Ij^
^5^
LIBRARY OF
WELLES LEY COLLEGE
400 PAGES OF ILLUSTRATIONS.
AN HISTORICAL GUIDE
TO
FRENCH
Interiors, Furniture,
DECORATION,
Woodwork & Allied Arts
DURING
The last half of the Seventeenth Century,
THE WHOLE OF THE
EIGHTEENTH CENTURY
And the earlier part of the Nineteenth,
yj BY
The Price of this Book until
further notice is increased JiQMAS ARTHUR STRANGE.
:o 18/- net. owing to the
enhanced cost of production. =^^=^=^=^=^=^=^==^^=^=^=
1st May, 707,V.
■^ Published by MCCORQUODALE & CO., Limited, 40, Coleman Street, London, E.C.
Also at Glasgow and Newton-le-Willows.
Price 15s. ; half-bound Morocco, 25s.
ENTERED AT STATIONERS' HALL.
Art NK 2049 .38 1903
Strange, Thomas Arthur.
An historical guide to
French Interiors,
BOARD OF EDUCATION
{VICTORIA AND ALBERT MUSEUM).
TRUSTEES OF WALLACE COLLECTION
(HERTFORD HOUSE).
A great number of the Illustrations in this Book have been introduced
with the Special permission of the above Authorities.
Permission has also been granted by the Directors of several of the
French Palaces and Museums (Louvre, Versailles, etc.).
The right to reproduce other Photographs (Interiors) has been
purchased.
INDEX.
Balconies, 47.
Barometers, 348.
Bedheads, 129, 234.
Bedsteads, 131, 308, 340, 370, 371, 389, 399.
Borders and Friezes, 84, 85, 88, 162, 376, 385 (49, 50,
51, 52, 53)-
Brackets, 231, 233, 311.
Bureaux, 309, 319, 323, 342, 343.
Cabinets, 4, 8, 9, 23, 76, 144, 148, 149, 150, 152, 161,
346, 351, 396 (64). ■
Candlesticks, 112, 270, 271, 384.
Canopies, 235.
Candelabra, 134, 142, 143, 144, 339, 344, 355, 3^5 (289,
303)-
Carvings, 39, 57, 154, 172, 176, 186, 187, 188, 246,
247. 254-
Ceilings, 71, 78, 79,80, 81, 83, 86, 300, 307, 310, 354, 359-
Chairs, 28 to 31, 161, 174, 180 to 185, 330, 334, 366,
367, 374. Z77, Z1^. 390, 391-
Chests of Drawers, 250.
Chimneypieces, 11 to 16, 56 to 63, 66 to 69, 87, 89,
108 to III, 118 to 123, 172, 173, 236, 237, 238,
293, 300, 302, 303, 337, 338, 379, 380, 381.
China Showcases, 349.
Cisterns, 272.
Clocks, 114 to 117, 140, 146 to 149, 153, 154, 161, 165,
260, 310, 322, 364, 368.
Coaches, 139, 329.
Coach Furniture, 327, 328.
Commodes, 23, 141, 148, 176, 252, 275, 320, 321, 322,
344. 345, 346, 348, 349. 382, 383. 385, 397-
Console Tables, 75, •]•], 132, 150, 151, 152, 178, 179,
230, 261, 262, 264, 285, 305, 314, 341, 380.
Damask, 42.
Decanters, 271.
Decorative Panels, 18, 19, ^^, 90 to 104, 106 to 108,
126 to 129, 193 to 208, 246, 248, 252 to 255,
269, 314, 335.
Doors, 7, 70, 155 to 160, 224, 301.
Doorways, 6, 7, 17, 54 and 55, 170, 171, 223.
Dressing Tables, 370.
Fancy Tables, 323.
Figure Decoration, 316, 317.
Finials, 307 to 311.
Firebacks, 109 to in.
Firedogs, 66, 68, 69, 113, 188.
Fountains, 36, 332.
Frames, i, 276, 278 to 285, 362.
Girandoles, 133, 228, 229, 232.
Gueridons, 352.
Handles, 242.
Initial Letters, 257, 259, 264, 267 to 269, 272, 275, 277,
278 279, 280, 281 to 283, 285, 288.
Inlays, 326, 353.
Interiors, 5, 8, 26, 38, 40, 41, 45, 145, 164, 166, 167, 169,
315, 318, 324, 325, 336, 337, 356, 358, 360, 361,
I 364, 368, 369, 372, 373. 388, 392, 393. 398-
Ironwork, 171, 225, 226, 227, 290, 291, 312, 313, 332.
Lampadaire, 394, 395.
Lamps, 266.
Lamp Stands, 289.
Marriage Caskets, 153.
Medallier, 234, 253.
Mirrors, 75, jj, 133, 236, 261, 262, 293, 305.
Mouldings, 136.
Music Stands, 351.
Ormolu Mounts, 242, 243, 364.
Ornament, 17, 21, 24, 25, 34, 35, 44, 46, 83, 122, 123,
163, 174, 175, 273 to 275, 284, 312, 386, 399,
400.
Overdoors, 124, 125, 246, 247, 299.
Pavements, 48.
Pedestals, 75, T], 108, 162, 165, 311.
Picture Frames, 270, 326.
Pictures and Illustrations, i, 2, 3, 240, 246, 254, 256,
276 to 279, 282, 283, 286, 287, 288, 334.
Salt Cellars, 266, 268.
Screens, 10, 151, 241, 371.
Secretaire, 347, 348, 350.
Sedan Chairs, 105, 113, 175, 329.
Sepulchral Monuments, 263.
Settees and Sofas, 265, 331, 366, 375, 378, 394, 395.
Side Tables, 65, 151, 264.
Sideboards, 65.
Sides of Rooms, 61, 72, ^z^ 74, 82, 88, 222, 232, 248, 258,
259, 260, 261, 262, 264, 265, 292, 294, 295, 296,
297, 298, 338, 341, 342, 355, 357, 376.
Sledges, 329.
Snuff Bo.xes, 138, 265, 268.
Staircases, 2>1^ 3o6.
Statues, 34, 35, 333-
Stools, 37.
Stoves, 304.
Surtouts, 267.
Sword Handles, 271.
Tables, 10, 151, 163, 252, 366, 397.
Tapestry, 36, 37, 209 to 221.
Turnings, 30, 31.
Valances, 130.
Vases, 39, 134, 135, 313, 387
Velvets, 43.
Wardrobes, 249, 251.
Watch Cases, 138, 266.
Weaving, 189 to 192.
Wine Coolers, 264.
Writmg Tables, 9, 146, 147, 339, 340, 341, 382. 383.
Authors and Painters.
P..\GE
P.-^GE
Babe], P.E. 273 to 276, 278,
279,280,281,282,283,285
Le Brun, Chas
33
' 36, 37> 44
Barbet, I
II to 16
LeClerc
••■ 175
Berain
90 to 112
Le Jeune, J. M. Moreau
... .364
Berthault
353
Le Moyne, Francis, and Audran ..
254. 256
Blondel
289 to
295,311 to 313
Le Pautre, J
49 to 89
Bosse, Abraham
8
Le Prince
..
... 355
Boucher
286 to 288, 334
LeRoux. J.B
244. 245
Boule, A. Charles
140 to
144, 146 to 153
Loir, Nicholas
.. 46
Bourchardon
316, 317
Mansart
170, 171,
236 to 238
Briseux
... 296 to 303
Marot I
13 to 139,
166 to 169
Chambhn
239
Meil, J.W.
...
285
Cotelle and Audran
248
Meissonnier
257 to 272
Cressent
247
Mignard, Paul
34> 35
Cressent and Audran
252, 253
Natoire, Chas. J
... 282
D'AviUer
47, 48
Nilson, J. E
... 284
De Cuvilles, Francois
... 304 to 310
Normond, Chas.
387, 400
Desprez
376
Oppenord
221 to 227
De Wailley, Chas
... 359 to 361
Oudry, Jean-Baptiste
209 to 220
Eissen, Chas.
255, 284
Patte, M
337, 338
Fragonard
363
Percier and Fontaine
386, 389, 392, 393
Francart, J
155 to 160
Pineau
228 to 235
Gillot
202 to 208
Poussin
27
Gravelotte
275 to 285
Rottiere, Jean Simoon Rousseau d
ela...
354. 355
Greuze, J. B., and Nilson, J.
E. ...
362
Roubo
340, 341
Lajoue
240
Salembier
... 376
Lalonde
371, 378 to 384
Vouet, Simon (Louis XIIL)
1,2,3
Lancret and Audran
246
Watteau
193 to 201
Lancret, \
276, 277
Palaces and Museums,
Page
Page
Chateau de Chantilly
... 324
Petit Trianon 356.368,369,373
Fontainebleau 5, 6, 7, 3i4, 3^5
356, 357. 358
Versailles 318,368,372
Galerie d'Apollon (Louvre)
• •. 145
Victoria and Albert Museum 241, 344, 345, 346, 347,
Grand Trianon
.■ 398
348, 349, 351
Hotel Cluny
9
Wallace Collection 161, 164, 165, 319, 320, 322, 342,
Musee de Louvre
325>326
343- 344. 349, 352
Louis XIII.
SIMON VOUET.
First Half i 7th Century.
Simon Vouet was
born in 1590 and died
in 1649. He is regarded
as the promoter of the
great art movement in
France founded on the
Renaissance. He visited
Italy and studied there
the works of some of
the great artists, includ-
ing Paul Veronese,
Valentin, and Cara-
vaggio. On his recall
to Paris by Louis XIII.,
in 1627, Vouet became
principal painter to the
King, and had apart-
ments allotted to him at
the Louvre. He was
the master of Le Brun,
Pierre Mignard, Le
Sueur, and many others.
While in Italy Louis
XIII. had already ac-
corded him a pension.
He was for a long time
employed on making de-
signs for tapestries. He
also gave lessons to the
King in crayon drawing.
He is regarded as the
founder of the French
school. As he was one
of the designers of tap-
estries, I have thought
it best to show one
or two engravings from
his works to give
some idea of his style.
He was a prodigious
worker, and a great number of his works have been engraved. They have been published in a work called
" Ouvre de Vouet." There is a copy at the Victoria and Albert Museum which appears to have belonged to
Sir Joshua Reynolds. The designs in it are mostly of religious subjects, and are in a line, bold, and well-
proportioned style. It includes at the end another work of his called " Livre de Diverses Grotesques Peintes
dans le Cabinet et Bains de la Reyne Regente au Palais Royal." An eminent writer on decorative art says of
Vouet, having no doubt these last designs in his mind : — " He makes for the iirst time in French
Renaissance that abundant use of floral detail in association with more conventional scroll work, which becomes
by and by a characteristic of the period of the ' Grand Monarque.' One sees in him, too, the forerunner
of Le Pautre and Berain, both of whom he seems to have influenced. He was, in fact, the precursor of the
style Louis XIV "
Louis XIII.
SIMON VOUET.
First Half 17th Ccntur}-
An our et V
Louis XIII
succeeded Henry
IV. in 1610 and
died in 1643 _
Many Chateaux
were built dur-
ing his reign,
but the style_;;^is
largely a con-
tinuation of that
of Henry IV.
Although it is
not within the
province of this
work to mention
artists who were
purely painters
or sculptors in-
dependently of
being decorative
artists, I will
mention a few
well-known
names, as there is
I alwavs an uncer-
tainty as to whether they were not thus employed,
nearly all artists of those days accepting commissions
to paint ceilings, for instance. It is said that the
reigns of Henry IV. and Louis XIII. were not very
rich in great works of art, but the Palais du
Lu.xembourg was built by Salomon de Brosse, and
Jacques Lemercier built the Palais Cardinal — now the
Palais Royal. The latter was built for Cardinal
Richelieu, and was so lavishly furnished and decorated
that it attracted the attention of Louis XIII., with
the result that the Cardinal, in order to appease the
King, made him a present of it — recalling what
Cardinal Wolsey did with Hampton Court Palace-
.\fter the death of Louis XIII. the e.x-Queen Anne of
.\ustria resided there, hence its name — the Palais Royal.
^Mansart designed the Bibliotheque National. He
was the inventor of Mansart roofs. The oldest parts
of Paris were built during this period, and from which
also date the older private mansions, their peculiarity
being that the fronts rise from enclosed courts, entered
from verv handsome gateways having the escutcheon
over the centre, a great feature at this period
Nicholas Pouissin (1594-1654) and Claude Lorrain
(1600-1682) belong to this period, also Eustache Le
Sueur (1617-1655).
Louis XIII.
SIMON VOUET.
First Half 17th Century.
The cabinets on page 4 were made
in oak, sometimes in ebony and other
woods, and had inlays of bone, ivory,
mother-of-pearl, etc. The influences
seem to have been German or Flemish.
Abraham Bosse was born at Tours in
161 1 and died in 1678. He was a
painter, architect, engraver, and etcher.
At the formation of the " Academic
Royale de Peinture " in 1648 he was
made Professor of Perspective. The
chimneypieces I have illustrated of
Barbet's are engraved by him (1733).
The interior I have shown is one of a
series illustrative of the manners of the
period. It was usual for royalty and
people of quality to receive their guests
while seated in bed, and thus we have
one of the reasons why beds of this and
later periods were so ornate.
Salomon De Brosse, mentioned
above, was born about 1560 and died
'n 1626. He was a nephew of Androuet
du Cerceau. He was appointed archi-
tect to Maria de' Medici, queen of
Henry IV. On page 5 is an illustration
of a room in the Louis XHI. style at
Fontainebleau. This palace owes its
magnificence to Francis L, who con-
verted it from a mediaeval fortress.
Francis I. was a great admirer of
Italian art, and employed a great
number of Italians at Fontainebleau. There was established what is called the school of Fontainebleau,
founded on the style of Giulo Romano, and it is in thig style that a great part of the interior of the
palace is carried out. Henri IV., who died in 1610, made considerable additions. In the room illustrated
is a mirror of Venetian glass reputed to be the earliest mirror introduced into France. It is said that it
was in this room that Louis XIII. was born. On page 6 is a doorway with the arms of Louis XIII.,
although the general style is that of Louis XIV. This room is called the Salle du Trone, and it contains the
throne of Napoleon I. Illustrations of the Empire style will be found at the end of this book.
The door in the grand vestibule at the Palais de Fontainebleau, illustrated on page 7, has the usual
cartouches so representative of Louis XIII. style, and has also some other good details — for ins ance, the
crown of thorns on the cross in the centre of door, which is a very happy idea. Some other carvings in
the Louis XIII. style can be seen in the chapel at Fontainebleau, especially the side screens. The frieze
round the chapel is composed of swags of fruits and flowers with the addition of cartouches, all \'eiy
representative of this style. In the fireplaces of Barbet I have not shown the firebacks usual at
this period. They generally bore coats - of - arms, ciphers, or emblems, and it is said that large
The Tuilet
^„;s XIII. &L..US XIV. PALAIS DE FONTAINEBLEAU. First Il.lf .7th Ontury
La Sal
du Trone. The Arms of Louis XIII.
Louis XIII.
PALAIS DE FONTAINEBLEAU. First Half 17th Centur
Door in Grand Vestibule.
s I
\n:
ABRAHAM BOSSE
1 irst H ilf f 7th Century
Interior.
numbers condemned, on this account, during the French
Revolution were preserved by the simple expedient of
turning their face to the wall. They were made of
cast iron.
On page 4 is an illustration of a very curious cabinet
from the Hotel Cluny at Paris. It is covered all over in
leather, and has some gilded ornament worked on it almost
as delicate as one sees on the backs of books of that
period.
The chimneypieces by I. Barbet show an unmistakably
Italian origin. The number of carved figures on some of
them must have made them extremely costly, especially
if in marble or stone, of which chimneypieces were usually
made at that period. I have not been able to trace
anything about Barbet, but he dedicates his book to
Cardinal Richelieu (1633). The engravings are by
Abraham Bosse.
Carved Oak Cabinet.
Louis XIII.
HOTEL CLUNY
9
First Half 17th Century.
Carved Oak Cabinet.
Oak Cabinet.
10
Louis XI
OAK SCREEN AND TABLES. First Half 17th Qiuury
n
12
17
Henry IV. or Louis XIII. DOORWAY AND FRAME.
Early 17th Century.
18
Henrv IV.
WALNUT CABINET AND ORNAMENT. Early 17th Century.
^^ilj,
Ornament from the
Palace of Fontainebleau.
Carved Walnut Cabinet with Plaques of Marble.
19
Henry IV.
WALNUT CABINET.
Early 17th Century.
rm
r
'^- i^^''^^
r
> l_
i
k ---^
m<^lmm
»«*««*
Ornament
from the Palace of
Fontainebleau.
/ .■'.!/
-n
Carved Walnut Cabinet, with Inlaid Pilasters, etc.
20
Henry IV. or Louis XIII.
DETAILS.
Early 17th Century.
Henrv IV. or Louis XIII.
CARVED PANEL.
Early 17th Century.
22
Henry IV.
CABINETS.
Early 17th Century.
i^s,:^^,
Henrv IV.
23
WALNUT CABINET AND ORNAMENT. Early 17th Century.
4 I
^WuV
Carved Walnut Cabinet, decorated with small Marble
Panels.
Friezes from the Palace of I^ontainebleau.
Lk-jJ
^1
AW
K
%
No. I.
No. 2.
24
Hcmr> IV. or Louis XIII. FRAME AND ORNAMENT.
Pearly 17th Century.
One of the great features about this time (Louis
XIII.), both earlier and later, is the beautiful plaster
work in ceilings, friezes and ornaments. They were
treated in a most elaborate but somewhat heavy and
ponderous st5''le. The panels were decorated by
nearly every painter of repute — in fact, painting
panels, ceilings, walls, etc., seems to have been their
chief employment. Italy was the country which
early developed plaster work, and it was Francis I.
who encouraged some of the Italian plasterers to
come to France to assist him on his Palace of
Fontainebleau, the Italians being noted for their
" stucco " work, which is an Italian term usuallv
25
Louis XIII.
IMITATION CHINESE SILKS. First Half 17th Century
wt Mm.
^i
IB^^
H
■
1
'm^H
^S
^^^S
^
m
H
^»
S^P
^
iJi
fi<i
&^
^^^S
m
j^^
il
»1
M^^B
ff
S
^i(
^iik^P
3^^ii
^iik ^^^f^
M
^^1
i-"^
vl^^
^^^^
m
ii
r
^^
M
B^B
ii
a
m
m
m
i
1
i}«K^is>'\i||fc;««i|
tK.jiii''!!,.u;r^iijii liia :::;a^t,i, 'l«Wliiii
Venice and Lyons Silks.
applied in Italy to a superior kind of external plastering. According to Vasari, Primaticcio " did the lirst
stucco work ever executed in France and also the first frescoes." It was used to give the appearance of stone.
Stucco chimneypieces were made, also wall decoration. These Itahans were continued in their employment
by succeeding French kings. The designs of this period are in a very stiff and grandiose style ; the reaction
against this set in from the period of the Regency right down to Louis XVI. 's time, when some of the most
beautiful and delicate plaster work was produced. It appears the material itself depends a good deal on its
age, and the best is ground down from pieces of white marble. The way to manufacture the best plaster was
kept a secret, and was handed down from father to son, each one putting down some for the benefit of his
son or grandson.
20
Louis XIII.
DETAILS.
First Half 17th Century.
27
Louis XIII.
DETAILS.
First Half 17th Century.
28
Henrv IV. or Louis XIII.
CHAIRS.
Early 17th Ce-ntury,
On page 17, is a frame to go over a chimney-
piece, in oak, gilt, period of Henrj' IV. The best
carvings of this description are often found in
modern houses, where they still manage to hold
their place, notwithstanding that the furniture in
the room does not always correspond. As they
answer a useful purpose, judges of art do not
care to have them removed.
The carvings and panel on pages 20 and 21
are in walnut, a wood extensively used in cabinet
work about this period that lends itself to carving,
and it must be remembered that articles were almost
covered with carving. It is often complained that
the carvings on some of these credences, dressoirs,
etc., do not all appear to belong to the same period,
but this may be partly explained when it is remem-
bered that at that time trades like cabinet-making
descended from father to son, and if a credence of
some beautiful design was some time in hand or it
came back for additions or repairs, the carver on it
were influenced by the particular phase of art that
was then in vogue, and which was being continually
29
Louis XIII.
CHAIR IN DAMASK.
Early 17th Century.
varied by fresh influ-
ences. The frame in
centre of page 24
belongs to the period
of Louis XIIL, and is
called a " Cadre de
Crucifix." The centre
part, which held the
crucifix, had a ground
of red velvet. The
reader will notice how
the breaks of the top
of the frame suggest
the arms of the cross.
On page 25 are
some designs of silks
in imitation of the
Chinese style, and these
were made in Venice
and Lyons, two cities
where manufacturers
adapted their looms to
make these silks.
There was a great
demand for genuine
Chinese designs ; but
that country not yet
being freely open
for trade, the genuine
articles fetched large
prices and were scarce ;
hence the imitations,
which were altered
somewhat, to adapt
them to our western
ideas, in which gold
was extensively used.
The three chans on page 28 are high back chairs in walnut. The two first have cane backs, but the
thud has a back of Cordova leather picked out in different colours ; loose cushions were probably used with
these chairs. Nos. i and 3 are of Italian origin and design. The corner chair was a fashionable article m
rooms of this period. This one is made in oak and has a wooden seat. The chair illustrated on this page is
carved and gilt ; it has the broad gilt braid on the edges of the stuffing, which gives a panelled effect to
the damask seat and back of the Chair. This was a great feature later on durmg the
the appearance of ..._ .
Louis XIV. period. It has also the fringe and brass buttons common to that period, as well
under-framing.
the carved
30
Henry IV. or Louis XI 1
CHAIRS.
First Half 17th Century.
Oak Chairs, covered in Leather, with Brass Nails.
XIII.
CHAIRS.
