When the old King died, at the ripe age of 77, the crown devolved on his great-grandson, then a child five years old, and therefore a Regency became necessary; and this period of some eight years, until the death of Philip, Duke of Orleans, in 1723, when the King was declared to have attained his majority at the age of 13, is known as _L'Epoch de la Regence_, and is a landmark in the history of furniture.

[Ill.u.s.tration: Boule Commode, Probably made during the period of the Regency (_Musee du Louvre._)]

There was a great change about this period of French history in the social condition of the upper cla.s.ses in France. The pomp and extravagance of the late monarch had emptied the coffers of the n.o.blesse, and in order to recruit their finances, marriages became common which a decade or two before that time would hardly have been thought possible. n.o.bles of ancient lineage married the daughters of bankers and speculators, in order to supply themselves with the means of following the extravagant fashions of the day, and we find the wives of ministers of departments of State using their influence and power for the purpose of making money by gambling in stocks, and accepting bribes for concessions and contracts.

[Ill.u.s.tration: French Sedan Chair. (_From an Engraving in the South Kensington Art Library._) Period: Louis XV.]

It was a time of corruption, extravagance, licentiousness, and intrigue, and although one might ask what bearing this has upon the history of furniture, a little reflection shows that the abandonment of the great State receptions of the late King, and the pompous and gorgeous entertainments of his time, gave way to a state of society in which the boudoir became of far more importance than the salon, in the artistic furnishing of a fashionable house. Instead of the majestic grandeur of immense reception rooms and stately galleries, we have the elegance and prettiness of the boudoir; and as the reign of the young King advances, we find the structural enrichment of rooms more free, and busy with redundant ornament; the curved endive decoration, so common in carved woodwork and in composition of this period, is seen everywhere; in the architraves, in the panel mouldings, in the frame of an overdoor, in the design of a mirror frame; doves, wreaths, Arcadian fountains, flowing scrolls, Cupids, and heads and busts of women terminating in foliage, are carved or moulded in relief, on the walls, the doors, and the alcoved recesses of the reception rooms, either gilded or painted white; and pictures by Watteau, Lancret, or Boucher, and their schools, are appropriate accompaniments.[16]

[Ill.u.s.tration: Part of a Salon, Decorated in the Louis Quinze style, showing the carved and gilt Console Table and Mirror, with other enrichments, _en suite_.]

The furniture was made to agree with this decorative treatment: couches and easy chairs were designed in more sweeping curves and on a smaller scale, the woodwork wholly or partially gilt and upholstered, not only with the tapestry of Gobelins or Beauvais, but with soft colored silk brocades and brocatelles; light occasional chairs were enriched with mother-of-pearl or marqueterie; screens were painted with love scenes and representations of ladies and gentlemen who look as if they pa.s.sed their entire existence in the elaboration of their toilettes or the exchange of compliments; the stately cabinet is modified into the _bombe_ fronted commode, the ends of which curve outwards with a graceful sweep; and the bureau is made in a much smaller size, more highly decorated with marqueterie, and more fancifully mounted to suit the smaller and more effeminate apartment. The smaller and more elegant cabinets, called _Bonheur du jour_ (a little cabinet mounted on a table); the small round occasional table, called a _gueridon_; the _encoignure_, or corner cabinet; the _etagere_, or ornamental hanging cabinet, with shelves; the three-fold screen, with each leaf a different height, and with shaped top, all date from this time. The _chaise a porteur_, or Sedan chair, on which so much work and taste were expended, became more ornate, so as to fall in with the prevailing fashion. Marqueterie became more fanciful.

[Ill.u.s.tration: Console Table, Carved and Gilt. (_Collection of M. Double, Paris._)]

The Louis Quinze cabinets were inlaid, not only with natural woods, but with veneers stained in different tints; and landscapes, interiors, baskets of flowers, birds, trophies, emblems of all kinds, and quaint fanciful conceits are pressed into the service of marqueterie decoration.

