Ornament on French Empire Silver

by Karolina Stefanski

ilver ornamentation during the This resulted in a monopolistic Silver was one of the most popular French Empire period (1804- commerce structure during the First manifestations of artistry to display the 1814) blended Greek, Egyptian, Empire. Three companies dominated Empire’s new taste. This First Empire Etruscan,S and Roman decorative motifs the French silversmithing market at style was in essence a continuation of with the taste and fashions of French that time: Henry Auguste (1759- the Louis XVI style that began during bourgeois society not only during, but 1816), Martin Guillaume Biennais for decades following the period. (1764-1843), and Jean-Baptiste- Bonaparte’s chief Claude Odiot (1763-1850). They architects and decorative art advisors employed workers who each specialized Charles Percier (1764-1838) and Pierre in a task for efficacy. Reports show that François Leonard Fontaine (1764- Biennais transformed his business into 1838) were the founding fathers and a company of more than 300 employees greatest proponents of this Empire at the beginning of the nineteenth style. century.1 Often these dominating After the fall of the French Regime, silversmiths produced items for the the short transitional Directoire (1795- Emperor, his family, and as political 1799) and Consulat (1799-1804) gifts. Smaller silversmith ateliers periods characterized the First French produced silver for the bourgeoisie, the Republic. Napoleon introduced the new social class that emerged from the in 1804, which Revolution. presented new fashions in dress, Biennais began his career as a maker architecture, as well as the fine and of small luxurious wooden items such decorative arts. as chessboards and jewel cases. But he The traditional silversmithing soon realized the benefits of the new Fig. 1. Nef of the Empress by Henry system changed with the Revolution. system that allowed him to extend his Auguste (1759-1816), vermeil, , The former guild system, which business to silversmithing. He made a 1804. A decorative piece in the shape of required a long apprenticeship and traveling case on credit for Napoleon a ship that serves as the holder of table the creation and presentation of a chef before the campaign to Egypt in 1798. napkins and condiments used by kings in d’oeuvre in order to become a master Napoleon’s appreciation was evident . It confirms the king’s and Queen’s silversmith was abandoned in favor of a when upon return he placed more orders presence at the table. Napoleon adapted liberal system that offered everyone the with Biennais and appointed him as the this tradition to keep the continuity with possibility of conducting silversmithing “Orfèvre officiel de l’Empereur” (First France’s monarchy. Photograph courtesy business without any credentials or Silversmith to the Emperor) in 1801.2 of Musée du de . apprenticeship.

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Fig. 3. (Above) Cup in the form of a breast of Pauline Borghèse by Jean-Baptiste-Claude Odiot (1763-1850), vermeil, Paris, circa 1810. This unique piece has only one central decorative motif, the butterfly. Photograph courtesy of Musée des Arts Décoratifs.

◀ Fig. 2. Water jug by Henry Auguste (1759-1816), vermeil, Paris, 1804. This piece depicts the Winged Victory as the handle of the jug. Photograph courtesy of Musée du Château de Fontainebleau.

Fig. 4. Water basin by Philippe Jean-Baptiste Huguet (active 1800-1816), vermeil, Paris, 1798-1809. This piece depicts dolphins as a repeated decorative motif, emphasizing its function to hold water. Photograph courtesy of Musée National du Château de Malmaison et Bois-Préau.

November | decembeR 2012 Silver Magazine 19 the mid-eighteenth century and was In addition, the theories of involved that blinded many artisans. characterized by a return to the period German art historian Johann Joachim The fire-gilding process was later of Classical antiquity. This was initially Winckelmann (1717–1768) contributed replaced by the process of electrolysis, due to the discovery of the ruins of to those foundations of . a method of using electric current to Herculaneum (1738), Pompeii (1748), The French represents a steer a chemical reaction. The silver and the Egyptian campaign (1798-1801), luxurious homogeneity in every field of piece was placed in an electric solution/ which was also a source of influence on art and craftsmanship, including interior bath that coated it with a thin layer of the popularity of the Egyptian ornaments design and architecture. gold through the help of an electric in French Empire design. With silver, this style is characterized field and electrodes. Napoleon traveled accompanied by by objects of simple classical forms and French Empire decorative motifs writers, artists, scientists, and researchers straight lines that originated during were created in bas- or as who investigated and documented the Greco-Roman period and were three-dimensional sculptures. The the natural history, politics, and arts inspired by Greek mythology. French First Empire is essentially an era of of Egypt. One of them, Dominique Empire silver of this period is generally nationalism and military glory. Vivant Denon (1747-1825), who was produced of vermeil (gilded silver) to Therefore, laurel wreaths, eagles, and later appointed by Napoleon to the underline the splendor of the wealth winged Victories dressed in Greek and office of director general of the museum during that era. Roman garments are ubiquitous. Napoleon (that changed its name to the Vermeil was a very popular Many forms of silver objects were Musée du ), collected sketches, method of applying a thin layer of gold based on models of ancient Greek drawings, and literary works of the (gilding) onto sterling silver and other ceramics. The most common forms Egyptian architecture and details that metal pieces commonly used during of First Empire silver were produced he published in his “Voyage dans la the First Empire to emphasize their in the shapes of amphora, cantharus, basse et la haute Egypte” (“Journey in extravagance and wealth. At that time, craters, kylix, oinochoes, pithos, and Lower and Upper Egypt”) in 1802. His vermeil was achieved by the process rhytons. There were exceptions to this work had an imperative effect on, and of fire-gilding. In this process, a paste rule (such as the nefs3 in Figure 1 that was the main cause of the revival of the of gold and mercury was spread over continued the same form since the Egyptian motifs in Western decorative the silver piece, then heated, fusing Middle Ages). The structure of silver arts and architecture. Figure 9 displays the gold to the surface of the piece, objects was made up of vast polished the Egyptian head as the handle of the mercury evaporating. This type surfaces, on which were attached the cruet holder and the most distinct of procedure was banned in France symmetrical ornaments through decorative motif. because of its toxicity of mercury fumes riveting, unlike the traditional way of

