ENCH jmmi miiiimuiimiwwiiiiu^ii iPJiliii Emden sc Wormser MANUFACTURERS OF Lace Curtains, Bedsets and Kindred Goods 451-453 BROADWAY, NEW YORK New York Factory, 178-180 GRAND STREET PARIS S T. G A L L NOTTINGHAM Cornell University Library NK2049 .B98 The French decorative styles from the ea ^ 3 1924 030 688 687 ^^^ The Cleaning of Lace Curtains is a matter of pride with us. We realize that curtains must be handled with care, especially if they are tender. We always examine a curtain and know its condition before cleaning. The finest Arabian and French curtains are kept Cafe- au-Lait, or can be Re-dyed. REES & REES =THE LARGEST= CLEANERS, DYERS AND RE-FINISHERS OFFICE AND WORKS 232-236 EAST 40TH STREET, NEW YORK 45611 , ^ PHILADELPHIA OFFICE Telephones ,^ rS^TH Street ^ '*S''2J / 1723 Chestnut Street (Telephone 1—3701) Re-dyeing of Faded VELOURS, VELVETS, PLUSHES, SILK PORTIERES, HANGINGS AND PLAIN FABRICS DYED TO ORIGI- NAL COLOR OR TONES TO HARMONIZE WITH IN- TERIORS. ALL CLASSES OF SILK HANGINGS AND OTHER MATERIALS DRY CLEANED BY AN EN- TIRELY NEW PROCESS. B Wm. H. Horstmann Company .. ' I '''-,': i^ ,-■" '■■ '^ Philadelphia j '■: \ ; ] Uphdste ^ rn mi n v^ r^ ^m'^^A -J Makers of Fr'mges, Cords, Tassels, Rope Portieres, Edgings, Borders, Furniture Gimps, and Loops, ' special orders in styles of all periods ESTIMATfS FURNISHED Complete Line Showir at Salesrooms Paetory and 'Salesrooms PHILADELPHIA: Cor. Fifth and Cherry Sts. NEW YORK: Broadway, Cor. T)f ©rarrd Street /- , , r BOSTON: , y :> 7 Temple Place eA^LTIMORE: ■ ,, / iDETKOIT: 7tS No. Hcjward SI.' ^"^ . '15 Kanter Building SAN FRANCISCO: ' 916 Market St. i ■' ' I i .- i '/ ( WATERPROOF I ' ,- . I The whole outfit, including the wall. IT IS COVERED WITH S A N I T A S THE NEW WASHABLE WALL COVERING. Sani^ tas is applied to the wall jike ordinary paper, it can be washed at any time with soap and water. S A N I T A S AN APPROPRL/VTE COV- ERING for kitchens, pantrys ( ) and . bathrooms and other rooms where a cleanly and durable wall covering is de- ' sired. WE ARE WHOLESALE DISTRIBUTORS OF SANITAS THE LEATHEROLE COMPANY 142 West 23d Street, New York G- Fine Satin Damasks Gubelin TapestriL'S Cliintz Damasks Fine Cotton Tapestries Worsted Tapestries Worsted Damasks Worsted Terry Cotton Re])s Silk Velours, 50 in. Cotton Velours, 27 in. Cotton Velours, 50 in. Printed Velours, 27 in. Verona Velours, 50 in. Broeatelles Couch Covers Flair Cloth, black Flair Cloth, colored Linens, 60 in. Cabinet Cloth Felt Dull Finish Drill Dull Finish Duck Hair, 15 Grades ]\Ioss, 4 Grades Tow, 3 Grades Excelsior Fibre Ticking Bed Lace Twine, Stitching Twine, Mattress Twine, Spring, 3 Gr. Springs, all kinds Cotton Bindings Worsted Bindings Chair Seats, Pantasote Webbing, 6 kinds Button Machines Button Moulds Buttons, all kinds Moquettes I. fojmin fKinimi ? (a 30 UNION SQUARE -east. NEW YORK Manut jclurers, hnporters and Jobbers Upholstery Goods AND Curtain Materials Our Collection includes all the Nes^esl Fabrics from Leading Manufacturers of Europe and America Only House in New York Carrying Full Line of Supplies I'anne ]'lush Crushed Plush, 4 Gr. Mohair Plush, 7 Gr. Silk I'-'lusli, 2. Grades Joinings, 50 inch Leather, jdain Leatlier, Spanish Corduroys, 5 GradL'S Cretonnes l-"ringes, 6 styles Silk Cords W ool Cords I'illuw Cords < linijis, 6 styles Trnurnings, to order Leather I'Vinges Leather Cords Leather Gim]js J,eather Nails Leather Edgings i'antasote, 36 and 54 in. I'antasote, 36 in. enib. (■^■chtman's Leather Cane, all sizes Tacks Cambric Buckram Burlaps, light and heavy Cheese Cluth Sheeting J lenims, plain Tufts, Cotton & Leather Tenders Xeedles Gilt Nails White Cotton, in rolls Antique Xails Carpet Linings Interlining W'addine; THONET BROTHERS VIENNA, AUSTRIA. AUSTRIAN BENT WOOD FURNITURE CHAIRS SETTEES HAT RACKS Cherry, Mahogany, Golden Oak Finishes carried in Stock. THONET BROTHERS, 86O Broadway, new york J. A. Brittain & Co. 105 Fifth Avenue, New York n'o^' High-class Novelty Curtains BONNES FEMMES, PANELS £5H ALSO SPECIAL SIZES IN £3£3 Renaissance and Arabian Sash Curtains and Ruffled Bed Sets Agents for Messrs. STURZENEGCER & TANNER, St. Gall, Switzerland, and Messrs. T. I. BIRKIN & CO., Chester, Pa., U. S. A., and Nottingham, England THE LEATHEROLE Is on the walls of Hotels, Theatres and the best Private Houses in New York and other leading cities. The newest, handsomest, most novel and durable wall covering. Cloth foundation, decorated in oil colors. Tile effects. High and Low relief patterns. Applied to the wall like paper. Waterproof and sanitary. 600 styles. We will match any color in any style. Ask your decorator or write to us. LEATHEROLE CO 142 West 23rd Street, New York John Barnutz Manufacturer of FineFurniture Reproductions of Chippendale, Sheraton, Hepplewhite, Etc., Etc. 260-268 GOLD STREET BOROUGH OF BROOKLYN NEW YORK CITY The Park Avenue, Vanderbilt Avenue and Ninth Avenue trolleys take you within one half block of the factory and warerooms from the New York end of Bridge in ten minutes. :: :: :: Fine Persian Rugs (o^TI KVAN For fine homes our stock of Persian Rugs is unsurpassed in the world. In addition to the regular lines in all the finer weaves of Persia, we keep in stock rugs in unusual and large sizes and rare color combina- tions, not obtainable elsewhere. We submit designs for special rugs of the finest texture to be made on our o^^'n looms in Persia. We cordially invite you to visit our salesrooms. 147 FIFTH AVENUE NEWYORK SIMPSON'S Gobelin Art Draperies Rddvslone Mfg. dj,, Sole Manufacturers. The artistic effects sold under the above ticket are pronounced by judges and critics to be fully equal in designs, engraving, coloring, finish and etiect, to the best French printed draperies at about one-fourth the cost. The printing is the highest class done in America. GOBELIN ART DRAPERIES ARE HANDLED BY ALL LEADING HOUbES SELLING AGENTS. Harding, Whitman & Co- New York. Philadelphia. Boston. Chicago. St. Louis. Baltimore. Melbourne. Sidney. London. Mancheste Valentine- Sea ver Company Nos. 533 to 539 Sedgwick St. CHICAGO M.'iKERS OF Fancy Parlor IVork No. 1055 Chair. Finish, PERFECT! Y-S ^ Quality, BEST! Exhibit— Eighth Floor NEW FURNITURE BUILDING, 1411 MICHIGAN AVENUE, CHICAGO. Xf). 1055 ni\'AN. IV Beatrice Silkoline and Art Draperies and Irish Point and Novelty Lace Curtains Tapestry and Sateen Lambrequins, Litho Pillow Tops : : : : Special cloths for M'f'gs of comfortables and art goods. : : : : S. M. Schwab Jr., 6 Co. 46 and 48 White Street, New York City 1^^^ MAKERS Joseph Wild &Co. IMPORTERS AND WHOLESALE RIS OF Oriental Rugs and Carpets 11-13-15 and 17 THOMAS STREET 78-80-82 and 84 WORTH STREET NEW YORK f : <: -'^ [^ ^ i'- "'-/ /I- ,'' cy y ^Y-(^ •vii ii, A ^^c^^ ^ y\\ / !i Curtains and Valances for Double Window in Burnt Leather and Velours— A specimen of special order work by the Charles E. Bentley Co. SKETCHES and ESTIMATES furnished for this class of work for Portieres, Lambrequins, Curtains, Valances, Table covers, Piano Scarfs, etc. Burnt Leather on Velour is new and effective in decorative furnishing, producing beautiful and artistic color combinations, is moderate in price and wears well. In addition to our special order work we are constantly adding new designs and ideas to our large line of stock sizes, to which we invite your attention at our salesroom. CHARLES E. BENTLEY CO. 583 BROADWAY, NEW YORK. THE "FOWLER" SPECIALTIES Patented Jan. 12, iSgz — Feb. 16, iSgj — May 25, 1894— Oct. 9, 1894 — Mar. 26, 3901. Other Patents Pending. THE FOWLER IMPROVED 1900 ADJUSTABLE CURTAIN ROD. Adjusts from 24 to 40 Inches. Z^ oo_Ad I u Stable »MMi— nm r i ni i i ii nn i rMJiiiaiiM : C u rt ai xL^^^^d., Universally ackiiowltdKecl to be the only perfect Curtain Rod yel produced. Fits any window, bookcase, fireplace ; in fad, any place \ynere a sash rod can be used. It is practically solid, will not ,sa(f or deface casintfs ; adjusts to any length ; requires neither .screws nornails; can be put up or reino\-ed in an instant. , The Only The FOWLER Rods and Sockets are securely fast- ened to Window or Door Casings by SPRING and FRICTION. Highly Finished i3rass. Oil Tempered Springs. Solid Rubber Fenders. NO SCREWS, NAILS OR TACKS Required. FOWLER & CO., Portiere with Fowler Pole Socket. SOLE MANUFACTURERS 65 Beacon St., Worcester, Mass. Sash Curtain with Fowler Rod and Socket. Sold generally by leading Upholstery Hardware Jobbers. If your Jobber does not handle our goods. write us direct. vn LOUIS X5ZI ENGLISH GR.EEK few of the montj interesting examples of our manuf^icture. LOUIS EL ,'?L=* A.B.&E.L.Shaw(^ HIGH GRADE FURNITURE ORDER. WOR.K A SPECIALTY LOUIS XV SL^ ifWlKi. OfTice ai^d picforcj £ast(^rr^b ridge, yv\a.ss. j^areroDn^s 81 Causeway 5t. 5ostor^,yV\ass. yNYFuri^-Excl^ai^Qe y^ew York City. QU6E/1 AAvM T^&/V/\ISSANC£ CHIPPBADALE HePPELWHITe SHtKATO/i B. Saubiac & Son 35 & 37 East 20th Street NEW YORK D ecorative roideries Manufacturers of C2irtains, Bedset s, Etc. Importers of Fine Laces, Galoons and Special Fabrics. Inexpensive Materials in stock for Immediate Delivery. DESIGNS AND ESTIMATES FURNISHED Mi m (Ready to Cover) Acme Bolster Rolls Retail at $2.00 and sell on sight Order one and see how well it is made. They sell readily because : — 1. They are light (weighing only four pounds) yet strong and durable. 2, Ladies appreciate their stylish, handsome ap pearance and inexpensiveness. We are advertising them constantly in the home publications with largest circulation. The Hmde 6 Dauche Paper Co SAXDUSKY, OHIO. i7iDuaneSt NEW YORK CITY ■^ in ?# *ii2^£^ (f'-i ji^ V Palmer (s Embury Mfg. Co. Manufacturers of the Highest Grades of Parlor and Library FURNITURE Importers of COVERINGS for Parlor Suits, Etc. A. large assortment of Aubusson, Belleville and Nimes Tapestries and English Moroccos in stock WAREROOMS: ' 42-48 East 20th Street OFFICE AND FACTORY: Gouveneur Slip NEW YORK CITY Stead, Miller & Company Fourth and Cambria Streets, Philadelphia MANUFACTURERS OF Upholstery, Drapery ""•^ Decorative Fabrics Silk and Satin Damasks, Brocatelles, Armures, Silk and Cotton Gobelins, Mercerized Damasks, Silk Warps and Cotton Specialties. Tapestry Curtains and Couch Covers in an extensive variety of styles and weaves. Silk and Cotton Curtains, Bordered Curtains, Mercerized Curtains, Etc. Many Interesting Specialties not to be found elswhere. NEW YORK: CHICAGO: SAN FRANCISCO: 140 FIFTH AVENUE 414 MEDINAH TEMPLE, FIFTH AVE. AND JACKSON ST. 58 FLOOD BUILDING The Thompson 8c Norris Co. PRINCE & CONCORD STREETS Western Works, Brookville, Ind. BROOKLYN, N. Y. NORWICH TREADSPRING (Scientific) CARPBT LINING AND STAIR PAIJS J-'liutomuilcrs, Cork Paper^ CcUiilar Board, Bottle Packing and Jl'rappcrs, Express Boxes, Cellular Cases, Inflexible Envelopes, Silk U'rappers, Book Wrappers, Mailing Tubes, Ete., Etc. HoRwicH SCIENTIFIC TF^E/\DSPf^iNs STAIR PAP. SONS & CUNNINGHAM, makers of REED AND RATTAN FURNITURE in exclusive designs for the best trade. A variety of styles in deeorative colors such as Forest Green, Ox Blood Red, Purple, White, etc., etc. Estimates furnished on special designs. Sketches furnished upon application. 203-20S Ea-st SSth Street, Ne^v York Specialty of French Enamel Cane Furniture in Colored Effects. Petigny Freres & CO. Designers and makers of ART EMBROIDERIES FOR THE FINE DECORATIVE TRADE b Estimatt'S fundi hcd for Special Work 24 Union L Square East NEW YORK Telephone 480 Gramercy. '■ CONSOLIDATED ARTS COMPANY 27 EAST 21st STREET, NEW YORK MANUfACTURERS OF HAND DECORATED SCREENS DECORATED VELVET AND VELOURS CURTAINS EINE COTTON VELVETS IN EXCLUSIVE SHADES IN AN EXTENSIVE COLOR LINE IMPORTERS AND DISTRIBUTING AGENTS OF FINE FURNITURE, DECORATIVE FABRICS, ART LEATHER WORK, BRIC-A-BRAC, Etc. FINE FURNITURE IN ALL PERIODS OF STYLE FOR THE ENTIRE HOUSE SPECIAL FURNITURE IN NEW FINISHES WE EXTEND A CORDIAL IN- VITATION TO THE TRADE TO VISIT OUR SALESROOMS WHOLESALE ONLY GEORGE C. LYNCH A. H. NOTMAN EXCLUSIVENESS OF DESIGN D„. No, E.dude VARIETY OF STYLE WE show an assortment ranging from the very con- servative old English, French and German Models, all the way to the most daring ideals of the Art Nouveau. Seekers after the odd, the useful, the new and beautiful, are our best customers. They prefer our creations as the evident result of the combined efforts of artist and artisan. PERFECT GEMS FOR CONNOISSEURS AT SURPRISINGLY LOW PRICES Art Bronzes Electroliers Copper and Brass GEISLINGEN-GOEPPINGEN London New York Paris For Interior Decoration Wuerttemberg Plate Co. New York Office and Showrooms at 4J-§i West Fourth Street Scherrer-Williams Company Successors to PEABODY-WILLL\MS COMPANY Makers of High Grade WILLOW AND GERMANIA Furniture EXCLUSIVE DESIGNS a specialty WE ARE SOLE MAKERS OF THE NEW " GERMANIA " LINE OE CHAIRS FA CTOR ) ' AND SALESROOM 30 Lewis Wharf BOSTON, MASS. xn martlti manufacturitig Co. West n«wton, massacbusctts ECHO BRIDGE New York Salesroom:'^ o 6 & 8 W. 22nd St. j TTTTTTTT Address Mail to the Factory at West Newton, Mass, NOTED FOR ITS TWENTY-FIVE ECHOES Ruffled Bobbinet and muslin Curtains PRICES ALU:4YS UNDER THE MARKET Extra Good Values in Medium Priced Bobbinet Curtains Also Flat and Bonne Femme Curtains MADE WITH CLUNY AND RENAISSANCE LACES :: Bed Sets ^o match CURTAINS E- & P. Lindenthal / M FOKT E RS A iV D MANUFACTURERS OF Upholstery and Drapery Trimmings SPECIAL ORDER WORK FILLED WITH PROMPTNESS AND CARE 1648 BROADWAY, corner 51st Street NEW YORK GOAT SKIN RUGS 1904 MOUNTED.... ANIMAL SKINS Baby Carriage Robes 1' ur Baby Carriage Robes in Angora Sheep, Thibet, Greenland and Persian Lambs, Cape and Turkish Angoras made in Squares, Go- Carts Combination and Patent Pocket Robes. Exposition Robe our latest ; don't fail to see it. Our selection of all Skins used to ^Manufacture Baby Carriage for this sea- son are the choicest we have had for years, selected by an expert. FUR RUGS Goat Skins lined and unlined all colors and combination, made in all sizes. MOUNTED ANIMAL SKINS All kinds from a fox to a lion, excellent variety. SLEIGH ROBES Complete line all colors and sizes, Samples and prices of all the above furnished on request. Warner Manufacturing Co. 52 WHITE STREET Telephone, 3,.vFni„klm NEW YORK, N. Y. A SPFXIilEN HIGH-CLASS ENGLISH FRIEZE. W. H. S. LLOYD CO. IMPORTERS OB" Fine English, French, German and Japanese Wall Hangings • r 1 • Ct t SHIKII SILKS and JAPANESE GRASS CLOTHS in an immense variety of colors and tints m £,xciusive atyies ENGLISH AND FRENCH CRETONNES to matcli paper in stock German TEKKO Cloth. MURALIGNUM, loolis clothy, color fast and without specks Sole Representatives in this Counirvfo/- ■ ■ ■ ■ "ANAGLYPTA " and "SALAMANDER" — fi7-eproof — t!ie leading ?-elief material for •walls, wainscotings and ceilings. A. Sanderson &^ Sons and ll^/n. li^oolams. 26 EAST 22d STREET n't' //az'e jicst issued a New ANAGLYPTA Catalogue. Send for one. NEW YORK CAT AMAMP^PR" '"^ fireproof material similar to "ANAGLYPTA" in original ^^^ ^-^^'*-r»- i^ 1— Id rv designs as well as many reproductions of the latter material. Iinporiers of Galooiis and Special Fabrics Office and Salesrooms: 2% East 22d Street (One half block from Flatiron Building^ and Broadway) N E W y R K HERZ & CO. MANUFACTURERS OF Decorative Embroideries For the Upholstery Trade. A. T. SCHLICHTING 263 Market St. Newark, N. J. Manufacturer of "Slick Shine" Furniture Polish "Slick Shine" Metal Polish Write for Samples and Prices. Agents Wanted Nothing belter made. One sale in a town will create a demand. F. A. Johnson Co. Importers of ENGLISH, FRENCH, GERMAN AND JAPANESE WALL PAPERS Scenic Tapestry Wall Paper imported by us. Sample Books funiislied to dealers. 