Chapter VI: Part 6

The bedroom communicated directly with the _Salon oval_ and the many windows and glass doors of the latter opened upon a formal French garden. The decorations of these rooms were in the pale grey tone known as _gris de lin_. There were no bright colours and no mythological pictures of love and gallantry. The panels were laden with beautiful wood carvings, and in the upper part between the archivolts of the doors and windows were eight allegorical groups representing the arts and sciences. Music, Justice, Painting and Poetry, History and Fame were painted by Lambert Sigisbert Adam; and Astronomy, Architecture, Comedy and the Drama by Jean Baptiste Lemoine.

The Princess’s apartments above consisted likewise of a bedroom, _Salon oval_, and an antechamber. The bedroom was lighted by two windows that looked upon an interior court. In the cornices and in the centre of the panels were groups of figures inspired by the stories of Greek mythology. On the piers, a skillful carver related the amorous adventures of Venus and Adonis, Semele and Jupiter, Europa and the Bull, and Argus and Mercury. In the four corners of the ceilings, the gilded medallions represented Diana, Leda, Ganymede and Hebe; and, finally, in the cornice, stucco figures of almost natural size stood out boldly. They formed four groups. Between the windows, Bacchus and Ariadne were represented; in the depth of the alcove, Diana and Endymion, and at the side of the _Salon Oval_, Pallas and Mercury,—opposite to Venus and Adonis. Innumerable little Cupids, bearing attributes of sciences, arts and letters were everywhere. Over each door was a painted panel: one, by Boucher represented the _Graces presiding at Cupid’s Education_, the other, signed Trémolières and dated 1737, _Minerva teaching a Young Girl the Art of Making Tapestry_. In the back of the room, standing out from the red damask of the alcove, were two pastorals by Boucher, with shepherds in satin garments, and shepherdesses in panier-skirts, and beribboned sheep. All the frames, so graceful in sweeping curves, were in delightful harmony with this subject, adding as Jules Guiffrey says, “a fantastic piquancy to these mythological gallantries.”

“The Oval room,” says the same art critic, “will always remain one of the most artistic models of the Eighteenth Century; and everybody knows that the period of Louis XV. carried the science of decoration to its last limit.” The chief paintings were done by Charles Natoire in 1737–1739, and describe the story of Cupid and Psyche in the most charming colours; but, still quoting from M. Guiffrey, “the details of the ornaments of the _salon oval_ defy all description. You must study in detail the entwinings of the _rosace_, the little cupids clothed in a beautiful coating of gold, all different in gesture, attitude and expression, to gain an idea of the infinite resources of the designers and sculptors of the time.”

The original chimney-piece was removed to the Tuileries, where it was burned. The floor originally was incrusted in the style of Boulle’s furniture, in branches of copper and pewter.

The boudoir is generally smaller than the average room of the period. The ceiling should be painted in the style of Boucher, with a pale sky scattered with clouds, garlands and Cupids. The cornices are white and gold, and the cartouches flowered and gilt. The doors are white and gold, and ornamented with painted motives very light. The panels of the wall are covered with silk, bearing flowers and birds on a pale rose, blue, or lilac background. The nails are covered with a harmonious braid. The alcove, or niche, is hung with the same material as the panels, and the cornice matches the other woodwork. Opposite the alcove is the window, the cornice of which repeats that of the alcove, and from it fall the curtains, made of the same material as the wall panels and alcove draperies, heavily wadded and lined with silk. They are surmounted by a light drapery, caught into festoons here and there, ornamented with shells or knots of the same stuff, and tassels or bell-shaped balls of silk. The under curtains are white lace, and the heavy curtains are looped back by means of light tassels of various hues. A scarf of drapery falls on either side of the alcove, the cornice of which sometimes is decorated with _pommes_. Below this is a valance corresponding with the valance at the base of the _lit de repos_ that is placed within it. The chimney-piece is white marble, surmounted by a mirror with a frame of gilded wood carved richly in palms, flowers, birds, shells, etc. Upon it should stand a clock and two small candelabra of like design, or of Sèvres or Dresden porcelain. Opposite the chimney is a similar mirror, below which is a pier table or a commode. The carpet is Aubusson of light colours, and the doors, if preferred, can be hung with _portières_ agreeing with the window curtains.

Sofas, easy-chairs, arm-chairs, secretaries, small tables, corner-cupboards and _chiffonnières_ are all appropriate to the boudoir, which may be heated with a wood fire on bright andirons, or by a grate. The light is supplied by candles.

A book called _La Petite Maison_ (1758) contains a description of the furnishings of a wealthy home in the height of the reign of Louis XV.

Taking the dining-room first, we find that the walls are in stucco of many colours, made by the famous Milanese worker in stucco, Clerici, who made the Salon de Neuilly for the Comte d’Argenson and the _Rendez-vous de chasse de Saint-Hubert_ for the King. In the compartments were bas-reliefs of stucco, the work of the sculptor Falconet. They represented the feasts of Comus and Bacchus; and the King’s sculptor Vassé had adorned the pilasters with twelve trophies, representing the pleasures of the chase, fishing and good cheer. On each of these trophies was fixed a _torchère_ of gilded bronze, bearing a six-branched girandole, which could make this fine room as bright as day.

In the adjoining small cabinet, in which coffee was served, the panels were painted of a sea-green hue with picturesque subjects brightened with gold. In this room were a number of baskets filled with _fleurs d’Italie_. The furniture was covered with embroidered _moiré_. Next came the _cabinet de jeu_. Here the walls were done in Chinese lacquer; the furniture was also of lacquer, with rich Oriental material finely embroidered. The girandoles were of rock crystal, and upon finely carved and gilded brackets were valuable porcelains from Saxony and Japan. A thick-piled carpet was spread upon the floor. This room communicated by two doors with the dining-room and the boudoir. The door into the latter was disguised by a _portière_ of tapestry.

