In the dining-room, there were three tables for ten, fifteen, and thirty covers. The eighteen chairs were upholstered in green and white Utrecht velvet.
The greenhouse contained five banquettes, or forms, covered with green Utrecht velvet, and three girandoles carried by plaster figures standing on white marble pedestals.
In the passage to the boudoir was a banquette covered with “Pekin.”
The boudoir was furnished with two settees, two bergères, and two chairs covered with tapestry; and a desk stood in a counterfeit doorway. The window-curtains were of green taffeta, and a carpet covered the floor. In the bedroom, two large pictures took the place of hangings. A sofa-bed stood in the niche, draped with crimson and white Genoa velvet. The niche was hung with the same material. Two sofas, six square-backed arm-chairs, and a two-leaved screen and two banquettes were covered similarly, but the four cabriolets were upholstered in brocade. Another screen was covered with tapestry. There were also a foot carpet, an open fire-place with rich hearth furniture, pictures, and two lily-shaped girandoles of copper gilt, or moulu. A moquette portière screened the passage to the garde-robe. The “Baths” occupied three rooms. The bath-room and its niche were hung with Persian; the window curtains were white, and here stood a canapé and four cabriolets. The cabinet next to the bath contained a settee, four cabriolets, and two window-curtains, all in “painted Pekin.” The furnishings of the fireplace were gilt or moulu. The dressing-room was hung in damask paper, and its six cabriolets were upholstered with crimson and white velvet.
Mlle. Grimard’s suite upstairs consisted of antechamber, dining-room, drawing-room, dressing-room, bedroom, writing-room, and garde-robe. The ante-chamber was furnished with six cane chairs and a faïence fountain. The dining-room seats, covered with blue and white velvet, comprised six chairs and two arm-chairs.
The salon, or drawing-room, contained five tables: one stood in each corner and one in the centre. There were six square arm-chairs, four chairs, and a settee of green and white damask, and the one tabouret was covered with tapestry. The walls were hung with watered silk, and the curtains were green taffeta. The dressing-room contained four arm-chairs, and four chairs covered in blue and white damask; and the window-curtains were of blue taffeta. The arm-chair used at the toilette was upholstered in leather. The chimney-piece was “à la Prussienne,” and the hearth furniture was gilt or moulu. The bedroom was lighted by two windows, which were hung with curtains of green taffeta. The lit en niche and the alcove draperies were of Indian dimity. The four arm-chairs and four chairs were covered with toile de Jouy. (See page [264].) The fireplace furnishings were gilt or moulu. In the writing-room, the two curtains were of green taffeta; and the desk arm-chair was covered with green velvet. Two china corner-cupboards stood in the garde-robe.
The Cabinet des Modes from 1786 to 1790 gives many examples of furniture and interior decorations that are excellent records of the taste of the last years of the Louis XVI. style. The volume for 1786 gives designs for a clock and candelabra; bed in the form of a pulpit, front and side view, lit de repos, or causeuse, arm-chairs “in the latest fashion,” bergères, chaise à chapeau and chaise à resaut, “temple flambeaux and cassolettes for the decoration of a mantel-piece,” bed “à la Turque,” and decoration for a boudoir.
PLATE XLVIII
A lit à la Polonaise, a decoration for a bedroom with alcove with columns, cabinet clock, sofa with three backs, or “sofa pommier,” large arm-chair for a drawing-room, two voyeuses for a card room, and a chair appear in the second volumes. The third contains mantel-pieces, girandoles, clocks, a cylinder desk, a console, and the decoration for a salon. Another decoration for a salon appears in the volume for 1789, also a clock, girandoles, a Chinese lantern, pots pourris, or perfume-burners, a sofa of three divisions, a fauteuil à chapeau et à colonnes, a hearth and a settee. The volume for 1790 leads directly into the Directoire style, as the plates for the “lit à la fédération,” “new arm-chairs of antique form,” “antique arm-chair,” “Etruscan chair,” candelabra, and “salon nouveau” plainly show. Most of these designs are by Charpentier.