In 1751, six chairs of fine straw were made, each with two cushions for the seat, the back of crimson damask, tufted; and six folding-stools covered with crimson damask garnished with a gold fringe, the wood painted red picked out with gold, for M. le Dauphin. Several arm-chairs of a new shape appear. One, usually placed by the hearth near the fire, is of the “gondola” form. The ornamentation, of course, followed the general style of the room. This is the period at which they began to take the name of _fauteuil de bergère_, or _marquise_ (see Plate XXXVI., No. 1). The _bergère_, or “burjair,” played a very important part in the new styles put forth by Chippendale, Ince and Mayhew, Heppelwhite and others. It was, as a general rule, quite large, wider than it was deep, and the seat was not very high from the floor. The _bergère_ was sometimes accompanied by a _tabouret_, which was placed immediately in front of the chair, and made of it a kind of _chaise longue_. In this reign arm-chairs were also made, especially for desks. Until this time, they always used any ordinary chair, or arm-chair at the desk. The new arm-chair for this purpose was of the “gondola” form, usually with back and seat of cane, the elbows adorned with cushions (_manchette_) and covered with leather. This chair spread out even more generously, and the legs were balanced as follows: one was placed directly under each elbow, a third directly in front, and the fourth in the centre of the back. Some of these arm-chairs were equipped with a removable leather cushion. The first _chaises comfortables_ followed the model of the gondola arm-chairs; the wood, or rather the moulding of the back, served as a framework for more or less simple garniture. The feet were either grooved, or of sabre form. Dining-room chairs were specially designed, and followed the general form of the drawing-room chairs. As a rule, they are covered with leather. Tapestry is met with also, and “Persian.” A _fauteuil de commodité_ of the period is described as having a little mahogany desk attached to the right of the chair by means of a gilded steel support nicely divided into compartments for pens, ink, etc. On each side of the chair, two sconce-arms for candles were adjusted. The chair and cushion were covered with blue leather. Leather was quite popular for covering furniture. One set, consisting of a sofa, two _banquettes_, twelve _tabourets_ and a six-leaved screen, were upholstered in red leather, with applied ornaments of yellow leather edged with a narrow gold cord. Characteristic chairs are shown on Plate XXIX. and Plate XXXIII., Nos. 3, 4, 5, 6, and 7. These are by Meissonier. The very handsome _canapé_ shown on Plate XXXII. is also one of Meissonier’s productions. This was designed for Count Bielenski. The frame was gilt.