Commode painted oak, walnut or fruitwoods, with carved decoration, typical of French provincial furniture. In the English-speaking world, "commode" passed into cabinet-makers' parlance in London by the mid-eighteenth century to describe chests of drawers with gracefully curved fronts, and sometimes with shaped sides as well, perceived as being in the "French" taste. Thomas Chippendale employed the term "French Commode Tables" to describe designs in "The Cabinet-Maker and Upholsterer's Director" (1753), and Ince and Mayhew illustrated a "Commode Chest of drawers", plate xliii, in their "Universal System of Household Furniture", 1759–62. John Gloag notes that "Commode" expanded to describe any piece of
Metamorphic library steps ceilings and floor-to-ceiling bookshelves. The topmost shelves were difficult to reach, so movable library steps or library stairs were created as a form of domestic furniture. During the second half of the 18th century a succession of talented German-born cabinet-makers passed through the French courts. Jean-François Oeben, Jean-Henri Riesener and David Roentgen had successively introduced the courts of Louis XV and Louis XVI to a wide range of finely made and exquisitely finished mechanical furniture. The ingenuity of these cabinet-makers, especially David Roentgen who became master cabinet-maker to Marie Antoinette, led to a fascination for "meubles à surprises" ('surprise furniture').