and at the Petit Trianon show its great beauty, gayety and dignity
combined with its richness and magnificence.

The influence of Pompeii must not be overlooked in studying the style of
Louis XVI, for it appeared in much of the decoration of the time. The
beautiful little boudoir of the Marquise de Sérilly is a charming
example of its adaptation. The problem of bad proportion is also most
interestingly overcome. The room was too high for its size, so it was
divided into four arched openings separated by carved pilasters, and the
walls covered with paintings. The ceiling was darker than the walls,
which made it seem lower, and the whole color scheme was so arranged
that the feeling of extreme height was lessened. The mantel is a
beautiful example of the period. This room was furnished about 1780-82.

Compared to the lavish curves of the style of Louis XV, the fine
outlines and the beautiful ornament of Louis XVI appear to some people
cold, but if they look carefully at the matter, they will find them not
really so. The warmth of the Gallic temperament still shows through the
new garb, giving life and beauty to the dainty but strong furniture.

If one studies the examples of the styles of Louis XIV, Louis XV and
Louis XVI that one finds in the great palaces, collections, museums and
books of prints and photographs, one will see that the wonderful
foundation laid by Louis XIV was still there in the other two reigns.
During the time of Louis XVI the pose of rustic simplicity was a very
sophisticated pose indeed, but the reaction from the rocaille style of
Louis XV led to one of the most beautiful styles of decoration that the
world has seen. It had dignity, true beauty and the joy of life
expressed in it.