Fabrics and upholstery in a Neoclassical design should be in rich, but muted hues, such as moss greens, grayish blues, dusty pinks, subdued maroons and crisp, classic whites. Wide stripes and repeating patterns were popular prints during the period, along with toiles depicting Greco-Roman motifs. Ornate vases and urns were the decorative accessory to have in a Neoclassical design. These vessels were often designed in a solid color and embellished with white designs in repeating patterns, such as garlands or swags. Many Neoclassical accessories featured mythical creatures such as griffins, satyrs and even Sphinxes when Egyptian influences became popular in the latter half of the Neoclassical era. Introduce these design elements in lamps, paintings, pillows, mirrors and other thematic accessories.
The Rococo Chinese taste had conventions of its own: pagodas, exotic birds, Chinese figures, icicles, and dripping water. The graceful bombé commode, often with marble top and two or three drawers, the surface enriched with finely modelled ormolu mounts, was popular. Under Cressent's influence the mounts predominated, though later in the century the marquetry decoration gained first importance. Commodes and other pieces were decorated with marquetry of floral or geometrical patterns, or sometimes with lacquer decoration, again combined with ormolu mounts. The most celebrated makers of mounts during Louis XV's reign were Jacques Caffieri and his son Philippe. Jean-François Oeben was made ébéniste du roi (cabinetmaker to the king) in 1754; a pupil of Boulle, he was the most celebrated cabinetmaker of the period.
First was the decoration of furniture legs with sharply profiled metal rings, one above another, like many bracelets on an arm; this was the origin of the turned wooden legs so frequent in later styles. Second was the use of heavy fringes on furniture covers, blending the design of frame and cushion into one effect; this was much lightened by Classical taste but was revived in Neoclassicism. Third was the typical furniture grouping that survived intact into the Dark Ages of Europe: the couch on which the main personage or personages reclined for eating or conversation; the small table to hold refreshments, which could be moved up to the couch; and the chair, on which sat an entertainer—wife, hetaira (courtesan), musician, or the like—who looked after the desires of the reclining superior personages. From this old hierarchy of furniture derived the cumbersome court regulations concerning who may sit and on what, that persisted for centuries in the palaces and ceremonies of monarchs.
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