The salon, which opened out upon the garden, was circular, arched _en calotte_ and painted by Hallé, a French painter, who much resembled Boucher. The panels were painted in lilac and framed by very large mirrors. The space above the door was also painted by Hallé in a mythological design. The lustre and the girandoles were of Sèvres porcelain, with supports of gilded bronze _or moulu_.

The bedroom, square in form and _à pans_, was lighted by three windows that looked upon the garden,—an “English garden” it was. It ended in an arch, and this arch contained in a circular frame a picture representing _Hercules in the arms of Morpheus, awakened by Love_, painted by Pierre. The panels were imprinted with a pale sulphur. The parquet was marquetry of the odorous woods of amaranth and cedar. In the four corners of the room were mirrors, and beneath them console-tables with marble tops, upon which were arranged with great taste fine porcelains, handsome bronzes and marbles. The bed was draped in a material from Pekin, jonquil colour, ornamented with the gayest hues; and was enclosed in a niche or alcove, which communicated both with the _garde-robe_ and bath-room. The _garde-robe_ was hung with gourgouran (a kind of silk from India), _gros vert_, on which were hung rare prints by Cochin, Lebas and Cars. The furniture here consisted solely of ottomans, _sultanes_ and _duchesses_.

In the bath-room, marbles, porcelains and muslin were not stinted. The panels were covered with arabesques executed by Pérot after designs of Gillot, and distributed in compartments with much taste. Marine plants mounted in bronze by Caffieri, pagodas, crystals and shells decorated the room. In it were two niches: in one was a silver bathtub; in the other a bed draped in Indian muslin, embroidered and adorned with tassels. This was a _lit de repos_, and at its side opened the dressing-room. The panels here were painted by Huet, the designs being medallions, garlands of flowers, birds, fruits, and some gallant subject in the style of Boucher. The upper part was finished with a cornice, surmounted by architectural motives that also bordered a surbased calotte containing a mosaic of gold, with bouquets of flowers painted by Bachelier. Natural flowers filled the bowls of porcelain _gros bleu_, ornamented with gold. Furniture, _gros bleu_, the wood of which was aventurine, had been finished by Martin. The toilet service was of silver, made by the goldsmith Germain.

The boudoir was, perhaps, the most elaborate of all the rooms. The walls were completely covered with mirrors, whose joinings were masqued and disguised by the trunks of artificial trees massed and arranged so that they formed a quincunx that one might believe real. These trees were loaded with flowers of porcelain and gilded girandoles, which produced, with their rose-coloured and blue candles, a soft and diaphanous light, reflected, but moderated by the transparent gauze that had been spread over the mirrors at the back of the room, where there reigned a voluptuous twilight. In the niche, also covered with mirrors, was a _lit de repos_ enriched with gold braid and accompanied with cushions of all sizes. The parquet was of rosewood. All the carpentry work and carving was painted by Dardillon, who, in painting and gilding the panels, had mingled with the colours some odorous ingredients for the purpose of having them exhale a perfume. This boudoir was thus a natural bouquet, exhaling from its paintings and gilding the combined perfume of violet, jasmin and rose.

One wishing to furnish a room in the Louis XV. style could hardly find a better model than the following that dates from 1730. This had a furnishing of Lyons brocade of jonquil-coloured background embossed with silver flowers, designed by Lallié, and trimmed with braid, lace, and silver fringe. The set consisted of a bed, two _fauteuils_, two square cushions, six folding-stools, a screen, a folding-screen, wall-hangings, and four _portières_. The window-curtains were of plain jonquil taffeta, trimmed at the sides and top with silver lace, and at the bottom with a silver fringe. Each curtain was 13 feet, 10 inches long, divided into two parts, each part containing two lengths. The four _portières_ of jonquil and silver brocade were lined with jonquil taffeta. Each was in two parts, each of three lengths (2⅓ ells long), and trimmed like the window-curtains. The wall-hangings were trimmed with silver braid. They comprised 24 lengths, 10⅔ ells around the course, which was 3¼ ells high. The _fauteuils_ were of the typical style with wavy top rail, curving arms with cushions on the elbows and _bombé_ fronts. The frames were richly carved and silvered. These chairs were covered with jonquil brocade and trimmed with silver braid and fringe. The square cushions of the same brocade were trimmed with silver braid and had a silver tassel at each corner. The frames of the folding-stools were carved and gilt; the seats were covered with jonquil brocade. The screens were also covered with the same material, which was tacked on by silver-headed nails upon silver braid. The bed was magnificent. It was 11 feet, 8 inches high, 6 feet long and 5½ feet wide. The draperies were exclusively of the jonquil brocade lined with jonquil taffeta and trimmed with silver braid and silver fringe. The draperies consisted of three inside and four outside valances enriched with embroidery. The latter were gracefully looped in irregular festoons and trimmed with a silver braid. Silver braid arranged in the form of shells fastened the curtains back to the columns. The headboard was embroidered in silver with designs of flowers and peacock feathers in high relief. The _Imperial_, or canopy, to which were attached the inside valances, was lined with jonquil taffeta and trimmed with silver braid. Four “_pommes_” in the shape of vases covered with jonquil brocade trimmed with silver, supported by leaves and scrolls of embroidery, held four “bouquets,” containing altogether 120 plumes and four _aigrettes_.

The furnishings of the bed were luxurious in the extreme. It was supplied with four woollen mattresses covered with some jonquil-hued material, a down bolster covered with white taffeta, a scarlet ratteen blanket of Holland manufacture, another blanket of white wool bordered with jonquil ribbon, a counterpane of Marseille _piqué_, and a quilted and wadded counterpane of white satin. The outside ornamental counterpane was of jonquil and silver brocade lined with jonquil taffeta and trimmed with silver braid and fringe.

