FURNITURE HISTORY

Sun (Auckland), Volume IV, Issue 960, 1 May 1930, Page 4

FURNITURE HISTORY

Why does the Empire period o£ fur# ' niture make such an abrupt departure from the other French periods, i which are so charmingly feminine? Many of the styles in French, furniture which were inaugurated and • encouraged by the favourites of the French Courts seem to have culmin* u ated during the succeeding ascendan- • j cies of Madame de Pompadour and Madame du Barry. Characteristic details were expressed in an artistio i combination of rock and shell motifs, - generally known a 3 rococo, which produces a sumptuous effect. Alarie Antoinette added garlands, j wreaths, baskets of flowers, rope carv- ' ings, naturalistic things in abundance. Love-knots and festoons of ribbons, flaming torches, lyres and urns were prominent. Colours in soft light tints | prevailed. Favoured colour combina- ! lions were green, gold, white and yelj ow. ; Napoleon directed that a new style of furniture replace the delicate, effeminate designs of Alarie Antoinette's choosing. Its adoption was almost a royal edict or command, which was readily accepted by all the French people who were desirous of being lib* ; erated from all associations of nobil- ! ity. i According to expressions accredited to Napoleon, he expected women to , have weak brains and uncertain ideas. The little Corsican requested of women “constant and perpetual resignation and a sort of indulgent and easy charity.” He distinctly disliked women of wit and spirit, which dei voided the Empire furniture of all fernI inine charm. Napoleon was aided in his artistic undertakings by great masters: Thomire. Rorio and Odiot, bronze designers, and Desnalter, the cabinetmaker. Design and decoration were symbolic of Napoleon’s conquests, winged human figures and animals, such as ihe lion and the eagle. Egyptian flying discs, lyre, acanthus leaves, flaming torches, Greek bands, the pineapple I (a symbol of equality and hospitality), laurel wreaths and honeysuckle enclosing a little “N,” identify the Empire period of furniture, and reflect the imperious ruler’s anxiety to perpetuate his name in other than mill* i tary accomplishments.