The Louis XV Furniture Style

(1720-1760)

Typical Characteristics

The Louis XV style is virtually a synonym for the term Rococo. The furniture, of which there was an enormous amount produced, was easily adapted to suit the needs of all the different classes, from royal to provincial. The cabinetmaker created many new forms of furniture in the different categories and adapted them to every conceivable use, for convenience was very important. Every refinement in comfort was attained and great care was given to the upholstery work in order to achieve the maximum of comfort.

 

The aristocracy and the rich bourgeoisie were possessed with a mania for fine cabinetwork. Masterpieces of unrivalled elegance were produced. The celebrated Bureau du Roi, which required nine years to complete, is considered to be the greatest achievement in cabinetwork of all time.

 

 

Louis XV furniture, which had been gradually losing its massiveness during the Regence, became noticeably smaller and lighter. There were many delicate and easily movable small articles, such as the almost endless variety of little tables.

 

 

Curves

Louis XV furniture was characterized by its curved contours, for straight lines were employed only when necessary, such as for the vertical members of an armoire. Legs of cabriole form were typical of the style and were invariably used.

 

The extravagant use of various forms of ornamental curves, such as serpentine curves and C-scrolls, practically abolished the use of right angles, for the Louis XV style was marked by a dislike for rectangles and everything that could be rounded always was rounded. All the curves were slender, drawn out and extremely graceful.

 

An outstanding feature of Louis XV furniture was the continuity of its parts. This was particularly evident in chair design, in which each member seemed to flow into one another without any feeling of separation. Delicate moldings were expertly employed to develop this feeling of continuity.

 

 

Lacquer

Much of the fine Louis XV furniture was lacquered in the Chinese manner. The taste for Chinese art had been strongly developed in France during the reign of Louis XIV.

 

Lacquered panels were imported from the Orient and set into the framework of European furniture and later panels made in Europe were sent to the Orient to be decorated in lacquer.

 

Because of this enthusiasm for lacquered wares, European craftsmen started to imitate Eastern lacquer work as early as the 17th century. Painter-varnishers were quite active in France from around 1660 and workshops were allocated at the Gobelins to improve this medium of decoration.

 

 

Asymmetric

Louis XV furniture was characterized by the principle of asymmetry, in articles of furniture, such as chairs, tables and commodes, which require a symmetrical basis, the principle of asymmetry was expressed in the elaboration of surface ornament.

 

In addition French craftsmen possessed the supreme technical ability to achieve asymmetry without loss of balance. For example, on a molded panel, one generally has to look very closely to realize that the opposite sides of the axis do not exactly repeat one another.

 

 

Mechanical Devices

Combination pieces, which became a marked feature from around 1750 onwards, testified to the improvement in mechanical devices. They owed their success to fashionable society who were always searching for the novel, the amusing and unexpected.

 

Certain ebenistes, especially those of German origin, excelled in creating all kinds of mechanical devices for transforming furniture. A taste for secrecy, which pervaded society, resulted in multiple hiding places incorporated in articles of Louis XV furniture which opened with springs.

 

 

Woods

It is generally accepted that acajou or mahogany was imported into France from the time of the Regence. The first mention of mahogany furniture in French inventories occurs around 1740, and from 1760 onwards mahogany enjoyed a great vogue, as the supply became more plentiful and since it was less costly than other exotic woods.

 

Ebony was practically discarded, except for cabinetwork such as commodes decorated with panels of black and gold Chinese lacquer.

 

Rosewood with its fine warm tones was also fashionable and it was often harmoniously blended with palissandre.

 

Satinwood was also used in conjunction with other woods in veneering.

 

There were almost one hundred exotic woods, covering practically the entire range of different colors used in marquetry work. Many native woods, such as oak, walnut, beech, elm and wild cherry, were especially found in provincial cabinetwork.

 

Woods of numerous fruit trees, such as cherry, apricot, pear and plum, were also popular in provincial Louis XV furniture. Occasionally plum wood and cherry wood were found in more elegant cabinetwork for which the use of mahogany or rosewood would be more customary. Cherry wood, which has a fine grain and is a good medium for carving, was used for chairs, tables, commodes, cupboards and other similar articles.

 

Pear wood, which has a poor grain, was generally stained black. Much of the provincial Louis XV furniture was made of solid wood, since veneering and marquetry work principally flourished in Paris, where there was a sufficient concentration of wealth to purchase these more ambitious pieces of cabinetwork.

 

 

Veneering and Marquetry

Veneering and the marquetry of multicolored woods were fashionable decorative processes for ornamenting the surface of Louis XV furniture and they were remarkable for their perfection of craftsmanship. Most of the marquetry and veneered work was done in Paris. Especially favored for marquetry work were all kinds of writing furniture, tables and commodes, which were all richly mounted in bronze doré appliques.

 

 

Since the marquetry was executed in almost one hundred different kinds of exotic woods, the work was extremely colorful and brilliant. Shaped panels of floral marquetry were particularly characteristic of Louis XV furniture. Bouquets of flowers realistically depicted in all their natural colors were arranged in baskets or in vases. Delicate compositions of garlands in the manner of Watteau were especially noteworthy. Musical trophies, symbols of love and attributes from pastoral life were all fashionable themes. The pastoral scenes with shepherds and shepherdesses in the manner of Boucher were of incomparable beauty.

