DOI Page / Citation link:
https://doi.org/10.11588/diglit.68375#0014
8
FRENCH WOOD CARDINGS OF THE
a modern reproduction.” This example has been selected principally on account of the cypher
panel, which is an excellent example of how letters may serve a decorative purpose. The little
forget-me-not flower becomes a very noticeable feature in the carvings of the latter half of the
seventeenth century. The mouldings arc well carved, but lose much of their force by the little
veined lines worked over the surface of the carving {see p. 5, Series II.).
Plate XXXVIII. gives examples of the ordinary balustrades of the seventeenth century.
The carving is crude, and on the lower pilaster it is heavy and lifeless. The capitals are simply
and effectively treated, and the general design and distribution of the whole is satisfactory.
Plate XXXIX. At the top is an oak panel with a medallion. The mouldings and
ornamental details are essentially of the later period of Louis XIV., but the medallion is not at
all characteristic of the style and might be considerably earlier.
The lower panel is of the same period.
In these examples we see for the first time the system of interpanelling which began at
the end of the reign of Louis XIV., and which was carried on so successfully during the
Regency {see Plates XLVII. and L.). It is about the best legacy left to us by the artists of
those days, and it is surprising that modern decorators have not availed themselves more of the
suggestion. It might be applied to any style, and is invaluable when it is desired to leave the
lower part of the panel plain, or it is necessary to reduce the amount of carving on account of
expense.
Plate XL. Similar examples to the fragment on the left may be found at the “Grand
Trianon,” but in these the moulding is reeded and not plain. It is quite possible it may
have been done in the earlier reign, as there is a suggestion of the influence of Bdrain about
it, as well as in the panel on the right. Berain in his designs always avoided rectangular
corners.
Plate XLI. gives the front and side view of a pedestal, or “gueridon,” executed
towards the end of the reign of Louis XIV. They were introduced from Italy during the
ministry of Cardinal Mazarin.
Plates XLII. to XLVII. may all be classed together as examples of the Regency.
Plate XLVIII. gives three examples of carved mouldings. Numbers 1 and 3 are early
Louis XV., and are in much lower relief than the middle one, executed in the preceding
reign. Carved picture frames were a very particular feature of these reigns, and amongst the
carvers who devoted themselves specially to this branch are found the names of Robinot,
de Nicolet, de Liot, de Renaudin and de Tremblin. When the frames were not part of the
panelling of the room, they usually had an elaborate ornament in the centre of each side,
similar to No. I., and the mitres were carved in much the same way.
Plate XLIX. The first panel gives the usual treatment of the shell during the early
part of the eighteenth century, and may be seen in carvings executed under the reign of
Louis XIV. as well as of Louis XV. The twists and turns of the scrolls are more suggestive
of the later period. The centre panel is rather more characteristic of the style of Louis XIV.
The third one might belong to either, but the carving is much blunted by the pickling the
wood has undergone to remove the paint. The second and third panels have both inner panels
on which the ornament dies off, but which do not show very clearly in the plate.
The first and third panels are five-sixteenths, and the centre one nine-sixteenths of an inch
in relief.
FRENCH WOOD CARDINGS OF THE
a modern reproduction.” This example has been selected principally on account of the cypher
panel, which is an excellent example of how letters may serve a decorative purpose. The little
forget-me-not flower becomes a very noticeable feature in the carvings of the latter half of the
seventeenth century. The mouldings arc well carved, but lose much of their force by the little
veined lines worked over the surface of the carving {see p. 5, Series II.).
Plate XXXVIII. gives examples of the ordinary balustrades of the seventeenth century.
The carving is crude, and on the lower pilaster it is heavy and lifeless. The capitals are simply
and effectively treated, and the general design and distribution of the whole is satisfactory.
Plate XXXIX. At the top is an oak panel with a medallion. The mouldings and
ornamental details are essentially of the later period of Louis XIV., but the medallion is not at
all characteristic of the style and might be considerably earlier.
The lower panel is of the same period.
In these examples we see for the first time the system of interpanelling which began at
the end of the reign of Louis XIV., and which was carried on so successfully during the
Regency {see Plates XLVII. and L.). It is about the best legacy left to us by the artists of
those days, and it is surprising that modern decorators have not availed themselves more of the
suggestion. It might be applied to any style, and is invaluable when it is desired to leave the
lower part of the panel plain, or it is necessary to reduce the amount of carving on account of
expense.
Plate XL. Similar examples to the fragment on the left may be found at the “Grand
Trianon,” but in these the moulding is reeded and not plain. It is quite possible it may
have been done in the earlier reign, as there is a suggestion of the influence of Bdrain about
it, as well as in the panel on the right. Berain in his designs always avoided rectangular
corners.
Plate XLI. gives the front and side view of a pedestal, or “gueridon,” executed
towards the end of the reign of Louis XIV. They were introduced from Italy during the
ministry of Cardinal Mazarin.
Plates XLII. to XLVII. may all be classed together as examples of the Regency.
Plate XLVIII. gives three examples of carved mouldings. Numbers 1 and 3 are early
Louis XV., and are in much lower relief than the middle one, executed in the preceding
reign. Carved picture frames were a very particular feature of these reigns, and amongst the
carvers who devoted themselves specially to this branch are found the names of Robinot,
de Nicolet, de Liot, de Renaudin and de Tremblin. When the frames were not part of the
panelling of the room, they usually had an elaborate ornament in the centre of each side,
similar to No. I., and the mitres were carved in much the same way.
Plate XLIX. The first panel gives the usual treatment of the shell during the early
part of the eighteenth century, and may be seen in carvings executed under the reign of
Louis XIV. as well as of Louis XV. The twists and turns of the scrolls are more suggestive
of the later period. The centre panel is rather more characteristic of the style of Louis XIV.
The third one might belong to either, but the carving is much blunted by the pickling the
wood has undergone to remove the paint. The second and third panels have both inner panels
on which the ornament dies off, but which do not show very clearly in the plate.
The first and third panels are five-sixteenths, and the centre one nine-sixteenths of an inch
in relief.