31
First Half 17th Century.
C=<=j>=i|
0000000000
fi-i'^m^ iit^j
Vii^MMMj^'M
Chairs, with Embossed Leather Seats and Backs and larcre Brass Nails, of a Portuguese desio-n.
32
Louis XIII.
POUSSIN.
Early 17th Century.
33
34
Louis XIV.
PAUL MIGNARD.
Last Half 17th Century.
pHy!
Louis XIV.
PAUL MIGNARD.
35
Last Half i 7th Century.
Louis XIV.
CHARLES LE BRUN.
Second Half 17th Centurv,
On this page is an
ustration of a marble
oiintain at Versailles,
designed by Mansart.
It is sometimes called
the " Buffet " and
sometimes the " Cas-
cade," and is an ex-
ample of the extended
use of marble that came
into vogue during the
reign of Louis XIV.
Old French marble
quarries, closed since the
Roman times, were re-
opened, and purchases
were also made in Italy,
Kgypt, etc., etc., this
being made somewhat
Alarbk; Fountain at X'crs.ullcs. easy on account of
the improved means of
carriage. Before this period, when marbles were used, the juxtaposition of black and white, or rather
slate and white, was relied on for giving the desired effect. On the next page is a beautiful staircase in marble,
also at Versailles, built about 1682.
37
Louis XIV.
CHARLES LE BRUN.
Second Half 17th Centi;rv.
Gobelins Tapestry by Le Brur
m
-^;^^HpHn
m
r*--^
m
m--]^
S&Jf'
w.
I
38
Louis XIV.
INTERIORS.
Last Half 17th Century.
Interior at \'crsail
They were
Garden are
executed at
claimed to
Salle de ICImI de l'.(u-ut.
various times, so do not all belong to one reign,
be the finest in the world.
On this page is an
illustration of the famous
room called Salle de I'CEil
de Bceuf, or the Ox-eye
Room, so called from the
oval window in the frieze.
This room is mentioned in
Carlyle's " French Revolu-
tion." The subject of the
frieze is a " Children's Hunt,"
and is supposed to be one of
the most beautiful specimens
of Louis XIV. decorative
work. It is in gilded stucco,
and is by Van Cleve and
others. The terrace vases,
two of which are shown on
page 39, are a great feature
at Versaihes, many of them
being beautifully designed.
The bronze groups in Fountain
39
Louis XIV.
CARVINGS and VASES. Last Half 17th Century.
^^^(^JP^
..T<»r^ >-,*"' ■<^
I.ouis XIV. Carvine.
Vase at Versailles.
Louis XIV. Carvincr.
Vase at Versailles.
40
41
42
Louis XIV.
\2^ mHV-
DAMASK.
mrijM=
Middle i8th Century.
"i -" = ^%
.^m
^^^^
^& '"^ .=^^^^^^^ . #:=.-•% ^ "=
W^^- .'J^~l.
0^
'la^^i «
fi2-^^^% Iff #%5:gjri
^^ "s r?-
4s V
^=iC 2=tti 51=
>-' ^^'
^%.>Ji^Wi^#^^ _J^^ ^
Pomegranate Pattern
43
Louis XIV.
VELVETS.
Middle i8th Century,
^f%^«^
Vase Patterns
Velvet is usually made of rich silk,
with a close, soft, fine shag or nap ; but
sometimes it is made of cotton or wool.
The oldest makes of velvets were quite
plain, but there were many other makes
known by different names, among them
the " Stamped or Cut Velvet," which
is a velvet passed between two rollers
— one of wood, holding a sizing ; the
other of brass, which cut and formed
the design. By this means the velvet
received a pattern of scrolls and flowers.
There were also the Genoa velvets,
Utrecht velvets, velvets in four or five
colours, cotton velvets, printed velvets,
embroidered velvets, and many others.
Vase Pattern.
44
Louis XI\-
CHARLES LE BRUN (VERSAILLES). Last Half 17th Century
45
46
Louis Xl\'.
NICHOLAS LOIR.
Last Half 17th Century.
Desions for Centre Ornaments.
Louis XIV.
IJesions tor lialcoiiius.
Louis XIV
D'AVILIER.
Last Half 17th Century.
^3
Designs for Pavements and Coves of Ceilm
49
Louis XIV
mMmm^^mmlsmmmmmsimM^m^u.^m
JEAN LE PAUTRE. Last Half [7th Century.
■-^'TTT^ ^Vf ""7
hZlJuJ; * J4 ^,xfflfc"i4^M.^-i4.rfii*vj»ii»'ite >W^u
^■"
i^u^iii>.iMJKA)aii,aikJ&.i^,;fe.ji,to^,jMB(itL*tl..Vl^
Jesigi
50
Louis XIV.
JEAN LE PAUTRE.
Lust Half 17th Century.
-m - HI ill _m^^is^ss=saE
Baa^if»^'«fS^<-y'''«te^-^'<'«'«'''^^^^
Designs for Friezes.
51
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century.
JEAN LE PAUTRE.
Last Half 17th Century
53
I.ouis XIV.
JEAN LE PAUTRE.
Last Half i/th Ctntury.
54
Louis XIV'
JEAN LE PAUTRE.
Last Half 17th Century.
55
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century.
r>G
Louis XI\'
JEAN LE PAUTRE.
Latt Half i;th Century,
57
Louis XIV
JEAN LE PAUTRE and CARVINGS. Last Half 17th Century,
Carving
58
Louis X I \'
JEAN LE PAUTRE,
ist Half 17th Cc-nturv,
Desi>n tor (_himne\ piecL
59
Louis XIV
JEAN LE PAUTRE
ist H lit 17th Century.
Debij,ns tor Chnnne>pp
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century.
Desi'trns for Sides of Rooms.
02
Louis XI v.
JEAN LE PAUTRE.
Last Half 17th Century,
» > ^= -''■'
63
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century.
04
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Centiry.
65
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century.
No. I. No. 2. No. 3.
Desisfiis for Side Tables, Carved and Gilt.
Design for a Sideboard, for display of Silver.
66
Louis XIV
JEAN LE PAUTRE.
Last Half 17th Century
Xo. 2. No. 3. No. 4.
Designs for Chimneypieces and Fire Backs.
Louis XIV.
JEAN LE PAUTRE. Last Half 17th Century.
67
Design for Chimneypiece.
68
Louis XIV
JEAN LE PAUTRE. Last Half 17th Century.
No. I. No. 2. No. 3. No. 4. No. 5. No. 6.
Design for Chimneypieces, Fire Dogs, and Fire Backs.
Louis XIV.
JEAN LE PAUTRE. Last Half 17th Centui
Design for Chimneypiece and Fire Doo-s.
ro Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century.
Louis XIV.
JEAN LE PAUTRE. Last Half 17th Century. 71
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century.
Designs for Sides of Rooms.
n
Louis XIV.
Readers will notice that each
page is numbered separately, so
that the number of the article and
the page must both be quoted
where necessary.
JEAN LE PAUTRE.
Last Half 17th Century.
Designs for Sides of Room^
?4 Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Centiiry.
Xo. 2.
Designs for Sides of Rooms.
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century 75
7G
Louis XIV.
JEAN LE PAUTRE.
i|iiiiii|iiii|iiinii|iHi|ii|iiiiiiiiii||iiiiiriiiHi|iiiiiiiiiiiiiiiiiiii)ii|i||||||iiii|||i'iiin'H
Last Half 17th Centurv,
Louis XIV.
JEAN LE PAUTRE. last Half 17111 Century.
77
78
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century.
No. 3.
Designs for Ceilings.
No. 4.
79
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century.
No. 2.
Designs for Ceilings.
80
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Centur}-
Designs for Ceiling;
Louis XIV.
JEAN LE PAUTRE.
81
Last Half 17th Century.
No. 3.
Designs for Ceilings.
Last Half 17th Century
Jean Berain (the
father) was born in
Paris about 1638. He
was appointed by Louis
XIV. designer to the
chamber and cabinet of
the King, in which
capacity it was his duty
to design the scenery
and costumes for the
court fetes and ballets.
Other architects who
afterwards held this
position had to do the
Hke. It will be re-
membered that Inigo
Jones, architect to
James I., designed the
scenery for the court
fetes, while Ben Jonson
wrote the words. Berain
died in 1711.
Jean Berain (the
son) succeeded to his
father as draughtsman
to the King. He etched
several plates from his
own designs of the or-
naments of panels and
sculpture which are in
the Gallery of Apollo in
the Louvre. Bouille
carried out some of
Berain's designs in the
panels of his cabinets,
etc.
As Jean Berain was
one of the artists who
designed for Boule, I
have thought it best to
give here a description
( Continued on page S7. )
Side of Room.
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century. 83
84
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century.
^^^^'■^
No. 3.
Designs for Friezes.
Louis XIV.
JEAN LE PAUTRE. Last Half 17th Centur
Xos. 3 and 4.
Desions for Friezes
<S6 Louis XIV
JEAN LE PAUTRE.
Las< Half 17th Century.
Louis XIV.
87
JEAN LE PAUTRE.
Last Half 17th Century.
Design for Chimneypiece, etc.
of what constitutes
"Boule" work — instead
of under the name of
Boule.
" Boule itself is a
peculiar kind of inlaid
or veneered work com-
posed of tortoiseshell
and thin brass, to which
other metals, enamel,
and ivory are sometimes
added. Even in the first
works of Andre Charles
Boule the great capa-
bilities of his new style
were well understood,
and fully carried out.
The play of light upon
the surface and the
variety of curvature
commonly found in dif-
ferent parts of the piece
of furniture are admir-
ably adapted to show off
to advantage the rich
materials employed .
From whatever position
we may look at good
examples of this and of
the succeeding period
we find a brilliant and
lustrous effect produced
upon the polished met-
al ; whilst the mingling
of silver, brass, tortoise-
shell, ivory, and enamel,
supplies additional and
beautiful tones of
colour.
" In the earlier
furniture made byBoule
the inlay was produced
at great cost, owing to
the waste of material in
cutting ; and the shell is
left of its natural colour.
In later work the
manufacture was more
economical. Two or
{Continued on page 109.)
88
Louis XIV.
JEAN LE PAUTRE.
Last Half 17th Century.
fi^ -\ '
Desio-n for Frieze.
Uesio-n for Frieze.
Louis XIV.
PIERRE LE PAUTRE.
Last Half 17th Centu
ry-
designs for ChimiKypi
pieces
Desio-n for Arabesque Ornament.
90
Louis XIV.
JEAN BERAIN. Last Half 17th Century and P:arly i8th Century.
Desio^ns for Pilasters.
91
Louis XIV.
JEAN BERAIN. Last Half 17th Century and Early i8th Century.
Designs for Pilasters.
Louis XIV.
JEAN BERAIN. Last Half 17th Century and Early i8th Century
Desiyns toi Pilabters.
93.
Louis XIV.
JEAN BERAIN. Last Half 17th Century and Early iSth Century.
L%
(^'
/^J^Sr
43
%n
^/
t
n
■/
V 4
rV
i4.
f.
^
^N\
7- ^
;'^
-^aiac^l
w
Desig-ns for Pilasters.
94
Louis XIV.
JEAN BERAIN. Last Half 17th Century and Early i8th Century
Desio-n for Panel.
95
Louis XIV
JEAN BERAIN. Last Half 17th Century and Early iSth Cent
Design for Panel
Louis XIV.
JEAN BERAIN. Last Half 17th Century and Early iSth Century.
Design for Panel
97
Louis XIV.
JEAN BERAIN. Last Half 17th Century and Early iSth Century,
H
^ - -^-ty) o"v^-^
^j^r^iM'^^^^^-^y.fc^-^^^
s
s^w
fe^^^^^^&MES^pPP I
99
Louis XIV.
JEAN BERAIN. Last Half 17th Century and Early i8th Cent
ury.
Design for Pane
101
Louis XIV.
Desio-n for Panel.
102
Louis XIV
alf 17th Century and Rarl\' jSth Century.
fe^-^lf^ y^r^^^L.^ ,^:^ . <^r^v -f;,j,^[^^ .^..^ PS?^ fill
Design for Panel.
103
Louis XIV.
JEAN BERAIN. Last Half 17th Century and Early i8th Century.
Design for Panel.
104
Louis XIV.
JEAN BERAIN. Last Half 17th Centu
ry and Early i8th Centiii
Louis XIV.
105
JEAN BERAIN. Last Half 17th Century and Early i8th Century.
Desig-n for Sedan Chair.
106
Louis XIV. JEAN BERAIN. Last Half 17th Century and Early i8th Century.
Oh
be
Q
107
Louis XIV. JEAN BERAIN. Last Half 17th Century and Early i8th Century.
108 Louis XIV
JEAN BERAIN. Last Half 17th Century and Early iSth Century.
<^K^ R.J/ @
No. 2. Xo. 3. xo. 4.
Designs for Tripod, Wall Decoration, Chimneypiece, &c.
Louis XIV.
JEAN BERAIN. Last Half 17th Century and Early i8th Century. 109
skiMIMiiaMiitMiii
No. I.
No. 2.
three thicknesses of the different materials were
glued together and sawn through at one opera-
tion. An equal number of figures and of
matrices or hollow pieces exactly corresponding
were thus produced, and, by countercharging,
two or more designs were obtained by the same
sawing. These are technically known as ' boule
and counter,' the brassforming the groundwork
{Continued on page 115.)
No. 3.
No.
No. 5.
No. 6.
Designs for Chimneypi
eces and Fire Backs.
no Louis XIV.
JEAN BERAIN. Last Half 17th Century and Early i8th Century.
Louis XIV.
JEAN BERAIN. Last Half 17th Century and Early i8th Century. Ill
112
Louis XIV.
JEAN BERAIN. Last Half 17th Century and Early iSth Century.
Designs for Candlesticks.
113
Louis XIV.
DANIEL MAROT.
Second Half 17th Century.
Fire Dogs by Jean Berain.
No. I. No, 2. Xo. 3.
Designs for Backs and Panels of Sedan Chairs by Daniel Marot.
(Sc-i page 117 >/• description.)
114
Louis XIV.
DANIEL MAROT.
Second Half 17th Centurv,
Louis XIV.
DANIEL MAROT
7 8
Grandfather Clocks.
and the pattern alternately. In the later boule the shell is laid on a gilt ground or on vermilion. Sometimes
the two styles are distinguished as the first part and the second part. The general opinion on the relative
value of each seems to be that, while admitting the good effect of the two styles as a whole, the first part
should be held in higher estimation as being the more complete. We tliere see with what intelligence the
elaborate graving corrects the coldness of certain outlines ; the shells trace their furrows of light, the draperies
of the canopies fall in cleverly disordered folds, the grotesque heads grin, the branches of foliage are lightened
116
Louis XIV.
DANIEL MAROT.
Second Half 17th Ccntur\-,
aj b£ ^ ^
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Louis XIV.
DANIEL MAROT.
117
Second Half 17th Century.
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.18 Louis XIV.
DANIEL MAROT.
Second Malf 17th CLiiturj
Louis XIV.
DANIEL MAROT. Second Half 17th Century. 119
Ijll
i^^^m^^^
I
u
1 - i
w- y '^-^-.-^^ -v_Ih
120 Louis XIV.
DANIEL MAROT.
Second Half 17th Century.
Louis XIV
DANIEL MAROT. Second Half 17th Century. 121
122
Loui
XIV
DANIEL MAROT.
Second Half 17th Century.
Chimneypiece and Overmantel.
Ornament suitable for
Pilasters.
similar to those to be seen at Hampton Court Palace. They have the hea\-y moulding round the open
•fireplace, which was frequently of marble, the small piece of glass, and the carved Acanthus-like leaf in
the moulding above it, which was often surrounded by strapwork and has a pleasing effect. In the present
■examples the upper part has the painted panel with vases and flowers after the Dutch style, and the
upper mouldings continuing the cornice of the room. Among other features are the low dado and the fire-
Ibacks. These last were cast, and usually bore coats-of-arms, ciphers, or subjects emblematic of heathen
Louis XIV.
DANIEL MAROT.
123
Second Half 17th Century.
W^t^P
P
ra
^8
m
SI
Effll^>^
m
1
^^H
Iw^''^
H
1
Ornament suitable for
Pilasters.
Ch
imneypi
No. 2
:e in the
China " taste.
mythology, etc. On page 120 are some overmantels for the display of china (Delft), quite a rage for which
existed about this time. On page 121 is a corner fireplace which will recall a small room at Hampton
Court Palace. Above is shown a chimneypiece in the " China " taste, which helps to show to what a gross
absurdity the Delft 'chinaware craze was carried— cups and saucers everywhere. No. i was probably
executed in oak, enriched with gilding, but in low relief. On pages 124 and 125 are overdoors which
had paintings in them. On pages 126 and 127 are designs which could be either painted or executed in tapestry
IL'4
Louis \I\
DANIEL MAROT.
Second Half 17th Centur\
Louis XI\'
DANIEL MAROT.
l2o
Second Half 17th Century.
Q
fr'^^tl 1' Ill I 'I ' ^-'- --^^ -^
^^^^^^
^pp-f^ro^n ...juigimiiiiii jjim
■'l^yjll^-
^2^\
Louis XI\'
DANIEL MAROT.
Second Half 17th Century.
Louis XI\'
DANIEL MAROT.
127
Second Half 17th Century.
12S Louis \I\'
DANIEL MAROT
Second H ill 17th Century.
pilllii
liiii
1
li
1
4^
The Ceilings of Beds, made in Galon (a close lace of silk, gold or silver).
Louis XIV.
DANIEL MAROT.
129
Second Half 17th Century.
:i
Desicrns for Chantourne;
m for Pilaster.
Above are three designs for what the French call Chantourncs, the head pieces placed over the pillows
against the wall, some of which can be seen at Hampton Court Palace. Some further examples are given in the
illustrations of bedsteads two pages further on. They were made of carved wood and gilt, or of plain wood and
covered either with cloth, the latter sometimes embroidered, with blue taffeta, with white satin pique, or, as in
the three designs Uiere represented, with galon, a close lace made of silk, gold, or silver. The term galon,
however, is applied to a variety of similar materials.
130
Louis XIV.
DANIEL MAROT.
Second Half 17th Century.
Four illustrations of what the French call Lambrequins
are given here. These are the hanging bands of materials
which are used to decorate the tops of windows and the
tops of bedsteads. The third example is called a Lambre-
quin galonne, on account of the banding. Galon was a
general term for the many closely woven materials made by
the trimmings manufacturer, among others glossy serge,
epingles galon, and galon of gold and silver. The fourth
design is called Lambrequin a falbalas, from the folding of
tlie draperv at the bottom of the valance.
Ne^^Wl^^^*^" ^2^8."^ -*^^^F^ n^^M Daniel Marot seems to have been rather happy in his
l!Ltf* /flMBJ^Ta — ^^^ ► J^<»t i^ JlSi^ designs of this class of work The four designs here shown
and the four designs round the tops of the bedsteads on
the ne.xt page show great variety, and are quite worthy to
be compared with our modern designs of such subjects.
The French have a great variety of bedsteads, and draw
very line distinctions between the different designs, giving
each a name. In fact, they have paid extra attention to
this piece of furniture, no doubt remembering that it is in it
" we forget, during one part of our life, the evils of the
other part "; further, that " in it we are bom, and in it we
die." Before the end of the i6th century the bedsteads
in use were of a somewhat primitive type, but about that
time luxury began to creep into the homes, and the bed-
stead was among the first articles to be affected. Lender
the name of Abraham Bosse in the earlier part of this
work will be found an illustration of a form of bedstead
which seems to have been the fashion during the earlier
part of the 17th century. The hangings there shown were
often very rich, and I ha\-e there described them. On
^he tops of Nos. i, 2 and 4 bedsteads on page 131 are
shown what the French call the Bouquet de Plumes, a
Innirh of feathers. This ornament was in use during the
i6th and 17th centuries, and was supposed to add to the
dignity of the design. Examples can be seen on the bed
of Louis XIV. at Versailles, also on a bed at Hampton
Court Palace, at Knole Park, etc. The feathers were of
different colours, green, yellow, white, etc., and of various
sizes, large, medium, and small, mixed together, with the
addition of aigrettes. The cases on which they were paced were occasionally of cardboard covered with
embroidered velvet. These bouquets were sometimes made of flowers cut out of the precious metals. The
coverings of beds during the 17th century, especially during the latter half, were of a marvellous richness
and variety, and comprised all manner of stuffs — Genoa and Bruges damask, cloths of gold and silver,
striped gauzes, striped satins, muslins, velvets, and damasks of all colours, white, crimson, yellow, green,
violet, black, grey, etc., etc., French and Oriental satins, taffetas, brocades, tapestries, and many other
materials, all of which were decorated or embroidered with lace or^ with trimmings of gold and silver or
(CcniiHued on page 135.)
Desiorns for Bed X'alant
Louis XIV.
DANIEL MAROT. Second Half 17th Century. 1:51
w^^rj^M^^^m^,^^
\o 3.
Debiijiis for Bedsteadt
\... 4.
132
Louis \I\
DANIEL MAROT S, tond Half 17th Century.
Louis XIV.
DANIEL MAROT.
133
Second Half 17th Century.
■^'^^^m^y-r^'f^r '^w^TK^^
DANIEL MAROT.
Second Half 17th Century,
I
.*ai-^J
^ a
Louis XIV.
DANIEL MAROT.
135
Second Half 17th Century.
needlework, some with subjects,
others with flowing ornament
or with armorial bearings. The
four pillars of the beds were
often covered with the same ma-
terials as the bed ; sometimes with
silver sheet. A great many of
these coverings were lined with
some other material. The fringes
were also an important feature.
