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| MAIN GLOSSARY | GLOSSARY OF wood |
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LAC
A resinous exudation from the bodies of females of a species of scale insect from which shellac is prepared. India is the chief source of shellac, although some is obtained from other areas in Southeast Asia. The insects feed on the sap of the twigs of certain tropical trees, some of which are cultivated for this purpose. The resinous secretion hardens upon exposure to air and forms a protective incrustation around the female and young, which are thus held fast to the twigs. The twigs are scraped to remove the incrustation; this crude lac material is known as stick lac. If the stick lac is crushed, the wood splinters and other foreign materials removed, and the red coloring matter produced by the insects dissolved out, the residue when dried is seed lac. Seed lac is melted, filtered, and stretched into thin sheets, which are broken into flakes when cool. Orange-colored shellac is made from these flakes by dissolving them in alcohol. White shellac is made from bleached lac.

LACQUER/LACQUER WORK
A glossy, resinous material, such as the exudation of the lacquer tree, used as a surface coating applied to objects, paneling, furniture, etc.; by extension, objects coated with this resin. Lacquer work was one of the earliest arts of Asia. It was highly developed in India and China. The art spread to Korea, then to Japan, where it took new forms, notably gold lacquer work. Fine Asian ware may have more than 40 coats, each being dried and smoothed with a whetstone before application of the next. The peice may be decorated in color, gold, or silver and enhanced by modeled reliefs, engraving, or carving. In the 17th century.

LAMBREQUIN
A pendant ornamental motif terminating in scallops simulating swags of drapery with tassels. Probably from the Middle Dutch word lamperkijn for veil.

LATTIMO
Opaque white glass with a name derived from the Italian latte or milk.

LINENFOLD
Form of carving which imitates the vertical folds of drapery especially characteristic of gothic design.

LIT
A 17th ? 19th century French bed.

LOUIS XIII PERIOD (1610-1643)
Louis XIII King of France. Baroque style that incorporates details such as putti, cartouches, gilding and spiral turning. Monumental, furniture of the times reflected a rich imperialism. The names of the period are the great in their fields: Mazarin, Moliere, Corneille, Rubens, Descartes and Pascal. A period of great power that brought the High Renaissance to a vivid climax. Walnut and ebony were the principal woods. Panels, columns and pilasters of semiprecious stones were introduced as well as tortoiseshell and gilt bronze. The bureau was introduced and cabinets of all sizes and purposes were the piece de resistance. Tables with expanding tops were also new as well as nailhead trim on upholstered chairs.

LOUIS XIV (1643-1715)
Louis XIV, King of France. The style was symmetrical and distinctly Baroque. Greatest period of French achievement. ?Sun King?s Reign? noted for the splendor of the courts in Versailles and Paris. Marquetry inlaid furniture distinguished by opulence and grandiose size. Outstanding cabinetmakers of the times were Boulle, Oppenhord, Cucci, Caffieri, Peter Golle. It is significant that these are not French names but Italian, Flemish, and Dutch yet the product was distinctly French. Everything was completely symmetrical and the straight line predominates. Woods were rich and varied. The simple oak and walnut and even ebony lacked magnificence. Holly, box, pear and other woods were toned by fire. Boulle perfected marquetry and bronze appliqu?s were imposed upon the whole. The ?Chinese? taste became the rage first with porcelains and finally in lacquer.

LOUIS XV (1723-1774)
Louis XV, King of France. The style was asymmetric and distinctly Rococo. Ornaments were drawn from nature, shells, flowers, leaves, pastoral objects, baskets and musical instruments. The Rococo exuberance replaced the symmetry and soberness of the Baroque replacing boldness with dainty scale, free naturalistic ornament, rounded surfaces and flowing lines. Symmetry was avoided at all cost. In plan or elevation no piece of furniture was permitted straight lines, only flowing lines.. Marquetry and inlay assumed primary importance using rosewood, satinwood, amaranth and tulipwood. Painted furniture with gilt accents grew in demand through the middle of the Reign. Metal appliqu?s were universal and the costliest pieces were decorated by this means. Tables all shared a common element-the cabriole leg. Furniture of comfort became popular such as the chaises longue and larger sofas.

LOUIS XVI (1774-1792)
Louis XVI, King of France. Known as the Classical revival, this French period was characterized by exuberant neoclassical style and details. The unearthing of Pompeii and Herculaneum set off a new spark using ancient architectural forms. Marked by revival of ancient classicism, severe rectangular lines and architectural ornament reappeared. Fluting emphasized the vertical elements. Ornament was classic and symmetrical and recalled all of the forms of Louis XIV; laurel, acanthus, egg-and-dart, oak leaves and Greek palms were the motifs. Rosewood, tulipwood and others were combined in geometric patterns of marquetry. Black-and-gold lacquer was popular and much of the painted surfaces were of grayish-white and gray-green tones. The vitrine was introduced to display curios.

LOUIS-PHILIPPE (1830-1848)
This French era marked the transition from declining Restoration style to the exuberance of the mid 19th century Industrial Revolution. Generally, taste reverted to characteristics from the medieval and renaissance borrowings as well as distorted imitations of the Louis Xv style. The duplication of styles was made easier by the early machine process.

LOUPE
Abnormal excrescence on a tree that produces mottled or speckled patterns in the crossection of wood and is very prized in veneers.

LUSTRE
Originally a French term name for a chandelier or other lighting. Also, a technique of decoration giving a metallic appearance. Mostly used on pottery sometimes on porcelain.

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