Italian Baroque interior design
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Italian Baroque interior design refers to high-style furnishing and interior decorating carried out in Italy during the Baroque period, which lasted from the early 17th to the mid-18th century. In provincial areas, Baroque forms such as the clothes-press or armadio continued to be used into the 19th century.
History, influences and background
In the late 16th century, Rome, the seat of an extremely powerful and influential papacy, was struggling with the advent of Protestantism.[1] Responding to the Protestant Reformation, the Curia started the Counter-Reformation (after the Council of Trent), a period in which Church policies and influence abroad would be strengthened. Amidst this Catholic Reformation, popes in Rome hired architects, painters and interior designers to re-decorate the city and improve its public decorum,[1] creating several new palaces and churches, and re-designing the interiors of several papal buildings. Decorations were richer and more grandiose than those of the Renaissance, and the movement evolved into the Baroque style, which later spread across the whole of Italy and later Europe.
In keeping with these new architectural styles, new furnishing styles also emerged, for which architects even as pre-eminent as Bernini[2] were called upon to provide designs. In his Opus architectonicum Borromini described in detail the furniture he designed for the Chiesa Nova, including reused priests' bookcases. Carlo Fontana was called upon shortly after 1692 to design a supporting base for a porphyry tavola, or table-slab, for the bapistry of St Peter's; it was enriched with bronze ornaments and the Pignatelli arms of Pope Innocent XI.[3] Architects had been called upon since the days of Buontalenti to design such marble or pietra dura tables on bases for the centers of grand spaces.
As this was an age where learning and patronage of the arts were considered desirable pursuits for nobles, the bookcase came out of the private studiolo to furnish state apartments as an object of display. Among new forms of furniture in parade apartments, free-standing bookcases were no longer built into the structure of rooms. Lavish bookcases started to be made, often with gilded marble columns and intricate designs.
Roman carvers' shops outshone the more modest craft of cabinetmaking, as demanding commissions overseen by architects for carved decors, frames, altar candle stands, confessionals and pulpits came in a steady stream to furnish churches and semi-public chapels. In secular apartments of parade, richly carved, painted and gilded frames came from the same shops. Carved frames and case furniture had come to rival the former primacy of textiles in the course of the 16th century. Baroque objects were grand in scale in proportion to the interiors they occupied, and were ornamented with cartouches, swags and drops of boldly scaled fruits and flowers, open scrollwork and carvings of human figures, which swarmed over and all but effaced the tectonic forms that supported them, making them look majestic and royal in appearance.[1]
Frescoed galleries of the city's many palazzi were lined with elaborate console tables set against the piers and between windows. In ceilings the new popular style of frescoing emerged, known as the quadratura from its elaborate framing, was reflected in the framing of large looking-glasses assembled from six to eighteen panes of Venetian mirror-glass, themselves crafted in larger dimensions than ever.
In Florence, grand cabinets known as stippone (plural:stipponi) came to be produced in ducal workshops, thought to have been inspired from Augsburg cabinets.[1] They had many shells and carved foliages, and were decorated with expensive materials, such as gilt bronze, ebony and pietra dura. Around 1667, Leonardo van der Vinne, a well-known cabinet maker from the Low Countries became part of the ducal workshops.
In Genoa, grand console tables supporting huge marble slabs on carved gilt bases came to be made.[1] The offer of an armchair continued to convey elite status: inventories record a single one or a pair in rooms where the seating otherwise was on armless side-chairs, sgabelli of traditional construction – now enriched with bold sculpture – and stools. Chairs made by the Genoese were made with rich fabrics, often silk or velvet, to accord with the hangings and were often gilded with gold or silver.[1]
After the mid-17th century, the state bed also came to provide the expected climax of the sequence of rooms in a Baroque apartment, following precedents established in France. Late-17th century Italian beds were usually grand in scale, often with elaborate wooden backs and fabric drapes. They were usually similar in style throughout the nation, but textiles varied by region.[4]
Italian baroque furnishing also had considerable Eastern influences.[4] Venetians, who at the time still held a vast sea empire, often imported rich fabrics and materials from other nations to enrich their furniture with eastern influences. Their furniture was chiefly sumptuous and luxurious, and included rich silks and green and gold lacquer.[4]
However, in Italy, there were considerable differences in the interior design of a grand palazzo than that of a normal house. Palazzi were usually lavish and sumptuous, whilst middle-class town/country houses were usually much plainer, with simple wooden beds, x-framed chairs and big cassoni, or chests.[4]
Motifs
- Putti
- Banderoles(lots of ribbons)
- Volutes
- S- and C-shaped scrolls
- Large foliated scrolls
- Grotesque
- Human figures
- Heraldic devices
- Arabesque
- Vases of flowers
- Cornucopious
- Architectural elements
- Palmettes
- Shell shapes
Italian Baroque characteristics
The general characteristics of the Baroque style are defined by it being a very grandiose style that emphasises a very large scale, and movement away from rectangular shapes towards more oval designs. Rectangular furniture like chairs or beds would have ornaments or carvings applied to them where lines and angles are curved out. There was also emphasis on theatricality; use of light and color and design are major factors in raising the sense of drama. Texture became more important and forms more open.
