LXVII. is an excellent example of the Percier and Fontaine work; above it, No. 2, is another commode and above that No. 1 the end of a bureau. Of the secretary on the same plate, they say: “This little piece of furniture, designed to preserve books, papers and money, has a clock in the upper part; below are secret drawers; in the centre a rolling cylinder and writing table. Chimæras on each side of the table support girandoles for lights. The whole is made of different kinds of wood ornamented with bronzes.” The rich sofa, or “double chair,” and the sofa-bed, on Plate LXVIII. are also by these designers. Of the tea-table on Plate LXV., they tell us: “The design of this table was sent to Russia so that it might be executed there in porcelain and bronze; the compartments and ornaments that decorate the table have to be painted in colour with the background and the parts that stand out in relief of gold. The principal subject is the birth of Amphitrite, who is surrounded by Tritons and dolphins.” [Illustration: PLATE LXVI] The cornice and lambrequin are unknown to the Directoire period; a pole ending in an arrow, or thyrsus, supports two curtains of calico, or silk. These curtains are relieved by a Greek border. The Empire taste demands a little more. Satins and velvets are added to the above. The drapery becomes very ample and beneath them are thin muslin curtains embroidered in dots, stars and squares. Sometimes two rods are used at each window to support the inner and outer curtains. A very fashionable method of furnishing the window was to have two curtains of silk and two of muslin. Decorative borders were used for these. The cornice is restored, and consists of the palm, the thyrsus, a bow, or a laurel wreath in gilded bronze, or painted wood. The colours of these draperies are limited. There are but five strong hues—crimson, green, blue, yellow and white—and there are no shades of these. There was a tendency for patterns to become smaller; damask was ornamented with little figures, or stripes; Gobelin tapestries were supplanted by designs in _grisaille_ on a red, blue, or green background. These many printed stuffs had pictures derived from Greek, Egyptian, or Roman subjects, or mythology, and appeared as if printed on paper. The bed used during the Directoire was larger than the Louis XVI. bed.