It was the custom in those days
for people to receive their friends
in bed (as described under
Abraham Bosse in an earlier part
of this book), and for the kings
and other great personages to give
audience while in bed, and
this, no doubt, was one of the
causes that led the bedstead to be
treated so sumptuously. Some
of the best bedsteads cost
almost fabulous sums. The
following are a few of the more
important bedsteads that were in
use about this time. There was
the Lit a Alcove, which was a
bedstead placed in an alcove so
that it was separated from the
rest of the room. In some
instances it was on a platform
with balustrades in front between
two pillars. Part of the balus-
trade would have a sort of gate
so that one could enter the
alcove, but in this latter case it
was called a Lit de Parade, an
illustration of which can be seen
further on in this book in the interior of Louis XIV.'s bedroom. These alcove beds are still in vogue in
France, and by drawing a panelling or curtain in front they are really separated from the rest of the room.
The Lit d'Ange is a bedstead with a canopy, but with no pillars in front, the curtains being drawn back at
the sides next to the head of the bed. The canopy does not extend over the whole of the bedstead, but
the counterpane goes right over the foot. Lit de Bout is a bed, the pillow of which only touches the wall,
the other sides remaining free. Readers will notice that the canopies of beds were a great feature during
the 17th century, covering the whole of the bed. During the i8th century, however— perhaps through the
chimneypieces not being so open, and the windows and doors being better fitted, and a consequent lessening
of draught— there was no longer the necessity for wholly enclosing the beds with canopy and curtains
as they did in the earlier times, so the canopy gradually grew less, and the curtains were placed at the
pillow end of the bed.
for Garden Vases.
l^!6
Louis XI\ . DANIEL MAROT.
Second Half 17th Century.
-mj~njr
-uu •Uif
^gj,^rt»<g'^^^^^ayw'fe^iY^^if'fiib%j?^r»^a^jMJJ!^^^
'^ii'
mMuimmi
yJt;'i.;^iXii;if^P
^^Jar^ 11 ir:inr rgn irirr. ..■.^.^..:z... -^ .^— ^ ~^^
Designs for Cornice MouIdinLi's.
Li
i
Designs for Picture Frame Mouldings.
Lit Clos is a bed placed in a sort of cupboard with
sliding doors.
Lit a Colonnes, a QuenouUes, a Piliers are terms
for four-posted bedsteads. The posts are exposed when
they are carved, etc., and in other cases they are liidden
by the curtain.
Lit en Dome is a bed that has a rounded canopy over
it in the shape of a dome, sometimes confounded with Lit a
Imperiale, which has a dome suggestive of an Imperial
Crown.
Lit de Garderobe, a bed used by the servants
waiting on the king and queen, and placed in rooms
adjoining the royal bedrooms, called Garderobes. They
were somewhat of a square tent shape, and could easily
be put up or taken down.
Lit de Glace is a bed with a mirror placed in the
back. The mirror was afterwards framed in the ceiling
of the bed.
Lit a Imperiale had a sort of ogee canopy. This bed
seems to have been in fashion for a considerable period,
from the i6th to the end of the i8th centuries.
137
Louis XIV.
Lit de Parade was a bed placed
in tlie chief bedroom, and could
only have been used by royalty
or members of the highest
nobility — a state bed. I have given
an illustration of Louis XIV. 's
bedroom at Versailles on page 41.
It was his bedroom from the year
1701 until he died in it in 1715.
Here it was that the great
audiences were held, and here he
received the remonstrances of his
Parliament ; here also he dined
" au petit convert," virtuallv
privately, as distinguished from
when he dined "au grand con-
vert," when spectators were
freely admitted. And after his
death, on this bed his body lay
in state, when the people were
admitted to view his remains.
The origin of the custom of
showing the body of the king
or chief after his demise is lost
in obscurity, but no doubt in
barbarous times it was to satisfy
the people that their ruler was
no more. The illustration given
must not be taken as typical of a
Lit de Parade, as of course the
design varied with the time.
Further, the term is applied as
much to the balustrade in front
and the raised platform as to the
bed itself.
Lit en Tombeau was a bed
in common use during the 17th
century. It had a canopy carried
on four pillars. The two piUars
at the bottom of the bed were
shorter than those at the pillow-
end, consequently the canopy or
ceiling of the bed sloped towards
the foot. There were curtains
on both sides which could be
let down, thus enclosing the
whole of the bed. x-^n improve-
ment on this was the Lit en
double Tombeau, which had a
small dome over the centre of
the bed and four curtains, two
DANIEL MAROT
Second Half 17th Centur\
DANIEL MAROT
Second Half 17th Century.
XIV.
DANIEL MAROT.
Second Half 17th Century.
on each side, with a
fixed piece of material
from the canopy going
over the head and foot
of the bed.
Lit Toumant, see
No. 2, page 131. Read-
ers will remember that
the beds in the olden
time were enclosed with
curtains all round, but
other designs for beds
of a more open char-
acter were coming into
fashion ; for example,
Lit d'Ange, described
on page 135. In these
beds people found
themselves liable to be
caught unawares. This
is a French idea, but,
at the same time, it
must be remembered
the bedroom in those
days in France was not
strictly confined to
sleeping purposes, but
was used as a sitting ""
room as well. To get
over this difficulty, and yet show the beautiful design of the bedstead, the valances, the chantournes, etc., etc.,
an iron curtain rod round the top of the bedstead was adopted, along which it was possible to draw very light
silk curtains from each side, and yet in the day, when the bed, as it were, was " on show " the curtains could
be drawn back to the sides.
On page 132 is a design for a console table which was probably carved and gilt. The mirror above
it reminds one of its Italian origin. The lamp stands and the rest of the articles would be also carved and gilt.
.-Ml the articles illustrated on page 133 were also probably carved and gilt. On page 134 some candelabra are
shown, known as lustres by the French. They were made in wood, carved and gilt, in silver, silver gilt, or in
brass work richly chased. The designs for urns, which in those days were really large water jugs, were sometimes
of a most ornate character, some of them being in silver gilt, richly chased. During Louis XV.'s time some were
made of porcelain with bronze mounts, richly chased and gilt. On page 135 are shown vases or flower pots of
sufficient size to take small orange trees, etc. These were sometimes of silver and placed in the larger
apartments. Thus we read that there were some in silver, fashioned by the most skilful workmen, in the
famous glass gallery at Versailles, which vases Louis XIV., when pressed for money, ordered to be melted
down and made into coin. The taste for these vases, urns, etc., was brought about by the fashion set by
Louis XIV. and his court of having rare plants and flowers to decorate the interiors of their mansions and alsa
their gardens, the laying out of which at that time had developed into a line art. Some of these garden vases
in stone or marble are of the highest form of art. On page 136 are some designs for cornice mouldings, etc.
Readers will admit they are well designed, and we quickly recognise them as belonging to the reign of
Louis XIV. There are mouldings of this class to be seen on the woodwork in the State apartments of
w!^^^^
Design for Coach for William l\.
140
Louis XI\'.
ANDRE CHARLES BOULE. Second Half 17th Century.
Hampton Court Palace. Readers
will remember that Daniel Marot
was architect to William IIL,
who had these rooms built.
On page 137 are some designs
for ceilings. During the 17th
century the decoration of ceilings
was carried to a degree of extrava-
gance hitherto unknown, nearly
all the artists of note of that
period designing them. The cost
•of some of these designs must
iiave been fabulous. The subj ects
were in most cases based on the
Roman mythology. The ceilings
painted by Le Brun, assisted
by other artists, at Versailles,
are good examples of this
style of painting. I have illus-
trated a portion of one by Le
Brun, on page 44. Charles IL
and William IIL had some ceilings
painted in this style by Verrio
and Laquerre at Hampton Court
Palace, Windsor Castle, etc. The
stvle of these ceilings originated
in Italy, and the compo or
plaster work appertaining to them
was carried out by Italians who
worked at Versailles and at the
Louvre, etc., for a number of
years. In some of these designs
there is an optical delusion gained
by false shading, imitating reliefs.
The plaster work is set off with
an enormous amount of gilding,
and the subjects of the paintings,
etc., if not treating of Roman
or semi-Roman mythology, were
of a warlike semi-heroic character.
Such a one is to be seen in the
centre compartment of the Galerie
des Glaces at Versailles called
" Louis XIV. Governing by
Himself."
On page 138 will be found
designs for watch cases, etc.
These patterns are suitable for
enamelling or for niello work, a
kind of black enamel. They
could be simply engraved and
treated as watches are now in
141
Louis XI\'.
ANDRE CHARLES BOULE. Second Half 17th Century.
two or^'more shades of
gold or silver. The
three centre boxes are
what the French call
" Bonbonniere, "or sugar
plum boxes.
On page 139 is an
ihustration of a coach
designed for William
in. in 1698 by Daniel
^h\rot. The ground is
gold, the panels, etc.,
painted, the carved
ornaments gilt.
On page 140 some of Boule's cabinet work is illustrated. The first bracket
clock is in the Victoria and Albert .Museum, London. The second one, also
standing on a plinth, has the brass inlaid on black shell, enriched with numerous.
142 Louis XIV
ANDRE CHARLES BOULE. Second Half 17th Century.
Candelabra.
Louis XI\'
ANDRE CHARLES BOULE.
143
Second Half 17th Century.
bronzes, carved
and gilt. The
consoles and
festoons on
d(.)orposts are
in projection ;
the grotesqne
head is crown-
ed with roses,
vases with
flames issuing
forth are on the
•cornices, and
the fignre of
Fame is on the
top of dome.
The c e n t r e
m o n u m e n t a 1
clock is de-
corated with
marqueterie of
metal on
tortoiseshell. Tiie mounts and ornaments
are of gilt bronze cast and chased. The
main motive of the clock is " Love and
Time."
On page 141 is a boule cabinet with
shaped sides and marble top and \-ery fine
brass mounts ; the other is from the Louvre,
and has metal on tortoiseshell. The
barometer and thermometer has the boule
marqueterie of brass and metal on a ground
of red tortoiseshell with gilt bronzes. There
is a statuette of a child in the Chinese style
on top of the frame, and a grotesque head
blowing.
On page 142 are some designs of what
the French call Girandoles, which are
candle stands to hold several lights. Those
hanging from the ceiling are called Lustres.
There are also some called Bras Applique,
Bras de Cheminee — bras meaning an arm.
These were placed on the wall wherever
they were wanted.
A brass chandelier or lustre with branches
and nozzles for eight lights by Boule is
illustrated on this page. This lustre was
originally in " Le Chateau de Caderousse."
Candelabrum.
144
Louis XI\-
ANDRE CHARLES BOULE. Second Hal( 17th Century.
Another lustre or chandelier by Boule is ilhistrated on page 143.
This is in the Jones Collection. It is in chased ormohi, with
branches and nozzles for eight lights.
A Bras Applique in chased bronze and gilt is shown here. The
cabinet below is by Boule. The brass marqueterie is on black
tortoiseshell, of a very rich and varied design. Two grotesque
heads in brass, crowned with palms, decorate the sides, and
it will be noticed there are two locks to each door.
Andre Charles Boule was born in 1642. On page 87 will be
lound a description of boule work. It is made in various ways—
Boule Cabinet.
Candelabrum or Bras Applique.
tortoiseshell on brass or white or
vellow metal, and brass or metal on
tortoiseshell. Sometimes marqueterie
(wood) is added to the designs in
colours, also in ivory and copper. Of
course, in boule work, much depends
on the brass or gilt bronze mounts,
which were cast in the first case and
then chased. There are instances of
this class of metal inlay before the
time of Boule, but not the combination
of metal and tortoiseshell. Sometimes
silver mounts were used. This class
of work exerted an immense influence
hi Louis XIV. 's time— Boule being
Director of the Works at \'ersailles.
From a description of a fire which
occurred on his premises we get some
insight into the scale on which he
carried on his business, which must
have been very large, as he employed
joiners, cabinet-makers, carvers,
bronzers, chisellers, mounters, polish-
ers, marqueterie cutters, and a host
of others.
Boule also kept an immense stock
of finished and unfinished work, besides
the collection he had gathered together
as a connoisseur — drawings by Raphael,
models in wax, medals, prints, and
all sorts of works of art — which he and
(CoiihiiKL'd on page 15c.)-
145
Louis XIV.
GALERIE D'APOLLON (LOUVRE). Last Half 17th Century
146
Louis XIV.
ANDRE CHARLES BOULE. Second Half 17th Century.
Boule Writinej Tables.
Louis XIV.
147
ANDRE CHARLES BOULE. Second Half 17th Century.
Boule Writing Tables.
148
Louis XIV.
ANDRE CHARLES BOULE. Secon.l Half 17th Century.
Boule Comniodt
Boule Cabinet.
Boule Clock.
149
Louis XIV
ANDRE CHARLES BOULE.
Second Half 17th Century.
Boule Cabinet.
Boule Clock.
Boule Cabinet with Marqueterie Panels.
Boule Cabinet with Marble Top.
150
Louis XI\-
ANDRE CHARLES BOULE. Second Half 17th Centur
(iilt Console Table.
Boule Cabinet.
his assistants consulted in the v course of their
studies. He got into low water towards the end of
his life, and was engaged in numerous law suits.
There is no doubt that his work was of the highest
excellence. Both Berain and Marot designed orna-
ments for him, as already mentioned. On page 145
is a reproduction of the Galerie d'Apollon at the
Louvre, Paris. This salon, which is over 200 feet long,
was begun from the designs of Charles Le Brun, who,
however, left the decoration unfinished. I have shown
it here as the furniture, which is mostly boule, belongs
to the time of Louis XIV. The decoration of this
gallery was not completed until the years 1848-51.
Several of the paintings in the ceiling are by Le Brun
—Apollo (which represents the Sun), Morpheus or
Evening, Night or Diana and the Triumph of the Waters
(Neptune and Amphitrite). The other paintings in the
ceilings are comparatively modern. The panels of the
Boule Cabinet.
Louis XIV.
walls are adorned with
portraits of twenty-eight
French kings and artists in
modern Gobelins tapestry.
The surrounds of some of
the frame work, instead of
being in marble, as they
would have been in Louis
XIV. 's time, are merely
imitation, which seems rather
paltry, especially as this
gallery is described as one
of the finest in Europe.
On pages 146 and 147 are
three writing tables with the
designs of the marqueterie
after the style of Berain. Thej'
ANDRE CHARLES BOULE.
151
Second Half 17th Century.
Gilt Screen,
Boule Side Table.
152
Louis XIV.
ANDRE CHARLES BOULE. Second Half 17th Century.
f:
WdfiwiHlilULWIIHIIMIIIIMBiun— IMUjif ■— ^ , /ia,*^* ■yjS'Sr '-'•~— ^'■Mm I II T-~---"'TmirrniLii|j|ii4~i;mflnnr'm
Boule Cabinets.
^K-
Gilt Console Table.
Louis XIV.
ANDRE CHARLES BOULE.
155
Second Half 17th Century.
often had humorous subjects called "smgeries," composed of^'!
monkeys on swings, etc., which style was in vogue during
the earlier part of the i8th century. The decoration was
occasionally varied with ivory, mother of pearl, and other
coloured materials on the metal. The upright clocks are
in the usual style of this period, the clock being separate
and placed on a pedestal. On some of these cabinets are
designs of brass figures in relief. Hungerford Pollen
says anent this : — " Besides these plates of brass for mar-
quetry ornaments, Boule, who was a sculptor of no mean
pretensions, founded and chased up feet, edgings, bracket
supports, etc., to his work in relief, or in the round, also in
brass. The original use of these parts was to protect the
(Co>
Gilt Clock on Table
Gilt Metal Clock.
irnn
Boule Marriage Caskets.
154
Louis XIV
CARVINGS.
Last Half 17th Century.
Louis XIV. Carved Panel.
Boule Clock
Louis XIV. Carved Panel.
Louis XIV.
J. FRANCART. (?)
155
Last Half 17th Centurv.
J. FRANCART. (?)
Last Half 17th Century.
Louis XIV.
J. FRANCART. (?)
157
Last Half lyth Century.
158
Louis XIV.
J. FRANCART. (?)
Last IL'ilf 17th Century.
Louis XIV.
J. FRANCART. (?)
15»
Last Half 17th Century.
f^ff^^^^WMg^-tf^^f^Mt^f^t!^""
160
Louis XIV.
J. FRANCART. (?)
Last Half 17th Century.
Louis XIV.
WALLACE COLLECTION, ETC.
161
Late 17th Century.
edges and angles, and bind the thin inlaid work
together where it was interrupted by angles in the
structure. Afterwards brass mounts, more or less
relieved, were added to enrich the flat designs of the
surfaces. Classical altars, engraved or chased as mere
surface decoration, would receive the addition of claw
feet actually relieved. Figures standing on such
altars, pedestals, etc., were made in relief more or less
bold. In this way Boule's later work is not only a
brilliant and rich piece of surface decoration, but its
metallic parts are repousse or embossed with thick-
nesses of metal ornament. In boule work all parts ol
the marquetry are held down by glue to the bed, usually
of oak. The metal is occasionally fastened; down by
small brass pins or nails, which are hammered flat and
chased over so as to be imperceptible."
%
m
I
Louis XIV. Cabinet.
Louis XI\^ Chair.
162
Louis XIV
GUERIDONS AND ORNAMENT. Late ijih Century.
/7i
Carved and Gilt Gueridons.
Louis XI\". Frieze.
Luuis XIV.
TABLES AND ORNAMENT
163
Late 17th Century.
Carved and (jilt Table:-
Luuis XIV. F
Loins XIV. Ornament.
164
Louis XI\'.
WALLACE COLLECTION. Last Half 17th Century
Group at the Wallace Collection.
On page 161 is a monumental clock and pedestal of ebony, with a decoration in marqueterie of metal on
tortoiseshell, the framework, reliefs, and ornaments being of gilt bronze, cast and chased. ; The clock is by
Mynuel, and came from the atelier of Boule. Its supports are terminal figures of fantastically-costumed
warriors with their accoutrements. On the summit is a statuette of Cupid shooting. The circular bas-relief
on the pedestal shows Hercules relieving Atlas of the burden of the globe. On the same page to the right is-
a cabinet with two doors in marqueterie of rosewood and satinwood. the doors formed of two remarkable
lacquer panels in relief — Chinese figures, men on horseback and on foot hunting, engraved and tinted ; also'
having some parts of mother-of-pearl.
Above is shown a table of ebony and gilt metal, covered with marqueterie in tortoiseshell, copper, and
white metal on yellow metal. This table is also by Boule, of late style and period of Louis Ouatorze. The
fanciful design, including many grotesque figures akin to those of Italian comedy, recalls that which
originated with Berain, but is not of such quality as to be attributable to him. On the above table is a
mirror in marqueterie of metal on tortoiseshell, with mounts of gilt bronze, cast and chased. The style
shown in the fanciful grotesques and arabesques with which the framework and back of the mirror are
165
Louis XIV.
WALLACE COLLECTION, ETC. Last Half 17th Century.
Car\ed and Gilt Pedestal.
Group at the Wallace Collection.
covered is that of Berain. At the back to the right in this group
is a buffet shaped as a large commode in mahogany, with mounts
and ornaments of gilt bronze, cast and chased. This buffet is
signed J. F. Leleu, and is of the style and period of Louis Seize.
The fleur-de-lys alternating in the delicately wrought frieze with foliage of classic type would appear to
indicate that this piece was made for a Prince of the Royal House of France. At the back in the centre of
this group is a cabinet of ebony with marqueterie of metal on tortoiseshell of the same style and period.
The decorative plaques of gilt bronze, cast and chased, are from the design of Clodion. In the centre of the
frieze are set reliefs in pictra dura of Florentine manufacture. To the left in this group is a square
■commode of walnut wood, with mounts and ornaments of gilt bronze, cast and chased, a'so of tl;e same
style and period. Andre Charles Poule died in 1732.
t<- i-th Ontiirv,
Louis XIV.
D. MAROT (INTERIOR).
167
Late 17th Century.
Interior of Library.
A great feature of French furniture are the lacquer panels, beautifully mounted with ormolu richly chased.
These lacquer panels came from Japan and China, the former being the most highly esteemed both on account of
their delicacy and finish and their durability. They will stand a high temperature, a very great consideration
when one remembers how susceptible lacquers are to a change of climate, as many Americans have found who
liave imported them mto the United States. There are several kinds of lacquers, for example : — Silver lacquer,
the lac being mixed with silver leaf rendered liquid by means of camphor; lacquer on gold ground, the oldest
and most highly esteemed ; avanturine lacquer work, occasionally seen on large cabinets having bright
particles all over it which seem to recede ; red lacquer, which comes from Japan ; black lacquer, often stippled
over with gold spots. When the black lacquer is plain it is called " mirror lacquer." The process of lacquering
is explained in one of the Art Handbooks of the Victoria and Albert Museum, and is usually as follows : — The
wood, when smoothly planed, is covered with a sheet of thin paper or silk gauze, over which is spread a
thick coating made of powdered red sandstone and buffalo's gall. This is allowed to dry, after which it is
sometimes polished and rubbed with wax, sometimes covered again with a wash of gum-water holding chalk in
solution. The varnish is laid on with a flat brush, and the wood is then put in a room to be very slowly dried.
From thence it passes into the hands of a workman who moistens and again polishes it, generally with a
piece of extremely fine-grained soft clay slate. It then receives a second coat of lacquer, and when dry is once
more polished. These operations are repeated until the surface becomes perfectly smooth and lustrous. There
are never less than three coatings, and seldom more than sixteen ; although it is said that some old Chinese
and Japan pieces have received upwards of twenty. The piece has then to be painted. The sketch is drawn
with a brush dipped in white lead, and then with a graver, after which the design is finally traced with a
pigment, diluted in a solution of prepared glue. The lines are done over with lac made liquid by camphor,
and are then gilded. The reliefs are obtained with a thicker mixture of gum lac, and a peculiar kind, called
Fo-Kien"s, is used for the final touches.
108
Louis XIV.
DANIEL
MAROT.
Late 17th or Early iSth Century.
