| Directoire (1795-1804) | | | | Empire (1804-1815) |
| After the Revolution, which was a barren period, | | | | When Napoleon, as a member of the Directorate |
| artists and craftsmen took up their work again, but | | | | succeeded by his military victories in establishing |
| this time for the "new rich" instead of the Court and | | | | himself as Emperor, he deliberately undertook his |
| the nobility. They did not abandon the new classic | | | | own glorification, as did Louis XIV and other absolute |
| styles, but emphasized their classic - Roman and | | | | rulers. His continuous military career left him little time |
| Pompeiian - character; abandoned all that smacked of | | | | for the amenities of life, but he established his |
| the old regime, and simplified detail and ornament | | | | imperial Court on the Roman ideal of military power |
| producing a distinctive style - Le Style Directoire, | | | | and commissioned artists and craftsmen to provide |
| named from the Directorate form of government | | | | him a setting to his own liking and one to impress |
| which preceded Napoleon's Consulate. | | | | upon the French populace the character of his reign. |
| David, the former Court painter, became the real | | | | He made the Style Empire in so far as it differs from |
| dictator of style and rose to even greater | | | | the Directoire from which it is an outcome. |
| prominence under the Empire. He it was who gave | | | | David became the director of styles and proceeded |
| his approval to Percier and Fontaine. He presented | | | | to his work as frankly as a child. Military trophies |
| them to Napoleon, who commissioned them to | | | | were simply spotted and sprinkled over everything. |
| remodel and refurnish Malmaison. | | | | Rooms were often treated to appear as the interior |
| The characteristics of the Directoire period are less | | | | of gorgeous military tents. Walls were flat and fabric |
| generally known than those of the other French | | | | covered, or frescoed. Ordinary rooms were painted |
| decorative periods. Proportions were slender, | | | | or papered. The Frieze became prominent. The dado |
| projections were restrained - no heavy moldings or | | | | disappeared. Doors were ordinarily single and plain, |
| ornament encumbered the mode. Plastered walls | | | | ornamented by a simple painted motif or paneled |
| were frequently featured though wood paneling | | | | with a low molding or rosette wood corner blocks. |
| continued: paneling was painted on plaster as in | | | | Floors were wood, plain or parquet; ceilings high and |
| Pompeii. | | | | flat with applied flat ornament in the center or around |
| Walls were paneled in Toile de Jouy, especially in | | | | the edge, and a restraining cornice. |
| monochrome cameo designs with classic motifs. Hand | | | | The furniture was of mahogany, ebony and |
| blocked papers like those designed by Lafitte, | | | | rosewood with strong rectangular and often heavy |
| expensive scenic paper, small designs, or marbleized | | | | construction, or curved like Roman chairs; massive |
| papers were used in panels with scenic papers. Dados | | | | columns and architectural details. In simple chairs the |
| of imitation papers were used. Windows and doors | | | | broad top rail was typical. Excessive ornamental |
| were square or round topped. Doors were simpler; | | | | carving, brass and ormolu mounts, painting, gilding, |
| classic pilasters often had plain entablatures and | | | | molding and paneling; upholstery was in tapestry, |
| simple over-door ornamentation. | | | | velvet and damask, caning. |
| Ceilings were usually flat with a cornice. Furniture | | | | Classic ornament and Egyptian motifs celebrated |
| construction was classic, lighter than Empire which it | | | | Napoleon's military victories. Much gilding characterized |
| resembled, rectilinear or with the typical curved backs | | | | the Empire decoration together with strong |
| or legs of ancient Rome. Ornament was classic, with | | | | coloring-Empire green, blue, yellow, and Imperial purple |
| less carving than in the Empire period; metal mounts | | | | with red. On the whole the style is not particularly |
| were of delicate classic design; upholstery of | | | | successful for modern adaptation, but it had a strong |
| tapestry patterned with classic lamps, urns, and | | | | influence upon the art of America of the same |
| flowers. Guimpe and fringe were used with the | | | | period. |
| upholstery, or seats were caned. | | | | |