FROM THE RESTORATION TO THE RISORGIMENTO

FABER FURNITURE presents
INSIDE CLASSIC FURNITURE: By Gemma Clerici, Art Historian.

From the galaxy of the "Empire"

History
The historic period we will deal with goes from 1815, the year of the Vienna Congress, to the Italian Independence Movements from 1830 to 1848. We must consider that Europe went through a very agitated century, the structure of the great Nations was reviewed after the Napoleonic period and the Italian Palaces, upset by Republican passions initially and Imperialistic after, returned to an apparent stability. Italy saw the return of the old dynasties and in some Courts, like Sabauda, conservatism was such, that hairstyles and clothes were revived from the previous century. In the north, Piedmont and Liguria were united, and gravitated in the orbit of a poorly tolerated French culture, Lombardy had returned to Austria, together with the Veneto, Emilia, Tuscany and the Duchies of Parma, Modena and Lucca. They formed illuminated islands of tolerance, where however insurrection was fermenting with the profound desire for independence, pushing towards the forthcoming Risorgimento. Restoration was the rule for the State of the Church and the Palace of Naples, where the first insurrection movements started in 1821; an industry which was overprotected, defending it from English and French competition, and which was dragging due to the antiquated machinery. This immobility favoured the build up of capital, which however was not used even though the Liberal and Middle Class initiatives increased, of a philanthropic and intellectual nature: public schools, artisan co-operatives for teaching trades to children, especially orphans, newspapers, mechanical spinning machines and textile factories, steam navigation and gas lighting. The Restoration was reactionary for as long as it was possible, but the strength of liberalism ended up in affirming two great principles of the 19th century: the liberal and socialist principles.

Costumes and society
Furniture production in the beginning of the 19th century was possible due to the continuation of solid and secure artisan traditions, it then continued with the "Imperial" style, but with a more sober version. All Napoleonic references were removed, the main ornament was wood inlaying, playing on colours and graining. The main customers in this historic period were large mansions or palaces who were renewing their furniture, completely refurbishing it to the extent that the most famous architects were called upon to design the furniture, meaning that home and furnishings became one; however middle class production was also strong, using an English style to create comfortable homes, but with the conscience of a valuable artisan. This furniture was made by the carpenter or ""minusiere". In 1834, there were 251 workshops of this type, with 253 apprentices and 109 beginners", this is an extract from a report on the status of the provinces of Saluzzo, Savigliano and Racconigi. The style proposed by these schools drew on two themes: Classic and Romantic, although Italian production was tied to the lack of homogeneity of the situation, political, too many palaces, too many schools: Piedmont, Liguria, Lombardy, Venetian, Emilia, Roman, Naples. The uniting element was the "Imperial" style, imported from France, followed by "Louis Philippe" always following the French dynastic affairs; but also because France organised, defended and protected its production, supporting the spreading of specific texts, famous of which were the Dictionaries of Trades.

Stylistic methods
A great sense of measure and the balance of classic nature distinguished Italian style during the first half of the 19th century, although there were differences in the regional schools. The great names that were present and signed the prestigious furniture like the Palace of Carlo Alberto or the Spinola Palace in Genoa were accompanied by the work of the "workshops". Neo-classic training was shown in the setting of the furniture, linear without excessive decorations, exotic wood gave way to solid walnut covered with large sheets of Ferrara brier, recomposed on smooth surfaces so that the graining created beautiful amber arabesques. In some cases there was a return of "baroque", a taste mixed with neo-classicism, accentuating the curves and friezes which were inlaid or in relief. The use of mahogany declined and inlaying was introduced, playing on woods with contrasting colours: Cockscomb and Rosewood. The finishes were impeccable; the precision of the joints of the tops and even the less visible parts was perfect. Restoration brought a more eclectic style, in Lombardy Vienna Biedermei, French Imperial, Regency, Sheraton were all mixed together, with hints of neo-gothic from the romantic era. In Piedmont, the palaces rich with furniture by Giovanni Maria Bonzanigo (1745-1820) created a style that became a school for the quality of the carving: it is characterised by the "pastel" technique, which involved ornate carvings in pear wood, painted and applied to the furniture on a lacquered background. Bonzanigo left a tradition of decorations of festoons, leaves, flowers, fruit or musical instruments, which went in line with those of Pelagio Pelagi (1777-1860), promoter of Gothic revival around Piedmont. Motifs appeared with a medieval flavour: twisted columns, pointed arches, denticulated ogives, which were used in the romantic period of rediscovery of medieval structures and Italian history, which was trying to find heroic traditions in its past. In Liguria, the French traditions went alongside the influence of English cabinet making, next to gold-leafed and richly carved furniture; a more sober production appeared with dimensions that are more compact.

Furniture
Furniture terminology is rich with French terms: Wardrobes (armoire), Commode, Secretaire, Dormeuse, Trumeau, Sofà, furniture that was placed alongside bookcases, beds and central tables of everyday use. The production of chairs and armchairs was rich and diverse; during this period the "chiavarine" by the Descalzi brothers (Gaetano Descalzi called "Campanino of Chiavari"), which were very light, elegant and solid chairs, made in turned cherry wood, their production began in 1807 and continued throughout the century. Sideboards were lightened to become three drawer chests of drawers, with folding tops and more elegant structures, indicating a taste for luxury and refinement. The furniture often had an architectural air, like the return to the gables of Greek temples, made up of columns and trabeations, finished by the tympanum that was found in delicate neo-classic style ornamentation.