TV^^Z
■> 'W
?5^
^ x// { ^^ J-'" //
KM OU Lfs si,I(,M:,l Rs I l\\
s si,I(,M:,l RS h 1 \l^ ; JJ» iwlj
ET lILNNtM J^f^S
fi^ '
rLW" < t\HiAU\ Jits IKOMMts IMFS RfCO
1\EM Lts \.M«\SsADrLRi
iLtLR^ ASbtMBLLEs
Late 17th Century.
Doorways at the (irand TriaiK
Louis XIV
MANSART.
171
Late 17th Century.
Doorways, etc., at Versailles.
172
Louis XIV.
CHIMNEYPIECES, ETC.
Late 17th Century
On page 165 is shown a monumental clock, decorated with
marqueterie of metal on tortoiseshell, the moimts and ornaments
of gilt bronze, cast and chased. The main motive of the clock
is Love and Time. The manner is that of the Boule atelier, it is
signed Thuret, and is of the style and period of Louis Quatorze.
Here also may be seen a monumental pedestal of ebony, with marqueterie of metal on tortoiseshell and momits
of gilt bronze, cast and chased. The chief motives of the marqueterie are, in front, water-serpents intertwined
with reeds, and, at the sides, lyres grouped with other musical instruments. It is of the same style and period.
On one side is a gueridon of ebony, with marqueterie of tortoiseshell on white metal and yellow metal, and
mounts of gilt bronze, also of the same style and period. There is a companion gueridon on the other side. On
these g-ueridons are placed two candlesticks (flambeaux) of gilt bronze, the stems formed by decorative figures, in
tlie on- case of a w oman and boy, in the other of a man and boy. These are late Louis Quatorze style and period.
Louis XIV.
CHIMNEYPIECES, ETC.
17a
Late 17th Century.
Many of the illustrations in this book ha\-e been copied by permission of the Trustees from the Wallace
Collection, which is peculiarly rich in examples of the style of the Louis XIV. period among others. I have
ventured to copy some parts of the " Introduction " to the Catalogue of the Wallace Collection.
This glorious collection was brought together in the main by Francis Charles, third Marquess, and
Richard, fourth Marquess of Hertford. It was, howe\-er, largely added to and in many essential respects
reorganised by the late Sir Richard Wallace, to whom it had passed by bequest. The European armoury,
unique of its kind in England, is entirely his creation The Masters of the French School of Painting of the
i8th century, especially Watteau, Lancret, Pater, Le Moine, Oudry, Nattier, Boucher, Fragonard, and Greuze,
are represented as they are in no public or private gallery in Europe, except that of the Louvre, and even the
latter in this respect is surpassed in several important particulars by the Wallace Collection. The collection
of Sevres porcelain is amongst the tinest in the world, only paralleled by the collections at Windsor Castle and
(Continued on page 176.)
]7J
Louis XIV.
CHAIR AND ORNAMENT.
Late 17th Centur) ,
Louis XIV. Chair, Carved and Gilt, covered in
Ruby-coloured Velvet with Broad Gilt Braid,
and with Gold Fringe, features peculiar to the
Louis XIV. Style.
Ornament in Black Enamel by
Gilles L'Egare (about 1660).
■^m^.^imim<.m
-^^^^^m^^^^^
Useful Pieces of Louis XIV. Carved Ornament.
17f
Louis XIV.
SEBASTIAN LE CLERC.
Late 17th Century.
1
^^^^^^^^^^^M,
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CARVED PANEL
I ist Hilf 17th (.( ntur).
Buckingham Palace. The collection
of French snuff-boxes of the i8th
century is also exceptional. The minia-
tures comprise some examples by the
most renowned artists of the English
and foreign schools. The sculpture in-
cludes, besides bronzes of the i6th and
17th centuries, works of the 17th and
iSth centuries by Warin, Coysevox,
^P; Girardon, Bouchardon, Falconet,
f^. Houdon, and others. The examples
of French furniture of all kinds, of
clocks, garnitures, candelabra, candle-
sticks, bronzes, and ornamental objects
of the 17th and i8th centuries stand
alone. No single collection in France
or England, whether public or private,
affords such opportunity for the study
of this branch of decorative art.
Louis XIV.
ENAMELLING.
177
Last Half 17th Century.
Augustine
Charles D'Avilier.
architect, was
born in Paris in
the year 1653 and
died in 1700. He
early manifested
the bent of his
genius. He started
for Rome at the
king's expense,
but on his voyage
there he was cap-
t u r e d b y t h e
Algerian corsairs,
and they put to
the sword all the
crew. D'Avilier
was not liberated
imtil about sixteen
months a f t e r.
Meanwhile he
worked during his
captivity. Among
other very grand
works, he designed
a beautiful mosque,
which was one of
the principal build-
ings in Tunis.
Arriving at Rome,
after his liberation,
he applied himself
to measuring the
ancient and
modern buildings of
that city. The
knowledge which he
thus acquired en-
abled him to produce a " Cours d' Architecture," a complete work, and one that was highly esteemed. He
enjoyed a great reputation, and was awarded a pension. Some designs for Balconies, Pavements, &c.,
from his pencil will be found on pages 47 and 48.
Black enarn,el was used in goldsmiths' work as a decoration to show off the precious metals, and is a kind
of damascene work of an extremely delicate and beautiful character much in vogue at this period. The
goldsmiths first had the face of the precious metal deeply cut on lines on which they had previously traced the
design. The enamel was composed of a mixture of sulphur, copper, lead, borax, and silver, and this
composition was poured into the incisions made in the metal. Any projection of the enamel was filed down
to the level of the metal. This art is very ancient, and was well-known and practised by the Romans_
Some specimen designs are given above.
L
178
Louis XIV
LEGS OF CONSOLE TABLES. Last Half 17th Century.
c c 5 3
tuO CD C tuO _r.
i C ^ O ii
• ■^ .s -^
i-T Id ^ ^ 'o
H nj ac o "^
■c "B ^ !^ o
cti c c S S
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a, c
a R
tn OJ C OJ
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Xi a.
bC
G -I fi. ^ X
s 8 § o
a,
- ■? i I
ffi fe.
79
Louis XIV.
LEGS OF CONSOLE TABLES, ETC. Last Half i;th Century.
180
Louis XIV.
ARMCHAIR AND CARVINGS.
Last Half 17th Century.
Gilt Armchair in Velvet with Gold Braiding.
warehouse in lianks ;
the second in a retail
shop where they are
stretched on pegs
h e 1 o n g i n g to the
employees. Moreover,
to each loom is attached
a particular cupboard
wherein are placed the
wools assorted by the
artist for his work and
other odd pieces that
might stiU be useful
in the tapestry on the
loom. The workmen,
independently of the
weaving of the tapes-
tries, execute for
themselves all that ap-
pertains to the fabrica-
tion. They plan the
warp and put it on
the loom, they trace
the outline and transfer
their design, assorting
the coloured woois
which they will want.
The looms, called the
" high-warp," employed
in the manufacture of
tapestries and carpets
differ very little in
their sizes or details.
The most important are
those on which carpets
are manufactured, the
dimensions being regu-
lated by the size of the
carpet to be manufac-
tured, sometimes 30
feet long or more.
Louis XIV.
ARMCHAIR AND CARVINGS.
181
Last Half 17th Century.
Those to take tapestries are
from 12 feet to 21 feet or
more in length (see No. i,page
189). They are composed of
a pair of strong cylinders
of oak or deal, called lisses,
placed horizontally in the
same vertical plane, and
at some distance from one
another (from 7 feet to about
8 feet apart), supported by
double uprights in oak, and
established in such a manner
as to allow them to divert
more or less, and so stretch
the threads of the warp. The
latter are rolled and fixed
on the rollers by a curtain
rod placed in a longitudinal
groove cut out in the length
of the roller. It takes great
knowledge how to fix the
warps, and it is of much
too technical a nature to
be explained here. The
warp is sometimes vertical
and sometimes horizontal. It
is wound round the top
cylinder of the loom, the
web as it is finished being
wound round the lower one.
It is impossible in a
work like this to give any-
thing like a detailed descrip-
tion of the manufacture of
tapestry, which must be
sought in works devoted to
tliat purpose, such as the two
books already mentioned,
Lacordaire's being especially
complete as far as relates
Gilt Armchair in Damask.
1.S2 Louis XIV.
CHAIRS.
Last Half 17th Century.
183
Louis XIV.
PRIEU DIEU AND CARVING. Last Half 17th Century.
to the Gobelins, of whicli lie
was the director from 1850
to 1S60. I will, however,
mention some of the chief
points.
Tapestry, like all wo\-en
fabrics, is composed of a
warp and a woof, but the
woof alone appears on both
the wrong and the right
side, because it must entirely
•co\'er the warp. In the
high-warp looms the warp
is composed of worsted,
■cotton, or silk threads, of
four or five yarns twisted
together, and it must be
perfectl}' smooth. When
stretched upon the rollers
the workman di\'ides it into
leaves, which are kept apart
by a thread passed altern-
ately between the threads
■of the warp (see a. No. 2,
page 189) and by a glass
tube, two or two and a half
■centimetres in diameter,
called the baton de croisure
{see b, No. 2). In conse-
quence of this separation
half the threads of the warp
are brought in front, while
the other half fall behind.
To each thread of the leaf, at the height of the workman's
liand, is attached a bit of fine cord in the shape of a ring, called a
coat (see d, No. 2), and these coats are fastened to a strong pole-
called the coat stave (see c, No. 2). It is by drawing these coats
forward that the workman, who is seated between the warp and
the picture which he is copying, can bring the back threads
forward, so as to enable him to cross the warp and the woof.
The material for the woof is wound on a wooden shuttle,
called a broach or flute (see /, No. 2). To form the web, the
workman takes a shuttle mounted with wool or silk, the e
of which he fastens to the warp to the left of the space to be
covered by the colour in his shuttle; then passing his left liand
between the two leaves separated by the baton de croisure, he
draws towards him the threads which this shade is to cover. His
Gilt Prieu Dieu Chai
\^elvet with Gold Braidinf
184
Louis XIV.
SETTEE AND ARMCHAIR.
Last Half 17th Century.
Gilt Settee at Fontainebleau.
185
Louis XIV.
DETAILS OF SETTEE AND CHAIR. Last Half 17th Century.
Details of the Settee and Chair illustrated on opposite pac
186
Louis XIV.
CARVINGS.
Last Half 17th Century,
^ ^r
%.'^
'<i%;rp
Louis XIV
CARVINGS.
187
Last Half 17th Century.
mUm
""a-'sr^-fCtiitiirEr;
^r'.^.
f^^
/^'»-;%s-^.;
right hand passing between tlic threads, hiys hold of the ^hutlle.
which he brings to the right, and his left hand taking hold of the
coats brings forward the back threads of the warp, while the right
liand returns the shuttle to the place from which it was first moved.
This passing and returning of the shuttle forms what is called two
•shoots or a course.
A fresh shuttle is used for eacii different shade. After each course
he closes with the sharpened end of his shuttle the threads of that part
of the web already completed, and finally strikes the woof with a comb
of i\-ory with sufficient force to penetrate between each thread of the
warp, and by this means causes the warp to be concealed by the woof.
The workman tries to get the effect of hatching by passing from one
colour to another by shades that partake of both ; otherwise the result
would be too staring and crude. This is one"of the great difficulties
of tapestry weaving. It is said that it takes about fifteen years to
train a workman in the Gobelins manufactory, and that some families
ha\-e been employed for generations. This is why such high perfection
has been attained in the manufacture of storied tapestries. The
process is so difficult that it sometimes takes a highly skilled
workman a year to produce three or four yards, and the average
annual task is one and a half yards. A large design therefore takes
years to complete ; and when we consider the workman has to choose
from about 14.000 shades this is not surprising.
188
Louis XIV.
CARVING AND FIREDOG. Last Half 17th Century.
gl ,^ ^ , r-^
Louis XIV.
TAPESTRY WEAVING.
189
Last Half 17th Century.
Francis L is credited with introducing tapestry
weaving into France, and he it was who established a
factory at Fontainebleau, with Flemish workmen.
After his death, Henry IV. continued to give it his
countenance, and about the year 1601 he encouraged a
number of Italian and Flemish workmen to settle in
Paris. It was not until about the year 1630 that the
Gobelins was established, and .ihcmt tlic same year a
carpet manufactory was also started at ("haillot, called
the Savonnerie, from the premises being originally a
soap factory. As regards the carpets made at the
Savonnerie, they differ entirely from the tapestries of
the Gobelins in that tapestries are placed on walls, and
being seen as a whole more easily than carpets they
naturally take after a picture. It is held as a reproach
to the Gobelins tapestry of the middle or latter halt
of the i8th century, that it was entirely out of
harmony with the true character of tapestry weaving.
The workmen tried to imitate all the evanescent tones
of a picture aftei
Boucher, with the result
that these delicate
shades have quite faded
or disappeared. It was
their mastery of tech-
nique which encouraged
tliis evil practice.
Hi
-warp Loom for the manufacture
Gobelins Tapestry.
The same evil prac-
tice obtained at the
Savonnerie. The car-
pets made there are
claimed to be velvets. The workman sees the right side of the carpet, not
the wrong, as in the wc^aving of tapestry, where the outline of the design is
traced in black crayon on the stretched threads, and which is done a small
portion at a time.
High-warp looms are employed, and the warp of the carpet is wound
vertically on two cylinders, and arranged as in the looms for tapestry, but the
worsted threads composing the woof, which are to form the surface of the
carpet, are fastened by a double knot on two threads of the warp. The latter
is of wool and double, and it combines itself both with a warp and a weft,
no part of which appears on the outside. To make the stitch the workman
takes a shuttle, and separates with his left hand the thread of the warp on
which he is to begin, and draws it towards him ; he then passes the shuttle
and the worsted thread which he holds with his right hand behind ; this done,
he advances by means of the coat the next thread of the warp, round which
he makes a running knot, which he tightens.
Louis XIV
TAPESTRY WEAVING.
Last 1 lalf 17th Century.
IfiHMMHM^^
Fl
O ©
B
;®;7®
Xc
Between these two slioots tlie wool forms on the front of the
warp a ring, tlie diameter of which is according to the lieight of
tlie pile. A round wire, sliarp at one end, is then passed through
this ring or loop, and a row of rings is then formed on it by the
repetition of the stitch. By drawing the wire from left to right all
these loops are cut and the pile is formed. When a row of stitches
is thus completed, the workman binds them by means of a strong
hempen thread thrown between the two leaves of the warp and
placed above the stitches. He then intersects the thread of the
warp by another hempen thread, forming the weft ; and to do-
that he adviHices, by means of the coats, the threads that
are behind. He passes the woof between the two rows of
threads, and allows the hmder ones to resume their former
place. In this manner each of the stitches is, as it were,
linked together. This being done, he strikes the stitches
and hempen threads with a comb, and these latter are thus-
forced inside the fabric so as to be invisible. Then the
clipping or shaving of the carpet takes place, which is-
necessary from the unequal length of the ends of wool left
in cutting the loops of the pile. This operation requires-
mnch precision on the part of the workman, and has an
important bearing on the beauty of the carpet. The-
productions of the Sa\-onnerie being generally larger than
the other pieces of ("robelins tapestry, the looms in which
they are made are also larger, and allow of several
workmen being engaged at the same time, thereby
accelerating the progress of the work.
As regards the low-warp loom, which is used by
weavers who produce their work on a commercial basis,.
I must refer the reader to a work treating on tapestry
generally. The high-warp was only made at the Gobelins,,
and it is more suitable for the carrying out of imposing
schemes like the pictures of great painters — Le Brun, for
instance, who designed on a very ambitious scale. Low-warp tapestry is done much more quickly than
high-warp, and is made in smaller pieces and joined together. It is curious that the best wools come
from Kent, and these were used in the fmest productions, especially at the Gobelins, and they are so'
used at the present time. At Beauvais, Aubusson, and Felletin, tapestry makmg was done on a more
commercial basis than that at the Gobelins.
Tapestry weaving had early developed among the Flemish, one of the reasons being that they received sucli
excellent wool from England. It was the Flemish that started the art of storied tapestry, takmg their
Side from which the
works
apestry artist
Louis XIV.
No. 5.
Tools employed in the
manufacture of Carpets.
TAPESTRY WEAVING.
191;
Last Half 17th Century.
subjects from llie ancient fables, the tales of chivalry, &c. Their most
noted place for the manufacture was Arras. Further particulars are given
on page 202.
No. 3 on page 190 represents in plan and elevation the tissue of the-
tapestry. In F i, which represents a section of the tissue, the warp is.
mdicated by the letters B B, and by a series of small circles, the woof by
the cord which envelops these circles. The illustration above shows the
woof in perspective. No. 4 shows the side on which the workman is-
placed, always on the wrong side of the material. In No. 5 on this page,
B is the shuttle and C the heavy comb of ivory, the use of which has
already been explained No. 6 and No. 7 show the system of hatchings
which is done, as already explained, to prevent the appearance of mosaic,
which would result from placing the colours close together. No. 8 is a
higli-warp loom for carpets. No. 9 on the next page shows the mode of
Showing the way the Hatching is done.
No. 7.
Showing the effect of the Hatching
High-warp Loom for the manufacture of
Gobelins Carpets.
192
Louis XIV,
TAPESTRY WEAVING.
Last Half 17th Century.
Mode of manufacturing the Carpets of
the Savonnerie aux Gobelins.
Tools employed in the manufacture of
Carpets.
No. II.
Showing the way the Pile is made.
manufacturing carpets at the Savonnerie aux GobeUns.
As already mentioned, the workman operates from the
right side of the material, and not as in the case of weaving
tapestry. No. 11 shows how the loops are cut to form the
pile of the carpet.
No. 10 shows the instruments used in tapestry wea\-ing.
G is the knitting needle un which is wound the
coloured wools.
The tranche-fil (D) is made of a blade of iron rounded
and armed at one of its extremities with a cutting blade.
The comb (E) is in iron and serves to compress the tissue.
The scissors (L) are for shaving and cutting the velvet.
The pressing needle is at F.
The needle (H) serves to repair those isolated parts
which for any reason may have to be recommenced in a
part of the finished tapestry.
Regency.
WATTEAU. First Quarter iSth Century. 103
The characteristic feature of French
Art during the first part of the i8th cen-
tury was its genre painting, which for the
most part took the form of fetes cham-
petres, and the most eloquent exponent of
this captivating branch of art was Antoine
Watteau. He became the dehneator of
the courtly manners and amusements of
his day, as represented by the masquerades
and Arcadian affectations which were at
that period so much the rage.
Antoine Watteau, the son of a tiler,
was born at Valenciennes on the loth of
October, 1684. His father having sent
him adrift, he made his way to Paris. He
appears there to have turned out drawings
at so much a dozen, but was nevertheless
a great student, and it was at this time that
he laid the foundation of that facihty
which was afterwards one of his marked
characteristics. In the first years of the
early i8th century he found his way into
the studio of Claude Gillot. He became a
member of the French Academy in 1714.
He paid a visit to England in 1719. He
died at Nogent, near Paris, i8th July,
1 72 1. I have copied the criticisms of
Horace Walpole on Watteau, as I think
his remarks are very slirewd and to the
point : —
" England has very slender pretensions
to this original and engaging painter, he
having come hither only to consult Dr.
Meade, for whom he painted two pictures
that were sold in the doctor's collection.
The genius of Watteau resembled that of
his countryman D'Urfe. The one drew
and the other wrote of imaginary nymphs
and swains, and described a kind of
impossible pastoral, a rural life led by
those opposites of rural simplicity, people
of fashion and rank. Watteau's shepherd-
esses, nay, his very sheep, are coquet ; yet
he avoided the glare and clinquant of his
countrymen ; and though he fell short of
the dignified grace of the Italians, there
is an easy air in his figures, and that more
familiar species of the graceful which we
call genteel. His nymphs are as much
Design for Decorative Panel. m
1!)4 Reoenc}-.
WATTEAU.
First Quarter iSth Century.
below the forbid-
ding majesty of god-
desses, as they are
above the hoyden
awkwardness of
country girls. In
his halts and
marches of armies,
the careless slouch
of his soldiers still
retains the air of a
nation that aspires
to be agreeable as
well as victorious.
" But there is one
fault of Watteau,
for which, till lately,
I could never ac-
count. His trees
appear as unnatural
to our eyes, as his
figures must do to
a real peasant who
had never stirred
beyond his village .
In my late journeys
to Paris, the cause
of this grievous
absurdity was ap-
parent to me, though
nothing can excuse
it. Watteau's trees
are copied from
those of the Tuil-
eries and villas near
Paris ; a strange
scene to study na-
ture in ! There I
saw the originals
of those tufts of
plumes and fans,
and trimmed - up
groves, that nod to
one another like
the scenes of an
opera. Fantastic
people ! who range
and fashion their
trees, and teach
them to hold up
for Decorative Panel.
Regency.
WATTEAU.
195
First Quarter i8th Century.
Desiens for Decorative Panels.
their heads, as a dancing master would, if he expected Orpheus should return to play a minuet to
them."
Claude Gillot was born at Langres in 1673, and he was for some time master to Antoine Watteau. He
received him into his house, taught him all he knew, and by and by the scholar surpassed the master. Gillot
was a scholar of J. B. Corneille. He chiefly excelled as a designer and etcher of satyrs, fauns, and grotesques.
His engravings are executed in a bold, free style. He engraved the plates for the " Fables " of La
Mothe-Hendaro. His engravings amount to a considerable number. He died in Paris in 1722.
196
Regency.
WATTEAU.
First Quarter i8th Century.
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197
Regency.
WATTEAU.
First Quarter iSth Century.
h.. x^ "^r '^' .-2
m
.t^
Desiens for Decorative Panels.
First Quarter i8th Century.
Desiens for Decorative Panels.
Regency.
WATTEAU.
199
First Quarter i8th Century.
' '^■*'^4^*'i
^^^'
Designs for Decorative Panels.
