Another name famous in Decorative Art was that of Cander Jean Oppenordt, born in Guelderland in 1639. He emigrated to Paris to seek his fortune, and became “_ébéniste du Roi_,” was naturalized in 1679, and allowed a lodging in the Louvre in 1684. To him was given the charge of furnishing the Palace of Versailles, and in 1688 he made some beautiful marquetry furniture for the Duke of Burgundy. His son, Gilles Marie Oppenord (1672–1742), was architect to the Duke of Orleans. France owed much to Italy, Belgium and Holland during the first half of the seventeenth century, but what she borrowed she repaid with interest. In 1685, the Revocation of the Edict of Nantes induced fifty thousand families of the best French blood, intellect, art, culture and craftsmanship to seek voluntary exile. The Huguenots took refuge from the _Dragonnades_ in England, Holland and Germany; and those countries benefited by the short-sighted policy of a bigoted king. So many goldsmiths, carvers, architects, designers and artists were among the emigrants that their subsequent work in the art world came to be known as the _style refugié_. Undoubtedly the most commanding figure in this band was Daniel Marot. He was a member of a family of eminent French artists. He was a pupil of Lepautre, who for many years worked at the Gobelins manufactory and dominated the first period of the Louis XIV style. This style was particularly majestic, pompous and heavy, the general forms consisting of a mixture of the straight line and curve, and broad surfaces adapted for decoration. The heavy straining-rail and pilaster as a support are also characteristic. The ornaments consist of Roman and heroic trophies of antiquity, helmets, cuirasses, casques, plumes, swords, shields, laurel-wreaths and clubs, winged Victories, the elliptical cartouche, river gods leaning on urns, large cornucopias, heavy garlands, or swags, of fruit and leaves, the broad acanthus leaf, the mascaron, the swelling scroll, and the combination of scroll and shell. Lepautre was also fond of introducing the alcove into a room. [Illustration: FIG. 39.—_Screen in the style refugié._ ] A typical screen of this period is shown in Fig. 39. The massiveness and boldness of curve of the lines of the frame are characteristic of the artists of the Louis XIV period who formed the _style refugié_; and the grace and fancy of the design in the tapestry filling are worthy of more than passing consideration. The _Chinoiserie_ influence is already apparent in the small hanging canopy.