| Influences on the design and style of nineteenth | | | | that the straight leg was also in use in France at |
| century furniture are characterized by three primary | | | | about that time. The ideas of Adam were translated |
| factors. To begin with, there was historical revivalism | | | | into furniture designs by George Hepplewhite in his |
| of a style which had been very popular in the past. | | | | Cabinet-Maker and Upholsterer Guide in 1788 and |
| At times the overall effect of a piece of revival | | | | Thomas Sheraton in his The Cabinet-Maker and |
| furniture was that of a reproduction of a model from | | | | Upholsterer Drawing-Book around 1791. These books |
| the past; at other times antique elements were | | | | were a dominant influence in disseminating this phase |
| applied to a form of a completely different style. | | | | of the Classical style. The next and third |
| Historical revivalism survived in one manner or | | | | development in the Classical design was the |
| another throughout the entire century. | | | | refabrication of actual Greco-Roman furniture forms. |
| During the middle of the century and all the way | | | | The two designs that are mimicked most often were |
| through to its end, there were particular designers | | | | a chair style known as klismos and a bench and chair |
| who suggested a break with revivalism. These men | | | | style known as curule. The klismos design is made up |
| ushered in the second factor of progressive | | | | of a horizontal cresting piece that yields support to |
| tendencies in furniture design. The furniture created | | | | the back with the front and rear legs, flaring outward |
| during this period was thought to be free from | | | | in a saber line. The curule is a very familiar X-shaped |
| revival decoration, and in other instances it exhibited | | | | support that connects with the top of the bench and |
| traits of mechanical or technical innovation. The third | | | | supports it on the floor. |
| major influence on nineteenth century furniture was | | | | These archaeological forms were used by two |
| the utilization of new materials in design and | | | | French designers, Charles Percier and Pierre P. L. |
| construction. Although earlier furniture makers had | | | | Fontaine, who in 1801 published a collection of plates |
| occasionally used materials other than wood, the | | | | in this style which they called Recueil de Decorations |
| nineteenth century saw an increase in the use of | | | | Interieures. These men were chiefly responsible for |
| such materials as iron, wire, tubular metal, and | | | | formulating what is called the Empire Style; when |
| different organic substances such as cane, rattan, | | | | Napoleon Bonaparte established his Empire in 1804, he |
| animal horn, etc. However, historical revivalism, in its | | | | made Percier and Fontaine his official court |
| various aspects, was the predominant influence during | | | | decorators. Some of the Greco-Roman motifs that |
| the century. | | | | appeared in their work were acanthus leaves, |
| The first revival style which became important at the | | | | cornucopias, swans, eagles, dolphins, and monopodia |
| beginning of the nineteenth century was the Classical. | | | | which is a combination of animal head and leg into a |
| This was a style based on decorative motifs and | | | | single element. |
| actual furniture forms of ancient Greece and Rome. | | | | The furniture and rooms shown in the Recueil were |
| Even though the furniture of nineteenth century | | | | intended only for the wealthiest patrons. The |
| America was largely the result of styles in England | | | | furniture was made of mahogany and rosewood and |
| and Prance, it is significant to classify the design | | | | elaborately decorated with ormolu mounts; it was |
| influences in these countries that were vital in | | | | massive and cubical in character. The Napoleon |
| ushering in the Classical style. | | | | campaign in Egypt made popular another set of |
| As far back as 1730 the English architect William Kent | | | | ancient decorative motifs that were incorporated into |
| had started to utilize such Classical techniques as | | | | the Empire style. The huge and solid Egyptian style |
| Greek keys and egg-and-dart moldings to Baroque | | | | was apparent in several furniture designs, along with |
| furniture. The furniture style was not greatly | | | | motifs like the lotus, sphinx, hawk, and hieroglyphics |
| affected in any way, because the methods were | | | | which were used as decorative trim. |
| merely applications of alien devices to the surface of | | | | In 1830, when the Bourbon Restoration was finished, |
| the piece. This step, which was the first in the | | | | the spirit of the Empire was still very much alive and |
| creation of the Classical style, was copied by other | | | | well in the world of cabinetmaking. While the |
| designers in both England and France until around | | | | heaviness was still present, many of the Restoration |
| 1760. The second step was the development of a | | | | and Charles X furniture pieces were relieved of its |
| straight leg which was carved or turned, in contrast | | | | ormolu detail. Fruitwoods began to replace mahogany |
| to the curvilinear lines of the popular Rococo style. | | | | as favorites. The gondola chair, a modification of the |
| Another English architect, Robert Adam, has | | | | klismos type in which the back was closed in, was |
| sometimes been given credit for developing this | | | | popular in the Restoration and Louis Philippe periods. |
| innovation about 1765. But there is some evidence | | | | |