DECORATED AND FURNISHED IN THE RENAISSANCE STYLE.
A SIXTEENTH CENTURY ROOM.
Reproduced from the "Magazine of Art." (By Permission.)
Leo X. was Pope in 1513. The period of peace which then ensued after war, which for so many decades had disturbed Italy, as France or Germany had in turn striven to acquire her fertile soil, gave the princes and nobles leisure to rebuild and adorn their palaces; and the excavations which were then made, brought to light many of the Works of Art which had remained buried since the time when Rome was mistress of the world. Leo X. was a member of that remarkable and powerful family the Medicis, the very mention of which is to suggest the Renaissance, and under his patronage, and with the co-operation of the reigning dukes and princes of the different Italian states, artists were given encouragement and scope for the employment of their talents. Michael Angelo, Titian, Raffaelle Sanzio, Andrea del Sarto, Correggio, and many other great artists were raising up monuments of everlasting fame; Palladio was re-building the palaces of Italy, which were then the wonder of the world; Benvenuto Cellini and Lorenzo Ghiberti were designing those marvellous chefs d'œuvre in gold, silver, and bronze which are now so rare; and a host of illustrious artists were producing work which has made the sixteenth century famous for all time.
CHAIR IN CARVED WALNUT.
Found in the house of Michael Angelo.
The circumstances of the Italian noble caused him to be very amenable to Art influence. Living chiefly out of doors, his climate rendered him less dependent on the comforts of small rooms, to which more northern people were attached, and his ideas would naturally incline towards pomp and elegance, rather than to home life and utility. Instead of the warm chimney corner and the comfortable seat, he preferred furniture of a more palatial character for the adornment of the lofty and spacious saloons of his palace, and therefore we find the buffet elaborately carved with a free treatment of the classic antique which marks the time; it was frequently "garnished" with the beautiful majolica of Urbino, of Pesaro, and of Gubbio. The sarcophagus, or cassone, of oak, or more commonly of chestnut or walnut, sometimes painted and gilded, sometimes carved with scrolls and figures; the cabinet designed with architectural outline, and fitted up inside with steps and pillars like a temple; chairs which are wonderful to look upon as guardians of a stately doorway, but uninviting as seats; tables inlaid, gilded, and carved, with slabs of marble or of Florentine mosaic work, but which from their height are as a rule impossible to use for any domestic purpose; mirrors with richly carved and gilded frames: these are all so many evidences of a style which is palatial rather than domestic, in design as in proportion.