The various pieces of the bed were valances (upper and lower), _cantonnières_ (for definition, see note on page 85), straight curtains called _bonnes grâces_, outside curtains, headboard, canopy, posts, and _pommes_, or knobs. The four-post bedstead has nearly become extinct, and now the beds have but two posts only at the head. These are almost invariably covered with a kind of sheath, or case, made of brocade, silk, or velvet, matching, or contrasting with, the curtains. Taffeta is a favourite material for lining the curtains, and almost every bed is decorated with some kind of braid and fringe, usually gold, or gold and silver mixed. In addition to the beds described in the preceding pages, we may note here other typical beds that would serve as suggestions for the designer of to-day. One is a bed of reddish brown velvet, embroidered with gold, and trimmed with a gold braid and fringe; the valances, headboard, posts, and canopy were of this material, while the three curtains were of a gold, silver, and violet brocade lined with red taffeta. Another was of green and white muslin, trimmed with a woollen braid and fringe of green and white; a third, is a pavilion bed of red and white muslin, trimmed with red and white fringe; and a fourth, a “_lit en dome_” of striped gauze, the stripes being gold, silver, and flame-colour. The ornamental fringe was a narrow one of gold and silver. The draperies were arranged in seven festoons. The counterpane was also of this striped gauze. Returning to the _lit d’ange_, one owned by the King himself is of extraordinary elaborateness, being entirely embroidered on a gold background, with flowers, quivers, cartouches with the arms and cypher of the King, and, moreover, ornamented with gold lace. On the ceiling, there was painted a little picture representing Night; and on the centre of the counterpane, a picture representing Sleep. A heavy gold cord, tied in knots and decorated with tassels, looped back the curtains. The wood at the foot was visible. It was carved in the form of two pillars at the foot representing children on eagles, each carrying on his head a perfume-vase. This frame and all the rest of the visible wood was gilded. The detail (No. 2) on Plate XV. represents the base of a less ornate bed and one of a later period than this of the King. Here there is a feeling that anticipates the coming period of the Regency, although the cloven foot, or hind’s foot has long been familiar, and is of frequent occurrence in Boulle’s work. The mascaron, too, above the foot, is not new, nor is the shell, or anthemion ornament, in the centre. The general effect of the curve is what announces the coming style.