The nineteenth-century bergère remained a great classic of salon seating. It retained the same characteristics as the eighteenth-century bergère. Low and enveloping, the Restoration bergère usually has a gondola (rounded) back, a flat back, or a slightly inclined back. Its arm supports have crosier terminals. The motifs that best represent the Restoration style are finely carved swan necks. Its forelegs are of the spindle or frog-thigh type, and its back legs retain the splayed (en sabre) form. The Louis-Philippe bergère benefitted from upholstery with springs and padding. It has ‘umbrella’ or turned legs in the Jacob style.
The nineteenth-century Louis-Philippe bergère faced competition from the Voltaire fauteuil and the crapaud (literally ‘toad’) armchair. In the time of Napoleon III, it also faced competition from the introduction of the confident and the indiscret (‘roundabout’) armchairs, which were capable of seating two or three people and were the same size as and as comfortable as the bergère.