Early furniture designers under Louis XV during the Regency included Claude III Audran, who had been responsible for furniture design under Louis XIV; Pierre Lepautre, who in 1699 became chief designer to Louis XIV, and Gilles-Marie Oppenordt, born in Holland, who became the Regent's furniture designer. Opponordt's designs in 1714 for the decoration of the Hotel de Pomponne on the Place des Victoires, with curved S and C shapes, helped introduce the new style to Parisians. Another important figure in the introduction of the new style was the painter Watteau, a former student of Audran, who, in addition to his famous paintings, made arabesque designs for the carpentry of the new castle of La Muette.[8]​.

In the 1730s, notable designers included the sculptor and architect Nicolas Pineau and the jeweler Juste-Aurèle Meissonnier; his work featured a greater amount of asymmetry, twisting elements of floral design and counter curves. In 1736, jewelry cutter and sculptor Jean Mondon published Premier Livre de form rocquaille et carte, the first book specifically on the style, and was one of the first to include Chinoiserie elements, notably dragons, a phoenix, and other figures. Engravings of his designs for furniture, carpentry and other decorations circulated widely throughout Europe, turning the rocaille style into a model for artists and craftsmen in other countries.[8]​.

Louis XV furniture was created through the collaboration of a complex network of designers and artisans. The Menuisier, made the wooden framework of the furniture, which was held together by its structure and chevilles or wooden blocks; the use of nails or glue was prohibited. The cabinet maker then covered the frame and native woods with fine pieces of exotic woods, called marquetry. In the reign of Louis They were sometimes arranged in cubic, or checkerboard designs, or depicted arabesques, floral motifs, trophies, or picturesque scenes. Originally, the plates were about a centimeter thick, but by the end of the period, the plates were only a little more than two millimeters thick.[9]​ The furniture was then completed by bronzers, who made the handles and knobs; the doreurs who gilded them; the fondeurs, who did metal work; the chiselers or wood sculptors, who made the decorative details, legs and other carvings; the laqueurs and vernisseurs, who applied multiple layers of lacquer or varnish.[10]​.

After 1751 each work was signed by the master craftsman who supervised the work. This brand, called Estampille, used a heated iron to mark the piece with the master's initials. It was usually placed on the back of the back rail of chairs, under the marble of dressers and secretaries, and under surrounding tables. Marks are often missing, either forgotten by the craftsman or defaced. Given the high value of pieces signed by famous artisans, counterfeit Stampilles are not unknown.[9]​.

Between 1769 and 1775, furniture designer André Jacob Roubo published a series of books of engravings called L'Art du menusier, detailing the categories and styles. He divided the chairs into two categories; those with straight backs, called á la Reine, and those with rounded backs, called en cabriolet.[6] The convertible chairs were usually lighter, often had wicker seats and backrests, and could be moved easily. It included some new styles, notably the voyeuse, a small chair with an armrest at the back, so the person sitting could face forward or turn around and straddle the chair with their arms on the back of the chair.[11]​.

The fauteuils, or armchairs, were larger and designed for comfort; Their styles evolved during the reign of Louis XV. During the early years of the Regency (1715-23) armchairs had short, curved legs, the top of the backrest was slightly curved, while the backrest and arm supports were straight. The armchairs of the middle Louis XV period (1723-1750) were smaller than those of the Louis XIV period, but more comfortable. The legs were more curved, the upper back was rounded and often had a small ornamental design. The back of the chair took on a more elegant violin shape. This form became known as Chaise à la Reine, or "Queen's Chair".[11]​.

A variety of other new shapes appeared, designed especially for comfort. The Bergere had a low seat with an extra cushion and sometimes added padded wings over the arms on either side of the backrest that protected the head from drafts, which also made napping easier. Other new types that were introduced were the marquise, basically an armchair expanded to accommodate two people, and the chaise longue, an armchair with an elongated seat to support the legs, and the Duchesse, where two chairs could be combined with an extension between them.[12] Another new type was the Fauteuil de cabinet, a type of chair designed to go with a desk and to provide more comfort when writing. It was usually upholstered in leather fastened with gold nails to the frame, had rounded corners, and one leg of the chair was placed in front, another directly behind, for greater stability. The backrest and curved arms of the chair enveloped the seated person.[13]​.