An Italian Baroque bedroom would feature some of the typical classical furnishings, with robust pieces that are heavily carved, and built in pieces in interior spaces. The Palazzo Sagredo bedroom, considered one of the finest examples of interior design from the period, features stucco carved in wood, and an abundance of detail in carvings around the room.[5]
Different sorts of furnishings
Furnishings
Baroque furnishings in general have common characteristics such as being anchored to walls with undecorated backs, different woods including rosewood, ebony and tortoiseshell, carved elaborately and furnished with legs that are either straight , bracketed, or in flemish scroll design.
Chairs
Arm chairs had high backs and were primarily rectangular. Genoese chairs were made with rich fabrics like velvet or silk and often were gilded with gold. Arm chairs conveyed elite status and armless chairs a lower status.
Ormolu
A gold colored alloy of copper, zinc and sometimes tin, one usually uses gold leaf or composite metals rather than gold. It is then applied to decorate ornamental furniture surfaces, especially favored in the 18th century.
Gilded frames
Gilded frames frequently were used in paintings and mirrors,[1] and usually consisted of several cartouches, carved flowers and sculptural figures.
Cassoni
A cassone an Italian chest. Cassoni usually had raised lids, and often were decorated with carved leaves and/or figures.[1] Cassoni found in affluent homes often were far grander and more elaborate, even though they were nearly always wooden,[1] however, in middle-class homes chests were simpler and retained Mannerist/Renaissance features like paw feet, strapwork and segmented panels.[1]
(Florentine) console tables
Florentine Console tables often were sumptuous and richly decorated.[4] Carved wood often was gilded in gold or bronze,[4] and table legs were mainly caryatids or muscular figures made to appear as if they were holding the marble slab on top. Most of their themes were copied or nearly identical to their Roman counterparts, but the Florentines became famous for these designs.
(Florentine) cabinet
Florentine cabinets usually were very similar to those of the Renaissance, with but few changes. Segments and strapwork was still used, however, new features were also included such as pilasters, arched panels and pietra dura designs. Often religious or mythological themes were drawn inside the panels to decorate the object.
Lion commode
Lion commodes often were made of walnut or oak,[4] pearl, jewels and ivory, crafted in fantastical and allegorical designs incorporating angels, animals, leaves, saints and flowers. They were called lion commodes specifically due to their lion-shaped feet at the bottom of the piece.[4]
Tables
Tables varied greatly during the Baroque period, but often were made of gilded wood, oak or walnut. Large tables were long, rich and sumptuous, whilst smaller ones were usually ornate and geometric. Tables often had marble tops but varied from table to table.
Quadratura
Quadratura, a term introduced in the 17th century and also used in English, became popular with Baroque artists. Although it can also refer to the "opening up" of walls through architectural illusion, the term is most-commonly associated with Italian ceiling painting. Unlike other trompe-l'oeil techniques or precedent di sotto in sù ceiling decorations, which often rely on intuitive artistic approaches to deception, quadratura is directly tied to 17th-century theories of perspective and representation of architectural space.[6] Due to its reliance on perspective theory, it more fully unites architecture, painting and sculpture and gives a more overwhelming impression of illusionism than earlier examples.
The artist would paint a feigned architecture in perspective on a flat or barrel-vaulted ceiling in such a way that it seems to continue the existing architecture. The perspective of this illusion is centered towards one focal point. The steep foreshortening of the figures, the painted walls and pillars, creates an illusion of deep recession, heavenly sphere or even an open sky. Paintings on ceilings could, for example, simulate statues in niches or openings revealing the sky.
Quadratura may also employ other illusionistic painting techniques, such as anamorphosis.
Examples of illusionistic painting include:
- Andrea Pozzo at San Ignazio in Rome and the Jesuit church in Vienna. He wrote the standard theoretical work of his artistic ideas in the two volumes of : Perspectiva pictorum et architectorum Andreae Putei a societate Jesu (Rome, 1693–1700).
