Figure 79. ENCOIGNURE, PERIOD OF LOUIS XVI.
Even as early as the middle of the previous century there had been imitators of the splendid lacquer-work of the Orient. By 1723 the three Martin Brothers, Julien, Robert, and Simon-Etienne, had become quite famous for their use of a transparent varnish, which, as "master painters and varnishers," they had perfected in their business. They pushed their trade, and by 1748 were under national protection, so popular had their wares become. In 1742 they perfected a certain green varnish which was immensely popular, and for which they had many orders, some of them from the king himself. They never excelled as painters, but the beauty of this famous green ground, powdered with gold, is very charming. Very little of this famous work remains, a few fire-screens and some splendid coaches, with some small boxes for snuff or patches, are all that exist. But in these small pieces like the boxes, which were considered worthy of gold and jewelled mounts, we can see this famous work to the best advantage. There were ribbings, stripings, waves, and flecks which gleam wonderfully through the varnish. Sometimes there are a few flowers or a Cupid scattered on the surface, but usually, when the green ground was employed, no decoration was considered necessary. With the death of Robert Martin in 1765 the skill necessary to continue this work was lost, and this charming style of decoration dropped back merely to a trade, and "Vernis-Martin" became hardly more than a name.
Among the other great workers of this period were Oeben, whose marquetry in coloured woods was of extreme elegance, and Riesener, who began to execute his beautiful pieces of furniture under Louis XV. in what is known as his earlier style, but who finally created the straight-legged types of Louis XVI. style with which his name became associated. In the work which he did for Marie Antoinette at the Little Trianon in 1777, the pure Louis XVI. style is carried out. The earlier pieces, delivered as early as 1771, still betray the influence of a previous period.
In [Figure 77] is shown the bedroom of Marie Antoinette at the Little Trianon. Here we see the later style set by Riesener, with the straight carved legs, the woodwork being painted and gilded. The silk factories at Lyons were no longer as well patronized as they had been, and to revive interest in them new furniture was ordered for the queen, to be upholstered in brocade, and with curtains and hangings to match. Everything in these rooms breathes of dainty elegance,—the carvings of the mantelpiece, the walls decorated with garlands of flowers and Cupids, even the metal mounts, chiselled wreaths and rosettes, were wrought with the beauty and finish of goldsmith's work. In the small chair by the bedside is seen a style with gilt framework and embroidered cushions, a kind of covering which was always in demand.
In 1770 two coaches were sent to Vienna for Marie Antoinette. The work of the embroiderer was selected to embellish their interiors, and the description of them is given by Bachaumont:
"They were two berlins, much larger than usual, but yet not so large as those of the king. One is lined with rose velvet and the Four Seasons are embroidered on the largest cushions, with all the attributes of a festival. The other is lined with blue velvet, and on the cushions of this are worked the Four Elements. There is not a touch of painting about them, but the work of the artist is so perfect and finished that each one is a complete work of art."
Figure 80. BED OF JOSEPHINE AT FONTAINEBLEAU.
The name of the embroider was Treaumau, and so celebrated did the beauty of these royal cushions make him that he received large orders, the most important being one from Madam de Berri for a vis-à-vis. The two berlins for Marie Antoinette were placed on exhibition before they were sent to her, and constituted an event of the day.
The three pieces shown in [Figure 78] are pure types of Louis XVI. style. They are at the Cooper Institute, New York. The chair on the right has its original embroidered cover, and the straight carved leg so much in evidence. All three pieces are entirely gilt wherever the woodwork shows. The top of the table is marble. The chair to the left is very prettily carved with a torch and bow and arrows, according to the conceit of the times, when everything was to be joyous and gay, all suffering and sorrow being resolutely thrust out of sight. Rose, blue, and gold were the colours affected, nothing sombre being allowed. The whole life was careless and without responsibility. The letters of the day, Saint-Beuve, Comte de Tilly, Duc de Lauzun, and Madam d' Oberkirk, draw graphic pictures of the life of pleasure. The Duc de Lauzun says that one of his mother's lackeys, who could read and write tolerably well, was made his tutor.