258 FOURTH AVENUE NEW YORK UPHOLSTERY AND DRi^PERY FABRICS INCLUDING A PARTICULARLY CHOICE COLLECTION OF FURNI- TURE COVERINGS, HANGINGS AND WALL COVERINGS IN ALL THE GREAT PERIOD STYLES AS WELL AS THE MORE MODER NAL COLOR SCHEMES, CONTROL ORATORS WILL FIND THE ASS EST. COLONIAL, MISSION, ART ART FABRICS IN A REMARKABL FANCY COLORED HAIR CLOTH. N TREATMENTS, ALL IN ORIGI- LED BY US EXCLUSIVELY. DEC- ORTMENT OF UNUSUAL INTER- S AND CRAFTS, AND MODERN E VARIETY. TAPESTRY PANELS, VELOURS OF EVERY STYLE. 29, 31 and 2,2, East 19th Street New York Foreign Offices PARIS: 12 Rue Ambroise Thomas GERMANY: Chemnitz; Elberfeld Branches at Chicago, Boston, Philadelphia, San Francisco, Baltimore JOHNSON & FAULKNER North Union Square NEW YORK EPRODUCTIONS of Antique Stuffs of all the Important Periods in Tapestries, Brocaded Silks, Dam. asks. Embroideries, etc. * * Some taken from rare and historic exam- ples of unusual interest. * * Printed Linens, in texture, design and color, very like the old. * * Many useful and correct styles for wall hangings. * * Velvets of Cotton, Flax, Silk and Mohair. * * Plain Stuffs in fine colors and great variety * * In short a very extensive stock of high- class stuffs for all sorts of decorative purposes. BOSTON 1 20 Tremont Street PHILADELPHIA C H I C A G O 1200 Chestnut Street 15 1-153 Wabash Ave. PARIS 50 Faubourg Poissonniere A ROCOCO INTERIOR IN THE DAYS OE LOUIS NV. THE French Decorative Styles FROM THE EARLIEST TIMES TO THE PRESENT DAY A HAND-BOOK FOR READY REFERENCE BY THE EDITORS OF THE UPHOLSTERY DEALER AND DECORATIVE FURNISHER. E 1 1 v,i^ I'^-j Ys'^-r 'l^'-'-' *'■'■. ''^ ' '■"'-''- NEW YORK: T. A. CAWTHRA & CO. 27 East 21ST Street. 1) Table of Contents PAGE ROMANESQUE PERIOD . . - - - i GOTHIC PERIOD ..--.- 5 EARLY FRENCH RENAISSANCE - - - 11 MIDDLE FRENCH RENAISSANCE - - 15 HENRI IV - - - - 21 LOUIS Xlil -------- 25 LOUIS XIV - 31 REGENCY --.---.- 41 LOUIS XV — ROCOCO ------ 45 LOUIS XVI - - 59 DIRECTOIRE .-----.. 77 EMPIRE STYLE — NAPOLEON I - - - 79 NINETEENTH CENTURY STYLES - - - 91 L'ART NOUVEAU ------ 95 CONDENSED TABLE ------ 100 INDEX --------- loi Copyright T. A. Cawthra & Co. 1904. ^ DILTArL KROM THIi BAYEL:X TArKSTin'. FRJ-:\CII ROirAXESCjL'E PERIOD. J5he French DecoroLtive Styles THE FRENCH ROMANESQUE. Years 476 to 1 150. FRENCH decorative art had its birtli with the fall of the Western Roman Empire in the fifth cen- tury. iSefore that time hrance was practicall}' an anarcliy of more or less savage tribes, out of which tlie military genius of Charlemagne welded the be- ginning of modern France. The decay of the Western Roman Empire and the increasing greatness of the Eastern or Byzantine Empire were synonymous, and the new architectural life that arose in Europe on the ashes of ancient Roman conc|uests folknved more or less closely the Byzantine style. The Romanesque centuries are generally known as the Dark Ages. They were, in fact, the formative period of a new western ci\'ilization. In this new civilization the Pope Ijecame the real head of tem- poral affairs, and each monaster}' and cathedral an outpost of his powerful SN'stem. As a consequence the Romanescjue period was an era of Christian art. Let us consider France, and indeed, all Europe, as a wilderness, for it was little more. In this wilder- ness arose the new life that had its head and centre in the ancient city of Rome. As the new era pro- gressed and the time came to build churches it was unavoidable that these edifices should have as their models the existing churches of Rome, which were all in the old Roman st}le. The constant passing and repassing of ecclesiastics between France and Rome was enough to account for this, and to explain the reason this early French architecture was called Rom- anesque — or like-Roman. This Romanesque st}'le was pre-eminently ecclesias- jp, ' M^^^^i^ f r " '' Tw^Tmm^'^s^m Wi L^ H%>w ^M^ m^^^MD ^^^^M -JL; M U 9 WjM I^^K m ' m W'\ am JPB Cmhii -^"^TtlwB r 1 1^ Jl J L -^^^Kt 5^iL^4=-|:^ I .•!_ , J) ~Vj ^^^^^^^2 - ■ ~~-»wr ^ KING HAROLD. FROM THE BAYEUX TAPESTRY. FUNERAL OF KING EDWARD. THE FRENCH DECORATIVE STYLES. EOMAKESOUE CATHEDRAL AT POITIERS. tical, for the civilization that existed emanated from the church, and it was an imitation of Rome. The inaljility of the workmen to reproduce the Corinthian capital resulted in the creation of the "pillow" capital — a square Ijlock rounded at the lower corners, and more or less decorated, usually in bas- reliefs. Low relief was one of the notable features of the style, both in interior and exterior decoration, and in this it followed the Byzantine style. Mosaic work was used on walls and floors in the early Romanesque, generally in geometrical patterns. There was scarcely any mural iiainting, and in the later Romanesque period, when mosaic walls went out of fashion, tapestry hangings came into use, and on the lower parts of walls formed an important part of mural decoration. These tapestries were used alike for churches and secular buildings, and were of two sorts, woven and embroidered. Those of the first kind were, when not imported, copies of Byzantine or Moorish fabrics, and generally geometrical pat- terns. The embroidered tapestries were of greater freedom and originality of design, but they were extremely childlike and ruflc in execution and treat- nient. These embroidered tapestries were particularly in use in the northern provinces, and were, doubtless,, influenced ]:>)• the English ( Saxons j, wdio were noted embroiderers for that day. The most famous of these b'rench embroideries is the celebrated Bayeux tapes- try, commemorating the Norman conquest of Eng- land. Glass painting was popular, and the French were at that time the cleverest workers in that art. In furniture the cardinal feature was its practicabil- ity. As one author says, "The slow-moving, serious spirit of that time paid but little regard to elegance^ and this was only natural. Men had their virtues and vices, but were free from affections of the nerves." Ever\-thing was massive and solid. Cabinets were seldom seen in houses or castles, but there were side- boards, merel}- chests set on heavy legs. All the art of the furniture maker was devoted to the ornamen- tation of the iron or wood chests that formed the wardrobe and treasure trove oi e^'erv famil}'. The beds sometimes had canopies, and when this was the case they were suspended from iron rods fixed in the walls. The beds were massive affairs, im- movable and standing high above the floor. In color it was but natural that richness should appeal to this half childish age. The cardinal colors and gold were abundantly used, and the hues, shades and tints that appeal to us were neglected. By using these rich colors the interiors often attained great brilliancy, that was toned down b)' the shadows. Decorative details of the French Romanesque style have usually a geometrical base, especially in flat orna- mentation. Geometrical motifs are frequent, and when nature forms are used they are either heavy or grotesque. Thus the Acanthus scroll shown on the opposite page is stifl:'er than those of the Greek davs. or of the Renaissance. The fret band, common in nearly all other periods, was ver)- seldom used. Inter- laced bands were common, but differed from the clas- sic form in having more sharp angles. Rosette bands were frequent, and the vine, the clover, thistle and maple leaf were used in carved ornamentation. The rosette was used in the centre of most Romanesque ceilings. The ba.ses of pillars, instead of being plain, as in the Greek, were usually ornamented, the shafts being frequently covered with flat carved interlacement. The cushion-shaped capital is typically Romanesque. FRENCH ROMAXESQUE ARCHES AND CAPITALS. THE FRENCH DECORATIVE STYLES. Rfcii ^w* [/^vyj $& Q 5^ ^ |H^ H ^^ Jffi^ •Sft" '^^?)S ■ ■ =} FRENCH ROMANESQUE DETAILS. THE FRENCH DECORATIVE STYLES. THE KNIGHT'S HALL. TIIIC liUKI'/S NAM.. CHATEAU OI'^ PIERRIU'ONDS. LATE GOTHIC. THE FRENCH DECORATIVE STYLES. NOTRE DAME, PARIS. 13TH CENTURY. CATHEDRAL, RHEIJIS, Til CENTURY. THE FRENCH GOTHIC. Years 1 1 50 to 1500. FRANCE was the birthplace of the Gothic style of architecture and decoration, and in France the style reached a perfection not attained elsewhere. The style originated in North Central France about the middle of the twelfth century: approximately in the reign of Louis Yll, and found its death blow as ', A^i S GOTHIC DETAILS. a national style about the year 1500, with the begm- ning of the reign of Louis XIL During this period of three hundred and fifty years Gothic architecture spread to all European countries. But it is with the French Gothic that we have particularly to deal. In the first place it is well to state that the word Gothic as applied to this architecture is an error. It was given to it in derision by the enthusiasts of the Renaissance, and has clung to it despite the fact that the stvle has nothing in common with the Goths. Like all great styles the Gothic went through its several stages of development, becoming more and more ornate until it at last reached a point of elab- orate ornamentation and delicacy of construction be- yond which human ingenuity seems unable to proceed without ignoring all the principles of construction. In fact, it is necessarv to continually repair the Gothic buildings of Europe lest they fall into ruin. It is supposed that the Gothic style of pointed arch was first introduced into Euroi^e from Saracenic coun- tries hx the returning crusaders, hut if so the style soon outgrew its source. It has been said that the interlaced arches and sturd\- columns were suggested by the aisles in the mightv European oak forests. THE FRENCH DECORATIVE STYLES. In a time when all learning and much of the wealtli were in the hands of the ecclesiastics it was natural that the Gothic style should become largely an ecclesi- astical style. For castles and chateaux the heavier Romanescjue style remained popular, as it was better able to withstand battle and siege, but as churches were always considered a sanctuar)- or neutral ground the ecclesiastics were able to make them as ornate and delicate as possible. For this reason, and also because it was a most superstitious age, the (iothic style, in decoration, pro- ceeded along symbolic lines. The trefoil, s\-mbol of trinity ; the quatrefoil, symbol of the cross and of the four evangelists, are two of the simplest of these sym- bols. Ever\' l)ird, beast and figure came to represent some virtue, sin, saint or demon. Tracery, a term which is most frequently heard in connection with the Gothic st}'le, was the base of all the decoration. It is a decorative figure formed of circles or of the angles formed by the intersection of A GOTHIC DRAPERY. circles, so that every line is either a circle or a broken arc of a circle. The results, while stiller than natural forms, permit great beauty and often an in- tricacy that pleases the eye with a sense of mystery. The Gothic arch is but a simple combination of two large arcs, and the introduction of this pointed arch was one of the leading features of the early Gothic style. Tracery developed from an effort to place sev- eral windows in one arched opening. TIIRK.K L)F.C0R.\'1'KII GOTHIC \".\L.\XXES. A GOTHIC DR,\PERY. THE FRENCH DECORATIVE STYLES. This profusion of windows added to the hght ap- pearance of the structure and also gave rise to the introduction of stained glass. The first efforts of the glass stainers showed a tendency to follow the rules laid down by the mural painters, but as the different conditions were realized glass staining reached an artistic position of its own. In the Cathedral of Char- tres alone 1,350 subjects are portrayed in one hun- dred and forty-three windows. Religifjus suljjects monopolized nearly all windows. The crossing of arches in the roofs, made possible the use of pillars composed of clustered columns. Efforts at decoration led to the use of immense c(uan- tities of stone and wood filigree work, delicately inter- twined, sometimes in geometrical tracery, and some- times in conventional foliage forms. The absence of flat walls left no place for fresco painting, and the ornamentation was consequently largely architectural, and as the style progressed this gave birth to what is known as the Flamboyant Gothic, in which the decorations were elaborated to an extreme extent. This progress in detail was fol- lowed bv the general decadence of the whole, and at the beginning of the Renaissance the Gothic had become too elaborate. In decoration the figures of men and women were often twisted into odd shapes to meet the requirements of the peculiarly shaped spaces, and this grotesquerie grew as the style advanced. DETAIL FROir CATriF.DRAL OF SKMl'R. Our illustrations explain the gradual progress of the Gothic style in France. The two interiors of the chateau of Pierrefonds show the Gothic in its last stages, and are interesting because there are so few examples of domestic Gothic extant. The chateau was built in 1390 and was completely restored by Napoleon III. The polychrome decoration was re- newed at that time. It will be noticed that in the RHEIMS CATHEDRAL. MEAUX CATHEDRAL. THE FRI-:XCH DECORATIVE STYLES. GOTHIC DETAILS. THE FRENCH DECORATIVE STYLES. Knights' hall the Romanesque arch is used, while in the ducal hall tlie ceiling is fiat. As the decorative details are all purely Gothic, these two halls form good models for modern Gothic decorative work. In flat decoration the Gothic found its best expres- sion in geometrically arranged motifs, as can be seen by the illustrations on the opposite page, but it ^vas not entirely confined to tracery and squares. Espec- ially in the later forms of the style nature treatments became common, as exampled by the three bands at the bottom of the page. These are as free and grace- ful as much of the Renaissance work, but that they have nothing in common with the classic except the general movement can be easily seen. Near the bottom of the page are shown seven ex- amples of Gothic windows or openings, which portray some of the less ornate tracerv designs. NOTES ON THE GOTHIC. THE French Gothic Period may be divided into three epochs, as in the English Gothic: First — The Early French Gothic, which corresponds with the Early English, from 1150 to 1300. Second — The Decorated French Gothic, analogous to the Decorated English Gothic, from 1300 to 1400. Third — The Flamboyant Gothic, from 1400 to 1500. This style is not like the third English Gothic — which is known as the Perpendicular. While the French continued to elaborate the tracery into more flame-like interweavings (hence "flamboyant"), the English re- verted to somewhat simpler straight lines. The Gothic style was supreme in nearly all parts of Europe during the French Gothic period. In Eng- land it was almost co-extensive with the French. In GoTlir( \\I\l)OWS. Manders and Holland it was carriefl to extremes. In Germany it was heavier and somewhat less elaborate, Germany at the time being less centralized than France. In Spain, it became intermixed with the Moresque and is unlike any other Gothic style. The Gothic is the only European style (we consider the Moresque as an Eastern development j that is not based on the Greek. The French Gothic died through over-elaboration. The English Gothic merged gradually into the Renais- sance. In faljrics the Gothic st_\'le is almost entirely an ar- rangement of geometrical designs, not unsimilar to the tracery of the walls and windows. Where floral or other natural forms were introduced they were con- \'entionalized, and used in connection with geometrical figures. A favorite form of design was the heraldic, in which either a shield with its armorial bearings, or the crest of the family, was repeated indefinitely over the surface of the fabric. Embroidery was far more common than at present and formed a large share of the labors of women of all classes, from peasant to queen. GOTHIC ORNAMENT IN FURNITURE. 