- Pietro da Cortona at the Palazzo Barberini,
- Gianbattista Tiepolo in the Ca' Rezzonico in Venice, Villa Pisani at Stra, and the throne room at the Royal Palace of Madrid.
Other examples were by Paolo Veronese at Villa Rotonda in Vicenza and Baldassare Peruzzi in the Villa Farnesina of Rome.
Gallery
The Baroque interior of the Palazzo Corsini, in Florence
A Baroque altar in the Church of Santa Maria Maddalena in Florence
The Baroque staircase in the Palace of Caserta
The Baroque Basilica della Santissima Annunziata del Vastato in Genoa
The Baroque Baldacchino in St Peter's Basilica, Rome
Santa Maria sopra Minerva Church in Assisi's Baroque altar
The staircase of the Baroque Palazzo Madama, Turin
The Chapel of the Royal Palace of Naples
See also
References
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- Rudolf Wittkower, Joseph Connors and Jennifer Montagu, Art and Architecture in Italy, 1600–1750, vol. 1, Pelican history of art, New Haven: Yale University Press (1999): 35–36.
Bibliography
- Miller, Judith (2005). Furniture: world styles from classical to contemporary. DK Publishing. ISBN 0-7566-1340-X.
https://en.wikipedia.org/wiki/Italian_Baroque_interior_design
Empire style
The Empire style (French pronunciation: [ɑ̃.piːʁ], style Empire) is an early-nineteenth-century design movement in architecture, furniture, other decorative arts, and the visual arts, representing the second phase of Neoclassicism. It flourished between 1800 and 1815 during the Consulate and the First French Empire periods, although its life span lasted until the late-1820s. From France it spread into much of Europe and the United States.[1]
The Empire style originated in and takes its name from the rule of the Emperor Napoleon I in the First French Empire, when it was intended to idealize Napoleon's leadership and the French state. The previous fashionable style in France had been the Directoire style, a more austere and minimalist form of Neoclassicism that replaced the Louis XVI style, and the new Empire style brought a full return to ostentatious richness. The style corresponds somewhat to the Biedermeier style in the German-speaking lands, Federal style in the United States, and the Regency style in Britain.
History
Directoire style of the immediately preceding period, which aimed at a simpler, but still elegant evocation of the virtues of the Ancient Roman Republic:
The stoic virtues of Republican Rome were upheld as standards not merely for the arts but also for political behaviour and private morality. Conventionels saw themselves as antique heroes. Children were named after Brutus, Solon and Lycurgus. The festivals of the Revolution were staged by David as antique rituals. Even the chairs in which the committee of Salut Publique sat were made on antique models devised by David. ...In fact Neo-classicism became fashionable.[2]
The Empire style "turned to the florid opulence of Imperial Rome. The abstemious severity of Doric was replaced by Corinthian richness and splendour".[3]
Two French architects, Charles Percier and Pierre Fontaine, were together the creators of the French Empire style. The two had studied in Rome and in the 1790s became leading furniture designers in Paris, where they received many commissions from Napoleon and other statesmen.[4]
Architecture of the Empire style was based on elements of the Roman Empire and its many archaeological treasures, which had been rediscovered starting in the eighteenth century. The preceding Louis XVI and Directoire styles employed straighter, simpler designs compared to the Rococo style of the eighteenth century. Empire designs strongly influenced the contemporary American Federal style (such as design of the United States Capitol building), and both were forms of propaganda through architecture. It was a style of the people, not ostentatious but sober and evenly balanced. The style was considered to have "liberated" and "enlightened" architecture just as Napoleon "liberated" the peoples of Europe with his Napoleonic Code.
The Empire period was popularized by the inventive designs of Percier and Fontaine, Napoleon's architects for Malmaison. The designs drew for inspiration on symbols and ornaments borrowed from the glorious ancient Greek and Roman empires. Buildings typically had simple timber frames and box-like constructions, veneered in expensive mahogany imported from the colonies. Biedermeier furniture also used ebony details, originally due to financial constraints. Ormolu details (gilded bronze furniture mounts and embellishments) displayed a high level of craftsmanship.
General Bernadotte, later to become King Karl Johan of Sweden and Norway, introduced the Napoleonic style to Sweden, where it became known under his own name. The Karl Johan style remained popular in Scandinavia even as the Empire style disappeared from other parts of Europe. France paid some of its debts to Sweden in ormolu bronzes instead of money, leading to a vogue for crystal chandeliers with bronze from France and crystal from Sweden.
