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furnishing your home

Periods and Styles

Periods and Styles

Throughout the ages furniture designs haverepresented a way of life. Whether an authenticantique, a reproduction, an adaptation, or thisyear’s modern, furniture tells a story about peopleand their cultures.

The best designs of each era have lived, beencopied, modified and used again and again. Youare fortunate to live in a period when there issuch a variety of furniture from which to choose.

The styles being designed and produced offeralmost custom choice—never before known.

There is furniture of good design in every pricerange if you know what to look for. The choice ismuch easier if you begin with a furnishings plan—one that fits your home, your family and theway you wish to live. Such a plan not only helpsyou to know what pieces of furniture are neededbut will also help guide the selection of just theright styles for your home.

Style Terminology

Due to differences in interpretations, termsrelating to styles are often confusing. Styleusually refers to the use of certain designcharacteristics. Period designates a measure oftime when these characteristics were popularized.However, these terms are used interchangeably inthe furniture world.Fashion should be thought of as a changing

thing which comes and goes with the seasons.Acceptance of a fashion is determine-d by thecustomers desire for something new and different.

Design characteristics help identify furnitureof the various periods. These characteristics arecopied or adapted by designers and manufacturersin creating today’s styles.Each manufacturer identifies his products with

descriptive names which may also be confusingto the consumer. However, there are three broadareas on which the furniture world, in general,does agree on the basic characteristics: Tradi-tional, Provincial and Contemporary-Modem.

Traditional includes those styles with designcharacteristics typical of master craftsmen ofpast generations. The terms period and style

usually refer to either an original or a repro-duction which contains enough of its character-istics to make its origin clear. Much of thetraditional furniture was first designed for royalcourts and nobility. Through the years it hasbeen associated with elegance and formality.

It was only natural that the court styles of eachcountry should be copied in simplified versionsfor the masses. This furniture is referred to asprovincial, country, or rural. The French andItalian Provincial and Early American are typicalexamples of this style. Each of them has twoqualities in common: .simplicity and comfort de-signed for informal living.Contemporary and its counterpart, Modern,

include a broad group of designs that are adaptedfor modern methods of production and presentday living. Contemporary is inspired by tradi—tional styles while modern breaks completely allties with previous designs. The beauty of bothlies in simplicity of line, smooth contours, andeffective use of time—proven as well as newmaterials and new technology. Much of it is smallin scale, light in appearance, versatile in use andeasy to care for.

Selecting a Style

something in between? With this decision as yourguide, you are not likely to limit your choice to ,any one style but to select a combination of kcompatible styles that seem to belong together.

The task of selecting the right style furniturefor you and your family is made simpler by firstdeciding on the atmosphere you wish to create.Is it one of formality, of casual informality or

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Development of Furniture Styles

Styles of furniture have developed graduallyover a long period of time and have reacheddifferent areas of the world at widely spacedintervals. The forces that influence the way peoplelive also influence their furnishings.Economic status, artistic development, religion,

politics, technology, communications, the climateand available materials have affected the develop-ment of the furniture of each era and country.

Current furniture designs usually date back toabout the fifteenth century. However, ideas andmotifs are often borrowed from the ancientGreeks, Romans and Egyptians.As the nations of Europe developed, their

peoples began to erect large buildings; chieflycastles, churches and monasteries. Architecturebecame an important mode of expression andarchitectural details were applied to furniture. Bythe thirteenth and fourteenth centuries the Gothicstyle flourished and furniture followed the sametheme. Furniture was large and heavy withextensive carving. It was characterized by archi-tectural detail, pointed arches and religiousmotifs.A new movement called the Renaissance, mean-

. ing new birth, began in Italy during the four-

teenth century and reached its height during thelast half of the sixteenth century. The Renais-sance spread to each country and stimulated anera of cultural development.Furniture designs reflected the new interest in

the arts by becoming more refined in form andmore graceful in proportion. The techniques ofornamentation followed the development of anappreciation of the artistic.