10 THE FRENCH DECORATIVE STYLES. FIREPLACE, FRAXCOIS I. S,\LON, FONTAINEBLEAU THE FRENCH DECORATIVE STYLES. ir CHARLES VIII., 1483-1498. LOUIS XII., 1498-1515. THE EARLY FRENCH RENAISSANCE. 1500 to 1550. THE French Renaissance represents an almost un- interrupted evolution from the year 1500 to 1715. In 1500 French decoration was Gothic; in 1715 is was Rococo; between the two dates the Renaissance in France had its birth, growth and de- cline. The Renaissance, which had its inception in Ital}', was a return to the art of the Greeks and Romans, and was brought about by a renewed interest in the writings of the old Greek and Roman philosophers and poets. In Literature the Renaissance was a revolt against the purely ecclesiastic literature that had come to lose all originality, and in Art the Renaissance was a protest against the further development of a churchly architecture (the Gothic) which had already passed its best day. The masters of the Italian Renaissance began with an almost servile imitation of the ancient Greek and Roman models, but soon passed on to origi- nal conceptions of their own in which the classic re- mains served merely as a firm foundation for their genius to expand upon. It may almost be said that the Renaissance took up the Greek art at the point where the Romans had dropped it, and carried it to its natural and inevitable anti-climax in the Rococo style. The reader must remember that the Renaissance began as a classic Greek and Roman and that it had absolutely nothing in common with the Gothic, which it succeeded. In Italy, the birthplace of the Renaissance movement, the Gothic was dropped entirely, and the Renaissance style substituted, one might almost say, over night. In France, however, which took the new style with one hand while holding onto the old with the other, we find the Gothic and the Renaissance frequently blended in one structure, and it was not for many years after the Gothic was abandoned in Ital\' that it entirely lost prestige in France. For convenience the French Renaissance may be properly divided into three periods. From 1483 to 154Q, including the reigns of Charles VIII, Louis XII and Frangois I, represents the Gothic-Italian phase. From 1549 to 1589, including the reigns of Henri II, Francois II, Charles IX and Henri III, represents the French-Italian phase. From 1589 to 1715, includ- ing the reigns of Flenri I\', Louis XIII and Louis XIV, represents the entirely French phase. In this chapter will be considered the first of these three great periods. Charles VIII.— 1483-1498. France, during the dark or middle ages, was Gothic as to architecture and art, and feudal as to govern- ment. Louis XI destroyed the power of the great feudal princes an(.l consolidated the French govern- ment in the person of the king, so that when his son, Charles \'III, came to the throne he found himself 12 THE FRENCH DECORATIVE STYLES. FRANCOIS I. DETAILS. THE FRENCH DECOR/VTIVE STYLES. 13 king of a great nation instead of merely the liead of a number of independent dukedoms. Cliarlcs, in 1494, found a pretext for invading Italy with a great army, the desired result being the capture of Naples. The greatest result, however, was the effect uf the great Italian civilization on the members of his army. Italy was at that time in the midst of its great Renaissance, and to the nobles of France, who were accustomed to massive, bleak, dark castles, the luxu- rious homes of wealth \\ere a revelation, and they returned to France with the knowledge that the French were pitifully behind the times in culture and refinement. Charles himself greatlv admired the beautiful interiors and gardens of Ital\-, Ijut he had not the necessary qualifications to appreciate the archi- tecture. His reign ended four years later (1498), too soon for any application of the ideas his followers had acquired in Italy, Init the seed of discontent with their present mode of life had been sown among the French nobles, and the Renaissance, which was at heart largely a matter of mind and growth. nia\- be said to have taken root in France. Louis XII. — 1498-1515. Louis Nil had hardly become king (1498) when he led another arm)- into Ital}', and thus continued the education of the French, as regards Italian art. His reign was almost a continuous series of Italian wars, interrupted by intrigues, but he had more love of art than Charles VIII, and he induced Era Gio- condo and other Italian masters to come to France, and thus the Renaissance secured an actual, visible foothold. Francois I. — 1515-1549. Francois I (Francis I) became king in 1515 and -during the thirty-four years of his reign iM-ance adopted the Renaissance with wild enthusiasm. The king certainly deserves vast credit for the part he took in the movement, but it nuist be remembered that the whole world was feeling the new life and, under ■whatever king, it was sure to flood France at this ..\RMS OF FR.-VNCOIS I., KING OF FRANCE. FRANSOIS I.J 1515-1519. time. The movement begun under Charles VIII grew : Francois I merclx' happened to reign at the time when the movement had reached an irresistible stage. But the king bad a natural love for art, and this was quickened l)y his sojourn in Italy (for he, too, conducted a war there), and on his return to France he importei] Italian architects, workers in silver and ceramics, sculptors, printers and painters. Such great masters as Da Vinci. Del Sarto, Cellini, Delia Robbia, Primaticcio, Serlio and A'ignola found him a generous patron. Collections of art works became a fashion and a wave of passionate art enthusiasm swept over France. The fall of the ?iledici family in Florence also drove to France a great horde of artists and artisans. The Renaissance spread evervwhere and all new buildings were in that st\"le ; the churches alone clung to their old Gothic traditions. The nobles vied in the erection of costly palaces, and even private individuals devoted fortunes to build- ing pretentious houses. Every art that could min- ister to luxury was suddenly stimulated. Tapestrv making took a vast stride forward ; the tapestries of As a fitting supplement to the chapter on the French Renaissance movement, we have compiled from Meyer's Handbook of Ornament a page of details of the time of Francois I of France (1515-1549). Pjased primarily on the Italian Renaissance, these forms do not differ materially from those in use in Italy at the same period. They are elaborations of the same Greek and Roman motifs that were the inspiration of the Italian examples, and several of those shown here are, in fact, by Sebastian Serlio, the Italian master ^vho was brought to France by Francois I. 14 THE FRENCH DECORATIVE STYLES. VALAAXES.— FRENCH EEXAISSANXE STYLE. tlie four DiTvals became famous, the Gobelins attained great wealth, and another factory was started, in 1535, at Fontainebleau. In 1527 Francois began remodelling the Louvre, but in 1546 he decided to rebuild it entirely, and Pierre Lescot was given the position of architect. It remained unfinished in 1576, when Lescot died. In 1528 the great palace of Fontainebleau was begun. The apartments, magnificent in their decoration and furnishings, were fitted up by Francois I and many subsequent kings. This same spirit of Renaissance was prevalent in all parts of France. The general style of the new buildings followed the Italian Renaissance, but the old Gothic need for defence could not be easily put aside, and the buildings were, as a rule, largely com- posed of Renaissance details placed on a modified Gothic construction. In some cases Gothic and Italian details of decoration stood side bv side. NOTES. RENAISSANCE means "revival" or "renewal." In the sense used to indicate the great movement in Europe between 1400 and 1650 it means a revival of Greek learning of all kinds. The Renaissance first made itself felt in literature, in the revival and appreciation of Greek and Roman classics. The arts and sciences followed. The Renaissance had its birth in Italy, and primarily in Florence. It was a revolt against the worn-out superstitions of the dark ages ; due to a general in- crease in intelligence among all peoples. Easy means of intercourse promote civilization and quicken the mind. Improved roads made travel easier. Italy was most advanced in learning; the court of the Popes one of the most dissolute; hence travelers and pilgrims to Italy returned with improved general knowledge and a feeling that the Catholic religion required reforma- tion. This spread of learning and the fall of old ideas made the path of the Renaissance easier. The Renaissance was not a protest against the Roman Catholic Church. The heads of the Church were among the most ardent supporters. Secretly they had long studied and admired the Greek and Roman classics. The Gothic style, which the Renaissance succeeded, had reached its utmost development. It was impos- sible to carry it further. Hence the Renaissance was made welcome. The Renaissance was not created complete. It grew, but it grew rapidly. Each city in Italy had its own coterie of artists, and each city had its own peculiar phase of the style. The Renaissance was introduced into France under Louis XII (1498-1515). The Renaissance made its first great stride in France under Francois I (151 5-1549). Franqois I loved splendor. His court was alive with vivacity, gaiety and elegance, tinged with much un- blushing wickedness. The contemporary English style was the Tudor or Early English Renaissance, under Henrv VIII. THE FRENCH DECORATIVE STYLES. 15 HEXRI II. CHARLE.S I.X., 1560-1574. THE MIDDLE FRENCH RENAISSANCE. 1550 to 1589. IN Chapter IH we spoke of the Early French Renaissance, the period of Italian details on a Gothic construction. The Middle Period, covering- forty years, represents the final rejection of the Gothic, the adoption of the real Italian, and the formation of a typically French Renaissance style. This Mid- dle Period includes four reigns, Henri II, Franqois II, Charles IX and Henri III. Henri II.— 1549-1559. When Flenri II became king the transitional period had passed. It was no longer thought necessary to retain Gothic customs or arts, except for church pur- poses, and luxury and convenience became the prime requisites. Henri married Catherine de 3iledici, and this close connection with one of the Florentine fami- lies aided in the spread of Italian art principles in France. Italian furniture was imported in great quantities to please the queen, who hated everything French. The Louvre, for the most part, belongs to this reign, and, in general, architecture in France showed some notable changes. There was an increased use of the Greek orders (Doric. Ionic and Corinthian), an in- creased preference for statuary in the place of mere carved conventional decoration, longer windows were introduced, and the old Gothic colors were finally banished from the interiors. Fleavily panelled doors and ceilings became general, and marquetry floors were largely introduced, the design generally repro- ducing that of the panelled ceiling. The growth of a distinct French style during this reign was noticeable in man\' chatcaus. One of the pleasing innovations was the tall conical roof, which, added to the Renaissance construction, was, and still is, delightful. These conical and gable roofs, and, in a later reign, the mansard roof, were necessary in France, where rain is abundant, and are not seen in the dryer climate of Italy. Francois II. — 1559-1560. The reign of Francois II was short and turbulent, and except for the work that was continued on the Louvre by Lescot, was not notable in art. Charles IX. — 1560-1574. Charles IX was a minor when he ascended the throne, being but ten years of age, and his mother, Catherine de Medici f widow of Henri II), was made regent, and she was the real ruler of France during his reign. It was in this reign that the court took up its abode in the still unfinished Louvre. The queen-mother (as she was called) also began the erec- tion of the Tuileries, and Philibert de L'Orme, one of the greatest French architects, began its construc- tion in 1564, but the chief decorative work was done by Jean Bullant, his successor. Catherine de ^ledici, it is said, had all the nobility, generosity and splendor i6 THE FRENCH DECORATIVE STYLES. < w W o •J :z; THE I'REX'CH DECORATIVE STYLES. 17 HENRI 111.-1574-1589. of spirit in artistic matters that characterized Lorenzo the {Magnificent, the greatest of the de Medicis, and it is not remarkahle that the Renaissance reached its apex during the reigns of her hushand and son. Henri III. — 1574-1589. The reign of Henri HI, although of fifteen years' duration, was not particularly important as a decora- tive period, as it was a time of religious warfare be- tween the Huguenots and Catholics. NOTES. — ATHARINE DE' MEDICI was the ruling spirit of the Middle French Renaissance period. She was the wife of Henri H, the first king of the period. aiul the mother of I'rangois II, Charles IX and Henri IIL .She was the daughter of Lorenzo the Magnifi- cent, of Elorence, Itah', one of the most liberal patrons of the Renaissance movement, as well as one of the wealthiest men of the time. Catharine m^t rmlv brought to France a lovt of Italian art, but she introduced Italian manners, and surrounded herself with Italian advisors and courtiers. .She died in 1589, the year in which the period ends. So eager was she to hold the reins of power in her own hands that she is said to have attempted to ruin her sons' minds, in order that tliey might be mere tools in her hands. Another woman, powerful in the early part of the period was Diana of Poitiers, a mistress of Flenri II. She died in 1566. Fler monogram, a crescent above two D's, interwoven, ap])ears in many of the decora- VELVET PANEL, SILK APPLIQUE.— HENRI IIL C-\R\'Kr> CILMK.— IIE-XRI IL PERIOD. tions of the Henri II reign. Often it was used in direct crmnection with the crowned H monogram of the king. The contemporary English st\le was the Tudor, or Elizabethan. i8 THE FREXCH DECORATIVE STYLES. CARVED PANEL HENRI II PERIOD. French Renaissance Types. The Renaissance in France found its birth in a duphcation of Itahan Renaissance forms, adapted to the architecture of France as it was at that day. The result, as the French architecture was Gothic, was sometimes good and sometimes very incongruous, but in the second period, when the Gotliic construction was finally abandoned, the detail and construction alike became characteristically French, as the French architects and artisans superseded the imported Italian workmen. It must not be supposed that there was in this any- thing peculiar. The Renaissance, while it was a return to classic ideals, was not a mere revival of a dead art. It was a period of new life, and each artist proceeded as he pleased, merely seeking to imitate or renew the classic spirit, not the mere classic form. Thus each little section of Italy had its own form of Renaissance, and we will find the treatments at Venice, Florence and Naples Cjuite dissimilar. In short, the Renaissance was much like our present Modern Art movement. Each artist sought to do his best, but all were guided bv a common ideal. It was not a CANOPY BED. PERIOD HENRI II. DRAPERY AND VALAXCE. EREN'CII REXAISS.