commencement of the French Revolution. The so-called Louis Seize period embraces much that is good from the later days of the previous reign. The same designers were employed with the addition of a few younger men. Caffieri and Riesener were producing excellent work, and above all was Gouthiere, whose renown as a founder and chaser of gilded bronze ornaments is unrivalled. Elegance and simplicity are again the prevailing notes. Straight lines took the place of the twisted contortions of the rococo style. Thin scrolls, garlands, ribbons and knots, classical cameo-shaped panels, and Sevres plaques form the characteristic ornamentation. The acanthus-leaf, distorted into unnatural proportions in the middle Louis Quinze period, returned to its normal shape, the egg-and-tongue moulding came into use, and the delicacy of the laurel-leaf was employed in design in Louis Seize decorations. In the jewel cabinet illustrated (p. 193), the new style is shown at its best. The cabinet is inlaid in rosewood and sycamore, and bears the name of "J. H. Riesener" stamped on it. The chased ormolu mounts are by Gouthiere. The geometrical inlay is a tradition which Oeben left to his successors. The upper portion has a rising lid with internal trays. In the lower part is a drawer and a shelf. This piece is at the Victoria and Albert Museum in the Jones Bequest, and it is well worth detailed examination as being a representative specimen of the most artistic work produced at this period.