Following the Renaissance, the decorative artsflourished in France; then in England and sur-rounding countries. The early settlers of Americawere predominantly English but there were alsoDutch, Scandinavian, German, French andSpanish. They brought with them furniture andideas from their homelands. American furniturestyles are a blending of many influences.The styles you see today instores, homes and

showrooms have been largely influenced by furni-ture designs of the last three centuries.

Therefore, an overview of the seventeenth,eighteenth and nineteenth centuries, followed bya summary of the important furniture styles ofeach era, will provide a better understanding ofthe different styles, their relationship to eachother and their influence on today’s furniture.

Seventeenth Century

In America the colonists were devoting all theirtime to getting established. Their furniture wasof necessity simple and often crude in con-struction. Local woods were used, especially pine,oak and fruitwoods. Typical pieces are wainscot,slat and banister chairs, trestle tables, chests andthe settle.The style changes in Europe were reflected in

America as the colonies grew and prospered.However, in the beginning, due to slow com-municat-ions as much as two decades elapsedbefore new ideas of design were used by Americancraftsmen.The styles that are today referred to as “Early

American” are really based on those of the verylast of the seventeenth century and the first ofthe eighteenth century. Outstanding styles of thisera were the French Louis XIV; the EnglishJacobean and William and Mary; and the Ameri-can Early Colonial.

The seventeenth century was a brilliant andboisterous era. Bold and adventurous men wereexploring and settling new lands. In Europe therewas religious and political unrest. A new wealthwas changing the style and manner of living,especially for the upper class.

During the first part of the century, furnituredesign was dominated by the elegance of theRenaissance but gradually changed to the Baro-que; a massive, ornate style, which had its originin Italy. The Baroque reached its height in Franceunder Louis XIV and moved on to Holland,England, and then America, changing as it spreadby taking on regional or national characteristics.

For the first time people began to expect furni-ture to be comfortable. They also began to thinkabout beauty. By the end of the century most thepieces of furniture we know today had made theirappearances.

Eighteenth Century

In the area of decorative arts the eighteenthcentury was one of the richest the world hasever known. People were ready for houses andfurniture designed to reflect the elaborate socialcustoms of the day.

Industrial development and international tradecreated a prosperity that affected all nations. Agreat part of the wealth was spent on lavishliving.A rapid exchange of ideas was brought about

by expansion in foreign trade» and migration ofcraftsmen. The oriental influence and foreignmaterials, especially mahogany, played an im-portant role in furniture designs of the first halfof the century; the discovery of Pompeii and theuse of satinwood influenced furniture designs ofthe latter half.

This century has been called the golden age ofcabinet making, New pieces and new designsappeared to meet the needs of the social life ofthe era. This was the beginning of the eleganttraditional furniture as we know it today.

Styles were set in France, migrated to Englandand then found their way to America.

In France the furniture styles changed fromthe massive, ornate Baroque of Louis XIV to thedelicate decorated Rococo of Louis XV, then tothe nee—classic of Louis XVI and Directoire.The Queen Anne period, often referred to as

the age of walnut, ushered in a golden age inEnglish design. Then, there was a rapid succes-sion of styles named after master craftsmen ofthe period. These included Thomas Chippendale,Robert Adams, George Hepplewhite and ThomasSheraton. Furniture pattern books made theirappearance along with these cabinet makers; sotheir furniture designs were widely copied. Thesestyles are often referred to as Georgian since theyenjoyed popularity during the reign of the threeGeorges.The colonies were eager to adopt the rapidly

changing manners and customs of their mothercountry. They readily accepted the idea of hier-archy of social rank. Aristocracy in Americareached its height between 1750 and 1800.Many wealthy colonists imported furniture.

However, talented American craftsmen copiedforeign versions with skill and imagination. Con-sequently, American homes had both original andAmerican versions of Queen Anne, Chippendale,Sheraton and Hepplewhite during the Colonialand Federal periods.