\NCE. mere Renaissance of art forms, but a renewal of in- tellectual life. Consequently, when the Renaissance found a firm foothold in France it was inevitable that Frenchmen, thinking in a French way, should produce a style different from that of the Italian, German or Flemish. The details shown on the opposite page are excellent examples of the scroll as it apears in various periods, and shows how its use in other styles compares with the French Renaissance. Figure lo is a scroll of the French Renaissance ; 8 is Roman Renaissance, and S Florentine Renais.'^ancc. i, 2 and 3 are Greek, 4 is Roman, 6 is Early Gothic, 7 is late Gothic, 9 is Italian Renaissance, 11 is Moorish and 12 Flemish. It may be said, in a broad view, that the Greek is cold and 1)eautiful, the Roman nolile and beautiful, and the Renaissance cheerfully beautiful, and that the Ren- aissance was lightest and most happy in Italy, growing more severe toward the north. The light fancv of the Italian l)ecame the grotesque of the German Renais- sance. THE FRENCH DECORATIVE STYEES. 19 FAMILE\R SCROLE DETAILS. 20 THE FRENCH DECORATIVE STYLES. THE FRENCH DECORATIVE STYLES. 21 r/f^^- TWO CH.vRACTlCRISTJC \'ALAXCES— PERIOIJ OF HIIXKI 1\". OF FEAXCE. HENRI OUATRE STYLE. 15eries, and valances with deep scallops were imt infrequent. In 1615 Louis XIII married Anne of Austria, a daughter of Philip III of Spain. Cardinal Richelieu, his prime minister from 1624 to 1642, overthrew the power of ^Marie de Medici in 1630. From that }'ear dates the end of Italian Style domination in France. The Louis XIII style leans more toward the rococo. See window, page 27. Contemporar)' English st)de, the Jacobean. X'otable points of the period — I. Lavish expenditure by art lo\'ers Ijegins. 2. Refinement and luxury first in- troduced into French private houses. 3. Paris practi- call\' rebuilt in more comfortable manner. 4. Suites of rooms opening one into another first introduced. 5. Furniture largel}' architectural in form. 6. ]\Iar- quetry or inlav l:)egins to be important. 7. The console becomes of more frequent use. ,r;. Tapestries much used fill w all eo\ eiint;^ " i In tuinituie diai)en wnik and general interior architeetuie the Lduis III stA le is almost identical A\ith the Fl( mish Renaissance NOTES. LOLLS XII r began his reign as a minor with Marie de' Medici as regent. Her influence in the st\lc is prominent. LOUIS XIII. DRAPERY. THE FRENCH DECORATIVE STYLES. NOTABLE MEN OF THE PERIOD. 29 Barbet. — T. Barbet, designer of numerous elegant fire-places and manteU. BouLLE. — P. Boulle, principal furniture maker to Louis XIIl. Born i6ig. BossE. — Abraham Bosse, painter and architect under Louis XIII and Louis XIV. Born 161 1, died 1678. CussEY. — Dominico Cussey, a cabinet maker for Cardinal Richelieu, etc. De Bro-SSE. — Salomon de Brosse, architect to Marie de Medici and builder of Luxembourg palace. Born 1560, died 1626. / /'J' 'f^ \f( Tit -^ ) TJj UJ i LOUIS XUI. CHAIR.— IT.\LIAX TYPE. -a,yg) Le Sueur. — Eustache Le Sueur. Born 1617, died 1655. Fa- mous decorator. Lorraine. — Claude Lorraine, the most famous painter of the Louis XIII period. Born 1600, died 1682. Decorated Chapel des Carmes at Nancy. Mansart. — Frangois Mansart (or Mansard). Born 1598, died 1666. Noted architect. Revived the use of the steep roof, which bears his name. It was in reality invented about 100 years earlier by Lescot. Mazarin. — Cardinal Mazarin became Prime Minister for Louis XIII on death of Richelieu. PouissiN. — Nicholas Pouissin, born 1594, died 1654. Noted painter. Decorated the Grande Galerie of the Louvre. Rubens. — Peter Paul Rubens, great Flemish painter, went to Paris 1622 to decorate Luxembourg for Marie de Medici. Richelieu. — Cardinal Richelieu, Prime Minister to Louis XIII. He was the director of all the improvements and great movements of the reign. Vouet. — Simon Vouet, born 1590, died 1649. Considered one of the great promoters of the Renaissance movement in France. Le Mercier. — Jacques Le Mercier, architect, built Palais First Painter to Louis XIII. Teacher of Le Brun, Mignard Royal for Cardinal Richelieu, who gave it to the King. and others. Made numerous tapestry designs. LOUIS XIII. CHAIR.— SPANISH TYPE. Le Pautre. — Jean Le Pautre. designer of interiors, side walls, etc. Period Louis XII and Louis XIV. Celebrated clockmaker. Born 1617, died 1682. TABLE, CITAIE AND TABLE CGVI^.R.—LOUIS XIII. STYLE. 30 THE FRENCH DECORATIVE STYLES. Crowned 1643, Died 1715. LOUIS XIV., KING OF FRANCE. THE FRENCH DECORATIXE STYLES. 31 MiGNARD. POUSSIN. CoYSIiVOX. Sn.VESTRE. LOUIS QUATORZE. 1643 to 1715. BEYOND all question the noblest period of French decorative art, and one of the greatest the world has known, is that bearing the name of Louis XIV. In no period in the world's history has a more perfect organization of art workers been obtained, and seldom has there been such a simultaneous national growth and style growth as took place in France between the years 1643 '^''"J ^7^5' during which period Louis XIV reigned. The greatness of France under Louis Le Grand, as he is called, was not due to the ability of the king alone. Louis became king when but five years old, and was for nine years under the guardianship of his mother, Anne of Austria. On being declared of age, when fourteen, he retained the Cardinal Mazarin as his chief minister and to Alazarin and Colbert much of the ma- terial and artistic progress is due. Colbert, especially, deserves remembrance. As comptroller-general of the finances he instituted reforms that promoted industry and filled the treasury with the necessary means for carrying on the great works of improvement in art and decoration. Colbert, in turn, had a most able associate in Charles Le Urun. In 1660, upon the purchase of the Gobelins factory for the king, Le Brun was made director and he became, in fact, the director of art of all kinds, since all the great works were subject to his approval. The Louis XIV style may almost be said to be the Le Brun style, so thoroughly is his personality impressed upon it. His talent was emphatic and pompous, and Festoon or Cherubs. 3y Testelin. Louis XIV Style. 32 THE FRENCH DECORATIVE STYLES. Metal Door Mountings. By Caffieki. so, too, was the character of Louis XIV, and all life in Erance. Le Brun and his work may be said to be typical of France of that time. He was an absolute dictator of art under an absolute monarch, Le Brun's personal work, aside his work as super- visor of artists no less talented than himself, was widely various. He designed draperies, palace decorations, cartoons for tapestries, painted pictures, designed in trass and silver, engraved on steel and modeled for the sculptor. On the death of Colbert, in 1683, Le Brun was replaced by Mignard, to whom the introduc- tion of the Rococo style may be said to be due. The decoration of the Louis XIV period may there- fore be divided into three parts. From 1643 to 1660 the style was a continuation of the Louis XIII ; from 1660 to 1683, under the leadership of Le Brun, the style was that which we properly know as the Louis XIV; and from 1683 to 1715, was a decadent period in which the Rococo gradually replaced the pure lines of the Louis XIV. Of the first of these periods little need be said in this chapter, since the style was merely a transition. The true Louis XI\' period, under Le Brun, was characterized Ijy a larger introduction of curves, b)' a farther departure from the classic Greek, hv a vast increase in ornamentation, and a lavish display of wealth. The larger introduction of curves, altlKJUgh it e\-cnt- ualh- degenerated into the Rococo, had no adverse ef- fect on the real Louis XIV style. In chair and talkie legs the curve was alwa\'s graceful, and carefully stud- ied, and CA'en ^vhen the ornamentation was most profuse the effect was that of richness rather than redundancy. In departing entirely from the classic ( ireek the deccj- rators onl\- followed tlie inevitalile. The (jreek seems to be a style to which decorators constantly return, only in order that they may depart from it along new lines, and the Louis XIV artists were following their natural bent through the Roman, and the later Italian Renais- sance into fields peculiarly their own, and it is to their credit that they applied their neiv details to a classical foundation until these new details became so thorough- ly a st)de in themselves that they could stand without aid from the Greek. Then, and then only, the Louis XIV became unlike any previous style, and became a style in itself. One of the designers who did much to bring the new st_\"le into being was Jean Berain, a man of immense talent. We find this gradual transition clearly marked in his work which, beginning in typical Louis XIII motifs, ends in type so near the Rococo that some of his designs are as Chinese as anything done by Chip- pendale, and as regence as any of Watteau's panels. The increase in applied ornament, and the greater elaboration of it, gave rise to a vast amount of ex- quisite wood and stone-carving, and in the general desire to enrich everything, Boulle (or Buhl) invented his famous inlay of tortoise shell and metal in furniture, and ormolu mounts were created. The first ormolu mounts were undoubtedly used for chair feet, in order to prevent damage to the delicate inlay. The demand for richness of effect suitable for a setting for so magnificent a monarch as Louis XIV led to the creation of furniture of solid silver and to the desire for man}- beautiful art works. This led Colbert to purchase the Gobelins factory, and this fac- tory became, not a mere tapestry factory, but a place where every sort of interior decoration and fitment was made. Furnitvu-c, metal work, tapestr)' and paintings Section of Door, Sho\ving Panels. By Berain. THE FRENCH DECORATIVE STYLES. 33 34 THE FRENCH DECORATIVE STYLES. IJJUIS XI\'. CHAIR.- I-IARLV TKRIOI). were part of the Goljelin's ercations, and the factor)' was in reahty a vast studio in whicli the Ijest artists and workmen of the world were gathered. In decorative fa1)rics the Golxdin tapestries, of course, rank first. Afanv of these w jre designed Ij)' Le Erun, but there were dozens of other artists who had a hand in the work. In fact, the Louis XIV style was largely co-operative. Under the su|:)ervision of Le Brun one man would do the verdure, because he was best at that : another would do the dogs and horses ; another the faces ; another the garments ; another the em- blematic trophies. So it was throughout. Under a less efficient director the resultant decorative work would be a hodge-podge — under Le Brun it became a beautiful, evenly balanced whole. Damasks in rich colors were largely used — crimson, green, gold, being the favorite colors. Rich velvets were frequent, and much gold braid and heavy gold cord and tassels entered into the decorations. Bro- cades of the utmost richness, and elaborate embroid- eries were not only used in the king's palaces, but by nobles ever_\-where, and even by many of the citizens. Beds all had canopies, with rich curtains, and usually a gold fringed valance. Valances were also used at windows and many of the doors. Floors were of parquetry, highly polished, and frequently had large rugs from the royal factories. One of these may be seen in the Louis XI\' salon, at the Louvre. The third period of the Louis XIV style, after Le Brun had been deposed and the far less talented Mignard had been given his place, was characterized b}' the introduction of lighter details, and less real grandeur. Only a master could handle the great masses of rich decoration as did Le Brun, and Mignard, lacking the abilit\' and yet wishing to create a style that should be to some e.xtent his own, lost the dignity of Le Brun's work without gaining a compensating simplicity. Where Le Brun piled up systematically great masses of under- standable details, Mignard, somewhat at random, in- dulged in a propensity for meaningless scrolls that were the forerunner of the Rococo, hoping to gain by rich- ness of color and material what Le Brtm gained by great art. BUULE CAlilXET. TORTOISK SHELL \'I^\I-;LR, MKT.Vr, IXLAY. - "■gL, THE FRENCH DECORATIVE STYLES. 35 LOUIS XIV WALL, TLIE LOUVRE, PARIS. WITH PORTRAIT OF LEERUN. 36 THE FRENCH DECORATIVE STYLES. Ilerain. tht- true Louis XI \' was introduced, and third, tliat in which the reign closed, with the rococo rapidly supplanting the straighter lines and more rational curves. Chinese art was largely used in this period. 3,Iany of Iloule's cabinets are in the Chinese style, and much of the fine draper)' stuii's were in Chinese designs. TAPESTRY BY LE BRUX. EX(;RA\'ED by LE CLERC. The furniture of Boule is one of the most lasting NOTES. results of the period. It is, briefl}-, an inlay of tortoise OLUS XIV reigned seventy-two years — one of shell on the wood, frequentlv with an underlay of gold the longest reigns in the world's history. His leaf, and the whole inlaid with metal. Chestnut and reign was as magnificent as it was lengthy. Louis XIV was the son of Anne of Austria and Louis XIII, and but five years of age when he became King, his mother acting as regent until he was fourteen, when he was declared of age. From his ascension in 1643 until 1661 Cardinal Mazarin was his prime minister. From 1661 Col- bert was the leading spirit although his office was but Controller-gen- eral of the finances. In 1660 Louis XIV married Marie Theresa, daughter of the King of Spain. In this reign France became be- yond Cjuestion the greatest nation of Europe, not only in art and manufacture, but in power. The Louis XI\' style is the ulti- mate expression of magnificent royalty. "Le Roi Magnifique," as the King was called, desired to ex- ceed in splendor any of the ancient monarchs of the world. The Gobelins .Manufactory was not confined to tapestry weaving but was a general art factory. The greatest artists of the world as- sembled there, under Le lirun, the director of it all. Parquetry floors became common, lighter colors were used in decoration, and ever}thing useful was made beautiful. Aluch gilt and gold were used on walls and furniture. The Louis XI\' st_\de is founded on Tlreek rules, but departs fr(jm them frequently. The principle of the stvle is the combination of a straight line and a curve. The Louis XIV style had three periods. First, that i,.,. ,,,„ in which straightness of line and heaviness of form suggests the Roman. Second, that in which, under I'RIEZE. CLOCK BY BOULE. MET.\L W(JkK B\' CAI-F ll-:i.;i. oak were most frequently used. Ceilings usually divided by cross beams, elaborately decorated. Walls always in panels. Draperies heavy and rich. Contemporar}' English styles were the late Jacobean (Charles I), the Cromwellian (1653-1659), and the Queen Anne or Stuart (1660- I7I4T- Oak, ebon}-, rosewood and satin- wood were most frequentlv em- ployed in furniture making. In fabrics favor was given to damasks, velvets of Genoa and Utrecht, taffeta, pique, cloth of gold, gauze, silk muslin, satin and tapes- tr}-. In tapestry the great Gobelins creations were the most admired. In these the flat treatments of the old Flemish tapestr)- weavers were driven out b\- the more pictorial and highly colored effects as shown on page IJ, in which light and shade and perspective were as naturalisti- call}- worked out as in an oil paint- ing. Man\- critics consider these tapestries inferior to the old Flem- ish, holding that the picture treat- ment is less correct in a woven fabric. In no style have more diverse qualities of art been BY LOUIS TESTELIX. THE FRENCH DECORATR'E STYLES. 