A Journey Through the Centuries of Styles (Part 1)

Where is the best place to admire antique chairs and design classics? Of course in museum visits, an exhibition, a display depot, even a gallery, an antique shop or a flea market. These places are meeting places and places where history, cultural knowledge and individual stories surrounding their actors are conveyed.

But the variety of designs and design forms overwhelm some viewers.It is therefore helpful to take a look at the style history of the seating furniture. The eras tell the temporal and social context of the chairs and provide information about their design developments.

General criteria and reference points

For centuries, the prevailing fashion, contemporary tastes and opinions about which style is currently dominant have been changing again and again. Sometimes several influences and styles coexist in parallel. In any case, the stylistic expressions correspond to cultural developments, historical events and the spirit of the times.

Accordingly, characteristic types and models of seating furniture emerged within the respective eras. Style is a form of expression that determines taste based on criteria.

When it comes to seating furniture, some criteria can be identified for classification: the materials used play a role, as does the type of processing, the shape of the furniture and individual components (e.g. legs, foot ends, etc.), the nature of decorative elements such as ornamentation, carvings, etc Inlays, the type of upholstery as well as the range of upholstery materials.

The different styles of seating furniture can not only be understood on their own, but they are also related to the respective architectural and art styles of their time and are influenced by them.

The seating furniture has two main reference points that form an analogy to architecture and art. A piece of seating furniture has both a constructive and a decorative element. The body and frame form the supporting function, are the basis and are often based on examples of architectural construction methods.

The design of the furniture acts as a dress and thus creates the aesthetic appearance. This is particularly influenced by styles from textile fashion and interior design. In this sense, seating furniture is more likely to be redesigned over time than other types of furniture because, as a movable piece of furniture, it can be more easily adapted to changing tastes.

Beginning of modern stylistic studies – the Renaissance

The Renaissance began in Florence in the 14th century - a cultural movement that spread across Europe until the 17th century. The Italian heyday of cultural and economic advancement was particularly evident in architecture and furniture design.

A defining example of this was the palazzo with high, bright rooms, rich decor in the form of frescoes, elaborate wall hangings or carved ceilings. From today's perspective, however, these rooms were only sparsely furnished and chairs were usually placed on the wall of the room.

Three types in particular were popular in Italy in the 15th century: the board chair with a high, decorated backrest, also known as the sgabello, the scissor chair, which goes back to the ancient model of the x-legged folding stool and consists of two scissor-shaped wooden struts connected via a central joint, and the Florentine wall armchair with partial upholstery. In terms of construction, these models were mostly simple.

The designs in the form of carvings, gilding and upholstery, however, increased and became more and more diverse. The online collection of the Metropolitan Museum of Art provides a good overview of the various models of the Renaissance.
At the beginning of the 16th century, the first signs of the Renaissance appeared in France. The imposing Gothic throne chair - with the peculiarity of pointed arches, turrets and rosettes - was replaced by a lighter version with a low backrest and open side panels.

From now on, instead of oak, walnut was often used, which was well suited for relief carvings. Inspiration for the design came in particular from architectural ornaments of the time, such as tendrils, round arcanthus leaves or coat of arms motifs. The carved decoration was characterized by exotic animals, mythical creatures or caryatids.

A typical piece of seating furniture from the French Renaissance is the chaise caquetoir, the so-called chattering chair. This type had a high, narrow backrest, a wide, trapezoidal seat and curved armrests - a piece of seating that was especially used for conversation by women with full skirts.

This also showed a tendency towards greater comfort, which increased further, especially in the course of the 17th century and the late Renaissance. The chairs were equipped with padded backrests and seats, with elaborate silk and wool fabrics and with the first forms of trimmings.

In Northern Europe, especially in England, the influences of the Renaissance only slowly replaced the traditions of furniture making there. Changes were primarily seen in the decoration and ornamentation of the furniture filling. It was only in the 17th century that the frequently used box chair lost its massiveness. The main features of this traditional type until then were the tenon joints, the framed paneling in the backrest and the closed frame shape.

As part of the innovations, the chair lost the side panels and was given an open base. The decorative focus was on the design of the backrest, which resembled paneling, which is why the type is known as the Wainscot chair. Due to the technical development of the lathe, turned front legs also became increasingly fashionable.

