The period of Louis XVI was much more beautiful in style than the preceding one, as it was more restrained and exquisite because of the use of the straight line or a gracious, simple curve.  This comparative simplicity does not come from lack of true feeling for beauty but rather because of it.  The sense of proper proportion was shown in both the furniture and the room decoration.  The backs of chairs and settees were round or rectangular, and the legs were square, round, or fluted, and were tapering in all cases.  The fluting was sometimes filled with metal husks at top and bottom, leaving a plain stretch between.  Walnut and mahogany were much used and were beautifully polished, but had no vulgar and hard varnished glare.  There was wonderful inlay and veneer, and much of the furniture was enamelled in soft colors and picked out with gold or some harmonizing color.  Gilding was also used for the entire frame.  The metal mounts were very fine.  Brocades of lovely color and designs of flowers, bowknots, wreaths, festoons, lace, feathers, etc.; chintz, the lovely “toil de Jouy,” which is so well copied nowadays; soft toned taffeta, Gobelin and Beauvais and Aubusson tapestries, were all used for hanging and furniture coverings.  Cane also became much more popular.  Walls were paneled with moldings, and fluted pilasters divided too large spaces into good proportions.  Tapestry and paintings were paneled on the walls, and the colors chosen for the backgrounds were light and soft.

The charm and beauty of this style as well as its dignity make it one which may be used in almost any modern house, as it ranges from simplicity to a beautiful restrained elaborateness suitable to the formal rooms.

[Illustration:  The modern style of mirror is brought into harmony with the eighteenth century dressing-table by means of carving.]

[Illustration:  This William and Mary settee would be delightful in a country house.  There are chairs to match it.]

The change from Louis XVI to the Empire was a violent one both politically and artistically.  The influence of the great days of the Roman empire and the mystery of ancient Egypt stirred Napoleon’s imagination and formed his taste.  Empire furniture was solid and heavy, with little or no carving, and much ornamentation of metal mounts.  Mahogany was chiefly used, and some furniture was gilded or bronzed.  Round columns finished with metal capitals and bases appeared on large desks and other pieces of furniture.  Chairs were solid, many of them throne-like in design, and many with elaborately carved arms in the form of swans and sphinxes, and metal ornaments.  The simpler form of chair, which was copied and used extensively in America, as a dining-chair, often had a curved back and graceful lines.  Furniture coverings were very bright satins and velvets brocaded with the Emperor’s favorite emblems, the bee, torch, wreath, anthemion.  It is a heavy and gaudy style and