The passion for the oriental and exotic soon influenced the furniture. A new type of seat was introduced, La Sultane, with two seats; another type called ottoman, with the gondola-shaped backrest and arms that wrap around the oval seat, and another variety, called la papose, without arms or back; and finally Le Sofa, which featured cushions that could be moved and rearranged.[12]​.

The last phase of the Louis XV style, the gradual transition to the neoclassical, had a limited effect on the chairs. The basic forms were maintained, but the decoration increasingly took the form of flower garlands called l'ántique in a repetitive rhythm, which opposed the sinuous shape of the carved legs and frame.[7]​.

The Table en console or Consola "Consola (furniture)"), was designed to be placed against a wall, often in front of a mirror, and hold figurines or porcelain objects. It was one of the most lavishly decorated pieces of furniture from the early Louis XV period. It was usually made of oak, carved and gilded, and drenched with rockery decoration, usually in the form of seashells and foliage. The legs are shaped like an exaggerated S or inverted S. The support structure under the table was also highly decorated, sometimes holding porcelain objects and sculpted figures of dragons or other mythical animals. The face of the table often had rockery masks. ag rocaille inspired by seashells and foliage. They usually had a colored marble plate on top.[14]​.

Another popular style of table was the descritorio plat, or flat desk. It was introduced by André-Charles Boulle around 1710 at the end of the reign of Louis XIV, as a replacement for the writing desk mounted on two columns of drawers. Early versions of Boulle were made of ebony and dark wood, and had eight legs and six drawers, which were decorated with gilt bronze handles. The slightly curved legs end in golden decorations in the shape of deer feet. Golden bronze cremones decorated the corners and legs. Later in the period, flat desks featured abundant marquetry; They were made of oak or Spain, they were inlaid with thin plates of exotic woods of contrasting colors. Another famous table creator was Charles Cressent, who continued Boulle's refined and harmonious ornamental style.[15]​.

From 1755 several small, specialized and portable tables appeared, some of them designed for Madame de Pompadour. These included the table de chevet, a very small utilitarian table made of oak and inlaid with rosewood and other precious woods, which could be stored in the cupboard when not needed; the Table d'en-cas, or "Just in case" table, a small piece with two drawers, a small cabinet with a barred door and a marble top; the Chiffonière, a small table with gracefully curved legs and a porcelain top. Another table was the cabaret or á café table, with a small marble top and long legs, on which coffee or drinks could be served. The version introduced in 1770 featured geometric designs and a neoclassical frieze around the plateau.[16]​.

At the end of the second style of Louis fawn paws and lion paws on feet; trophies of weapons, friezes, and figures of nymphs, tripods and horns of plenty. This style was called, quite imaginatively, à la Greque, and foreshadowed the neoclassical period to come.[17]​.

The chest of drawers (whose name means "convenient") was invented under Louis XIV to replace the coffre or large chest. It was heavy and box-shaped, with short legs and abundant gilt bronze decoration. During the Regency and early Louis The fronts of the dressers became more rounded in shape. Vines of gilded bronze twisted and coiled along the façade. Bronze ornaments in the form of masks were replaced by smiling women's faces, palmettes and, later in the period, a new theme, the stylized bat wing. The seashell was a common centerpiece of rockery decoration, often combined with acanthus leaves. The drawer handles were shaped like intertwined flowers. Sculptured images of various animals also appeared near the end of the Early Period.[18]​.

A large number of expert ébénists from all over Europe were employed to make fine wooden chests of drawers and other furniture for the new apartments built by Louis XV at Versailles, Fontainebleau and his other residences. They included Jean-François Oeben, Roger Vandercruse Lacroix, Gilles Joubert, Antoine Gaudreau and Martin Carlin.[19]​.

As the period progressed, marquetry, or inlays of different colored woods, became finer and more dominant. Various geometric patterns appeared, including checkerboard, stars and lozenges, along with bouquets of flowers made of fine marquetry.[19] New wood lacquer techniques were introduced, based on Chinese and Japanese techniques, and were frequently used on the front panels of chests of drawers. A particular variation was introduced, called façon de Chine or "Chinese fashion", which contrasted gilt bronze trim and handles with black lacquered wood. The designs often borrowed motifs from Chinese and Japanese art.[18]​.

From 1755-60, the reaction against the excesses of the rockery form began. The shapes of the toilets became more box-like, with the front flat and the legs shorter, although they retained their slight S-curve. The faces of the commodes were decorated with geometric friezes of oak leaves, roses or snakes and curtain motifs, an early manifestation of the Greco-Roman neoclassical style.[7]​.

