This was the period when the practice commenced of covering seats with woollen stuffs, or with silk figured on frames, or embroidered by hand, displaying ciphers, emblems, or armorial bearings. From the East was introduced the custom of hangings for rooms, composed of glazed leather, stamped and gilt. These skins of the goat or sheep were called _or basané_, because plain gilt; or embossed leather, in gold colour, was made from them. _Or basané_ was also used to conceal the bare look of arm-chairs. Towards the fourteenth century, tables of precious metals disappeared, in consequence of fashion ruling in favour of the stuffs which covered them; tapestry, tissues of gold, and velvets thenceforth formed the table-cloths. On great occasions, the place of the principal guests was distinguished by a canopy, more or less rich, erected above their seats, as represented in the account of the sumptuous feast given by King Charles V. to the Emperor Charles of Luxemburg, in the great hall of the palace. M. Fréguier thus describes the banquet from contemporary documents in the “Histoire de l’Administration de la Police de Paris:”-- “The dinner was served on a marble table. The Archbishop of Rheims, who had officiated that day, first took his place at table. The Emperor then sat down, then the King of France, and the King of Bohemia, the son of the Emperor. Above the seat of each of the three princes was a separate canopy of gold cloth, embroidered all over with fleurs-de-lis. These three canopies were surmounted by a larger one, also of cloth of gold, which covered the whole extent of the table, and was suspended behind the guests. After the King of Bohemia, three bishops took their place, but far removed from him, and near the end of the table. Under the nearest canopy the Dauphin was seated, at a separate table, with several princes or nobles of the Court of France, or of the Emperor. The hall was adorned with three buffets, or dressers, covered with gold and silver plate; these three dressers, as well as the two large canopies, were protected by a railing, to prevent the intrusion of the crowds of people who had been permitted to witness the magnificence of the display. Finally, there were to be seen five other canopies, under which were assembled princes and barons round private tables; also numerous other tables.” It is noteworthy that from the time of St. Louis these same chairs and seats, carved, covered with the richest stuffs, inlaid with precious stones, and engraved with the armorial bearings of great houses, issued for the most part from the workshops of Parisian artisans. Those artisans, carpenters, manufacturers of coffers and carved chests, and furniture-makers, were so celebrated for works of this description, that in inventories and appraisements of furniture great care was taken to specify that such and such articles among them were of Parisian manufacture; _ex operagio Parisiensi_ (Fig. 4).