37 brought into harmony than in the Louis XIV. It wa.s this ability to let each man work in his own manner, and to combine the numerous products thus oljtained into a harmonious whole that makes Le Ilrun the mas- ter of all art directors. There can be little doubt that the court of Louis XI\'. was nearly, if not quite, as licentious and immoral as that of Louis XV. The difference lies in the fact that Louis XI\'. and his reign were so great in other wavs that the profligacy sinks into a minor place. In the -J GOBELI.\ TAPESTRY. LOUIS XR'. court of Louis XA" the profligac\' is the great feature, and stands out in startling relief. It is interesting to note that while in England at this period decorative art was gradual))' assuming a more domestic and chaste form, in France it was proceeding along magnificently royal lines toward the extraA'a- gances of the rococo. NOTABLE MEN IN THE PERIOD. FOREMOST among the names of the Louis XIV period must be mentioned Charles Le Brun, who was the cre- ator, or at least manager, of the style. Born at Paris, 1619, he attracted the notice of Cardinal Richelieu when but eleven years old, and was placed by him under Vouet, the greatest artist of the day. At fifteen he was given a commis- sion by the Cardinal which he executed so well that Poussin, a great artist, took him to Rome in 1642. He spent four years there, pensioned by the Chancellor of France. When he re- turned Louis XIV had succeeded Louis XIII and he found himself a young man in a young man's court. Le Brun was a thorough courtier, and soon had many patrons, even ingratiating himself with Cardinal Mazarin, who had succeeded Richelieu, and who was forcing Colbert upon the King as minister of finance. Colbert, himself a great organizer, recognized Le Brun's ability for organization and attached him to his interests, eventually making him in effect the absolute dictator of art for all France. Together with Colbert, Le Brun founded the Academy of Painting and Sculpture at Paris in i6-|8. In 1660, when the Gobelins works were purchased by Colbert for the King, Le Brun was made director, and it became the great school for the manufacture not only of tapestries, but every class of furniture required in the royal palaces. Thus commanding the indus- trial arts through the Gobelins and the world of art through the Academy, of wdiich he successively occupied every official position, Le Brun imprinted his own character on all that GOUElJ.x T.\l'l-:S"l K'l'. LOUIS XIV. was produced in France during his life, and e\en left an im- pression on the work of later decorati\'e artists. His talent was emphatic and pompous. So, also, was the character of Louis XIV, and all life in France at that period, and, therefore, Le Brun was especially fitted to be the art e.xponent of the time. His work was of all varieties. Pie designed draperies for funeral occasions and for triumphs, planned the decoration of palaces, executed cartoons for tapestries, painted pictures, de- signed in tirass and silver, engra\ed on steel and modeled for the sculptor. His decnrations for Louis XIV's triumphal entry into F'aris so pleased the monarch that he eominissioned Le Brun to undertake the great .Alexander series of paintings, and when the first was completed in 1662, Louis immediately ennobled the artist and gave him a pension of 12,000 livres. From that date Le Brun was supreme, and all that was un- dertaken in decoration of the royal palaces was under his direction. Efpially great artists served him as apprentices serve a master. By the death of Crilbert, in 16.S3. Le Brun lost his best friend. Lu\'nis, the new minister of public works, showed Le Brun, who was now sixty-four years old, no favor, and even the support of the King availed nothing. He was dis- placed by Mignard, and the fall from his artistic despotism to a subordinate position so aft'ected him that he was taken ill and died February 22, 1690. Ale.x.vndre. — Historical painter, employed at Gobelins. Angl'iers, Fr,\n(;ois (i6o4-i65g). — Distinguished sculptor. Ancuiers, Michel Andre (T612-1686). — Distinguished sculptor, brrither of Frangois .-Vnguiers. Anguiers, WiLLi/\Ar. — Brother of above, born 1628, died 1708. One of the colony of painters employed by Le Brun at the Gobelins Works, 1666. He also painted numerous dec- orations. .Aui)R.-\N, Cl.\ude. — Born 16,19, died 1686. a painter and carver of metal. He executed many decorations in relief and in bronze, silver and gold, and was one of the painters of his- torical subjects employed at the Gobelins. Audr.'\n. Ger.ard. — Brother of Claude, born 1640, died 1703, was an engraver of considerable celebrity. B.MLEY. — A painter of miniatures, employed at the Gobelins. Ballin, Claude. — Born 1614. died 1678. A celebrated worker in metal, designed and executed many of the best vases, etc., of Louis XIII and XIV periods. L'nfortunately, they were nearly all destroyed by the mob during the French revolution. He was employed at the Gobelins. B.-\udoin. — Painter, one of the Gobelins colony. Berain, J. Charles. — Born 1636, died 1711. The greatest designer and decorati\'c artist nf his day. His talent was spent 38 THE FRENCH DECOR ATT X'E STYLES. in designs for every purpose, metal work, wall panels, furni- ture, tapestry borders, etc. BoELS.— A painter of animals, employed at the Gobehns. BoNNEMER.— Worked imder Le Brun as a painter of his- torical events. BosSE, ABR.\H.\M.^Born 1611, died 1678. Painter and arch- itect. BouLE, Andre Charles.— Born 1642, died 1732. An archi- tect, painter, designer and cabinetmaker, but best known as the originator of the tortoise shell veneered furniture with brass inlay. BouRGiGNON. — One of the Goliclins cr^lony of painters. Boussonnet-Stell.x.— Historical painter. One of Le Brun's assistants. Brandri. — An Italian cabinetmaker, employed at the Gobe- lins, working with Goletti. BuYSTER, Philltpee. — .\ sculptor employed first by Louis XIII, then by Louis XIV. He died 16S8. Caffieri, Piiileippe. — Born at Rome 1607, died 1689. Be- ginning life as a wood carver, he was invited to Paris by Le Brun, and became one of the Gobelins group, and became the greatest metal carver the world has known, making furniture mountings especially. He also carved in wood and marble. Le Clerc, Sebastian. — Born i6,s7. One of the great en- gravers. Le Compte, Louis. — Born 1639, died 1694. A sculptor. He executed numerous works at Versailles and elsewhere. CoRNiELLE, Michael. — Historical painter at the Gobelins. CoRNiELLE, THE YouNGER. — Assistant to Michael. CouuANT. — Painter, employed at the Gobelins. CousTON, Nicholas. — Born 1658, died 1733. Sculptor. His work is at Versailles and elsewhere. CoYPEL, Noel. — Born 1628, died 1707. Celebrated painter. While a member of the Gobelins colony he painted furniture panels and designed tapestries. He also did numerous decora- tions at Versailles. CoYPEL, Antoine. — Employed as historical painter at the Gobelins. CoYSEVox, Antoine. — Born 1640, died 1720. One of the greatest sculptors of the period. Cucci, DoMENico. — One of the great cabinetmakers, a ri\al of Boule and Caffieri. He moved from Rome to Paris in 1662. Dagley. — Introduced into France the secret of Japanese lacquer and began making it at Gobelins 1713. Called vernis de Gobelins. D'Aviuer. — Designer and architect. Interior detail designs, etc. De Cotte, R.— Born 1656, died 1735. Cabinetmaker, designer and successor to Mignard as head of Gobelins in 1695. DESJARDIN.S, Martin. — Celebrated sculptor, died 1694. Dubois. — Painter of figures and ornaments for the Gobelins factory. DuQUOY. — Painter of historical subjects. Gobelins. Edelinck, Gerard. — Birth unknown, died 1707. An en- graver. De Fontenay. — Painter of figures at the Gobelins. Francakt, J. — Painter of ornaments and decorations, and designer. G^NOELS, Abr.nham.— Born .Antwerp 1640, died 1723. Painter. Went to Paris 1662 and joined Gobelins colony. Ex- ecuted many famous decorative paintings and tapestry cartoons. GiLLOT, Claude.— Painter. Master of Watteau. Born 1673, died 1722. Chiefly excelled a> ;i designer of satyrs, f.auns and grotesques. LdL'IS -\I\' cm.mr. Girardin, pRANCois.^Born 1628, died 1715. Celebrated sculptor. Work may be seen 111 Louvre, the Trianon and Ver- sailles. GoLETTi. — .\n Italian cabinetmaker employed at the Gobe- lins. GuERiN, Gii.LES. — Born 1609, died 1678. Sculptor, worked in Louvre from designs by Sarazin, at Versailles and elsewdiere. Hervier. — Painter of figures and animals at Gobelins. Le Hongre, Etienne. — Sculptor, worked in Louvre and at Versailles. PIou.vsSE. — Historical painter at the Gobelins. Hou2e.\u, Jacques. — Born 1624, died 1691. Sculptor, aided in A'ersailles decnrations. HuVGE.NS. — .\ Hollander, called to Paris by Le Brun, and celebrated for his lacquer work, Jouvenet, Jean. — Rorn 1664, died 1717. One of the painters employed at \'ersailles. Keller, Je,\n J.\cnui-;s, — Birth uncertain, died 1700. A founder. Cast many hrnnze statues and decorative pieces un- der the direclinn nf Le Brun, Lefebvke, — Painter emplnyed at the Gobelins. Lemoyne. — Ornamental painter. One of Gobelins colony. Ler.\mb.\ui.t, Louis. — Born 1620, died 1670. Sculptor. De Lkiiekie. — Figure painter employed at Gobelins. Loir, .Alexis, — Born 1630, died 1713, Painter, He devoted some nf his time to the decoralion of furniture. Loir, Nicol.xs. — Born 1624, died 1670. One of the Gobelins coliiny. Celebrated decciralm- and painter. Many of the beat tapestry borders are by him. Mace. J, — Cabinetmaker, Marot, D,\nikl, — Celebrated cabinelniaker, clocks, mantels, sidewalls .and designer draperies, etc, D'.Antin, Due, — "Manager of Gobelins in connection with De Cotte until 1736, Succeeded Le Brun, THE FRENCH DECORATIVE STYLES. 39 LE URUN. CAMlLESTIt'K. 1J£ JJkL'X. AUTUMN. GOJJELIX T.\I'i;.STRV JIV I.E RRU.X. Marot, J. AND G. — Two well-known cabinetmakers. De Marsy, Balthazar. — Born 1628, died 1674. A worker in stncco and wood and metal carver, employed by Le Erun. He assisted his brother Gaspard. De Mar.sy, Gaspard. — Born 1624, died 1681. Occupation as above, but Gaspard was the better artist. Masson. — Painter of architectural details at Gobelins. Matthieu. — Historical painter. One of the Gobelins colony. MiCLioNNE, F. F. DE. — One of the Italian cabinetmakers brought to France by Colbert. L(.)UIS XIV TACLE. CL.VS.'SIC EFEECT. MiGNARD. — Succeeded Le Brun as director of Gobelins in 1689. He died in 1695. MoNTAGNE. — Painter of historical subjects at the Gobi )ins, MoRAND, P. DE V. — Cabinetmaker, celebrated for his clock- cases. McsNiER. — Painter of historical subjects at the Gobelins. De Melum. — Painter of historical subjects at the Gobelins. MoNNOYER, Jean Baptiste. — Born 1634, died it'x)g. Painter of floral decorations. NivELON. — Designer employed at the Gobelins. Le Notre, Andre. — Born 1613, died 1700. De.-igner of the parks of Versailles and the Trianon. Oppenord, Jean. — A great cabinetmaker. Went to Paris 1679. Orky. — Succeeded D'Antin as a director of Gobelins factory. Paillet. — Painter of historical subjects, employed at Gobe- lins. Parent. — Painter of ornament. One of the Gobelins colony. De Passe, C. — Cabinetmaker. His son also a cabinetmaker. Pattigny. — A designer employed at the Gobelins. Le Pautre, J. — One of the great clockmakers. Born 1617. died 1682. Designer interior decorations, etc. Le Pautre, Pierre. — Designer interiors, sidewalls, etc. PoERSON. — Historical painter employed at Gobelins. Poissant, Thiebaut. — Born 1605. Architect and sculptor. His work is in all Louis XIV's palaces. Revel. — Painter of historical subjects, employed at Gnbclins. Resnaudon. — One of the Gobelins group. Historical painter. Saint-Andre. — Historical painter, Gobelins colony. Silvestre, Lsh.vel. — Born 1620. The greatest engraver of the time. SiMO.x. — Historical painter at the Gobelins. Sarazin, Jacques. — Born 1590, died 1660. Celebrated sculptor. De SfiVE, Elder and Younger. — Painters, employed at Gobelins. Test.alin, Louis. — Born 1615. Decorative painter. Did many cartoons for sculpture and tapestry. Testalin, Henry. — Born 1616. Portrait painter, employed at Gobelins. Tubi, Jean Baptiste. — Born 1635, died 1700. An Italian. Worked under Le Bruiu Van Cleve, Cornielle. — Born of Flemish family, 1645, died 1732. Sculptor in wood, metal and marble. Van der Meulen, Adam-Franz. — Born at Brussels 1634, died 1690. A painter. One of the Gobelins colony. His best w'ork is at Versailles. \^.\N Ostb.vl, Gerard. — Born at Antwerp 1594, died 1668. Celebrated sculptor. Verdier. — Historical painter employed at Gobelins. W.ARiN, Jean. — Born 1695, died 1672. Decorative and figure sculptor. YvART, Baudren. — Painter, had charge of models and de- signs at Gobelins. Designed many cartoons for tapestries. Died 1728. Yv.\rt, Joseph. — Son of Baudren, succeeded his father on the latter's death. LOUIS XIV TABLE WITH ROCOCO IXFI.UEXCE. 40 THE FRENCH DECORATIVE STYLES. WALL DF.CORAJIOX BY WATTEAU. THE REGEXCY STYLE, THE FRENCH DECORATIVE STYLES. 41 LOUIS XVI. BOULE. REGE-X-CV. LOUI-S X\'. THE REGENCY 1715-1723 THE Regency — \vhat and when was it? What place does it occup}- in decoration, and how came there to be such a style? Briefly it was one of those transitions or intermediate stvles that always connect great style periods. The Regency is the con- necting link between Louis XIV and Louis XV. When Louis XIV, the magnificent or the grand, as his subjects well called him, died in 1715, the direct successor to the throne was his great grand- son, a boy of five )-ears. Clearly such a lad was unfit to rule the mighty nation France then was, and a regent was appointed to rule in his stead until the little King should be old enough to handle the reins himself. Thus it happened that for eight years his uncle, Philip, Duke of r)rleans, was the real head of the French government, and these years, 171 5 to 1723, are the regency period, a period that for ex- travagant expenditure is notorious. As far as the decorative work of the period is concerned it mav almost be said that it was "not worth the price." A fairly clear idea of the difference between the Regenc)' and the styles preceeding and succeeding it may be had by studying the table legs at the head of this page. The Regency is plainly a stepping stone between the classical Renaissance style of Louis XIV and the true Rococo of Louis XV. It loses the dig- nity and classical strength of Louis XIV, and does not reach the gracefully elaborate richness of Louis XV, and yet, in many instances it is charming. It has been said that the Regency style was the work of two men, Watteau and Oppenort : AVatteau for painted wall decoration and Oppenort for design of every sort. Certainly "W^atteau was the greatest painter of the day, and his idyllic shepherdesses and attenuated decorative borders and details mark the style, while nine-tenths of the design of the period, whether in stucco, wood or metal, emanated from the brain of Oppenort. The Regenc}- period extended from 1715 to 1723. Antoine Watteau died 1721, when in the fullness of his genius, at the age of thirty-seven, and the period of his best work practical!