The companion cabinet of the same dimensions and proportions was likewise in two parts (_à double corps_); and likewise incrusted with jasper, lapis-lazuli and agates. In the large portico, the figure was that of Queen Marie Thérèse of Austria dressed as Pallas, and above were the arms of France and Spain supported by two angels. On the sides were four figures of the Virtues in relief, standing on a base of sculptured and gilded wood, which, instead of rivers, as in the companion piece, represented the four geographical divisions of the world. Another of Mazarin’s cabinets that had formerly belonged to his great predecessor, Richelieu, is described as being decorated with wavy mouldings (guilloches) and compartments ornamented with various flowers, masques and half figures, the frieze bearing marine monsters and the middle of the doors having an octagonal panel in which is an Amphion on a dolphin. It rested on a base of four ebony columns united in front, and four pear-wood pilasters behind; and between the columns was a cartouche bearing the arms of the deceased Cardinal Richelieu. This cabinet was 5 feet in length; 1 foot, 7 inches in depth; and 5 feet, 10 inches in height. This was evidently an excellent typical specimen of pure Louis XIII. work, since it was made for Richelieu. These rare cabinets were undoubtedly the origin of the Boulle furniture of the next reign, and they existed in great numbers until destroyed during the Revolution. The few that survived the ravages of the mob are preserved in museums and private collections. The _cabinets à porte_ (cabinets with doors) were, as a rule, more severe than the sumptuous articles just described. They depend far more upon the architectural form and talent displayed by the cabinet-maker and designer than upon the skill and art of the decorator. The first _cabinets à porte_ date from the Renaissance, and received their name at the moment when one kind of _bahut_, placed on four feet, contested popularity with another kind that stood on a base with doors, and foreshadowed the form of those pieces of furniture called _à deux corps_. The construction of these pieces, no matter how fine the execution of their mouldings, panels, and doors, was as a rule massive, and was the work of the joiners and carvers instead of the _ébénistes_ and _marqueteurs_. One of these double cabinets is shown on Plates II. and IV., the upper part appearing in No. 2 on Plate II., and the lower in No. 2 on Plate IV. A carved oak _bahut_ is shown on Plate IV., No. 1. Another walnut double cabinet is shown on Plate II., No. 4. A cabinet of another variety appears on Plate III., No. 1. This is made of oak and cedar inlaid with rosewood, and has two doors in front with projecting panels, and an oval moulding in the centre and one outside drawer with brass drop handles.