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The armchairs of the middle Louis XV period (1723-1750) were smaller than those of the Louis XIV period, but more comfortable. The legs were more curved, the top of the back was rounded, and often had a small ornamental design. The back of the chair took on a more graceful violin form.
As heating systems improved, fireplaces became smaller; as glass technology improved, mirrors became larger, and could cover entire walls, as they soon did at Versailles. New and lighter decorative themes appeared that were often exotic and playful, notably putti or cherubs, and grotesques , arabesques and lace-like dentelle designs.
Over the subsequent generation, the ottoman became a common piece of bedroom furniture. European ottomans standardized on a smaller size than the traditional Turkish ottoman, and in the 19th century they took on a circular or octagonal shape. The seat was divided in the center by arms or by a central, padded column that might hold a plant or ...
As a stool, it refers to a short stool without a back or arms. The name is derived from its resemblance to a drum (diminutive of Old French tabour). [3] [4]The tabouret acquired a more specialized meaning in 17th-century France at the court of Louis XIV in Versailles, where it allowed courtesans to sit in the presence of the royal family.
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Leleu designed the Grand Salon of the Ambassadors at the Society of Nations in Geneva and the French Embassies of several nations as well as the ocean liners SS Ile de France and SS Normandie. [1] Jules Leleu worked with Alice Colonieu , she performed for Jules leleu two beautiful ceramic panels for the Ocean liner Pierre Loti . [ 3 ]
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