PERIOD: END OF LOUIS XVI.] [Illustration: CARVED AND GILT CANAPÉ OR SOFA. Covered with Beauvais tapestry. Collection "Mobilier National." PERIOD: END OF LOUIS XVI.] Another fine specimen, illustrated on page 170, is the small cabinet made of kingwood, with fine ormolu mounts, and some beautiful Sêvres plaques. [Illustration: MARQUETERIE ESCRITOIRE. By David, said to have belonged to Marie Antoinette. (_Jones Collection, South Kensington Museum._)] The influence exercised by the splendour of the Court of Louis Quatorze, and by the bringing together of artists and skilled handi-craftsmen for the adornment of the palaces of France, which we have seen took place during the latter half of the seventeenth century, was not without its effect upon the Industrial Arts of other countries. Macaulay mentions the "bales of tapestry" and other accessories which were sent to Holland to fit up the camp quarters of Louis le Grand when he went there to take the command of his army against William III., and he also tells us of the sumptuous furnishing of the apartments at St. Germains when James II., during his exile, was the guest of Louis. The grandeur of the French King impressed itself upon his contemporaries, and war with Germany, as well as with Holland and England, helped to spread this influence. We have noticed how Wren designed the additions to Hampton Court Palace in imitation of Versailles: and in the chapter which follows this, it will be seen that the designs of Chippendale were really reproductions of French furniture of the time of Louis Quinze. The King of Sweden, Charles XII., "the Madman of the North," as he was called, imitated his great French contemporary, and in the palace at Stockholm there are still to be seen traces of the Louis Quatorze style in decoration and in furniture; such adornments are out of keeping with the simplicity of the habits of the present Royal family of Sweden. A Bourbon Prince, too, succeeded to the throne of Spain in 1700, and there are still in the palaces and picture galleries of Madrid some fine specimens of French furniture of the three reigns which have just been discussed. It may be taken, therefore, that for a period dating from the latter part of the seventeenth century, the dominant influence upon the design of decorative furniture was of French origin.