Louis XV's long reign (1723-74) was a period of great development and diversification in clock casework. At the beginning of the period clocks still retained some of the prestige value of the preceding century. As the century progressed clocks were produced in far greater numbers, and their casing records their assimilation into decorative schemes. Pedestal clocks and pendules longue ligne had their place, but increasingly clocks were relegated to the wall, standing on brackets or, as cartel clocks, being hung directly on panelling, or even on an overmantel mirror. The classic Louis XV clock, if such a thing can exist amid such diversity, was the wooden-cased, waisted clock standing on its own bracket, the dial perhaps of thirteen pieces, the case veneered with horn or tortoiseshell, or coloured with vernis Martin, and set with gilt-bronze mounts. This was to be the last use of wood for casing small clocks in the 18th century. Gilt bronze came into favour once more, particularly for cartel clocks, which incorporated all the extravagances of the new rococo style - ragged shells, asymmetric scrolling, animals and fanciful Chinese figures. About the middle of the century clocks found their way to the chimneypiece. Highly decorative clocks were produced, some of the most fanciful with the clock in the branches of a gilt-bronze tree amid porcelain flowers or birds from Vincennes or Germany. Garnitures de chemin閑 came into favor, the form of the clock echoed by flanking vases or candelabra, together forming a major element in the decoration of a room. Clock movements, apart from the horologically more sophisticated r間ulateur movements, began to be standardised in drum form. Early gilt-metal dials with enamel hour cartouches were superceded in turn by the large thirteen-piece dials, and with the advent of smaller movements by one-piece enamel dials. Gilt-metal hands were cast and pierced with very delicate patterns.