Another suggestion for furnishing may be gained from a description of Madame de Pompadour’s room at the Château de Saint-Hubert, which was furnished in 1762 with a rich damask from India of green and white stripes. The two _fauteuils_ and six chairs with backs were covered with this material, ornamented with a braid of assorted silks. The wood of the frames was carved and painted green and white. A small _tabouret_, a little footstool, and a _fauteuil en confessional_[17] with its cushion were similarly covered and had also carved frames painted white and green. There was also a _fauteuil de toilette_ made of beech and cane, the cushion and back of which were covered with green and white damask. There was a folding-screen covered with the same damask on both sides and ornamented with silk tassels. The carved frame was also painted green and white. The one _portière_ in the room contained three lengths of the same damask, two ells in length, and was lined with white taffeta and trimmed with silk braid. The toilet-table was covered with a piece of the same damask, 7 feet, 4 inches long, lined with white taffeta and ornamented at each corner with a tassel of green and white silk. The window curtains were in two parts, each part containing two lengths of white silk (_gros de Tours_), 2½ ells long, trimmed with a braid of green and white silk.

The bed was completely draped in the same damask. It had four columns, headboard and footboard, and “imperial” or canopy (with four outside and four inside valances) four curtains _en cantonnières_, containing altogether twenty lengths, with four silk cords to attach them; the counterpane, three lower valances, four sheaths for the pillows, and four _pommes_ were trimmed with silk fringe.

This bed stood on castors, and was 4½ feet wide; 6 feet, 3 inches long; and 8 feet high. Three mattresses, a down-bed, two down bolsters, soft woollen blankets bordered with ribbons, a _piqué_ Marseilles counterpane, and a white satin coverlet, were among its comfortable furnishings.

In this room were also two _commodes_ of rosewood veneered and set with mosaics, the tops of violet _breccia_ marble. In front were two drawers. The length was 3½ feet; the width 20 inches; and the height 32 inches. The mounts, trimmings and shoe of the leg were of bronze gilt _or moulu_. The writing-table was of rosewood inlaid with flowers of violet wood, with flap to let down. This was covered with black leather. On the right, it had a drawer that contained writing-materials. All the mounts and feet were of bronze gilt. This table was 26 inches high, 23 inches long and 15 inches wide.

A night-table was also in this apartment. It was 20 inches long, 13 inches wide and 32 inches high. It was of violet wood and rosewood, the top, a slab of _breccia_ marble from Aleppo, the height 32 inches; the length, 20 inches; and the width 13 inches. The shoes of the feet and the ring-handles were of gilt bronze _or moulu_.

The room was heated by means of a grate, on each side of which was represented a child holding a bouquet. The depth was 22 inches. The shovel and tongs were gilded.

A peculiar feature was a _niche en tabouret_ for two dogs, covered with the same damask of white and green, the wood painted white and green. Within it were two mattresses covered with white linen.

The furniture of Madame la Princesse de Talmont’s apartment at the Château de Saint-Germain-en-Laye in 1771 consisted of a bed, two settees, eight arm-chairs, two _banquettes_, two screens, three commodes, four writing-tables, a night-table, a _bidet_, three chairs, two corner-cupboards, three mirrors and two _portières_. The wall-hangings were white Chinese satin with figures, flowers, and animals richly embroidered in coloured silks. The same material was used for the bed, screens, sofas and chairs, but the two _portières_ (10 feet, 9 inches long) were of white taffeta trimmed with a silk braid of many colours. The bed, a _lit à impériale et à la duchesse_, was composed of three outside valances of green taffeta ornamented with a deep lace of gold arranged in festoons; the four inside valances were trimmed in the same style with a narrower gold lace, and these, as well as the ceiling, back, headboard, _bonnes grâces_, counterpane, and three lower valances were of the white satin embroidered with figures and trimmed with gold lace. There were also two curtains of white taffeta lined with serge. The bed itself with its canopy crosswise was 5 feet, 4 inches wide, 6½ feet long, and 12½ feet high and was equipped with three mattresses, a feather bed and feather bolster. The spread was a Marseilles _piqué_. The two sofas were each 6 feet long of sweeping and _bombé_ curves, the arms also rounded and adorned with the small cushion on top (_manchette_). The material was fastened to the frames with silver nails. Each had a mattress and two square pillows, also covered with the embroidered satin. The eight arm-chairs, the two _banquettes_ and one screen were covered in the same style.

The folding-screen of six leaves, was 4 feet high. It was also covered with the same material, and its frame, like the wood of the rest of the furniture already described, was carved and varnished.

One of the mirrors had a border of carved leaves gilded. Its glass was 28 inches high and 21 inches wide. The other two had a gilded border, 4 inches wide; the glass of each was 26 inches high and 20 inches wide. The three commodes were _à la Régence_, violet and rosewood veneered. Each was surmounted by a slab of Flemish marble, and contained one large and two small drawers. All the mounts, locks, friezes, ornamental _chutes_, and feet were of bronze gilt. They were 34 inches high, about 4½ feet long, and 22 inches deep. Two of the writing-tables were of violet-wood and rosewood veneered with cross-grained contrasts and on the right side each had a drawer with lock, that contained an inkstand and other writing materials. One contained in front a little shelf or flap, 2½ feet wide, covered with black leather and had gilt bronze feet; the other was ornamented outside with flowers applied and was 2 feet long, about 18 inches wide and 26 inches high. The other writing tables were 2 feet long, 15 inches wide, and 26 inches high. The night-table was of cherry-wood inlaid with threads of amaranth wood with a slab of Flemish marble. This was 27 inches high, 17 inches long and 11 inches deep. The _bidet_, 18 inches long, 15 inches wide and 10 inches high, was of cherry. Its top was a _tabouret_ colored with red leather put on with gilt nails. The two corner cupboards were of various Indian woods veneered, and had tops of Flemish marble. In front were two doors that locked. The feet and ornamental metal and key-plates were of bronze gilt; these were about 30 inches high and were surmounted by a series of four shelves, 28 inches high and 11 inches square.