Fig. 5. Water basin by Henry Auguste (1759-1816), vermeil, Paris, 1804. This basin depicts swans as the central motif of the piece underlying its function of carrying water. Photograph courtesy of Musée du Château de Fontainebleau.

20 November | decembeR 2012 Silver Magazine Fig. 6. Sugar bowl by Jacques-Gabriel-André Bompart (active 1798-1838), silver, crystal, Paris, 1803-1804. This sugar bowl prominently features the butterfly as decorative motif as the handle of the cover of the sugar bowl. Photograph courtesy of Musée des Arts Décoratifs, Paris/Jean Tholance.

juxtaposition of Apollo (representing this time also manifested itself with order and morality) and Bacchus the bourgeoisie who began to imitate (representing chaos and desire). the fashions of Napoleon’s Empire— The peripheral subject is generally though their silver pieces were less always applied in a particular rhythm, elaborate and less expensive. usually geometric or natural. Its It is during the Classical Period function is to be purely ornamental, (in the fourth and fifth centuries BC) to act as a frame for the object and to when the concept for luxury developed. reinforce the edges of the silver piece. Roman Emperors commissioned silver For example, the water leaves on the vessels with elaborate decorative motifs pedestal of the coffee pot, part of a using precious metals and gemstones. tea service by Marc Jacquart (in the We see a revival of that concept during collection of the Metropolitan Museum the First Empire. of Art), have a purely ornamental The visual language of the First Empire, established by Percier and function that frames the pedestal but soldering that was popular during the also serves as reinforcement of the silver Fontaine, expressed and manifested the previous period. piece. importance and greatness of Napoleon’s Ornamental forms can be divided Certain silver objects introduce military conquests and imperial power. into two distinct types: ornament central subjects in a repetitive way, Although beyond the scope of this as a central subject and ornament as underlining the object’s function. The article, Napoleon’s political power was a peripheral subject. Both served as water basin illustrated in Figure 4 shows a reason for desecration of King Louis a role to show something specific, the dolphin, a central subject, but repeats XIII’s (1601- 1643) tomb. Two life- immediately visible and definite. The it in a fret pattern enclosing the entire size silver gilt angels made by French winged goddess of Victory (Figure 2), basin. This representation intensifies sculptors (1592-1660) for example, which is a clear symbol the function of the piece, which was to and Guillaume Coustou (1677-1746) of triumph, showed this immediate hold large amounts of water. for the Jesuit church, were saved by function. At the same time, ornamental conservator Alexandre Lenoir (1761- According to Napoleon’s architects forms represented something implicit and the era’s trendsetters, Percier and 1839) during the , and invisible at first glance. Psyche, Fontaine, the choice of a particular flanked each side of the king’s tomb. The angels held a vase said to contain represented as a butterfly (Figure 3), decorative motif always corresponds to is an allegory symbolizing the human the function of the object.5 A marine the heart of King Louis XIII and Louis soul and its transformations. Its monster or any aquatic topic is always XIV. In 1806, after the advice of Vivant representation is invisible at first sight, linked to large containers, underlining Denon, director of the Louvre Museum suggesting a secondary function.4 the abundance of water. For this reason, and artistic advisor of the Emperor, These ornamental subjects are we find marine monsters and water these two angel statues were ordered by often glorifying military victory lilies on samovars or tea . We Napoleon to be melted down in order or referencing to Greco-Roman also find swans and dolphins on vessels to reuse the silver for another purpose, mythology, referring to the society’s destined for liquids as shown in Figure the commemorative Peace statue (Peace caprices of that era. The most 5. The butterfly that is present on of Amiens between Britain and France) representational myths in the language sugar bowls (Figure 6) accentuates the created by French sculptor Antoine- of the French Empire style are the sweetness of its content and reflects the Denis Chaudet (1763-1810). ones of Apollo, Bacchus, Jupiter, and art of capricious living for this epoch. At the same time, a representation Psyche. A dichotomy is visible in the The taste for glory and luxury at of the capricious desires of the society

