Typical mirrors appear on Plates [XXX.], [XXXIII.], and [XXXV.] The full drawing on Plate [XXXV.] is the earliest, being an example of late Louis XIV. It is surrounded with an ornate border of carved and gilt wood, showing leaves, branches, stems and an indented fronton, surmounted by shells. It is interesting to compare this mirror with Chippendale’s on Plate [XLII.], which also has panels of glass. Nos. 1 and 2 on Plate [XXXIII.] come next in chronological order. These are by the German, Decker, to whom reference has been made on page [199]. Both are dated 1700. The lower one has the mascaron, shell and chute of leaves, or husks, for its chief ornaments, while the scroll somewhat timidly, although strongly, asserts itself. This has no sconces. On the one above it the scroll is more assertive. The mascaron surmounts it, and the chute of leaves is much heavier and shorter. The three sconces, two of which only are visible, spring from the shell, but they have not become as yet very branched. The sconces really belong to the whole design in the example No. 1 on Plate [XXXV.], the chief decorations of which are the mascaron, the shell and the scroll. A still more elaborate specimen, by Pinaud, appears on Plate [XXX.], No. 2. The curve here is delightfully exhibited, almost as if the presiding genius in the winged helmet had taken a mischievous pleasure in its convolutions. Here we have not only the leafy scroll playfully twined, but the old ear-motive known to the decorators of the Louis XIII. age (see page [5]) appears, through which a winged serpent, or dragon, twists,—himself a series of curves. Below the head of Mercury is carved his emblem,—the Caduceus. Another “illuminary” appears on Plate [XXXVI.], No. 2. No. 3 on Plate [XXX.] represents the frame of a large toilet mirror by P. Germain.
Another finely carved and gilded frame is that of the screen on Plate [XXX.], which dates from the Regency. It is composed of shells and scrolls, and a monkey sits on the top of each upright. Unfortunately, the feet have been lost, and the screen is supported on ordinary blocks of wood. The covering is of the same period as the frame. It is brocaded silk, with flowers, leaves and peacock feathers.
The mirror was not the only ornamental wall-decoration that was made use of to carry candles. Sometimes the bracket that held a china ornament, or ornaments, was pressed into this service. The “console for porcelain,” by Pinaud (No. 4, Plate [XXX.]), is furnished with a sconce-arm on either side of the pedestal that supports the handsome piece of china, or vase. Another “console for porcelain,” also by Pinaud, appears on the same plate as No. 6. This is purely for decoration and has no branches for illumination. Upon it stand a beaker and two small cups. The chief decorations are the mascaron, which here seems to have horns, and a snake, which twists himself around the two scrolls, placed back to back, and threatens the mascaron with open jaws.
Another beautiful frame for a rich piece of porcelain is shown on Plate [XXX.], No. 5. This is a species of pier-table and is a fine example of Meissonier’s Regency work. The straining-rails form a kind of bracket for a china vase, while the shelves above afford opportunity for the exhibition of smaller treasures.
Another handsome piece of furniture for the display of porcelain is the encoignure (No. 9, Plate [XXXVI.]), made to stand in the corner.
The tall torchère, or standing-candlestand, on Plate [XXXI.], No. 3, shows a well-balanced combination of the mascaron, scroll, shell and leaf.
Two superb examples of console-tables occur on Plate [XXXIV.] These are of carved and gilded wood. The full drawing is one of Cuvilliés’s designs, and shows a bewildering combination of scrolls as a background for the beautiful carving of flowers and leaves. In the foreground a dog attacks a very savage dragon, whose wings bristle with anger and who darts forth his forked tongue. The other frame, No. 1, is by Pinaud, and though far simpler, is quite as effective. The scroll is most gracefully combined with the shell, and here again we have the ear (see page [210]), through which a winged dragon, with a most expressive face, has slipped himself. An early console support is shown on Plate [XXXVI.], No. 6.
The bureau, or desk, assumed great importance in the reign of Louis XV. The long bureau-table was still made, and sometimes at one end of it was placed a tier of ornamental shelves and pigeon-holes that was known as serre-papiers. Also in this reign the cylinder-bureau, with a roll top, came in to favour. It is sometimes said to have been invented by Prince Kaunitz. In contemporary writings, this special form of desk is frequently called “bureau à la Kaunitz.” The most famous desk of this period, however, is the “grand bureau secrétaire du roi Louis XV.” that was made for the King from the design of Œben, who died before it was finished. It was completed by Œben’s successor, Riesener, who had been his apprentice. This appears on Plate [XXXI.]
It is made of rosewood and amaranth and richly decorated with marquetry representing flowers, leaves and the attributes of royalty and poetry. Above the cylinder top that hides the pigeon-holes, is placed a horizontal ornament composed of rods twined with ribbons, and above this is an open-worked gallery, broken by figures of Cupids playing above a little clock. On each side of the cylinder, a figure of gilt bronze holds a girandole of two branches, each terminating in a floral cup for the candle, something like the bras de lumière on Plate [XXXII.] One figure is Apollo and the other, Calliope. The bronzes were modelled by Duplessis and Winant, and chiselled by Hervieux; and in addition to the ornaments already described, there are swags of leaves, knots of ribbon and decorations on the legs and feet,—all of or moulu. For many years these bronzes were attributed to Caffieri. This work is signed “Risener fa, 1769.”
A very interesting example of a low glass book-case and serre-papiers appears as No. 2 on Plate [XXXI.] The serre-papiers, surmounted by a clock, stands upon a very characteristic table. On either side of it is placed a low bookcase with glass doors, the top moulding of which suggests the shape of a wing, or bow. This is flanked by a panel, above which is another panel. The wall space above the bookcase and behind the serre-papiers is intended to be hung with tapestry, or damask.