Associated with the period of Louis XV. is the love for the lacquered panel. Huygens, a Dutchman, had achieved good results in imitations of Oriental lacquer, which in France, under the hand of Martin, a carriage-painter, born about 1706, rivalled the importations from Japan. It is stated that the secret of the fine, transparent lac polish that he used was obtained from the missionaries who resided in Japan before the date of the massacres and foreign expulsion of all except the Dutch traders. Vernis-Martin, as his varnish was termed, became in general request. From 1744 for twenty years, Sieur Simon Etienne Martin was granted a monopoly to manufacture this lacquered work in the Oriental style. Although he declared that his secret would die with him, other members of his family continued the style, which was taken up by many imitators in the next reign. His varnish had a peculiar limpid transparency, and he obtained the wavy network of gold groundwork so successfully produced by Japanese and Chinese craftsmen. On this were delicately painted, by Boucher and other artists, Arcadian subjects, framed in rocaille style with gold thickly laid on, and so pure that in the bronze gilding and in the woodwork it maintains its fine lustre to the present day.
By permission of Messrs. Foley & Eassie.
THE "BUREAU DU ROI."
THE MASTERPIECE OF RIESENER.
(From a drawing by Walter Eassie.)
(Wallace Collection.)
Towards the close of the reign of Louis XV. a new style set in, which reverted to simpler tastes, to which the name "À la reine" was given, in deference to the taste which is supposed to have emanated from Marie Leczinska, the queen, but is said to have been due to Madame du Pompadour.
At the Wallace Collection is a fine secrétaire, with the mounts and ornaments of gilt bronze cast and chased, which is illustrated (p. [181]). The central panel of marquetry shows, in life size, a cock, with the caduceus, a snake, a banner, and symbolical instruments. It is by Jean François Riesener, and in his earliest manner, made in the later years of Louis Quinze in the Transitional style approaching the Louis Seize period.
Among the wonderful creations of Riesener, probably his masterpiece is the celebrated "Bureau du Roi," begun in 1760 by Oeben, and completed in 1769 by Riesener—who married the widow of Oeben, by the way. Its bronzes are by Duplesis, Winant, and Hervieux. The design and details show the transition between the Louis Quinze and the Louis Seize styles.
The original, which is at the Louvre, is in marquetry of various coloured woods and adorned by plaques of gilt bronze, cast and chased. The copy from which our illustration is taken (p. [183]) is in the Wallace Collection, and is by Dasson, and follows the original in proportions, design, and technique.