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See also:ROCOCO, or ROCAILLE , literally " See also:rock-See also:work," a See also:style of architectural and mobiliary decoration popular throughout the greater See also:part of See also:Europe during the first See also:half of the 18th See also:century. In See also:France it was especially characteristic of the regency and the reign of See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis XV. A debased style at the best, essentially fantastic and bizarre, it ended in extravagance and decadence. A meaningless mixture of See also:imitation rock-work, shells, scrolls and foliage, the word came eventually to be applied to anything extravagant, flamboyant or tasteless in See also:art or literature. The very exuberance of the rococo forms is, indeed, the negation of art, which is based upon See also:restraint. There is something fundamentally See also:Italian in the bravura upon which the style depends; yet See also:Italy has produced some of the worst examples of what in that See also:country is called the " Jesuit style," in allusion to the supposed lack of directness in Jesuit policy. Everything, indeed, in the rococo manner is involved and tortured, though before a superb example of Jacques See also:Caffieri, such as the famous commode in the See also:Wallace Collection, it is impossible not to admire the art with which See also:genius can treat even the defects and weaknesses of a peculiarly mannered See also:fashion. The best See also:French work possesses a See also:balance and symmetry which are usually entirely absent from its imitations. See also:Spain and Italy produced many monstrous travesties—it is impossible to imagine anything more See also:grotesque than the flamboyant convolutions of the monumental See also:Roman style of the third See also:quarter of the 18th century. In See also:Germany, weak and See also:life-less imitations were as popular as might be imagined in a See also:land which was content to take its art, especially its See also:bad art, from France. See also:England did not See also:- ESCAPE (in mid. Eng. eschape or escape, from the O. Fr. eschapper, modern echapper, and escaper, low Lat. escapium, from ex, out of, and cappa, cape, cloak; cf. for the sense development the Gr. iichueoOat, literally to put off one's clothes, hence to sli
escape the infection, and See also:Chippendale and his school produced examples of rocaille work and coquillage which were quite See also:foreign to their own sent,iment, and rarely See also:rose above respectable mediocrity.
End of Article: ROCOCO, or ROCAILLE
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