| In this next article in our series on the history of chairs | | | | the dark finishes were coming to an end. In some |
| we're going to look at chairs of the 18th century. | | | | cases, the chairs were left in their natural color and |
| With the coming of the 18th century, chairs started to | | | | were unfinished. Most of the unfinished chairs were |
| become more informal and started to replace the bolt | | | | made from walnut because it looked better unfinished |
| upright look of the courts and the aristocracy that was | | | | than beech. In some provinces fruitwoods became |
| common during the time of Louis XIV. Around 1720 the | | | | very popular for chair making. These were considered |
| commodious seat was developed in Paris, France. The | | | | variations on the traditional French models. These |
| new Rocco chairs were comfortably upholstered on | | | | variations were produced mostly by Bordeaux and |
| removable frames secured by clips so that changes | | | | Liege between 1725 and 1780. |
| to the chair could be made to accommodate both | | | | In the late 1760s the first, what are called, neoclassical |
| winter and summer temperature and humidity | | | | chairs were manufactured in Paris. These were made |
| conditions. These early Louis XV chairs were | | | | even before the ascension of Louis XVI whose name |
| upholstered a la reine, with the back in a flat panel that | | | | is actually associated with these models. The legs of |
| was placed squared to the wall. This way the top rails | | | | these chairs were straight tapered fluted. They were |
| curves complimented those of the panels behind them. | | | | joined by a block at the seat rail. They also had |
| French fashion in chairs came from Paris as did | | | | architectural moldings. The leading chair makers of this |
| everything else of the times. From the late 1720s, Louis | | | | style during the 1770s and 1780s were Louis Delanois, |
| XV French chairs were made without stretchers | | | | Jean-Claude Sene and Georges Jacob. |
| because they interfered with the unified flow of | | | | The 18th century is considered the golden age of the |
| curved seatrails into cabriole legs. These usually ended | | | | chair. This was especially true in France and England |
| in scrolled feet. This style was strictly enforced until the | | | | where there were many different ideas for chair |
| revolution when they were made mostly by a | | | | making going around. Diderot wrote extensively about |
| menuisier in association with the person who made the | | | | these chairs in his encyclopaedia. One of the most |
| upholstery who was the huissier. These people | | | | famous chairs of the period was the Louis Seize chair |
| specialized in furniture making in Paris. Specialized | | | | which had an oval back and a very ample seat. It also |
| seats were developed and given some pretty fancy | | | | had descending arms and round-reeded legs. It was |
| names. The most popular of these was the bergere | | | | upholstered in Beauvais and woven in Boucher or |
| or "shepherdess". The woods used to make most of | | | | Watteau-like scenes. |
| these chairs were walnut and beech. The finishes of | | | | In our next article in this series we'll pick up with chairs |
| the chairs were made in very light tones. The days of | | | | of the 19th century. |