The immediate successor of the style of the Grand Monarch was the phase known as Régence, in which the strap frame was moulded in section, and the whole detail became much lighter, resulting in more open or plain spaces.
In the period of Louis XV restraint was thrown overboard, panels and enclosed areas were framed with mouldings irresponsible in curvature, and without regard to structural conditions. The growth line disappeared, the leafage and other details being arbitrarily disposed on the framing mouldings, which were generally in flattened and elongated curves opposed to each other in flexured lines. In comparison with the preceding Louis XIV style the ornament is thin and liney in character, the leaf, still of the acanthus type, is greatly modified both in form and detail, the ends of the lobes being curled and twisted spirally.
Rococo
In minor floral details natural types were employed, also such artificial features as canopies or hammercloths; rock and shell forms, and stalactite details suggestive of icicles are comprised in the later phase to which the term Rococo is applied.
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.
Grinling Gibbons School of Carving
In England the work of the school of Grinling Gibbons was productive of a phase of ornamental expression distinctive for its artistry and technical skill. Conventional details were combined with natural forms of all kinds, the conspicuous arrangement being interlacing scrolls, and festoons and pendant swags.