}- coincides with the Re- gency period. He was the link between Louis XIV and Louis XV ; the style of the former period was dignified and noble ; Watteau was light, coquettish and graceful; Louis X\' style was sensuous and profligate. Jean Antoine Watteau was born at A'alenciennes in 1684, and had earl_\- a passion for painting ; but as his parents were poor they were unable to give him a proper art education, and he studied under an obscure artist in his own city. In 1702, however, he connected himself with a scene painter and went to Paris, wdiere they worked at their trade for a short while. Soon, however, Watteau found himself alone and destitute. He worked in the shops for a scanty wage, and his art would probably have been unknown had he not met Claude Gillot. a painter and engraver of grotesque and fanciful figures. Gillot conceived such a friendship for Watteau that he took him into his house, gave him information and initiated him into the mystery of his style. In his decorative work Watteau never departed greatl}' from the lightness of Gillot, although he soon surpassed his master. It was probably in 1707 that W^atteau left Gillot and took emplo_\'nient under Claude Audran, who became one of the famous decorators of the Regencv period. Audran was custodian of the Luxembourg palace and was engaged in decorating it, and Wat- teau was employed to insert the small figures in Audran's dainty gold and white designs. He also assisted Audran in decorating the houses of manv persons of prominence. While decorating the Luxembourg, Watteau had an opportunitA' to studv the beautiful Rubens ];)aint- ings there, copying some of them, and he admired THE FREXCH DECORATIA'E STYLES. ANTOIiXE WATTEAU. I-ROAI A I'AIXTLXG 1!V IllilSI-Xl'. them so genuinely that he decided to become an his- torical painter. I'Vom Ruben's \vorl< lie secured an admirable system of color. Fortunately for his fame, he discij\'ered that his- torical painting was not his forte, and he struck out a new and orig'inal st\'le, in which he accjuired a last- ing reputation, and which has given rise to thousands of imitators, but never an etiual. His subjects are usually comic conversations, musical parties, balls, masciuerades, gallant or pastoral subjects, which he designed correctl}' and with admirable ease and nat- ural grace. His name has been given to the dainty st_\de that is best illustrated h\' the reproduction on the opposite page, or by the \vall decoration on page 40 for which he designed the border also. His colormg is said to be fresh and splendid. The figures have a peculiar grace in the airs of the heads and the attitudes and actions. The national French taste pervades all his productions. Some one, Horace W'alpole, we believe, has said that not only his shep- herdesses hut his ver_\- shee]) are coquettes, and it is this pleasant coquettislmess that has made his work so popular. During the Regenc}' peri(jd Watteau found abun- dant employment, even the regent giving him com- missions t(.i execute, but he did nothing directl}' for the king, Louis X\'. Watteau was not a courtier. In temperament he was exactly the opposite of the lightness of his paintings. He was often mclanchol}', usuall}- impoverished and sul)jcct to fits of dejection. In seeking for the cause of this, we must remember that he had e-xtremel\' poor health all his life, being a \ictim of lung disease, and that h\' far the greater l)art of his short life \^•as spent in povert}' or in work- ing slavishly for his two masters, (_;illot and Audran, who paid him pitifulh' poor wages. As we have said, Watteau was frillo\\'ed by a host of imitators, of whom Pater was perhaps the best. There were, of course, other artists engaged in the work of decoration. Audran assisted Watteau. and REGENCY WALL DECORATION. BY G. M. OPPENORD. THE FRENCH DECOR ATI \'E STYLES. 43 •r stow' WALL PAINTIXG I'.V W'ATTEAl'. REGEXCY STYLE. dA THE FRENCH DECORATIVE STYLES. GOr.KLINS ]!Y C. AUHKAN. REGENCY TERIOD. clesig-ncd man_\- of the best Gobelin tapestries of the period. Gillot's work is also notable, and, like that of Watteau during the Regency, is composed of mean- ingless details surrounding im|)Ossibh- aristocratic shepherdesses or too daint\- ciiurtiers. Tlie quality of Oppenort's wr.rk ma\- he seen bv the illustration of a wall decoratinn reproduced in this article. In parts it suggests tlie departing st}de of Louis XI\', in ]jarts the coming Rococo. \A'hen he undertook designs for painted wnW ])anels the\' are easily mistaken for those of Watteau or Gillot, but in candelabra, furniture and architectm-e he lacks the finer touch of grace that characterizes the work of the Louis XR' designers. ft may be said that the Regency style was founded on the art of Eerain, the lightest of the designers of Louis XIV's court, but that the masters of the Re- gency diluted the lightness of llerain, thinned the details, and in place of Berain's carefidl\- considered proportions adopted arbitrai-y and meaningless phan- tasies, whose chief merits were their delicac\'. Berain's st}'le, translated tri ( lerman)', l)ecame the Barorpie. Continued in France it degenerated into the Regency. The Regency marked the final change to comfort- able house furnishings. Comfort, gaiety, luxurw cai.)rice, lo\e anrl reckless expenditure ga\e rise to a periofl of ex(piisiteness and freednm that \-crged on and often ])assed mere folly. The contemporar}' English .Style was the Geor- gian unrler (ieorge I. FAMOUS MEN OF THE PERIOD. Abb..\dies, J.4CQUES. — Designer, of the Regency period. AuDR.AN, Cl.aude. — Born 1658, died 1734. Celebrated painter, decorator and designer. One of the teachers of Watteau. Did wall designs, tapestry designs, etc. CoTELLE. — An interior decorator of the Regency period. Cressent, Charles. — Born 1685, died 1768. Greatest fur- niture maker of Regency period ; ranks with Boule for quality of work. Also designed interior decorations. De Chamblin, M. — A designer and decorator of the Re- gency. Gillot, Claude.— Born 167,^, died 1722. Painter and dec- orator. One of the masters of Watteau. Chiefly excelled as designer of fauns, satyrs, grotesques and Chinese effects. De- signed for Gobelins tapestries, walls, etc. HuET. — Painter m the style of Watteau. La Roux. — Interior decorator of prominence. Le Moyne, Francois. — Decorative painter in Regency style. Mans art, Hardouin. — Born 1646, died 1708. Architect and decorator. One of the leading designers of the period. After- ward architect to Louis XV in 1675. Meissonier.- Louis X\'. Oppenord, Gilles. — Sometimes spelled Oppenort. The real director of styles in the Regency period. Designer of interiors, metalwork, furniture, etc. An introducer of the Rococo. Pineau, Nicholas. — Born 1684, died 1754. Designer of furniture, metalwork and interior decoration. Wood carver. S^V.^I^;!iS>S».Vd!8At^^t<;tJi^'».;ySx^%.roof of this IS that the exterior architecture n\ iIk- Ijuildings of the day no new st_\'le was introduced, the Rococo ap- pearing merely as an ap])lied detail. Of Francois Foucher it has been said, and righth', that he was not in the fasbinn, but Ih.at he ivas the fashion, rluring a large jiart of the reign ni Funis N\'. h'rancois Iloucher was bdrn in I'aris .Se|it. 2t). 1703, in the reign of Fouis NIW, and studied art under liis fatlier, who was a man of snme abilit\'. When he was seventeen Foucber was transferi-ed to the tutor- ship rif \'anloo, one of the greatest .-niists of the da\-, under whom he studied f(ir tbi'ee uKinths. Fie then supported himself (and it is odd, cimsidering tlie Voluptuous character of his later wnrk) b\' painting and designing virgins and saints. Eater he was en- gaged by Cars, an engraver, where he was lodged, fed and paid about $153 month. In 1723, the year in which the regency ended and Louis NV. became actual King of France, Boucher gained the trrst prize at the Academic de Peinture, and in 1726 went to Rome, where he remained five years, returning to Paris in 1731- F,y nature he was gay and frivolous and, like the b'rench court, was extravagant beyond all reason. He married at thirty, and when in 1734 he was made a Royal Academician his fortune increased rapidly. Henriette d'Orleans, who later loecame Madame de Pompadour, the mistress of Louis N\\, was one of the first to show him favor, and many other persons in a position to make his works the fashi(jn, aided him. In 1755, on the death of (Judry, Foucber, largely by influence of Madame de Pompadour, was made in- spector of the Gobelins tapestry factory, and during the ten )-ears he held the position, his art dominated the product of the Gobelins. He resigned this position in 1765 to become Painter to the King. Boucher's work truthfully represented the ideas and manners of his time. They are voluptuous, almost to indecenc\- in some cases, and so was the French court of that period. While the great proportion of his work is on canvas, Boucher did a large amount of work in private houses and the royal palaces. He decorated the l)oudoir at the Hotel de I'Arsenal, in which Madame de Pompadour was wont to receive her royal lover, and this is commonly considered one of the most charming examples in his style. As has l)een said, voluptuous- H \ I i ' ra A,, -ff^-i* f\ M ^ , ^ .-of \ ' ^.k- v>->^ ■ *^.&^£> GOIiELI.X TAPESTRY. BY BOUCHER. THE FREXCIT DECORATIVE STYLES. 51 DL\NA AT THE BATH. 1]Y BOl'CHER. 52 THE FRENCH DECORATIVE STYLES. ness pervades most of his work, 1>ut he had great dehcacy of color and grace of style. He painted over i.ooo pictures, and made at least 10,000 designs. He died at Paris May 30, 1770. To Boucher is due the introductiijn of the oval medallion or frame which has never since his day been entirely absent from French decorative art. During the Louis XV. period it was used not only in the Gobelins tapestries (see illustration page 50), but in the decora- tion of Sevres china. The oval medallion had, of a certainly, been used l:)efore his da_\', Init not so univer- sally, the Le JJrun tapestries having a straight, frame- like border. It is noticealile that in Louis XI\'. tapes- tries the picture is more important than the decoration, while in Louis X\'. the picture is only an accessory to the decorative effect. NOTES. LOUIS X\'. reignefl, including the Regency, fift\-- nine years, Cjuite sufficient time for a frivolous style like the Rococo to develop and reach its climax. He married, in 1725, JMarie, daughter of the dethroned King of Poland. His extravagance left the kingdom impoverished and discontented, and led to the revolu- tion. The five notable mistresses of the King were AIadan:e de Pompadour, Madame clu Barry, Madame de Mailh', Countess de X'intimille and Madame de la Tournelle. LOUIS XV CANOPY. BY LEXOIK. J. A. Meissonier was the leader of the Rococo school : F. A. Boucher of the voluptuous nude art : Caiifieri the leading metal mount maker ; C)eben the leading cabinet maker. LOU[S -W KUO.M. DESIGXICD IIY II. LL'SCH. THE FRENCH DECCJRATIVE STYLES. 53 OVAL SALON IN THE HOTEL SOUBISE, PARES, AND A FEW ROCOCO DETAILS. 54 THE FRE.XCH DECORATR'E STYLES. DESK 01-' KIXG LOUIS X\'. Stuffed and spring upholstered furniture first be- came widely used in the Louis XA'. period. Lnitations of Chinese and Japanese art were popular, but they were mere imitations, not catching- the true Oriental spirit. Cabinets in Chinese lacquer were numerous. Vernis Alartin ( Alartin's \'arnish ) became very fashionable. Large mirrors were used e\-ery- where possilde. White and gold seems to have been a favorite bed- room coml)ination. Xo strong colors were used in decoration. Soft tones predominate. Xatural floral and richly colored bird designs were often used on soft color grounds in decorative stuffs. The boudoir was the real micleus of French life in the Louis X\ . period. Alan)- ladies received visitors in bed, but not to be received at least in the boudoir \\-as equivalent to Ijeing kept standing in the entry at the present time. Consequently the boudoir was one of the most elegantly furnished rooms of the house. Twin beds were first introduced in the Louis XV. period. Lambrequins became popular. The commode came into great demanrl. The caljriole leg, or leg with a pronounced knee cur\-e, \\-as an indispensable feature of chairs, haniges and taljles. The armchair (fauteuil) and cabriolet or ordinary chair were alwa^-s cii suite or of the same st}-le. Many times we hear it said that the Rococo is the only style since the <_iothie that is not based on the Greek. Like many other things \\-c hear frequentlv this is an error. The Roci-ico is not only based on the Greek, but every master of the Rococo period prided himself on the fact that the Rococo was not a new stxle l)Ut merely a variation of decoration as ap- plied tr) the five classic orders. The Rococo was not an entire creation but merely a variation of the Re- naissance. It had its birth in the shell work of the Renaissance, and it must be classed with the other (jreek derivatives. The contemijorary English st\-le \\-as the Georgian. The Chippendale furniture is, much of it, based on modified Rococo details. ROrnro WALT. IWXLL AT \-LKSAliLLS. THE FRENCH DECORATIVE STYLES. 55 ROCOCO, A GKRMAN EXAMPLE. ROOM IX CASTLE AT BRUCHSAL. 56 THE FRENCH DECORATIVE STYLES. Mi w 1 -^ 1 v' Z/ f '-*^.'>. *i.i-« ^ -« %j V\ 'm i' ^ '^ r-iA o\/2l 4 Vf '' ^^- V *54 "=4Ji'— ffi "-^V i'& f'^ ROCOCO CEILIXG MOTIVE. TABLE OF FRENCH NUMERALS. FOR the convenience of those who may not at all times be quite sure of the French numerals when they are given in words instead of in the usual Roman letters, we give here a short table of the numerals used in connection with the names of the French Kings : — I or First, as Frangois I or Frangois Premier. II or Two. as Henri II or Henri Deu.x. III or Three, as Henri III or Henri Trois. IV or Four, as Henry IV or Henri Ouatre. VIII or Eight, as Charles ATII or Charles Huit. IX or Nine, as Charles IX or Charles Neuf. XI or Eleven, as Louis XI or Louis Onze. XII or Twelve, as Louis XII or Louis Douze. XIII or Thirteen, as Louis XIII or Louis Treize. XI\' or Fourteen, as Louis XIV or Louis Ouatorze. XV or Fifteen, as Louis XV or Louis Ouinze. X\T or Sixteen, as Louis X\T or Louis Seize. X\TII or Eighteen, as Louis XVIII or Louis Dix- huit. It will be noticed that no queens have been direct monarchs of France. This is owing to the Salic Law, which confined the succession to the males only. Some kings have been given complimentary or un- complimentary surnames, either by their contemporaries or by posterity. The best known of these are often used in place of the numeral. NOTED NAMES, LOUIS XV. PERIOD. Bloxdel, Jacijces Francois. — Born 1705. died 1774, Archi- tect to Louis XV. 1755. Designed largely in Rococo style of the more refined character. Was one of the first to establish a school of architecture in France. Boucher. — See page 50 for full account, BtdSEAUx, Charles Etienne. — Born 1680, died 1754. Archi- tect and interior designer in the Rococo style. His work is graceful and notable for long panels with straight sides and only moderate curvature at top. Published several works on design. THOROUGHLY ROCOCO LOUI.S X\'. COXSOLE. LOUIS XV. .STYLES, SHOWIXG LITTLE ROCOCO. Caffieri, Jean Jacques. — Born 1723, died 1792. One of the greatest makers of ormolu metal mounts. Worked largely under Oeben. His work appears on much of the finest furni- ture of the Lonis XV. period. Cochin, Charles Nicholas. — Born 1715. died 1790. Noted designer and engraver. Was a strenuous opponent of the Rococo style. CuE.MER. — Well known cabinet maker, worked largely in artificially colored marquetry. Cressent, Charles. — Born 1685, died 1768. Greatest furni- ture maker of his day. Designer of clocks, wall decorations, etc. Maker of marquetry. Was cabinet maker to the Regent. CuviLLiES, Francois he. — Bom i6g8, died 1767. One of the greatest Rococo designers. .A.rchitect and engraver. His decorations ran to the extreme style, much like the illustra- tion on page 45. Du Barry, Countess. — Born 1746, died 1793. The notori- ous mistress of Louis XV. Famous for her lavishness. Was the real ruler of France during latter part of the reign. GotiTHiERE. — \ rival of Cafiieri in making ormolu mounts THE FRENCH DECORATIVE STYLES. 