While dealing with the furniture of the reign of Louis the Fifteenth, we must not omit to call to mind the fact that when the reign was nearing its close there appeared in the field of art industry one of the greatest fondeurs-ciseleurs the world has ever seen or is likely to see - I refer, of course, to Gouthiere. This great artist-craftsman was born in 1740, and was therefore only thirty-four years of age at the time of the king's decease; but he displayed rare ability early in life, and when but a stripling was working hand-in-hand with the most notable cabinet makers of his time. To him are to be attributed some of the most magnificent mounts that ever graced cabinet, chair, or table; but as he proved his skill more extensively in the "Louis-Seize " than in the preceding style, lengthy comment upon his work is not called for here. It may, however, be mentioned in passing that among the innovations which he brought about Gouthiere laid claim to having been the first to introduce the "dead gold" finish that endows so much of this old French brass work with such subtle and yet so great charm.

"Louis-Quinze." III.Plate 7

Reference In Text

Thomire, born in 1751, was another bright and shining light in the same branch of industry, but he continued his labours to a period thirty-seven years after Gouthiere, who died in 1806, having been brought to such straits that, history tells us, "il etait reduit a solliciter une place a l'hospice; il mourut dans la misere." Thomire had much to do, not only with the "Louis-Seize," but also with the "Empire" metal work, with which we have yet to deal.

The names of Lamour, Lalonde, Gabriel, Here, Gamain, Caffieri, Peneau, Cressent, and Duplessis may also be mentioned, for all shone brilliantly under one or another of the Louis, but lack of space renders it impossible to give individual examples of the work of every one of them here.

It is very curious that the French cabinet maker of the times of which I am writing did not avail himself to any great extent of marquetry for the enrichment of his productions, if we except, of course, the tortoiseshell and metal incrustations of the Boulles. Such inlay as was employed - an example is given in Fig. 2, Plate IV. - was of a comparatively simple character, and, when not floral in design, consisted chiefly of diaper patterns composed of tiny pieces of veneer - principally amaranth, tulip, rosewood, laburnum, and maple. These diapers were frequently introduced as a background for floral schemes, and were brought to great perfection by Riesener, among other marqueteurs, during the prevalence of the succeeding style. The effect obtained by this inlay is rich though subdued, and decidedly pleasing, often having somewhat the appearance of a "bloom," though it cannot be admitted that it ever possessed the great charm associated with that which became popular in this country a few years later through the encouragement of Heppelwhite and Sheraton.

There is yet another name which must be mentioned while we are considering this style, and it is that of Antoine Watteau, who, although not a cabinet maker in any sense of the word, exercised considerable influence over the decorative work of the period by the persistent cultivation of that particular class of pictorial subject which, ever since his day, has been associated with his name.

Commencing his career as a scene-painter under the famous Gillot, he soon gave ample proof that the making of a master was in him, and worked his way up with so much determination that it was not long before he received the appointment of "Painter to the King" (Louis the Fourteenth). During the reign of George the First he came over to England with the intention of settling here, but his health suffered so seriously in our climate that he was obliged to return to his own country, where he worked until his death in 1721 - seven years after the accession of Louis the Fifteenth. A scenic or theatrical feeling was always associated with the work of Watteau, and when regarding his military studies of camp life, or his still more popular pastoral creations, with their frisking lambs, coy and coquettish shepherdesses, and love-sick swains, we almost instinctively listen for some concealed orchestra to break into the strains of a rollicking drinking song, "chorus of villagers," or amorous duet.

Pastoral paintings, after Watteau and Boucher, constituted a great feature in the productions of the famous Martin family, to whose work a few words must be devoted here. Originally a coach painter by trade - and in those days even coaches. were veritable works of art - Guillaume Martin and his three sons, Simon-Etienne, Julien, and Robert, maitres-peintres et vernisseurs, devoted themselves to the improvement of varnishes and lacquers as applied to cabinet work. They did much to perfect the transparent lac varnish, and worked largely in that beautiful green varnish, powdered with gold, which is now generally known as "Vernis-Martin," and was employed extensively as a background, or "field," for such dainty brush work as that to which I have referred. The introduction of the "Martin" preparations and methods of application made it practicable to enrich furniture with the choicest and most delicate paintings without fear of their coming to harm; and so highly were the innovations made by the family in this direction esteemed by those in authority that, in the year 1730, Guillaume and Simon-Etienne were accorded the sole right, for twenty years, of making "toutes sortes d'ouvrage en relief de la Chine et du Japon," and the brevet was further confirmed and extended in 1744. The Martins, throughout their career, cultivated the decoration of coaches, sedan-chairs, and similar vehicles, as well as that of furniture, wall-panelling, and the like. Indeed, "Vernis-Martin" may be regarded as ranking among the most important features of the furniture of this period.

"Louis-Quinze." IV. Plate 74

Reference In Text

With the foregoing comments we must leave the "Louis Quinze"; but, before doing so, the reader may well ponder again over the examples presented here, institute a mental comparison between them and the forms based upon them which appeared later in this country, and then debate in his mind the question whether the spirit of luxurious sensuality has been so materially expressed, through the medium of wood, metal, and textile fabrics, in any other age or country, before or since, as it was in France during the days of the Pompadours and Du Barrys. We may attempt to copy the "Louis-Quinze," as we have attempted in the past; we may imbibe some of its qualities, as we have done and may still succeed in doing: but to expect the British nature to interpret the style as it was in the land of its birth in its best and palmiest days, with all its rare, subtle, and sinuous grace, is to look for a moral impossibility. It is not the skill of the British artist and craftsman that is wanting in this regard, but his very nature and temperament, for the possession of which he cannot be blamed.