THE STYLE OF LOUIS XV. 365 



out under Robert de Cotte, and with greater exuberance in the splendid 

 Galerie Doree of the Hotel de Toulouse (previously de la Vrilliere), 

 which are now in the Bank of France (1713-19), by the same architect. 

 In the latter many of the characteristics of the Louis XV. style may 

 already be seen, but accompanied with a fairly severe architectural setting 

 with pilasters and cornices of strong projection (Fig. 349). The panelling 

 of the Library at the Invalides and the Council Chamber at Fontaine- 

 bleau afford other examples of this transitional style of decoration. 



PAINTED DECORATION. It was in accordance with the taste of the 

 day that the colour schemes should be kept light and gay. White with 

 gilt mouldings and enrichments was the favourite scheme, but it was 

 varied by such tones as citron, light green, and tender pink, and even 

 graining was sometimes used for the panelling, while the ceilings often 

 represented blue skies where birds, butterflies, and cherubs hovered 

 among rosy clouds. The love for mirrors and light-coloured panelling 

 was accused of having a prejudicial effect on painting, little room being 

 left for pictures. They were usually confined to the panels over doors 

 and mantel-mirrors, but arabesques, grotesques, and similar decorations 

 were freely applied to the main panels and ceilings. 



WATTEAU. Work of this kind done about the time of the Regency 

 by Claude Audran (1658-1734), a decorative painter in the royal 

 palaces; by Claude Gillot (1673-1722), a designer of grotesques; and 

 by their more famous pupil the half- Flemish Antoine Watteau (1684- 

 1721) is classed under the head of "Style Watteau." It surpasses all 

 that preceded it in daintiness (Fig. 343). The rocaille and scroll 

 motives figure largely among the conventional forms out of which their 

 arabesques are constructed, and to these are added slender curved 

 grilles or lattices, and a curious ornament, whose shape is now that of a 

 wing, now that of a fluttering pennant, but always ribbed like the sail of 

 a Chinese junk or a fish's fin (Fig. 38gA). Mingled with these are trees, 

 particularly poplars, and creepers, birds and various animals, all treated 

 with greater naturalism than ever before. The central positions are 

 occupied by scenes of the various types described above, in which thin 

 and elegant figures disport themselves in a setting of clipped limes, 

 trellised arbours, and formal fountains, or amid the artificial disorder 

 of the Chinese garden with its pagodas and steep-pitched bridges and 

 its flights of steps meandering among rock-work. 



OTHER DESIGNERS. The rather later arabesques of the Cuvillies 

 (Fig. 350) are of the same order, but have not the same harmony and 

 repose. Worried and contorted rocailles of a rather heavy type enclose 

 wild or sombre landscapes and are contrasted with sprays of excessive 

 gracility. 



Side by side with these was a whole tribe of animal painters, such 

 as Desportes (1661-1743); Jean Baptiste Oudry (1686-1755), director 



