De Lalonde is fond of the ribboned leg (see No. 3, Plate XLVI.) and the grooved leg; and his favourite ornaments are the quiver, the urn, the lyre, the garland, the burning torch, and, in his combinations of trophies, the ribbon plays an important part. Specimens of De Lalonde’s works are shown on Plate XLVI., Nos. 1, 2, 3, 5 and 7. Ranson was particularly fond of trophies and flowers. He composed many designs and motives for the embroidery of arm-chairs. His books give all sorts of trophies and floral designs for various kinds of decoration. He also designed a great deal of furniture, particularly beds. Among the varieties exhibited in his plates are: _Lit à Impériale à colonnes_, _lit à chaire à prêcher_. _Lit à la Polonaise à tombeau_, _lit à l’antique_, front and side view, _lit à la duchesse_, _lit à la chinoise_, _lit à la Romaine_, _lit à la militaire_, _lit à la Panurge_, _lit à la Polonaise à tombeau retroussé à la chinoise_. Ranson was particularly fond of the pastoral accessories; and he groups large hats, shepherds’ crooks, spades, trowels, and bird-cages, and throws around them garlands and ribbons. The round or oval frames of his chairs are generally surmounted by a garland of roses wherein doves sometimes bill and coo, or a quiver of arrows is set. An example of the latter design appears as No. 3 on Plate XLIV. Two sofas by Ranson are shown on Plate XLIV., Nos. 1 and 2. The first is a “sofa with drapery and cushions,” the second is an “_ottomane à la reine_.” [Illustration: PLATE XLIV] The cabinet-makers made a vast number of Ranson’s designs. Salembier’s publications are chiefly devoted to the study of ornaments, particularly trailing foliage and arabesques, the acanthus and the thistle leaf. He designed no large pieces of furniture, but there are a few plates of consoles, _guéridons_, sconces, chandeliers, clocks, feet and corners of tables; friezes and panels for doors are also included. In Salembier’s designs, the foliage is not very luxuriant, and the acanthus leaf takes the place of the shell. The figures of Cupid that he uses are more like the Greek in treatment; and although his ornaments are plentiful, they grow slenderer. His arabesques are very ornate, although they are composed of light elements, mingled with branches, mosses and grass. Petitot’s best book contains many views and studies of a salon in the purest Louis XVI. taste. He also published sets of vases. Jules François Boucher (b. 1736, d. 1781), the son of the famous painter, published various decorations for panels, elevations for alcoves, windows, buffets, details of _armoires_ and commodes, libraries, drawing-rooms, cabinets, bath-rooms, dressing-rooms, boudoirs, bedrooms, dining-rooms, vestibules, etc. His work is particularly valuable; for the decorations, like those of Neufforge, give a more correct idea of the general ornamentation of the Louis XVI. period than the very rich and elaborate designs of Cauvet, Salembier and others.