Two identical panels by Réveillon, dated 1785 and incorporating the figures of Venus and Minerva, originally supplied to a house in La Saillans (Drome) and now conserved in the Musée du Papier Peint, Rixheim, are illustrated in B. Jacque, Le Papier Peint Décor D'Illusion, 1989, pl. 3. Similar arabesque panels by Réveillon in the Château de Froucourt (Somme), and Moccas Court, Herefordshire, both dated c. 1780, are illustrated in in L. Hoskins, The Papered Wall, 1994, pp. 80-81, Pls. 103 and 104. Such arabesque patterns were particularly popular in the 1780's when architects and designers increasingly looked to classical sources for their inspiration. They were influeneced by such well known classical decorative schemes as Hadrian's Villa at Tivoli and the recently discovered remains at Herculaneum and Pompeii, as well as Renaissance interiors such as the Loggia at the Vatican by Raphael. The wallpaper patterns for arabesques were nevertheless original designs rather than slavish imitations--the most lavish versions incorporated as many as 20 or 30 colors, and could cost as much as a Gobelins tapestry to produce (see L. Hoskins, op. cit., pp. 78-79).