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The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality and degeneracy of the art.
Blondel decried the "ridiculous jumble of shells, dragons, reeds, palm-trees and plants" in contemporary interiors.
The Rococo style was spread by French artists and engraved publications.
In Great Britain, Rococo was always thought of as the "French taste" and was never widely adopted as an architectural style, although its influence was strongly felt in such areas as silverwork, porcelain, and silks, and Thomas Chippendale transformed British furniture design through his adaptation and refinement of the style.
The interior decoration of Rococo rooms was designed as a total work of art with elegant and ornate furniture, small sculptures, ornamental mirrors, and tapestry complementing architecture, reliefs, and wall paintings.
By the end of the king's long reign, rich Baroque designs were giving way to lighter elements with more curves and natural patterns.
These elements are obvious in the architectural designs of Nicolas Pineau.
Inspired by their example, regional families of Central European builders went further, creating churches and palaces that took the local German Baroque style to the greatest heights of Rococo elaboration and sensation.
An exotic but in some ways more formal type of Rococo appeared in France where Louis XIV's succession brought a change in the court artists and general artistic fashion.