shield and cartouche shapes were much in vogue, on account probably of their mass value and the contrast afforded with the subordinate detail, which developed into the foliated strap frame of the Louis XIV style. The details of this latter period were expressed in bold relief, the decorated areas being well filled, in contrast to the earlier Italian style in which the background frequently predominated over the ornament. The sectioning or modelling of the leaves, which by this time were typically French, was elaborate but well considered as to harmonious play of line. Shell forms were employed and were effective, both as mass shapes and for the radial elaboration of their surfaces. In conjunction with artificial details, natural foliage was employed in the form of wreaths and festoons, composed of leaves and appropriate flowers; the conventional stem was little used, the foliated strap being more often evident. _Régence_ The immediate successor of the style of the Grand Monarch was the phase known as Régence, in which the strap frame was moulded in section, and the whole detail became much lighter, resulting in more open or plain spaces. In the period of Louis XV restraint was thrown overboard, panels and enclosed areas were framed with mouldings irresponsible in curvature, and without regard to structural conditions. The growth line disappeared, the leafage and other details being arbitrarily disposed on the framing mouldings, which were generally in flattened and elongated curves opposed to each other in flexured lines. In comparison with the preceding Louis XIV style the ornament is thin and liney in character, the leaf, still of the acanthus type, is greatly modified both in form and detail, the ends of the lobes being curled and twisted spirally. _Rococo_ In minor floral details natural types were employed, also such artificial features as canopies or hammercloths; rock and shell forms, and stalactite details suggestive of icicles are comprised in the later phase to which the term Rococo is applied. _Louis XVI_ As a natural revulsion from the license of this period in the succeeding Louis XVI style there was a distinct reversion. The curved framings were abandoned and panels and other areas were enclosed by mouldings with regard both to structural and materialistic conditions. Great refinement is evident, not only in the mouldings but in the details throughout. In contrast to those of the Louis XIV period, panels were occupied rather than filled, the dominant details being placed at the upper and lower extremities and connected by vertical features either centrally or at the sides, steadily arranged as to alignment both horizontal and vertical. Familiar details thus employed are such amorous emblems as quivers, torches, trophies of musical instruments and bouquets and festoons of natural flowers.