In 1729, a complete set of “Persian” furniture consists of hangings for the wall, a _lit de repos_, four _fauteuils à bergère_, two chairs with backs, two _portières_ and a window-curtain. The “Persian” was a kind of figured chintz with a white background. The _lit de repos en Ottoman_ was 10 feet long and 3 feet deep, and was equipped with a mattress, 2 bolsters and 6 square cushions, all covered with “Persian.” The two _portières_ were of two lengths, each 7 feet, and were trimmed with a blue and white silk braid, and lined with white English taffeta. The window-curtain of the same was 7 feet, 10 inches long, containing three lengths. The seats were all covered similarly.

In 1730, a furnishing for a cabinet described as “mi-party of brocade of silver background on which are gold branches outlined in musk-colour, and crimson damask trimmed with gold,” consisted of wall-hangings, a niche, two _portières_, two _lits de repos_, an arm-chair, twelve folding-stools and six small and low folding-stools. The two _portières_ were in two parts each; each half containing three half-lengths of brocade and two lengths of damask (3 ells long), trimmed all around with a deep gold braid and lined with crimson taffeta.

“The niche, in the form of an _armoire_, serving as a shelter for a _lit de repos_,” was hung outside with five lengths of brocade and three of damask (8 feet, 7 inches high), trimmed at the top, bottom and sides with a golden braid. Inside were five lengths of brocade and four of damask. Two curtains hung before the niche, each containing three half-lengths of the brocade and two lengths of damask (8 feet, 4 inches high). These were trimmed with gold braid and fringe, and lined with crimson taffeta. There were also two valances for the niche, one outside and one inside. The outside one was of the brocade and damask mi-party, the inside one of crimson damask. They were bordered with gold braid and fringe. Above the niche were four carved vases of flowers to serve as “_pommes_.”

The _lit de repos_ that was placed in the niche was 6 feet long and 2½ feet wide. It was furnished with two mattresses, two bolsters and two square pillows. The valances and coverings were of the brocade and damask, trimmed with gold braid and fringe. The cushions were ornamented with gold tassels. The other _lit de repos_, 7 feet long and 2½ feet wide, was similarly draped. The _fauteuil_ and folding-stools were covered with a square of crimson damask, bordered with a band of the silver and gold brocade. The frames were painted red, picked out with gold.

A furnishing of 1730 was of lemon-coloured leather, framed in red leather in large compartments, bordered with a narrow braid and cord of silver. The furniture included a sofa, two forms, twelve _tabourets_ and a folding-screen of six leaves. The sofa was 7 feet, 8 inches long, 25 inches deep and 3 feet, 9 inches high from top to floor. The frame was carved and lacquered, and the leather was fastened to it by means of silver-headed nails. The screen was covered in the same fashion.

We also hear of a set of furnishings, dating from 1732, of white silk with a pattern of honeysuckle branches, with other ornaments forming cartouches of cut-out green taffeta. This was used for covering two arm-chairs, two square pillows, twelve folding-seats, and two screens, as well as for draping the bed and for the wall-hangings. The latter were 3 ells high in 27 lengths. The arm-chairs were trimmed with green silk braid, and the material was fastened by gilt-headed nails to the frames, which were carved and gilt, with curving arms and backs. They were furnished with square cushions, which were adorned with green silk fringe and green silk tassels. The bed was _Impériale et à la Duchesse_, and stood lengthwise. It was 12 feet high, 6 feet, 10 inches long, and 5 feet, 8 inches wide. It was draped with three outside valances, four inside valances, festooned, a headboard with sweeping top, inside and outside _bonnes grâces_, counterpane, three lower valances and two curtains of 16 lengths each. All of these were of the white silk with the honeysuckle pattern and green cartouches. The _bonnes grâces_ were looped back and held by two ornamental hooks. On the top of the bed there were four consoles for “_pommes_,” bearing altogether eighty feathers.

This bed was equipped with four woollen mattresses, a down bolster, a red blanket, a white English blanket, a Marseilles counterpane _piqué_, a wadded quilt and a coverlet of white silk lined with taffeta.

The cabinet was furnished in the same material, which was used for two _portières_, two window curtains, a sofa, two arm-chairs, twelve folding-stools and two screens. The sofa was 6 feet long, with curving wings or cheeks, the frame carved and gilt. It had a mattress and two square cushions. The _portières_, 9 feet, 7 inches long, were lined with white silk, each containing three lengths of material. The windows were 12 feet, 10 inches high, and the curtains contained each two lengths.

The above detailed descriptions will enable anybody to furnish a Louis XV. room in the most fashionable and sumptuous style.

At no period in the history of art have the masters of decoration given proof of more science and skill in the technique of curves than during the Louis XV. period. Some of the skeletonized curves with which Meissonier and his school loved to adorn mouldings and the framework of all kinds of furniture are shown on Plate XXXII., Nos. 2, 3, 4 and 5. These elements were elaborated in a hundred various ways. This kind of curved ornament used on large pieces of furniture is exemplified in the sketch No. 1 on the same plate. This is a big china cupboard, or double-bodied _buffet-vitrine_. It is far more sober in its ornamentation than many objects of this class of the Louis XV. period. It was made in Liège.

On the same plate is a beautiful _bras de lumière_ in gilded bronze by Caffieri, with arms for candles. The branches twisted in moulded volutes, enriched with acanthus, palm and oak leaves, flowers and buds, spring with masterly management from a central stem which is robust and in entire harmony with the dimensions of the whole. It is about 32 inches high.

