Victorian Furniture - neo-Rococo.

Neo-Rococo continued to develop in most countries throughout the entire period. While the style is now most frequently called neo-Rococo when a name other than High Victorian is used, it in fact has very little in common with its alleged prototype, for asymmetrical designs were only frequently produced. Indeed, during  the period itself, the style was most commonly called 'Louis' or 'French'. Its most notable points of similarity with the original style are the use of flowing curves and cabriole legs, in contrast with the severe architectural manner of the Neoclassical.

The coarsening of the style is evidenced in the amount of show-wood on chairs, which grew greater as the period progressed, as well as in the infilling of the arms and backs entirely with upholstery, which was at first relatively flat but thickened progressively and eventually became deep-buttoned at the later dates. In the decoration of handmade furniture, the same lessening of restraint in design is evident. Partly, of course, this was due to the fact that the general standard of workmanship inevitably deteriorated, for the increased demand led to a relative decrease in the number of expert craftsmen, thus necessitating the use of mechanical techniques and of designs that were at the same time visually impressive while relatively simple to execute. That the demand was able to be filled was due to the application of techniques such as mechanical carving, which came into use in this period and which enabled the flowing lines as well as the detailed carving to be reproduced speedily and cheaply, an essential in terms of the rapidly expanding market.

Somewhat surprisingly, in view of the wars, England was the first country in which this revival and continuation of the French styles took root. Although when it first appeared, it was in work for George IV, it was essentially a style of popular appeal, never being taken up seriously by the more respected architects and designers. Although fitted and non fitted furniture in the style was available for all rooms, it was most commonly used in the drawing room where the influence and taste of women was most strongly felt. Aside from its obvious use in seat furniture, it was also used fairly extensively in carcase furniture, as well as for console tables and mirrors - uses that suit the style admirably.

Another piece most typically associated with the English Victorian owes nothing to neo-Rococo but everything to deep buttoning: the overstuffed armchair or chesterfield. Deep buttoning, which was first used on the balloon-back chairs, was itself largely dependent on the by-product of another technological development, for it required the use of short staple cotton and wool combings.

It is often mistakenly assumed by antique dealers that the progression of design was entirely logical and that as one style, for example the balloon-back chair with cabriole legs, became unfashionable, it was replaced by the same chair with turned legs. Although this may be true of design progression, it is not true of manufacturing, for even as late as 1900, it is possible to find in the current catalogues types that according to common lore had disappeared some 30 years previously. Neo-Rococo, therefore, had a currency of some 70 years in England, making it one of the most long-lasting of styles.