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FRENCH FURNITURE
Louis XIV, 1643-1715
T is desirable for the man interested in English furniture
to have at least a working knowledge of the French styles,
if for no other reason than that of appreciating their influence on English work seventeenth century english stoneware . To understand them thoroughly is a study equally as wide and intricate as that of English furniture (if not more so) and to do justice to the subject would call for a separate volume as large as the present one antique porcelain tea pot made in france . In these few pages one can hope to do little more than point out the salient features 19th century floral paintings .
Historically speaking the subject goes back farther than our own, for the continental craftsmen were far more advanced than the English, and have left more and better examples of their work to posterity antique table 8 legs with brass feet . For the present purpose, however, the reigns of the three Louis, XIV, XV, and XVI are all that we are concerned with, for when speaking of French furniture it is the work produced during the period of these monarchs that one invariably calls to mind antique blue and white earthenware jug with zigzag pattern .
Louis XIV came to the throne in 1643, a time when the French Renaissance had lost much of its Italian origin and had developed a strong individual character lenci wall masks . Whatever his merits or demerits as a king may have been, the world of art certainly owes much to him for the encouragement he gave to all arts and crafts antique french tier table . He was a man of most extravagant tastes, and, living in a time when France was one of the strongest and wealthiest of European Powers, he was able to give full play to his fancies antique drop-leaf end tables . His court was probably the most magnificent that Europe has ever known, and the daily extravagant ceremonial called for a setting for which nothing but the costliest and richest would do napoleonic campaign chairs . Fortunately, this great impetus to fine work came at a time when men of considerable talent were seeking expression, and it required only this talent on the one hand and the wealth and encouragement on the other to produce a style which (in its own particular way) has never been excelled theodore haviland 1958 pattern .
Period of Louis XIV
Of the capable craftsmen whose names are outstanding probably the greatest was Andr6 Charles Boulle who was born in 1642 and died in 1732 dresser accessories . He had experimented with a form of marquetry which had originated in Italy, and when the great tide of building and furnishing came he took it at its flood, and developed this marquetry into a distinctive kind which for sheer exquisite workmanship, coupled with fine design, stands unique antique card table with one flap . It is often termed ” Buhl,” and was carried out in brass or copper, and tortoiseshell, ebony, and horn drop leaf table wall semi circle .
A brief explanation of how marquetry was produced was given in Chapter V chamber pot in cabinet . Two sheets of dissimilar materials were fixed together temporarily and the design cut through both with a fine saw gillows three hinge . The two sheets were then separated and the parts interchanged so that in the one there would be a design of, say, brass on a background of tortoiseshell, and in the other the exact reverse antique “la granja” glass . Thus it was possible to produce two cabinets of precisely the same outline and design, but the one the reverse of the other in the material of the design and background designer extending round dining tables in kent . The one was the (4 counter ” of the other, hence the terms ” Buhl ” and if counter black lacquer dining chairs .”
A typical Boulle cabinet is shown in Fig silver fish slice . 165, in which this rich marquetry work is an outstanding feature figural silver antique candlesticks . In addition to the scrolling design of the inlay itself the whole of the brasswork is richly engraved, producing an effect which almost approaches the work of the jeweller rather than that of the cabinet maker antique english dressing table . A point to note is that wood carving is almost entirely absent, the decorative effect, apart from the marquetry, being obtained entirely with rich brass mounts antique mirror back sideboard 1920’s . Some of the leading artist-craftsmen of the time were engaged in the production of these mounts wooden arm chair pedestal castor antique oak .
It was for the decoration and furnishing of the Palace of Versailles that the finest and richest work was produced, and the Palace, even as it stands to-day after the ravages of the Revolution, leaves one gasping at its sheer extravagant splendour origins and development of arts . One has to remember that the furniture maker then was regarded as an artist, and certainly the results seem to justify such a status edgard brandt . It is with something like a shock that one realises that the cabinet in Fig antique table round drop leaf claw foot . 165 was produced at the same time as the simple early walnut furniture in England art nouveau . It is true that a colossal amount of money was spent on the production of such pieces, but it has to be admitted that the French cabinet makers were far in advance of our own staffordshire figures of royalty . It is points like this that help one to realise why it was that a revolution of ideas took place when Charles II came to reign in England after years of exile spent in France georgian telescopic silver candlestick .