The change from the Louis XV. to the Louis XVI. style, though marked, was by no means violent or sudden. Chairs and settees are often found with clearly defined transitional features in the mouldings and ornamentation of the framework. Some of the Fontainebleau furniture covered with tapestry from Boucher’s designs has the straight grooved leg and other Louis XVI. characteristics. On Plate XXXVI., Nos. 3, 4, 5 and 7 are shown the details of a charming _causeuse_ of the transitional period. The general disposition preserves the undulous flexions of the Louis XV. style, and the details of the carving (bunches of flowers) obey the law that proscribes those parts that are too prominent and likely to form too sharp angles. The central cluster on the top of the back, No. 3, soberly follows in its flowers and leaves the Louis XVI. sweep, being in very low relief like the cluster No. 4 that heads the middle leg. The general interlacings that run round the entire framework are also in very low relief. This motive, borrowed from _passementerie_, harmonizes excellently with the surfaces covered by the woven stuff. No. 5 shows the sections, curves and deep grooves of the mouldings of the arms.

Towards the end of the Louis XV. period, the feet and general outlines of the chairs and other furniture become more restrained and less curved. The straight line that gradually asserts itself, and the knots of ribbon, shepherds’ and shepherdesses’ hats, crowns and garlands that appear as motives announce the coming _style Louis Seize_.

The bed was of many varieties. The great _lit d’ange_ is still met with, but alcove and sofa-beds are far more popular. One of the new varieties of the latter was the _lit d’anglaise_, which seems to have come into fashion about 1750. This had three backs, or rather a back and a headboard and footboard. In his _Principes de l’art du tapissier_, Bimont says “the _lit d’anglaise_ can be used as a sofa at need. Care must be taken that the backs fold exactly one over the other, which, of course, is a matter of mechanical excellence.”

The _lit à la polonaise_ had four columns and a canopy. Sometimes the canopy was decorated with a little graceful carving. A “_pomme_” or a bunch of feathers, ornamented the centre and each corner of the canopy. Houdon, the sculptor, had a _lit à la polonaise_ draped in yellow Indian damask trimmed with braid, the woodwork of which was carved and painted white. One of these beds, with a carved and gilt frame hung with crimson damask, was sold for 3,000 livres in 1770; another, for 2,500 livres in 1777; and a third for 1,100 livres in 1782. Sometimes the frames were made entirely of iron and draped.

The _lit de duchesse_ was also popular. In 1743, when the Queen’s bedroom was refurnished for Marie Leczinska, a _lit de duchesse_ was provided. The Duc de Luynes says: “This bed is of white silk, embroidered and painted. The bed is not composed of four posts, as all the Queen’s beds have been up to the present. It is what is called _à la duchesse_.”

Another favourite was the _lit en ottamane_ which dates from about 1765. One is described as a “_lit en ottomane_” of 5 feet, the dome and the rest of the woodwork carved and gilt and the counterpane, the curtains and the interior of cherry-coloured Indian damask.

Another, in 1770, was of “blue and white _moiré_, 3½ feet wide, _en ottomane_, the wood carved and picked out with blue.” The _lit en ottomane_ was a variety of the _lit de repos_.

The _lit à romaine_, which became popular about 1760, had a canopy and four festooned curtains. The _lit à tulipe_ was similar to the _lit à arc_, or _lit à flèche_; only, instead of an ornamental arrow fixed to its pavilion, its decoration was a bronze, copper or gilded tulip from the hanging bell of which the curtains seemed to fall. The _lit à la Turque_, in fashion from 1755 to 1780, was a sort of sofa with three backs; a variation was introduced about 1766. The _lit à tombeau_ (see Plate XXXVI., No. 8) was also a favourite. The two posts at its foot were shorter than the two at the head, and the canopy had in consequence a somewhat sharp slant. It much resembles what in England was called a “single-headed couch or field bed.” The _lit à double tombeau_ had posts of equal height and the curtains fell down the sides in equal slants.

We also find among the beds of the day (1751) a _lit en baldaquin_ of crimson damask, composed of a little canopy, two small and one large valances, a large headboard, counterpane, two backs and two hooks. It was 3½ feet wide and 6 feet long, and was equipped with two wool mattresses, a feather bed and two feather bolsters.

Another _lit en baldaquin_ had its canopy, two small and one large valances and headboard hung in green and white stripes while the two large curtains (5 lengths each, 7½ feet long) were of green serge.

A _lit à chassis_ (canopy bed) was draped entirely in a green and white striped material. It was composed of a canopy, four small and three large valances, two lower valances, a headboard and a counterpane. The frame was 9 feet, 8 inches high, and 4 feet wide.

Another _lit en chassis en l’air_ had its four small valances, headboard, counterpane, two large curtains and two _bonnes grâces_ of green serge and its three large valances and three lower valances of green and white stripes.

The _lit de repos_, a kind of _chaise longue_ or couch, made for lounging upon and of which examples have already been given on Plates VIII., XIII., XVIII. and XX., becomes in this reign even of greater importance. Sometimes two of them occur in a bedroom or boudoir. One of these is represented in the niche or alcove on Plate XXIX.

A suggestion for a beautiful alcove bed may be taken from one dating from 1732. This was equipped with a mattress, two bolsters and two square pillows, and had three backs, all covered and draped with white satin embroidered in poppies of natural hues, and ornamented with a braid of silk embroidery. The feet of the bed were in the form of consoles, carved and varnished. The room in which this was placed, also contained a _fauteuil_ of beech, carved, upon the cane back and seat of which was a cushion covered with the poppy-embroidered satin. Two similar cushions furnished a chair of acacia and fine straw, and the same material was used to cover two _banquettes_ or forms, of beech, carved and varnished, and having hinds’ feet.

