elegance and prettiness of the boudoir; and as the reign of the young King advances, we find the structural enrichment of rooms more free, and busy with redundant ornament; the curved endive decoration, so common in carved woodwork and in composition of this period, is seen everywhere; in the architraves, in the panel mouldings, in the frame of an overdoor, in the design of a mirror frame; doves, wreaths, Arcadian fountains, flowing scrolls, Cupids, and heads and busts of women terminating in foliage, are carved or moulded in relief, on the walls, the doors, and the alcoved recesses of the reception rooms, either gilded or painted white; and pictures by Watteau, Lancret, or Boucher, and their schools, are appropriate accompaniments.[16]

[Illustration:  Part of a Salon, Decorated in the Louis Quinze style, showing the carved and gilt Console Table and Mirror, with other enrichments, en suite.]

The furniture was made to agree with this decorative treatment:  couches and easy chairs were designed in more sweeping curves and on a smaller scale, the woodwork wholly or partially gilt and upholstered, not only with the tapestry of Gobelins or Beauvais, but with soft colored silk brocades and brocatelles; light occasional chairs were enriched with mother-of-pearl or marqueterie; screens were painted with love scenes and representations of ladies and gentlemen who look as if they passed their entire existence in the elaboration of their toilettes or the exchange of compliments; the stately cabinet is modified into the bombe fronted commode, the ends of which curve outwards with a graceful sweep; and the bureau is made in a much smaller size, more highly decorated with marqueterie, and more fancifully mounted to suit the smaller and more effeminate apartment.  The smaller and more elegant cabinets, called Bonheur du jour (a little cabinet mounted on a table); the small round occasional table, called a gueridon; the encoignure, or corner cabinet; the etagere, or ornamental hanging cabinet, with shelves; the three-fold screen, with each leaf a different height, and with shaped top, all date from this time.  The chaise a porteur, or Sedan chair, on which so much work and taste were expended, became more ornate, so as to fall in with the prevailing fashion.  Marqueterie became more fanciful.

[Illustration:  Console Table, Carved and Gilt. (Collection of M. Double, Paris.)]

The Louis Quinze cabinets were inlaid, not only with natural woods, but with veneers stained in different tints; and landscapes, interiors, baskets of flowers, birds, trophies, emblems of all kinds, and quaint fanciful conceits are pressed into the service of marqueterie decoration.  The most famous artists in this decorative woodwork were Riesener, David Roentgen (generally spoken of as David), Pasquier.  Carlin, Leleu, and others, whose names will be found in a list in the appendix.