After Napoleon lost power, the Empire style continued to be in favour for many decades, with minor adaptations. There was a revival of the style in the last half of the nineteenth century in France, again at the beginning of the twentieth century, and again in the 1980s.
The style survived in Italy longer than in most of Europe, partly because of its Imperial Roman associations, partly because it was revived as a national style of architecture following the unification of Italy in 1870. Mario Praz wrote about this style as the Italian Empire. In the United Kingdom, Germany, and the United States, the Empire style was adapted to local conditions and gradually acquired further expression as the Egyptian Revival, Greek Revival, Biedermeier style, Regency style, and late-Federal style.
Motifs and ornaments
All Empire ornament is governed by a rigorous spirit of symmetry reminiscent of the Louis XIV style. Generally, the motifs on a piece's right and left sides correspond to one another in every detail; when they don't, the individual motifs themselves are entirely symmetrical in composition: antique heads with identical tresses falling onto each shoulder, frontal figures of Victory with symmetrically arrayed tunics, identical rosettes or swans flanking a lock plate, etc. Like Louis XIV, Napoleon had a set of emblems unmistakably associated with his rule, most notably the eagle, the bee, stars, and the initials I (for Imperator) and N (for Napoleon), which were usually inscribed within an imperial laurel crown. Motifs used include: figures of Nike bearing palm branches, Greek dancers, nude and draped women, figures of antique chariots, winged putti, mascarons of Apollo, Hermes and the Gorgon, swans, lions, the heads of oxen, horses and wild beasts, butterflies, claws, winged chimeras, sphinxes, bucrania, sea horses, oak wreaths knotted by thin trailing ribbons, climbing grape vines, poppy rinceaux, rosettes, palm branches, and laurel. There's a lot of Greco-Roman ones: stiff and flat acanthus leaves, palmettes, cornucopias, beads, amphoras, tripods, imbricated disks, caduceuses of Mercury, vases, helmets, burning torches, winged trumpet players, and ancient musical instruments (tubas, rattles and especially lyres). Despite their antique derivation, the fluting and triglyphs so prevalent under Louis XVI are abandoned. Egyptian Revival motifs are especially common at the beginning of the period: scarabs, lotus capitals, winged disks, obelisks, pyramids, figures wearing nemeses, caryatids en gaine supported by bare feet and with women Egyptian headdresses.[5]
Detail of Arc de Triomphe du Carrousel from Paris, with a pair of winged Victories
The top of an Egyptian Revival pylon-shaped coin cabinet, with a cornice and a winged sun
A chair decorated with various kinds of palmettes
A table with three winged lions and a small long frieze with palmettes
_MET_DP106597.jpg)
Architecture
The most famous Empire-style structures in France are the grand neoclassical Arc de Triomphe of Place de l'Étoile, Arc de Triomphe du Carrousel, Vendôme column, and La Madeleine, which were built in Paris to emulate the edifices of the Roman Empire. The style also was used widely in Imperial Russia, where it was used to celebrate the victory over Napoleon in such memorial structures as the General Staff Building, Kazan Cathedral, Alexander Column, and Narva Triumphal Gate. Stalinist architecture is sometimes referred to as Stalin's Empire style. The Royal Palace of Amsterdam houses a complete collection of Empire furniture from the time of Louis Napoleon, the largest collection outside of France.