A new form of chest of drawers, the Cartonnier, appeared in the 1760s, inspired by somewhat fantastical ideas from ancient Greek furniture. Its front was profusely decorated with friezes, weapon trophies and lion heads, while at the top, a pedestal supported by two coiled volutes held a group of replicas of classical Greek statues.[20]​.

During the reign of Louis XV, the bureau and secretaire gradually evolved into the form of the modern desk, along with a wide variety of more elaborate variations. At the beginning of the century, André Charles Boulle and Charles Cressent created the Bureau au plat. a desk with columns of drawers, elegant curved legs, gilded bronze decoration and fine marquetry in geometric shapes. Jacques Dubois made a series of famous desks in this manner in the 1740s.

Around 1750, a new variety appeared, called Secretaire à capuchin or à la Bourgone, which contained a section of drawers that could be lifted, while the top folded out into a writing surface. In addition to the drawers, it contained a series of secret compartments hidden inside. Numerous other variants appeared soon after; The Secrétaire en pent, or slanted desk, first appeared around 1735. It was a small cabinet with a slanted front that opened onto a writing surface. It was also called en dos d'âne, or "donkey loin style." Madame de Pompadour owned one of these, made between 1748 and 1752, with a red and blue varnish in the Chinese style, which combined rocaille and exoticism. Mathieu Criaerd made a secretary of this style around 1750, with marquetry of violet, amarante, satin wood and gilded bronze.[21]​.

A much simpler variety, the pupitre à écrire debut, a standing writing pulpit, arrived around the same time. The finest models were usually made of oak and spruce, covered with rosewood, satinwood and amaranth marquetry. They had small wheels for easy movement, had a locked compartment under the sloping top surface, and shelves underneath for large documents.[21]​.

The Secretaire en armoire was a larger and more vertical variation, based on the shape of a closet; It was a large trunk with a writing surface that folded down and drawers and shelves inside. It was designed to lean against a wall and appeared around 1750. It often featured marquetry in a geometric pattern resembling cubes of dark and light wood, a very popular design in the later years of the Louis XV period.

The Bonheur-du-jour was a small writing desk with cabinet that appeared around 1760. Following the new style of the late Louis XV period, it did not have gilt bronze. It had graceful curvilinear legs, but the top was geometric, with delicate inlays of marquetry flowers.

The most famous new type of desk invented under Louis It had no gilt bronze other than a delicate frieze around the top; Very fine flower marquetry, and an interior with secret compartments. Many variants were made, including Louis XV's desk now on display at Versailles.[21]​.

Under Louis XV, the bedroom was a place of ceremony; The King's formal awakening in his bedchamber (even if he had actually slept elsewhere) was a formal event, attended by members of the Court and visitors to the Palace. The shape of the bed and its covering evolved under Louis XV. The first beds had four posts and a canopy suspended from a rectangular shape on top. Under Louis XV, the Lit à la polonaise (Polish bed) appeared, with a canopy suspended from a crown-shaped structure; and the Lit à la Duchesse, where the canopy was supported at one end only. The bed was usually separated from the rest of the room by a balustrade, and stools were placed outside the balustrade for the Court to witness the formal awakening.

The famous Encyclopédie of Denis Diderot and Jean le Rond d'Alembert (1751-1772) included images of beds à la Polonaise and à la Turque (a more ornate and exotic version of the Duchesse) and a bed placed in an alcove. (Volume 8, page 216). Louis XV fittings.

Later, in the reign of Louis XV, between 1755 and 1760, tastes in furniture began to change. Rockery designs began to be more discreet and restrained, and the influence of antiquity and neoclassicism began to appear in new furniture designs. The dressers began to have more geometric shapes; The decoration went from rockery to geometric shapes, oak leaf garlands, flowers and classical motifs. The legs gradually changed from S-curves to straight ones, often modeled after Greek or Roman columns, tapering to a point. Common decorations included stylized pine cones and knotted ribbons. A new type of tall cabinet, the Cartonnier, made its appearance between 1760 and 1765. It was inspired by Greek mythology and architecture, with friezes, vaults, sculpted trophies, bronze lion heads and other classical elements.[25]​.

The ebenistes Jean-Henri Riesener, Jean-François Leleu, Martin Carlin and David Roentgen and the menuisier Georges Jacob are among the most important creators of the transitional style of the late Louis XV. Their careers continued and reached their peak during the following reign of Louis XVI.

