In the early style of Louis XIV, we find many trophies of war and mythological subjects used in the decorative schemes.  The second style of this period was a softening and refining of the earlier one, becoming more and more delicate until it merged into the time of the Regency.  It was during the reign of Louis XIV that the craze for Chinese decoration first appeared. La Chinoiserie it was called, and it has daintiness and a curious fascination about it, but many inappropriate things were done in its name.  The furniture of the time was firmly placed upon the ground, the arm-chairs had strong straining-rails, square or curved backs, scroll arms carved and partly upholstered and stuffed seats and backs.  The legs of chairs were usually tapering in form and ornamented with gilding, or marquetry, or richly carved, and later the feet ended in a carved leaf design.  Some of the straining-rails were in the shape of the letter X, with an ornament at the intersection, and often there was a wooden molding below the seat in place of fringe.  Many carved and gilded chairs had gold fringe and braid and were covered with velvet, tapestry or damask.

[Illustration:  By courtesy of the Metropolitan Museum of Art

Inlaid desk with beautifully chiselled ormolu mounts.]

[Illustration:  Rare Louis XIV chair, showing the characteristic underbracing.]

There were many new and elaborate styles of beds that came into fashion at this time.  There was the lit d’ange, which had a canopy that did not extend over the entire bed, and had no pillars at the foot, the curtains were drawn back at the head and the counterpane went over the foot of the bed.  There was the lit d’alcove, the lit de bout, lit clos, lit de glace, with a mirror framed in the ceiling, and many others.  A lit de parade was like the great bed of Louis XIV at Versailles.

Both the tall and bracket clocks showed this same love of ornament and they were carved and gilded and enriched with chased brass and wonderful inlay by Boulle.  The dials also were beautifully designed.  Consoles, tables, cabinets, etc., were all treated in this elaborate way.  Many of the ceilings were painted by great artists, and those at Versailles, painted by Le Brun and others, are good examples.  There was always a combination of the straight line and the curve, a strong feeling of balance, and a profusion of ornament in the way of scrolls, garlands, shells, the acanthus, anthemion, etc.  The moldings were wide and sometimes a torus of laurel leaves was used, but in spite of the great amount of ornament lavished on everything, there is the feeling of balance and symmetry and strength that gives dignity and beauty.

Louis was indeed fortunate in having the great Colbert for one of his ministers.  He was a man of gigantic intellect, capable of originating and executing vast schemes.  It was to his policy of state patronage, wisely directed, and energetically and lavishly carried out, that we owe the magnificent achievements of this period.