The more deeply we study the history of past ages the more firmly convinced we become of the fact that, in art as in other walks of life, it is inherent in human nature to go sometimes to extremes; but we generally find that matters readjust themselves sooner or later; at all events it has almost invariably so happened. From the very earliest times of which we possess any authentic record it has been so. The severity of the "Egyptian," "Assyrian," and "Greek," was supplanted by the heavy and redundant splendour of the "Roman," the very gorgeousness of which was almost too much for the eye to support. After that, reaction soon set in, and the "Roman" in its turn was superseded by the simpler and symbolic "Byzantine," which again was itself destined to have as a successor its very antithesis, the "R.nascimento," "Cinque-cento," or "Renaissance."

In a similar manner, in English furniture, the rich carving - "Francois-Premier" to all intents and purposes - of the time of Henry the Eighth was supplanted by the simpler "strap-work" of the "Elizabethan"; then came the somewhat crude productions of the "Jacobean," the severe "Cromwellian," with its straight lines, refined mouldings, and dearth of ornamentation; the "Queen-Anne," born of French and Dutch parentage, and eventually another revolution, resulting in the production of "Chippendale," "Heppel-white," and "Sheraton," and finally of our debased rendering of the "Empire."

Contrasts similarly marked are to be traced in the old French styles as we pass them in review, and in the "Louis-Seize," with which we are now about to deal, we find, as I have already indicated, a distinct departure from every one of the modes that led up to it. Garishness is once more banished by good taste; eccentricity gives place to excellence; sensible construction is in no circumstances sacrificed to ornamental elaboration; and, instead of riotous extravagance being in evidence everywhere, calm and beautiful rest-fulness reigns supreme. It is really most remarkable and interesting to note the fixed determination with which these old French designers of the "Louis-Seize" set aside all prevalent traditions, and relied upon their own ingenuity to attain the end they had in view. In order to appreciate the extent to which they did this, the reader need not do more than compare the types accompanying this chapter with those shown in the two preceding ones. By so doing it will be made apparent that hardly a single detail, or even the mere suggestion of a detail, common to the styles that went before is retained, so far as ornament is concerned, while general construction is completely revolutionised.

It may be laid down as a guiding principle for the help of the student that the "Louis-Seize" depends in a very great degree upon ornamental enrichment for its character; shorn of that, the examples we shall consider - and they are the most typical in every respect which we could select - would possess but meagre interest. Most of the constructional forms are simple almost to severity, though, be it noted, they are almost without exception well proportioned and graceful in the extreme. It is in this respect above all others that the style differs from the " Louis-Quinze"; and if this be constantly borne in mind, the task of distinguishing one style from the other will be very greatly simplified.

"Louis-Seize." III. Plate 77

Reference In Text

It is for us to discover, then, so far as we can, the special character of which the "Louis-Seize" enrichment partook, and to decide in what category it is to be classed. And with regard to this, I may again refer, for a moment, to the fact that there are two distinct classes of decoration - and I am now alluding to decorative art generally - viz.: that which is designed solely and purely to give pleasure to the eye, to appeal to our love of grace of form, and appreciation of the skilful disposition of detail; and that which, while pleasing the eye by the possession of the qualities indicated, conveys to the mind also some lesson, or suggestion of something further. These two classes we may describe as the purely decorative and the decorative-symbolical. In the "Louis-Quatorze" the ornamentation was intended to overpower as well as please; in the "Louis-Quinze" it was intended to lull the senses into voluptuous abandonment; and in the "Louis-Seize" we come to yet a third type - to a fresh vein of symbolism. Let us see what it symbolises.

Though Louis the Sixteenth differed vastly in character from his predecessor, he resembled him insomuch that he was far from being disposed to exert himself for the good of his country; and in no respect did he share the energy or determination of "Le Grand Monarque." The martial spirit was absent from his rule - that spirit which had predominated for so long until Philip of Orleans gave it the quietus, and which had so successfully been ignored by Louis the Fifteenth in his later years. It cannot be said by any means that the new sovereign was a libertine; but he was a lover of ease, addicted to peaceful pursuits, and devoted to the cultivation of the graces and refinements of life. He was neither vain of conquests abroad nor jealous of being regarded as a man of iron will by his subjects at home; and provided that political disturbances did not interfere with his own personal comfort and enjoyment of life, or limit "supply," he concerned himself but little about them. Times of comparative peace had succeeded those of trouble and turmoil, though they were not destined to continue for very long. King, queen, and courtiers, not looking for, and therefore not discovering, the presence of the thunder-clouds in whose womb was pent up one of the most appalling outbursts of popular fury the world has ever seen, passed their days in dalliance with whatever appealed to their fancies, and devoted their energies almost exclusively to the pursuit of enjoyment, so long as serious exertion of any kind, mental or physical, was not required for the gratification of their desires. The notes of the shepherd's pipe had, in truth, taken the place of the bray of the trumpet; silks, velvets, brocades, ruffles, and satin shoes had ousted the martial cuirass and spurred heel from the scene; ministers' "portfolios" and despatch boxes were filled with love-lorn ditties; swords rusted in their scabbards; even the duello was interdicted; and it might almost be said that the only truly militant member of the community who kept his weapons in constant readiness was Dan Cupid himself, the shafts from whose bow continued to speed as unerringly as ever.