The first chaises comfortables followed the model of the gondola arm-chairs; the wood, or rather the moulding of the back, served as a framework for more or less simple garniture. The feet were either grooved, or of sabre form.
Dining-room chairs were specially designed, and followed the general form of the drawing-room chairs. As a rule, they are covered with leather. Tapestry is met with also, and “Persian.”
A fauteuil de commodité of the period is described as having a little mahogany desk attached to the right of the chair by means of a gilded steel support nicely divided into compartments for pens, ink, etc. On each side of the chair, two sconce-arms for candles were adjusted. The chair and cushion were covered with blue leather.
Leather was quite popular for covering furniture. One set, consisting of a sofa, two banquettes, twelve tabourets and a six-leaved screen, were upholstered in red leather, with applied ornaments of yellow leather edged with a narrow gold cord.
Characteristic chairs are shown on Plate [XXIX.] and Plate [XXXIII.], Nos. 3, 4, 5, 6, and 7. These are by Meissonier.
The very handsome canapé shown on Plate [XXXII.] is also one of Meissonier’s productions. This was designed for Count Bielenski. The frame was gilt.
The canapé confident consisted of a sofa which had from two to four places, and at each end by the elbows, there was another seat at the corner rounded off. It was supplied with an elbow at the other side. The effect was as if an arm-chair had been placed at each end of the sofa at right angles. It was a very popular piece of furniture.
The chaise longue is sometimes composed of two sections; one, a kind of very deep fauteuil with two elbows; the other, a kind of tabouret, which also had a small back against which the lounger placed his feet.
The example on Plate [XXXIII.] is of carved wood with cane seat and backs.
Another kind, with a “gondola” back, was known as “duchesse.”