VIII French Furniture. The Period of Louis XVI
Louis XVI.
1774-1793.
1730-1806. Riesener, ébéniste to Marie Antoinette (born near Cologne).
1789. Commencement of the French Revolution.
The so-called Louis Seize period embraces much that is good from the later days of the previous reign. The same designers were employed with the addition of a few younger men. Caffieri and Riesener were producing excellent work, and above all was Gouthière, whose renown as a founder and chaser of gilded bronze ornaments is unrivalled. Elegance and simplicity are again the prevailing notes. Straight lines took the place of the twisted contortions of the rococo style. Thin scrolls, garlands, ribbons and knots, classical cameo-shaped panels, and Sèvres plaques form the characteristic ornamentation.
The acanthus-leaf, distorted into unnatural proportions in the middle Louis Quinze period, returned to its normal shape, the egg-and-tongue moulding came into use, and the delicacy of the laurel-leaf was employed in design in Louis Seize decorations.
In the jewel cabinet illustrated (p. 193), the new style is shown at its best. The cabinet is inlaid in rosewood and sycamore, and bears the name of “J. H. Riesener” stamped on it. The chased ormolu mounts are by Gouthière. The geometrical inlay is a tradition which Oeben left to his successors. The upper portion has a rising lid with internal trays. In the lower part is a drawer and a shelf. This piece is at the Victoria and Albert Museum in the Jones Bequest, and it is well worth detailed examination as being a representative specimen of the most artistic work produced at this period.
Pierre Gouthière had a complete mastery over his technique. The estimation with which his work is regarded has made furniture which he mounted bring extraordinary prices. In 1882, at the dispersal of the celebrated Hamilton Palace Collection, three specimens with his workmanship realised £30,000.
The Vernis-Martin panels were decorated by Watteau and Pater. The age of artificialities with its fêtes-galantes in the royal gardens of the Luxembourg and in the pleasure parks of the Court, with the ill-starred Marie Antoinette playing at shepherds and shepherdesses, had its influence upon art. Watteau employed his brush to daintily paint the attitudes of Le Lorgneur upon a fan-mount, or to depict elegantly dressed noblemen and ladies of the Court dancing elaborate minuets in satin shoes, or feasting from exquisite Sèvres porcelain dishes in the damp corner of some park or old château.
The artificial pretence at Arcadian simplicity adopted by the Queen, in the intervals between her attendance at public bals-masqué, when she almost wantonly outraged the susceptibilities of the French people by her frivolities, found a more permanent form in interior decorations. Riesener and David designed a great deal of furniture for her. Dainty work-tables and writing-tables and other furniture of an elegant description are preserved in the national collection in the Louvre and at Fontainebleau, in the Victoria and Albert Museum in the Jones Bequest, and in the Wallace Collection. Tables of this nature are most eagerly sought after. A small table with plaques of porcelain in the side panels, which is said to have belonged to Marie Antoinette, was sold at Christie’s for £6,000 (Hamilton Collection). There is a similar writing-table in the Jones Collection, given by Marie Antoinette to Mrs. Eden, afterwards Lady Auckland.
During the period under Louis Seize, when Fragonard and Natoire deftly painted the panels of rooms and filled ceilings with flying cupids and chains of roses, when Boucher was Director of the Academy, the interior of rooms assumed a boudoir-like appearance. The walls were decorated in a scheme of colour. Handsome fluted pillars with fine classic feeling were the framework of panelling painted in delicate and subdued tones. Oval mirrors, avoiding all massive construction, lightened the effect, and mantelpieces of white marble, and furniture evidently designed for use, completed the interiors of the homes of the grands seigneurs. Sometimes the walls were painted, giving a lustrous appearance resembling silk, and this style is the forerunner of the modern abomination known as wall-paper.
Before leaving this period of French furniture, when so much marquetry work was done of unsurpassed beauty and of unrivalled technique, a word may be said as to the number of woods used. Oeben and Riesener and their contemporaries used many foreign woods, of which the names are unfamiliar. Mr. Pollen, in his “South Kensington Museum Handbook to Furniture and Woodwork,” has given the names of some of them, which are interesting as showing the number of woods especially selected for this artistic cabinetmaking. Tulip-wood is the variety known as Liriodendron tulipifera. Rosewood was extensively used, and holly (ilex aquifolium), maple (acer campestre), laburnum (cytisus Alpinus), and purple wood (copaifera pubiflora). Snake-wood was frequently used, and other kinds of light-brown wood in which the natural grain is waved or curled, presenting a pleasant appearance, and obviating the use of marquetry (see “Woods used,” p. 29).
In the great collections to which reference has been made, in well-known pieces made by Riesener his name is found stamped on the panel itself, or sometimes on the oak lining. The large bureau in the Wallace Collection (Gallery xvi., No. 66) is both signed and dated “20th February, 1769.” This piece, it is said, was ordered by Stanislas Leczinski, King of Poland, and was once one of the possessions of the Crown of France.
With regard to the cost of pieces of furniture by the great master ébénistes, it is on record that a secrétaire which was exhibited at Gore House in 1853, and made originally for Beaumarchais by Riesener, cost 85,000 francs, a sum not much less than £4,000. Celebrated copies have been made from these old models. The famous cabinet with mounts by Gouthière, now in the possession of the King, was copied about twenty-five years ago for the Marquis of Hertford, by permission of Queen Victoria. The piece took years to complete, and it is interesting to have the evidence of its copyists that the most difficult parts to imitate were the metal mounts. This replica cost some £3,000, and is now in the Wallace Collection. The copy of the famous bureau or escritoire in the Louvre, known as the “Bureau de St. Cloud,” was made by permission of the Emperor Napoleon III., and cost £2,000. Another copy of the same piece exhibited at the French International Exhibition was sold for £3,500 to an English peeress. Many fine copies of Riesener’s work exist, and in the illustration (p. 197) a copy is given of a handsome commode, which exhibits his best style under the influence of his master, Oeben.