Mesopotamia. The furniture of Mesopotamia and neighbouring ancient civilizations of the Middle East had beds, stools, chairs, and boxes as principal forms. Documentary evidence is provided chiefly by relief carvings. The forms were constructed in the same manner as Egyptian furniture except that members were heavier, curves were less frequent, and joints were more abrupt. Ornament was richly applied in the form of cast-bronze and carved-bone finials (crowning ornaments, usually foliated) and studs, many of which survive in museums. Mesopotamia originated three features that were to persist in Classical furniture in Greece and Italy and thus were transmitted to other Western civilizations.
Many of these chairs had exaggeratedly high backs terminating in elaborately carved canopies; some were freestanding, while others had their backs fixed to the wall in the manner of a church stall. Settles were also used for seating during the 15th century. An innovation on the Continent was the settle with a pivoted bar forming the backrest, which could be swung over to allow a person to sit on either side—evidence of the weight of the furniture of this period. Tables were mainly of trestle construction (with a braced frame serving as a support for the tabletop) with long rectangular tops that could be dismantled. During the 15th century on the Continent, smaller tables were made which could be more conveniently moved and, especially, drawn up to the fire. Various forms of cupboards, ambries, and dressoirs were developed at this time, panelled and decorated with linenfold or Gothic carved ornament. All these types were basically a chest with doors, of simple rectangular form raised on legs; elaborations of construction and decoration soon followed, as did the specialization of their functions.
The Rococo Chinese taste had conventions of its own: pagodas, exotic birds, Chinese figures, icicles, and dripping water. The graceful bombé commode, often with marble top and two or three drawers, the surface enriched with finely modelled ormolu mounts, was popular. Under Cressent's influence the mounts predominated, though later in the century the marquetry decoration gained first importance. Commodes and other pieces were decorated with marquetry of floral or geometrical patterns, or sometimes with lacquer decoration, again combined with ormolu mounts. The most celebrated makers of mounts during Louis XV's reign were Jacques Caffieri and his son Philippe. Jean-François Oeben was made ébéniste du roi (cabinetmaker to the king) in 1754; a pupil of Boulle, he was the most celebrated cabinetmaker of the period.
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