Armchair

After the end of the French Revolution and the fall of the Directory, which programmed simplicity in interior design, a new style dominated art in the early 19th century, it appeared with Napoleon Bonaparte's coming to power and was called the imperial, in French' empire', style. The new fashion expressed the personal tastes of Napoleon I inspired by the power of ancient civilisations - Greek, Roman and Egyptian. The empire style became a propaganda tool for glorifying the French Empire and its ruler. Widespread in Europe, the style developed in Poland fascinated with Napoleon's military victories, which gave hope for the country to regain its lost independence. In interior design, the new fashion was distinguished by the direct borrowing of ancient patterns. Where they were lacking, pseudo-antique works were created. That could be seen particularly well in the furniture industry. The Empire style imposed strict symmetry, smooth surfaces and distinct lines. Initially, furniture was made mainly of mahogany, which later was used as a thin veneer to cover constructions made of other types of wood. The ancient epochs were referred to by the shapes of the furniture and ornaments cast in bronze and gilded. In the presented armchair from the set of furniture these are rosettes and openwork palmettes, fixed in prominent places on the wood (S.7786MŁ; S.7831 – 7839MŁ; S.7841MŁ). Busts of sphinxes, set on front legs extended above the seat, forming supports for handrails, are a decorative detail characteristic of the empire style, modelled on Greek Hermes, i.e., female or male busts set on supports. Typical decorative elements include cast bronze lion paws used as feet of the legs. The feeling of dignity and majesty in Empire style did not interfere with comfort, which is evidenced by the user-friendly proportions of the sofa and the upholstered seat and backrest. Teresa Bagińska-Żurawska https://orcid.org/0000-0002-9243-3967