David Roentgen is often known as “David.” He was born near Coblentz, and seems to have kept his shop there, visiting Paris to dispose of his wares; and, obtaining the interest of Marie Antoinette, he established a shop in Paris. He introduced a new kind of marquetry, in which the shadows and shading were actually done by pieces of wood; and, as a journalist of the period said, was done like “stone mosaic.” The woods he used for his marquetry work were lighter and gayer than Riesener’s. He employed various white woods, such as pear, lime, and other light-coloured woods, and frequently tinted them other shades by burning them, or by chemical processes. Like Riesener, he worked also in plain mahogany and letter-wood, and also veneered furniture with these woods. His productions were also brightened by Gouthière’s chased and gilt handles and key-plates. Roentgen was particularly clever about introducing mechanical devices into his furniture. His greatest period of activity was between 1780 and 1790. Among other noted cabinet-makers were Leleu, Saunier, Carlin (who made many articles for Marie Antoinette), Levasseur, Avril, Pafrat (who worked with Carlin), Philippe-Claude Montigny (who copied the works of Boulle), Benman, Stockel, Weisweiler, and Schwerdfeger. Quite a colony of German cabinet-makers, attracted by the success of Riesener and Roentgen, as well as the hope of gaining the interest of the young Austrian Queen, settled in the faubourg Saint-Antoine. Although some of the beds popular during the last reign survived, particularly the alcove and niche beds, many new varieties were introduced, and the books of such designers as Ranson, Delafosse, and Salembier, contain many drawings of beds. The canopy generally becomes smaller and smaller, until it dwindles into a crown or ring to hold the curtains, and is known as _lit à couronne_,—a variety that continued popular throughout the Empire. The great four-post bed and the _lit en housse_, occasionally recorded in inventories and sales, are survivals of the past; most of the new beds take some form of the sofa. The favourite _lit à l’anglaise_ is really nothing but a square sofa. Indeed the dividing line between the beds and sofas is not clearly marked, for the “bed with three backs,” as they still defined it, is draped and furnished with the customary two bolsters and a decorative canopy and curtains. The distinction was not very rigidly observed even at the time. For example, in 1773 we read: “For sale at M. Carré’s, _rue d’Enfer_ a _lit à l’anglaise_ of yellow damask that forms a sopha 5 feet wide and 6 feet long; the frame of carved walnut.” In 1785, “a cane bed with three backs that may serve as an ottoman in a summer drawing-room,” is offered for sale.