Alessandro Longhi (1733–1813) the Italian painter and engraver, called the Venetian Hogarth, in one of his pictures presenting life and manners in Venice during the years of her decadence, shows Goldoni, the dramatist, as a visitor in a café of the period, with a female mendicant soliciting alms.

In the Louvre at Paris hangs the "Petit Déjeuner" by François Boucher (1703–1770), famous court painter of Louis XV. It shows a French breakfast-room of the period of 1744, and is interesting because it illustrates the introduction of coffee into the home; it shows also the coffee service of the time.

In Van Loo's portrait of Madame de Pompadour, second mistress and political adviser of Louis XV of France, the coffee service of a later period of the eighteenth century appears. The Nubian servant is shown offering the marquise a demi-tasse which has just been poured from the covered oriental pot which succeeded the original Arabian-Turkish boiler, and was much in vogue at the time.

Coffee and Madame du Barry (or would it be more polite to say Madame du Barry and coffee?) inspired the celebrated painting of Madame de Pompadour's successor in the affections of Louis "the well beloved." This is entitled "Madame du Barry at Versailles", and in the Versailles catalog it is described as painted by Decreuse after Drouais. Decreuse was a pupil of Gros, and painted many of the historical portraits at Versailles.

Tom King's Coffee House is Covent Garden, 1738
From a printing in the series, "Four Times of the Day," by William Hogarth

Malcolm C. Salaman, in his French Color Prints of the XVIII Century, referring to Dagoty's print of this picture, done in 1771, says, "the original has been attributed to François Hubert Drouais, but there can be little doubt that the original portraiture was from the hand of the engraver (Dagoty), as the style is far inferior to Drouais." He thus describes it:

Here we see the last of Louis XV's mistresses, sitting in her bedroom in that alluring retreat of hers at Louveciennes, near the woods of Marly, as she takes her cup of coffee from her pet attendant, the little negro boy, Zamore, as the Prince de Conti had named him, all brave in red and gold. Doubtless she is expecting the morning visit of the King, no longer the handsome young gallant, but old and leaden-eyed, and puffy-cheeked; and perhaps it will be on this very morning that she will wheedle Louis, in a moment of extravagant badinage, into appointing the negro boy to be Governor of the Chateau and Pavilion of Louveciennes at a handsome salary, just as, on another day, she playfully teased the jaded old sensualist into decorating with the cordon bleu her cuisinière when it was triumphantly revealed to him that the dinner he had been praising with enthusiastic gusto was, after all, the work of a woman cook, the very possibility of which he had contemptuously doubted. But as we look at these two, the royal mistress and her little black favorite, we forget the "well beloved" and his voluptuous pleasures and indulgences, for in the shadows we see another picture, some twenty years on, when the proud unconscionable beauty, no longer reine de la main gauche, stands before the dreaded Tribunal of the Terror, while Zamore, the treacherous, ungrateful negro, dismissed from his service at Louveciennes and now devoted to the committee of public safety, and one of her implacable accusers, sends her shrieking to the guillotine.

"Petit Déjeuner," by Boucher
Showing the home coffee service of the period of 1744 		Coffee Service in the Home of Madame de Pompadour—Painting by Van Loo