November | decembeR 2012 Silver Magazine 21 Fig. 8. (Above) Sweet meat dish by Marc Jacquart (active 1798-1820), vermeil, Paris, 1798. This piece shows a fine chiseling of lotus flowers (water lilies) on the cover and its saucer. Photograph courtesy of Musée des Arts Décoratifs, Paris.

Fig. 7. Coffee pot by an unknown Parisian silversmith, silver and ebony, Paris, 1809-1819. This coffee pot shows a popular use of the palm leaf as an appliqué that was incorporated in the legs carrying the body of the coffee pot at the beginning of the nineteenth century. Photograph courtesy of Musée des Beaux Arts, Rouen.

Fig. 9. Cruet set by unidentified Parisian silversmith, silver, Paris, circa 1809-1819. The cruet set features the palmettes as a decorative motif throughout its design. Photograph courtesy of Musée des Beaux Arts, Rouen.

torn between the reality of life ordered by a new political structure and laws of this epoch reflected those of the gods and their capricious desires, marked by of Greco-Roman mythology. sensuality and spirituality. The first The adaptation of selected Greek reason was that this new society needed myths as decorative motifs during a restructuring and stability after the the First Empire occurred for various Revolution. Returning to Classical reasons. As a result of the French antiquity, a traditionally structured Revolution, French Empire society was society ruled by great Emperors

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Fig. 10. Glass refresher by Jean-François Nicolas Carron (active 1775-1812), silver, gold leaf, Paris, circa 1798-1809. This piece in the shape of a cantharus and presents an architectural Greek fret. This type of vessel was used the same way as a bottle cooler is today, except that the glasses were placed upside down into the notches present on the Fig. 11. Samovar or water

edge. It is important to remember that until Louis XVI, there was a limit of glasses at by Nicolas Richard Masson (active the table. Every guest had one drinking vessel and when there were different types of 1798-1812), silver, Paris, 1798- wines the waiter had to “refresh” each guest’s glass before the new drink was poured. It 1809. This piece features decorative is during the nineteenth century that table services expand and every guest benefits of motifs such as doves and the fleur- several different glasses. Photograph courtesy of Musée des Arts Décoratifs, Paris. de-lis from a different period. Photograph courtesy of Musée des Arts Décoratifs, Paris.

Fig. 12. Cruet holder by Jean-Pierre Bibron (active 1798-1810), silver, Paris, circa 1810. This cruet holder shows Apollo riding a panther, a very rare decorative motif during the French Empire period. Photograph courtesy of Musée des Beaux Arts, Rouen.

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Fig. 13. Sugar bowl by Germain Fig. 14. Double salt cellar by Jean- Louis Leblond (active 1799-1809), Baptiste-Claude Odiot (1763-1850), silver, glass, Paris, 1809-1819. This vermeil, Paris, circa 1806. This salt Fig. 15. Sugar bowl by silver piece uses the violet flower, a cellar clearly shows the evolution of the François-Joseph Luchaire decorative motif from the precedent shell decorative motif that was popular (active 1806-1810), vermeil century as the handle of the cover. during the Louis XV period and had a and crystal, Paris, circa Photograph courtesy of Musée des Arts revival at the beginning and at the end 1809. This sugar bowl Décoratifs, Paris. of the First Empire. Photograph courtesy features the pineapple, an of Rijksmuseum Amsterdam. unusual decorative motif made sense and gave people stability. for the period. Photograph An additional reason for adaptation courtesy of Musée des Arts of the Greek myths is that Napoleon The most used decorative motifs Décoratifs, Paris. succeeded in establishing a continuity throughout the First Empire were lion of traditions and manners of the ancient feet (Figure 7, 12, 14), palm leaves, monarchy by restructuring them for his water leaves and leaves of water lilies sometimes identical to previous First Empire style. (Figure 8), and palmettes (Figure 9). decorative motifs but used in different Decorative motifs are placed with Less often used decorative motifs during combinations, or with reworked a certain frequency on silver objects the period were the Greek architectural elements. The shell motif, fashionable depending on several facts: the owner frets (Figure 10). Some symbols used under Louis XV, lost its popularity as of the silver piece whether Emperor during the First Empire, but belonging a decorative motif at the beginning but or bourgeois; the use of the silver to a different period, include the dove was rediscovered towards the end of item for official or private use; the and fleur-de-lis (Figure 11), panther the First Empire, as seen in Figure 14 production date of the object (objects (Figure 12), violet (Figure 13), shell and in the drawings of Jean-Baptiste- at the beginning of the First Empire (Figure 14), and pineapple (Figure 15). Claude Odiot. were produced with slightly different The development of ornamentation This phenomenon is a type of decorative motifs than objects throughout the First Empire is not only recurrence that establishes all styles in produced at the end of this period evident, but the style itself changes and the . It is endless and can due to an evolution of style); and the evolves during the ten-year duration. be compared with the functioning of bourgeoisie’s taste and fashion. The style reproduces repetitive designs, our DNA, changing and evolving—

