Like almost all the pieces of furniture called “cabinets” of the sixteenth and seventeenth century, the one reproduced on Plate [VIII] is in two parts, the upper being smaller than, and standing back on the top of, the lower. It is carved in walnut wood, enriched with sculptures, and here and there plaques of marble are set in order to relieve the monotony resulting from the sole use of wood. Stone of various colours was largely used at this period, as an inlay for furniture in the Netherlands and France, and more especially in Germany.
The principal fault with which the Flemish artists of the period are reproached is that of “painting the lily.” They frequently are lacking in restraint, and overcharge their surfaces with riot of ill-combined mouldings and carvings; but in this specimen we have fine restraint. Its structure and general disposition are strong and well-contrived; the mouldings have a good profile; the sculpture is in the right place, and, at the same time, is subordinated to the lines whose mission is to contain and quiet it. This piece belongs to the best school of the Renaissance, and will hold its own in almost any surroundings.
In the lower part of this cabinet, the two panels that form the doors are carved with the figures of Diana and Juno with their attributes. The drawers above are decorated also: the central one has a lion’s head, to which a ring is suspended, and the two others have a simple knob. In the panels of the upper doors, Paris is presenting the golden apple to Venus, whose beauty has outshone that of her rivals. A garland of fruits with a mascaron in the centre is above this, and the whole is topped by a broken pediment framing an armed Pallas.
If we cast a glance at Italian furniture, we shall see that the French and Flemish artists at first frankly copied what they had seen when they accompanied the three expeditions to Naples.
In the sixteenth, as in the preceding century, the Italians were particularly fond of the Roman triumphal arch and sarcophagus, as forms for furniture. The Classic Orders were in great vogue, and the arabesque and candelabra-shaped pilasters, introduced so long ago into decoration, were renewed and made popular by Raphael. To the ancient style of marquetry, composed of little geometrically-cut cubes of natural wood, there succeeded a marquetry of coloured woods arranged to form actual pictures with perspective. Some of the furniture was carved, and then painted, or gilded; but other furniture shows large surfaces that are decorated with beautiful oil paintings.
The Italian furniture was particularly da pompa, made for the adornment of long galleries, enriched with paintings, gildings, tapestries, velvets, damasks, brocades, cushions, curtains, mirrors, and sumptuous cassoni. Beds, chairs, tables, cabinets, mirror and picture frames, standing candelabra, bellows, coffers, chests, seats and buffets (credenza), are of the most luxurious nature; and the latter display magnificent gold and silver work (Cellini is busy at this period), and marvellous examples of faïence; for, be it remembered, it is also the period of Luca della Robbia and his school.
The Italians cared little or nothing for the large chimney-pieces, so dear to the northern races in their colder climate; and the great seats by the fireside have also no attractions. The Italian has no oak, nor half-timbered houses with pointed gables without and heavy beams within: his woods are walnut, pine and chestnut for ordinary furniture, and ebony, cedar and cypress for his luxurious articles. His materials, like his taste, are more decorative than practical.
Such was the taste that invaded the Low Countries during the Renaissance; much of it brought home by the Flemish artists who visited Italy; and some of it coming into the country by way of France, where Serlio was the guiding spirit, Cellini had settled, and the school of Fontainebleau was in full blast.
The characteristic feature of Renaissance furniture consists in the monumental façade that is like a Roman temple, and various orders of Classic architecture are superimposed: it is Doric at the base; Doric in the centre; and Corinthian at the top. The whole is surmounted by a pediment, the triangle of which is broken in the centre to receive a bust, vase or statuette. (See Plate [VIII].)
The projections stand out boldly and form sharp cornices. In the panels, in the supports and between the columns, niches are cut out and framed in an architectural motive of some kind. In them are figures of heroes or classic deities. Sometimes also there are round medallions in the form of dormer windows from which curious heads with outstretched necks peer forth.