The most famous artists in this decorative woodwork were Riesener, David Roentgen (generally spoken of as David), Pasquier. Carlin, Leleu, and others, whose names will be found in a list in the appendix.

[Ill.u.s.tration: Louis XV. Carved And Gilt "Fauteui." Upholstered with Beauvais tapestry. Subject from La Fontaine's Fables.]

During the preceding reign the Chinese lacquer ware then in use was imported from the East, the fashion for collecting which had grown ever since the Dutch had established a trade with China: and subsequently as the demand arose for smaller pieces of _meubles de luxe,_ collectors had these articles taken to pieces, and the slabs of lacquer mounted in panels to decorate the table, or cabinet, and to display the lacquer.

_ebenistes_, too, prepared such parts of woodwork as were desired to be ornamented in this manner, and sent them to China to be coated with lacquer, a process which was then only known to the Chinese; but this delay and expense quickened the inventive genius of the European, and it was found that a preparation of gum and other ingredients applied again and again, and each time carefully rubbed down, produced a surface which was almost as l.u.s.trous and suitable for decoration as the original article. A Dutchman named Huygens was the first successful inventor of this preparation; and, owing to the adroitness of his work, and of those who followed him and improved his process, one can only detect European lacquer from Chinese by trifling details in the costumes and foliage of decoration, not strictly Oriental in character.

[Ill.u.s.tration: Commode. With Panels of fine old Laquer and Mountings by Caffieri. _Jones Collection, S. Kensington Museum._ Period of Louis XV.]

About 1740-4 the Martin family had three manufactories of this peculiar and fashionable ware, which became known as Vernis-Martin, or Martins'

Varnish; and it is singular that one of these was in the district of Paris then and now known as Faubourg Saint Martin. By a special decree a monopoly was granted in 1744 to Sieur Simon Etienne Martin the younger, "To manufacture all sorts of work in relief and in the style of j.a.pan and China." This was to last for twenty years; and we shall see that in the latter part of the reign of Louis XV., and in that of his successor, the decoration was not confined to the imitation of Chinese and j.a.panese subjects, but the surface was painted in the style of the decorative artist of the day, both in monochrome and in natural colours; such subjects as "Cupid Awakening Venus," "The Triumph of Galatea," "Nymphs and G.o.ddesses," "Garden Scenes," and "Fetes Champetres," being represented in accordance with the taste of the period. It may be remarked in pa.s.sing, that lacquer work was also made previous to this time in England. Several cabinets of "Old" English lac are included in the Strawberry Hill sale catalogue; and they were richly mounted with ormolu, in the French style; this sale took place in 1842. George Robins, so well known for his flowery descriptions, was the auctioneer; the introduction to the catalogue was written by Harrison Ainsworth.

[Ill.u.s.tration: In Parqueterie with ma.s.sive Mountings of Gilt Bronze, probably by Caffieri, (_Formerly in the Hamilton Palace Collection.

Purchased_ (_Westheims_), 6,247 ICS.) Louis XV. Period.]

The gilt bronze mountings of the furniture became less ma.s.sive and much more elaborate: the curled endive ornament was very much in vogue; the acanthus foliage followed the curves of the commode; busts and heads of women, cupids, satyrs terminating in foliage, suited the design and decoration of the more fanciful shapes; and Caffieri, who is the great master of this beautiful and highly ornate enrichment, introduced Chinese figures and dragons into his designs. The amount of spirit imparted into the chasing of this ormolu is simply marvellous--it has never been equalled and could not be excelled. Time has now mellowed the colour of the woodwork it adorns; and the tint of the gold with which it is overlaid, improved by the lights and shadows caused by the high relief of the work and the consequent darkening of the parts more depressed while the more prominent ornaments have been rubbed bright from time to time, produces an effect which is exceedingly elegant and rich. One cannot wonder that connoisseurs are prepared to pay such large sums for genuine specimens, or that clever imitations are exceedingly costly to produce.

