1600–1750

Baroque

Excess as a statement of power

Baroque objects are arguments. The curve is there to move the eye, the gilding to catch it, and the scale to remind you who paid for it. A mirror from this period is rarely just a mirror: it is a wall in a room built to make an entrance.

If a piece looks like it is performing rather than resting, it probably is. Symmetry that still feels restless, carving that leaves no surface plain, and a palette built on gold against something dark.

What to look for

Deep carving, gilt worn to the wood, and a heaviness in the hand that suggests solid rather than veneer.

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