57 for furniture, etc. His work in metal mounts is not only exquisite in style but well made. Lancret, Nichol.^s. — Born i6yo, died 17.^3. Decorati\e painter in the style of Wattcau. jMartin, Simon Etienne, Guilliame, Jlilien and Rodekt.- Thcse brothers were the makers and introducers of the famous Vernis Martin, a clear lacquer specked with gold, and of some forty other lacquers in the Chinese and Japanese style. To thenr was given in 1744 the e-xclusive right to make relief work in lacquer for twenty years. Meissonier^ Jules Aurele. — Born 1695, died 1750. The rcai leader of the Rococo style under Louis XV. He carried the style to the utmost extravagance. Was a goldsmith, painter, architect, interior decorator and designer. His art is based on the graceful curve as opposed to the straight line. He studied in Italy. Issued a book of designs, now very rare. Xatore, Charles Joseph. — Born 1700, died 1777. Painter in the style of Boucher's voluptuous classic nudes. Many of his pictures were used over doors in Rococo panels, etc. Oeben. — Died about 1756. A pupil of Boule and one of the greatest cabinet makers of his day. Dc\'Oted his time prin- cipally to fine marquetry. Caffieri and Duplessis were his as- sistants. Madame du Pompadour and Louis XV. were among his leading patrons and his work was used in all their great mansions. Oudry, Jean Baptiste. — Born 1686, died 1755. Noted ani- mal and historical painter. Court painter to Louis XV. and superintendent of Beau\-ais and Gobelins factories. He de- signed a famous series of tapestries representing La Fontaine's fables. P.-\TTiE, Pierre. — Born 1723, died 1812. His interiors are simpler than the earlier Rococo workers, and more nearly ap- proached the Louis XVI. in style. He almost entirely rejected the Rococo shell work. Pompadoltr, Marquise de. — Born 1721, died 1764. One of the notorious mistresses of Louis XV. Noted for her influence EXTRAV.\G.\.\'l'L^' ROCOCO LOUIS XV. in matters of state, decoration and society between 1745 and 1764. Riesener, Jean Francois. — Born 1735, died 1806. Cabinet maker, noted for his fine marquetry work — inlay in deep tones on mahogany. Roentgen, David. — Great marquetry and furniture maker. Rival of Riesener. He used lighter colors and gayer tones, but also used maho.gany as a ground. RouEO. — Celebrated cabinet maker. Published a valuable book on the art of woodworking. SouEiSE. — The Prince de Soubise was a close friend of Louis XV. and Pompadour. The Palais Soubise, which was decorated between the years 1704 and 1760, by Germain Boff- rand and others, is considered one of the best examples of the Louis XV. style. See page 53. THREE LOUIS XV PIECES. GOOD EXAMPLES OF CABRIOLE LEG. 58 THE FRENCH DECORATR^E STYLES. CROWNED 1774. LOUIS XVI, KING OF FRANCE DEPOSED 179J. THE FRENCH DECORATIVE STYLES. 59 THREE WELL-KNOWN TYPES OF LOUIS XVL CHAIRS. LOUIS XVI 1 774-1 792 LOCIS XVI (Louis Seize) was the grandson of Louis XV, and succeeded liim as King of France in 1774. Lie was born August 23, 1754, mar- ried Marie Antoinette of Austria in 1770, was deposed 1792 and guillotined in 1793. His actual reign was about eighteen years. Like every great st}le, that known as the Louis X\T was based on something deeper than the mere desire on the part of the decorators to create a new form of decoration. It had its origin in the court life of the daA' and was the visible expression of a new philosophy that arose at the time. How did it happen that a florid, over-elaborated, showy style like the Louis X\' was followed b)- one so chaste and simple as the Louis X\l? A very quick glance at the social aufl political life of these two reigns will explain it quite easil}'. Louis XI\' was a king in every sense. He ruled France, built up her prosperity and aspired to be as great as the great kings of antique Rome. The Louis XI\' st_\'le is therefore strong and classical. Louis XA', his successor, was a spendthrift and dissipated in luxury the prosperity luiilt up by his predecessor. His court was extravagant, immoral and utterly careless of the good of the French people. His five mistresses are workl-famous. "After me, the THESE PIECES ILLUSTRATE THE CHANGE IN STYLE DURING TPIE REIGN OF LOUIS X\'L TH.\T ON THE LEFT WAS MADE EARLY TN HIS REIGN AND RET.UNS THE LOUIS XW CHARACTER. 6o THE FRENCH DECORATR'E STYLES. o o en 1 — I P q < O w w m THE FRENCH DECORATIVE STYLES. 6i -:.:si.^»/M i: H CO I 1 D O o o Pi O W u w <; ci O r- H W Pi H 62 THE FRENCH DECORATIVE STYLES. LOUIS XVI. DESIG-X FOR SElII-CtRCULAR CORNICE. flood," he said, and when he died he left the nation tax-burdened and ready for revolt. The life of his court is well reproduced in the voluptuous, cxtraA'a- gant Rococo stvle. It was over this tax-burdened France that Louis XA'I and ]\Iarie Antoinette were to reign — a king with good intentions, but with little force of character, and a cjucen with force of character, but no means of making it felt. France was in bad condition. It was apparent that the voluptuous philosophy of the preceding reign was wrong : that feudalism and absolute monarchism were outgrown, and that a new philosophy must succeed the old. The court was ready to tr)- experiments. Into this easily persuaded court came the writings of Rousseau — "Le Contrat Social," etc., the "Paul and X'irginia" of St. Pierre, and other works of similar tenor. All of these were based on the idea that man in his original state was perfect : that government must be based on mutual agreement between the ruler and the ruled, and that the simple life of early Greece LOUIS X\T. GOLD SCONCE. best embodied the idea of good government. All these books were eagerly read and the court tried to be sim- ple and natural. But how could men and women raised in luxury take up the life of shepherd and shep- SALON IN LOUIS NVJ. STYLE. PARIS. THE FRENCH DECORATI\-E STYLES, 63 64 THE FRENCH DECORATR'E STYLES. MARIE AXTOIXETTE, OUEEX OF FRANCE. herdesses ? They did the best they could and repro- duced the shepherd Hfe as it was shown in the roman- tic novels and in the pastoral plays of the day. They were shepherds and shepherdesses in laces, silks, tight stays and high-heeled shoes. In short, they played at being simple and natural and only attained a de- lightfully charming artificiality in their daily life. This, done into fabric and decoration and wood, is the Louis XVI style. When the court awoke to the fact that playing at simplicity was not the true way to reform the abuses of an outgrown form of government, it was too late. Their pretty dream was ended b\' the guillotine of the starving people of Paris. Artistically considerefl, the Louis X\T is a de- based Greek style, but its debasement is so charming that it can be forgiven, and even admired. It is :i chaste st}de, but if the original Greek art had tlie chastenefs of a strong man, that of Louis XA'I was the chasteness of a pretty maiden, well gowned and coquettish. No other style has ever deserved so well the term "daint^'." In fact, it seems a particularly feminine style. If we may make such a simile we might liken the Louis XIV to a man; the Louis XV to a man and (we blush to say it) a woman, and the Louis X\T to a lady. It has also an appearance of less permanence than most other st)des, due to the minor part played b}' the architectural construction. The Greek details used in the architecture are necessarily light, in order not to overpower the soft colors of the walls and ceilings or to stifle the idyllic designs in the fabrics under too much architectural dignity. As a result the Louis X\'I ])eriod does not show much originality in archi- tecture. During the reign of Louis X\^ the use of meaning- less and even nonsensical designs in interior decora- tion and excessive ornamentation reached its zenith. Surrounded by his many extravagant and licentious mistresses, fond of brilliant levees and elaborate court gatherings, the decorative art called into play nat- urally followed the extravagant tendency, and the result was a complete tleparture from nature and the substitution of mythical goddesses and voluptuous shepherdesses, set in a Rococo environment. When Louis XA'I became king his more conserva- tive nature put a stop to most of the court frivolity, and in connection with the pecuniary troubles of most of the court followers brought into vogue the highly decorated boudoir furnishings, doing away almost entirely with the heavy decorations necessary for large court affairs. Eollowing this partial reaction from the preceding reign, and influenced by the modest taste of Marie Antoinette, which made itself felt even before she became queen, decoration under Louis X\'I took a decided turn toward the classical. The ]iainters fol- lowed the st\le stinudated through the unearthing of the 1 lerculaneum and Pompeii ruins earlier in the cen- tur\ and gained inspirations from works of the school founded hv Michael Angelo and by reading Tacitus and Plutarch. Eollowing the same bent, architects took their ideas from the classical structures. AA'hile ]ireviousl\' the TW(.) I'REXell \'.\L.\XeE TREATMENTS. THE FRENCH DECORATR'E STYLES. ^j5 Y-. P X H 66 THE FRENCH DECORATIVE STYLES. decorative schen:es consisted almost entirely of curled endive scrolls and irregular panels, often of grotesque aspect, and applied in many instances even to the gables and cornices, the architects now affected rect- angular panels with simple mouldings and broken corners, with a patera or rosette in each and separ- ated by pilasters of Roman design, the whole follow- ing out the rectilinear form. In fact, so strong was the trend toward classical simplicity that many of the buildings of the Louis XYI period totally lacked any- thing that would serve to relieve their exterior blank- ness. As previously stated, the attention directed to fur- nishing the boudoir during the time of Louis XVI created a demand for a lighter style of furniture, allowing greater possibilities of ornamentation in an entirely new field. Still following the ideas of the previous reign this ornamentation was decidedly rich and the wall decoration was in harmony with the fur- nishings. But even in this field the classical models were followed closely and the result was, as in other branches of decoration, excessively simple where pre- viously it had been over elaborate. The scrolls, once so common, were replaced by straight lines and the carved legs, columns, etc., by fluted. These flutings were often relieved by quills and husks partly filling them, some extending from the bottom part wa}- up, and others from top and bottom, leaving a space of plain fluting in the center, the whole modestly decorated with plain gold or gold mixed with silver, which gave the appearance of red or green gold. In man\- cases the plain fluted legs of tables, desks, and cabinets were relieved by stretcli- ers. Where panels were possible in harmony with the design they were filled by studies closely following nature and chaste grouping of Cupids, but with a total disregard for the mythical. The chief furniture and cabinet maker of the period ^vas Reisener, who was established at the Bureau du Roi, Louvre, and who for twenty years worked for Marie Antoinette. His chief styles were in marque- terie, and these were adorned with metal work by Gouthiere. A commode built by him for the Chateau de Fontainebleau sold for $20,000, an enormous sum in those days. The upholstered furniture was even simpler in de- sign, with the leg flutings sometimes plain, sometimes spiral, while in most cases the backs were oval or rectangular, ornamented at the top with a ribbon tied LOUIS XVI. DRAPERIES. BY LENOIR. THE FRENCH DEC(3RATIVE STYLES. ^7 H <; W H H W f-H o o o 68 THE FRENCH DECORATIVE STYLES. TWO LOUIS X\-I. DRAPERIES. TjY LEXOIR. in a lovers' knot — a dcsig-n quite typical of this period — and covered with the l)est of Gobelin tapestry in modest designs. One of the best examples of fresco and interior decoration rejiroduced from classical models is the boudoir of jMarquise de Serilly, a lady-in-waiting to Marie Antoinette. The main parts of the wall and ceiling decorations are to be seen at the South Ken- sington Museum, where they are set up as if in use. The Gobelin tapestries used so much at this time consisted of many different styles and grades, the term Gobelin being erroneously applied to all the products of the Royal Tapestry Factory, just as I'Arazzi applied to all Italian fabrics. The chief governors of the factory in this reign were Taraval and Belli, 1783- 1790. The advancement of the French classical school of design received a check in the midst of the reforming process by the beginning of the RevohUiDii, although it was partially resurrected during the first of the Empire period by the masters of the school, man\- of the chief having survived the turmoil of revolution after greater or less terms of imprisonment. Interior decoration in France during the Louis XVI period reflected more than at an\' other time the personal style of one or two master decor- ators. ^ " An instance of this ma}' be seen in the work of Pierre Rousseau de la Rottiere, a pupil of Potain. It was he who decorated the lioudoir and accessories of ^larie Antoinette, Ijuilt in the space left b}' the remodelling of the Salle de Reception. This work stands to the present da\- as a miracle of exquisite craft and wonderful excellence. Gold was used to the limit of refinement and bears witness to the reck- less expenditures of the times, even in the shadow of revolution. It was used in every "\'ariety of hue from the pure gold to the lambent sheen of silver, the dec- orations being broken only by the doors finished to imitate rosewood. Even on panels by Jean Simon Bartelenn- represent- ing "Love assisting at the toilet of Grace," gold is in |)rofusion, the full gold fading to sih-er as it reaches the ground ol the frieze, the whole relieved bv groups in marble by Jacques Philli])])e Beauvais. This work served as a model for man\" others of the time, a bou- doir for Marquise de Serill\- planned by the architect, Ledoux, and executed b}- Lagrenie le jeunc, being almost an exact coimter])art of it, and numbers of hotels and chateaux having rooms decorated on the same plan. The Rousseau school received a check through the rise of Jean Demosthene Dugourc, whose works echoed the rompciian style in its purest ])hase and THE FRENCH DECORATIVE STYLES. 69 LOUIS XVI DRESSING ROOM DESIGNED BY G. REMON. 70 THE FRENCH DECORATIVE STYLES. showed the force of the pseiulo-classic reaction. He did work for the Duke de Aumont, the Duchesse de Mazarin, and other notaliles. It was this influence that obtained for him from the queen the positions of Dessinateur du Garde- IMeuble de la Courronne and Intendent des Batiments de Monsieur in 1784, which, with his control of the costumes and decorations of the C)pera enabled him to exercise immense power over the Louis X\T school. FROM HAMI'KJX'.S, LOXIXJX, The masterpiece of Dugourc was the (irand Salon a Coupola at Tlagatelle. The next decorator to claim a portion of the popu- lar favor was Mique. In all his panels the desig-n threads its way along the border line, lea\'ing- the centre of the panel clear. It was he, who, in con- junction with Anisson Duper(.in opencjfe8 EMPIRE WALL. POMPEII AN TREATMENT. 