This probably differed but slightly from the “_pavillon_” bed, of which there are many descriptions in the old inventories. Mazarin, for example, had two “_pavillon_” beds in red serge. In the Château de Turenne there was a pavilion of crimson damask ornamented on the seams with a wide braid of gold and silver. A braid of gold and silver also surrounded the base, as well as a narrow fringe of crimson silk covered with a fringe of gold and silver. The _chapiteau_ was of crimson velvet ornamented with the same braid on every seam and also upon the bottom with a deep fringe of crimson silk covered with a deep _crespine_ of gold and silver. The _chapiteau_ was an ell in circumference. Upon the top was a “_pomme_” painted red and silvered, to which was attached a silk cord of red, yellow and white. [Illustration: PLATE IV] Another was of white gauze, upon the seams of which little tufts, or tassels, of various colours were sewn. The “_pomme_” painted in various colours, had attached to it a green silk cord; another was of crimson and gold; and another of violet velvet trimmed with silk fringe of the same hue. The “_pomme_” of the latter was painted violet and silver, and the cord was of violet silk. A glance at Plate I. will show that the general outlines of the chairs are square. The usual set of seats comprised _fauteuils_, or arm-chairs; chairs with backs; folding-stools (_pliants_); and a _lit de repos_. In the ancient inventories the term “_chaises meublantes_” is given to chairs with covered backs, while the chairs with wooden and open backs are called “_chaises cacquetoires_” and “_chaises perroquets_.” The most characteristic chair of the period is the short, square and rather squat, yet well-proportioned chair that appears in nearly every one of Abraham Bosse’s drawings, and which in England is known as “the low leather,” or “Cromwell chair.” This chair is shown in the Frontispiece and also on Plate V., while variants appear on Plate I. as No. 3 and as a full drawing. This chair may be covered with leather, serge, silk, damask, brocade, velvet, tapestry, or needlework; but in every case the material is fastened to the woodwork by means of large brass, gold, or silver-headed nails, and the back and seat are both usually ornamented with a short fringe, as is shown in the Frontispiece. No. 2 and No. 5 on Plate I. are _fauteuils_ of the period, No. 5 being an Italian chair decorated with a fringe. Many of the _fauteuils_ of the day were “in the Italian taste,” that is to say entirely covered with velvet and trimmed with lace or fringe. The framework of the arm-chair was sometimes visible, as shown on Plate I., No. 2. It was of pear-wood stained to resemble ebony, walnut, oak, or it was painted in a colour to harmonize with the covering. Among Cardinal Mazarin’s many chairs were two _fauteuils_ and two chairs with backs, entirely covered with velvet nailed on the wood. These were ornamented with a braid of medium width,