Furnishing the Home of Good Taste | Page 9

his long reign of seventy-two years. His ideal was splendor, and he encouraged great men in the intellectual and artistic world to do their work, and shed their glory on the time. Cond��, Turenne, Colbert, Moli��re, Corneille, La Fontaine, Racine, F��n��lon, Boulle, Le Brun, are a few among the long and wonderful list. He was indeed Louis the Magnificent, the Sun King.
One of the great elements toward achieving the stupendous results of this reign was the establishment of the "Manufacture des Meubles de la Couronne," or, as it is usually called, "Manufacture des Gobelins." Artists of all kinds were gathered together and given apartments in the Louvre and the wonderfully gifted and versatile Le Brun was put at the head. Tapestry, goldsmiths' work, furniture, jewelry, etc., were made, and with the royal protection and interest France rose to the position of world-wide supremacy in the arts. Le Brun had the same taste and love of magnificence as Louis, and had also extraordinary executive ability and an almost unlimited capacity for work, combined with the power of gathering about him the most eminent artists of the time. Andr�� Charles Boulle was one, and his beautiful cabinets, commodes, tables, clocks, etc., are now almost priceless. He carried the inlay of metals, tortoise-shell, ivory and beautiful woods to its highest expression, and the mingling of colors with the exquisite workmanship gave most wonderful effects. Sheets of white metal or brass were glued together and the pattern was then cut out. When taken apart the brass scrolls could be fitted exactly into the shell background, and the shell scrolls into the brass background, thus making two decorations. The shell background was the more highly prized. The designs usually had a Renaissance feeling. The metal was softened in outline by engraving, and then ormolu mounts were added. Ormolu or gilt bronze mounts, formed one of the great decorations of furniture. The most exquisite workmanship was lavished on them, and after they had been cast they were cut and carved and polished until they became worthy ornaments for beautiful inlaid tables and cabinets. The taste for elaborately carved and gilded frames to chairs, tables, mirrors, etc., developed rapidly. Mirrors were made by the Gobelins works and were much less expensive than the Venetian ones of the previous reign. Walls were painted and covered with gold with a lavish hand. Tapestries were truly magnificent with gold and silver threads adding richness to their beauty of color, and were used purely as a decoration as well as in the old utilitarian way of keeping out the cold. The Gobelins works made at this time some of the most beautiful tapestries the world has known. The massive chimney-pieces were superseded by the "petite-chemin��e" and had great mirrors over them or elaborate over-mantels. The whole air of furnishing and decoration changed to one of greater lightness and brilliancy. The ideal was that everything, no matter how small, must be beautiful, and we find the most exquisite workmanship lavished on window-locks and door-knobs.
[Illustration: One of a set of three rare Louis XIV chairs, beautifully carved and gilded, and said to have belonged to the great Louis himself.]
In the early style of Louis XIV, we find many trophies of war and mythological subjects used in the decorative schemes. The second style of this period was a softening and refining of the earlier one, becoming more and more delicate until it merged into the time of the Regency. It was during the reign of Louis XIV that the craze for Chinese decoration first appeared. La Chinoiserie it was called, and it has daintiness and a curious fascination about it, but many inappropriate things were done in its name. The furniture of the time was firmly placed upon the ground, the arm-chairs had strong straining-rails, square or curved backs, scroll arms carved and partly upholstered and stuffed seats and backs. The legs of chairs were usually tapering in form and ornamented with gilding, or marquetry, or richly carved, and later the feet ended in a carved leaf design. Some of the straining-rails were in the shape of the letter X, with an ornament at the intersection, and often there was a wooden molding below the seat in place of fringe. Many carved and gilded chairs had gold fringe and braid and were covered with velvet, tapestry or damask.
[Illustration: By courtesy of the Metropolitan Museum of Art
Inlaid desk with beautifully chiselled ormolu mounts.]
[Illustration: Rare Louis XIV chair, showing the characteristic underbracing.]
There were many new and elaborate styles of beds that came into fashion at this time. There was the lit d'ange, which had a canopy that did not extend over the entire bed, and had no pillars at the foot, the curtains were drawn back at the head and the counterpane went over the foot