Still another model of this style of armchair with spiral rungs and supports, scrolled arms, carved top and leather back and seat, appears on Plate XXXIV. This is also a Dutch chair in the Rijks Museum. It is interesting to compare it with another armchair on the same plate. This, of carved oak, turned back posts, front legs of carved heavy scrolls, diagonal connecting rails also formed of heavy scrolls, and scrolled front bar, is an interesting example of an armchair of the Dutch work of the Louis XIV period. The back has a central panel with a scrolled frame, elegantly carved. It is filled with woven cane instead of leather, or other upholstery. The seat is cane also. A chair without arms, which looks as if it might have belonged to the same set, though it is now preserved in the Cluny Museum, Paris, is shown in Plate XLV. Another armchair of the same period and general style (_see_ Plate XXXIII) has a carved panel filled with cane, cane seat, scrolled arms, turned rails and legs, and carved front bar. Chairs of this fashion were extremely popular in the Low Countries and in England during the second half of the seventeenth century. In all probability, they originated in the Netherlands, and became familiar and favourites with the exiled Cavaliers between 1640 and 1660; and at the Restoration the style was imported into England. However this may be, this well-known carved oak chair, with cane back and seat, is still popularly known as the “Charles II Chair.” A light Dutch model of this type, with elegantly carved front bar, turned rails and posts and scrolled front legs, is shown in Plate XXXIV. It has no arms and the back panel is divided into two narrow panels of cane, producing a very light and elegant effect. The scrolls of the feet are much lighter and more graceful than those of the armchair at its side. An armchair of the same style and period, also from the Rijks Museum, is in the centre on Plate XXXV. The central panel of the back is gracefully treated with open carved and turned work. The panel proper is framed with heavy scrolls, and the central bar is pierced and carved with graceful bellflowers running downwards and upwards. This _chute_ of the bell-flower now becomes a very favourite ornamentation in decorative art, and Bérain, Marot and other artists of the period make free use of it. The curved stretchers with the vase ornament in the centre is very characteristic of Dutch, English, and French furniture of the second half of the seventeenth century. It occurs in ordinary tables, dressing-tables, stands for cabinets, and, in fact, every piece of furniture that stands on four legs. The arms and legs consist of the usual scroll, and the feet of carved bulbs.