First let us recall the dates. The easy-going lady who succeeded Dutch William occupied the throne for only twelve years, dying in 1714,—one year before Louis XIV. At this date, therefore, we are on the threshold of the Regency, the characteristics of which in decorative art are already established. For the beginnings of the Queen Anne style, moreover, we must revert to a date prior to her actual succession. This date is 1690, when the Glorious Revolution placed the Prince of Orange on the throne of England. William used England as a weapon of defence of the Netherlands against the aggression of Louis XIV., and on her accession Anne carried on his policy. England, therefore, from 1690 to the fall of Marlborough in 1711, might almost be regarded as a Dutch province. Considering the close dynastic, political, mercantile and religious ties between the two countries, it would be strange if Dutch taste did not predominate in England. It was a Dutch taste, however, tempered with French art. The French forced the highest development of the Louis XIV. style on England and the Low Countries by the Revocation of the Edict of Nantes in 1685. In consequence of that edict, many thousands of the best workmen in the French arts and crafts were forced to go into exile, taking refuge in England, Germany and Holland. There they were welcomed by their co-religionists, and their labours had a great and immediate influence on the native styles. The artist who exerted the greatest influence in forming the Queen Anne style was Daniel Marot, who left France in 1686 and went to Holland. There he found immediate employment in the service of the Stadtholder, and when the latter became King of England in 1690, he appointed Marot his chief architect and master of works. Till his death in about 1718, Marot designed the interior decorations and furniture for many mansions and palaces in England and Holland. The names of many joiners, carvers and goldsmiths (who at that day designed many minor pieces of furniture) are to be found in the lists of Huguenot refugees in London. In that city, French artists and designers found ready employment. Among others we find J. B. Monnoyer (Baptiste), who died in London in 1699. Samuel Gribelin also found much encouragement in England. He had published three books of ornamental design before 1700. Thus, what the French call “_le style refugié_,” crossed the Channel.