At Fontainebleau and the Louvre, are preserved many articles by Dugourc, whose favourite ornament was the quiver.
Cauvet (b. 1731, d. 1788) designed ornaments, chiefly arabesques. Typical trophies and arabesques are shown on Plate XLV. Nos. 1, 2, 3, 4 and 5.
A great number of painters, decorators and designers devoted their attention to the urn and vase forms: innumerable volumes entitled “_vases composed in the antique taste_ or _suite des vases_,” were published by Vien, Jacques, Saly, Watelet, Pierre, Wailly, La Live de Juilly, Simon Challe, Saint Non, Petitot, Cauvet, Houdan, Beauvais, Bertren, Gachet, La Rue, Bonnet, Joly, Duplessis, _fils_, Percenet, Scheemakers, Moithey _l’ainé_, Nicolet, Dupuis, Courture _l’ainé_, Marchand, Perault, Pannier, Doré and Normand.
Others gave great attention to designing iron-work for balconies, locks, bolts and mounts for furniture; and even stoves received much consideration. Bosse, for instance, gives eighteen models in his _Collection des dessins de Poêles de formes antiques et modernes, de l’invention et de la manufacture du sieur Olivier, rue de la Roquette, faubourg Saint-Antoine_.
Other designers published books of arabesques, trophies, flowers and other ornaments for the use of interior decorators. Among the most interesting of these is Charton’s _Collection de douze cahiers de plantes étrangères en fleurs, fruits, corail et coquillages_, published in 1784.
One of the most prolific designers of textiles was Pillement (b. 1728; d. 1808), and his plates show all the popular motives and subjects of the day: branches, ribbons, stripes mingled with flowers, and those patterns of winding ribbons alternating with straight stripes bespangled with flowers called _Dauphines_, which were introduced at the time of the Dauphin’s marriage with Marie Antoinette in 1770. From the time that the Princesse de Lamballe assumed charge of the Queen’s household, feathers were much used as a design for textiles; and the affected pastoral life at Trianon gave rise to the gayest sort of materials in which the winding stripes and interlacing ribbons are not only sprinkled with flowers, but all the pastoral attributes. About 1780, the round medallions came in and lasted till the beginning of the Nineteenth Century. Of course, the growing taste for the antique had its effect upon the decoration of materials, and the columns, volutes, lyres, heads of Minerva and other Classic ornaments became more and more popular. However, amidst all the changes, one thing persisted. This was the stripe. At first, it was hidden under ribbons and flowers, branches and feathers, but all the scattered ornaments became smaller and less noticeable until they disappeared altogether, and left the dominating stripe. Mercier wrote in 1788: “Everybody in the King’s cabinet looks like a zebra.”