Early furniture designers under Louis XV during the Regency included Claude III Audran, who had been responsible for furniture design under Louis XIV; Pierre Lepautre, who in 1699 became chief designer to Louis XIV, and Gilles-Marie Oppenordt, born in Holland, who became the Regent's furniture designer. Opponordt's designs in 1714 for the decoration of the Hotel de Pomponne on the Place des Victoires, with curved S and C shapes, helped introduce the new style to Parisians. Another important figure in the introduction of the new style was the painter Watteau, a former student of Audran, who, in addition to his famous paintings, made arabesque designs for the carpentry of the new castle of La Muette.[8]​.

In the 1730s, notable designers included the sculptor and architect Nicolas Pineau and the jeweler Juste-Aurèle Meissonnier; his work featured a greater amount of asymmetry, twisting elements of floral design and counter curves. In 1736, jewelry cutter and sculptor Jean Mondon published Premier Livre de form rocquaille et carte, the first book specifically on the style, and was one of the first to include Chinoiserie elements, notably dragons, a phoenix, and other figures. Engravings of his designs for furniture, carpentry and other decorations circulated widely throughout Europe, turning the rocaille style into a model for artists and craftsmen in other countries.[8]​.

Louis XV furniture was created through the collaboration of a complex network of designers and artisans. The Menuisier, made the wooden framework of the furniture, which was held together by its structure and chevilles or wooden blocks; the use of nails or glue was prohibited. The cabinet maker then covered the frame and native woods with fine pieces of exotic woods, called marquetry. In the reign of Louis They were sometimes arranged in cubic, or checkerboard designs, or depicted arabesques, floral motifs, trophies, or picturesque scenes. Originally, the plates were about a centimeter thick, but by the end of the period, the plates were only a little more than two millimeters thick.[9]​ The furniture was then completed by bronzers, who made the handles and knobs; the doreurs who gilded them; the fondeurs, who did metal work; the chiselers or wood sculptors, who made the decorative details, legs and other carvings; the laqueurs and vernisseurs, who applied multiple layers of lacquer or varnish.[10]​.

After 1751 each work was signed by the master craftsman who supervised the work. This brand, called Estampille, used a heated iron to mark the piece with the master's initials. It was usually placed on the back of the back rail of chairs, under the marble of dressers and secretaries, and under surrounding tables. Marks are often missing, either forgotten by the craftsman or defaced. Given the high value of pieces signed by famous artisans, counterfeit Stampilles are not unknown.[9]​.

Between 1769 and 1775, furniture designer André Jacob Roubo published a series of books of engravings called L'Art du menusier, detailing the categories and styles. He divided the chairs into two categories; those with straight backs, called á la Reine, and those with rounded backs, called en cabriolet.[6] The convertible chairs were usually lighter, often had wicker seats and backrests, and could be moved easily. It included some new styles, notably the voyeuse, a small chair with an armrest at the back, so the person sitting could face forward or turn around and straddle the chair with their arms on the back of the chair.[11]​.

The fauteuils, or armchairs, were larger and designed for comfort; Their styles evolved during the reign of Louis XV. During the early years of the Regency (1715-23) armchairs had short, curved legs, the top of the backrest was slightly curved, while the backrest and arm supports were straight. The armchairs of the middle Louis XV period (1723-1750) were smaller than those of the Louis XIV period, but more comfortable. The legs were more curved, the upper back was rounded and often had a small ornamental design. The back of the chair took on a more elegant violin shape. This form became known as Chaise à la Reine, or "Queen's Chair".[11]​.

A variety of other new shapes appeared, designed especially for comfort. The Bergere had a low seat with an extra cushion and sometimes added padded wings over the arms on either side of the backrest that protected the head from drafts, which also made napping easier. Other new types that were introduced were the marquise, basically an armchair expanded to accommodate two people, and the chaise longue, an armchair with an elongated seat to support the legs, and the Duchesse, where two chairs could be combined with an extension between them.[12] Another new type was the Fauteuil de cabinet, a type of chair designed to go with a desk and to provide more comfort when writing. It was usually upholstered in leather fastened with gold nails to the frame, had rounded corners, and one leg of the chair was placed in front, another directly behind, for greater stability. The backrest and curved arms of the chair enveloped the seated person.[13]​.

