Alsatian Renaissance chest, early 17th century.

Inlayed walnut wood, intarsia decoration.

 

 

The greater or lesser degree of exaggeration in the creations of the reign of Louis XV affords a species of chronology for this period. First, the endive leaves in slight relief describe agreeable curves and mingle with palmettes and laurels as if to protest against an absolute disconnect from the preceding style, while revealing new tendencies. Later, under the influence of Juste-Aurèle Meissonnier, all timidity disappears; boldness of form becomes so immoderate that the excesses of brass no longer astonish us, which was aided by the immense talent of carvers. There is so much spirit in the pieces composed by Jacques Caffieri and Charles Cressent, the engraving is so delicate and intelligent that we are forced to admire the workmanship despite the style.

Towards the end of the reign, we can foresee the accomplishment of the reform. The endives are less exuberant, the rosette borders and hanging wreaths of flowers are subjected to some sort of discipline; furniture acquires a more regular and quiet appearance. Madame de Pompadour was not a stranger to this movement, which for propriety’s sake was termed the Queen’s style. Marie Antoinette was to complete the reform.

To add a word about Louis XV’s furniture, as in all other things, there is a choice to be made by the man of taste. The marquetry works imitated by painting may be condemned on principle, but some of them still retain a flavour of the period which recommends them to connoisseurs. There is sometimes grandeur in the wood mosaics with varied backgrounds, trophy medallions and accompanying bronzes often assume a monumental importance. We require no further proof of this than the magnificent roll-top writing-bureau exhibited at the Louvre, which possesses its candelabra and time-piece.

Without aiming at examples such as these, we may mention commodes, such as those owned by Sir Richard Wallace and Gustave de Rothschild, in which the handiwork of Caffieri brings forth endive leaves of charming taste and flawless execution. We may recall amongst the masterpieces the charming satinwood furniture, which appeared at the San Donato sale, with inlaid violet flowers stood out as the most graceful chased bronze that could be imagined. As for small furniture for ladies, such as bonheurs-du-jour, shelves and work-tables, there is nothing more elegant.