In the bath-room, marbles, porcelains and muslin were not stinted. The panels were covered with arabesques executed by Pérot after designs of Gillot, and distributed in compartments with much taste. Marine plants mounted in bronze by Caffieri, pagodas, crystals and shells decorated the room. In it were two niches: in one was a silver bathtub; in the other a bed draped in Indian muslin, embroidered and adorned with tassels. This was a _lit de repos_, and at its side opened the dressing-room. The panels here were painted by Huet, the designs being medallions, garlands of flowers, birds, fruits, and some gallant subject in the style of Boucher. The upper part was finished with a cornice, surmounted by architectural motives that also bordered a surbased calotte containing a mosaic of gold, with bouquets of flowers painted by Bachelier. Natural flowers filled the bowls of porcelain _gros bleu_, ornamented with gold. Furniture, _gros bleu_, the wood of which was aventurine, had been finished by Martin. The toilet service was of silver, made by the goldsmith Germain.
The boudoir was, perhaps, the most elaborate of all the rooms. The walls were completely covered with mirrors, whose joinings were masqued and disguised by the trunks of artificial trees massed and arranged so that they formed a quincunx that one might believe real. These trees were loaded with flowers of porcelain and gilded girandoles, which produced, with their rose-coloured and blue candles, a soft and diaphanous light, reflected, but moderated by the transparent gauze that had been spread over the mirrors at the back of the room, where there reigned a voluptuous twilight. In the niche, also covered with mirrors, was a _lit de repos_ enriched with gold braid and accompanied with cushions of all sizes. The parquet was of rosewood. All the carpentry work and carving was painted by Dardillon, who, in painting and gilding the panels, had mingled with the colours some odorous ingredients for the purpose of having them exhale a perfume. This boudoir was thus a natural bouquet, exhaling from its paintings and gilding the combined perfume of violet, jasmin and rose.
One wishing to furnish a room in the Louis XV. style could hardly find a better model than the following that dates from 1730. This had a furnishing of Lyons brocade of jonquil-coloured background embossed with silver flowers, designed by Lallié, and trimmed with braid, lace, and silver fringe. The set consisted of a bed, two _fauteuils_, two square cushions, six folding-stools, a screen, a folding-screen, wall-hangings, and four _portières_. The window-curtains were of plain jonquil taffeta, trimmed at the sides and top with silver lace, and at the bottom with a silver fringe. Each curtain was 13 feet, 10 inches long, divided into two parts, each part containing two lengths. The four _portières_ of jonquil and silver brocade were lined with jonquil taffeta. Each was in two parts, each of three lengths (2⅓ ells long), and trimmed like the window-curtains. The wall-hangings were trimmed with silver braid. They comprised 24 lengths, 10⅔ ells around the course, which was 3¼ ells high. The _fauteuils_ were of the typical style with wavy top rail, curving arms with cushions on the elbows and _bombé_ fronts. The frames were richly carved and silvered. These chairs were covered with jonquil brocade and trimmed with silver braid and fringe. The square cushions of the same brocade were trimmed with silver braid and had a silver tassel at each corner. The frames of the folding-stools were carved and gilt; the seats were covered with jonquil brocade. The screens were also covered with the same material, which was tacked on by silver-headed nails upon silver braid. The bed was magnificent. It was 11 feet, 8 inches high, 6 feet long and 5½ feet wide. The draperies were exclusively of the jonquil brocade lined with jonquil taffeta and trimmed with silver braid and silver fringe. The draperies consisted of three inside and four outside valances enriched with embroidery. The latter were gracefully looped in irregular festoons and trimmed with a silver braid. Silver braid arranged in the form of shells fastened the curtains back to the columns. The headboard was embroidered in silver with designs of flowers and peacock feathers in high relief. The _Imperial_, or canopy, to which were attached the inside valances, was lined with jonquil taffeta and trimmed with silver braid. Four “_pommes_” in the shape of vases covered with jonquil brocade trimmed with silver, supported by leaves and scrolls of embroidery, held four “bouquets,” containing altogether 120 plumes and four _aigrettes_.