The famous Gobelins factory for the production of tapestry was purchased by Louis XIV, and cabinet-making workshops were established in it art deco upholstery . Charles Le Brun became the director, and the world of art owes a great deal to his energetic leadership perpetual calendar 18th century . :Much of the finest work at Versailles was produced at the factory carlo bugatti furniture antiques .
In general form the surfaces of cabinets were flat—at any rate early in the period west indies antique paintings . This is mentioned in particular because we shall see that in the next phase curved surfaces were introduced everywhere art nouveau origins . The general decoration took the form of Boulle marquetry of brass or copper on a background of ebony or tortoiseshell, the design consisting of elaborate scroll work richly chased, allegorical figures, fruit and floral motifs, swags of husks, and acanthus leafage, the whole in a somewhat free interpretation of the Renaissance daniel quare 1674 tortoiseshell case pocket watches . Bold ormolu mounts heavily gilded were fitted, these taking the form of lion masks, scrolled consoles, acanthus scrolls, human masks, and deep nullings royal sheffield silver . Both straight and curved legs were used, the last named becoming more popular towards the end of the period in harmony with the tendency towards shaped work generally william kent console table .
COMMODE IN KINGWOOD WITH INLAYS queen ann gate leg table .
Laois XV antique prohibition table example .
This cabinet, made for the King’s chamber at Versailles, is a design of SIodtz and was made by Antoine Robert
Gaudreau In 1738 antique fluted gateleg table legs . The gilt bronze mounts were by Jacques Caffiere booths pearlware marks .
FRENCH FURNITURE
Louis XV, 1715-1774
T0 appreciate the underlying causes of the changes in the type of furniture produced in Louis XV’s reign
it is necessary to know something of the historical events of the period 18th century forks . Louis XIV had died in 1715 when his heir «as but five years old, and it became necessary to appoint a regent antique decorative motif . The Duke of Orleans took the office, and he was virtually monarch until his death in 1723 directoire consulat empire . There was thus a break in the extravagant court grandeur which was so essentially a feature of the reign of the late king art deco antique furniture makers . The wild expenditure of the seventy odd years of le Grand i1lonarque, too, had left its mark on the finances of the court and aristocracy antique pouch table . No country, no matter how powerful and prosperous, could continue for an unlimited time to spend money on pure aggrandisement to such an extent, and as a result there were but two alternatives : to live in a quieter way, or to find fresh sources of income mid 17th century foods france . In the event a sort of compromise was effected 17th century french fashion . The aristocracy began to contract marriages with humbler but wealthy classes, bankers, merchants, and so on ; and in place of the grandeur of the great salon so beloved by Louis XIV came the rise of the smaller boudoir photos of antique chambersticks . In fact the two periods are often referred to respectively as the periods of the salon and the boudoir jupe table mechanism .
Its effect on the furniture was that it was in its way equally rich, but was on a smaller scale how much is a claw foot table worth . Then, too, the masculine grandeur gave way to an effeminate prettiness, a change quite in keeping with the general conduct of life emile galle furniture . People began to look for elegance rather than grandeur, and to use ornament purely for its own sake boulle console table with marble tops with elaborate friezes .
We have had occasion to note in earlier chapters in this book that an idea, once it takes root, frequently is carried to extremes, and it thus happened that the tendency to introduce shaped work towards the end of Louis XIV’s reign reached such a height in the succeeding reign that many cabinets were made with scarcely a straight line or a flat surface in them regency antique mahogany dining table styles . This extraordinary use of curves is the keynote of Louis XV furniture when was art deco furniture stated in france . The skill shown in overcoming the difficulties that such work presented is amazing octagonal brass & silver table . One may’ or may not admire this flamboyant phase of French furniture, but no one can but admire the excellence of the workmanship augsburg marquetry table cabinet . The fronts and sides of cabinets, bureaux, and so on were curved in both plan and elevation, and some idea of the difficulty of veneering over such a surface can be obtained by trying to lay a flat sheet of paper around a ball barrel leg oak dining table . Added to this was the fact that the whole was usually elaborately inlaid or given a decorative effect by the use of designs in which the varying, direction of the grain of the wood was made to play a part round rosewood breakfast table .
