and Dutch parentage, and eventually another revolution, resulting in the production of " Chippendale/' " Heppel-white," and "Sheraton," and finally of our debased rendering of the " Empire."
Contrasts similarly marked are to be traced in the old French styles as we pass them in review, and in the " Louis-Seize," with which we are now about to deal, we find, as I have already indicated, a distinct departure from every one of the modes that led up to it. Garishness is once more banished by good taste; eccentricity gives place to excellence ; sensible construction is in no circumstances sacrificed to ornamental elaboration ; and, instead of riotous extravagance being in evidence everywhere, calm and beautiful rest-fulness reigns supreme. It is really most remarkable and interesting to note the fixed determination with which these old French designers of the " Louis-Seize " set aside all prevalent traditions, and relied upon their own ingenuity to attain the end they had in view. In order to appreciate the extent to which they did this, the reader need not do more than compare the types accompanying this chapter with those shown in the two preceding ones. By so doing it will be made apparent that hardly a single detail, or even the mere suggestion of a detail, common to the styles that went before is retained, so far as ornament is concerned, while general construction is completely revolutionised.
It may be laid down as a guiding principle for the help of the student that the " Louis-Seize " depends in a very great degree upon ornamental enrichment for its character ; shorn of that, the examples we shall consider—and they are the most typical in every respect which we could select-would possess but meagre interest. Most of the constructional forms are simple almost to severity, though, be it noted, they are almost without exception well proportioned and graceful in the extreme. It is in this respect above all others that the style differs from the " Louis-Quinze " ; and
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