The boudoir reflected the taste of the age. The hangings and furniture coverings were of heavy silk with a white background, on which a lozenge design was represented, as well as bouquets of flowers tied with blue ribbons framed in a kind of trellis-like border. The frames of the furniture were carved and gilt. The seats consisted of a settee, with a square cushion, two pillows and two round bolsters; six square arm-chairs, a _bergère_ with a square cushion, and a screen. The niche (6 feet wide and 9 feet, 9 inches high) was hung with the same material as the rest of the boudoir, and was lined with white silk. The window-curtains matched the alcove and bed draperies. There was a handsome lustre of rock-crystal with eight branches of copper gilt, a screen of crimson damask with a beech frame; an “_ottoman en gondole_” painted white, covered with crimson damask, fastened with gold nails to the frame, and equipped with a square hair pillow and two feather pillows with tassels; seven crimson damask arm-chairs and a walnut writing-table with drawer. The apartments of Mlle. Guimard, the actress, in 1786, give excellent hints for furnishings of this period. In the ante-chamber, on the ground floor, were twelve chairs covered with green _moquette_, two buffets, a fountain with a filter, a stove, a wooden coffer and figures in the niches. In the dining-room, there were three tables for ten, fifteen, and thirty covers. The eighteen chairs were upholstered in green and white Utrecht velvet. The greenhouse contained five _banquettes_, or forms, covered with green Utrecht velvet, and three girandoles carried by plaster figures standing on white marble pedestals. In the passage to the boudoir was a _banquette_ covered with “Pekin.”