The framework of chairs was generally mahogany, or painted and bronzed, and, for very rich homes, gilded wood. The square form was preferred, especially for the arm-chair, which rarely had cushions. Sometimes the front feet were in the sabre, or glaive shape. The shield shape too was used for the back and was ornamented with military trophies and laurel wreaths. The back and seat were stuffed, and braids and borders framed the cushions. The material used for covering was generally of a solid colour with a design printed on it. Silk velvet, damask, or satin was used. The design was often golden yellow. Sometimes back and seat were sprinkled with rosettes or stars. Braids were used to hide the nails. Printed cottons and worsted damasks were also used for cheaper upholstery work. Ball fringe was much used to go around the back.
Desk chairs kept somewhat to the rounded and gondola form. The seats were often a half circle, the feet turned or in the console shape. Sometimes they were even carved in the shape of chimæra or lions whose heads came up to the level of the arms. The back, too, was frequently curved in the shape of a half circle. The top rail was sometimes covered like the seat,—in leather. Some of these turning up in the centre of the back like a cocked hat gave to them the name fauteuils Bonaparte. Mahogany was chiefly used for the frames, though oak and walnut were sometimes employed.
During the Directoire, the legs of the arm-chair were often X-shaped and the arms ended in a lion’s head. The open-backed chair was very popular. The one on Plate [LXVIII.], No. 2, is dated 1793; and Nos. 1, 3, and 5 are of the year 1796. The “Trafalgar” that persisted for so long was a development of No. 1. The chairs No. 1 and 3 on Plate [LXV.] are by Ch. Normand (b. 1765; d. 1830), who also designed the chaise longue, No. 2, on the same plate. Normand’s earlier work bridges the gulf between the styles Louis XVI. and the Empire.
[26]. Journal de la Mode, 1790.
[27]. De Goncourt, La Société Française pendant la Révolution. Paris, 1854.
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PLATE LXVIII