200
Regency.
WATTEAU.
*--^^'
''k}''j
First Quarter i8th Century.
Reeenc-\
WATTEAU.
201
First Quarter i8th Century.
GILLOT.
First Quarter iSth Century.
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Regency.
GILLOT.
203
First Quarter i8th Century.
Flemish master
wea\-ers and began
the manufacture of
tapestry. Colbert
styled the factory
" i\I anuf a c t u r e
royale des meubles
de la Couronne,"
and as the title
indicates, it was not
conducted solely for
the production of
tapestry. In fact
the superintendent
was invited to
employ the best
painters, tapestry
makers, gold and
s i 1 \' e r smiths,
founders, engrav-
ers, lapidaries,
cabinet-makers in
ebony and other
woods, dyers, and
the best workmen
of all arts and
trades. So that
Colbert's idea was
to manufacture not
only the best kinds
of tapestries, but
also all kinds of
the best furniture
— both carved and
inlaid with mar-
que terie ; the most
superb bronzes and
all sorts of gold
and silver smiths"
work of the very
highest quality .
We find in the
tapestry made at
the Gobelins, repre-
senting " The visit
of Louis XIV. to
the Gobelin s,"
Desion for Decorative Panel.
GILLOT.
First Quarter i8th Century.
groups' f of these
nrtistsT offering' to
thc~ Kingrrcabinets,
tables,'- magnificent
vases, rich mosaics,
and those incom-
parable tapestries
which during two
centuries were to
cover the factory
with an imperish-
able glory. Col-
bert appointed
Charles Le Brun
the director of this
model manufac-
tory. He was a
painter of the
greatest talent, and
most of his heroic
compositions were
there produced in
gorgeous tapestry.
As long as Colbert
lived the manufac-
tory' was in all its
glory. The furni-
tiu'e produced was
of a prodigious
richness, the silver
work of a magnifi-
lence without pre-
<-edent. It is to
this time that we
owe the series of
tapestries known all
the world over as
" L'Histoire du
Roi," " Les Resi-
dences Royales,"
" Les Saisons,"
" Les Elements,"
" L ' H i s t o i r e
d" Alex andre,"
"L'Histoire du
Constantin," etc. —
reckoned still among
Desion tor Decorative Panel.
Regency.
GILLOT.
205
First Quarter iSth Century.
the series the most mag-
nificent and the most
perfect known. But
in 1683, Colbert, imbued
with disgust and suspici-
ous of his master, was
filled with chagrin, es-
pecially when Lou vols,
who wanted his place,
took advantage of his
privilege of constantly
seeing the King to per-
suade the latter to let
him succeed Colbert.
After this all was
changed. The new
superintendent was a
man of little taste and
of no artistic education,
and these two defects
were sufficient to hasten
the decline of the
royal manufactory.
Louvois not only detes-
ted Colbert, but carried
his hatred to his works
and to his assistants. He
was unable to forget
the pains that Colbert
had taken to raise Le
Brun and to develop
the grand and prolific
establishment which he
directed. In 1685, while
the finances were still
prosperous, he had sup-
pressed the wiring of
gold and silver in the
tapestries, which until
then had been enriched
with the preciousmetals.
In 1686, by his
direct order, he abruptly-
stopped a piece called
" L'Histoire du Roi,"
for which Le Brun had
himself madethe designs.
Desion for Decorative Panel.
GILLOT.
First OuHi-tt-r i8th Century.
He hoped by this
action to have
forced Le Brun to
resign. Still, when
he liad, in order
to maintain his
waning influence,
launched liis mas-
ter into those
interminable wars
and commenced
the ruin of France,
he did not hesitate
to sign, in 1689,
the order which
sent all those mar-
vellous pieces of
goldsmiths' work,
which had taken
fifteen years' labour
to do in the Gobe-
lins workshops,
to be coined into
money. In the same
year Le Brun died,
and Mignai'd was
appointed director
of the Gobelins.
Mignard's adminis-
tration was less
productive than Le
B run's. He was
sixty-eight years
old when he was
called to take
on his weak
shoulders this
heavy charge.
He had not the
activity nor the
style of genius
which suited such
an enterprise. Fur-
ther, the money
indispensable to the
pioper conducting
of so great an under-
Desion for Decorative Panel.
207
Regency-
taking was wanting.
Therefore, it is not as-
tonishing that under
the superintendence of
Louvois and of that of
Villacerf, his successor,
and under the direction
of Mignard and of his
substitute, the GobeUns
were passing through a
great crisis. This crisis
lasted a long time, and it
was these troubles con-
tinually cropping up
from time to time that
brought about the ruin
and disappearance of
the celebrated establish-
ment. The personnel was
partly licentiate. Many
of these emerited arti-
sans passed over to the
foreigner ; others were
engaged in the King's
army. At one period,
when the precious
metals were found to be
very scarce, the gold-
smiths were the first to
find themselves with-
out work. The cabinet-
makers, the painters,
the carvers had to seek
outside the establish-
ment for the employ-
ment of their talent.
So that, with the excep-
tion of the tapestry
rooms, where work was
continued, from this
period the grand crea-
tion of Colbert had
nearly ceased to exist.
The times, moreover, of
these grand works,
which called for the
co-operation of all the
GILLOT.
First Ouarter i8th Century.
_-J3^
k^
-?-^-.- .i:^^
amim
Desion for Decorative Panel.
208
Regency,
GILLOT.
First Quarter i8th Century.
most brilliant and
noble in industry
and art, were past.
By the death
of Louis XIV., the
finery of the
coquet was sub-
stituted for wor-
ship of the great
in style. Instead
of furniture of
silver and of silver
gilt, furniture of
Japan ware became
the fashion. Le
Sieur Dagly , who im-
ported into France
the secret of how
to make it, was
lodged at the
manufactory in
1713, and his pro-
duction, which took
the name of Vernis
de Gobelins, re-
mained a secret for
a long time. Among
the tapestries car-
ried out under
Mignard were " La
Galerie de Saint
Cloud," which were
designed by him
for the grand
gallery of that
chateau ; and the
'■Tenturedeslndes,"
which are number-
ed among the most
beautiful series
carried out at this
period by the
Gobelins. Mignard
died in 1695, and
at the same time
the prestige at-
tached to the
Gobelins and Beauvais.
JEAN-BAPTISTE OUDRY.
209
[8th Century.
name of this master
vanished. When Mansart
and Robert de Cotte suc-
ceeded Villacerf and
Mignard, the staff was dis-
persed, the manufactory dis.
organised, the workshops
empty and deserted. They
appear to have done very
httle, but continued to pro-
duce the " Tenture des
Indes " and the " Mois
grotesques d'Audran." Later
Louis XIV. appointed liim.
self as director, witli the
Dulce d'Antin under his
orders.
.—Different Animals before tlie
La Fontaine.
D'Antin, aided in this
new task by Jules Robert
de Cotte, upheld the fame
of the Gobelins until 1736.
Under his influence they
took lip again and com-
pleted the admirable sets of
'' L'Histoire du Roi" and the
famous "Tenture des Indes,"'
and thej^ executed the two
sets of " L'Ancien et du
Nouveau Testament." The
success given to the pro-
duction of the Gobelins by
the Due d'Antin was con-
tinued under his successor,
the Comptroller General
Orry. It was at this time
that "L'Histoire d'Esther"
was produced, which had
a very great success, and
also the famous set of
"Don Ouichotte," designed
by Coypel. The cartoons for
these are still at Compiegne. The entire set extended from twenty-one to twenty-eight pieces, and had so
great a success with the public that it permanently occupied the looms from 1739 until about 1830. The
repetitions were varied by change of colour in the ground, and also by the design of fresh borders, these
borders being a great feature in every design from the Gobelins. Under Orry old models were renewed.
. — The Ra\en and the F'
untry Rat.
210
Gobelins and Beauvais.
JEAN-BAPTISTE OUDRY.
;8th Century.
The eight subjects of " Les
Nouvelles Indes " were then
begun by Francois Desportes.
'' Les Fragments de I'Opera,"
bv Covpel, were next put in
hand. Examples of the
above, together with another
set that were made at this
time, can be seen at Windsor,
the second set being De
Troy's " Story of Jason and
Medea." About this time
arose the desire to produce
" pictures " by which the
workmen of the Gobelins
were led astray from the
true art of tapestry. Oudry
was asked to superintend the
execution of his paintings in
tapestry at the Gobelins, and
he is credited with hastening
the rapid progress in this
wrong direction. A royal
" Chasse " was designed by
him which was reproduced
at the Gobelins, and included
a portrait of the king and
of all the nobles who accom-
panied him.
About this time (1734)
Oudry was appointed one of
the superintendents of the
Beauvais tapestry factory,
which had also been estab-
lished by Colbert. Among
the designs by Oudr}^ were
' Les Amusements Cham-
petres," " Les Comediens de
Moliere," " Les Metamor-
phoses," and " Les Fables de
La Fontaine." Some of the
last, in Beauvais tapestry, can be seen on some of the chairs in the Wallace Collection at Hertford House,
London, among them " Le Singe et le Dauphin," " Le Cheval et I'Ane," " Le Corbeau et le Renard." Other designs
to be seen there belong to the set " Les Chasses," such as stag hunting ; and some simpler subjects such as
rabbits, wild duck, fox and cock, spaniel and wild duck, love's emblems, garlands of roses, etc., etc. This class
of design could be used for chair and sofa seats and backs, and so had a more extended sale than the more
ambitious designs, and thus promoted the commercial prosperity of this factory. It is said that Oudry made the
Gobelins and Beauvais.
JEAN-BAPTISTE OUDRY.
211
:8th Century.
--Against those who .
to please.
drawings for La Fontaine's
fables in the evenings spent
by him at Vaure. Bouclier
helped Ondry with designs,
which were a great success.
Oudry was in business part-
nership with Besnier in the
Beauvais factory, and it is
reported that [ after twenty
years' partnership Oudry
had secured 100,000 It. as
his share.
Some designs of Beauvais
tapestry can be seen on the
chairs bequeathed by Mrs.
Lyne Stephens at the Victoria
and Albert Museum. Oudry
had the superintendence at
the Gobelins of hangings
from the " Story of Esther,"
which were designed by De
Troy. This was one of the
series where Oudry broke
away from the old traditions
of the tapestry workers, his
idea being that the tapestries
should be, as near as possible,
exact reproductions of the
pictures in tone and colour.
One of the results of this
was increased expense, the
painter, in getting his
" effects " of colouring, not
troubling himself about or
not knowing the practicaj
difficulties in the way of
executing his " dreams of
colour," and, although some
of tbe new designs were
charming, the tapestry work-
ers, in order to produce the
delicate effects, had to do so
with soft and fugitive colours. Further, where the early weavers had contented themselves with nineteen
colours, the eighteenth-century weavers had an assortment of a thousand colours, each sub-divided into
twelve shades from dark to light. The result was, that after a time some of the more delicate hues faded
away altogether, thereby spoiling the effect. This brought the factory into disrepute. The older tapestries,
however, are much prized, and fetch enormous, even fabulous, prices, but, of course, their colourings have stood.
. — The Wolf pleading against the Fox
before the Monkey.
[2.^The Cock and the Fox.
212
(lobeliiis and Beauvai
JEAN-BAPTISTE OUDRY.
8th Century.
13. — The Raven wishes to imitate the 14
Eagle.
icock complaining to Juno.
[5. — The Miller, his Son, and the Ass.
in later life, framed his centres of warm light
rose red with a touch of dark blue. Among
have a tendency towards an " all over alike "
Under Louis XV. tapestry
designs changed their char-
acter. Instead of tableaux
of pomp, grandeur, victory,
battle scenes, etc., softer and
more coquettish subjects,
such as love and pastoral
scenes, as portrayed by
Watteau and Boucher, were
in favour. Boucher succeeded
Oudry in 1755 at the
Gobelins, but not at Beau-
vais, and he appears to have
followed the ideas of Oudry.
It appears that Gerspach,
carrying out the analysis of
a tapestry work executed
at the Gobelins in 1676, took
as the base of his calcula-
tions only ten shades to each
scale of colour, and tells us
that the old carnations had
lowered but one half to two
shades, that some violets had
lost their reds, some yehows,
as is the fatal propensity of
yellows, had turned grey,
but tliat the vast majority
of the hues employed had
scarcely changed. This speaks
well for the older tapestry.
In this old tapestry strong
rich colours were used. Early
examples, either from Beau-
\-ais or the Gobelins, show
the fine red browns, the clear
carnations, etc., and this is
partly why these older
tapestry colours faded less.
But in the later period, the
mania for " great lightness "
had the inevitable result.
These delicate hues were
evanescent. Boucher,
n pale greens and yellows, and detaching on them hues of rich
the designs of the Beauvais factory of a later date, the effects
appearance.
16. — The Miller, his Son, and the Ass.
Gobelins and Beauvai
JEAN-BAPTISTE OUDRY.
2VS
1 8th Century.
214
Gobelins and Beauvais.
JEAN-BAPTISTE OUDRY.
[8th Century.
p
ws^mm
'^M
J^m
^S^M3
wm%,T' n
f„_ ""^^Pl^'
f
r ^^^^^^4^ "^^t
PSillR^~~'-^^^^^S^^W
^^^&Mk -, '^
^Rl
^
1 ^^*w^
^si
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t|
[-^^v
it':
m
^<Jw^^^^^£' "^
^, j
5P|
iM
^jS^s
^m
i^^j
m
jl^f^-ij^^gr^
^:3jjJ|
Gobelins and Beauvais.
JEAN-BAPTISTE OUDRY.
215
[8th Century.
^M
3
W^P
21G
Gobelins and Beauvais.
JEAN-BAPTISTE OUDRY
Gobelins and Beauvais.
JEAN-BAPTISTE OUDRY.
iJ 2, IL
"1
- 1
1
I 5
218
Golx-lins and Ik-auvais
JEAN-BAPTISTE OUDRY.
[ Sth Century
■^ ■ ■' ^"^"^PSgl
: !
.v^^^^^a
■- 1
r
[
^^^^^^^^^^Cv^ff ij, 1
1
'^'^^^^^^5^^l^^^^^^^\ I
;
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ii
•-.■^ .^^i»..^^!^''S*®^^^™s fW^ii^^isrt^iil^nSllBSmi misiAt^.
ip-*j
n:
^>0i „i:>^,
[^ .^.^?
J^
i
sss^^^
k^^m^^ n
5 1
h i
Gobelins and Beauvais.
JEAN-BAPTISTE OUDRY.
1 8th Century. 219
'4
^^Mp^'^^i)^^^'^
^^i^H^Hiiir
,1 , " '^iM'.^
K
i"^^^^ ''IJ^ilBi^
"^
^^E''wi
[
-1
^^^^S^m
-. 6
^^ fc^^^^^^^^^^l
JPn^^^^^^^ 't'^ ''*^^^^^^p^^=5^^^p
I
220
Gobelins and Beauvais.
JEAN-BAPTISTE OUDRY.
[Sth Century.
The looms at
the GobeUns are of
the kind known as
" high - warp," in
which the warp
threads are verti-
cal, as compared
with " low-warp "
looms, in which
the warp threads
are horizontal.
Only three looms
are now engaged in
producing Gobelins
tapestry proper.
At these the re-
verse side of the
tapestry is turned
towards the work-
man, with the out-
line of the design
drawn in black
crayon on the
stretched threads.
At the workman's
side are the pic-
tures to be copied
and a basket with
wools of every
colour and shade
(about 14,000 tones
in ah). The weft-
threads are insert-
ed by means of
shuttles held in
the hand. In
weaving the " tapis
de la Savonniere "
the workman has
the copy in front
of him and works
on the right side of the tapestry. The weft-threads in this case are tied and then cut, producing a velvet pile.
There are about forty workmen now employed, and a skilful workman can complete four square yards in a
year, but ^ the average annual task is about one and a half yards. Many years are, therefore, sometimes
requisite for the execution of the larger designs, which when complete are worth from £2,000 upwards.
Aubusson and Felletin were two other noted factories where tapestry was made. The origin of the
Regency.
GILLES-MARIE OPPENORD.
221
Early i8th Century.
222
Rc'-encv.
GILLES-MARIE OPPENORD.
Pearly iSth Century.
^1
^ T3 !^ O
0 i5
P Si 'S ^
ai Oj
cu ct S 'i2
T3 ^ ■/. 5
»— -^
rt 10
5 o ^ «
.ti '"'
T- "!^ O '""
^ c
'^8tl
s enjc
e is a
mney
date,
>< ^
t&t'$
0 .
>-, u +-
V. -^>
entui
tury.
0 ove
abou
Vi
" i= Ml en
t« hn
£
. =
o
■lio ~ "^ 2
c ~
Q<
the
e 17
f sil
con
-^ ^
o
< p
o ^
° S 2
>> ^ ri ^
223
Regency.
GILLES-MARIE OPPENORD.
Early iSth Century.
the factory to assume
tlie title of " Manufac-
ture Royale," and de-
cided that an eminent
artist and also one of
the best tapestry makers
should be sent fi-om
Paris to superintend the
manufacture there. This
wise decision remained,
however, a dead letter.
Colbert neglected his
promises, and ere long,
the revocation of the
Edict of Nantes gave a
decisive blow to this
industry, although it
continued to exist.
About the middle of the
i8th century the workers
at this ancient royal
factory were in dire
distress ; but, in spite
of the vicissitudes it
has gone through, it is
still in existence, the
French Government
having two private
establishments there,
employing about loo
workers. The tapestries
they turn out are used
merely for Government
purposes. This factory
was mainly dependent
on outside patronage,
and was conducted on
more of a commercial
basis than the other
state - aided establish-
ments. The products
of Beauvais had long
been considered superior
for certain classes
of subjects to those of
Aubusson. but it is
claimed on behalf of
the latter that the work
it turned out from its
Two Designs for Carriage Gates.
224
Regency
GILLES-MARIE OPPENORD.
Early iSth Century.
factories has a national
interest which cannot
attach to the products
of the other establish-
ments, the famous
" Jeux d'Enfants," by
Corneille, in the Louvre,
Paris, being quoted
as a specimen of the
high-class work that
had been produced in
the 17th century by the
Aubusson workmen.
As regards the Felletin
tapestries, also known
as A u V e r g n e tap-
estries, the factory
seems to have been in
full swing during the
whole of the T6th and
17th centuries. In an
iiu-entory of the year
1514 there occurs a
description of " twenty-
two pieces of tapestry
of Felletin." It appears
that about the middle
of the 17th century the
tapestries of Felletin
were not much \-alued,
and the low price they
fetched was one of the
reasons why this factory
was gradually eclipsed
by the greater fame of
Aubusson. To-day the
name of Felletin is
hardly known, while
that of Aubusson is
justly celebrated. Many
ambitious attempts have
been made in various
countries to establish
tapestry weaving. One
was started at Windsor
under the late Queen
Victoria, "^ and it was
( Conlinucd on page 230. )
Regency.
GILLES-MARIE OPPENORD.
225
P'arlv 1 8th Century.
226
Reyencv-
GILLES-MARIE OPPENORD.
Early iSth Century.
Regency.
GILLES-MARIE OPPENORD.
227
Early iSth Century.
228
Regency.
NICHOLAS PINEAU.
Earlv iSth Century.
%f^
y''- -^5^>A
w
%. J %. J*
©Sfea'l
r
A f
Im^
Designs for Girandoles.
Regency.
NICHOLAS PINEAU.
229
Early i8th Century.
'P J
%>V/;,v>^^r^ 1^5
^'-r;
' fr^'^^ ^Jy^.J-
*:'^>^'"-'i#^.':'
*-^ ^*.«,- .. ..
Desii^ms for Girandoles.
230
Regency.
NICHOLAS PINEAU.
Early i8th Century.
Desio-ns for Console Tables.
splendidly endowed. It received a good many important commissions, but extravagance in management led to
its closing. The workmen from Windsor went to America and started a factory on the Bronx River, which
was found to have the same qualities as the river where the Gobelins were established. French workmen also
came to the assistance of the American factory, but it has been explained by a writer on the subject of
tapestry-weaving that " the effort to educate American weavers, and to make the industry native and inde-
pendent of foreign workmen, has met with a serious obstacle in the American dislike of the apprentice system.
Tapestry weavers require a high degree of skill, great patience, and the most practised eye, and therefore for
the first few years an employe, who is a novice, is of comparatively little value. In the French Gobelins works
boys, in most cases the sons of the workmen (some families having been employed for generations in this
industry), are apprenticed to the trade. The Government gives them a living and an education, and when
they become proficient they receive good wages. In America a boy is in too great a liurry to learn a trade
231
P.egency.
first and get wages after-
Avards,and only through
pairing good wages from
the start has it been
possible to obtain
American apprentices."
The Gobelins, the state
manufactory of the
famous tapestry, is open
to the public. It contains
an interesting collection
of ancient tapestries,
including the famous
"Louis Xl\'. visiting the
Gobelins Factnry" by Le
Brun. The visitor who
lias seen nothing but
faded old Gobelins
tapestry of inferior
kinds will be struck by
the beauty and bright-
ness of the colours and
the delicacy of the
shading of the tapestry
he will see when he goes
through the workshops
there. The Garde
Meuble in Paris is rich
in tapestries, and all the
palaces have examples
in panels, hangings or
•on the backs of settees,
chairs, etc. The days
when these old tapes-
tries were relegated to
.garrets and storerooms
has gone by, the interest
in them now being on
the increase ; and dealers
are ready to pay fabu-
lous prices for genuine
old examples, in order
to decorate the superb
mansions which are
being built for the
rich in all parts of the
world.
NICHOLAS PINEAU.
Early i8th Century.
Desions for Brackets to hold Candelabra.
Regency.
NICHOLAS PINEAU.
Early i8th Century.
