Class one

1. 01: The Late Classical Styles

2. ____________________________________________________________________________
c. 1790 1800 c. 1850
The 18th
Century
The “old world”
Monarchies
Aristocracy
Peasant classes
The 19th
Century
A whole new world, resulting
from the Industrial Revolution.
The rise of the Middle Class
Making the transition from a time when a
PARADE OF “NEW STYLES” REGULARLY SUCCEEDED EACH OTHER.
to a period of simply REVIVING THOSE OLDER STYLES – “The Revival Styles”
Late Classical Styles
American and
French Revolutions
The so-called “Victorian Age”
THE LATE CLASSICAL STYLES bridge the 18th
/ 19th
centuries

3. Called “LATE CLASSICAL” because they are “LATER EVOLUTIONS”
of the 18th
-century Neoclassical styles
Georges Jacob. 1785. “Late Classical”Georges Jacob. 1780. “Neoclassical”
What do these chairs have in common? What makes them different?
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4. Chair and stool forms from antiquity
The gondola The X-based stool
The klismos Animal elements
The Thronos Nautical elements
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5. FRANCE: Late Classical Period: c. 1790 – 1850
STYLISTIC ERAS:
1789 – 1804: Modest, more authentic forms
1804 – 1815: Empire (Napoleon I, Emperor)
Ornate, rich, “powerful” aesthetic
Evokes Roman Emperors, Egyptian pharaohs
and military might
1815 – 1830: Various Restorations
Not much happens. “Late” Empire style
1830 – 1848: Louis Philippe
The “citizen king” gives his name to the style of the rising
bourgeoisie. We see a literal “unraveling” of Classicism,
as the old world draws to a close.
tablet back
animal front
legs
Mahogany side chair.
Georges Jacob. 1785
LATE CLASSICAL
gondola stiles
sabre
back
legs
Below: Mahogany curule-style chair
with tablet back. Jacob Frères. c. 1800
LATE CLASSICAL
curule baseNEOCLASSICAL bergère
by Jean-Claud Sené. 1788
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6. WHAT CAUSED THIS CHANGE?: Authenticity and Appropriateness
1.Increasing interest in archeology: styles become more archeologically correct, more “authentic”
2.Related to that, with influence from the Romantic Movement: a desire to recreate the past as genuinely – as “authentically” – as possible
3.Related to this desire for truthfulness and to the values of the Enlightenment: styles become more meaningful – more appropriate to use/ philosophy
Madame Récamier,
Jaques-Louis David
1800
The Death of Marat
Jaques-Louis David
1793
A 1st
-century
Roman relief
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7. Ceremonial chair
designed by
Percier and Fontaine,
made by
Jacob-Desmalter
1804
In Empire style, authenticity
and appropriateness meet
to perfectly express the
culture of times and the
image Napoleon wished
to project.
Napoleon in his
study. 1812
Jacques-Louis David
Charles Percier and Pierre Fontaine were architects who had spent
much time studying in Rome and were working on high-profile residential
projects in Paris, when they attracted the attention of Napoleon.
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8. MALMAISON, the residence of Napoleon and
Josephine. Purchased 1796 and renovated over
the course of their marriage, which ended in 1810.
Dining Room at
Malmaison. c. 1798
Percier and
Fontaine
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9. Right/ below: Napoleon’s study at Malmaison. c. 1800 - 1810
Above: Ancient Roman tetrapylon7

10. Napoleon’s bedroom at
Malmaison. c. 1810.
Percier and Fontaine.
Furniture by Jacob
Desmalter
This “tent” theme, which Percier and Fontaine used throughout the house and which required hundreds of yards of fabric, not only
represented Napoleon’s military might, but it also served to set a fashion trend that bolstered the French silk industry, which had
lost ground during the Revolution. 8

11. 9
“Campaign” furniture becomes popular, styled after the furniture the military took with them

