LOUIS XIV. PERIOD 63 Plates XII.–XVII. QUEEN ANNE PERIOD 107 Plates XVIII.–XXIII. EARLY GEORGIAN PERIOD 133 Plates XXIV.–XXVIII. LOUIS XV. PERIOD 157 Plates XXIX.–XXXVI. CHIPPENDALE PERIOD 219 Plates XXXVII.–XLII. LOUIS XVI. PERIOD 249 Plates XLIII.–XLVIII. ADAM PERIOD 287 Plates XLIX.–LII. HEPPELWHITE PERIOD 307 Plates LIII.–LVII. SHERATON PERIOD 329 Plates LVIII.–LXIII. EMPIRE PERIOD 365 Plates LXIV.–LXVIII. LOUIS XIII. PERIOD [Illustration] LOUIS XIII. PERIOD In decorative art, the form of Renaissance known as Henri II., which owed so much to the taste and influence of Diana of Poitiers, lasted for three quarters of a century. There was practically no change till the regency of Marie de’ Medici, when she invited Rubens to Paris. In 1625, he had completed his Luxembourg works, and the commencement of his visit is generally regarded as the date of the beginning of the pure Louis XIII. style. Flemish influence, therefore, is the keynote of this modified Renaissance style. Marie de’ Medici called many of her own countrymen from Italy to design the new works, and Rubens himself had spent eight years in Mantua, and therefore Italian taste is often apparent in the Louis XIII. style, but is quite secondary to that of Flanders. The great fame that Rubens enjoyed and his splendid reception in Paris gave his work unquestioned authority with the contemporary French decorative artists. His painting affected furniture with its luxuriant, robust and somewhat heavy qualities. A period of magnificence and lavish expenditure by art-lovers had begun. Richelieu at the beginning almost rivalled in luxury Mazarin and Fouquet at the end of this period. The Cardinal employed Simon Vouet and other artists on the decoration of his magnificent Palais Royal and the Castle of Rueil; and his expenditures in art collecting attracted such undesirable public attention that he presented a great part of his treasures to the King in 1636. Among these was a great silver buffet weighing about 1625 pounds.