America’s most outstanding contribution tofurniture designers of the period was DuncanPhyfe. While he was influenced by other crafts-

men, he developed a style of furniture that wasuniquely his own. Goddard, Townsend, Saveryand others also made fine furniture during thisperiod.

Nineteenth Century

The nineteenth century was one of decorativeconflict. It was the era when families of socialprestige and wealth, such as the Vanderbilts, andAstors, built and furnished elaborate homes com-bining styles with a free hand.

Industrially, mass production was replacingindividual craftsmanship. Names like Hitchcock,Eastlake and Morris were associated withmachine production.A wave of classicism inspired by the discovery

of the ruins of Pompeii and social unrest beganat the end of the eighteenth century and continuedinto the early nineteenth century. This classictrend found expression in the Louis XV andFrench Empire style-s, the Adams, Sheraton,Hepplewhite and Regency styles in England andthe Federal furniture of the colonies. During thistime design elements borrowed from ancientEgypt, Greece and Rome were used in Americanarchitecture and furniture.About the middle of the century the Gothic

influences reappeared. The Victorian and LouisXV styles of the later half century combinedelements of both Gothic and Renaissance styles.Louis XV and XVI styles reappeared in EurOpe,England and America.By the end of the century traditional methods

and designs were yielding to a vogue for experi—mental forms of simpler lines, new processes andnew materials.

Twentieth Century

Every style of the past was at one time“modern” and each one had good and poorexamples. While many contemporary designs drawupon ideas of the past, they are still a part of themodern style in its broadest interpretation.The term organic is often used for those modern

designs that attempt to break with past tradi-tions. This style has evolved through a series ofefforts to create beauty in a functional form. Theeffort began toward the end of the nineteenthcentury and was given impetus by the archi- k

tectural designs of Louis Sullivan and FrankLloyd Wright in the early part of the twentieth.By 1925 there was widespread interest in thisnew style of furniture, both in America andEurope.At the present time there are many interpreta-

tions of the modern style. New shapes and formshave been introduced. Modern materials andtechnology have change-d traditional constructionmethods. The functional emphasis has stimulatedproduction of dual-purpose furniture, modularunits, wall-hung furniture, and furniture scaledto fit apartment living and today’s smaller homes.Wood is still the most popular material, but

glass, metal and plastics are also used. Beautyis provided through structure and materialsrather than surface ornamentation.Many artists and craftsmen have contributed

to the development of the modern style. However,a few of them should be mentioned since theirinfluence is so prevalent in the marketplace at thepresent time. Some of them are Mies van der

Rohe, Marcel Breur, Charles Eames, Eero Sa—arinan, Edward Wormley, Jens Risom, Bertoia,Estelle and Erwine Laverne, George Nelson andT. H. Robsjohn-Gibbings.

Interest in traditional styles of furniturecontinues. The fine originals of the seventeenthand eighteenth centuries have become morevaluable with the passing years. Many of theseare now preserved for study in museums. “Anti-quing” has become a fascinating venture formany people. Others actually prefer an authenticreproduction to the original.Much of the furniture in the marketplace is

traditional in styling. Designers have borrowedtraditional characteristics but modified and scaledthem to fit today’s homes. These designs arereferred to as contemporary.

There is a wide selection of furniture availablein today’s market place. You need to be able toselect the styles that are most apprOpriate foryour home and way of life.

Combining Styles of Furniture

“Putting furniture together” may be comparedto dressing for a party. The dress-up occasioncalls for silks, sati-ns, jewels and furs. The casualget-together suggests denims and play clothes orjust everyday apparel.

Like parties, most furniture falls into threemajor classificatio-ns—formal, semi-formal andinformal. On the formal side we find the statelyelegance of most eighteenth century English, withRegency close behind. At the opposite extremeis Provincial furniture with varying degrees offormality.By keeping the quality of formality or infor-

mality in mind, it is usually easy to achieve apleasing combination of furniture pieces. To theformal styles you would add formal fabrics, suchas satin, damask and velvet; rich wood finishes;full-length draperies and elegant floor coverings.With the informal styles, choose the gaily printedchintz; the nubby-textured fabrics; the softertones of fruitwood, pine and maple; tweedy floorcoverings and simple window treatments.