Interiors have spacious rooms, richly decorated with symmetrically arranged motifs. The walls are decorated with Corinthian pilasters and vertical panels, having at the top a decorative frieze. The panels are covered with monumental paintings, stuccos, or with embroidered silks. The ceilings have light colours and fine ornaments.[6]
Historic sites which present an homogeneous ensemble, examples of the decoration of interiors of the early 19th century are:
- Château de Malmaison in France
- Hôtel de Beauharnais in Paris
- Château de Compiègne in France
- Château de Fontainebleau in France
- Casa del Labrador in Spain
- Royal Palace of Amsterdam in The Netherlands
![Empress Joséphine's Bedroom in Château de Malmaison (Rueil-Malmaison, France), 1800-1802, by Charles Percier and Pierre-François-Léonard Fontaine[7]](https://upload.wikimedia.org/wikipedia/commons/thumb/e/e1/Ch%C3%A2teau_de_Malmaison%2C_France_%2848029730202%29.jpg/150px-Ch%C3%A2teau_de_Malmaison%2C_France_%2848029730202%29.jpg)
Empress Joséphine's Bedroom in Château de Malmaison (Rueil-Malmaison, France), 1800-1802, by Charles Percier and Pierre-François-Léonard Fontaine[7]
![Arc de Triomphe du Carrousel (Paris), 1806-1808, by Charles Percier and Pierre-François-Léonard Fontaine[8]](https://upload.wikimedia.org/wikipedia/commons/thumb/7/77/Paris_-_Jardin_des_Tuileries_-_Arc_de_Triomphe_du_Carrousel_-_PA00085992_-_003.jpg/150px-Paris_-_Jardin_des_Tuileries_-_Arc_de_Triomphe_du_Carrousel_-_PA00085992_-_003.jpg)
Arc de Triomphe du Carrousel (Paris), 1806-1808, by Charles Percier and Pierre-François-Léonard Fontaine[8]
![Portico of the Palais Bourbon (Paris), 1806-1808, by Bernard Poyet[8]](https://upload.wikimedia.org/wikipedia/commons/thumb/9/9c/Palais_Bourbon%2C_Paris_7e%2C_NW_View_140402_1.jpg/150px-Palais_Bourbon%2C_Paris_7e%2C_NW_View_140402_1.jpg)
Portico of the Palais Bourbon (Paris), 1806-1808, by Bernard Poyet[8]
![Vendôme Column (Place Vendôme, Paris), 1806-1810, by Jacques Gondouin and Jean-Baptiste Lepère[9]](https://upload.wikimedia.org/wikipedia/commons/thumb/e/e2/P1040409_Paris_Ier_colonne_Vend%C3%B4me_rwk.JPG/115px-P1040409_Paris_Ier_colonne_Vend%C3%B4me_rwk.JPG)
Vendôme Column (Place Vendôme, Paris), 1806-1810, by Jacques Gondouin and Jean-Baptiste Lepère[9]
![La Madeleine (Paris), 1807-1842, by Pierre-Alexandre Vignon [fr][8]](https://upload.wikimedia.org/wikipedia/commons/thumb/3/3a/Madeleine_Paris.jpg/150px-Madeleine_Paris.jpg)
La Madeleine (Paris), 1807-1842, by Pierre-Alexandre Vignon[8]
Kazan Cathedral (Saint Petersburg, Russia), 1811, by Andrey Voronikhin
![Empress Joséphine's Bedroom in Château de Malmaison (Rueil-Malmaison, France), 1800-1802, by Charles Percier and Pierre-François-Léonard Fontaine[7]](https://en.wikipedia.org/wiki/File:Ch%C3%A2teau_de_Malmaison,_France_(48029730202).jpg)
![Arc de Triomphe du Carrousel (Paris), 1806-1808, by Charles Percier and Pierre-François-Léonard Fontaine[8]](https://en.wikipedia.org/wiki/File:Paris_-_Jardin_des_Tuileries_-_Arc_de_Triomphe_du_Carrousel_-_PA00085992_-_003.jpg)
![Portico of the Palais Bourbon (Paris), 1806-1808, by Bernard Poyet[8]](https://en.wikipedia.org/wiki/File:Palais_Bourbon,_Paris_7e,_NW_View_140402_1.jpg)
![Vendôme Column (Place Vendôme, Paris), 1806-1810, by Jacques Gondouin and Jean-Baptiste Lepère[9]](https://en.wikipedia.org/wiki/File:P1040409_Paris_Ier_colonne_Vend%C3%B4me_rwk.JPG)
![La Madeleine (Paris), 1807-1842, by Pierre-Alexandre Vignon [fr][8]](https://en.wikipedia.org/wiki/File:Madeleine_Paris.jpg)
Furniture
Washstand (athénienne or lavabo); 1800–1814; legs, base and shelf of yew wood, gilt-bronze mounts, iron plate beneath shelf; height: 92.4 cm, width: 49.5 cm; Metropolitan Museum of Art (New York City)