1
'>r^\
On page 225 will be found
illustrations of iron balustrades,
gratings, etc. In the top left-
hand corner of the first set is an
iron bracket to carry a sign-board;
in the top right-hand corner is a
design for a low grating. The
design on the left is for a pilaster ;
those in the centre are for balus-
trades terminated with a console,
and the design at the bottom of
the page is for a balcony. In
the second series on this page the
top left-hand design is for a sign-
board ; the top right-hand one is
a small fire-guard for the best
aji.irtments ; those in the centre
are for balustrades terminating in
panels. In the bottom left-hand
corner is a design for an overdoor.
The other four are for balusters.
On page 226 in the first set the
first design in top left-hand corner
is to hold a sign-board ; in the
right-hand corner is a design for
a grating. In the centre are two
designs ending in consoles. On
the right is a design for a pediment,
and at the bottom are designs for
heads of kevs and door-knockers.
Side of Room
^<r
i#i£'l?
Desiyns for' Girandoles.
Regency.
NICHOLAS PINEAU.
2P>3
Early iSth Century.
K '^^^
Brackets to hold Vases.
-234
Regency.
NICHOLAS PINEAU.
Early i8th Century.
Designs for Chantournes (Heads of Beds).
In the second series in
the left-hand top comer is a
bracket to hold a sign-board ;
in the right-hand comer is a
design for a small fireguard
for the best apartment. In
the centre are two designs
for balustrades ending in
panels ; to the left is a design
for a shaped overdoor.
On page 227, in the first
series, in the top centre is a
design for an iron capital.
In the centre are two designs
for gates ; below these are
four designs for capitals, and
at the bottom are two designs
for fret friezes. In the second
series on this page the first
on the left is for a Prie Dieu ;
the centre is a design for
a console table, and on the
right is a church seat. In
the centre on the left and
right are given designs for
(Co„i,;„u;Um fat^e 2^^i<, )
Desjons for Medallier
Regency.
NICHOLAS PINEAU.
235
Early iSth Century.
^iZ^^T -'^
Designs for Canopies oi Beds.
230
Reocncy,
MANSART.
First Half i8th Century.
Regency.
MANSART.
237
First Halt i8th Century.
MANSART.
Early i8th Century.
braziers for use in churches ; at the
bottom are two designs for console
tables, and a design for a Paschal
chandelier.
Nicholas Pineau was born in
1684 and died in 1754. He
was a pupil of Mansart and
Boffrand. He was a wood-carver^
and is credited with doing the
greater part of the carvings for
the Hotel de Soubise. It appears
that Peter the Great solicited the
French Government to send him
some special workmen to Russia,
his imagination having been fired
by the " Chateau de Versailles,"
and among these workmen was
Nicholas Pineau, who stopped there
a number of years, but finally re-
turned to Paris, where he met with
much success. On pages 228 and
229 will be found some Girandoles.
by Nicholas Pineau. The frames
are \-ery elaborate, which was
partly due to the rarity of glass.
.\lthough somewhat in general
use in the palaces, etc., glass was
still of sufficient importance to-
merit good surroundings. These
girandoles were probably made in
soft wood and gilt, and the
gilding has the merit of softening
down features of a design that
might otherwise become obtrusive,
as in these designs the grotesques, the mascarons, shells, feathers, etc. It is curious that in my " English
Furniture, etc., during the i8th Century," I have shown some designs by Batty and Thomas Langley
(page 67) in which the same features are represented as in these designs, the grotesques, for instance.
Knowing that the Langleys only reproduced other people's designs, I have wondered where they obtained
their ideas. These designs appear to give the solution. The mascaron was a head or mask placed in a
central position, as over the centre of a doorway or in the centi-e of a pediment, etc., and was much used
during this and earlier periods. It was a grotesque, sometimes laughing, sometimes merely making a grimace.
The above remarks are equally applicable to the conso'.e tables and brackets depicted on pages 230 and 231. These
were, no doubt, made in compo and several copies taken. They were probably by the Italian workmen who
were then practising in France. The designs have the Italian feeling, and they could hardly have been carved
in wood, as they would have been too costly. On page 232 is a typical side of room belonging to the Regency
period, with a low dado, tapestry panelled walls, and the chimneypiece continued right up to the cove of
the ceiling. The girandoles and the brackets and stands for china on page 233 are also representative of the
Regency style. On page 234 are what were called " Medalliers,"" tliat is cabinets for coins or medals. On
{Continued on pai;,: 241.)
Regency.
M. DE CHAMBLIN.
2-39
Early 1 8th Century.
^^4^>^ y. _K-^^ -^^^ 'y '>fe^^^ifetT^^|-:-'^*w^^-W^^s:^f^
Designs for Sides of Rooms.
240
Regency.
JACQUES LA JOUE.
•1\- I 8th Centurv
241
OAK SCREEN AT THE VICTORIA AND ALBERT
Reoenc\-. MUSEUM. F.rst Half 1 8th Century.
pages 236, 237, and 238 are designs for chimneypieces, etc., by Mansart. There were many members of this
family, and it is doubtful to which one these designs should be attributed. I think it was probably Jules
Hardouin-Mansart, who was born in 1646 and died in 1708. The designs, however, seem later. This Mansart
studied architecture with Francois Mansart and Liberal Bruant. He was appointed architect to Louis XIV.
in 1675, and was much employed at \^ersailles — in fact, up to the time of his death. He was also employed
p
242
Regency-
ORMOLU MOUNTS.
luirly 1 8th Century,
Ormolu Handle on Commode (page 176).
Ormolu Mount on Commode (page 176).
Regency.
ORMOLU MOUNTS.
24.3
Early i8th Century.
Ormolu Mounts on Commodes (page 176).
on the Grand Trianon in tlie Park at Versailles. He had a son called Jean Hardouin-Mansart de Jouy, wha
was born in 1700. These designs may have been by him. They are included in a work published by Pierre
Mariette during the iirst half of the i8th century.
La Joue was a painter of architecture, who seemed to have a ready sale for his works. He was born
in 1687, and died in 1761.
244
Regency,
J. B. LE ROUX.
1-ii-st Hair iSth Centurv.
Fireplace and Glass, Sconces, and Fireback.
Regency.
J. B. LE ROUX.
245
I'"irst Half 1 8th Century.
LiS^ iT^l -f^^UT
246
Regency.
LANCRET AND AUDRAN.
The Music Lesson, bv Lancret.
Early i8th Century.
Decorative Overdoor.
April, by Audran.
Regency.
CRESSENT.
247
Early i8th Century.
i>
Overdoor.
Clock (see page 249).
24 S
COTELLE AND AUDRAN. First Mall iSih Century
Regency.
On page 252 is
shown a commode
in inlay of various
woods, with mounts
and ornaments of
gilt bronze, cast
and chased, by
Charles Cressent
(1685-1768), cab-
inet-maker to
Philippe d'Orleans,
Regent of France.
This is a typical
example of the work
of this famous
cabinet • maker in
the style of the
Regency, a period
of transition be-
tween the LoTiis
Ouatorze and the
Louis Q u i n z e
styles.
On page 242 is
shown a magnificent
clock by Cressent,
in rosewood and
satinwood, enriched
with gilt bronzes,
beautifully chased.
These ornaments
take capricious
forms— very vigor-
ous, and of a
great originality —
foliage, strings of
pearls, rocailles
(rock and shell),
roses, seaweed,
ovals, wings, clouds,
etc., all grouped
and r-elieved with
an exquisite taste.
WARDROBE
249
First Half i8th Century.
Oak Wardrobe at the Victoria and Albert Museum (style doubta.1)-
-250
Re(,rency.
OAK CHEST OF DRAWERS.
Early i8th Century.
Regency.
WARDROBE.
251
Early i8th Century.
Oak Wardrobe (Victoria and Albert Museum).
Reeencv
CRESSENT AND AUDRAN.
■,t Half iSth Centurv.
Commode with Ormolu Mounts, bv Cressent.
1 =
253
Reoer
CRESSENT AND AUDRAN. I- irst Hall" 1 8th Century
™ ^ — „
254
Regency.
FRANCOIS LE MOYNE AND AUDRAN. Earlv iSth Centur
25&
Regency.
JACQUES ABBADIES AND AUDRAN. Early 1 8th Century.
256
Rci>cncv.
FRANCOIS LE MOYNE.
First Mair iSth Ccntu;-\-,
Louis XV.
JULES AURELE MEISSONNIER. First Half 1 8th Century. 257
Jules Aurele Meis-
soanier was born at Turin
in 1695. He practised
in Paris as an orna-
mentist and goldsmith.
He carried the
"baroque" to its great-
est extravagance. The
volume of Meissonnier
designs for decorations
of rooms and ornaments
is very rare, but it has
been reproduced. He
held an appointment
under Louis XV. He
died at Paris in 1750.
^kleissonnit-r had a
large practice in Paris,
and also designed for
the nobility in other
countries. He called
himself painter, archi-
tect, sculptor, etc.
Initial Letters by
Gravelotte.
Q
'58 Louis XV.
JULES AURELE MEISSONNIER. First Ilall i8th O ntury.
jtim^swiy "f^ ' ^^
1 ^ ^thV
t1
If r^:
Side ul Roum, tlcsiunctl hjr La liarcmne tit ISczrin'aJ.
Louis XV.
JULES AURELE MEISSONNIER. First Half 1 8th Century. '2oi)
He designed a great
amount of silversmiths'
work, and his designs
lend tliemselves more to
this class of work than
to furniture, etc. The
latter have been )n>tl\-
condemned as exlr,i\M-
gant, and some of them
absurd ; but he appears
to have been much em-
ployed by Louis XV.
and the nobility. His
designs for the nobility
of Poland, Portugal, etc.,
are considered to be
more extravagant even
than those he carried
but for the French.
Initial Letters by
Gravelotte.
.Side of Room, designed for Le Comte Bielanski in 1734.
2C)0 Louis XV.
JULES AURELE MEISSONNIER. liist Malf iSth O nturv.
ra
=.^J==J
1
_- L
L _ _ J
'^
i^
___
i*P^
>{\2 Louis XV. JULES AURELE MEISSONNIER. First Half iSth Century.
Louis XV.
JULES AURELE MEISSONNIER. First Hall i8th Century. 263
2G4 Louis X\
JULES AURELE MEISSONNIER. First Half 1 8th Ccntur
' 'liiiijiiiiiiliiiilHiiiillftnlir
Liitial Letters by
Gravelotte
Dcsl.^n i\n- L(
Tabk
Louis XV.
JULES AURELE MEISSONNIER. First Half iSth Century. 265
)c-si"n Inr Si
SnuH B(.^L^
Settee desi^^ned tor Le Comte de Bielanski in 1735.
-_>()() Louis XV,
JULES AURtLE MEISSONNIER. First Half iSth Century
SilTfrrv
Louis XV.
JULES AURELE MEISSONNIER. First Half rSth Ct^ntu
ry. '3yi
--^-M
'%
1 wr ^
1
'ife
I;. '^
j.ftmmni /,
Initial 1 ettLis by
Gravelottc
Designs iur Surtouts, to stand in centre of Dinino- Table.
268 Louis XV.
JULES AURELE MEISSONNIER. First Half 1 8th Century.
Three Designs for Salt Cellars.
s^»^^
nitial Letters b) Groivelotte.
Louis XV.
JULES AURELE MEISSONNIER. First Half iSth Century. 269
^^p.
-^f^
,-.^1^
W'i£>>
Wf r
^^C!^i '&mm.
Initial Letters b}
Gravelotte.
Designs lor Four Decorative Panels.
JO Louis XV.
JULES AURELE MEISSONNIER. First Halt 1 8th Century
Louis XV.
JULES AURELE MEISSONNIER. First Half 1 8th Century. 271
=^
i. w«55!ESS5
^^l^
272 Louis XV
JULES AURELE MEISSONNIER. lirst Hair iSth Ccntui
Initial Letters b}' Gravelotte.
Louis XV.
P. E. BABEL.
^mi^m^^mm
^^.^
274
Louis XV.
P. E. BABEL.
Middle i8th Century
275
Borders by Babel.
Initial Letters by
Gravelotte.
Louis XV.
N. LANCRET AND P. E. BABEL. .Middle iSth Ccnimy
Spr
Summer.
The Seasons by N. Lancret (i 690-1 743) in the Louvre.
Borders by Babel.
P. E. Babel, a French designer and etcher, was born in Paris in the early part of the i8th centur\'. It
is reported he was a goldsmith as well as a designer and engraver of vignettes. He engraved numerous
plates of ornamental decoration, and also designed and engraved decorations for books. His work was much
admired. He died in 1761.
.ouis XV
NICHOLAS LANCRET.
277
First Half i8th Century.
Winter.
The Seasons by N. Lancret.
Initial Letters bv GravelottL
278
Louis XV.
iP. E. BABEL JAND GRAVELOTTE. Middle 1 8th Century.
Painting by F. Boucher (1703-1770) in the Louvre. Borders by Babel.
nitial Letters bv Gravelotte.
Louis XV.
279
P. E. BABEL AND GRAVELOTTE. Middle 1 8th Century.
Painting l^y V. Boucher in the Louvre. Borders by Babel.
Initial Letters bv Gravelotte.
280
Louis XV.
P. E. BABEL AND GRAVELOTTE. Middle iSth Century.
Borders by Babel. Initial Letters by Gravelotte.
Louis XV.
281
P. E. BABEL AND GRAVELOTTE. Middle 1 8th Century.
Borders by Babel. Initial Letters by Gravelotte.
282
Louis XV.
P. E. BABEL AND GRAVELOTTE. Middle iSth Century.
"Juno" by Charles Joseph Natoire (1700-1777) in the Louvre. Borders by Babel.
Initial Letters by Gravelotte.
283
Louis XV.
P. E. BABEL AND GRAVELOTTE. Middle 1 8th Century
#--^,,.
"The Toilet ot Venus" by F. Boucher (i 703-1 770) in the Louvre. Borders by Babel.
•^^AV^TT^'^
mi
Initial Letters by Gravelotte.
284
Louis XV
C. D. J. EISEN AND J. E. NILSON. Middle 1 8th Ctnturv.
Louis XV. J. W. MEIL, BABEL, AND GRAVELOTTE. Middle 1 8th Century. 285
Border by Babel
Initial Letters by Gravelotte.
286
Louis XV.
F. BOUCHER.
Middle i8th Century.
Louis XV.
F. BOUCHER.
287
Middle 1 8th Century.
28S Louis XV
F. BOUCHER AND GRAVELOTTE. Middle 1 8th Century
m m
w
Initial Letters by Gravelotte.
289
Louis XV.
JACQUES-FRANCOIS BLONDEL. Middle iSth Century.
^3^-
^2^-
- -^^
V^^^^^^^^^^ ^
r"
iC
290
Louis X\'
JACQUES-FRANCOIS BLONDEL.
Middle 1 8th Century.
J a c q u e s - F 1" a n c o i s
Blondel was born in
1705. He was one of
the first French archi-
tects to promote the
scliools of architecture
\\'hich have tended so
much to adwmce that
art in France. He was
appointed architect to
Louis XV. in 1755.
Karlv in his career he
was an architectural
engraver. In later life,
though designing in the
Rococo style, he does
not appear to have
altogether approved of
it. A noted work by
him is " L' Architec-
ture - francois," pub-
Ushed in 1752. It was
begun by Marot and
continued by Blondel
until eight volumes
were completed. He
died in 1774.
On this page are
some escutclieons of
locks, etc. A is a plate
with rosette to receive
the button. B, keybits
of locks, supported by
ornaments underneath,
which help to redeem
the projection. C, key-
holes of locks. D, a
plate which forms the
underpart of a swing
bolt. E, a little bolt for
cupboards or for windows. F, button to raise the latcli of the doors. G, conduit to receive the rod of the
swing locks. H, rod which witli only one turn opens or sliuts the door.
On page 291 is a working drawing of an espagnolette fastening for a casement window. A is the spiral
screw-ring which receives the rod that is attached to the window sash. B, key-bit soldered to the rod, and
which;^serves to fasten the clasps on to the shutter. C, the clasps on the upright frame of the shutter,
which by means of the key-bit B firmly shuts on the sashes. D, the shoulder which serves to strengthen the
rod at the beginning of the lacet A. E, handle which by only one operation opens or closes the window
Desions for Escutcheons of Locks, etc.
Louis XV.
JACQUES-FRANCOIS BLONDEL.
291
Middle 1 8th Century.
and shutter. F, hollnw
socket which recei\es
the rod which shuts
door below. G, handle
where the rod springs.
1, cramp iron, in which
the rod works back-
wards and forwards.
K, the tie-piece, in
which the above action
shuts the hook of the
espagnolette. L, the
plate to which above is
fastened.
Charles Etienne
Briseux published se\-
eral works on architec-
ture. He was born
about i68o at Baume-
les-Dames in Franche
Comte, and died in
1754-
Some interiors, etc.,
designed by Briseux
are illustrated on pages
296-303. These were
mostly carried out in
■oak, and painted a light
grey, the carvings being
set off with gilding
treated in various ways,
both in matt and bur-
nished. The marble fire-
places had beautifully
chased mounts, marbles
of all kinds being used.
For chimneypieces and
for interiors of rooms,
staircases- etc., during
the ''earlier part of the 17th century, black and white marbles were used alternately, giving very
sombre effects. Later in the -century, during the reign of Louis XIV., coloured marbles were introduced
from Italy and Africa, and some of the'^old French quarries were reopened. This enabled the architects of
the King and nobility to get some very rich effects, which can be seen at Le Louvre, Saint Germain,
Fontainebleau, Versailles, etc. I have shown some of these marble rooms, staircases, etc.
Among the marbles utilised were Noir Antique, Verde Antique (Egyptian marble), Violet Brocatelle,
Alabaster ; Portor, a marble with deep yellow veins ; Bleu Turquin, a deep blue ; Lancquedocque, a deep red
marble, veined with a darker self colour and greyish yellow colour ; Griotte, a reddish speckled marble ;
{Coiithiued on page 298.)
292
Louis X\
JACQUES-FRANCOIS BLONDEL. Middle 1 8th Century,
Side of Room.
293
Louis XV. JACQUES-FRANCOIS BLONDEL. Middle 1 8th Century.
rilliiiii lli[Ililillllllllllllilit!i|iiiii''::ir:niil||ii|l!lll,ffl^^^^^^^^^^
294
Louis XV. JACQUES-FRANCOIS BLONDEL. Middk 1 8th Century.
Side of Room.
A, the recess to take double bed, with " Imperial " canopy; B. the place for the pillows ; and C, the door of the
fitted wardrobe, with circular ends.
.Side of Room — " Chambre de Parade."
A. part of the decoration ot the large gallery ; B, embrasure of the doors and cupboard : C, column grouped with a
pilaster; D, support holding the balustrade, which separates the alcove from the " Chambre de Parade " ; E, Lit
de Parade, with an " Imperial " canopy ; F, tapestry panels ; G, cornice.
295
Louis XV
JACQUES-FRANCOIS BLONDEL. Middle 1 8th Century.
View of the Side (jf a Cirand Salon.
A, doors of cupboards ■ P> elass innds • C ,lido- D tipostrv pam-ls • F ovcrdoors with pnnols • F rorni
L)e.si''n for .Side of \'cstibule.
296
Louis X\'
CHARLES ETIENNE BRISEUX. Middle 1 8th Ceniurv
Louis XV.
CHARLES ETIENNE BRISEUX.
297
Middk i.Sth Century.
298
Louis X\'.
CHARLES ETIENNE BRISEUX
Middle iSth Century
299
Louis XV
CHARLES ETIENNE BRISEUX. Middle i8th Century
>3>
Desit^ns for (Jverdoors — Tapestry or Painted Panels.
CHARLES ETIENNE BRISEUX.
Middle 1 8th Century.
during Louis XIV.'s
reign that glass chan-
deliers were such a
-y conspicuous feature
~ in the interiors of
ji rooms. Glass being
p^ such an attraction is
^ the reason for the
rt great richness of some
uj of the gilt frames
.^ made to enclose it.
>> Colonies of Venetian
5 glassmakers settled
'_S. in France. They
^ often made the mir-
^o rors over the chimney-
^ pieces, called " Tru-
■^^ meau," with an edge
^ gently bevelled an
ulch in width, follow-
ing the forms of the
frame. ^Marvellously
Desien for Ceilin',
Louis XV,
CHARLES ETIENNE BRISEUX.
301
Middle 1 8th Century.
:;02
Louis XV.
CHARLES ETIENNE BRISEUX.
Middle i8th Century,
iJ O CJ
'J « ^
1-. o •^
5 -g ^
^ b i
fe oj C
■* h/1 • —
O 'O
Louis XV.
CHARLES ETIENNE BRISEUX.
303
Middle iSth Century.
Louis XV.
FRANCOIS DE CUVILLES.
Middle iSth Century.
Louis X\^
FRANCOIS DE CUVILLES.
305
Middle iSth Century.
Cuns(jle Table and Glass.
FRANCOIS DE CUVILLES.
^liddlc iSlh Century.
■- ■ il
Designs for Balustrades.
Louis XV.
FRANCOIS DE CUVILLES.
307
Middle iSth Century.
Francois de Cuvilles,
architect, decorator, and
engra^•er, was born in
1698 at Soissons, Aisne,
and died abont 1767. He
was a student of Robert
de Cotte. He went to
Germany, where he was
much employed. He
also planned parks and
gardens. He had a son
of the same name, who
edited his numerous
works on art and
decoration.
The iinials here
shown arc from a work
published under the
superintendence of
Blondel, called " Regies
des Cinq Ordres
d'Architecture,"' by
Jacques B a r o z i 0
de Vignole. The en-
grayings are by J. C.
Pautre. Of course, the
finials and the iron-
work are additions by
Blondel.
Among the woods
natiye to France or
neighbouring countries
used during the 17th
and i8th centuries, oak
comes first, as it meets
the requirements of
the cabinet-maker in
price, strength, and
durability. It was
extensively used in
wainscotting, caryed
and gilt, the ground
Design for Ceilino--
CUVILLES.
