The geometrical panels of the new drawing-rooms were coloured that deep brown, mingled with several other colours, which received the name _genre étrusque_. Listen to these discords: “On the ceiling is a reddish-brown rosette in the form of a parasol; a sky-blue frieze is sprinkled with white cornucopiæ. On the sides of the mirror, sky-blue pilasters are bordered with violet and white grape-leaves for ornament. Large and small light brown panels with violet borders are ornamented with little green parasols, and cameos with blue background with white figures and brown and red ornaments. And in that loud chocolate colour where some reds and greens try to recall to your mind the forsaken hues of the past are mingled three shades of rose, amaranth, blue, lilac, grey, emerald-green, moss-green, _aventurine_, citron, straw and sulphur. That gentle scale that sang so sweetly on the furniture and walls of by-gone days! that gentle scale that miserable taste has forsaken for the tri-colour, and for wall-paper printed with the distinctive signs of equality and liberty, from Dugoure’s Republican Manufactory, _place du Carrousel_ at the so-called Hôtel de Longueville. Then the taste of the Revolution runs after the factory of the _rue Saint Nicaise, place de la Réunion_, to find some pictures with the civic inscription ready for each citizen to place above his door bearing these words: ‘Unity, Indivisibility of the Républic, Liberty, Fraternity or Death.’”[27] The Parisian hôtels that were remodeled and newly furnished for the newly rich could not suggest the slightest reminiscence of the aristocratic life that they had witnessed. The artists, therefore, were forced to go to Greece and Rome for their models and motives. After Napoleon’s campaign in Egypt, the sphinx is frequent as a decoration, although it had long been familiar. The chairs, Nos. 1, 2, 3 and 5 on Plate LXVIII., are from a periodical of the Directoire period 1793 and 1796; also the couch No. 2, Plate LXV. These show that the so-called Empire style was in process of formation before Napoleon attained power. The most important cabinet-maker of the period was Jacob Desmalter. He was the son of Georges Jacob, who, during the reign of Louis XVI., was famous for his furniture of gilded wood. His two sons worked together in the _rue Meslée_; and, in 1793, got the order to make the furniture for the Convention. This brought them into relation with Percier, who had been commissioned to furnish the designs. About 1804, the younger Jacob disappears from business and the elder added the name Desmalter to his own, and soon removed his workshop to the _rue des Vinagriers_. Desmalter’s fame became wide-spread: he made furniture for the courts of Spain and Russia, and many pieces found their way also to England. The famous workers in metal were Thomire, J. B. C. Odiot and Biennais.