Even in 1763 Grimm could write: "For some years past we have been making keen inquiry for antique ornaments and forms. The predilection for them has become so universal that now everything is to be done _à la Grecque_. The interior and exterior decorations of houses, furniture, dress material, and goldsmiths' work all bear alike the stamp of the Greeks. The fashion passes from architecture to millinery: our ladies have their hair dressed _à la Grecque_, our fine gentlemen would think themselves dishonoured if they did not hold in their hands _une boîte à la Grecque_." Even Diderot's preference for the ethical and emotional, as Greuze had painted it--and as Diderot himself had dramatised it--veered round at the commencement of the sixties into an enthusiasm for the antique. After 1761 he carried on in the salons a war of extermination against poor old Boucher, and lectured him in a menacing voice upon the "great and severe taste of antiquity." He twitted him with possessing neither reality nor taste, and produced in proof the fact that, in the whole catalogue of Boucher's figures, not four could be found which could be employed in relief, or even as statues. The new taste demanded pure and simple lines, the beauty of sculpture; it went back to the antique. When a French translation of Winckelmann appeared in 1765 he spoke out, on the occasion of a review of the book, clearly and plainly: "_Il me semble qu'il faudrait étudier l'antique pour apprendre à voir la nature_." In the same vein Watelet pronounced on Boucher: "_Jamais artiste n'a plus ouvertement témoigné son mépris pour la vraie beauté telle qu'elle a été sentie et exprimée par les statuaires_ _de l'ancienne Grèce_." Thus the change in the artistic outlook was heralded long before the curtain went up upon the events of 1789.