The passion for the oriental and exotic soon influenced the furniture. A new type of seat was introduced, La Sultane, with two seats; another type called ottoman, with the gondola-shaped backrest and arms that wrap around the oval seat, and another variety, called la papose, without arms or back; and finally Le Sofa, which featured cushions that could be moved and rearranged.[12]​.

The last phase of the Louis XV style, the gradual transition to the neoclassical, had a limited effect on the chairs. The basic forms were maintained, but the decoration increasingly took the form of flower garlands called l'ántique in a repetitive rhythm, which opposed the sinuous shape of the carved legs and frame.[7]​.

The Table en console or Consola "Consola (furniture)"), was designed to be placed against a wall, often in front of a mirror, and hold figurines or porcelain objects. It was one of the most lavishly decorated pieces of furniture from the early Louis XV period. It was usually made of oak, carved and gilded, and drenched with rockery decoration, usually in the form of seashells and foliage. The legs are shaped like an exaggerated S or inverted S. The support structure under the table was also highly decorated, sometimes holding porcelain objects and sculpted figures of dragons or other mythical animals. The face of the table often had rockery masks. ag rocaille inspired by seashells and foliage. They usually had a colored marble plate on top.[14]​.

Another popular style of table was the descritorio plat, or flat desk. It was introduced by André-Charles Boulle around 1710 at the end of the reign of Louis XIV, as a replacement for the writing desk mounted on two columns of drawers. Early versions of Boulle were made of ebony and dark wood, and had eight legs and six drawers, which were decorated with gilt bronze handles. The slightly curved legs end in golden decorations in the shape of deer feet. Golden bronze cremones decorated the corners and legs. Later in the period, flat desks featured abundant marquetry; They were made of oak or Spain, they were inlaid with thin plates of exotic woods of contrasting colors. Another famous table creator was Charles Cressent, who continued Boulle's refined and harmonious ornamental style.[15]​.

From 1755 several small, specialized and portable tables appeared, some of them designed for Madame de Pompadour. These included the table de chevet, a very small utilitarian table made of oak and inlaid with rosewood and other precious woods, which could be stored in the cupboard when not needed; the Table d'en-cas, or "Just in case" table, a small piece with two drawers, a small cabinet with a barred door and a marble top; the Chiffonière, a small table with gracefully curved legs and a porcelain top. Another table was the cabaret or á café table, with a small marble top and long legs, on which coffee or drinks could be served. The version introduced in 1770 featured geometric designs and a neoclassical frieze around the plateau.[16]​.

At the end of the second style of Louis fawn paws and lion paws on feet; trophies of weapons, friezes, and figures of nymphs, tripods and horns of plenty. This style was called, quite imaginatively, à la Greque, and foreshadowed the neoclassical period to come.[17]​.

The chest of drawers (whose name means "convenient") was invented under Louis XIV to replace the coffre or large chest. It was heavy and box-shaped, with short legs and abundant gilt bronze decoration. During the Regency and early Louis The fronts of the dressers became more rounded in shape. Vines of gilded bronze twisted and coiled along the façade. Bronze ornaments in the form of masks were replaced by smiling women's faces, palmettes and, later in the period, a new theme, the stylized bat wing. The seashell was a common centerpiece of rockery decoration, often combined with acanthus leaves. The drawer handles were shaped like intertwined flowers. Sculptured images of various animals also appeared near the end of the Early Period.[18]​.

A large number of expert ébénists from all over Europe were employed to make fine wooden chests of drawers and other furniture for the new apartments built by Louis XV at Versailles, Fontainebleau and his other residences. They included Jean-François Oeben, Roger Vandercruse Lacroix, Gilles Joubert, Antoine Gaudreau and Martin Carlin.[19]​.

As the period progressed, marquetry, or inlays of different colored woods, became finer and more dominant. Various geometric patterns appeared, including checkerboard, stars and lozenges, along with bouquets of flowers made of fine marquetry.[19] New wood lacquer techniques were introduced, based on Chinese and Japanese techniques, and were frequently used on the front panels of chests of drawers. A particular variation was introduced, called façon de Chine or "Chinese fashion", which contrasted gilt bronze trim and handles with black lacquered wood. The designs often borrowed motifs from Chinese and Japanese art.[18]​.

From 1755-60, the reaction against the excesses of the rockery form began. The shapes of the toilets became more box-like, with the front flat and the legs shorter, although they retained their slight S-curve. The faces of the commodes were decorated with geometric friezes of oak leaves, roses or snakes and curtain motifs, an early manifestation of the Greco-Roman neoclassical style.[7]​.

