as well as decoration, such as the chair coverings, and fire screens already noted. The subjects illustrated in this set of hangings are scenes from Molière's comedies and the cartoons for the series were drawn by J. B. OUDRY in 1732. His signature can be seen on each tapestry. Although other sets of the Molière subjects were made at Beauvais, the borders and coloring used in these three specimens were never repeated, so far as is known. This is the more difficult to understand when one considers the charm of design and color, which makes these hangings almost perfect examples of the highest type of tapestry of the Rococo period.

The SCREEN standing in the center of the north wall deserves special notice among the furniture in this room, having been painted by LANCRET, and illustrating a most accomplished phase of French design. The ormolu mounts of the large GRAY MARBLE CONSOLE TABLE placed against the east wall are attributed to GOUTHIÈRE, as are the two CANDELABRA in lapis lazuli and gilded bronze standing on commodes at the west end of the room. On the south wall is a SECRETAIRE curiously ornamented with miniatures behind glass. This piece, like Marie Antoinette's secretaire and commode, came from the collection of the Duke of Hamilton, at Hamilton Palace, and has always been said to have been made for Mme. de Pompadour. The various small pieces of furniture in this room, inset with decorative

Case C

plaques of Sèvres porcelain, illustrate one of the most accomplished but least happy phases of French cabinetmaking. Among the sculptures, the life-size BUST OF MME. ROLAND in the center of the west wall is the work of AUGUSTIN PAJOU (1730-1809), one of the deftest sculptors of an age rich in great technicians. Standing on furniture against the east wall are Two SMALL GROUPS, the one in marble being by FALCONET in a monumental moment, the other, in terracotta, a beautiful work of CLAUDE MICHEL, called CLODION (1738-1814), examples of whose skill are perhaps more sought after than those of any other French sculptor. In this group of Cupid and Psyche, the visitor should note the remarkably lifelike quality of the terracotta and the extraordinary reality of the bodily surfaces, together with the lightness of touch and the engaging fancy of conception. Four smaller sculptures by the same artist, no less fine in quality, are exhibited in other parts of the room. In the center of the floor are FIVE CASES containing small objects of especial value, the magnificent toys in which this most sophisticated of periods delighted. A gold clock in the form of a vase (Case C), enameled with medallions after Boucher and set with many jewels, was made by Coteau for Marie Antoinette. A miniature gold cabinet with eight drawers and surmounted by a tiny clock, although without a history, is no less exquisite as a piece of workmanship. The small silver-mounted porcelain