Since there is always overlapping of styles, theperiods that follow each other in development canusually be blended safely. For example, EarlyAmerican will combine nicely with ColonialAmerican and the more elaborate Colonial withFederal.By today’s standards a room in one style of

furniture is monotonous. There are no set rulesfor blending but these general principles canguide you in combining furniture successfully.

1. One style of furniture should dominate, buta few well-chosen pieces of another style forcontrast will add interest.

2. The style of the house, the way you and yourfamily live and your personal tastes maydictate the style you wish to have pre-dominate.

3. A more interesting and lived-in appearancemay be achieved by using some old piecesalong with new furniture.

4. The woods may also offer a cue in combin-ing. They do not necessarily have to matchbut they should be compatible.

5. Pieces of about the same characteristics andscale are usually compatible when usedtogether.

6. Color can be the ingredient that unifies agrouping made up of different styles.

7. Don’t copy someone else. Remember, youare selecting and combining furniture tofit your house and the way you and yourfamily live.

Many styles offered by today’s manufacturerscombine with ease. The way you select and com-bine the styles is an important way to add indi-viduality and a touch of personality to your home.

Furniture styles of the past three centuries arepresented in a chronological order in the follow-ing chart. Those styles that have had the greatestinfluence on today’s furniture are included. Addi-tional references are given for those interestedin a more comprehensive background and de-scription of the various styles of furniture.

STYLECHARACTERISTICSTYPICAL PIECE AND DECORATION1.

2.

TYPICAL PIECE AND DECORATION3.

Louis XIV 1643-1715French Court Furniture(Formal)0 Built for grandeurrather than comfort0 Elaborately decoratedo Decorated with carving, gilding,

inlaying, metal mounts (ormulu),Boulle work, lacquero Elaborate tapestries

Jacobean 1603-1689English(Informal)James ICharles ICromwellCharles IIJames II

0 Influenced by Elizabethan0 Early Jacobean—straight lines,

strap work, split spindles- Cromwellian—severely simple,undecorated0 Carolean—curvilinear influencedby Flemish Baroque; used caning

0 Wood—primarily oak

STYLECHARACTERISTICS

William and Mary 1689-1702English(Informal)0 Simple, light, comfortableX stretchers with finialSpiral and trumpet leg

Club, bun, scroll footVeneering and cross bandingDecorative elements—marquetryinlay, Chinese lacquerWood—walnut

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1. WainscoatChair2. ElizabethanLegs3. Jacobean4. Legs

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6William andMary ChairDouble BonnetS-Cur'veTrumpet LegRope LegBun Leg

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4. Early American 1620-1725(Informal)0 Simple straight lines0 No decoration on early pieces I0 Tables—gate and trestle0 Chairs—Banister, slat, ladder back0 Settle

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l. Slat Back Chair2. Trestle Table3. H-Hinge4. H-L Hinge5. Strap Hinge

STYLECHARACTERISTICSTYPICAL PIECE AND DECORATION5. Louis XV 1730-1760 a

French (5(Formal)French Provincial basedon this style(Informal)0 Decorative0 Light in scale ‘90 Rococo—rock and shell was 4dominant motif

0 Cabriole leg0 Curved scroll front 1. Louis XVo Painted and gilded 2. Asymetrical

furniture popular Detail0 Popular woods—walnut 3. Rococo Motifmahogany and ebony 4. Cabriole Leg

6. Louis XVI 1760-1789French(Formal)Italian Provincialhas same basic lines(Informal)

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Louis XVISymetricalMountsRosetteFluted Leg

Inspired by Grecian designsGraceful combination ofstraight and curved linesLegs without stretchers

