underbracing.]

There were many new and elaborate styles of beds that came into fashion
at this time. There was the _lit d'ange_, which had a canopy that did
not extend over the entire bed, and had no pillars at the foot, the
curtains were drawn back at the head and the counterpane went over the
foot of the bed. There was the _lit d'alcove_, the _lit de bout_, _lit
clos_, _lit de glace_, with a mirror framed in the ceiling, and many
others. A _lit de parade_ was like the great bed of Louis XIV at
Versailles.

Both the tall and bracket clocks showed this same love of ornament and
they were carved and gilded and enriched with chased brass and wonderful
inlay by Boulle. The dials also were beautifully designed. Consoles,
tables, cabinets, etc., were all treated in this elaborate way. Many of
the ceilings were painted by great artists, and those at Versailles,
painted by Le Brun and others, are good examples. There was always a
combination of the straight line and the curve, a strong feeling of
balance, and a profusion of ornament in the way of scrolls, garlands,
shells, the acanthus, anthemion, etc. The moldings were wide and
sometimes a torus of laurel leaves was used, but in spite of the great
amount of ornament lavished on everything, there is the feeling of
balance and symmetry and strength that gives dignity and beauty.

Louis was indeed fortunate in having the great Colbert for one of his
ministers. He was a man of gigantic intellect, capable of originating
and executing vast schemes. It was to his policy of state patronage,
wisely directed, and energetically and lavishly carried out, that we owe
the magnificent achievements of this period.