Middle i8th Century.
work in most cases being-
painted a liglit grey or
other tint. Beecli was also ex-
tensively used and birch was
largely used in chair making.
Among other woods utilised
were chestnut, which is
often mistaken for oak in
old work, and is very
durable ; cherry, used for
ebonising; hornbeam, a white
wood with a tine grain ; lime,
largely used by car\-ers — a
wood that Grinling Gibbons
used for much of his work ;.
pear tree, also used by
carvers ; boxwood, apricot,
false acacia, elm ; ebony of
different shades from Ceylon;
holly, used for stringing or
inlaying work ; poplar, in
several varieties ; walnut,
cedar, cypress, pine ; yew,
which is hard and has a
\'ery fine grain, a capital
wood for cabinet work
and generally employed in
the form of veneers ; larch,
rosewood, maple, apple, ash,
beam, almond, mulberry,
olive, etc., etc. Of course,
after the middle of the
century, mahogany and other
woods, such as satin-wood.
Designs for Finials.
809
Louis XV.
FRANCOIS DE CUVILLES. Middle 1 8th Century,
and a host of
•others were impor-
ted into France.
Edme Bouch-
ardon, sculptor
and architect, was
born in 1698 and
died in 1762. He
won the Grand
Prix de Rome in
1723. He spent
ten years in Italy
and returned in
1733. I have
illustrated some
■of his work on
pages 316 and 317.
The statue of
Louis XV. which
formerly stood in
the Place de la
Concorde was by
this artist ; also
the fountain in the
Rue de Grenelle.
Paris. The works
of these old French
masters are now-
fetching fabulous
prices In a sale
held on May 24th,
< Continued on page 319.)
DesiiJns for Ikireaux.
Designs for Finials.
310
Louis X\'
FRANCOIS DE CUVILLES-CEILING. Mi<l<llr iSth Century.
Design for Ceiling
All Brass Clock at Versailles.
..i^i^nir! i\r a lice bciiui^^ui' A'^r^/r/^q
Design for P^inial.
Louis XV.
BLONDEL.
311
Middle i8th Century.
Desio-ns for Brackets and Pedestal to hold Vases.
T-^
Designs tor Finials.
From Blondel's edition of Vignole's " Five Orders of Architecture."
312
Louis XV
BLONDEL
Middle iSth Century. ^
seful Pieces of Ornament.
Panels and Pilasters in Ironwork.
From Blondel's edition of Vignole's " Five Orders of Architectur
Louis XV.
BLONDEL.
"X. DF.S CINQ ORDRES \lj
^f Z> '^R CHI TEC TURE, . |;1
%J['.\ruc,;uc.c /hu-ox,o ,)c ^u/no/A
''^-'-''-f.
*^
t/>l?i-n
^;'/
Frontispiece to Blonders edition of Vignolt
" Five Orders of Architecture."
313
Middle i8th Century.
Louis XV. Vase and .Stand.
Balcony and Balustrades in Ironwork.
PALAIS DE FONTAINEBLEAU. Middk iSth Century.
The Salle du Conseil— Panel and Console Table.
31&
Louis XV.
PALAIS DE FONTAINEBLEAU. Middle 1 8th Century.
316
Louis XV.
EDME BOUCHARDON.
Middle 1 8th Centur
Louis XV.
EDMt BOUCHARDON.
317
Middle i8th Century.
^:^^^^^sm^m^'^":t^i'^'-':"^ cr-
318
Louis X\'.
PALAIS DE VERSAILLES. Middle iSth Cmtuiy,
L-ouis XV.
WALLACE COLLECTION. Middle iSth Century. 319
1903, at Christie's, foiu"
pictures by Boucher, called
"The Fortune Teller,"
"The Love Message,"
"Love's Offering," and
" Evening," fetched 22,300
guineas. Again, in Feb-
ruary, 1898, at a Cannes
sale, live panels by Fragonard
(a pupil of Boucher's), illus-
trating " Roman d'Amour
cle la Jeunesse," realised
{■50,000. On pages 314, 315.
and 318 are given some
illustrations of the Salle du
Conseil at Fontainebleau.
which was decorated by
Boucher. The seats of the
settees and chairs are
covered with Beauvais
tapestry of a Louis X^T.
Three Views of the Bureau du Roi.
320
Louis X\'.
WALLACE COLLECTION.
Middle 1 8th Ccnturv.
ft
i
-i^^ "^"""^ ^ — — ^
Mm
ijm§s^
9
Jj
^^
Al^^^ss*. J^
w^^msi.
i^^
i
Commode bv |ac(iues Cafficri
design, although the
frames are in I,ouis
XV. style. A study of
Boucher's easel pictures
is not enough to give
a correct idea of this
artist's work, for he is
chiefly distinguished as
a decorative painter of
walls and ceilings. The
Salle du Conseil at
Versailles, a view of
which is given on page
318, dates from the
second half of the
reign of Louis X^^ It
was decorated bv the
sculptor Antoine Rous-
seau. On page 319
are three illustrations
of a modern French
copy in fac-simile, by
Dasson, of the Louis
XV. "Bureau du Roi,"
now in one of the i8th
Louis XV.
COMMODES.
321
Middle iSth Century.
Century Galleries of the Louvre
The original, in marqueterie of
various woods, is adorned with
mouldings, statuettes, vases, and
plaques of gilt bronze, cast and
chased. The original was begun in
1760 by Oeben, and completed in
1769 by Riesener. Its bronzes are
by Duplessis, Winant, and Her-
vieux. The design and details
show the transition between the
periods of Louis XV. and Louis
XVI. On page 320 is a commode
in inlay of various woods, with
mounts and ornaments of gilt
bronze, cast and chased by Jacques
Caffieri. In its class this is the
most remarkable piece of furniture,
of this famous cabinet-maker and
metal-chaser, who represents the
earlier Louis XV. style at its
best.
Mahogany Commode with Ormolu Mounts.
322
Louis X\'
WALLACE COLLECTION.
Middle I 8th Century,
Commode with Ormolu Mounts.
The bronzes on this commode are busts of Roman
emperors, and a group in the centre represents
" Cupid ^'anquishiug Pan/" with the inscription
"Omnia vincit Amor." These bronzes are by Jean-
Jacques Caffieri, who was born in 1723, and died in
1792.
Louis XV.
INLAID MARQUETERIE TABLES,
BUREAUX, ETC
X^l^N
323
Middle 1 8th Century.
324
Louis X\'.
CHATEAU DE CHANTILLY.
Middle i Sth Century.
ti V x:v :v>NgSJi^;^;^§^gS:^
Louis XV.
MUSEE DE LOUVRE.
325
Middle i8th Century
326
Louis XV.
INLAY.
]\lidcll(- 1 8th Century.
On the lower lelt
hand side of page 320-
is shown a parqueterie
commode, mounted
with massive ormolu
ciiasing of oak branches
and foliage, rising from
the feet, and carried
entirely over the front
and ends. Two large
figures of boys rest on
the branches in front
and numerous birds.
Half-length figures of
boys are at the angles,
and the key plate is
formed as a vase -shaped
burning lamp, sur-
mounted by moulded
brocatella marble slab.
At the lower right hand
side is a parqueterie
commode with ormolu
mounts.
On page 322 a
monumental clock of
the "Regulateur" type
is illustrated. It is
signed " Ale. \ and re,
Fo rt i e r, i n v e n i t,
Stollewerck fecit a
Paris." The mounts
are of gilt bronze, cast
and chased, with decora-
tive figures in gilt and
dark bronze, the crown-
ing group representing
■' Love and Time."
The style is that phase
of the Louis Quinze style which is connected with the name of Duplessis. The marqueterie panel in front and
the gilt bronze garlands above and beneath it are of later date than the rest. Marqueterie reached a great
degree of excellence during the last half of the i8th century, and such names as Riesener and David
Roentgen are well-known. Riesener used tulip, rosewood, holly, maple, laburnum, purple wood, etc. Wreaths
and bunches of flowers form centres of his marqueterie panels, which are often plain surfaces of one wood-
On the sides in borders and compartments are found diaper patterns in three or four quiet colours.
David Roentgen made marqueterie in lighter woods and of rather a gayer tone than those of
Riesener. Both worked in plain mahogany, and trusted for their effectiveness to the gilt metal
327
Louis XV.
COACH FURNITURE AND SLEDGES. Middle 1 8th Century
328
Louis XV.
COACH FURNITURE.
Middle 1 8th Century.
32^
Louis XV.
COACH, SEDAN CHAIR, AND SLEDGE. Middle 1 8th Century.
330
Louis XV.
CHAIRS.
Mifldk; iSth Century.
Louis XV.
SETTEES.
331
Middle 1 8th Century.
^32
Louis XV.
IRON SCREEN AND FOUNTAINS. Middle iSth Century
Ml
33:3-
Louis XV.
STATUES ERECTED TO LOUIS XV. Middle 1 8th Century.
Illustrations on page ^^2 :
The iron screen is one of the fountains of the Place Royal
at Nancy.
No. I, a triumphal fountain erected at Nancy.
No. 2, a bronze statue of Louis XV., at Valenciennes, by
M. Sally.
Illustrations on this page :
No. 3, equestrian bronze statue of Louis XV., at Paris,
by M. Bouchardon.
No. 4, equestrian bronze statue of Louis XV., at Bordeau.x,
by M. Lemoine.
No. 5, a bronze statue of Louis XV., erected at Nancy, by
M. Guibal.
No. 6, a bronze statue of Louis XV., at Rouen.
No. 7, a bronze statue of Louis XV., erected at Reims, by
M. Pigalle.
;!:;4
Louis XV.
BOUCHER.
Middle 1 8th Century.
p^^ifsif ''^ ^^ / ./^^ r"" 7.%
Design by Boucher for Healing of one of M. Patte's Books
mounts. Roentgen used pear, lime,
and light coloured woods, occasionally
tinted by burning, which is done either
by hot irons or by hot sand, the latter
being the best. Onb' dark yellows
and browns are obtained by this
process. Other tints, like greens and
blues, are obtained by steeping the
wood in chemical solutions. This mar-
queterie was often placed on a ground-
work of parqueterie, that is, the ground
has veneers on one half or quarter of
the panel going one way, and on the
other half or quarter going the reverse
way. I have shown a specimen of this
style of inlay on page 326.
Among the makers of gilt bronze
furniture mounts, Gouthiere's name
stands pre-eminent. He undertook
various sorts of work — mounts to go
on chimneypieces, carriages, furniture,
etc. The gilding on these mounts is
water gilt, probably double, and so
:«f
Louis XV.
LE PRINCE.
Middle iSth Century.
good and laid on so
massively that it is
almost as erood as
The manufac-
tory of Sevres was
called upon to sup-
ply plaques for
some of the best
furniture. These
works were estab-
lished at Sevres in
1756. They owed
much of t h e i r
success to Madame
de Pompadour, and
the beautiful pink
tint for which
Sevres is so famous
is called " rose de
Pompadour."
According to Pro-
fessor Church the
h n e coloured
grounds w ere
obtained as fol-
lows : — "The body,
after having been
baked, was glazed
and tired. Then
the colours were
applied by dusting
on to the glazed
surface, which had
been previously
covered with a thin film of fat oil of turpentine. Then the pieces were fired, and the process of dusting on
the enamel colour was repeated, the piece being fired again ; repeating the process several times. The
bleu du roi, often marbled and veined with gold, was in early use ; the bleu turquoise was invented in 1752,
and the rose carne or Pompadour, the violet pensee, the vert pomme, jaune clair (or jonquille), vert pre, and vert
jaune in 1775. The special beauty of old Sevres lies not in the intrinsic excellence of the enamel colours, though
this is high, but in the penetration of the glaze by the enamel ground-colours, and the rich but soft effects
thereby produced — an effect which is enhanced by the special qualities of the soft and fusible paste beneath."
The porcelain of this date was " soft paste " or patre tendre. The productions of the manufactory during the
years between 1756 and 1769 are the most admired. Two L's interlaced is the Sevres mark and a letter is
.added which marks the year in which the piece was made. The first alphabet begins in 1753 and ends in
1777 with the letter Z. The letters were doubled in 1778 and ended with RR in 1795.
33G
Louis XV.
LOUIS XV. SALON AT THE LOUVRE. Middle i8th Century
Louis XV.
INTERIORS.
337
Last Half i8th Century.
Salon I'd-:;! dc r.cL-uf, v
ersanies.
338
Louis X\'.
M. PATTE.
Last Half iSth Ccnturv.
Side of Room.
Louis XV.
WRITING TABLES, ETC.
339
Last Half i8th Century.
Pierre Patte, architect
and engraver, was born in
1723, and died in 1812. He
continued the ' ' Cours d' Archi-
tecture " of Jacques Francois
Blonde], and published
several works, among others
" Monuments Eriges en
France a la Glorie de Louis
XV.," "Discours sur TArchi-
tecture," "Etudes sur I'Archi-
tecture en France et en
Italic," " Essai sur TArchi-
tecture Thcatralc," etc.
Writinor Table.
Candelabrum.
340
Louis X\'
X\I.
ROUBO.
Last Half i8th Century.
Lit de Parade bv Roubo.
Lady's Table.
At top of page 339 is an
illustration of a writing
table of Louis XV. period in
Riesener marqueterie of vari-
ous woods and floral inlay,
with curved top and legs, and
heavy mountings in chased
ormolu. It has three drawers.
This table was formerly
in the Angerstein Collection,
and is stamped " Petit."
Height, 2 ft. 6-^- in. ; length,
5 ft. I in. ; width, 2 ft. ii in.
On the left is shown a table
on similar lines to above.
To the right is a beautiful
Louis X\\ candelabrum.
! On this page and the
next interiors by Roubo about
the 3'ear 1770 are illustrated.
On this page also a
very pretty table suitable
for a lady, inlaid with mar-
queterie of bunches of
flowers on a ground of rose-
wood, is shown. It has a
brass gallery round the top, and also has a flap
underneath to pull out.
On page 341 is shown a small bureau with
sloping top, inlaid with bunches of flowers and
\'arious other ornaments in marqueterie on rose-
wood and satin-wood. It is enriched with
beautifully chiselled brass mounts gilt, composing
the shell work and foliage of the pinceau.x.
It is stamped with the C crown, which is said
to be Caffieri's mark.
On page 342 an alcove for bed, etc., after
the Louis XVI. style, is illustrated. At the
bottom left-hand corner is shown a large bureau
in the Wallace Collection. To the right is shown
a fancy table with brass gallery and ormolu
mounts and flutes.
On page 343 in top left hand corner is an
illustration of an escritoire a toilette. It is made
of tulip and sycamore, inlaid with a landscape,
trophies, vases, and flowers, in plain and tinted
Louis XV.— Louis XVL
ROUBO.
341
Last Half i8th Century.
lime or holly and cherry. The design
of the piece is curved, and the
mountings are chased ormolu. The
front of the escritoire is cylindrical and
encloses drawers with inlaid fronts.
Beneath this is a sliding shelf, under
which is a drawer with three compart-
ments, with inlaid lids, two of which
are fitted with toilet requisites.
It was probably made by Jean-Francois
Oeben. This exquisite specimen of
cabinet work formerly belonged to
Queen Marie Antoinette. It belongs
to the period of Louis XV. Height.
3 ft. 5 in. : width, 2 ft. 6 in. In
the right hand corner on the same page
is a bureau-toilette in marqueterie
of various woods. The mounts are of
gilt bronze, cast and chased. Also
probably by Oeben, and belongs to
the early part of the transition period
between the Louis Quinze and Louis
Seize styles. The picture cannot do
ju.stice to this e.xquisite piece of work,
and it is only shown to give the
general proportions. The effect of the
woodwork and the elaborate and
beautiful inlay is very light, almost
pale. On top is a statuette in
gilt bronze of Minerva, armed with spear and
shield, which belongs to the first half of the
i8th century. At the bottom of the page is
shown a bureau with very heavy mounts. The
inlays are said to be by Riesener.
On page 344 is a commode of ebony,
decorated throughout with panels of Japanese
lacquer, framed in mounts and ornaments of
gilt bronze, cast and chased. It rests upon
legs formed by the figures of sea-nymphs
bearing cushions on their heads. The panels
of lacquer are half covered with zigzags and
circular wreaths of roses in gilt bronze.
Over the lower part of the central panel is a
group, in low relief, of doves amorously
pecking as they rest on Cupid's quiver.
The edges are enriched with hanging gar-
lands of roses and other flowers in gilt
bronze. It is signed " J. Dubois." This piece,
which has the shape of a coffer or chest, has
been described as the " Coffre de Mariage
Console Fable and Glass.
Marqueterie Writing Bureau with Ormolu Mounts.
342
Louis XV.— Louis XVI. INTERIOR AND TABLES. Last Half iSth Century
Alcove for Bed.
Bureau in Wallace Collection.
Fancy Table.
Louis XV. — Louis X\'I.
WRITING TABLE AND
COMMODES.
343
Last Half i8th Century.
Escritoire a Toilette.
IJureau-Toilette.
de la Daupliine Marie- Antoinette,"
and was made in the last years
of the reign of I,ouis Ouinze, in
the so-called Louis Seize style.
On this commode in centre is a
perfume burner in the form of a
tripod. The bowl and stand are
of red jasper (" jaspe rouge
fleuri"). The mounts are of gilt
bronze, cast and elaborately
chased, showing satyrs' heads,
from which hang festoons of vine,
and, within the feet, a serpent
coiled to spring, and are probably
by Gouthiere. It was No. 25 in
the sale of the Due d'Aumont's
collection in 1782, when it was purchased by Le Brun for 12,000 francs on behalf of Queen Marie-
Antoinette. In the catalogue of the sale this piece is described as "un chef d'oeuvre de I'art." Also on top of this
commode are a tazza in tripod form, with bowls and stands in distinct \'arieties of red marble, and mounts of gilt
844
Louis XV. — Louis XV L
COMMODES.
Last Half i8th Centurv.
p
i^^H
^^
^g
'^^^^^H ^ m^^^^^^i
Commocl(j in the Wallace Collection Z i
Commode in the Victoria and Albert Museun:
Candelabra.
Louis XV.— Louis XVL
COMMODES.
345
Last Half i8th Century.
bronze and chased,
of the style and period
of Louis Seize. On the
same page is illustrated
a commode of oak,
veneered with tulip-
wood and enriched
with marqueterie of
harewood, sycamore,
and other woods. The
mounts are of chased
ormolu. On the top
is a slab of variegated
red and yellow marble.
It is stamped R.V.L.C.
ME (nuisier), is of the
early period of Louis
XVL, late i8th century,
and is in the Victoria
and Albert Museum.
The candelabra are by
De la Fosse of the
Louis XVL period.
At top of this page
is shown a commode of
oak, with marqueterie
of tulip, king, and other
woods. The serpentine
front is decorated with
three panels, filled in
with a trellis pattern
liaving ormolu studs at
the points of inter-
section. These panels
are outlined by ormolu
borders with incurved
corners, filled in with
rosettes. The cur\-ed
sides are ornamented
with similar panels .
At the front corners
are terminal figures in
ormolu of Cupid and
Psyche, the former holding a dov
Commode in the Victoria and Albert Museum.
liani if^-.c c- r.v p .c o :iSB^
1 ! f '
El
■ ' /^ '
'^i'^
»' 1
1^1 f^::r"^!!!!!r
0 "--=!ffe
• 1
i^
Commode in the Victoria and Albert Museum.
and the latter a bunch of flowers. Each of the two drawers has two
ormolu handles, and below the centre panel is a group in the same metal, consisting of a reclining female-
figure between two children, one offering her a wreath and the other holding a dove. The top is of variegated
34(J
l.ouis X\'.— l,..uis X\I.
COMMODES.
Last Half i8th Century
:i'^^%i^
red griotte marble, and
the whole is sup- Candelabrum.
ported on four curved
legs with ormolu mounts. This rommode belongs to the end
of the Louis XV. period, second half of i8th century. Height,
2 ft. q in. ; width, 4 ft. 2J in. : depth, 2 ft. 2 in. It was
bequeathed to the museum by the late Mrs. Lyne Stephens.
Jewel Cabinet.
Commode in X'ictoria and Albert Museum.
Louis X\'.— Louis X\'l
UPRIGHT SECRETAIRE.
347
Last Hair iSth Century
At the bottom of page
345 is a commode of
marqueterie of various
woods, the centre panel
of the front inlaid with
a vase of flowers. It
contains five drawers,
has a top slab of white
marble, and mountings
of chased ormolu. It
belongs to the period
of Louis XV. Height,
2 ft. II in.; length,
4 ft. 6^r in. : width, 2j in.
The candelabrum on
page 346 is by De la
Fosse, and belongs to
the Louis XVI. period.
On top of page 346
is a cabinet in marque-
terie and with ormolu
mounts, beautifully
chased and gilt. At the
bottom left-hand corner
is a commode in mahog-
any and sycamore,
with geometrical inlay
in lighter woods, grey
marble top, and mounts
of chased ormolu. It
has two drawers. It is
stamped "P. Denizot,"
the mounts being pro-
bably by Gouthiere,
and is of the period of
Louis XVI. Height.
2 ft. II in. ; width,
3 ft. I in. ; depth, 20 in.
At the right-hand corner
is a jewel cabinet in
marqueterie of geometrical inlay in rose and sycamore wood, witli chased ormolu mountings,
part has a rising lid with internal trays ; in the lower part is a drawer and a shelf. It is stam
Riesener," and the metal work is by Gouthiere, also of the period of Louis XVI. Height, 3 ft. 6
21 in. ; depth, 12 in.
L'pright Secretaire.
The upper
ped " J. H.
in. ; width,
Above is an illustration of an upright secretaire in marqueterie of various natural and stained woods.