The first alcove beds were called _lits en niche_, and they were always _lits de boudoir_ rather than beds for the sleeping room. In many old designs, curtains are lacking and the bed is adorned merely with a lambrequin, or a drapery across the façade of the niche or alcove, this drapery being similar to the covering of the bed itself, which is sometimes in the form of a _lit de repos_ or a sofa.

Some alcoves under the reign of Louis XV. contained a bed _vu de pied_ that stood very low and whose feet projected into the room. One of this kind was in the Hôtel de Soubise; and the model may be seen in many old designs.

An extreme example of the rococo decoration of a bed is shown on Plate XXXIV. This is by J. J. Schübler, who died in Nuremberg in 1741. Schübler, an architect, painter, sculptor and mathematician, was also one of the most famous masters of decorative design of his day. His original drawings include French beds, cabinets, alcoves, grates, mantel-pieces, writing-tables, toilette-tables, clock-cases, commodes, _chaises longues_, dining-room tables, candlestands, _dressoirs_, lustres, _étagères_, consoles, jewel-cases, buffets, fountains, garden-ornaments and grottoes. His collection of 150 plates passed through twenty editions. His works often resemble those of Paul Decker, another celebrated German master, who died in Nuremberg in 1713; and, just as Decker is a German exponent of the late Louis XIV. emerging from the influence of Bérain and Lepautre into the style of the Regency, so Schübler exhibits the transitional stage between the Regency and Louis XV. as filtered through a German mind. Two of Decker’s designs are shown on Plate XXXIII., Nos. 1 and 2.

A bed of the late Louis XV. period also appears on Plate XXXIV., No. 2, showing the correct arrangement of the canopy and draperies above the sofa.

Window-curtains were of great importance. They hung from a cornice which was carved, more or less ornately, in curves, scrolls and other characteristic motives. Occasionally the curtains were of muslin or gauze, but more frequently of silk, damask, brocatelle or “Persian.” They were of a solid hue, or a mixture of two or three colours. The designs of these rich materials were much smaller in pattern, as a rule, than those of the preceding reign and they were far gayer in colour, for all the crimson, _gros bleu_, _gros vert_ and other dark shades gave place to the light hues of rose, pale green, pale blue, jonquil, yellow, etc.

The shapes and folds into which the curtains were cut and draped were spirited, fantastic, and even coquettish, in order to harmonize with the general character of the decorations and furniture, and it required the greatest skill on the part of the decorators to loop and tie them into the correct knots, shells, “_choux_,” “_volants_,” etc., to give them the proper effect and light, half frivolous air.

The lambrequin, which was extremely popular, differed from that in use in the reign of Louis XIV. It was less severe and straight, being cut more freely in order to accord with the cornice that surmounted it. Instead of the rounded scallop, it often terminated in points, to each of which a tassel was hung. Braids took the place of lace in trimming, and the favourite fringe consisted of twisted strands of mixed colours. The ravelled-out fringe, long so popular, at last disappeared. An example of the pointed drapery is shown in the Schübler bed on Plate XXXIV.

The commode was universally used in the bedrooms and boudoirs. It generally stood opposite the mantel-piece. It is now a superb piece of furniture, being, as a rule, richly decorated with gilt bronze _or moulu_ and often painted and lacquered in the Chinese taste,—in _Vernis Martin_. It was the famous Cressent who made the Commode _à la Régence_, _à la Chartres_, _à la Bagnolet_, _à la Charolais_, _à la Harant_ and _à la Dauphine_ fashionable. One of Cressent’s commodes, sold in 1761, was thus described by himself: “A commode of a pleasing contour, made of violet-wood, having four drawers and ornamented with bronze gilt, _or moulu_. This commode is a work (with regard to the bronzes) of an extraordinary richness; they are very well executed and the distribution of them very fine; among other things, you notice the bust of a Spanish woman placed between the four drawers; two dragons, whose tails turned up in relief form the handles for the two upper drawers, and the stems of two great leaves of a beautiful form are also turned up in relief to make handles for the two lower ones: you must admit that this commode is a veritable curiosity.”

Another of Cressent’s commodes owned by the Baron Rothschild in London “is of a most elegant form upon which the bronzes of an extraordinary richness represent, on the front, two children swinging a monkey.” Jean Jacques Caffieri also made superb commodes. One of his, ornamented with superb bronzes in the _rocaille_ style, is in the Wallace Collection which also owns a commode by Cressent. Sometimes the commode was ornamented with panels of rosewood, or violet-wood, or some other exotic product, framed in spiky bronze work, or again, it was of lacquer, the designs being flowers, leaves, Chinese pagodas and landscapes.

Two commodes are represented on Plate XXXV. The lower one is made of violet-wood with ornaments of chiselled copper, Nos. 2a and 2b show the handles and the end of another by Pinaud. This dates from 1750. The decorative details are of gilt copper and show the mascaron and gracefully twining leaves. The handles and key-plates are hidden by the ornaments. The key-plates of the two drawers are different, as will be noted. On the upper one, a woman’s head is represented, while the lower one has a fine shell. The third ornament below these is a shell with the favourite device of dripping water. A commode dressing-table appears as No. 12 on Plate XXXVI. The foot of a chest-of-drawers with beautiful ornamentation of chased and gilded copper, is on the same plate, No. 11. At this date the _Cabinet de toilette_ is often called the _Cabinet à la Poudre_, the name not needing a definition when we recall the numerous pictures and caricatures of the fashionable lady seated before her glass, with her _coiffeur_, or _femme de chambre_, mounted on a stool, or ladder, busy working on the towering headdress. The toilet table was a commode or a simple table spread with linen, silk, or lace over silk, and above which was hung a glass. Frequently lace, muslin, chintz, or silk, was looped over the table and caught back by knots of ribbon, artificial flowers, or gilded figures of Cupids, or dolphins, or some favourite device of the day. The small _chiffonnier_ with drawers, made of marquetry, or _Vernis Martin_, and ornamented with gilt bronze _or moulu_ mounts, dates from this period.

