so much of this old French brass work with such subtle and yet so great charm.
Thomire, born in 1751, was another bright and shining light in the same branch of industry, but he continued his labours to a period thirty-seven years after Gouthière, who died in 1806, having been brought to such straits that, history tells us, " il était réduit à solliciter une place à l'hospice ; il mourut dans la misère." Thomire had much to do, not only with the " Louis-Seize," but also with the " Empire " metal work, with which we have yet to deal.
The names of Lamour, Lalonde, Gabriel, Heré, Gamain, Caffieri, Peneau, Cressent, and Duplessis may also be mentioned, for all shone brilliantly under one or another of the Louis, but lack of space renders it impossible to give individual examples of the work of every one of them here.
It is very curious that the French cabinet maker of the times of which I am writing did not avail himself to any great extent of marquetry for the enrichment of his productions, if we except, of course, the tortoiseshell and metal incrustations of the Boulles. Such inlay as was employed—an example is given in Fig. 2, Plate IV.—was of a comparatively simple character, and, when not floral in design, consisted chiefly of diaper patterns composed of tiny pieces of veneer— principally amaranth, tulip, rosewood, laburnum, and maple. These diapers were frequently introduced as a background for floral schemes, and were brought to great perfection by Riesener, among other marqueteurs, during the prevalence of the succeeding style. The effect obtained by this inlay is rich though subdued, and decidedly pleasing, often having somewhat the appearance of a H bloom," though it cannot be admitted that it ever possessed the great charm associated with that which became popular in this country a few years later through the encouragement of Heppelwhite and Sheraton.
There is yet another name which must be mentioned while
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