So far as furniture was concerned the preference for gilded mounts in place of wood carving continued, and the workmanship of these was of an extremely high order table octagon marquetry drawer . One may not care for the effect as a whole—it frequently appears restless and overdone, but regarded individually the work was extremely fine i.i.e. exclusive capodimonte . The love of curves developed to an extraordinary extent, resulting in its fulness in what is known as the Rococo decoration thonet rocking chair . The term comes from two French words meaning rocks and shells, to which the ornament bears a certain resemblance antique porcelain czechoslovakia wall face . It is exemplified in Fig austrian mirrored tables . 166—in which the elaborate scrolls and acanthus leafage can be seen antique collector’s cabinet . The chief exponents of the rococo were Meissonier and Slodtz palissy patterns .
The French version of the cabriole leg reached its zenith during this period side table black hand painted birds and flowers made in italy . It was essentially suited to the general and wide use of shapes antique metal tables with drop leaves . In a limited sense it bore a resemblance to the English version, but it had an entirely different spirit telescopic glass tables . The English leg at its best had a high, well-pronounced knee running abruptly into a square at the top, and terminating at the bottom with one or other varieties of the club or claw and ball foot can antique dressers pair with modern furniture . An example was given in Fig flemish refectory table . 116 at E meissen figures . The French variety was of a more flowing shape steuben stemware deco . There was no square at the top, the shape either flowing naturally into shaped rails at the sides, or continuing with a concave curve upwards antique english dressing table . At the bottom the foot was usually scrolled italian buffet decorations . The cabinet in Fig antique english rhenish ware . 166 shows the typical French shape black lacquer china cabinet .
A great many varieties of woods were used ; mahogany,amboyna, tulipwood, boxwood, rosewood, sycamore, ebony, and amaranth are amongst the commonest antique cabinets coat of arms . Satinwood too was used towards the end of the reign, though this is more usually associated with the following reign of Louis XVI antique console table carved wood . Gilding and lacquering were popular meisen hand painted plates 1920 allegorical . At first the lacquer work was imported from the East, or panels were prepared and sent to China to be lacquered, but later it was imitated in the French factories, though the detail in it was often faulty, western motifs being introduced in a somewhat incongruous manner brislington delftware . A firm of the name of Martin paid special attention to this lacquer work and produced a preparation known as Vernis-Martin towards the middle of the century 1945 mahogany desk . In its final stage this originally Oriental decoration became almost wholly westernised, the decorative artists painting allegorical subjects in natural settings on a lacquered background patent imperial dining table gillows .
Towards the end of the reign a reaction against the elaborate Rococo work set in, and there came a revival of the classical spirit which was the keynote of the work in the Following reign canterbury music stand .
FRENCH FURNITURE
Louts XVI, 1774–1793
THE financial difficulties of the reign of Louis XV have already been noted reproduction 18th century tea bowl . They still existed, in fact
were increased, when the ill-starred Louis XVI came to the throne in 1774 hand blown romer glass . The clouds were already gathering for the storm which was to break close on twenty years later antique empire and biedermeier periods 1800 to 1848 . This, combined with the reaction against the Rococo work of the middle of the 18th century, produced a type of furniture in which the shaped work was largely, if not wholly, eliminated daniel quare 1674 tortoiseshell case pocket watches . Design became altogether more refined and returned again to the classical spirit, prompted largely by the excavations of Herculaneum which had been begun seriously in the middle of the century table paw feet antique .
Then again the Queen of Louis XVI, Marie Antoinette, favoured simple country life ; the elaboration of the preceding reign made no appeal to her, and although the movement towards simpler lines began before she was Queen, her influence undoubtedly encouraged the new feeling mirrors antique british chevron . It should be realised, however, that the term ” simple ” is used relatively antique neoclassical . Compared with the English, French cabinet work of Louis XVI was vastly more ornate hunt roskell silver auction . French furniture always was, It was just the natural national expression, but when it is compared with the full shaped work of the preceding reign the simpler and more refined feeling is apparent small dressing table cupboard .
