The use of decorated Sèvres porcelain plaques to embellish furniture was popular in France from the middle of the 18th century, and was promoted by the marchand-merciers, who held the monopoly on their supply. The glazed, flower-decked plaques ideally complemented the delicate refinement of pieces by Carlin and his contemporaries destined for the apartments of Louis XVI and Queen Marie-Antoinette, and the ladies of their circle. However, more in keeping with the character of antiquity and classical vocabulary was a new ceramic material pioneered by Josiah Wedgwood in England; this was unglazed Jasperware which with its matt texture, coloured ground and white design in relief easily conjured up the image of antique cameos. Sèvres was quick to appreciate the appropriateness of such decoration and began producing unglazed porcelain plaques that closely copied those by Wedgwood. In the late 18th century, plaques by both manufacturers can be found used on furniture made by the most accomplished ébénistes. In the 19th century, when the style was revived, the practice continued in exactly the same way: both Wedgwood, who had agents in Paris, and Sèvres supplied plaques for the embellishment of originally conceived pieces as well as for copies after 18th century designs.