The reaction against the excesses of the rococo which had set in
as early as the middle of the eighteenth century continued to gain
strength during the next two decades, and to carry the design of
furniture farther and farther from the fashion of the early years of
Louis XV.
[Illustration: LOUIS XVI COMMODE]
The new impulse turned naturally to the straight contour. This meant
almost inevitably the adoption of classic lines. At first the change
showed itself in the straightened bodies of commodes, cabinets, and
writing tables, which still retained their curved supports. Finally the
legs themselves were made straight or rather tapering; until by the end
of the reign of Louis XV the curved outline had quite disappeared and
the style called Louis XVI was fairly launched.
[Illustration: LOUIS XVI TABLE]
The ormolu takes new forms. It is limited to the edges and to frames
of panels, to friezes, and to important centers, and follows the
classic spirit: not an outright imitation of Roman or Greek forms, but
a charming French interpretation of the antique. The designs of the
metal worker had never been more delicate, or his execution finer.
Delicacy and appropriateness of ornament, fineness of proportion, and
sobriety of treatment were the ideals of the new cabinetmakers. The
art of marquetry was still further advanced, and reached perhaps its
culminating expression in the fine examples of Riesener and Röntgen.
It was during this reign that mahogany began to be extensively and
almost exclusively used as a cabinet wood, in place of the walnut
previously employed. Where walnut was still used, as in the case of
chairs, it was generally gilded or enameled. The chair and the canape
or sofa stand out as among the most successful achievements of the
Louis XVI designers. Simple as to structural lines, their details were
worked out with scrupulous care and, from fluted tapering legs to the
carved frames inclosing the beautiful tapestry backs, they represent
extreme elegance and consistency of style.
Toward the end of the reign of Louis XVI the quality of furniture
design degenerated. Instead of charming adaptations and interpretations
of the classic spirit, mechanical imitations of Greek and Roman forms
appear, and heavy bronze caryatids overweigh and distort the outlines
of cabinets and tables. Dull heaviness takes the place of elegance and
the play of fertile invention. The decline had begun.
[Illustration: LOUIS XVI TABLE]