The mounts and ornaments are of gilt bronze, cast and chased. The central panel of marqueterie shows, in
life size, a cock, with the caduceus, and snake, a banner, and symbolical instruments. This secretaire is
348
LcHiis XV.— Lcaiis XVI.
UPRIGHT SECRETAIRE.
Last Half i8th Century,
J
toh
ll !_ ''jJ'-J^'}[-/'///S\ <l
■
wm
1
Upright Secretaire.
Harometer.
is by Riesener, and in his earlier manner.
It was made in the later years of the
reign of Louis Ouinze, in the transitional
style approaching to the so-called Louis
Seize.
On top of this page is illustrated an
upright secretaire with brass mounts of a
Louis XVL character. To the right of
this is a barometer in a case of chased
ormolu, with plaques of Sevres porce-
lain. It is signed: " Passemant au
Louvre," and is of the late period of
Louis XV., second half of i8th century.
Mahogany Commode with Ormolu Mounts.
XVI.
COMMODES.
349
Last Half i8th Century.
It is in the Victoria and Albert
Museum. At the bottom of the
same page is shown a mahogany
■commode with beautifull}- chased
and gilt brass mounts.
On this page is shown a
mahogany commode witlr beauti-
fully designed ormolu mounts,
and below in the left-hand corner
is a cabinet in marqueterie of tulip.
box, and purple wood, decorated
with plaques of Sevres porcelain,
painted with flowers on a white
ground with borders of green.
The mounts are of gilt bronze,
cast and chased. This cabinet
is by Martin Carlin, and is of the
style and period of Louis Seize.
In the right-hand corner is a
commode attributed to J. F. Leleu,
with beautifully chased and gilt
brass mounts.
Mahogany C(jmmode with Ormolu iMounti
Cabinet in the Wallace Collection.
Commode.
350
Louis XVI.
UPRIGHT SECRETAIRES.
Last Hair iSth Century,
Upright Secretaires.
Above are given two illustrations of upright secretaires by Riesener of the style and period of Louis
Seize. The plaques and mounts, ornaments, and floral decorations are in gilt bronze, cast and elaborately
chased, and are by Gouthiere. That on the left is in satin-wood and marqueterie of various woods, and is
stamped on the back with the cypher of Queen Marie-Antoinette and the Royal Crown encircled with the
words : " Garde-Meuble de la Reine." That on the right is in amboyna wood, with purple-wood bands.
On page 351 is an illustration of a cabinet of oak and pine, veneered with ebony and enriched with Sevres
plaques. The inside of the cupboard is of satin-wood and the long drawer of mahogany. The mounts are of
ormolu. On the top is a slab of variegated yellow marble. It is stamped "E.H.B.," and is in the style of
the period of Louis XVL Modern French. It is in the Victoria and Albert Museum. On the same page is
illustrated a music-stand or reading table in marqueterie, with rising top inlaid with a Sevres plaque which
351
XVI.
CABINET AND MUSIC STAND. Last Half 1 8th Century.
has the date letter for 1778. It is on a tripod
stand, with mountings of chased ormolu. It
has a drawer fitted for writing purposes.
This music stand is stamped " M. Carlin," and
formerly belonged to Queen Marie-Antoinette,
by whom it was given, in 1786, to IMrs. Eden,
afterwards Lady Auckland.
On top of page 352 is shown a table in
satin-wood and purple-wood, with mounts and
ornaments of gilt bronze, cast and chased, the
main feature of the decoration being rich
detached festoons of oak leaves and acorns, of
the style and period of Louis Seize. On this
table in the centre is a turret-shaped clock of
Music Stand.
Cabinet.
gilt bronze, the dial ornamented with paste diamonds. The
crowning decoration is a figure of Love, with the emblems
and trophies of War. This clock is of the same style and period.
At each side are bronze statuettes belonging to the middle
of the i8th century. Th?y represent Cupid with his bow and
arrows and the infant Bacchus with a thyrsus and wine
cup. Also on this table are candelabra of gilt bronze, cast
and chased, showing figures of Love uplifting large stems
of lilies, of the style and period of Louis Seize. At the
bottom of the page is a candelabrum of lapis-lazuli quartz and
gilt bronze, cast and chased. The form is that of a tripod
supported by sphinxes of French 18th century type. Within
the tripod is coiled a serpent. The ornamentation comprises.
XVI. TABLE, CANDELABRUM, AND GUERIDON. Last Half 1 8th Century
Candelabrum.
goats" heads, other sphinxes' heads
of a more Egyptian type, and
flowers reahstically treated. This
is by Gouthiere, and of the style
and period of Louis Seize. The
candelabrum stands on a triangular
Louis Seize gueridon of mahogany
and gilt bronze, cast and chased,
in the style of Martin Carlin.
The candelabrum is by De la
Fosse, of Louis XVL period.
Louis XVI.
PIERRE-GABRIEL BERTHAULT. Last Halt 1 8th Century. -
->1.
Designs for Vignettes, engraved on Copper, by Saint INL^n, suitable tor Martjueterie Panels
Loui
XYI.
Last Half i8th Century.
JEAN SIMEON ROUSSEAU DE LA ROTTIERE.
CeiliiT'- of P.
On page 353 will be found some useful designs for groups of flowers, etc., suitable for marqueterie
in the Louis XVL style by Pierre Gabriel Berthault.
panels
Above is an illustration of a ceiling decorated with a circular medallion in the centre, enclosing a figure
of Jupiter and his eagle amid clouds, painted by Jean Jacques Lagrenee dti le Jeune. This artist was born
in 1740 and died in 1821. In each spandrel of this design is a moulded and gilt eagle in a wreath. Each
of the coved sides has a classical figure within a circular medallion in the centre, between two carved amorini
terminating in gilded scrolls ; in the corners are shells and wreaths. This ceiling forms part of a boudoir which
was formerly in the Rue Vieille-du-Temple, No. 106, Paris, and was constructed for Madame de Serilly, lady-
of-honour to Queen Marie Antoinette. It is now in the Victoria and Albert Museum, and is of the period of
Louis XVI.
555
Louis XVI.
Last Half iSth Century.
JEAN SIMEON ROUSSEAU DE LA ROTTIERE.
Candelabrum.
Side of a lloudoir.
Above is shown a side of the same boudoir, with a chimneypiece of grey marble, the jambs of which are
carved ,with muffled terminal figures by Claude Michel Clodion. Above is a lunette containing a figure
of Pomona, painted by Jean Jacques Lagrenee. On either side is a pilaster painted with arabesques by
Jean Simeon Rousseau de la Rotticre, within carved and gilt oak mouldings. Clodion was born in 1738 and
died in 1814.
A candelabrum, one of a pair, for three lights, is also illustrated above. Two bronze draped females
supporting an ormolu vase from which spring foliated brackets and spirals of ivy, on cylindrical stand of
Probably by Pajou or Falconet. Height 3 ft. 7 in.
marble and chased ormolu.
,..uis XVI.
PALAIS DE FONTAINEBLEAU Second Half 1 8th Centui
AND PETIT TRIANON.
Boudoir of Marie Antoinette.
Bedroom of Marie Antoinette in the Petit Trianon.
35'i
Louis XV
PALAIS DE FONTAINEBLEAU. Second Half 1 8th Century.
Door of Marie Antoinette's Boudoir.
Louis XVI.
PALAIS DE FONTAINEBLEAU. Srcond Half i8th Century
Louis XVI.
359
CHARLES DE WAILLY. Second Hall" 1 8th Cntury.
Design for Ceihng.
360
Louis X\-I.
CHARLES DE WAILLY. ^. ..nl 1 l.ilf iSth r,
361
Louis XVI.
CHARLES DE WAILLY. Second Half iSth Century.
Myyyy///M^y/.yp/jMS.
302
Louis XVI.
J. B. GREUZE AND J. E. NILSON. Second Half 1 8th Century.
Bv Greuze.
Desiens for Framt-s l)v Nilson.
On pages 359, 360, 361 will be found some designs by Charles de Wailly. He was born in 1729 in
Paris, and he studied under BlondeL He has been called the " Palladio " of France. These are somewhat
ambitious designs, but many other designs of Louis X\'I. interiors are shown in this volume.
Above is a picture by J. B. Greuze. He was born in 1725 and died in 1805. Some designs for frames
by J. E. Nilson are also shown, which were probably made about 1770. On page 363 are some designs
Louis XVI.
FRAGONARD.
Secoiul Half i8th Century,
80?
364
Louis X\'I.
J. M. MOREAU LE JEUNE. Sec md Halt" 1 8th Century
Interior with Figures.
Ills Willi L\re.
I'rieze ..t" Chased lirass Work.
Louis XVI.
CANDELABRA.
Second Half i8th Century
365
by Honore Fragonard, who was a pupil of Boucher. He
was born in 1732 and died in 1S06. On page 364 will be
found an interior showing the costumes of the time, also a
clock of SevTes porcelain frame, lyre shape, gros-bleu, with
chased ormolu mounts, the dial painted with the signs of
the Zodiac by Cotteau, and the pendulum formed by a ring
of paste diamonds. The works are by Kinable, and the metal
mounting by Duplessis. Length, 2 ft. } in. ; width, 10^ in.
On this page some candelabra are illustrated. No. i
has si.\ branches, and is from the Petit Trianon.
No. 2 is one of a pair, for three lights, of chased ormolu ;
two female figures, supporting a vase, from which spring
branches of lilies, and resting on an oval base with festoons
of flowers and gadroons. Middle of i8th century. Height,
23i in.
No. 3 is also for three lights, one of a pair, of bronze
and ormolu ; a female figure holding a cornucopia and standing
on a marble pedestal. Late i8th century.
No. 2.
No. 3.
No.
Louis X\-I.
SETTEE, CHAIR, AND TABLE. SLCund Half 1 8th Century
No. 4 is also one of a pair, for three hghts. Gros-bleu
Sevres ■ porcelain vase mounted in chased ormolu, with
floi-al branches for the lights, and marble base. About
1760. Height, 23^r in.
On page 367 is an armchair of white walnut, carved
with leaves, Jforal sprays, rosettes, and bands of leaf and
astragal ornament. The back, seat, and arms are stuffed,
and covered with Beauvais tapestry of late i8th century.
The subject on the back is a landscape with a woman with
a basket of flowers and a boy. The subject on the seat is
a man fishing, accompanied by a woman. The arm
chair is supported on four fluted legs with similar carving,
and the whole of the woodwork is covered with gilding.
The woodwork is 19th century. Height, 3 ft. 3I in. ; width,
2 ft. 3 J in.; depth. 22 in. A similar armchair of white walnut,
carved with leaves, floral sprays, rosettes, and bands of
leaf and astragal ornament is shown on the same page.
The back, seat, and arms are stuffed, and covered with
Beauvais tapestry of late i8th century. The subject
Beauvais Tapestry.
;^*Vi*^^yr.
Settee in Beauvais Tapestry
Gilt Round Table.
Green Granite Top and
Base.
367
Louis XV
CHAIRS IN BEAUVAIS TAPESTRY. Second Halt 1 8th Century.
Pi
^ Mi
^ -S 6
'■^ H -^ S
I ,■ 15-
fill
^ >^ (D OJ
Ks
bj) -o
o •«
l.OLlis XVI.
VERSAILLES.
Second Hjilf i8th Centurv.
Reception Room ol" Marie Antoinette
{•m^
Ur
f
..::sm
Grand Salon of the Queen Marie Antoinette in the Petit Trianon. Louis X\T. Clock.
369
Louis XVI.
PALAIS DU PETIT-TRIANON. Last Half t 8th Century
370
Louis XVI.
BEDSTEAD AND
DRESSING-TABLE. Last Half iSth Century.
Among the woods
used during the i8th
century, besides those
already mentioned, are
mahogany, satin-wood,
thuyawood,- citron,
amaranth, snake wood ;
violet, white, green, and
several other kinds of
ebony; cinnamon,
cedar, cypress, purple-
wood, boxwood, tulip-
wood, amboyna, king-
wood, sycamore, hare-
wood, rosewood, and
various other woods
from Asia, America, etc.
A carriage painter
named Vernis-Martin in-
vented a process, which
is named after him.
He was born in 1706.
Louis XVI.
LALONDE.
!71
Last Half i8th Century.
\'ernis-martin is a sort of varnish of a fine transparent lac
polish, said to have been derived from Japan through the
missionaries. It is generally found on small articles, such as
snuff-boxes, needle-cases, fans, etc., on a gold ground, but is
sometimes used in panels of furniture. The gold is waved
or striated by some of those ingenious processes still m use
amongst the Japanese, by which the paste or preparation is
worked over while still soft. The panels are sometimes
coloured green and varnished. Among the velvets, silks and
damasks iu use at the beginning of the 17th century were
(f«///««<Y/<>»/,7-.. 379.)
■^I^
Desi 'Hb tor BedstLdds
Louis XVI.
PALAIS DE FONTAINEBLEAU. Last Half 1 8th Genu
373
Louis XVI.
PALAIS DU PETIT-TRIANON. Last Hali 1 8th Century
Louis XVI.
CHAIRS.
Last Half iSth Century.
Louis XVI.
SETTEES.
375
Last Half 1 8th Century.
is XVI.
DESPREZ AND SALEMBIER. last Halt i8th Centur
Louis XVI.
SETTEE, CHAIRS, ETC.
377
Last Half iSth Century.
X.^^^:v5Md
m'
r>r\J^r^
Larvnv at \ icK-na ami AIIhii .Mum
Chairs, etc., from the Boudoir ot Marie Antoinette at the Palais cle Fontainebleau.
Carvinu' at Victoria and Albert Museum.
378
Louis XVI.
LALONDE.
Last Half i8th Century.
Louis XVI.
LALONDE.
379
Last Half i8th Century.
the " lopped bough " patterns and " bound
branch" patterns — the latter two branches
ending in flowers - bound together.
They are usually on a gold ground, but
other grounds were used — " patterns of
flowers disposed in opposite directions."
This floral type of ornament is always the
same whether it occurs in velvets, brocade.
or damask. One flower turns to the right in
the first row and to the left in the second,
and so on. " Suspended floral " patterns
is another form of ornament much used
about this time. " Spiral scroll " patterns
are attributable to the Renaissance, and
were copied from the volute scroll of the
Ionic column. Gold and silver thread was
worked with silk, etc., in the richer pieces.
Venice and Lyons copied Chinese patterns,
but altered them to suit local taste. It
was during the 17th century that the
walls, the high back walnut chairs, and
the hangings for beds were covered with
those " flowerbed sort of patterns,"
samples of which can be seen at Hampton
Court Palace. These were mostly made
in velvet for furniture, at Lyons, as
well as in Italy. Another recognised
pattern of silk is the " \'ase " pattern.
This was also made at Lyons during
the 17th century. " Flowered lace "
patterns, where the flowers are placed
vertically on the edge of a piece of lace,
having pomegranates or other fruit placed
here and there, and " lace " patterns
were also in vogue. Birds and moths,
etc., were used to enrich some of these
fabrics, the idea being copied from the
Chinese. Flat embroider}' patterns were
worked on the surface only, with fine gold
and silver threads. Among the popular patterns manufactured at Lyons were figured damasks with the
" twining ribbon reversed." Other patterns are the " ribbon and serpentine stripe " (Louis XV.) ; - entwined
ribbon" pattern, often associated with medaUion portraits (Lnuis XVI.), also made at Lyons; "twining
branch and serpentine " pattern (Louis XVI.), and the ''stiai^lit stripe " pattern. These simple stripes^
strewn with flowers, belong to the end of the reign of Louis X\T^.' but were continued during the Republic and
the Consulate. The Empire patterns have the laurel wreath, the bee, the Greek vase, various pieces of Greek
ornament, like the honeysuckle, swags, stars, the lyre, and various other emblematic designs reminiscent of
classic art.
LALONDE
l,;it(- iSih Ct-nturv
381
Late 1 8th Century.^
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j.m«<«tn«.««tt«t»«*««tnf*««>n«<««<-«««<«'f»««<««<«»n«««'l «•<■«♦«♦«
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882
Louis XVI.
LALONDE.
Last Half iSth C(-ntui-\-.
/ X
f— T-T
So IMM-fJf'rr rr r rm
ri'-f?^7tTr
Louis XVI.
LALONDE.
383
Last ILilf I 8th Centurv.'
Charles De la Fosse
was born m 1721 and
died in 1790. His designs
are somewhat heavy
in character, wreaths
being thrown over
articles, giving them
a clumsy look. In
the designs of some
smaller articles, such
as fire-dogs, hanging
clocks, etc., however,
he shows great taste.
Lalonde published a
great many designs for furniture, and I have shown a number of them, as they are thoroughly representative
of what was in vogue during the latter half of the i8th century. Salembier designed a great deal of ornament of
a very light and elegant description. I have shown a few of these also.
384
Louis XV'I.
CANDLESTICKS BY LALONDE.
Latt; i8th Century,
585
Louis XVI.
COMMODES
Last Half i8th Century.
tIIJ_
Liimmi)dr ticMi^ncd lj\ Lalonde.
Ornament by Salembier.
Commode with Ormolu Mounts, emblematic of Wc
;5S(;
T.ouis XVI.
PERCIER AND FONTAINE. Last Halt" 1 8th Century.
^1)
t
Various Designs for Furniture.
Ornament by Charles Normand.
.387
Louis XVI.
gr ^'^z'**'?!^^'-'-^
I
X'ases bv Charles Normand.
\''ase by Jacques Saly,
Vases b\" Charles Norman
Style.
NAPOLEON'S THRONE.
Early 19th Century,
Empire Style.
PERCIER AND FONTAINE.
389
Early 19th Century.
«)0
Kmpinj Style.
CHAIRS.
Early 19th Century.
The Empire style is
founded on the ancient
Roman and Greek styles .
After the Italian wars
and the Egyptian expe-
dition were over, the
French seem to have
turned towards an as-
sumption of classicalism
— imitating the old
classical ideals — and
carrying it so far as to
imitate in the shape of
the backs of their
chairs, etc., the Roman
bas-reliefs and drawings
on antique vases. The
occasional introduction
of the Sphinx, as in the
arms of the chairs shown
on these pages, was
meant to remind people
of the French expedition
to Egypt. Furniture was
made in mahogany,
rosewood, and ebony,
with brass mounts, or
the carved ornaments
were gilt. Another mode
was to inlay the wood
with metal and i\-ory.
These methods of in-
laying in metal on a
ground of ebony or dyed
wood seem peculiarly
adapted to the nature of
the mahogany furniture
so much in use at that
time, which they en-
li\'en, without prevent-
ing it by any raised
ornament from being
kept free from dust and
dirt. This style of
ornamentation was car-
ried to a great degree of
Empire Style.
CHAIRS.
391
Early 19th Century.
elegance and per-
fection. The metal
ornament and the
ground of stanied
wood in which it
is inserted, being
stamped and cut
out togethei
are always sure
to fit each other
to a nicety
Among the notice
able featuieb of the
style are winged
figures embkmatK
of Liberty, antiqw
heads of helmeted
warriors ai 1 anged
hke a cameo med-
allion, mouldings
representing an-
tique Roman faces
with an axe m the
centre ; trophies of
lances, sui mounted
by a Phiygian cap
of Liberty Vases
found in tombs
were placed m
recesses imitating
the ancient colum-
baria, or leceptacle
of the cineiaiyurn
Other subjects
chosen wei e an
Indian or beaided
Bacchus the scenic
mask, the thyisus,
twined round with
ivy leaves, the
panther's muzzle
and claw, with
other mbignia
of Bacchus;
(Continued on Az^v 394.)
392
Km pi re Styl
PERCIER AND FONTAINE.
Early 19th Ccmtury.
Emi)irc Style.
PERCIER AND FONTAINE.
393
Early 19th Century.
Early 19th Centui
^ cliimeras gilt or in bronze after the
Roman style, also bronze candelabra,
copied from examples that were excavated
from Pompeii.
Among the artists who are credited
with influencing the Empire style was
David Jacques, who is accused of pander-
the Cf'Esarism of Napoleon. Percier
Lampadaire.
Empire Style.
and Fontaine published a work on Furniture,
etc. Charles Percier was born in 1764 and died
in 1838. He won the Premier Grand Prix de
Rome in 1786. He appears to have supported
himself during the French Revolution by de-
signing furniture and decorations, introducing
classical features. Pierre Francois Leonard
Fontaine was born in 1762 and died in 185 j.
SETTEE.
395
Early 19th Century.
Lampadaire.
396
Empire Style.
JEWEL CABINET.
Early 19th Century,
A Jewel Cabinet, in Rosewood with Brass Mounts, richly gih and chased.
397
Empire Style
COMMODES, TABLES, ETC. Early 19th Century.
398
Empire Style.
ROOM AT THE GRAND TRIANON. Karlv iqth O ntun
399
Empire Style. NAPOLEON'S BED AT THE GRAND TRIANON. Early 19th Century
^f^w-^^^C^^-^i
Napoleon's Bed at the Grand Trianon, Versailles.
Percier and Fontaine had a large practice. Their work on Furniture is called " Recueil des Decorations
Interieures," published in i8t2. It is regarded as the standard work on the Empire style of Furniture.
They were made directors of the decorations of the Opera House. When Napoleon became First Consul
they were appointed his architects. They designed and built the Arc de Triomphe du Carrousel. Fontaine
published a " Histoire du Palais Royal."
Charles Pierre Joseph Normand was born in 1765 and died in 1840. He devoted his time during the
French Revolution to engraving architectural subjects, and was a most prolific and conscientious worker.
He had studied in Italy, having won the Premier Grand Prix de Rome in Architecture. His great work
is " Nouveau Parallele des ordres d'Architecture," published in 1819.
400
Empire Style.
CHARLES NORMAND.
Early 19th Century,
(kL
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I Cat. no. 1137
MAR. 1 942
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3 5002 00395 3234
Art NK 2049 . SS 1903
Strange, Thomas Arthur-
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