A new form of chest of drawers, the Cartonnier, appeared in the 1760s, inspired by somewhat fantastical ideas from ancient Greek furniture. Its front was profusely decorated with friezes, weapon trophies and lion heads, while at the top, a pedestal supported by two coiled volutes held a group of replicas of classical Greek statues.[20]​.

During the reign of Louis XV, the bureau and secretaire gradually evolved into the form of the modern desk, along with a wide variety of more elaborate variations. At the beginning of the century, André Charles Boulle and Charles Cressent created the Bureau au plat. a desk with columns of drawers, elegant curved legs, gilded bronze decoration and fine marquetry in geometric shapes. Jacques Dubois made a series of famous desks in this manner in the 1740s.

Around 1750, a new variety appeared, called Secretaire à capuchin or à la Bourgone, which contained a section of drawers that could be lifted, while the top folded out into a writing surface. In addition to the drawers, it contained a series of secret compartments hidden inside. Numerous other variants appeared soon after; The Secrétaire en pent, or slanted desk, first appeared around 1735. It was a small cabinet with a slanted front that opened onto a writing surface. It was also called en dos d'âne, or "donkey loin style." Madame de Pompadour owned one of these, made between 1748 and 1752, with a red and blue varnish in the Chinese style, which combined rocaille and exoticism. Mathieu Criaerd made a secretary of this style around 1750, with marquetry of violet, amarante, satin wood and gilded bronze.[21]​.

A much simpler variety, the pupitre à écrire debut, a standing writing pulpit, arrived around the same time. The finest models were usually made of oak and spruce, covered with rosewood, satinwood and amaranth marquetry. They had small wheels for easy movement, had a locked compartment under the sloping top surface, and shelves underneath for large documents.[21]​.

The Secretaire en armoire was a larger and more vertical variation, based on the shape of a closet; It was a large trunk with a writing surface that folded down and drawers and shelves inside. It was designed to lean against a wall and appeared around 1750. It often featured marquetry in a geometric pattern resembling cubes of dark and light wood, a very popular design in the later years of the Louis XV period.

The Bonheur-du-jour was a small writing desk with cabinet that appeared around 1760. Following the new style of the late Louis XV period, it did not have gilt bronze. It had graceful curvilinear legs, but the top was geometric, with delicate inlays of marquetry flowers.

The most famous new type of desk invented under Louis It had no gilt bronze other than a delicate frieze around the top; Very fine flower marquetry, and an interior with secret compartments. Many variants were made, including Louis XV's desk now on display at Versailles.[21]​.

Under Louis XV, the bedroom was a place of ceremony; The King's formal awakening in his bedchamber (even if he had actually slept elsewhere) was a formal event, attended by members of the Court and visitors to the Palace. The shape of the bed and its covering evolved under Louis XV. The first beds had four posts and a canopy suspended from a rectangular shape on top. Under Louis XV, the Lit à la polonaise (Polish bed) appeared, with a canopy suspended from a crown-shaped structure; and the Lit à la Duchesse, where the canopy was supported at one end only. The bed was usually separated from the rest of the room by a balustrade, and stools were placed outside the balustrade for the Court to witness the formal awakening.

The famous Encyclopédie of Denis Diderot and Jean le Rond d'Alembert (1751-1772) included images of beds à la Polonaise and à la Turque (a more ornate and exotic version of the Duchesse) and a bed placed in an alcove. (Volume 8, page 216). Louis XV fittings.

Later, in the reign of Louis XV, between 1755 and 1760, tastes in furniture began to change. Rockery designs began to be more discreet and restrained, and the influence of antiquity and neoclassicism began to appear in new furniture designs. The dressers began to have more geometric shapes; The decoration went from rockery to geometric shapes, oak leaf garlands, flowers and classical motifs. The legs gradually changed from S-curves to straight ones, often modeled after Greek or Roman columns, tapering to a point. Common decorations included stylized pine cones and knotted ribbons. A new type of tall cabinet, the Cartonnier, made its appearance between 1760 and 1765. It was inspired by Greek mythology and architecture, with friezes, vaults, sculpted trophies, bronze lion heads and other classical elements.[25]​.

The ebenistes Jean-Henri Riesener, Jean-François Leleu, Martin Carlin and David Roentgen and the menuisier Georges Jacob are among the most important creators of the transitional style of the late Louis XV. Their careers continued and reached their peak during the following reign of Louis XVI.