The French Revolution and the First Empire—Influence on design of Napoleon's Campaigns—The Cabinet presented to Marie Louise—Dutch Furniture of the time—English Furniture—-Sheraton's later work—Thomas Hope, architect—George Smith's designs—Fashion during the Regency—Gothic revival—Seddon's furniture—Other makers—Influence on design of the Restoration in France—Furniture of William IV. and early part of Queen Victoria's reign—Baroque and Rococo styles—The panelling of rooms, dado, and skirting—The Art Union—The Society of Arts—Sir Charles Barry and the new Palace of Westminster—Pugin's designs—Auction Prices of Furniture—Christie's—The London Club Houses—Steam—Different Trade Customs—Exhibitions in France and England—Harry Rogers work—The Queen's cradle—State of Art in England during the first part of Queen Victoria's reign—Continental designs—Italian carving—Cabinet work—General remarks.
EMPIRE FURNITURE.
HERE are great crises in the history of a nation which stand out in prominent relief. One of these is the French Revolution, which commenced in 1792, and wrought such dire havoc amongst the aristocracy, with so much misery and distress throughout that country. It was an event of great importance, whether we consider the religion, the politics, or the manners and customs of a people, as affecting the changes in the style of the decoration of their homes. The horrors of the Revolution are matters of common knowledge to every schoolboy, and there is no need to dwell either upon them or their consequences, which are so thoroughly apparent. To the confiscation of the property of those who had fled the country, was added the general dislocation of everything connected with the work of the industrial arts.
Nevertheless it should be borne in mind that amongst the anarchy and disorder of this terrible time in France, the National Convention had sufficient foresight to appoint a Commission, composed of competent men in different branches of Art, to determine what State property in artistic objects should be sold, and what was of sufficient historical interest to be retained as a national possession. Riesener, the celebrated ébeniste, whose work we have described in the chapter on Louis Seize furniture, and David, the famous painter of the time, both served on this Commission, of which they must have been valuable members.
There is a passage in an article on "Art," by a democratic French writer, as early as 1790—when the great storm cloud was already threatening to burst—which is quoted by Mr. C. Perkins, the American translator of Dr. Falke's German work, "Kunst im Hause," and gives us the keynote to the great change which took place in the fashion of furniture about the time of the Revolution:—"We have changed everything; freedom, now consolidated in France, has restored the pure taste for the antique! Farewell to your marqueterie and Boule, your ribbons, festoons, and rosettes of gilded bronze; the hour has come when objects must be made to harmonize with circumstances."
Thus it is hardly too much to say that designs were governed by the politics and philosophy of the day; and one finds in furniture of this period, the reproduction of ancient Greek forms for chairs and couches; ladies' work tables, too, are fashioned somewhat after the old drawings of sacrificial altars; and the classical tripod is a favourite support. The mountings represent antique Roman fasces with an axe in the centre; trophies of lances, surmounted by a Phrygian cap of liberty; winged figures, emblematic of freedom; and antique heads of helmeted warriors arranged like cameo medallions.
After the execution of Robespierre, and the abolition of the Revolutionary Tribunal in 1794, came the establishment of the Directory; and then, after Buonaparte's brilliant success in Italy, and the famous expeditions to Syria and Egypt two years later, came his proclamation as First Consul in 1799, which, in 1802, was confirmed as a life appointment.