THE EMPIRE PERIOD

mentation, corresponding to the beautiful contemporary furnitureby Riesener, Roentgen, and Ochen, and the decorations, such asthat for Marie Antoinette’s boudoir at Fontainebleau, by the brothersRosseau, 1788. To Philippe de Lasalle are due the rustic andamorous fancies that made so strong an appeal to the Frencharistocracy of the ancien regime —the pairs of turtle-doves, theimplements of the gardener’s and the shepherd’s callings, the inter-locking rings, the musical instruments, and other motives of this order.

On plates 69 and 70 are two good representative examples ofthe patterning of the silken fabrics, excellent in their material andtechnique of weaving; and such designs, though frequently small inscale, are refined and distinctive in type. Classical elements areintermingled with flowers, ribbons, and dainty swags symmetricallytreated, and are in marked contrast to the caprice and loosenessof the designs of the Louis Quinze period. Striped patterns wereprevalent, the patterning consisting of a delicate rendering of naturalflowers and foliage. The printed fabric given on plate 98 is a goodillustration of the refined striped patterns of this period known asLouis Seize.

During the Revolution in France, the weavers and their industrysuffered considerably, especially at Lyons. Under the rule of theDirectory (1795—99) there was a revival, the style of the period ofLouis XVI. becoming more and more tempered by the introductionof motives drawn from classical art—a tendency that was speciallyfostered by the excavations at Pompeii, newly brought to light.The classicist style reached its apogee under the Empire, when, owingto the patronage of the Court, the weaving industry regained muchof its former skill and productive power during the short period1802-13.

Of this period the chief artists and designers were CharlesPercier (1762-1838) and P. L. Fontaine (1762-1853), who incollaboration controlled the chief decorative work, together with thecostumes for the state ceremonials. In their work, the classicalacanthus, anthemion, and laurel were freely used, with considerablerefinement and delicacy, yet lacking in vitality of conception.

Many of the more sumptuous fabrics of this period, the productionof the Royal factories at Lyons, arc now in the Mobilier National,Paris, and were woven between the years 1805—13 by Messrs.Chiard et Cie; Sdriziat et Cie; Bissardon, Bony et Cie; Sdguin etCie; Grand Fr£res; and M. C. Pernon, and were used to furnish thepalacest.of Versailles, Fontainebleau, Saint Cloud, Trianon, and theTuileries.

The patterns of these rich silken damasks, velvets, and brocades

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