[Illustration: EMPIRE ARMCHAIRS]
The new order, built on the overthrow of monarchical society and with
no sympathy for delicacy and refinement, desired a setting free from
the traditions of the past. The cabinetmakers, however, had only their
training of the reign of Louis XVI, and this they could not transcend.
For motives they had only their knowledge, or what they considered
knowledge, of the antique. On this they endeavored to build a new
style by direct adoption of classic forms. In chairs and couches they
attempted to reproduce the actual shape used by the Greeks and Romans.
Figures of caryatids and sphinxes take the place of simpler structural
supports in tables and stands.
Ormolu was no longer employed in an architectural manner in which one
decorative detail is set off against another in a play of rhythm and
contrast; but was applied as single figures or small ornamental motives
on a plain surface of mahogany. Oftentimes this ornament has so little
relation to the space decorated that it could well be omitted without
loss of real effectiveness. This enthusiasm for the antique passed
through Egyptian, Greek, and Roman phases. Heavy and unimaginative
as most of the Empire pieces seem, it can at least be said that they
are more consistent and satisfying than the inharmonious mixture that
characterized the furniture of the last year of Louis XVI. Many of the
Empire chairs indeed are of real dignity and beauty of proportion. In
some of these ormolu, introduced for the first time in chairs, was used
in combination with polished mahogany; but in most cases the woodwork
was sparingly carved with rosettes and enameled in white and gold. For
the coverings, silk brocade and appliqué in the prevailing colors of
yellow and red took the place of tapestry.
[Illustration: JEWEL CABINET OF MARIE LOUISE