The seats differ greatly from those of the former period. In these, the curved outline entirely vanishes. During the transitional period, the feet are of the console outline, ending in a scroll or shell, or peg-top shape that succeeded the leaf shoe; and before the medallion was used for the back of the chair frame, the violin shape was employed. The next change was a sort of projecting square, then the shape of the handle of a basket, until the form is reached that shows a perfect square between two straight columns, each ending in a steeple ornament and making a kind of frame for the covering. (See Plates XLVI. and XLVIII.) The small arm-chairs were called _cabriolets_, but the frames of each were similarly ornamented with beads, winding ribbons, laurel leaves, etc. The richest chairs had a carved and gilt ornament in the centre of the top rail, usually a bow of ribbon, a bouquet of flowers, or a garland of small blossoms or leaves. Plain woods, such as mahogany, walnut, or amaranth, are often used for the frames, but far more universal is the use of wood carved and gilded, or carved and painted according to fancy. Some mahogany and rosewood arm-chairs are brightened by the application of chased and gilded bronze ornaments. The upholsterers of the day furnished the chairs with round, flattened or half round cushions. The projection of the back cushion was regulated by the material with which it was covered, so that the latter should be exhibited to its best advantage. Many arm-chairs had removable cushions that fit into the frame of the chair. The cushions were sometimes tufted. [Illustration: PLATE XLVII]