The chief characteristics of Louis XVI are the use of straight lines and flat surfaces with a delicate and refined treatment of the detail floral ornaments art nouveau . Mouldings are small and the carving light and delicate old cantagalli pottery . Gilded mounts are widely used (they were still largely preferred to wood carving) and the quality is of a very high order reverse serpentine sideboard . The subjects take the form of rural, natural, and conventional objects ; scythes, spades, lutes, pipes, birds, cupids, torches, ribbons, swags of husks, flowers, medallions, and acanthus scrolls ormolou decoration . The last named are altogether less flamboyant than the ornament of Louis XV
time antique card table flaps . The woods used were the same as those of the previous reign with an increasing popularity for satinwood 18th century wine cooler brass feet . Lacquer work was also still widely used, and was often bounded by gilded mouldings antique mahogany drop leaf work table .
With the disappearance of the shaped work the cabriole leg lost much of its popularity, especially for cabinets and commodes, though it still was used for small bureaux and console tables in a lighter form cantagalli pottery . The light turned and square tapered leg was used largely, the last named often being recessed on its faces and decorated with gilded mounts fixed in the recessed panels 1930s antique square table . The chief designers were Riesener, Gouthiere, and Roentgen slant front desk antique .
All design is largely a matter of personal taste, but it is usually conceded that the work of Louis XVI shows French design and workmanship at its best 17th century oak side table . The furniture of Louis XIV had a certain grandeur tending to heaviness at its worst, this developing into an overdone elaboration in the following reign antique bombe commodes for sale . In the last of the three reigns there was a reaction against the worst features, and the result shows a welcome restraint scotish chest of drawers .
Readers wishing to study French furniture at first hand should examine the fine specimens at the Wallace collection, and the Jones bequest at the Victoria and Albert Museum, South Kensington oak art deco scandinavian furniture . Those who are able to visit France should see the magnificent collection at the Palace of Versailles cheverton machine .
UPHOLSTERED CHAIR WITH BRASS MOUNTS josef maria olbrich furniture . French Empire gustavian chairs pierced splats,fluted legs .
The chair was made in about 1810 column empire style bedside tables . The wings of the beasts are in brass
and are screwed beneath the seat rails provincial furniture number drawers . The feet too are brass, being
socketed to fit over the stub legs antique french saxon china flowers with gold .
FRENCH FURNITURE
EMPIRE
THE period of the French Revolution during which Louis XVI and large numbers of the French aristo-
cracy were executed was scarcely a time in which cabinet making could be expected to flourish antique bedside toilet . Wealthy people went into hiding or fled the country, and there was nobody left to order the fine quality and expensive furniture one usually associates with France of the second half of the eighteenth century gateleg table antique . In fact, some of the famous ebenistes themselves were prosecuted for their close connection with the royalty and aristocracy george serving table fluted . It was not until conditions had settled down under the forceful government of Napoleon that any revival of the making of fine furniture was possible makers of silver table ware in late 1800’s .
It was then that was evolved the style which has become known as Empire chair 18th queen rococo revival . If Louis XIV furniture be characterised as solid magnificent grandeur, Louis XV as flamboyant elegance, all shapes and curves, Louis XVI as delicate refinement, sometimes verging on the effeminate, then the Empire can be reckoned as stately and dignified with a strong influence of the Greek, Roman, and Egyptian dutch silver octagon trinket box . Compared with the elegant style preceding it, Empire furniture is considerably more restrained, mostly with straight lines, usually in mahogany, and invariably mounted with brass or gilt ornaments meissen/cabinet plate/19th century . These ornaments took the form of the Greek honeysuckle and vases, laurel wreaths, caryatid figures, martial helmets, torches, winged animals, and so on english furniture toilet chest .
Presumably the style was a tribute to the leadership of Napoleon, the Emperor who had marched through Europe and beyond antique tray table white . It scarcely outlasted his final downfall in 184, though its influence continued to be felt in this country during the Regency period antique enamel top table .
UPHOLSTERED CHAIR WITH BRASS MOUNTS new england antique dining tables .
‘The chair was made in about 1810 1920s draw leaf dining set turned legs . The wings of the beasts are in brass
and are screwed beneath the seat rails 3 leaf antique extending dining table . The feet too are brass, being
socketed to fit over the stub legs scandinavian octagon dining table .

MID 19TH CENTURY BUFFETS AND SIDEBOARDS

THE VICTORIAN PENCHANT for formal
social gatherings made the buffet and the sideboard very important items of furniture in more affluent households. Both were used in the dining room to display food and house crockery. They differed in that the buffet was a rather grand superstructure with two or more tiers, similar to the kitchen dresser,
whereas the sideboard was a less imposing, single-tiered cabinet.