24 November | decembeR 2012 Silver Magazine continuously creating various comb- progressively linear development. This explains the reappearance of certain inations. In ancient Greece, the people eternal recurrence was conceptualized types of decorative motifs that reveal understood the change of time being by German philosopher Friedrich the history of all cultures. Today, we an endless recurrence. While the Nietzsche (1844-1900) under the name continue to see decorative motifs made Greeks saw the time as a cycle always “Lehre der ewigen Wiederkehr des popular during the French Empire reproducing, the Judeo-Christian Gleichen”6 (the eternal recurrence) at period. culture saw the change of time as a the end of the nineteenth century and

Notes 1.Stéphane Faniel, Collection 3. A nef is an elaborate table decoration 5. Charles Percier and Pierre François Connaissance des Arts, le XIXe siècle in the shape of a ship and serves as the Leonard Fontaine, Le Recueil de français, Vol. II (Paris: Hachette, holder of table napkins and condiments Décorations Intérieures (Paris: Jules 1957), 101. used by kings in France. Didot ainé, 1827).

2. Karolina Stefanski, La specialization 4. Odile Nouvel-Kammerer, “Discours 6. Friedrich Nietzsche, Die Geburt de l’orfèvrerie sous le Premier Empire, de l’ornmeent sous l’Empire,” L’aigle der Tragödie (Leipzig: E.W. Fritzsch, Vol. I. Master thesis 1, Sorbonne et le Papillon: Symbols des pouvoirs de 1872). University Paris 1, June 2011. This Napoléon, 1800-1815 (Paris & New subject and the change of France’s York: Paris et l’American Federation of traditional silversmith system is Arts, 2007). featured in this thesis.

Bibliography Arizzoli-Clémentel, Pierre. “The Humbert, Claude. Ornamente. Percier, Charles, and Pierre François Percier and Biennais Album in the Munich: Georg D.W. Calwey, 1970. Leonard Fontaine. Le Recueil de Musée des Arts Décoratifs, Paris,” The Décorations Intérieures. Paris: Jules Burlington Magazine 140, (March Lefuel, Olivier. “Percier et Fontaine,” Didot ainé, 1827. 1998), 195-201. Connaissance des Arts 28, (June 1954), 30-36. Perspective – La Revue de la INHA. Bourgoin, Jules. Grammaire “Ornement/Ornemental.” Paris: Élémentaire De L’ornement: Pour Servir Nietzsche, Friedrich. Die Geburt der Institut National d’Histoire de l’Art, à L’Histoire, à La Théorie Et à La Tragödie. Leipzig: E.W. Fritzsch, 1872. number 1, 2010-2011. Pratique des Arts Et à L’Enseignement. Paris: Éditions d’Aujourd’hui, 1978. Nouvel-Kammerer, Odile. “Discours Stefanski, Karolina. L’ornement dans de l’ornmeent sous l’Empire,” L’aigle l’orfèvrerie: une grammaire symoblique Daisay, Alexandre. Histoire de et le Papillon: Symbols des pouvoirs de et mythologique au service de Napoléon l’Ornement. Paris: Hachete, 1925. Napoléon, 1800-1815. Paris & New 1er. Master thesis, York: Paris et l’American Federation of Paris 1, June 2012. Glazier, Richard. A Manual of Historic Arts, 2007. Ornament. London & New York: Batsford, 1914.

Karolina Stefanski, of German and of Polish descent, graduated from Suffolk University in Boston with a B.A. in Journalism. Quadrilingual, she began her career managing a renowned fine art gallery in New York after which she returned to Europe to pursue her graduate studies. Stefanski completed her M.A. in art history, specializing in nineteenth century silver, from Sorbonne University in Paris, and is a Ph.D. candidate at the Technical University of Berlin. She writes on a freelance basis and is a practicing silversmith.

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