12. Josephine’s bedroom at Malmaison. c. 1810. Percier and Fontaine. Again, many forms and ornaments based an models from Classical antiquity
and ancient Egyptian design. Tent-like structure. Saturated color.
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13. Plate from the “Egyptian Service”
Sèvres, hard-paste porcelain. c. 1810
Illustrated with scenes from
Voyage dans la basse et la haute Egypte
compiled by Dominique Vivant (Baron
Denon), who accompanied Napoleon on
his Egyptian campaign of 1798-1801.
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14. )
Typical Empire Seating:
- Authentic elements
- Roman and/or Egyptian motifs
- Gilt or dark wood, usually mahogany
- Often silk, usually saturated color
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15. scrolled
crest rail
gondola
stiles
sabre back
legs
arm supports are
a continuation of
front legs
and usually a sculpted
figure from classical
antiquity.
straight front legs.
with animal feet
silk upholstery in a saturated color
gilded
bolder proportions (as opposed to the elegance and delicacy of the 18C)
The quintessential French Empire Chair 13

16. Meuble à deux corps (new)
Below: Commode
Above: Meuble d’appui (new)
French Empire case pieces
-Massive volumes
- Solid/ heavy, architectural elements
-Broad, flat, pared-down geometric
-forms and surfaces
-Covered with a single veneer – usually
mahogany
-Supporting delicate, detailed, exquisite
gilt bronze mounts
-Decorative themes from Classical
mythology
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17. Center tables
Pier tables
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18. Pommier
Meridienne New
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19. Design for a Paris apartment. 1812. Page from Receuil de decorations intérieurs.
In 1804, Percier and Fontaine, began publishing their designs, which caused it to spread among
the French elite as well as the aristocracy and whatever courts remained of Europe.
France was once again leading the world in design
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20. - Rise of the Middle Class
- Emphasis on comfort and the home; man coming home from work, etc.
- The end of the great line of ébénistes and menuisiers: the Guilds
- The rise of industry/ mechanization – affordable goods for the middle class
FRANCE: 1830 – 48: Louis-Philippe – the “Citizen King.”
Below : King Louis-Philippe’s bedroom. c. 1840. Below right: a parlor chair
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21. Typical Louis-Philippe case furniture: A relaxed, less-formal, version of Empire
- broad, geometric surfaces of Empire, but often exaggerated
- wide, empty spans of veneers, but no applied ornament
-large, fat unraveling scrolls: made possible by new technologies
In the last of the LATE CLASSICAL STYLES, we see
the remnants Classicism, and the old world, fading away
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22. THE LATE CLASSICAL STYLE, ENGLAND: c. 1790s – 1830s
The period and all manifestations of the style are referred to as “REGENCY” (or Greek Revival, where applicable)
George, Prince of Wales
as Regent: 1811- 1820
as Geo IV, King: 1820 – 37
Appropriateness (and Romanticism). Brighton Pavilion.
Authenticity: Thomas Hope’s residential museum held a
large collection of Classical Greek vases
Influence of the Elgin Marbles:
Right: Based on French Empire: Appropriateness
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23. NEOCLASSICAL
English chair
Sheraton design
c. 1795
LATE CLASSICAL – “Regency” chair. Thomas Hope. c. 1802
Image from Household Furniture and Interior Decoration. 1807. By Thomas Hope
Similar to Percier and Fontaine’s Recueil (he had met and befriended them in Italy),
this style of drawing is inspired by that on Greek vases, of which Hope had a large collection
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24. British Museum, London, was built between 1823-46, basically,
to house the so-called “Elgin Marbles.”
This, together with the already widespread interest in authentic
design from Antiquity, fueled the Late Classical style known as
Greek Revival.
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25. the Library at Bromley House, Kent. 1816. Greek Revival.
English Regency “Greek Revival”
chair and sofa
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26. 12-14 Lincoln’s Inn Field, London. Residence of
Sir John Soan. Executed between 1806 - 12
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27. 12-14 Lincoln’s Inn Field, London. Residence of. Sir John Soan. Executed between 1806 - 12
His interest in the manipulation of natural light is clear from the many skylites he included in the design
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28. 26

