First was the decoration of furniture legs with sharply profiled metal rings, one above another, like many bracelets on an arm; this was the origin of the turned wooden legs so frequent in later styles. Second was the use of heavy fringes on furniture covers, blending the design of frame and cushion into one effect; this was much lightened by Classical taste but was revived in Neoclassicism. Third was the typical furniture grouping that survived intact into the Dark Ages of Europe: the couch on which the main personage or personages reclined for eating or conversation; the small table to hold refreshments, which could be moved up to the couch; and the chair, on which sat an entertainer—wife, hetaira (courtesan), musician, or the like—who looked after the desires of the reclining superior personages. From this old hierarchy of furniture derived the cumbersome court regulations concerning who may sit and on what, that persisted for centuries in the palaces and ceremonies of monarchs.
Working in The Empire Style. Charles-Honore' Lannuier, a French immigrant, was one of the first cabinetmakers to introduce this style in America, according to Schwartz. He added gilded carving to his pieces that made them elegant and appealing in his New York workshop. Duncan Phyfe's shop was influenced by this style as well in the 1820s and 1830s, but in a much more restrained way although still quite elegant in its appearance. But the more elaborate designs came out of Boston and Philadelphia. All the craftsmen working in this style were likely fed by publications of the day. They included designs based on those shown in British author Thomas Hope's Household Furniture and Interior Design and others adapted from French styles. Of course, the name Empire originating from the French wasn't used in England due to political conflicts with France at the time. The British preferred Regency as their moniker for the style with many of the same elements. Americans, being friendlier with the French than England after our own conflict for independence, took to the name Empire more readily back then, and it endures when describing these pieces today. Occasionally the term Classical will be used to describe these styles as well.
Roman chairs developed from Greek models. The Greek throne chair evolved into a small armchair with solid rounded back made in one piece with sides set on a rectangular or semicircular base. This armchair was often of wickerwork, wood, or stone. The Greek klismos chair was given heavier structural members by the Romans and was called the cathedra. The Romans developed a decorative type of stool, often made in bronze. This was supported by four curved legs, ornamented with scrolls. The folding stool, with cross legs sometimes connected by stretcher bars, was used both by Roman officials and in households. Remains of folding stools are known from sites such as those at Ostia, Italy, and barrows in Britain—on the Essex-Cambridgeshire border, and in Kent. This developed into a stool that had more solid double curved legs; examples were found at Pompeii. An example in iron with bronze decorations, even heavier in form, was found at Nijmegen, in the Netherlands.
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