17th- and 18th-century Western style of interior design, furniture, pottery, textiles, and garden design that represents fanciful European interpretations of Chinese styles. In the first decades of the 17th century, English and Italian and, later, other craftsmen began to draw freely on decorative (decorative art) forms found on cabinets, porcelain vessels, and embroideries imported from China. The earliest appearance of a major chinoiserie interior scheme was in Louis Le Vau's Trianon de porcelaine of 1670–71 (subsequently destroyed), built for Louis XIV at Versailles. The fad spread rapidly; indeed, no court residence, especially in Germany, was complete without its Chinese room, which was often, as it had been for Louis, the room for the prince's mistress (e.g., Lackkabinett, Schloss Ludwigsburg, Württemberg, 1714–22). Chinoiserie, used mainly in conjunction with Baroque (Baroque period) and Rococo styles (Rococo style), featured extensive gilding and lacquering; much use of blue-and-white (e.g., Delftware); asymmetrical forms; disruptions of orthodox perspective; and Oriental figures and motifs. The style—with its lightness and asymmetry and the capriciousness of many of its motifs—also appeared in the fine arts, as in the paintings of the French artists Antoine Watteau and François Boucher.