DIFFERING STYLES
A wide variety of shapes were popular during this time, incorporating elements from various periods and styles. Arched tops and backs became more common as forms in general grew more rounded, although the traditional rectangular shape certainly persisted. The range of leg shapes used included cup and cover, square, tapering, and cabriole – all very different in style.
Woods used for buffets and sideboards tended to vary just
as they had in the late 18th century. Although these pieces of furniture were often made of mahogany or oak, many carried veneers of burr timbers.
From the mid 19th century. people wanted everything in a room to match in style and material. As a result, in many houses, all the furniture in the dining room, including the buffet or sideboard, would be made of a single wood, such as oak or walnut.
DESIGNED FOR STORAGE
As well as displaying and serving food, the buffet was used to store cutlery, dinnerware. and even decorative objets. Victorian households were Cluttered environments. and the sideboard was a reflection of this. They were peppered with various Compartments, cupboards, and drawers, each with their own specific purpose and many fitted with locks. Buffets in the grandest houses could be exceptionally large, with an average height of more than 183cm (6ft).
BRITISH SIDEBOARD
This early Victorian, possibly Anglo-Indian, oak sideboard has an elaborately shaped backboard surmounted by a number of finials and with an urn at its centre. Below the urn is an applied, carved coat-of-arms. The stepped, rectangular
top of the sideboard has a carved edge, above a gadrooned guilloche frieze and an elaborately carved strapwork apron. The sideboard is raised on carved cup-and-cover legs with gadroon
supports above plinth bases carved with paterae and pedestal feet.
FRENCH LOUIS XV-STYLE BUFFET
This Louis XV-style, cherry and burr walnut buffet has a moulded, gently arched top above a frieze carved with a flowering basket. The upper section of the buffet has a number of open shelves for displaying cups, plates, and decorative objects. These open shelves are
flanked by a pair of decorative serpentine panelled doors. The lower section of the buffet has two small frieze drawers and two further large panelled doors carved with swirling foliate decoration. The buffet has an ornamental shaped apron and is raised on short, slightly cabriole legs. Late 19th century.
BREAKFRONT SIDEBOARD
British mahogany breakfront sideboard is v decorated with satinwood banding and wood and ebony stringing. Two square,
doors flank the two graduated central
The case stands on six square,
tapering legs, terminating in spade feet. This elegant piece is Neoclassical in style and was probably based on a Sheraton example of around 1780. The deep cupboards would have been used for storing wine, and the frieze drawers for storing silver or cutlery. Late 19th century.
BRITISH MAHOGANY SIDEBOARD
This mahogany sideboard has a scrolling, arched backboard that is centred by a cabochon with mask surmount. The reverse breakfront top contains ogee frieze drawers and the four arched panelled doors enclose both sliding trays and shelves. The whole sideboard is raised on a plinth base.
FRENCH OAK BUFFET
The upper section of this oak buffet stands on turned supports and has a moulded cornice above two glazed doors, which open on to a shelved interior. The doors are flanked by fluted pilasters. The rectangular top of the lower section has two frieze drawers above two cupboard doors with applied carved decoration showing a Classical urn filled with flowers. It stands on squashed bun feet. Late 19th century.
BRITISH PEDESTAL SIDEBOARD
This fine George III-style mahogany, satinwood, and marquetry sideboard was made by Wright and Mansfield. The pedestals of the desk contain cellaret drawers for storing wine. The decorative motifs are strongly Neoclassical in manner, inspired by Robert Adam’s (1728-92) delicate interpretation of the style. The
elongated urns centred on each of the pedestals also serve to indicate their contents. Lightly drawn swags and striking anthemion motifs are used to define the individual drawers and cupboards, and to accentuate the essential symmetry of the piece with its carefully balanced use of curved and flat surfaces, sinuous lines, and geometric shape. c.1880.
ANGLO-INDIAN SERVING TABLE
The backboard of this hardwood serving table is elaborately carved with anthemion, acanthus, and birds. The rectangular top has bold, leaf-carved edging and rests on carved brackets with foliate fretwork to the back and sides. The table has a curved support with carved paw feet. Mid 1911) century.
ANGLO-INDIAN CABINET
The shelved upper section of this rosewood bookcase cabinet has leaf-moulded cresting above twin doors with elaborate pierced and carved panels, flanked by scrolling brackets. The lower section has two long, carved frieze drawers above two similarly carved doors. The piece stands on carved bracket feet.

