At this date the _sopha_ was greatly in vogue. This was really nothing more than the old settle with carved framework, and richly upholstered. It rarely accommodated more than two persons, and, as a rule, only one is shown sitting upon it. The legs and straining-rail followed the general lines and decoration of those of the stands for cabinets, toilet-tables, etc. The arms were sometimes solid or stuffed, and sometimes open-work covered with velvet or other textiles. Sometimes the _sopha_ is furnished with a bolster at both ends. Typical forms are shown in Figs. 40, 41 and 42. Although Marot was well acquainted with porcelain and Eastern wares in France, he found the prevailing taste much more extravagant when he took refuge in Holland. There he became the supreme exponent of the _style refugié_. William of Orange appointed him his chief architect and minister of works, and Marot accompanied him to England at the Glorious Revolution a couple of years later. In Holland, he designed much interior work for palaces and noblemen’s seats, including staircases, panelling, chimney-pieces, cornices, china-shelves and brackets, and all kinds of domestic furniture. He was also extremely prolific in designs for sumptuous upholstery in velvet, worsted and other textiles for chairs, screens, hangings, curtains, bed-heads, etc. Marot died in 1718; and his published works of Decorative Art include many hundred designs representative of that period immediately preceding the Regency, known in England as “William and Mary” and “Queen Anne.” Upholstery was an exceedingly important part of interior decoration at that period, and there were right and wrong ways to hang curtains and decorate the framework of beds with valances, fringes, lambrequins, etc. Figs. 44 and 45 show two of Marot’s arrangements of lambrequins.