Baroque opulence in the 17th century

The Baroque era began around 1620 as a parallel development phase to the late Renaissance. This style spread again across Europe, with different temporal and artistic expressions. The starting point for the Baroque development was once again Italy, where magnificent buildings with magnificent interiors were built on behalf of the Catholic Church.

As a result, the representative character - i.e. the use of lush, overloaded forms and precious, exotic materials - became an essential element of the baroque style, which is why the courtly baroque is often referred to. The status symbol par excellence was the upholstered armchair with a high back, decorated with carvings and gilded.

France developed into a center of baroque furniture art, particularly through the reign of Louis XIII. (1610-1643) and the Sun King Louis XIV (1643-1715). This was also ensured by the acquisition of the best artisans of the time, who were solely responsible for furnishing the state rooms of the palaces. In the course of this development, the seating furniture underwent a diverse and particularly opulent design.

From this point on, seating furniture, which was primarily used for representation, became wider in size, more elaborately upholstered and provided with the finest covers, including brocade, silk, velvet and tapestry. The fashion also included a variety of motifs from flora and fauna as well as the grotesque, which was particularly evident in the carvings of legs and armrests.

In addition, a preference for gold-plated seating developed - a prime example of this is an armchair à la pure from the Palace of Versailles.

The type of armchair with open side panels was based on a graceful frame, an upholstered seat and backrest; In addition, the frame or the head of the seat as well as the arms and legs were usually decorated with carvings.

In England, however, the baroque style was initially somewhat more reserved. However, baroque influences were increasingly brought from the mainland to the island, so that handicrafts were inspired by the new fashion. A very popular form was a chair with wickerwork in the seat and back, surrounded by twisted or spiral-shaped column elements.

The collection of the Victoria and Albert Museum in London contains some representatives of this type, which were also common in the Netherlands. In addition, the Louis Quartorze style came to England via the Netherlands, which resulted in elaborately carved and partly openwork backrests as well as lavishly curved front legs, which referred to the influence of Daniel Marots.

With the end of the 17th century, the Baroque style entered its late phase and lasted until around 1720.

However, with the beginning of the new century, a transitional phase was already emerging. Power dynamics in Europe were being redefined, and the burgeoning prosperity of the bourgeois class marked the start of a new chapter. It was no longer just royal palaces being built and furnished but also manor houses and country estates for the nobility and wealthy merchants. The growing trade led to a significant demand for beautiful, comfortable, and practical furniture. The sometimes severe design and excessive splendor were gradually replaced by a lighter style, marking the transition between Late Baroque and Rococo.

The Régence Period in France

The death of Louis XIV brought about a change in regency in France. For the young heir to the throne, the future Louis XV, the Duke Philippe of Orléans took over the reins of power in France from 1715 to 1723. During this phase, there was a notable shift in interior design. The seating furniture of the Régence period reflected a departure from formal courtly strictness and embraced a certain informality and sociability, influenced by the Duke of Orléans. A sensual, asymmetrical, and curvaceous style came into fashion, paving the way for the stylistic elements of the subsequent Rococo period.

As a result, stylistic changes in seating furniture were a logical consequence. Chairs began to appear more delicate and lighter, as they were often placed centrally in rooms as salon furniture, serving as a focal point for social conversation. Due to the fashionable influences of the ladies’ world—such as expansive hoop skirts and voluminous wigs—further adjustments were necessary. The seats of fauteuils became wider, the armrests shortened, and the backrests became lower. An important stylistic element of the Régence concerned the design of chair and armchair legs: the curved form became predominant, giving the furniture a lighter character. Additionally, the desire for more comfort led to the creation of a new type of armchair, the bergère. This was an armchair with padding on the seat, back, and sides of the armrests. Popular decorative motifs continued to include ornaments such as masks, shells, palmettes, and acanthus leaves, which appeared as fine carvings on the furniture.

A simple yet elegant Régence fauteuil, for example, was made of beechwood, featuring a gently curved backrest, artistic cabriole legs with crossbars in the form of a crossbow, curved seat frames, and shortened armrests. The carved decor on the chair frame added aesthetic brilliance. The seat and backrest were usually woven with fine cane. For added comfort, a loose cushion was placed on the seat. Similar examples of this variant can be admired in the Collection of the Mobilier National (see, for example, https://collection.mobilier-national.fr/objet/GME-15172-001 ).

