A mix of post-imperial tendencies is what most characterizes this dresser made by Master of Rottofreno Capellini. As with all artistic expressions that have left an indelible imprint in the field of style, even the Empire style, so crucial to the nineteenth century in its proposed new fees essentially has aroused extreme reactions in the period immediately place the following year. But in this case the transition from one style to another is mediated by the spirit inherent to the styles of the nineteenth century: a spirit that has stimulated a taste for “revivalisrno” to the point of stylistic range in ages and assemble different elements in a original review. The peculiarity arises because by imitating the eclecticism that combines processing, fully realized in special creations for their characteristics of conscious and coherent summary of the assembly parts. The significant break with the Empire styles that preceded and is then scaled reported levels of reconciliation with the more recent past. There is almost a synchronistic events go hand in hand with historians of stylistic trends in furnishing field: how the French Revolution and “Cesar” Napoleon had overshadowed and overwhelmed the ethical and political principles of absolute government, so the style Empire seemed worthy of the great revolutionary ideas of 1789.
By the age of the Restoration the forces of conservatism resumed power and restore order before the storm, and Napoleon in the same way in the history of furniture was felt a return to the eighteenth century and beyond, reaching the threshold of the Renaissance. The period of the Restoration, which saw the reaffirmation of the Bourbons on the throne of France, Louis XVIII first, followed by Charles X and Louis Philippe Finally, restore, then set the Second Empire, from 1852 to 1870, forms and decorations
past centuries. The reaction is particularly evident in the rejection of straight lines, flat surfaces, the corners, the absence of Modane ¬ ture. The stringency of predominantly cubic forms of drawers and secreted the wake ¬ place to greater kindness and curvy: returning to soften lines and arround, the structures are less sharp and slightly tapered to weight, strength and carry out tasks soundness demanded by the bourgeoisie of the time.
In the dresser that we present these items are not reflected pie: the mobile is reacialised in burr elm, which, with its marbling creates a chiaroscuro effect of remarkable. The theme of the reframework highlights the various parties, framing both drawers, and side panels with the use of warm tones of rosewood, wood especially popular during the Restoration and Second Empire. A slight thread in a ‘lighter essence puts a greater emphasis on pleasing contrast between the shades of amber and the firmer root of rosewood. The structure is modulated by a continuous opposition of concave and convex areas, which soften the strength el’imponention of the piece: what to combine the advanced front and side panels falling slightly, put more emphasis on the definition of the columns. These, together with the use of bronze in the drawer handles, offer ideas clearly links with the imperial style, but also to the Renaissance, which both took advantage of the architectural motifs of classical civilizations. And perhaps the harmony of form and the strength of formal structure to bring us back to the inspirations of the sixteenth century classicist, corroborated by the feet that support the mobile onion. Ture enhances the shine of polished the piece, bringing an additional note of elegance.

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