fortable antiques and beautifully proportioned modern
furniture make an ideal combination of living-room and painter's
studio.

[Illustration: _Combination of Studio and Living Room in a New York
Duplex Apartment_]

Tapestries and mural paintings were framed by a marvellous system of
mouldings which covered ceilings and sidewalls.

The colour scheme was such as would naturally be dictated by the
general mood of artificiality in an age when dreams were lived and the
ruling classes obsessed by a passion for amusements, invented to
divert the mind from actualities. This colour scheme was beautifully
light in tone and harmoniously gay, whether in tapestries, draperies
and upholstery of velvets, or flowered silks, frescoes or painted
furniture. It had the appearance of being intended to act as a
soporific upon society, whose aim it was to ignore those jarring
contrasts which lay beneath the surface of every age.

CHAPTER XX

CHARTS SHOWING HISTORICAL EVOLUTION OF FURNITURE

LOUIS XIV, 1643 to {Compressed regularity {Straight, square,
1715 { giving way in { grooved and very
Key-note { reaction to a { squat cabriole
The Grand { ponderous ugliness. { legs.
Audience Rooms { {

THE REGENCY AND {The Reign of Woman. {Cabriole legs of a
LOUIS XV, 1715 to { { perfect lightness
1774 { { and grace.
Key-note { {
The Boudoir { {

{The transition style {Legs tapering
{ between the Bourbon { straight, rounded
{ Interior Decoration { and grooved. A
{ and that of { few square-grooved
{ the "Directorate" { legs and
LOUIS XVI, 1774 to { and "Empire," { a few graceful,
1793 { characterised by a { slender cabriole
Key-note { return to the classic { legs.
The Salon _Intime_ { line which reflects {
{ a more serious turn {
{ of mind on part of {
{ the Nation in an age {
{ of great