The Imaginative Decorative Style of Rococo

In comparison to the Régence style, the Rococo era was not limited to France but spread across Europe from around 1730. The character of Rococo was defined by playfulness, lightness, and elegance, expressed through form and decoration. The central decorative element was the rocaille (shellwork), which later gave the Rococo style its name.

The seating furniture of French Rococo, also known as the Louis Quinze style, evolved from the Régence tradition: the curved form of the legs, ending in ball or claw feet or volutes, was already known. However, the overall form of the chairs lost further rigidity, particularly evident in the rounded backrests with arched crests and profiled frames. Additionally, the seating furniture often had a painted surface, presented in the delicate Rococo colors: for example, sea green, light blue, yellow, lilac, or white paired with fine gilding. Comfort also played an important role, which is why fauteuils and bergères were often equipped with voluminous seat cushions. With the desire for comfortable furniture, the chaise longue - a chair with an extended footrest—was developed, serving as a precursor to the modern lounge or reclining chair.

The popularity of Rococo in Europe spread partly through craftsmen who traveled to France to draw inspiration from the local decorative style. Additionally, some French artisans produced engravings of their designs for carved Rococo elements, facilitating the style's rapid dissemination to neighboring countries.

Compared to the classical French Rococo, the stylistic features in Germany became even more opulent and exuberant. Two regional styles, in particular, emerged: Bavarian and Frederician Rococo. The design of the furniture was heavily influenced by the concept of the room as a total work of art or by specific thematic interpretations. Popular themes often included nature, gardens, or exotic elements, such as chinoiserie. The plasticity and quality of the carvings seen in German Rococo seating furniture were characteristic and underscored the representational scale of residences in cities like Munich, Würzburg, or Potsdam. An impressive example from this period is a garden seating suite designed for Schloss Seehof in Bamberg around 1763/64, now located in the Metropolitan Museum of Art in New York (see https://www.metmuseum.org/art/collection/search/231926). The backrest in this case suggests the impression of an arbor with carved latticework, leaves, and flowers.

The English Style in the First Half of the 18th Century

In the first half of the 18th century, England exhibited a completely different style compared to mainland Europe. The furnishing style and design forms were predominantly influenced by English taste, representing a deliberate rejection of the opulent French style. Predominantly "dark" furniture was found in interiors, as walnut wood was especially popular. Chairs were often made of walnut or oak with walnut veneer.

During the reigns of George I (1702–1714) and George II (1726–1760), the so-called early or mid-Georgian style emerged. The English chair of the time featured a massive, narrow backrest panel, often vase- or baluster-shaped. The backrest was narrow and rounded. The seat had a gently curved shape and typically included a loose cushioned seat frame. Another typical feature was the cabriole legs, which ended in ball or claw feet. The designs of these chairs were often very simple; decorative elements were used sparingly, as exemplified by a chair from the Victoria & Albert Collection in London (see https://collections.vam.ac.uk/item/O119026/chair-unknown/).

From the second quarter of the 18th century, the trend shifted toward square seats, with aprons and knee legs often decorated with carved or applied shell and acanthus motifs. The choice of material now usually fell on mahogany. Overall, most seating furniture was characterized by a lightness, coupled with a certain playfulness—although different from Rococo. The pinnacle of this development was shown in the chair designs of Thomas Chippendale from 1750 onwards. Characteristic of the Chippendale chair was the backrest with a curved top rail and finely carved, pierced splat, as well as artistic cabriole legs with volutes as feet. The decorative elements were partly influenced by oriental motifs but also by Gothic elements.

Whether in France, Germany, England, or other European countries, much of Europe exhibited a desire for exuberant, imaginative decoration in furniture art. Stylistically, the mid-18th century was still heavily influenced by the excesses of Rococo. However, there was an increasing call for a departure from this style and a return to more classical forms of the past. Two key events contributed significantly to this shift, marking the beginning of the Neoclassical era, which will be explored in the next part of the style history.

Literature Sources:

Lydia L. Dewiel: Stühle & Sessel. Stuhldesign vom Barock bis zur Moderne. München 1999.

Judith Miller: Möbel. Die große Enzyklopädie. Vom Barock bis zur Gegenwart. London 2005.

Judith Miller: Der Stuhl. Stil, Design, Kult. München 2010.