Nineteenth-century French revivalist furniture draws on three main time periods: those under the reigns of Kings Louis XIV (1661-1715), a.k.a. "The Sun King"; King Louis XV (1723-74), who birthed the over-the-top Rococo era; and King Louis XVI (1774-89), who was executed by guillotine, along with his wife, Marie Antoinette, in the French Revolution.

Louis XIV, whose goal was to shape the Palace of Versailles into a magnificent tribute to his own glory, employed designer Charles Le Brun as well as Europe's finest craftsmen. Even the smallest visual motifs like the sunburst and the fleur-de-lys, or two interlocking L's, honored the Sun King. These Baroque designs also incorporated Renaissance images like mythological creatures, as well as arabesques, grotesques, flowers, and wild animals.

Naturally, the Sun King demanded nothing less than the most expensive materials possible, exotic woods, silver and gilt, and imported lacquer. For the first time in the history of furniture, comfort was made a priority. The "fauteuil," an armchair with open sides, and the "canapé," or early couch, grew in popularity as commodes and bureaus replace armoires for storage and display.

The King’s most famous cabinetmaker, André-Charles Boullé, one of myriad craftsmen lodged in the Louvre, became synonymous with an Italian form of marquetry originally known as "tasia a incastro." The technique—which involves cutting intricate patterns or scenes into a material like brass and inlaying it into tortoiseshell or ebony—came to be called "boullework," even though Jean Bérain's fanciful work at the Louvre was just as influential. This kind of marquetry was also made out of ivory, copper, silver, or mother-of-pearl. Other Louis XIV embellishments included Italian "pietra dura," or mosaics of semiprecious stones, and geometric parquetry floors.

When young Louis XV, grandson to the Sun King, took over the throne, he had Juste-Aurèle Meissonier remodel his bedroom in an over-the-top asymmetrical fashion featuring an extravagant scene incorporating waterfalls, rocks, shells, and icicles. This posh, frou-frou style was named after rockwork, "rocaille" in French, and "rococo" in Italian, and it flew in the face of Classical rules of symmetry. Rococo, also known as "style moderne," was all about fantasy, unabashedly flaunting frilly flowers, arabesques, C- and S-scrolls, cupids, scallop shells, chubby Cupids, and Chinese-inspired figures.

As the king's mistress, Madame de Pompadour wielded her influence to demand delicate, decorative pieces for her salons, Louis XV furniture became airier, curvier, and more petite than items of the past. The new cabriole legs freed chairs and tables from stretcher support. The chairs had visible wooden frames with arched crest rails, as arms were shortened and shaped backs lowered to accommodate women's hoop skirts and huge coiffures. Extravagant carvings, painted wood, and boullework with fantastic designs were all the rage, often integrated into commodes, the most prestigious and lavishly decorated of all furnishings.

Since upholstery was becoming more widely available, craftsmen invented an even more comfortable chair, called the "bergére," with upholstered panels between the arm and seat. The chairs and sofas, covered in the most exquisite woven silks in pale pastels, echoed the patterns and colors of a room's wall panels. Commodes and bureaus were adorned with ornamental mounts of brass or ormolu. Those by Charles Cressent, called "espagnolettes," were shaped like the women found in the paintings of Jean-Antoine Watteau. This painter also brought the concept of "fête galante," images of wealthy lovers in garden settings, to home decor.

Neoclassicism came into vogue in Europe about the same time Louis XVI took the throne, so during his reign, extravagance of French Rococo style was tamed, ever so subtly, by Classical symmetry. Furnishings became more rectangular and geometric, with tapered legs preferred over cabrioles. Items were often painted, and usually incorporated boullework, pieces of painted and foiled glasses called "verre églomisé," or recycled 17th century panels based on romantic notions of Chinese and Japanese culture. Landscapes, architectural composition, and vases or baskets of flowers were popular motifs.

In post-monarchy 19th century, these ornate furnishings, once only available to aristocrats, were made available to the burgeoning middle class, thanks to machines that could produce decorative mounts, wood carvings, and marquetry both quickly and cheaply. The styles of Louis XIV, Louis XV, and Louis XVI—as well as Renaissance and Gothic looks—were all revived in the same time period, harkening back to France's Golden Age, as the trends focused on decoration as opposed to innovation. The public took to glamorous Sun King themes, boullework, needlepoint upholstery, and ormolu mounts.

Revivalist Louis XV furnishings were more fluid and dainty than the originals. You can distinguish between Louis XV-style and Louis XVI-style chairs based on their shapes; the former are curvier with cabrioles, the later more rectilinear with tapered legs. Nineteenth century cabinetmakers favored woods imported from France's colonies like mahogany and ebony, while cast or wrought iron and papiér mâché infused modern techniques. Even though it was more common, Rococo furniture still indicated social status based on what material one could afford, as gilt bronze, ivory, and mother-of-pearl were prohibitively expensive.

With the widespread use of coiled springs, seating became even more comfortable, particularly "tapissier" chairs, named after the richly embroidered fabrics that covered them. The Victorians put their own prudent spin on French Rococo, inventing chairs like "canapé borne," "dos-à-dos," and "boudeuse," on which lovers could sit beside each other and talk without touching. Casters, making it possible to roll chairs from one room to another, also set 19th-century pieces apart from the originals.

Mid-19th century French cabinetmaker Gabriel Viardot, like the Baroque and Rococo craftsmen before him, was particularly enamored with Japanese and Chinese decor. However, Viardot had more access to real Far Eastern design than his forebears. He gave French grotesque masks an Eastern look and carved Asian demons and dragons into his "Japonisme" and "Chinoiserie" work, bridging the gap between exotic imports and local craftsmanship.

In the 20th century, French artisans also contributed a tremendous amount to the Art Nouveau movement, with its sleeker and more modern curves that paid tribute to the natural forms of flowers and women—as well as the following Art Deco movement, which offered a more restrained, geometric look for furniture.

About our sources | Got something to add?