The ceiling is usually made into _caissons_, or compartments, painted to harmonize with the draperies. Sometimes, however, these are painted white and gold, a deep oak, aurora, or a lilac grey. The window curtains match the hangings; sometimes they are of tapestry, sometimes of brocade, or damask, or silk, and beneath these heavy curtains white curtains of muslin or silk are hung. In the evening, the heavy curtains are always drawn. They are rarely suspended below a cornice. Sometimes the silk or brocade curtains are trimmed with braid and fringe, and sometimes with a wide border of silk or velvet forming a kind of frame all around the hanging. If _portières_ are used they are usually like the rest of the draperies. If lambrequins are used, they are cut and arranged in the shapes shown on Plate XIX, No. 1 and No. 4. ----- Footnote 10: Metal furniture, however, was known to the ancients. To quote a single example, in the palace of King Ahasuerus, “the beds were of gold and silver upon a pavement of red and blue and white and black marble.” The Assyrian furniture was of gold, silver, and bronze, and splendid furniture of gold, silver, and bronze, likewise adorned the Egyptian and Roman palaces and villas. The _Romans d’aventure_ of the Middle Ages contain descriptions of such rich furniture, inspired by Oriental luxury. Footnote 11: In the anthemion, the springing point is the base, and the units arrange themselves on either side of a central member, and form a bi-symmetrical figure. This anthemion type of form is met with in almost every style and period of art. The anthemion is sometimes called the honeysuckle pattern. It is an old dogma that the decorative form was suggested by this plant; but its more or less remote resemblance to the buds of the honeysuckle is accidental, not incidental; and the charm, both in nature and in art, is the inherent beauty of a mass of radiating and upspringing forms, instinct with the suggestion of vitality and growth. Hulme, _The Birth and Development of Ornament_. London, 1893. Footnote 12: “A _cantonnière_ is a piece of material almost always of Gobelin or Aubusson tapestry, which, hanging flat in the manner of a lambrequin, has two hangings or tails falling down the sides and forming a kind of frame for the curtains beneath. Sometimes these two hangings are held back by hooks which give the effect of curtains; _cantonnières_ for the decoration of beds are also made. The richness, the delicacy and the good design of tapestry can give much value to this kind of decoration. The narrow curtains of less fullness that are called _bonnes grâces_ are an imitation of the _cantonnières_, an imitation that is demanded by economy rather than the principles of decoration.” Deville, _Dictionnaire du Tapissier_, Paris, 1878–1880. Footnote 13: In 1726, these curtains were used to upholster some furniture for the Queen’s apartments at St. Cyr.