Clocks

Clocks continued to be adorned with exquisite and intricate work, applied with the sundry decorative processes in vogue at the time. They were almost universally of the mantel variety and were not imposing creations in point of size.

Materials

The materials used during the Louis Quinze period covered a wide range in variety. Walnut, mahogany, oak and satinwood were, of course, employed but, in addition to these, every other precious or ornamental wood known to cabinet-makers seems to have been requisitioned for the enrichment of the exquisite furniture produced in this heyday of Gallic mobiliary design.

Decorative Processes

Corresponding with the variety of materials used was the variety of decorative processes the cabinetmakers availed themselves of. Scarcely one process could be named that was not employed by them in one form or another, and it would be of no avail merely to enumerate a list without entering into a detailed consideration of the subject that would alone require almost a volume. In the matter of upholstery, the most exquisite Aubusson, Beauvais and Gobelin tapestries were freely used, as were also the most elaborate brocades and other stuffs.

PLATE XXX. LOUIS SEIZE LONG SOFA By Courtesy of Mr. C. J. Charles, of London and New York.

Types Of Decoration

The types of decoration confound one by their bewildering multiplicity and fairly defy complete tabulation in brief compass. It must suffice, therefore, for our present purpose if attention be directed to a few of the more conspicuous and characteristic motifs made use of. In the carving in both high and low relief, in painting and lacquer, in inlay and marqueterie and, in fact, in every process of embellishment we see constantly recurring floral wreaths and ribbons, baskets of flowers, acanthus, celery, pastoral and musical emblems, laurel, acorns and oak leaves, guilloche patterns and rosettes, chequering and diaper-work, thistles, arabesques, myrtle, lyres, pendent husks, vases, urns and sundry other classic details. Round medallions, paterae and ovals were peculiarly characteristic forms. Heads, busts and human figures were also extensively used. Fluting, reeding, pearling and beading, too, were much in vogue. A good deal of spiral turning occurs on legs of tables and chairs. In panelling the corners were often "broken" and paterae inserted at the breaks. In textiles for upholstery and draperies, the silks, figured satins, brocades, muslins, Persian and Indian damasks and velvets, we find abundance of pastoral and floral devices and later a strong predilection for stripes.

The popularity and persistent use of stripes led Mercier to say that "everybody in the King's chamber looks like a zebra." The colouring of the fabrics was usually light and dainty and in the decoration of all sorts there was apparent an unusual degree of delicacy and finesse of proportion.

Structure

The structure of Louis Seize furniture besides being staunch was well considered to meet strain at the proper points so that it possessed the double advantage of strength and delicacy of proportion. Many of the makers contrived ingenious mechanical devices which they incorporated in the cabinet-work.

Mounts

Although the mounts had ceased to dominate the design and structure of furniture they continued to supply a legitimate place in the work of embellishment. Brass, bronze and ormolu mounts of most elaborate pattern supplied a resource of enrichment of which nothing else could take the place.

Finish

The familiar French method of polishing with shellac was mainly used to impart a high and lasting finish to the woodwork not adorned with paint or lacquer.