One of the most prolific designers of textiles was Pillement (b. 1728; d. 1808), and his plates show all the popular motives and subjects of the day: branches, ribbons, stripes mingled with flowers, and those patterns of winding ribbons alternating with straight stripes bespangled with flowers called _Dauphines_, which were introduced at the time of the Dauphin’s marriage with Marie Antoinette in 1770. From the time that the Princesse de Lamballe assumed charge of the Queen’s household, feathers were much used as a design for textiles; and the affected pastoral life at Trianon gave rise to the gayest sort of materials in which the winding stripes and interlacing ribbons are not only sprinkled with flowers, but all the pastoral attributes. About 1780, the round medallions came in and lasted till the beginning of the Nineteenth Century. Of course, the growing taste for the antique had its effect upon the decoration of materials, and the columns, volutes, lyres, heads of Minerva and other Classic ornaments became more and more popular. However, amidst all the changes, one thing persisted. This was the stripe. At first, it was hidden under ribbons and flowers, branches and feathers, but all the scattered ornaments became smaller and less noticeable until they disappeared altogether, and left the dominating stripe. Mercier wrote in 1788: “Everybody in the King’s cabinet looks like a zebra.” The Marquise de Pompadour, who favoured the new styles, was fond of the stripe. Her bed at Marly was quite in advance of the style associated with Marie Antoinette. It was draped in a rich silk composed of blue and white stripes sprinkled with bouquets of flowers. Typical coverings of the day are shown on Plates XLIV., XLV., and XLVI. Fay was a famous designer of textiles, and wall paper which imitated them in pattern and colour. The material known as _quinze seize_, a kind of taffeta, whose name was derived from its width was much used for curtains, and also a heavy silk, called _gros de Tours_. They remained fashionable during the Empire. Another favourite material was the _toile de Jouy_, which was a kind of printed linen or _cretonne_ made at the factory of Jouy in Josas, which Oberkampt established in 1759. His productions there became enormously popular, and the designs were printed from the best talent that could be engaged,—such as Huet, for instance.