Early porcelain
The porcelain factories established in France in the early 18th century manufactured soft-paste porcelain, since the kaolin necessary for the production of hard paste was not discovered in France until 1768. Early French porcelain, particularly that of Chantilly, is considered especially attractive by collectors because of its soft ivory or creamy colour. The first factory was established in the 1670s in Rouen by the Poterat family, but its output was much less significant than the later factories of Saint-Cloud, Chantilly, and Mennecy.
SAINT-CLOUD
In 1664 Claude Reverend obtained a privilege to experiment with the manufacture of porcelain in and around Paris. In 1674 he employed Pierre Chicaneau (d.1677), who is said to have discovered the recipe for soft-paste porcelain. Through the patronage of the Duke of Orleans, Chicaneau’s widow, Barbe Coudray (d.1717), was granted a privilege for the manufacture of faience and porcelain at Saint-Cloud in 1702.
A large range of wares was made at the factory, including ice pails, spice-boxes, snuff-boxes, bonbonnieres, and cutlery handles. A speciality was pot-pourri vases, usually left unpainted. Early decoration comprised underglaze blue borders of lambrequins. From c.1730 wares were left in the white and decorated with moulded prunes blossom, imitating Mane-de-Chine wares from Dehua in Fujian Province, China. More European designs, such as overlapping leaves and wading birds, were introduced as moulded decoration. In the same period, the painters copied Japanese wares in the Kakiemon and Imari patterns.
CHANTILLY
In 172.5 Louis-Henri of Bourbon, Prince of Conde, founded a porcelain factory on his estate at Chantilly. The factory is celebrated for its wares decorated in the style of Japanese Kakiemon and Chinese famine-vote porcelain. Many items – jardinieres, teapots, jugs, and plates – were probably copied directly from Oriental originals in the Duke’s collection. Figures of Chinese and Japanese characters were also a speciality of the factory before c.1750 and were decorated in the Kakiemon style.
After the mid-18th century, decoration of small scattered sprays of European flowers was introduced. In 1753 Louis XV issued an edict restricting the use of gilding and certain colours by French porcelain factories to protect the commercial interests of Vincennes. Permitted decoration generally consisted of simple floral designs in underglaze blue, or blue or pink enamels. During the 19th century Chantilly porcelain was extensively copied by the factory of Edme Samson & Cie in Paris.
MENNECY
In 1734 the faience manufacturer Francois Barbin (1689-1765) opened a factory producing soft-paste porcelain in Paris under the patronage of the Duke of Villeroy. Wares in the style of Vincennes, Saint-Cloud, and Meissen as well as imitations of Japanese Kakiemon porcelain were made. In 1748 the factory moved to Mennecy, near Paris, where custard-cups and covers, moulded with spiral or vertical fluting, and bell-shaped ice-cups, influenced by Vincennes and Sevres, were produced. These were painted with sprays Of flowers in a palette dominated by puce and red. Before 1750 the factory produced stiffly modelled Oriental figures, usually decorated in the Kakiemon palette, and after 1750 rustic peasants, children at play, allegorical figures, and, more rarely, commedia dell’arte figures.
Saint-Cloud (1664-1766)
• BODY creamy-white or ivory soft paste, with a soft glaze that is greenish where it gathers
• DECORATION ION lambrequin borders in underglaze blue; moulded prunes blossom; stiffly painted copies of Japanese Kakiemon and Imari patterns and palettes

• BODY soft-paste porcelain with a distinctive opaque, creamy tin glaze, which makes it look similar to faience; 19th-century copies are greyish and glassy
• DECORATION before the 1750s Kakiemon and famille verte patterns outlined in black – these wares are the most collectable; from the 1750s European flowers in underglaze blue, or blue or pink monochrome
• FIGURES Oriental figures painted in Kakiemon palette

Mennecy (1734-1806)
• BODY similar to Saint-Cloud, with a soft, ivory tone and a slightly green tint to the glaze
• DECORATION Kakiemon style; sprays of European flowers in a pastel palette dominated by puce and red
• FIGURES stiffly modelled figures of Orientals, painted in Kakiemon style; later, figures of peasants, children, putti, and allegorical subjects in line with Rococo taste