A particular variation, called the "façon de Chine" or "Chinese fashion" was introduced, which contrasted the gilded bronze ornament and handles against the black lacquered wood. The designs often borrowed motifs from Chinese and Japanese art. Beginning in 1755-60, the reaction against the excesses of the "rocaille" form began. The shapes of commodes became more boxlike, the front flat, and the legs shorter, though they retained their slight S curve. The faces of the commodes were decorated with geometric friezes of oak leaves, roses or serpents and drapery motifs, the early manifestation of the Greco-Roman Neoclassical style. A new form of commode, the "Cartonnier", appeared in the 1760s, inspired by somewhat fantastic ideas of ancient Greek furniture. Its front was lavishly decorated with friezes, trophies of arms and lions heads, while on the top, a pedestal supported by two scrolled "volutes" held a group of replicas of classical Greek statues. 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 the 18th century, André Charles Boulle and Charles Cressent had created the "bureau au plat". a writing table with columns of drawers, graceful curving legs, gilded bronze decoration, and fine marquetry in geometric forms. Jacques Dubois made a series of celebrated desks in this fashion the 1740s. Around 1750, a new variety appeared, called the "Secretaire à capuchin" or "à la Bourgone", which contained a section of drawers which could be raised up, while the top folded out into a writing surface. In addition to the drawers, it contained a number of secret compartments concealed within. Numerous other variants appeared soon afterwards; the "Secrétaire en pent", or sloping desk first appeared in about 1735. It was a small cabinet with a sloping front which opened out into a writing surface. It was also called "en dos d'âne", or "style of donkey's back". Madame de Pompadour possessed one of these, made between 1748–52, with a varnish of red and a blue in the Chinese style, which combined "rocaille" and exoticism. Mathieu Criaerd made a secretary in this style in about 1750, with marquetry of violette, amarante, satin wood and gided bronze.