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.
[Illustration: PLATE XXXIII]
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.
[Illustration: PLATE XXXIV]
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.