The _armoire_ is still in use. In 1760, we hear of the lower part of a large _armoire_ in the form of a bookcase, of violet-wood veneered in mosaics. It was 7½ feet long, 4 feet high, and 26 inches deep. The interior was divided into three compartments and a long shelf covered with crimson watered silk. In front were three doors, the middle one of which was enriched with a large medallion, bronze gilt _or moulu_, representing Minerva holding in her right hand a compass with which she is measuring a globe, on a background of lapis lazuli painted. The other doors were decorated with trophies in bronze gilt _or moulu_ representing mathematical instruments. On the ends were cartouches of bronze gilt _or moulu_ of various Chinese plants. The bookcase was ornamented with hasps and mouldings also of bronze gilt _or moulu_ and stood on six feet, the four front ones being square and the two in the back round.

The form is still in use. In 1750, the archives of Versailles mention: “seven _formes de moquette_ with coloured flowers on a white background, 5 or 6 feet long, and from 2 to 4 feet, by 18 inches high, and 15 inches wide, nailed with gilded nails, to serve the Queen at the _grand couvert_.”

These were also known as _banquettes_ as early as 1732. In 1770, there is mention for the service of the King, of “nine _banquettes_ covered with crimson plush 6 feet long and 17 inches wide to be used at the _grand couvert_” also, in the same year, to serve in the _Salle de spectacle amphithéâtre_, four _banquettes_ each having two elbows, covered with blue velvet garnished with gold braid nailed on with gilt nails, the wood painted blue picked out with gold.

The frames of the chairs and arm-chairs of this period were not only carved and gilt, but were painted or lacquered as well. Sometimes one colour only was used, which was brightened by threads of gold, or white, or some gay hue harmonizing, or contrasting, with the upholstery. Sometimes the wood was painted in several colours, and often, too, another kind of painting, known as _camaïeux_,[18] was used. Simpler arm-chairs, and chairs that were met with in the drawing-room were of natural oak, or beech, polished with an encaustic. In the same room with the large arm-chairs smaller ones are often found. These were known as _cabriolets_, probably owing to the ease by which they were moved about, as well as to their shape. In general design, the _cabriolet_ was like the large arm-chair, but it was even more curved, more arched, and more exaggerated than its parent. The elbows too were more wavy and were always of a most graceful sweep. At the beginning of this period, the back was of the form of a violin, but later the medallion form became more popular. The upholsterers studied the proportions of the smaller chair as they did the large one, and gave the seats less thickness and a more square, or a rounder effect, according to the form and proportions of the seat and back, as well as the curves of the whole frame. The small arm-chair was placed in front of, or at the side of, one of the great arm-chairs in the drawing-room or boudoir. The _cabriolet_ had to agree with its large companion either in its frame, or else its covering had to be of the same material.

The arm-chair (_fauteuil_) is represented on Plate No. XIII.

These chairs and sofas were upholstered with many of the textiles used in the reign of Louis XIV. One of the most popular coverings was Gobelin or Aubusson tapestry representing the graceful designs of Watteau, or Æsop’s _Fables_. Utrecht velvet and Lyons damask with floral designs were also popular, as well as silk brocaded with coloured flowers. Sometimes a braid or lace (a very favourite pattern being the rat-tooth, “_dent de rat_”) was used to hide the nails; but the material was also tacked to the frames by gilt-headed nails placed so close together that they touched one another.

A typical pattern of the period is shown in the sofa on Plate XXXII.

Turning now to special descriptions of chairs at Versailles, we find in 1722, “two _fauteuils_ of varnished walnut and open-work cane; the _manchettes_ (elbow-cushions) and backs upholstered in lemon-coloured leather,” the backs curved; three _fauteuils_ of varnished walnut wood and cane with sweeping backs and console feet, and carved with several ornaments; twelve chairs with backs, of cherry wood and open-worked cane, the backs having sweeping curves and feet in consoles, carved with various ornaments, including shells. The latter stood 39 inches high, including back, the seats measured 16 inches. In 1729, “six _fauteuils_ of cane and cherry-wood carved with several ornaments and varnished, the backs curved and the elbows cushioned.” They were upholstered in red leather with a braid of gold, nailed with gilt-headed nails. Also “four _fauteuils_ of beech-wood, varnished and cane, had curved and carved backs ornamented with a carved border all around the seat, the arms also carved at the ends.” These were upholstered in lemon-coloured leather fastened with silver-headed nails placed close together.

In 1730, there were “fourteen _chaises à la Reine_, covered with crimson and gold damask, the frames carved and gilt.” Also “three _chaises à la Reine_ covered with crimson and gold damask nailed to the frames with gilt-headed nails, very close together, the frames painted red and gold;” also “four _fauteuils_ and two _tabourets_ of walnut covered with black leather;” and finally a _chaise d’affaires_, the frame on a background of black lacquer and “_aventurine de Japon_,” with landscapes and birds in relief in colours and gilt in the borders, a mosaic of mother-of-pearl and copper wire _à la Chinoise_. The chair was lined with red lacquer, and the cushion was green velvet. This remarkable chair was 19 x 15 inches wide and 19 inches deep. The _chaise à la Reine_, mentioned above, had a very low seat with a very high back.

In the same year, there are two _fauteuils_, Chinese style, painted at the Gobelins, with cartouches, representing figures, birds, Chinese houses, etc. The border was of carved and gilt wood, the feet hinds’ feet, the backs ending in a shell, and the seats and backs covered with crimson damask.

