THE spirit of ardent admiration for all things French and of equally cordial dislike for all things British that possessed a large part of the American public at the beginning of the nineteenth century manifested itself visibly in the adoption of French modes of dress, French manners, French styles in the pattern of furniture and even, finally, in a reversion to classic or semi-classic types of architecture then in vogue in France. We have seen how the Empire style started in France from the reaction against all forms that had aforetime enjoyed popular favour. We have seen how this reaction and radical change of style were deliberately planned and fostered by Napoleon as a part of his political policy.

Key Plate XV. American Empire Period, C. 1795-1830

Material Usually Mahogany See Text Pages 286-301

Fig. 1. Scroll-End Sofa, Panelled and Carved Top-Rail, Reeded Seat-Rail and Arms, Cornucopia Knees, Paw Feet.

Fig. 2. Phyfe Chair, Reeded Curule Legs and Uprights, Palm Carved Top-Rail.

Fig. 3. Scroll Arm-Chair, Phyfe Influence, Panelled Top-Rail, Curule Legs.

Fig. 4. Rush-Bottom Painted Chair, Straight Legs, Panelled Top and Cross-rails.

Fig. 5. Acanthus, High-Post Bedstead. Ad Exclusively American Development.

Fig. 6. American Bedstead, Acanthus, Half-High Posts, Pineapple Tops.

We have seen how the new style took root in England, despite the feeling of bitter hostility toward the French. Now we shall see how the style was modified on our side of the Atlantic to suit the preferences and convenience of American cabinet-makers. A comparison between the French and American expressions of the Empire style, especially American Empire in its later phases, will show that our craftsmen of the period allowed themselves considerable liberty of interpretation. With the passing of the last stages of Sheraton influence, delicacy of outline and graceful proportion vanished and in their stead gradually came unutterable dulness and uncouth heaviness in both design and detail. Some of the earlier pieces, made while there was still an afterglow of Sheraton light, are full of grace and refinement, while some of the later product of the same style is totally devoid of inspiration and depress-ingly cloddish. The only thing favourable that can be said for it is that material and workmanship were both of the best.

Consequently American Empire furniture is of various degrees of merit, in great measure corresponding to the date of manufacture.

AMERICAN EMPIRE PAINTED AND PARCEL GILT FLAP-TOP TABLE.

By Courtesy of Mrs. E. T. Stotesbury.-Philadelphia.

AMERICAN EMPIRE MAHOGANY INLAID TILT-TOP PEDESTAL TABLE.

In Possession of Harold D. Eberlein, Esq.

PLATE XXXIX.

Under one phase or another the fashion lasted till about the middle of the century, but its last decadent stages, dating from a time when all artistic appreciation was fast sinking to its lowest ebb, were clumsy and graceless in the extreme, with large vulgar and meaningless scrolls highly suggestive of the convolutions of squirming, fat earthworms. The bulk of the Empire furniture that came between these two extremes had much to commend it. Though there was no longer the airy lightness of the painted satinwood creations of an earlier style and the brilliancy of finely-grained, light-coloured veneer, there was a good deal by way of compensation. The deep rich colouring of the mahogany, that was almost invariably used, relieved by the brass mounts and occasional brass banding or gilded carving made a most impressive and agreeable contrast. Not a little of the carving was vigorous in conception and excellent in execution.