It was Madame de Maintenon who gave such inspiration to the work in France that England copied. Her school at St. Cyr, which she conducted solely for the purpose of giving happiness and education to penniless daughters of fallen aristocrats, at that school the young girls executed work that ranks with objects of art. A well-known American collector has a large sofa executed thus under the hand of Madame de Maintenon which represents scenes from a play of Molière's, the piece having also been given by these same young girls, then the cartoons drawn by an artist of high talent. So petit point was almost a high art in France in the time of William and Mary, and England did her best to follow the fine pattern set her. If, in judging whether this work be French or English, the mind hesitates, it is well to take the eye from the medallions and study how the designer filled the big field outside. In French drawing the whole is a harmonious composition; in the English, the hand is crude and uncertain, and the motifs meaningless, though bold, without coherence or co-ordination. Nowadays the lady who wishes to embroider a chair gets from Paris a medallion already complete and fills in the surrounding territory at her pleasure. It would seem that the ladies in England did the same in the seventeenth century, but with less taste. Among minor points of interest, those little points used by the amateur in identifying, is the marked change in the stretcher. Away back in the beginning of the century, as seen on chairs and tables, it was heavy, made of square three-or four-inch oak, and placed almost on the ground. The first change was in using thinner wood; the next was in giving the stretcher a look of ornamental lightness by turning. When this happened the front stretcher of chairs was lifted from the ground to spare it the heavy wear apparent in older pieces. When carving attacked the stretcher, then it was placed well out of the way of harm, and it took on the ornamental effect of the chair's back. The Portuguese style of stretcher copied closely the carving on the top of the back in graceful curves. It was when the larger pieces of furniture took on a certain lightness of effect that a change in their stretchers occurred, and this was in the period of William and Mary. The stretcher became wide, flat and serpentine. In chairs it wandered diagonally from the legs, meeting in the centre. In tables its shape was regulated by the size of the table top. In chests of drawers it wavered from leg to leg of the six which like short posts supported the weight. If the piece of furniture was inlaid these flat stretchers offered fine opportunity for continuing the work.