Louis XVI and Marie Antoinette succeeded to a shamed throne. Out of sympathy with a licentious Court, they played child-like on the edge of a volcano. Financial difficulties pressed sorely and ministers were unable to hold their appointments long enough to bring much relief.
The people were terribly oppressed. While revolution smoldered, the Queen played dairy maid at the Petit Trianon at Versailles, and the King listened to bad advice from every courtier who could gain his ear. The Petit Trianon, a small palace near the vast edifice in the park at Versailles was erected by the architect Gabriel during the latter part of the reign of Louis XV.
For this reason the interior shows some of the elements of design that were typical of his reign, but the building has been so closely connected historically with the ill-fated Marie Antoinette and shows so many of the decorative features of her reign that it is generally considered a specimen of Louis XVI art.
The simple personal tastes of the monarchs accepted, but did not create the clear cut change in decorative styles already begun during the previous reign. The discovery of the buried cities of
Herculaneum and Pompeii brought classic forms again into favor, and the Neo-Classic or new classic styles pervaded both France and England and reached America no less surely.
France added charming studies from nature to Classic influences, introducing the pastoral element to please the Court. Rooms were symmetrical with classic pilasters framing the doorways which had flat or arched openings or were square-headed with
bullnose corner blocks. Walls were plain wood with rectangular panels, painted in light tones of gray, green, old rose, blue and cream, white and gold; or paneled in silk brocades, reps, printed linens or wall-paper.
The most characteristic difference with the work of the preceding reign was the complete elimination of the irregular curved lines and the substitution of straight lines for all purposes. Where curves were used, they were the simple curves, portions of circles or oval shapes.
Ornament both painted and carved was on a small scale, disposed symmetrically and was particularly naturalistic in form as compared to a tendency to conventional movement under Louis XV. Roses, daisies, and other flower forms were arranged in garlands and festoons tied with ribbons.
Grisaille work (paintings in imitation of bas-relief carvings) became popular as over-door decorations and
stone fireplace designs. Mirrors and paintings were well spaced on paneled walls. Floors were composed of contrasting colored woods in parquet patterns or tiled marble; ceilings were flat, occasionally vaulted and often exquisitely painted; a continuous cornice dividing wall from ceiling.
The furniture was again rectilinear but much lighter than the previous types with delicately carved classical ornament, enameled, gilded, and seldom left in the natural wood; upholstered in the light colored brocades of the period or in fine Beauvais or Aubusson tapestry designed by artists like Boucher and Watteau, or caned.
The artist David dictated the styles. Reisener was among the designers of the most notable cabinet work. The greatest charm that the Louis XVI period conveys to the modern mind is its informality and intimacy created by small rooms, light and delicate details, and pastel coloring.
Sarah Martin is a freelance marketing writer based out of San Diego, CA. She specializes in home improvement, interior decorating, and fireplace designs. For the best in the bullnose corner blocks, hardwood moulding industry, please visit
http://www.ferche.com/.
