The new conditions in France wrought changes in every detail of life. Simplicity, so called, was becoming the watchword, and once more antique models were sought for forms and decorations. Under the Empire the style was much less graceful, the lines coarser, and the elaboration of ornament heavy. Could anything be less pleasing than Josephine's bed at Fontainebleau, shown in Figure 80? It is one of the few unsightly things in that beautiful palace, where are now gathered so many works of art. The bedstead is covered with heavy chiselled ornaments in brass, and surmounted by a canopy held on pillars. This canopy is partly of carved wood and partly of embroidered satin. There are strings of gold beads hanging from this satin, and in addition heavy satin curtains very richly embroidered. These are edged with a long and clumsy fringe. The whole room is in keeping with the bed, for the floor is covered with a carpet bearing the imperial insignia all over it, and the hangings on the walls have countless spots in lieu of a pattern. It was at Fontainebleau that the sentence of divorce was passed on Josephine, and it seems possible that the sleepless nights which the poor lady endured must have been rendered more miserable by the unlovely character of her surroundings. It is with pleasure that one turns to Figure 81, showing the bed of the great Emperor himself, at Grand Trianon, Versailles. It is a good example of the best Empire work, and is mahogany ornamented with ormolu mounts in classic style. [Illustration: Figure 82. ROOM AT FONTAINEBLEAU, WITH HISTORIC TABLE.] It was now the fashion to decry the furniture or costumes which had prevailed during the latter half of the eighteenth century, and to seek the Athenian models for gowns and furniture. Nor were these models used in their simple shapes, but transformed into quite other guise by the touch of French hands. Marquetry was no longer considered good taste, and David the painter was largely responsible for much of the theatrical effect which was noted both in costume and household belongings. After the fall of the monarchy, sales had been held, and what had not been destroyed had been sold. It was now necessary to fill again the palaces that had been denuded, and Percier, the architect, and Joseph Desmalter, the cabinet-maker, were the men chosen to do it. Desmalter is responsible for the use of mahogany commodes embellished with bronze and gilt like those which flank the bed in Figure 81. After the expedition to Egypt, Sphynx figures were introduced in bronze or brass to uphold tables and as arms for chairs. These, however, did not become popular, and soon were replaced by classic heads.