Secretary; c.1804-1809; amboyna wood veneered on pine, with gilt-bronze mounts; 173.4 x 87.6 x 37.8 cm; Metropolitan Museum of Art
![Throne of Napoleon I; by Georges Jacob and François-Honoré-Georges Jacob-Desmalter; 1804; embroidered velvet, gilt wood and ivory; height: 1.2 m; Louvre[10]](https://upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Tr%C3%B4ne_de_Napol%C3%A9on_Ier.jpg/108px-Tr%C3%B4ne_de_Napol%C3%A9on_Ier.jpg)
Throne of Napoleon I; by Georges Jacob and François-Honoré-Georges Jacob-Desmalter; 1804; embroidered velvet, gilt wood and ivory; height: 1.2 m; Louvre[10]
![Throne; by Bernard Poyet and François-Honoré-Georges Jacob-Desmalter; 1805; carved and gilded wood, covered in red velvet with silver embroidery; 160 x 110 x 82 cm; Musée des Arts Décoratifs (Paris)[12]](https://upload.wikimedia.org/wikipedia/commons/thumb/1/1a/Tr%C3%B4ne_de_Napol%C3%A9on_1er_en_provenance_du_Corps_l%C3%A9gislatif_-_Exposition_Versailles.jpg/99px-Tr%C3%B4ne_de_Napol%C3%A9on_1er_en_provenance_du_Corps_l%C3%A9gislatif_-_Exposition_Versailles.jpg)
Throne; by Bernard Poyet and François-Honoré-Georges Jacob-Desmalter; 1805; carved and gilded wood, covered in red velvet with silver embroidery; 160 x 110 x 82 cm; Musée des Arts Décoratifs (Paris)[12]
Desk chair; c.1805–1808; mahogany, gilt bronze and satin-velvet upholstery; 87.6 × 59.7 × 64.8 cm; Metropolitan Museum of Art
![Jewelry holder of the Empress Josephine; by François-Honoré-Georges Jacob-Desmalter; 1809; mahogany, amaranth, ebony, taxus, mother-of-pearl, and gilt bronze mounts; 2.76 x 2 x 0.6 m; Louvre[13]](https://upload.wikimedia.org/wikipedia/commons/thumb/9/92/Serre-bijoux_de_l%27Imp%C3%A9ratrice_dit_Grand_%C3%A9crin_%28Louvre%2C_OA_10246%29.jpg/112px-Serre-bijoux_de_l%27Imp%C3%A9ratrice_dit_Grand_%C3%A9crin_%28Louvre%2C_OA_10246%29.jpg)
Jewelry holder of the Empress Josephine; by François-Honoré-Georges Jacob-Desmalter; 1809; mahogany, amaranth, ebony, taxus, mother-of-pearl, and gilt bronze mounts; 2.76 x 2 x 0.6 m; Louvre[13]
Egyptian Revival coin cabinet; by François-Honoré-Georges Jacob-Desmalter; 1809–1819; mahogany (probably Swietenia mahagoni), with applied and inlaid silver; 90.2 x 50.2 x 37.5 cm; Metropolitan Museum of Art
![Chair; before 1810; white trimmed wood with gilt carved decoration, modern trim, red and white silk; 90 x 50.5 x 44 cm; Louvre[14]](https://upload.wikimedia.org/wikipedia/commons/thumb/a/ab/Empire_chair_Louvre_OA11934.jpg/99px-Empire_chair_Louvre_OA11934.jpg)
Chair; before 1810; white trimmed wood with gilt carved decoration, modern trim, red and white silk; 90 x 50.5 x 44 cm; Louvre[14]
![King of Rome's Cradle (Empire); by Pierre-Paul Prud'hon, Henri-Victor Roguier [fr], Jean-Baptiste-Claude Odiot and Pierre-Philippe Thomire; 1811; wood, silver gilt, mother-of-pearl, sheets of copper covered with velvet, silk and tulle, decorated with silver and gold thread; height: 216 cm; Kunsthistorisches Museum (Vienna, Austria)[15]](https://upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Austria-03324_-_Cradle_of_Napoleon%27s_Son_%2832936041295%29.jpg/100px-Austria-03324_-_Cradle_of_Napoleon%27s_Son_%2832936041295%29.jpg)
King of Rome's Cradle (Empire); by Pierre-Paul Prud'hon, Henri-Victor Roguier, Jean-Baptiste-Claude Odiot and Pierre-Philippe Thomire; 1811; wood, silver gilt, mother-of-pearl, sheets of copper covered with velvet, silk and tulle, decorated with silver and gold thread; height: 216 cm; Kunsthistorisches Museum (Vienna, Austria)[15]
_MET_DP106594.jpg)
.jpg)
![Throne of Napoleon I; by Georges Jacob and François-Honoré-Georges Jacob-Desmalter; 1804; embroidered velvet, gilt wood and ivory; height: 1.2 m; Louvre[10]](https://en.wikipedia.org/wiki/File:Tr%C3%B4ne_de_Napol%C3%A9on_Ier.jpg)
