The Pembroke table, the mahogany escritoire, the pier glasses and girandoles and other items were plainly eighteenth century.
|
|
Château de Mauperthuis, 1763 (demolished) In 1762, the young Ledoux was commissioned to redecorate the Café Godeau, in the rue Saint-Honoré. The result was an interior of trompe l'oeil and mirrors. Pilasters painted on the walls were interspersed with alternating Pier glasses and panels painted with trophies of helmets and weaponry, all executed in bold detail. In 1969 this interior was moved to the Musée Carnavalet.
|
|
There were large pier glasses at each end of the room, and folds of rich-looking tapestry fell over the doors. I remember also seeing statuettes in bronze of Lord Nelson and the Duke of Wellington. Leaving the dining room, a passage was entered, and at the north end of this was a sitting room, and at the south end was the drawing-room, which was furnished in the rich and elaborate style of the period, the chairs and settees being covered. with gold-figured satin.
|
|
Basic form of the console table. The bracket supports are frequently highly decorative Console tables serving as pier tables underneath pier glasses, Denmark A console table is a table whose top surface is supported by corbels or brackets rather than by the usual four legs.Furniture historian Edgar G. Miller differentiates the console table and the pier table. Pier tables are designed with a flat edge to be against the wall, whereas a console table may have any edge against the wall or be freestanding.
|
|
Five windows alternating with pier glasses on the outer wall reflect the paintings by Nicolas Lancret, Jean-Baptiste Pater and Antoine Watteau hung between the niches opposite. To the west were the guest rooms in which were lodged those friends of the King considered intimate enough to be invited to this most private of his palaces. Two of Frederick's visitors were sufficiently distinguished and frequent that the rooms they occupied were named after them. The Rothenburg room is named after the Count of Rothenburg, who inhabited his circular room until his death in 1751.
|
|
Arlington Court; the West Front The principal reception rooms of the house are arranged as an enfilade; folding screens concealed by scagliola ionic columns permits the enfilade to be transformed into a tripartite gallery seventy feet long. Originally conceived as a drawing room (5), ante room (4) and dining room (3), the dining room was transformed into a morning room during the alterations of the 1860s. Architecturally, the most interesting of the rooms is the ante room. A cube room, it has a saucer dome, segmental arches and inset pier glasses, all in the style of Soane, whose pupil, Lee, was responsible for the house.
|
|
By the end of the Polk administration in January 1849, the East Room was adorned with three chandeliers, three "pier glasses" (mirrors), red damask window drapes, white muslin window curtains, four new sofas, 24 new chairs, three large tables (placed in the center of the room), four pier tables with marble tops, a large carpet, four new hearthrugs, four fire fenders, four large candelabra, eight small candelabra, eight mantle ornaments, and a bust of George Washington. New draperies, lace curtains, and a carpet were added by Jane Pierce, wife of President Franklin Pierce, in 1853. The Pierces also had the over-mantel mirrors and pier mirrors reframed by L. R. Menger of New York.
|
|
H. Collins Baker and M. Baker, The Life and Times of James Brydges, First Duke of Chandos, 1949:197. A gilt gesso table from Stowe House, now at the Victoria and Albert is in the unmistakable style of James Moore; it bears the cypher and baron's coronet of Richard Temple, Lord Cobham, and can be dated 1714-18 on that basis.Temple was created a baron in 1714 and raised to a viscount in 1718 (noted by Edwards and Jourdain 1955:43). James Moore assumed the position of clerk of the works at Blenheim Palace, completing and furnishing the house after Sarah Churchill, Duchess of Marlborough, quarreled with her architect, John Vanbrugh; Moore had first appeared as the Duchess's "glass man", providing pier glasses in the house.
|
|
The gilded bronze capitals of the Rouge de Rance marble pilasters are decorated with the Fleur-de-lis and Gallic roosters. The gilded bronze trophies, that adorn the green marble Pier glasses, were manufactured by goldsmith Pierre Ladoyreau. The marble and porphyry busts of eight Roman emperors are accompanied by sculptures of Greek and Roman deities and Muses, such as Bacchus, Venus (Venus of Arles), Modesty, Hermes, Urania, Nemesis and Diana (Diana of Versailles). The latter, moved to the Louvre in 1798, was replaced by a Diana sculpted by René Frémin for the gardens of the Château de Marly until the restoration of the Hall of Mirrors during 2004 to 2007, which in turn was replaced by a copy of the original Diana.
|
|