Ill.u.s.trations are given from some of the more notable examples of decorative furniture of this period, which were sold in 1882 at the celebrated Hamilton Palace sale, together with the sums they realised: also of specimens in the South Kensington Museum in the Jones Collection.

We must also remember, in considering the _meubles de luxe_ of this time, that in 1753 Louis XV. had made the Sevres Porcelain Manufactory a State enterprise; and later, as that celebrated undertaking progressed, tables and cabinets were ornamented with plaques of the beautiful and choice _pate tendre_, the delicacy of which was admirably adapted to enrich the light and frivolous furnishing of the dainty boudoir of a Madame du Barri or a Madame Pompadour.

Another famous artist in the delicate bronze mountings of the day was Pierre Gouthiere. He commenced work some years later than Caffieri, being born in 1740; and, like his senior fellow craftsman, did not confine his attention to furniture, but exercised his fertility of design, and his pa.s.sion for detail, in mounting bowls and vases of jasper, of Sevres and of Oriental porcelain. The character of his work is less forcible than that of Caffieri, and comes nearer to what we shall presently recognise as the Louis Seize, or Marie Antoinette style, to which period his work more properly belongs: in careful finish of minute details, it more resembles the fine goldsmith's work of the Renaissance.

[Ill.u.s.tration: Bureau Du Roi. Made for Louis XV. by Riesener. (Collection of "Mobilier National.") (_From a pen and ink drawing by H. Evans._) Period: Louis XV.]

Gouthiere was employed extensively by Madame du Barri; and at her execution, in 1793, he lost the enormous balance of 756,000 francs which was due to him, but which debt the State repudiated, and the unfortunate man died in extreme poverty, the inmate of an almshouse.

The designs of the celebrated tapestry of Gobelins and of Beauvais, used for the covering of the finest furniture of this time, also underwent a change; and, instead of the representation of the chase, with a bold and vigorous rendering, we find shepherds and shepherdesses, nymphs and satyrs, the ill.u.s.trations of La Fontaine's fables, or renderings of Boucher's pictures.

Without doubt, the most important example of _meubles de luxe_ of this reign is the famous "Bureau du Roi," made for Louis XV. in 1769, and which appears fully described in the inventory of the "Garde Meuble" in the year 1775, under No. 2541. This description is very minute, and is fully quoted by M. Williamson in his valuable work, "Les Meubles d'Art du Mobilier National," and occupies no less than thirty-seven lines of printed matter.

Its size is five-and-a-half feet long and three feet deep; the lines are the perfection of grace and symmetry; the marqueterie is in Riesner's best manner; the mountings are magnificent--reclining figures, foliage, laurel wreaths, and swags, chased with rare skill; the back of this famous bureau is as fully decorated as the front: it is signed "Riesener, f.e., 1769, a l'a.r.s.enal de Paris." Riesener is said to have received the order for this bureau from the King in 1767, upon the occasion of the marriage of this favourite Court _ebeniste_ with the widow of his former master Oeben. Its production therefore would seem to have taken about two years.

This celebrated chef d'oeuvre was in the Tuileries in 1807, and was included in the inventory found in the cabinet of Napoleon I. It was moved by Napoleon III. to the Palace of St. Cloud, and only saved from capture by the Germans by its removal to its present home in the Louvre, in August, 1870. It is said that it would probably realise, if offered for sale, between fifteen and twenty thousand pounds. A full-page ill.u.s.tration of this famous piece of furniture is given.

A similar bureau is in the Hertford (Wallace) collection, which was made to the order of Stanilaus, King of Poland; a copy executed by Zwiener, a very clever _ebeniste_ of the present day in Paris, at a cost of some three thousand pounds, is in the same collection.

Louis XVI. and Marie Antoinette.

[Ill.u.s.tration: Boudoir Furnished in the Taste of the Louis XVI. Period.]

