M. Edmond Bonnaffé, in his work on the sixteenth century furniture of France, gives no less than 120 illustrations of "tables, coffres, armoires, dressoirs, sieges, et bancs, manufactured at Orleans, Anjou, Maine, Touraine, Le Berri, Lorraine, Burgundy, Lyons, Provence, Auvergne, Languedoc, and other towns and districts, besides the capital," which excelled in the reputation of her "menuisiers," and in the old documents certain articles of furniture are particularized as "fait à Paris."

He also mentions that Francis I. preferred to employ native workmen, and that the Italians were retained only to furnish the designs and lead the new style; and in giving the names of the most noted French cabinet makers and carvers of this time, he adds that Jacques Lardant and Michel Bourdin received no less than 15,700 livres for a number of "buffets de salles," "tables garnies de leurs tréteaux," "chandeliers de bois" and other articles.

[Facsimiles of Engravings on Wood], By J. Amman, in the 16th century, showing interiors of Workshops of the period.

The bedstead, of which there is an illustration, is a good representation of French Renaissance. It formed part of the contents of the Chateau of Pau, and belonged to Jeanne d'Albret, mother of Henri Quatre, who was born at Pau in 1553. The bedstead is of oak, and by time has acquired a rich warm tint, the details of the carving remaining sharp and clear. On the lower cornice moulding, the date 1562 is carved.

This, like other furniture and contents of Palaces in France, forms part of the State or National collection, of which there are excellent illustrations and descriptions in M. Williamson's "Mobilier National," a valuable contribution to the literature of this subject which should be consulted.

[Carved Oak Bedstead of Jeanne D'albret.] From the Chateau of Pau. (Collection "Mobilier National.") Period: French Renaissance (Date 1562).

[Carved Oak Cabinet.] Made at Lyons. Period: Latter Part of XVI. Century.

Another example of four-post bedsteads of French sixteenth century work is that of the one in the Cluny Museum, which is probably some years later than the one at Pau, and in the carved members of the two lower posts, more resembles our English Elizabethan work.

Towards the latter part of Henri IV. the style of decorative art in France became debased and inconsistent. Construction and ornamentation were guided by no principle, but followed the caprice of the individual. Meaningless pilasters, entablatures, and contorted cornices replaced the simpler outline and subordinate enrichment of the time of Henri II., and until the great revival of taste under the "grand monarque," there was in France a period of richly ornamented but ill-designed decorative furniture. An example of this can be seen at South Kensington in the plaster cast of a large chimney-piece from the Chateau of the Seigneur de Villeroy, near Menecy, by Germain Pillon, who died in 1590. In this the failings mentioned above will be readily recognized, and also in another example, namely, that of a carved oak door from the church of St. Maclou, Rouen, by Jean Goujon, in which the work is very fine, but somewhat overdone with enrichment. This cast is in the same collection.

During the 'Louis Treize' period chairs became more comfortable than those of an earlier time. The word "chaise" as a diminutive of "chaire" found its way into the French dictionary to denote the less throne-like seat which was in more ordinary use, and, instead of being at this period entirely carved, it was upholstered in velvet, tapestry or needlework; the frame was covered, and only the legs and arms visible and slightly carved. In the illustration here given, the King and his courtiers are seated on chairs such as have been described. Marqueterie was more common; large armoires, clients of drawers and knee-hole writing tables were covered with an inlay of vases of flowers and birds, of a brownish wood, with enrichments of bone and ivory, inserted in a black ground of stained wood, very much like the Dutch inlaid furniture of some years later but with less colour in the various veneers than is found in the Dutch work. Mirrors became larger, the decoration of rooms had ornamental friezes with lower portions of the walls panelled, and the bedrooms of ladies of position began to be more luxuriously furnished.