0 Motifs were rosettes, garlands,festoons, urns, lyreShaped backs—design oftenwoven to fit

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10. Sheraton 1751-1806English(Formal)0 Simplicity was the keynote0 Seldom used stretchers0 Legs were round or squaretapered, reeded or fluted0 Made specialty of sideboards0 Used veneering expertly0 Favorite motifs were delicateswags and small urns0 Wood—satinwood

STYLECHARACTERISTICSTYPICAL PIECE AND DECORATION11. Colonial 1720-1790American(Formal and Informal)

0 Influenced by Queen Anne,Chippendale, Hepplewhiteand Sheraton0 Ranges from simplicity torich ornamentation0 Motifs often shell, pendant,acanthus leaf, pineapple0 Block-front desk, rocking chair,low post bed, of American origin0 Informal pieces usually in pine,walnut, oak, maple, fruitwoods0 Formal pieces in mahoganyor walnut

12. Directoire 1789-1804FrenchEmpire 1804-1820FrenchEnglish Regency 1810-1820American Federal 1781-1830(Formal—had many characteristicsin common)0 Used classic forms0 Combined straight lines and curves0 Large unadorned wood surfaces0 Legs often splayed0 Wood—mahogany, rosewood

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STYLECHARACTERISTICSTYPICAL PIECE AND DECORATION W;13. Duncan Phyfe 1768-1854 4American Federal(Formal) 1 Ch .. air-0 Combined straight and Lyre Backcurved lines _ Splayed0 Chair and sofa backs feature Legslow, rolled top rails 2. Sofa—Rolled0 Lyre motif is distinctly Phyfe ms0 Decoration usually fluting 3 Chair—or reeding Curved Back0 Wood—mahogany 4. Swag

14. Victorian 1837-1901English(Formal)0 Made insets0 Favored carved motifs of flowers,leaves and scrolls0 Chair backs, oval horse shoeshaped0 Plush and mohair upholstery0 Marble tops on tables,dressers, chests 1. Victorian—. Wood—walnut, mahogany and gang-Ranrosewood 2. Victorian—EnglishStyle

STYLECHARACTERISTICSTYPICAL PIECE AND DECORATION15. Contemporary-Modern 1925-German(Informal)

0 New shapes and forms introduced0 Modern materials andtechnology used0 Beauty provided throughstructure and materialsLittle surface ornamentationForm follows function

l. Mies van derRohe2. Charles Eames

Aronson, J. THE ENCYCLOPEDIA OF FURNITURE. New York: Crown Publishers, Inc., 1965.House and Garden. COMPLETE GUIDE TO INTERIOR DECORATING, Sixth Edition. New York: Simon

& Schuster, 1960.Simons. FURNITURE MAKING IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES. Con-

noisseur, 1955.Whiton, Sherrill. ELEMENTS OF DESIGN AND DECORATION. New York: J. B. Lippincott Company,

1960.

Additional references in Furnishing Your Home Series:H.E. 75:H.E. 78:H.E. 81:H.E. 80:

Begin With A PlanBuying Case GoodsBuying Upholstered FurnitureArranging Furniture

Grateful acknowledgement is given for critique of manuscript by panel members of Southern Furni-ture Manufacturers’ Association and by Miss Elizabeth Hathaway, Professor of Home Economics of theUniversity of North Carolina at Greensboro. The art work was provided by S.F.M.A.

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Prepared byExtension Housing and Home Furnishings SpecialistsPublished by

THE NORTH CAROLINA AGRICULTURAL EXTENSION SERVICENorth Carolina State University at Raleigh, North Carolina Agricultural and Technical State University at Greensboro, and the U. S.Department of Agriculture, Cooperating. State University Station, Raleigh, N. C., T. C. Blalock, Director. Distributed infurtherance of the Acts of Congress of May 8 and June 30, 1914. The North Carolina Agricultural Extension Service offers itsprograms to all eligible persons regardless of race, color, or national origin, and is an equal opportunity employer.10-78-3M (Reprint) Home Economics 79