Woman's enterprise., 1922-02-10

tion which numbered in its ranks
masters of all arts. These painters
sculptors, architects, designers, decor.
ators, engravers and wood carvers
were banded together, working under
common impulse. The academy
centralized its effects of the Gobelin
factory where, under the direction of
lie Brun, royal orders were executed
and the Louis XIV style was per
fected.
Under Colbert's administration,
visiting designers were encouraged to
stay until the secrets of their work
had been acquired. They were then
manufacturers of not only tapestry
out Of every class of furniture re-
quired in the royal palaces. lie Brun
was director with the power to direct
and overlook all workmen employed"
Gobelin school politely dispatched
to their own counties, laden with
honors and sometimes perisioned.
When the palace of Versailles was
erected, decorated and furnished. few
! foreigners had part in the work.
It was a triumph of French taste
and skill, and as such it remains to-
day. The architect was Jules Har-
douim Mausart, and the Landscape
gardener, Andre LIE Notre. As we
have noted the greatest artists of the
day were employed in decorating the
interior and the greatest designers
in planning the furnishings. The fin
est products of all silk and tapestry
looms of France were utilized for
the hangings. The rarest woods of
the world were selected for the fur
niture. Craftsmen of the kingdom
We'd with each other in perfecting
their art SO that the palace of LIE
Grand Monarque should stand un-
rivalled.
In contrast with these royal apart
mems which show the grandiose phase
| of the Louis XIV is the room deco
rated and furnished for Matamede
Maintenon in Foutainebleau. The
plain panels, the simple mantel, and
the substantial chairs are far more
valuable from the decorative stand
point than the gilded grsnduer of the
Salon de la Guerre.
The salient characteristics of the
Louis XIV period refer to the Italian
Renaissance style. The port and lin
tel construction, with the underfram-
ing boiling up into excess of magnif-
cence in design, bi-symmetrical orna-
ment, ruby velvet, gold braid, and
heavy gilded woodwork. These are
the distinguishing points of the Louis
XIV style.
The Renaissance raised furniture
making to the dignity Of an art, but
it was not until the reign of Louis
XIV that furniture makers individ-
ually ranked as artists. Some Of the
cabinet makers Of that day were as
renouned as the painters and one at
least made a name for himself that
has outlived the fame Of his brothers
of the brush. This man was Andre
Boulle.
In 1872 he became ebeniste to the
king and was granted quarters in the
Louvre. 'Boulle was a man of many
talents, but his fame rests chiefly on
a unique marquetry Of tortoise shell
and brass with which he ornamented
his furniture. That elaborate furni-
ture was not confined to the court
may be gathered from the letters and
inventories of the celebrated cabinet
makers of the day. Boulle made
many pieces for the wealthy citizens
of Paris, particularly in the later
years of his life when the kings fancy
had turned to the work Of younger
men. Boulle lived to be 80 years of
age, surviving his royal patron more
than a decade. The list Of cabinets,
consoles and armories designed by
him is long one. Much of his work,
like that of our contemporaries, was
destroyed at the time Of the revolu-
ton. The woods favored by these
furniture makers were ebony, oak
walnut and chestnut. Rare woods,
like sandal and tulip were used to
give color and variety. When to this