![Commode with two door panels; before 1805; mahogany with bronze mounts; 1.165 x 1.794 x 0.83 m; Louvre[11]](https://en.wikipedia.org/wiki/File:Commode_with_Two_Door_Panels_-_OA_9968_-_Louvre_(01).jpg)
![Throne; by Bernard Poyet and François-Honoré-Georges Jacob-Desmalter; 1805; carved and gilded wood, covered in red velvet with silver embroidery; 160 x 110 x 82 cm; Musée des Arts Décoratifs (Paris)[12]](https://en.wikipedia.org/wiki/File:Tr%C3%B4ne_de_Napol%C3%A9on_1er_en_provenance_du_Corps_l%C3%A9gislatif_-_Exposition_Versailles.jpg)
_MET_DP278961.jpg)
![Jewelry holder of the Empress Josephine; by François-Honoré-Georges Jacob-Desmalter; 1809; mahogany, amaranth, ebony, taxus, mother-of-pearl, and gilt bronze mounts; 2.76 x 2 x 0.6 m; Louvre[13]](https://en.wikipedia.org/wiki/File:Serre-bijoux_de_l%27Imp%C3%A9ratrice_dit_Grand_%C3%A9crin_(Louvre,_OA_10246).jpg)
![Chair; before 1810; white trimmed wood with gilt carved decoration, modern trim, red and white silk; 90 x 50.5 x 44 cm; Louvre[14]](https://en.wikipedia.org/wiki/File:Empire_chair_Louvre_OA11934.jpg)
![King of Rome's Cradle (Empire); by Pierre-Paul Prud'hon, Henri-Victor Roguier [fr], Jean-Baptiste-Claude Odiot and Pierre-Philippe Thomire; 1811; wood, silver gilt, mother-of-pearl, sheets of copper covered with velvet, silk and tulle, decorated with silver and gold thread; height: 216 cm; Kunsthistorisches Museum (Vienna, Austria)[15]](https://en.wikipedia.org/wiki/File:Austria-03324_-_Cradle_of_Napoleon%27s_Son_(32936041295).jpg)
Clocks and candelabrums
Candelabrum; circa 1800; gilt and patinated metal; overall: 49.9 x 25.7 x 12.3 cm; Cleveland Museum of Art (Cleveland, Ohio, US)
![Egyptian Revival vase with pedestal; 1804-1806; varnished sheet and gilded bronze; height: 1.80 m, depth: 0.95 m; Louvre[16]](https://upload.wikimedia.org/wikipedia/commons/thumb/a/a5/Vase_%C3%A9gyptien_%28Louvre%2C_LP_3275%29.jpg/69px-Vase_%C3%A9gyptien_%28Louvre%2C_LP_3275%29.jpg)
Egyptian Revival vase with pedestal; 1804-1806; varnished sheet and gilded bronze; height: 1.80 m, depth: 0.95 m; Louvre[16]
![Minerva candelabra; 1804-1814; gilded and patinated bronze; height: 101 cm, width of the plinth: 25 cm, depth of the plinth: 19 cm; Musée des Arts Décoratifs (Paris)[17]](https://upload.wikimedia.org/wikipedia/commons/thumb/5/53/Minerve%2C_cand%C3%A9labre.jpg/75px-Minerve%2C_cand%C3%A9labre.jpg)
Minerva candelabra; 1804-1814; gilded and patinated bronze; height: 101 cm, width of the plinth: 25 cm, depth of the plinth: 19 cm; Musée des Arts Décoratifs (Paris)[17]
Clock; 1807-1810; fire-gilt bronze, blackened bronze, enameled metal (dial), blued steel (hands); glass; 56 x 49.7 x 18.5 cm; Cooper Hewitt, Smithsonian Design Museum (New York City)
Centerpiece between two candelabra; by Pierre-Philippe Thomire; circa 1810; probably gilded bronze; Calouste Gulbenkian Museum (Lisboa, Portugal)
Pair of candelabra with Winged Victories; 1810–1815; gilt bronze; height (each): 127.6 cm; Metropolitan Museum of Art (New York City)
![Mantel clock called The Reader; by Jean-Andre Reiche; circa 1810; matte and polished gilt bronze and "Vert de Mer" marble; 31 x 15 x 26 cm; Montreal Museum of Fine Arts (Montreal, Canada)[18]](https://upload.wikimedia.org/wikipedia/commons/thumb/a/a3/Mantel_clock_called_The_Reader%2C_by_Jean-Andre_Reiche%2C_active_in_Paris%2C_1752-1817%2C_gilt_bronze%2C_chased_and_patinated%2C_marble%2C_enamel_-_Montreal_Museum_of_Fine_Arts_-_Montreal%2C_Canada_-_DSC08693.jpg/127px-thumbnail.jpg)
Mantel clock called The Reader; by Jean-Andre Reiche; circa 1810; matte and polished gilt bronze and "Vert de Mer" marble; 31 x 15 x 26 cm; Montreal Museum of Fine Arts (Montreal, Canada)[18]
![Egyptian Revival vase with pedestal; 1804-1806; varnished sheet and gilded bronze; height: 1.80 m, depth: 0.95 m; Louvre[16]](https://en.wikipedia.org/wiki/File:Vase_%C3%A9gyptien_(Louvre,_LP_3275).jpg)
