Decorative Processes

The decorative processes in principal vogue were carving, turning, veneering, painting and gilding. Carving was relied upon along with the brass mountings to supply most of the embellishment. It was heavy, deep cut and bold and the detail was carefully wrought out. Turning was used for the legs of furniture and for the columns and pilasters with which sideboard, bureau and secretary fronts were adorned. It was also used for table legs. Veneering was very extensively used in the panels of doors and in drawer fronts to secure a varied and rich effect. The wood used in the veneer was the finest mahogany root and was almost invariably well laid so that the surfaces veneered at that time have remained in an excellent state of preservation. Some of the more pretentious chairs, sofas and settees had the frames painted and gilded and were covered with upholstery. In other cases the style of a previous period persisted, and some of the chairs and caned settees were painted the same colour and then embellished with bold designs in gilt lining picked out with black.

Occasionally in panels on the top rail of the backs little landscapes and other devices were painted.

Types Of Design

The types of design characteristic of the entire period are nearly all of classical origin. The distinctively classic motifs have been enumerated in the introduction of the chapter. Besides these there was the Egyptian winged motif, the imperial N, star and bees, and the bundles of fasces, as well as the shields, swords and other warlike trophies that were used for embellishment.

Mounts

Mounts in the Empire period formed an exceedingly important item. Beautifully chased designs in brass and ormolu were lavished on the mahogany background in every possible place on the more elaborate furniture. In the plainer furniture we find glass knobs appearing or lions' heads with rings in their mouths and occasionally brass knobs.

Finish

In the Empire period, while older methods of finishing furniture doubtless persisted, we find French polish being applied to much of the furniture. It is not until this time that we see a consistent effort to redden or stain the mahogany, a practice deserving only of condemnation. The older mahogany, where the wood has been allowed to retain its natural colour, is far more beautiful. It will be unnecessary to give the details of the French-polishing process, as information on that point is readily accessible in extenso.

One great trouble with French polish and heavy-coats of varnish is that the beauty of the wood grain in time is dulled or wholly obscured. The wax-like surface of old oak, walnut or mahogany which permits the charm of the colour and grain of the wood to be fully appreciated should be sufficient to convince the observer of the unwisdom of allowing any old pieces, that are to be done over, to be spoiled by a hard, unnatural finish.