The taste for cabinets kept up and the cabinets and presses were large, sometimes divided into two parts, sometimes with doors, sometimes with open frame underneath.  The tables were richly carved and gilded, often ornamented with bronze and copper.  The cartouche was used a great deal in decoration, with a curved surface.  This rounded form appears in the posts used in various kinds of furniture.  When rectangles were used they were always broader than high.  The garlands of fruit were heavy, the cornucopias were slender, with an astonishing amount of fruit pouring from them, and the work was done in rather low relief.  Carved and gilded mirrors were introduced by the Italians as were also sconces and glass chandeliers.  It was a time of great magnificence, and shadowed forth the coming glory of Louis XIV.  It seems a style well suited to large dining-rooms and libraries in modern houses of importance.

Louis XIV

It is often a really difficult matter to decide the exact boundary lines between one period and another, for the new style shows its beginnings before the old one is passed, and the old style still appears during the early years of the new one.  It is an overlapping process and the years of transition are ones of great interest.  As one period follows another it usually shows a reaction from the previous one; a somber period is followed by a gay one; the excess of ornament in one is followed by restraint in the next.  It is the same law that makes us want cake when we have had too much bread and butter.

The world has changed so much since the seventeenth and eighteenth centuries that it seems almost impossible that we should ever again have great periods of decoration like those of Louis XIV, Louis XV and Louis XVI.  Then the monarch was supreme. “L’etat c’est moi,” said Louis XIV, and it was true.  He established the great Gobelin works on a basis that made France the authority of the world and firmly imposed his taste and his will on the country.  Now that this absolute power of one man is a thing of the past, we have the influence of many men forming and molding something that may turn into a beautiful epoch of decoration, one that will have in it some of the feeling that brought the French Renaissance to its height, though not like it, for we have the same respect for individuality working within the laws of beauty that they had.

The style that takes its name from Louis XIV was one of great magnificence and beauty with dignity and a certain solidity in its splendor.  It was really the foundation of the styles that followed, and a great many people look upon the periods of Louis XIV, the Regency, Louis XV and Louis XVI as one great period with variations, or ups and downs—­the complete swing and return of the pendulum.

Louis XIV was a man with a will of iron and made it absolute law during his long reign of seventy-two years.  His ideal was splendor, and he encouraged great men in the intellectual and artistic world to do their work, and shed their glory on the time.  Conde, Turenne, Colbert, Moliere, Corneille, La Fontaine, Racine, Fenelon, Boulle, Le Brun, are a few among the long and wonderful list.  He was indeed Louis the Magnificent, the Sun King.