![Minerva candelabra; 1804-1814; gilded and patinated bronze; height: 101 cm, width of the plinth: 25 cm, depth of the plinth: 19 cm; Musée des Arts Décoratifs (Paris)[17]](https://en.wikipedia.org/wiki/File:Minerve,_cand%C3%A9labre.jpg)
,_1807%E2%80%9310_(CH_18406837).jpg)
![Mantel clock called The Reader; by Jean-Andre Reiche; circa 1810; matte and polished gilt bronze and "Vert de Mer" marble; 31 x 15 x 26 cm; Montreal Museum of Fine Arts (Montreal, Canada)[18]](https://en.wikipedia.org/wiki/File:Mantel_clock_called_The_Reader,_by_Jean-Andre_Reiche,_active_in_Paris,_1752-1817,_gilt_bronze,_chased_and_patinated,_marble,_enamel_-_Montreal_Museum_of_Fine_Arts_-_Montreal,_Canada_-_DSC08693.jpg)
Ceramic
Teapot (théière Asselin), part of a breakfast service (déjeuner); 1813; hard-paste porcelain; height (with handle): 20.5 cm; Metropolitan Museum of Art (New York City)
Saucer, part of a breakfast service (déjeuner); 1813; hard-paste porcelain; height: 3.2 cm; diameter: 16.2 cm; Metropolitan Museum of Art
Sugar bowl with cover, part of a breakfast service (déjeuner); 1813; hard-paste porcelain; height: 21 cm; Metropolitan Museum of Art
Milk jug (pot à lait Étrusque), part of a breakfast service (déjeuner); 1813; hard-paste porcelain; height (with handle): 21.3 cm; Metropolitan Museum of Art
Tray (plateau), part of a breakfast service (déjeuner); 1813; hard-paste porcelain; 2.5 x 37.5 x 33.3 cm; Metropolitan Museum of Art
Cup (tasse Jasmin), part of a breakfast service (déjeuner); 1813; hard-paste porcelain and silver gilt; height: 11.3 cm; Metropolitan Museum of Art
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,_part_of_Breakfast_Service_(d%C3%A9jeuner)_MET_LC-56_29_5-002.jpg)
Fashion
Portrait of Madame Charles Maurice de Talleyrand Périgord, from circa 1804
1809 illustration which shows how male Empire fashion looks like, from Journal des dames et des modes
Portrait of Charles Maurice de Talleyrand Périgord, from 1817
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See also
- American Empire style
- Chariot clock
- Empire silhouette
- French Empire mantel clock
- Indies Empire style
- Lighthouse clock
- Lyre arm
- Neoclassicism in France
- Neoclassical architecture in Milan
- Neo-Grec, the late Greek revival style architecture
- Palace of Fontainebleau
- Second Empire (architecture)
References
Courts across Europe adopted the Empire style, especially in Russia, where it became a staple. In Germany and Austria, it coexisted with the gentler Biedermeier associated with modest domestic interiors. Charles Percier (1764–1838) and Pierre François Léonard Fontaine (1762–1853) were the two most influential figures in the field of Empire decoration and furnishing. Official architects to the court of Napoleon, their main responsibility was the renovation of the various royal residences. Their Recueil de décorations intérieures (1812) was an essential handbook of the Empire style.
- "MANTEL CLOCK "LA LISEUSE"". www.kollerauktionen.ch.
- Honour, Hugh (1977) [1968]. Neo-classicism. Style and Civilisation (reprinted with revisions ed.). London: Penguin Books. ISBN 9780140137606. OCLC 36284165.
- Hopkins, Owen (2014). Architectural Styles: A Visual Guide. Laurence King. ISBN 978-178067-163-5.
- Jones, Denna, ed. (2014). Architecture The Whole Story. Thames & Hudson. ISBN 978-0-500-29148-1.
External links
Media related to Empire style at Wikimedia Commons
- Neoclassical architecture
- Architectural styles
- Art movements
- Decorative arts
- French architectural styles
- Neoclassical architecture in France
- Revival architectural styles
https://en.wikipedia.org/wiki/Empire_style
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