It is probable that for some little time previous to the death of Louis XV., the influence of the beautiful daughter of Maria Theresa on the fashions of the day was manifested in furniture and its accessories. We know that Marie Antoinette disliked the pomp and ceremony of Court functions, and preferred a simpler way of living at the favourite farm house which was given to her husband as a residence on his marriage, four years before his accession to the throne; and here she delighted to mix with the bourgeoise on the terrace at Versailles, or, donning a simple dress of white muslin, would busy herself in the garden or dairy. There was, doubtless, something of the affectation of a woman spoiled by admiration, in thus playing the rustic; still, one can understand that the best French society, weary of the domination of the late King's mistresses, with their intrigues, their extravagances, and their creatures, looked forward, at the death of Louis, with hope and antic.i.p.ation to the accession of his grandson and the beautiful young queen.

[Ill.u.s.tration: Part of a Salon. Decorated and furnished in the Louis XVI.

Style.]

Gradually, under the new regime, architecture became more simple; broken scrolls are replaced by straight lines, curves and arches only occur when justifiable, and columns and pilasters reappear in the ornamental facades of public buildings. Interior decoration necessarily followed suit; instead of the curled endive scrolls enclosing the irregular panel, and the superabundant foliage in ornament, we have rectangular panels formed by simpler mouldings, with broken corners, having a patera or rosette in each, and between the upright panels there is a pilaster of refined Renaissance design. In the oval medallions supported by cupids, is found a domestic scene by a Fragonard or a Chardin; and the portraits of innocent children by Greuze replace the courting shepherds and mythological G.o.ddesses of Boucher and Lancret. Sculpture, too, becomes more refined and decorous in its representations.

As with architecture, decoration, painting, and sculpture, so also with furniture. The designs became more simple, but were relieved from severity by the amount of ornament, which, except in some cases where it is over-elaborate, was properly subordinate to the design and did not control it.

Mr. Hungerford Pollen attributes this revival of cla.s.sic taste to the discoveries of ancient treasures in Herculaneum and Pompeii, but as these occurred in the former city so long before the time we are discussing as the year 1711, and in the latter in 1750, these can scarcely be the immediate cause; the reason most probably is that a reversion to simpler and purer lines came as a relief and reaction from the over-ornamentation of the previous period. There are not wanting, however, in some of the decorated ornaments of the time, distinct signs of the influence of these discoveries. Drawings and reproductions from frescoes, found in these old Italian cities, were in the possession of the draughtsmen and designers of the time; and an instance in point of their adaptation is to be seen in the small boudoir of the Marquise de Serilly, one of the maids of honour to Marie Antoinette. The decorative woodwork of this boudoir is fitted up in the Kensington Museum.

A notable feature in the ornament of woodwork and in metal mountings of this time, is a fluted pilaster with quills or husks filling the flutings some distance from the base, or starting from both base and top and leaving an interval of the hollow fluting plain and free. An example of this will be seen in the next woodcut of a cabinet in the Jones collection, which has also the familiar "Louis Seize" riband surmounting the two oval Sevres china plaques. When the flutings are in oak, in rich mahogany, or painted white, these husks are gilt, and the effect is chaste and pleasing. Variation was introduced into the gilding of frames by mixing silver with some portion of the gold so as to produce two tints, red gold and green gold; the latter would be used for wreaths and accessories, while the former, or ordinary gilding, was applied to the general surface. The legs of tables are generally fluted, as noticed above, tapering towards the feet, and are relieved from a stilted appearance by being connected by a stretcher.

[Ill.u.s.tration: Marqueterie Cabinet. With Plaques of Sevres China (_In the Jones Collection, South Kensington Museum._)]

[Ill.u.s.tration: Writing Table. Made by Riesener for Marie Antoinette.

Collection "Mobilier National." (_From a-pen and ink drawing by H.

Evans._) Period: Late Louis XV.]