In 1736, two _banquettes_ of beech-wood, delicately carved and varnished, 24 inches long, 14 inches deep and 15 inches high, have seats of cane, each supplied with a hair cushion covered on both sides with crimson damask, tufted. There were also three _tabourets_ like the above, only shorter,—16 inches long, 14 inches deep and 16 inches high.

In 1737, a tall chair of beech lightly carved appears, the curved back filled with cane, and the seat, lemon-coloured velvet fastened with silver-headed nails, standing on four hinds’ feet. Two little chairs of gilt cane, the backs curved, the wood delicately carved and gilt are also mentioned.

In 1751, six chairs of fine straw were made, each with two cushions for the seat, the back of crimson damask, tufted; and six folding-stools covered with crimson damask garnished with a gold fringe, the wood painted red picked out with gold, for M. le Dauphin.

Several arm-chairs of a new shape appear. One, usually placed by the hearth near the fire, is of the “gondola” form. The ornamentation, of course, followed the general style of the room. This is the period at which they began to take the name of _fauteuil de bergère_, or _marquise_ (see Plate XXXVI., No. 1). The _bergère_, or “burjair,” played a very important part in the new styles put forth by Chippendale, Ince and Mayhew, Heppelwhite and others. It was, as a general rule, quite large, wider than it was deep, and the seat was not very high from the floor. The _bergère_ was sometimes accompanied by a _tabouret_, which was placed immediately in front of the chair, and made of it a kind of _chaise longue_.

In this reign arm-chairs were also made, especially for desks. Until this time, they always used any ordinary chair, or arm-chair at the desk. The new arm-chair for this purpose was of the “gondola” form, usually with back and seat of cane, the elbows adorned with cushions (_manchette_) and covered with leather. This chair spread out even more generously, and the legs were balanced as follows: one was placed directly under each elbow, a third directly in front, and the fourth in the centre of the back. Some of these arm-chairs were equipped with a removable leather cushion.

The first _chaises comfortables_ followed the model of the gondola arm-chairs; the wood, or rather the moulding of the back, served as a framework for more or less simple garniture. The feet were either grooved, or of sabre form.

Dining-room chairs were specially designed, and followed the general form of the drawing-room chairs. As a rule, they are covered with leather. Tapestry is met with also, and “Persian.”

A _fauteuil de commodité_ of the period is described as having a little mahogany desk attached to the right of the chair by means of a gilded steel support nicely divided into compartments for pens, ink, etc. On each side of the chair, two sconce-arms for candles were adjusted. The chair and cushion were covered with blue leather.

Leather was quite popular for covering furniture. One set, consisting of a sofa, two _banquettes_, twelve _tabourets_ and a six-leaved screen, were upholstered in red leather, with applied ornaments of yellow leather edged with a narrow gold cord.

Characteristic chairs are shown on Plate XXIX. and Plate XXXIII., Nos. 3, 4, 5, 6, and 7. These are by Meissonier.

The very handsome _canapé_ shown on Plate XXXII. is also one of Meissonier’s productions. This was designed for Count Bielenski. The frame was gilt.

The _canapé confident_ consisted of a sofa which had from two to four places, and at each end by the elbows, there was another seat at the corner rounded off. It was supplied with an elbow at the other side. The effect was as if an arm-chair had been placed at each end of the sofa at right angles. It was a very popular piece of furniture.

The _chaise longue_ is sometimes composed of two sections; one, a kind of very deep _fauteuil_ with two elbows; the other, a kind of _tabouret_, which also had a small back against which the lounger placed his feet.

The example on Plate XXXIII. is of carved wood with cane seat and backs.

Another kind, with a “gondola” back, was known as “_duchesse_.”

Typical mirrors appear on Plates XXX., XXXIII., and XXXV. The full drawing on Plate XXXV. is the earliest, being an example of late Louis XIV. It is surrounded with an ornate border of carved and gilt wood, showing leaves, branches, stems and an indented fronton, surmounted by shells. It is interesting to compare this mirror with Chippendale’s on Plate XLII., which also has panels of glass. Nos. 1 and 2 on Plate XXXIII. come next in chronological order. These are by the German, Decker, to whom reference has been made on page 199. Both are dated 1700. The lower one has the mascaron, shell and _chute_ of leaves, or husks, for its chief ornaments, while the scroll somewhat timidly, although strongly, asserts itself. This has no sconces. On the one above it the scroll is more assertive. The mascaron surmounts it, and the _chute_ of leaves is much heavier and shorter. The three sconces, two of which only are visible, spring from the shell, but they have not become as yet very branched. The sconces really belong to the whole design in the example No. 1 on Plate XXXV., the chief decorations of which are the mascaron, the shell and the scroll. A still more elaborate specimen, by Pinaud, appears on Plate XXX., No. 2. The curve here is delightfully exhibited, almost as if the presiding genius in the winged helmet had taken a mischievous pleasure in its convolutions. Here we have not only the leafy scroll playfully twined, but the old ear-motive known to the decorators of the Louis XIII. age (see page 5) appears, through which a winged serpent, or dragon, twists,—himself a series of curves. Below the head of Mercury is carved his emblem,—the Caduceus. Another “illuminary” appears on Plate XXXVI., No. 2. No. 3 on Plate XXX. represents the frame of a large toilet mirror by P. Germain.

Another finely carved and gilded frame is that of the screen on Plate XXX., which dates from the Regency. It is composed of shells and scrolls, and a monkey sits on the top of each upright. Unfortunately, the feet have been lost, and the screen is supported on ordinary blocks of wood. The covering is of the same period as the frame. It is brocaded silk, with flowers, leaves and peacock feathers.