The Queen Anne room had its walls sometimes covered with tapestry and sometimes decorated with painted or carved panels. In accordance with the French and Dutch custom also, pictures were used with a conscious decorative effect. Sometimes they were hung on the tapestry, also, though not when the latter depicted a story of itself. In 1710, D’Aviler defines the word picture (_tableau_) as a subject of painting, usually in oil on canvas or wood, and contained in a frame or border. “Pictures greatly contribute to the decoration of the interior of buildings. The big ones figure in churches, drawing-rooms, galleries and other big places. Those of medium size called easel-pictures are placed in the spaces above the chimney-piece, above the doors and in the panels of the walls, or else on the tapestry against the walls. The small ones are symmetrically arranged in the chambers and cabinets of the curious.” In the ordinary house, in the reign of Queen Anne, there was a strange jumble of the old and the new. The late Jacobean carved oak, or walnut, cane-bottom chair had not yet gone entirely out of use, but the new styles were varieties of the chair and stool on Plate XXI., Nos. 1 and 4. These were usually of walnut, but mahogany was just coming into fashion as a cabinet wood, and Queen Anne chairs with the frames made of that wood still exist. The characteristics of this chair consist of the cabriole leg, with and sometimes even without stretchers, the club foot, and solid curved splat which very frequently assumes the jar shape. Later in the period, the stretchers were discarded altogether. There was very little carving except on the spring of the knee. The claw-and-ball foot was rapidly coming into favour, and the tendency was constantly towards increased lightness of frame. Even where the characteristic square tapering leg of the Louis XIV. style is preserved, increased lightness is noticeable. The turned stretchers, both of chairs and settees, are shown on Plate XIX., Nos. 5, 6 and 7, and Plate XXI., Nos. 1, 4 and 10. Marot clung to the flat curved stretchers of the Louis XIV. style, and his chairs are very large and heavy. The reason of this is that he paid great attention to the upholstery, and his large and brilliant designs required a correspondingly large surface for adequate display. Many of his plates are devoted entirely to patterns for materials for upholstery, and the geometrical flower-bed is the apparent inspiration of much of his work of this nature. Some of Marot’s chairs and stools are shown on Plate XXI., Nos. 2, 3, 5, 8 and 9. The chairs on either side of the bed on Plate XXII. are also Marot’s. No. 7 on Plate No. XXI. shows the lighter form of frame of this class of chair. The settees, numbered 5, 6 and 7, on Plate XIX. should also be carefully studied as types of this style. They are taken from contemporary prints of court ladies. On one of them, Anne herself is sitting in the original. No.