6, Plate XXI., represents the top of a chair back which is very characteristic of the Marot school. One of the favourite ornaments of this period was the urn in some form or other. The acorn was also largely used for feet, and the flattened bulb was not entirely superseded. The effect produced by the above-mentioned detail is found in several other pieces of furniture of the day, clocks and mirrors particularly. The urn is seen in No. 5, Plate XXIII., and the effect is repeated in Nos. 1 and 6, Plate XX. Nos. 5 and 6 on that Plate also show the combination acorn and flattened bulb employed as feet. No. 6 also shows another decorative feature of the period in the heavy _chutes_ of bell-flowers. The handsome clock, No. 6, Plate XX., from Marot’s design, shows many Louis XIV. features. The sun in splendour is noticeable and the winged cherub above the dial. The latter was made great use of in the Queen Anne style. The mascaron also was largely adopted. Another decorative feature which was carved on the centre lower rim of so many chests-of-drawers, and dressing-tables was the shell. The cabinet-makers were never tired of using the latter, and its constant appearance may perhaps be accounted for by the fact that it was the principal charge in the arms of the English company of cabinet-makers. It is seen on top of the mirror in No. 2, Plate XIX., and the mascaron is used to beautiful effect in the mirror No. 3 on the same plate. The mascaron appears as the chief ornament in No. 3, Plate XX. Strange to say, this is not a chair, as might be imagined, but a fire-back, as is also No. 4. The shape of this fire-back, however, is going to be that which will dominate in chair-backs in many styles and even to the present day holds its own. The chair No. 8, Plate XX., is transitional between Jacobean and Queen Anne. The couch (No. 9 of the same plate) is a fine example of the Queen Anne style with its scrolls, cabriole legs and stretchers. The winged effect of the scrolls connecting the legs is a very favourite feature of the day. This should be compared with the couch by Marot in Plate XVIII., which retains more of the Louis XIV. characteristics. The bed on Plate XXII. is one of Marot’s designs and shows the Louis XIV. influence. The detail No. 3, on the same plate, exhibits another variety of head-board. No. 1 is a detail of a bed cornice and its drapery; and No. 2 shows the pattern of a valance. Specimens of lambrequin drapery, both for beds and windows, moreover, are shown in the details, Nos. 1 and 4 on Plate XIX.