 

Parquetry, especially cube parquetry, was also fashionable and was frequently employed in the decoration of commodes and tables.

 

 

Gilding

Magnificent bronze doré mounts, which were a pronounced feature of Louis XV furniture, were used in conjunction with lacquer work, veneering and marquetry. These mounts were often used on the fronts of commodes, skillfully flowed into one another so that the division of the rows of drawers was not apparent. However, sometimes they were overwhelmed by the glitter of their lavish curves of twisting foliage. Carved gilt wood chairs and settees, console tables and mirrors were also popular.

 

 

Painted furniture

Painted furniture harmonizing with the painted panelled walls was much favored for chairs and canapés and also for many small pieces, such as toilet tables, screens and writing furniture designed for feminine use.

 

The ground color was generally in white or in a natural tint, while the carved decoration and the moldings were picked out in gold or in a strong contrasting color such as blue, green or yellow.

 

The painted decoration in Louis XV furniture was relatively strong and bright and should not be confused with the more delicate tones preferred in the Louis XVI style.

 

 

Cane

Caned chairs and canapés were extremely fashionable under Louis XV, and they were fitted with loose seat cushions, which, depending upon the height of the seat, were either thick or flat. The flat cushions were generally used only during the winter and were tied to the seat.

 

The frames were generally made of beech, walnut or cherry, and they were often painted and occasionally gilded. When the frames were gilded the caning was also painted in gilt.

 

 

Carved decoration

The carved decoration found on such articles as chairs, canapés, console tables, mirror frames and armoires was spirited, light and elegant, and was deftly executed. Floral carvings, especially roses, were a favorite theme. Even the most modest chair very often had a flower carved on the center of the top rail, on the knees of the cabriole legs and in the center of the valanced front seat rail.

 

 

Porcelain Plaques

The practice of using porcelain plaques to enrich certain articles of furniture was introduced during the Louis XV style and reached its peak around 1766 to 1786. They were largely found on delicate and small pieces of veneered and marquetry cabinetwork designed for feminine use, such as various types of small tables.

 

 

Marble

The variety of marbles, which were widely used for the tops of commodes and different kinds of tables, was almost as extensive as the different woods. These finely veined marbles provided a superb touch of color and elegance, and they were an important decorative accessory in Louis XV furniture.

 

 

Upholstery

The upholstery, which was never more comfortable, was a feature of the Louis XV style, and the work of the upholsterer achieved a high standard of perfection.

 

The 18th century was the great century for tapestry furniture coverings and much of the ambitious Louis XV furniture was upholstered in this manner. Fine sets for furniture coverings were woven at the Gobelins, at Beauvais, and at the different manufactories located within the city of Aubusson.

 

Various kinds of needlework, such as needlework on canvas, were also used in upholstery, for in almost every period the French women from the Queen to the humble peasant's wife found occupation in this manner.

 

Plain and figured cut silk velvets were used for chair coverings. A silk painted with flowers, taffeta, and plain, striped or figured satin were fashionable summer textiles. Other stuffs, such as broca-telle and satin of Bruges, which were not made of pure silk and were therefore less costly, were also favored. Utrecht velvet and other velvet-like fabrics were recommended for seat coverings subject to constant wear.

 

For the caned writing table or dressing table chairs red morocco leather was preferred.

 

Chintz and painted linens, having the outline of the design printed in black and then painted in by hand, were popular summer fabrics. Somewhat later the printed cotton or linen toile de jouy was widely used in upholstery.

 

 

Ornaments and Motifs

Certain natural forms were the foundation for the Rocaille or Rococo style of ornament. Rocks and shells with foliage and flowers dominated the theme of the ornament which was richly fantastic.

 

Many motifs employed on Louis XV furniture were discarded and others were completely transformed. For example, the haricot or kidney bean motif of the Louis XV style had been the C motif of the Louis XIV style. This kidney bean shape was also a favorite form for the tops of small marquetry tables.

 

In accordance with the prevailing taste for serrated foliage, the acanthus leaf was often elaborately serrated and fringed, and it became very long and narrow. There was a profusion of light flowers, blossoms, sprays and tendrils. Bouquets of flowers tied with ribbons and flowers gracefully arranged in baskets were everywhere. All of the flowers were studied from the native countryside. The rose was a particularly favorite flower. Branches of palm and laurel were popular decorative motifs. Reeds and palms were often decorated with delicate wreaths or garlands of flowers. As in the Gothic period plants were selected from the native flora, such as endive, parsley and cress leaves.

 

Especially fashionable themes were trophies of musical instruments, such as the violin, flageolet and tambourine, implements associated with hunting and fishing, symbols of love, such as bows, arrows and torches, and pastoral emblems, such as crooks and the large straw hats of shepherdesses.

 

Mythological stories of a romantic nature and animals and groups of game in the style of Oudry were all included in the Rococo repertory of ornament. All the chinoiseries, singeries, the fantastic doll-like figures of foreign people and the charming figures from the Italian Comedy introduced during the Regence were very characteristic of the Rococo era.

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