There occurs in M. Williamson's valuable contribution to the literature of our subject ("_Les Meubles d'Art du Mobilier National_,") an interesting ill.u.s.tration of the gradual alterations which we are noticing as having taken place in the design of furniture. This is a small writing table, some 3 ft. 6 in. long, made during the reign of Louis XV., but quite in the Marie Antoinette style, the legs tapering and fluted, the frieze having in the centre a plaque of _bronze dore_, the subject being a group of cupids, representing the triumph of Poetry, and on each side a scroll with a head and foliage (the only ornament characteristic of Louis Quinze style) connecting leg and frieze. M. Williamson quotes verbatim the memorandum of which this was the subject. It was made for the Trianon and the date is just one year after Marie Antoinette's marriage:--"Memoire des ouvrages faits et livres, par les ordres de Monsieur le Chevalier de Fontanieu, pour le garde meuble du Roy par Riesener, ebeniste a l'a.r.s.enal Paris," savoir Sept. 21, 1771; and then follows a fully detailed description of the table, with its price, which was 6,000 francs, or 240.

There is a full page ill.u.s.tration of this table.

The maker of this piece of furniture was the same Riesener whose masterpiece is the magnificent _Bureau du Roi_ which we have already alluded to in the Louvre. This celebrated _ebeniste_ continued to work for Marie Antoinette for about twenty years, until she quitted Versailles, and he probably lived quite to the end of the century, for during the Revolution we find that he served on the Special Commission appointed by the National Convention to decide which works of Art should be retained and which should be sold, out of the ma.s.s of treasure confiscated after the deposition and execution of the King.

Riesener's designs do not show much fertility, but his work is highly finished and elaborate. His method was generally to make the centre panel of a commode front, or the frieze of a table, a _tour de force_, the marqueterie picture being wonderfully delicate. The subject was generally a vase with fruits and flowers; the surface of the side panels inlaid with diamond-shaped lozenges, or a small diaper pattern in marqueterie; and then a framework of rich ormolu would separate the panels. The centre panel had sometimes a richer frame. His famous commode, made for the Chateau of Fontainebleau, which cost a million francs (4,000)--an enormous sum in those days--is one of his _chefs d'oeuvre_, and this is an excellent example of his style. A similar commode was sold in the Hamilton Palace sale for 4,305. An upright secretaire, _en suite_ with the commode, was also sold at the same time for 4,620, and the writing table for 6,000. An ill.u.s.tration of the latter is on the following page, but the details of this elaborate gem of cabinet maker's work, and of Gouthiere's skill in mounting, are impossible to reproduce in a woodcut.

It is described as follows in Christie's catalogue:--

"Lot 303. An oblong writing table, _en suite_, with drawer fitted with inkstand, writing slide and shelf beneath; an oval medallion of a trophy and flowers on the top, and trophies with four medallions round the sides: stamped T. Riesener and branded underneath with cypher of Marie Antoinette, and _Garde Meuble de la Reine_." There is no date on the table, but the secretaire is stamped 1790, and the commode 1791. If we a.s.sume that the table was produced in 1792, these three specimens, which have always been regarded as amongst the most beautiful work of the reign, were almost the last which the unfortunate Queen lived to see completed.

[Ill.u.s.tration: The "Marie Antoinette" Writing Table. (_Formerly in the Hamilton Palace Collection._)]

[Ill.u.s.tration: Bedstead of Marie Antoinette, From Fontainebleau.

Collection "Mobilier National." (_From a pen and ink drawing by H.

Evans._) Period: Louis XVI.]

The fine work of Riesener required the mounting of an artist of quite equal merit, and in Gouthiere he was most fortunate. There is a famous clock case in the Hertford collection, fully signed "Gouthiere, ciseleur et doreur du roi a Paris Quai Pelletier, a la Boucle d'or, 1771." He worked, however, chiefly in conjunction with Riesener and David Roentgen for the decoration of their marqueterie.

In the Louvre are some beautiful examples of this co-operative work; and also of cabinets in which plaques of very fine black and gold lacquer take the place of marqueterie; the centre panel being a finely chased oval medallion of Gouthiere's gilt bronze, with caryatides figures of the same material at the ends supporting the cornice.