Louis XVI
As a natural revulsion from the license of this period in the succeeding Louis XVI style there was a distinct reversion. The curved framings were abandoned and panels and other areas were enclosed by mouldings with regard both to structural and materialistic conditions. Great refinement is evident, not only in the mouldings but in the details throughout.
In contrast to those of the Louis XIV period, panels were occupied rather than filled, the dominant details being placed at the upper and lower extremities and connected by vertical features either centrally or at the sides, steadily arranged as to alignment both horizontal and vertical. Familiar details thus employed are such amorous emblems as quivers, torches, trophies of musical instruments and bouquets and festoons of natural flowers.
The artificial leaf reverted somewhat to the earlier Italian type, and was mostly displayed in profile with the lobes and serrations carefully composed. The detail though comparatively low in relief, was boldly modelled, and the direction and emphasis of the lobes and veinings of the leaves considered with regard to the composing lines.