Empire-style ornamentation

The Empire style, a propaganda style

At the end of the 18th century, Ancient Rome was celebrated both for its political grandeur and for what could be considered the apogee of aesthetics and its canons of ideal beauty. the apogee of aesthetics and its canons of ideal beauty. It was Napoleon I (1804-1815) who, in his need to establish the newly-formed monarchy, gave birth to this severe, imposing style, in which furniture was embellished with antique symbols applied in gilded bronze. The Empire style by blending noble materials and antique emblems, quite simply put art at the service of power.

Interior furnishings

To define the contours of this new " Empire style ", Napoleon appointed Charles Percier (1764-1838) and Pierre-François-Léonard Fontaine (1762-1853 ) as government architects. They organized all the arts of the Empire and redecorated the official residences. Furniture was veneered in mahogany for the grandest residences, or more modestly crafted in native woods such as walnut, elm, ash and golden beech, sometimes stained "mahogany-style" for middle-class residences.

How to recognize the Empire style?

Collection of interior decorations published in 1801 and 1812. Napoleon's architects also enriched their vision of antiquity, discovered on their various trips to Rome. Other influential ornamentalists and designers, such as Jean-Démosthène Dugourc (1749-1825) with his marked taste for Antiquity, or La Mésangère with his collections "Collection de meubles et objets de goût are well known to us. Most of these decorative elements are based on Greco-Roman ornamental vocabulary, but many also use Egyptian, plant, geometric and animal motifs.

Ornamentation motifs

Greco-Roman motifs

• Winged Victory

In the Roman Empire, Victory was considered the Emperor's personal goddess. In ornamentation, she is often depicted winged, holding a laurel wreath and blowing a trumpet.

• The trophy (Greco-Roman motif)

Ornamental motif formed by a mass of weapons and armor, such as quivers, swords, helmets, spears, breastplates, etc. The motif most often represents falling objects. The motif most often represents falling objects. By analogy, the name "trophy" is given to an ornamental ornamental grouping of various attributes, such as musical instruments or any other object representing a particular art or field. The trophy, a symbol of power, can be found on consoles, sconces and collectors' items such as inlaid wooden boxes.

• Bow and arrow (Greco-Roman motif)

This decorative element originated in the Roman Empire. At In ancient Rome, bows and arrows were considered a powerful weapon powerful weapon from the very beginnings of the Empire, depicting them in the hands of emperors and gods. They thus became the symbol of Roman imperial power. It was always with this intention of measuring up to the grandeur of the grandeur of Ancient Rome that Napoleon's "Empire style this ornamental motif.

• The swan

It was Empress Josephine's favorite motif. We know that she two black swans from Australia as part of the "Voyage aux terres australes" expedition. expedition "Voyage aux terres australes" and successfully bred them in captivity. Very attached to this delicate animal, it was only natural for her to feature it on her coat of arms.

• The lion's head (known as Musequin)

Lion's head with a ring in its mouth, usually used as a drawer handle etc. drawer handles, etc. The lion is a symbol of strength, power and power and sovereignty. It is often depicted as the guardian guardian of palace and temple doors, so featuring it on closed furniture makes sense. its full meaning.

• Egyptian bust

This representation of an Egyptian bust flanked by a girdle appeared well before Napoleon's Egyptian campaign (1788-1790), i.e. towards the end of the end of the reign of Louis XVI (1754-1793). This ornament was used in abundance abundantly under the Directoire and Empire styles, becoming characteristic of the latter.

• The sphinx

In ancient Greece, the sphinx, a woman with the body of a lion, was considered an enigmatic source of wisdom. as a source of enigmatic wisdom. She is depicted with the head and chest of a woman, a lion's body and sometimes wings. In Empire furniture, she often takes up residence in the corners.

Plant motifs

• Acanthus leaves and scrolls of acanthus leaves (Greco-Roman motif)

A Mediterranean flower with veined, indented leaves which, since Antiquity, has inspired a host of ornaments, it is an essential element of ornamentation. We can distinguish soft or cultivated acanthus, which, from the mid-5th century, was the main motif main motif of Corinthian capitals. It is represented in its wild, stylized or realistic form, stylized or realistic. Widened and indented under Louis XV, it became simpler under Louis XVI the reign of Louis XVI to become closer to ache, celery, thistle or parsley. or parsley. In its "rinceau" form, it is carved as a waving branch in the hollows of which alternate, scrolling secondary branches are grafted. secondary branches. This form of ornamentation was invented in Greece used in all subsequent eras.

