Louis XV furniture
Louis XV furniture was designed not for the vast palace state rooms of the Versailles of Louis XIV, but for the smaller, more intimate salons created by Louis XV and by his mistresses, Madame de Pompadour and Madame DuBarry. It included several new types of furniture, including the commode and the chiffonier, and many pieces, particularly chairs and tables, were designed to be moved easily rearranged or moved from room to room, depending upon the kind of function.
With the death of Louis XIV on 1 September 1715, his grandson, Louis XV, born in 1710, became King. Because of his young age, France was ruled by a Regent, Philippe of Orleans, until 1723. During this period, the style of furniture changed little from the Louis XIV period; it was massive, lavishly decorated and solemn, designed for the gigantic state halls of the new Palace of Versailles. In 1722 Louis XV moved from Paris, where he had lived with the Regent, to Versailles, began his own rule, and gradually imposed his own taste on the arts, architecture, and furniture.
Early modern France
For most of the reign of Louis XIV (1643–1715), France was the dominant power in Europe, aided by the diplomacy of Richelieu's successor (1642–1661) Cardinal Mazarin and the economic policies (1661–1683) of Colbert. Colbert's attempts to promote economic growth and the creation of new industries were not a great success, and France did not undergo any sort of industrial revolution during Louis XIV's reign. Indeed, much of the French countryside during this period remained poor and overpopulated. The resistance of peasants to adopt the potato,according to some monarchist apologists, and other new agricultural innovations while continuing to rely on cereal crops led to repeated catastrophic famines long after they had ceased in the rest of Western Europe. Prior to Louis XIV's reign, French soldiers frequently went into battle barefoot and with no weapons. On the other hand, France's high birthrate until the 18th century proved beneficial to its rulers since it meant the country could field larger armies than its neighbors. In fact, the king's foreign policy, as well as his lavish court and construction projects, left the country in enormous debt. The Palace of Versailles was criticized as overly extravagant even while it was still under construction, but dozens of imitations were built across Europe. Renewed war (the War of Devolution 1667–1668 and the Franco-Dutch War 1672–1678) brought further territorial gains (Artois and western Flanders and the free county of Burgundy, left to the Empire in 1482), but at the cost of the increasingly concerted opposition of rival powers.
French culture was part of French hegemony. In the early part of the century French painters had to go to Rome to shed their provinciality (Nicolas Poussin, Claude Lorrain), but Simon Vouet brought home the taste for a classicized baroque that would characterise the French Baroque, epitomised in the Académie de peinture et de sculpture, in the painting of Charles Le Brun and the sculpture of François Girardon. With the Palais du Luxembourg, the Château de Maisons and Vaux-le-Vicomte, French classical architecture was admired abroad even before the creation of Versailles or Perrault's Louvre colonnade. Parisian salon culture set standards of discriminating taste from the 1630s, and with Pascal, Descartes, Bayle, Corneille, Racine and Molière, France became the cultural center of Europe. In an effort to prevent the nobility from revolting and challenging his authority, Louis implemented an extremely elaborate system of court etiquette with the idea that learning it would occupy most of the nobles' time and they could not plan rebellion. By the start of the 18th century, the nobility in France had been effectively neutered and would never again have more power than the crown. Also, Louis willingly granted titles of nobility to those who had performed distinguished service to the state so that it did not become a closed caste and it was possible for commoners to rise through the social ranks. The king sought to impose total religious uniformity on the country, repealing the Edict of Nantes in 1685. The infamous practice of dragonnades was adopted, whereby rough soldiers were quartered in the homes of Protestant families and allowed to have their way with them. Scores of Protestants fled France, costing the country a great many intellectuals, artisans, and other valuable people. Persecution extended to unorthodox Catholics like the Jansenists, a group that denied free will and had already been condemned by the popes. Louis was no theologian and understood little of the complex doctrines of Jansenism, satisfying himself with the fact that they threatened the unity of the state. In this, he garnered the friendship of the papacy, which had previously been hostile to France because of its policy of putting all church property in the country under the jurisdiction of the state rather than of Rome.