29. John Soan
rendering for the
Bank of England
project. Begun in
the 1790, continued
to the late 1820s
“Authenticity.”
Recalls the interior
of the Pantheon
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30. Brighton Pavilion. By John Nash. 1815 – 27. Regency.
At the other end of the spectrum:
“Appropriateness”
Conceived as a pleasure palace for the Prince of
Whales, the design reflects the spirit of fun and
exoticism that reigned there.
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31. The Crimson Drawing Room. Carlton House. (London residence of the Prince of Whales) 1816.
Regency. Based on French Empire style.
Clearly the influence of the
French Empire style – the height of
fashion – but totally appropriate.
Appropriating the French national
style symbolizes the English victory
over them. (Napoleon).
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32. TYPICAL ENGLISH REGENCY CHAIRS. 1808 -10. All contain some or all:
- Authentic elements/ forms, adopted from the ancient Greece, Rome, and Egypt
- Appropriate elements, adapted from French Empire and/or relating to English naval might
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33. Common forms of
Regency tables
and desks
STILL VERY
COMMON AND
POPULAR TODAY
Prince of Whales:
Ornate finishes
Caning:
British colonies
and trade
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34. AMERICAN LATE CLASSICAL STYLES: c. 1800 – 1840s
3. c. 1810 -- 30: American Empire2. c. 1800 – 30: Greek Revival
4. c. 1820s – 40s: Pillar and Scroll style
1. c. 1800 – 1815: Late Federal
All can be connected to our key words:
Authenticity and Appropriateness
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35. 18th
-CENTURY AMERICAN
NEOCLASSICISM:
aka, the “Federal style”
c. 1780 - 1800
Heppelwhite side chairs
LATE CLASSICAL:
AMERICAN “Late Federal”
chairs by Duncan Phyfe
c. 1800 – 1840’s
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36. Duncan Phyfe was a Scottish immigrant, who set up shop
in New York City in 1793. On the cusp of the Industrial Age, he
set up a system of production that was part machine-made, part
hand-made.
He was famous for his delicate and detailed carving.
American Late Federal side chairs
Carved mahogany
Duncan Phyfe. c. 1810
.
Pembroke table, of a type very
popular in England and America. c.
1810
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37. Sofa attributed
to Duncan Phyfe.
Mahogany, gilt
brass. c. 1815.
reeding
horn of plenty
This style of LATE FEDERAL furniture is often referred to as “Duncan Phyfe”
Card table. New
York City, maker
unknown. 1810 - 20
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38. Andalusia. 1806 – 1835. Bucks County, PA. Benjamin Henry Latrobe. 1835
Latrobe was British architect who came to America after the Revolution and befriended Thomas Jefferson, who appointed him "Surveyor of Public
Buildings“ in 1803. Under Jefferson’s influence, his taste for French Neoclassicism evolved into the more appropriate Greek Revival style.
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39. Chair attributed to
John Findlay
c.1815-20
American GREEK REVIVAL furniture
Sofas, c. 1815-20. Top: Findlay Brothers
Bottom, Duncan Phyfe
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“Fancy” chairs and sofas
A detail from Thomas Hope’s publication