• Palmette (Greco-Roman motif)

This Egyptian plant motif consists of elongated lobes arranged in a fan shape. fan-shaped. It was inspired by the palm leaf. The palmette is the ornament par excellence of Empire furniture and is used in the composition the composition of anthemions, repetitive motifs forming friezes.

• Cornucopia ( Greco-Roman motif)

It's a horn filled with flowers, fruit and leaves. leaves. This motif has its origins in Greek mythology. Zeus, who was was taken in by a nymph at birth, was fed by a goat named Amalthée. One day, while playing, Zeus broke one of the goat's horns and offered it to his nurse, promising that the horn would always be filled always be filled with all the fruit she desired. This element, symbolizing profusion, is much appreciated on clocks and bronzes.

• The waves

A linear pattern of undulating ribbons representing living water, it is used used on chased bronze objects as belt ornaments.

• The rosettes

This plant motif depicts a large flower whose petals are arranged in in concentric circles. It is most often represented with 6 lobes in the Empire style.

• The laurel wreath

An attribute of Apollo, the laurel first symbolized poetic glory became the Roman symbol of athletic success and military and military victory. The Empire stylestyle, like the Louis XVII style before it one of its favorite decorative elements.

Geometric patterns

• Godrons, oves and sting

The godron is a bulging, elongated motif with a rounded end. can be separated by leaves. Ovas and are found alternately as architectural ornaments. In Empire furniture, they are used as contour motifs.

• Grapes ( Greco-Roman motif)

This repeating pattern features alternating interlocking leaves leaves in which the central rib forms the shape of a heart. heart. The heart shape may be accompanied by a secondary motif such as the palmette.

• Interlacing

Like rais de cœur, godrons, oves and dards, this motif of intersecting lines, curves and volutes is defined as a frieze motif, most often found on the belts of Empire-style furniture.

Columns and orders

Visit Empire style also borrowed from Greco-Roman architecture, and columns with capitals made their appearance in furniture and furnishings: straight, with fluted shafts, embellished with gilded bronze laurels or gilded metal capitals and bases, Empire columns also appropriated Greek architectural orders. However, Napoleon's architects did not hesitate to combine smooth shafts and moulded molded capitals, sometimes flouting ancient conventions. This is probably one of the reasons why the reintroduction of antique-style columns in furnishings was so successful, and why they were produced until the end of the 19th century.

• The Tuscan order

This is a sober Roman order, with a smooth column shaft and a spine borrowed from the contemporary Greek Doric order.

• The Doric order

This is the oldest order (found in the Parthenon in Athens), consisting of a column with a fluted shaft and a capital decomposed from bottom to top. The word "Doric" comes from Dorôs son of Hellen who, according to Vitruvius, invented this order. We have a pair of Doric saddles.

• The ionic order

This order originated in Ionia (Asia Minor), where we have numerous examples. The column is slender, the shaft fluted and the capital characterized by a scrolled cushion between the plate and the shaft (the echinus and abacus), as well as by a capital marked with a net of pearls and motifs of ovals and darts. Our column in red Languedoc marble with an Ionic capital is a good example.

• The Corinthian order

This order, which originated in Corinth, is characterized by a capital adorned with acanthus leaf moldings that form a double crown, as well as fleuron and helix motifs. The Corinthian capital was the most richly ornamented, and was adopted as a model during the Renaissance and, of course, during the Empire. This important column from the late 19th century is a perfect example.

• The composite order

This is an alteration of the Corinthian order, with a superimposition of Doric, Ionic and Corinthian orders. The base is Ionic, the shaft Doric and the capital Ionic (with its volutes) and Corinthian (with its acanthus leaves). Our important pair of composite columns in pink marble is a good example of this order.

Columns with composite capitals in marble and gilded bronze

The Empire style took hold, imposing itself on furniture straight lines and, above all, its bronze decorations. Symmetrical, Empire furniture is straight and solid solid, made of mahogany or mahogany veneer and gilded, matte or shiny bronze ornaments. The desks, cupboards, armchairs and pendulum clocks in the Empire style are still adorned with decorative elements from the antique repertoire. The renewed appeal of this style in recent times has made it a must-have on the art and antiques markets.

Bibliography :

THOMAS Évelyne, Vocabulaire illustré de l'ornement, par le décor de l'architecture et des autres arts, Paris, Éditions Eyrolles, 2016.
DERROITTE Luc, Dictionnaire de l'Ornement, Paris, Éditions Jean-Paul Gisserot, 2012.