THE STYLE OF LOUIS XVI. 417 



Empire style. The teaching given in A. F. Peyre's school, which was 

 opened soon after J. F. Blondel's death in 1774, and attained a celebrity 

 almost equal to that of its predecessor, largely assisted the movement 

 in this direction. 



CHARACTERISTICS OF Louis XVI. STYLE. The main characteristics 

 of the developed Louis XVI. style are the re-establishment of the 

 principle of symmetry and of rectilinear and rectangular treatment 

 (Figs. 392, 408, and 420). Both in plan and elevation curved forms 

 are avoided, except such simple ones as the circle and ellipse, and 

 these are subordinated to rectangular surroundings ; all lines are carried 

 through with the least possible interruption. Thus, while rotundas and 

 semicircular porticoes are rather favourite features, plans are otherwise 

 usually rectilinear. Recesses and projections, piers, steps, staircases, 

 canopies, balconies, and mantel-shelves drop the flowing curves recently 

 so universal, in favour of right angles and parallel sides ; when arched 

 forms are used, they are set back, as a rule, in a square panel or recess 

 (Fig. 395). Angles are no longer rounded off or disguised; except that 

 the frames of panels and openings sometimes have square re-entering 

 angles, the space outside which is filled by a rosette. Pediments are 

 no longer broken ; cornices and friezes, balustrades and lintels are no 

 longer interrupted by cartouches, elaborate key-blocks, or sculpture : 

 the only interruption permitted is that of a rectangular tablet. The 

 sky-line is but seldom broken by statuary or vases ; the flat roof is 

 very general, though not to the exclusion of the Mansard and square 

 domed forms ; pediments are of low pitch. The features and ornaments 

 are such as to emphasise the sobriety of the architecture. Columns are 

 often unfluted, and pilasters without entasis; the latter are sometimes 

 replaced by plain strips. Architraves often take the form of unmoulded 

 bands or sinkings. Rustication is smooth-faced and of slight projec- 

 tion, and large expanses of fine-jointed masonry are left unadorned. 

 The horizontal lines are accentuated by cornices of strong projection 

 and enriched bands. Consoles no longer swell and taper ; sometimes 

 they are merely square undecorated blocks. Even volutes are often 

 composed of straight lines like those of the Greek fret (Fig. 394), 

 which is one of the commonest enrichments, varied by many kinds 

 of guilloche and meander, especially that known in England as the 

 "Vitruvian scroll" and in France as postes (Fig. 396). Friezes are 

 also treated with regularly looped up festoons, or a single motive such 

 as a garland or patera repeated at equal intervals, or with vertical 

 fluting. The cartouche is now largely ousted by the oval medallion 

 (Fig. 432) or rectangular tablet, but when it occurs it has the appear- 

 ance of being composed of several thicknesses of parchment or card- 

 board (Fig. 390), and is of much less contorted outline than under 

 Louis XV. Statuary abandons sprawling, gesticulating attitudes and 