40. Watercolor by Alexander Jackson Davis. 1845. This American Greek Revival interior is more sober than the English. Much less fussy, less detail.
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41. All pieces by Charles-Honoré Lannuier. 1815 – 19. Rosewood and mahogany veneers
AMERICAN EMPIRE STYLE
After the Revolution,
French influence is much
stronger in American than
English.
Gilded gesso and brass
imitate GILT BRONZE
MOUNTS
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42. A chair with one foot in the Late Classical era and one in the
Industrial Revolution:
1. They first appeared during the Late Classical era
2.They are famous in the “fancy” furniture category
3.The forms are in line with the taste for “authenticy”
4.They are based on English Regency chairs
These were mass-produced at a factory opened in 1818 by
Lambert Hitchcock in Hitchcock, Connecticut. Ornament was
stenciled. Rush seat.
THE HITCHCOCK CHAIR, c. 1830
A Greek Revival “facny” table
with painted ornament
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43. PILLAR AND SCROLL STYLE
c. 1830-35. Attributed to the workshop of
Duncan Phyfe & Sons
Mahogany veneer
- Relaxed, simplified Classical forms
- Broad, flat surfaces
- Geometric
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44. Joseph Meeks. c. 1835. Pillar and Scroll style pier table. Mahogany veneer
As we know, technology can be a major factor in the
look of a style
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45. Joachim Winckelmann
Germany. One of the first art historians
Josef Danhauser
Austria. Furniture designer/ manufacturer
Karl Friedrich Schinkel
Germany. Painter/ architect/ designer
LATE CLASSICAL STYLE, GERMANY/ AUSTRIA: c. 1795 – 1848
Due to both the Romantic Movement and the influence of ancient Greece
both the Neoclassical and the Late Classical styles in Germany
will be somewhat different than the triad of France/ England/ America
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46. Queen’s bedroom. Charlottenburg Castle. 1809. Furniture and interiors by Karl Friedrich Schinkel.
Often referred to as Neoclassical, due to the delicacy and detail, but many factors tell us this can only be LATE CLASSICAL
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47. French Empire German Late Classical
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48. A significant departure from the more elite expressions of Neoclassicism and most Late
Classical styles in other countries, the simple, textured, golden pear wood, itself, forms a
major part of the “ornament” and appeal, expressing the Romantic preference for nature and
simplicity.
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49. Greek: Ideal Roman: Real
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50. Greek: Ideal
Winkelmann celebrated the “noble simplicity and quiet grandeur” of Greek Classicism
Jacques-Louis David
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51. Karl Friedrich Schinkel. Charlottenhof, Potsdam, Germany. 1826 -7.
Greek Revival and Romanticism are perfect compliments for this environment, intended to encourage thoughtful conversation and
the contemplation of nature
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52. A guestroom
at the
Charlottenhof
KF Schinkel
c. 1820
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53. A room at Tegernsee Castle, Bavaria. In the Biedermeier style
Since 1803, it has been in the possession of the ducal line of the Wittelsbach family, and at the end of the 19th century King Max I Joseph chose the
castle as his summer residence.
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54. 1. French Louis-Philippe
2. American Pillar and Scroll
3. German Biedermeier
1 23
3
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55. Fresh air, light, sunshine were
integral parts of the Biedermeier interior,
as were furniture groupings that supported
gatherings of family and friends, and activities
such as writing, music, and craftwork
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56. A room in Johann Friedrich Schiller’s home. A room in Goethe’s house.
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57. Biedermeier: the Late Classical style in Austria and Germany
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58. -blond wood, often with “ebony” trim or details
-cinched waste
-sharp-edged seat
Quintessential Biedermeier chair:
- sometimes classical details: sabre/ columnar legs, , lyres
- sometimes silver details
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59. Furniture by Josef Danhauser
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60. THE VICTORIAN ERA: 1837 - 1901
Queen Victoria and Prince Albert
The “Family Values” Queen
The Industrial Revolution – and The Revival Styles -- begin in earnest
The focus shifts to England
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61. James Wyatt’s steam engine. 1763-75
- The steam engine allows factories can
be anywhere -- so there can be more
of them
- So more goods are produced
- Which need to be moved and sold
- Through expanding markets at home
and abroad
- Which are accessed by steam-powered
railroads and ships
- That require large quantities of iron and
steel
- These, and related industries – such as
banking – boom, creating tremendous
wealth for some
- And varying degrees for others in the
entire commercial food chain
- Increased wealth = increased demand
for goods of all kinds
- Which are produced by more and more
factories......
THE INDUSTRIAL REVOLUTION
IN A NUTSHELL
HOW IT PLAYED OUT, IN A NUTSHELL....
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62. - New levels of Middle Class (M/C) arise, who want/ need comfort/ possessions
- Fascination with machines: novelty/ affordable merchandise
- High-level, hand-crafted skills are disappearing
- The aristocracy/ wealthy begin collecting “antiques”
- Insecure M/C opt for safety: historical styles, associated with the aristocracy
- Thus begins the demand for “Revival Styles”
- Increasing travel/ trade brings more and more exotic materials and design to the mix
- Manufacturers are thrilled about it all: novelty sells; and for Revivals, no designer required: just a pattern book
- New technologies also allow for the development/ use of new techniques, materials, and mechanized pieces
SOUNDS LIKE A WIN-WIN. SO WHAT WAS THE PROBLEM?
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63. 1. THE HUMAN TOLL OF THE INDUSTRIAL REVOLUTION
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64. 2. THE AESTHETIC TOLL OF THE INDUSTRICAL REVOLUTION
What is wrong with these objects?
This is the question the rest of the 19th
century will struggle to answer and resolve
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65. NINETEENTH-CENTURY DESIGN IN A NUTSHELL
“MAINSTREAM” DESIGN REACTIONS AGAINST IT
- Revival styles
- Exoticism/ Eclecticism
- Arts and Crafts Movement
- Aesthetic Movement
- Art Nouveau Movement
- Machine-made (mostly or largely)
- Can be “good” or “bad” design
- Copying the past
- Holding onto the past
- Still with us today
- Mostly hand-made, but will also embrace new technologies
- Striving to define/ create “good design”
- Starts out using the past
- Then lets go of the past, for totally new
-Lays the foundation for Modernism
-Which is still with us today, in various forms
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