84 THE FRENCH DECORATIVE STYLES. riALL OF VENUS, JlUSIilC NAPOLEON, THE LOUN'Ri:. THE EMPIRE STYLE DESIGNED BV PERCIER & I'ONTAINE. THE FRENCH DECORATIVE STYLES. rwvv^v'rv'TViji.'T: ^^vvw^^^r7^^^pf;^v^/-7 ^'x::^y^^^'Y:^T^E^T:fj^-yT5^)r^ 'T^^-^f^^'^^-i THRONE ROOM OF NAPOLEON. DESIGNED BY PERCIER & FONTAINE. 86 THE FRENCH DECORATIVE STYLES. EiiriRK FRIEZE. BY PEECIER & FO.\T-\rXE. THE EMPIRE WREATH. THE wreath is one of the best known features of Empire decoration. In fact, it may be said to be typical of the Empire style, just as the claw-foot suggests Chippendale, the hanging basket suggests Louis XAT and the Anthemion suggests the Greek As a matter of fact, we well know that there was nothing new in an_\- of the Empire details. Nevei was there a style so thoroughl}- weak in originality as that which was put forward b)' the decorative artists of Xapoleon's time. Like Napoleon's empire, the st}'le was not a logical outgrowth of preceding times. It was forced into being to fill a passing necessity, and as a result it had no time to develop logically. It had to come forth in a complete form. Hence it vras merely a collection of old details ar- ranged in a new manner. We see this very plainly in the wreath illustra- tions on the opposite ])age. All of these are thor- oughly Em|)ire. All of them formed portions of decorative work actuall}' executed by Percier and Fontaine, either for Napoleon himself, for Josephine, or for some nobleman of Napoleon's court ; but they might well serve for a collection illustrating the use of the wreath in decoration in all ages, Greek, Roman, Renaissance, Louis XR', Louis XVI and Watteau wreaths are all shown. The embroidered curtain at the bottom of the page is Pompeiian. In short, the only exclusively X'apoleonic feature in any of the wreaths is the Roman N in some of them and the J ffor Josephine) in others. It must be admitted that for a conquering general no more fitting decorative svmbol than the wreath could be conceived, and for Napoleon, especially, this symbol of victorious battle is appropriate. His whole empire existed by a series of victories at arms. He had to win his Iiattles or lose his empire. His first de- feat at arms ended his empire. It is generall\' conceded that Napoleon was inor- dinately vainglorious, and the great pre\'alence of the '\tr r- l.'Z MADE FOR X,\I'()I.E<).\. RRoXZE .\IM>L[EI) ()R.\.\ME\TS. XAPOLEON'S CII.MR. CAR\-En I \ M\II(>(-;\\Y LTHOLSTFrpn UrilOLSTEREI) IX HREE.V LEATHER. I.\ GREE.V \-EI.(U'K.S, EM liRolI )ER El I tX GOLD. "^ THE FRENCH DECORATIVE STYLES. 87 THE E:\IPIRE WREATH THE FREXCH DECORATR'E STYLES. NAPOLEON r. EMPEROR OF FRANCE. wreath nia}- be largely attributed to hi.s vanity. He was a real emperor, if ever there was one, but he liked to know it and to have others know it, and his palaces were covered with decorative svmbols of empire, victor}- and honor. (Jf all of them the wreath was the most useful to the uninventive decorators of the time. If you take a wreath and put a lyre inside of it you have a suit- able music room detail. Take out the lyre and in- sert "Racine" or "Aloliere" and you have a li1)rary decoration. Put the wreath around an eagle and a symbol for the throne room is provided. And so on in endless variety. The wreath appealed to the Empire decorators for another reason. Their ceilings and walls were largely laid out iin geometrical |jrinciples, into squares, and it was not hard to draw a circle inside the square. Of this circle the\' made a more or less elaborate wreath, ])ut an X or an eagle in it, and filled the four corners between the wreath and the square with classic details. When a ceiling was filled with re]>e- titions or variations of this the resulting scheme was not devoid of im])rcssivcness. NOTES. NAPOLEON liOXAl'AR'Th: was born 1769 and died 1821. Made Eirst Consul 1799; made Consul for life 1802: proclaimed Emperdr 1804; de- throned 7814. Napoleon married Josephine de ISeau- harnais 1796, wdiom he divorced in 1809, marrying Marie Louise of Austria 1810. The Empire style was an attempt to apply ancient classic ornament to modern conditions. The effect, while often pleasing, resulted in a close imitation of the ancients, and, like all imitations, had an adverse effect on true originality. The woods most used were mahogany, rosewood and ebony. The decoration of furniture frames was usually in the form of set figures in gilt brass mounts, and when carvings were used they were gilded. Some inlay was used, principally in metal and ivory. The leading decorative features were the laurel wreath, rosette, sphinx, swan head and neck, the bee, the star, eagle, antheniion, military trophy, harp, horn of plenty, helmet, vase and various allegorical figures. Fabrics were decorated with detached details geometri- cally arranged. P'lain stripes were frequently used for walls. Arms of chairs and sofas frequently took the forms of the swan neck and head, the sphinx, the caryatid, cupids, the lion and the eagle. Chair legs were most frequently straight in front, and either square or round. The rear legs bent back- ward in the classic style. In some cases the forelegs were quite like the Louis XVI, fluted, but always much heavier. Other legs were in the form of bundles of arrows, or the fa^es. Beds were low and heavy, the head and footboards usually being of the same height. Many of them re- »/^'^' u B ^^& ^>*f?*i«*#f«^*!i-«#«-^**ii^ NAMLMS. PANEL Vi: ' CKii^iSXni^^'El.i^^DiRES''- THE FRENCH DECORATIVE STYLES. 89 sembled a heavy Colonial "four-poster" with the posts cut off. In state beds the side rails frequently took the form of an animal or bird. The bolster roll was universal. Embroidered velvets were used in vast amounts for state draperies. Damasks, velvets, satins and printed cottons were used for chair coverings, with braid to hide the tacks. The French Renaissance merged gradually into the Louis XIV ; the Louis XIV developed into the Louis XV; the Louis XV slowly simplified into the Louis XVI, and here the natural growth ended. The Direc- toire was a forcing of the Louis X\T into a classic form that was alien to natural style growth. The per- sonality of Napoleon carried it along for ten }'ears more, and then the st}'le died, leaving nothing that could be built upon or further expanded. Like the Adams style in England, it was too thoroughly an arrangement of antique details to have any vitality. The thing was complete in itself. There was no more to be said on the subject. LEADERS OF THE EMPIRE STYLE. BiENN.MS. — One of the celebrated metal workers of the Em- pire period. David, Jacques Louis. — Born 1748, died 1825. The leading artist of the period, and the head of the classic school. David was the true dictator of art during the Revolution, Directoire, Consulate and Empire. His paintings are classical in subject and treatment, and it has been said that all the decorative workers of his day labored only to produce interiors and fur- nishings to harmonize with his Roman gods and goddesses. David was court painter to Louis XVI, but took an active part in the Revolution and voted for the death of the King. He was a friend of Robespierre and, on the death of that creature, was imprisoned for several months. He later became court painter to Napoleon. See portrait on page 82. Desmalter, Jacob. — Usually called Jacob, he having adopted the surname during the Revolution. The most important cab- inet maker of the Empire period. He worked largely from designs furnished by Percier and his productions found favor not only with the Emperor, but in the court of Spain and elsewhere. Fontaine, Pierre. — Born 1762, died 1853. A famous archi- tect, partner of Percier in the firm of Percier & Fontaine, who published a book of designs in the Empire style in 1809. These designs have unusual interest, because all of them were actually executed. Jacquard, Joseph Marie. — Born 1752, died 1834. Livented the Jacquard attachment for looms, about 1801. Probably no invention in connection with the looin, except the application of steam power, has had such a wide effect in making the pro- EMPIRE BEDROOil, SlIOWIA'G WALL DRAPERY AND BED. duction of figured woven fabrics universally possible, permit- ting the manufacture of intricate woven designs at prices within reach of the people. Janvier. — A clockmaker. Le Paute. — A clockmaker. LiGNEREAU.x. — One of the well-known cabinet makers of the period. NoRMAND, Charles P. J. — Born 1765, died 1840. Noted architect and publisher of designs in the Empire style. His work leans strongly toward Roman models. Normand was, next to Percier & Fontaine, the most successful designer of the period, and his works are still used by designers. Odist, J. B. C. — A metal worker and famous maker of metal mounts for furniture in the Empire style. Percier, Charles. — Born 1764, died 1834. Of the archi- tectural firm of Percier & Fontaine. During the Revolution Percier made a living by designing furniture, and when Na- poleon became emperor the firm created many of the best im- perial decorations. Prudhon, Pierre Paul.— Born 1758, died 1823. After David the most celebrated painter of the Empire period. Like David, he painted principally in the classic style and allegorical or mythological characters. Thomire. — One of the best-known makers of metal mounts of the period. Other well-known architects and decorative designers were Francois Pierre, Frangois Debret, Jean Jacques Huve, Achille Leclerc, Visconti, Gauthier, Caristie, Lesueur and Lebas. 90 THE I'RENCH DECORATIVE STYLE5 GOBELIN TAI'ESTRY PANEL liADI-; FOR TliKdXE OI' LOUIS .WHI. THE FRENCH DECORATU'E STYLES. WALL TAl'I-lK OF THE F.roCII <)V LOl'IS X\ III THE NINETEENTH CENTURY. From Napoleon to 1900. THE overthrow of Napoleon in 18 14 was followed by the Restoration, the period of the restoration of the kingship of the Bourbon famil_v in the person of Louis XVHL Eor greater convenience of refer- ence, and to make the succession of rulers of modern France clear, the following table is given : EXAMPLE OF TFTF ROMANTIC EPOCH. Louis X VT 1 774—1792 Republic Proclaimed T79- Directoire 1 79^—1799 Consulate 1799— 1800 Napoleon L Emperor 1800—1814 Louis XVIH (Restoration) 1814— 1815 Napoleon I (The "Hundred Days") 1815 Louis XVHI (continued) 1815— 1824 Charles X 1824—1830 Louis Philippe 1830— 1848 Second Republic 1848 — 1852 Napoleon HI 1852—1870 Third Republic 1871 It will be noticed that Louis X\"J1 is not in this list. He was the infant son of Louis X\T and Marie Antoinette, and while the royalists count him as a king he died in confinement at the age of ten, and was never an actual ruler. Louis X\Tn was a younger brother of Louis XVL ITis accession to the throne was, of course, a signal for a great change in decorative art. The Empire style, which had come to be almost classic during the ten years of Napoleon's rule, was not suitable for the new ruler. The s}'mbols and trophies of the N^apo- leonic stvle were straightway banished. The bees, the N and the imperial eagle were put aside. At first it was hard to dej^art from the classical I'.ROCADE. PERIOD t.)l' RESTORATION. st\le that had come to be so thoroughly "Empire," and the earl\" efforts of the designers and decorators of the restoration period were hardly other than Em- pire, with Napoleon omitted. See, for example, the wall paper frieze and the brocade illustrated here. 92 THE FRENCH DECORATR'E STYLES. a great decorative movement as do the works of the three great Louis periods, the Empire or the Renais- sance. The principal decorative movement of importance was that whicli led to what is known in Erance as the Epoch Romantiqiie — the Romantic epoch. Erance had heen. for half a century or more bound to classic, or at least academic models in literature and art. It was a time of worship of the Greek and Roman. About 1830, in the reign of Louis Philippe, a new school of literature arose, which broke awa\- from the old classic EXAilPLE OF THE ROMANTIC ErOCH. All are t3-pical Empire motifs and details. But as the king became more firmly seated on his throne, the artists cast off the restraint of classic art, and turned to the periods that had rendered the royal courts famous in former days. There seems to have been little or no restraint. Decorators and designers chose at random from the styles of Louis XIV and XVI, both of whom were now looked upon as good fathers of the people. The Louis XV style alone seems to have been forbidden, doubtless because it was the folly of that monarch that largely led to the Revolu- tion, but also because the years of Empire had intro- duced better art, and a taste that refused to see beauty in the rococo. Following Louis XVIII, who died in 1824, came Charles X, his younger brother, who ruled si.x years, being deposed in 1830. During his reign and that of Louis Philippe, who secured the throne in 1830 by election, decorative work gradually lost the greatness that had marked it in the previous centuries. It be- came more largely an imitative art, much as it is in America to-day. It was a period of great Imsiness and financial activity, the ruler was grarlually becom- ing a mere figurehead, and as the court lost its im- portance there arose no substitute ruler to dominate decoration, and there was no artist great enough to lead the way. That there was good decoration done cannot be denied, but it did not mark an epoch. It was a time of bits of decorative excellence mixed with great masses of inferior art, and while man}' ])ieces are beautiful as single objects the}' do not form a part of ],£,, j.. )<)AI WAI, chart.es tx. THE FRENCH DECORATIVE STYLES. 93 t,- CEILING DECORATIONS IN HOTEL DE MLLE, PARIS 94 THE FRENCH DECORATIVE STYLES. school. Of this school \'ictor Hugo was the greatest, and his novel, "Xotre Dame." of which the old Gothic cathedral is the scene, may be taken as a criterion. This literary movement led to a similar architectural and decorative school, and a Gothic revival began, headed by A'iolkt le Due. Lassus, Ballu, etc. This gave rise to but few notable buildings, but gave a great impetus to the study of the Gothic. How ineffectual and liroken in its influence thi> Romantic movement was may be seen in the illustra- tions of the Louis Philippe table and the Napoleon TIT screen. The table is in all points typically Empire, and \"et you would not expect a "citizen-king" — as he was called — to ape the Empire st_\'le. And on the other hand the screen executed for .X'apoleon HI is thoroughly a Louis X\'I piece. ( )f course, the Napo- leonic "N" and the imperial bees are introduced, but in st_\de, color, and treatment the whole thing is Louis. This has been typical of French art up to the pres- ent day. There have been short ])eriods of "craze" ■§:W «&.. // status, has recovered her lost prestige as a nation, has grown wonderfully, and is, perhaps, ready to-day to resume her position as the world's greatest style creator, as she is already its greatest reproducer of art. Perhaps a large amount of this indifference to new st}-le creation in France during the last century was ^gfrr''''''^"'-'fWWm'm'^fn^ f-j^m^t. ov THE Louis-PiiiLii'ri; hays. i/ y ' f i- MADK ]-OR xAroLP:o\ iir. for some particular style — as the Ja|)anese craze of twenty years ago; Ijut, looking backward over the century there is no evidence of an evolution of a style. Since the days of Charlemagne no century has been so weak in the origination of styles in France as the nineteenth century. France has been attending to business. .She has built up a magnificent financial due to the introduction of machinery In pictorial and mural deCDrative painting French artists have not stood still — there are many great names that will at once come t