Edmond Bonnaffe, contrasting the latter period of Italian Renaissance with that of sixteenth century French woodwork, has pithily remarked: "Chez cux, l'art du bois consiste à le dissimuler, chez nous à le faire valoir."

[Italian Coffer with Medallions of Ivory.] 15th Century. (South Kensington Museum.)

In Ruskin's "Stones of Venice," the author alludes to this over-ornamentation of the latter Renaissance in severe terms. After describing the progress of art in Venice from Byzantine to Gothic, and from Gothic to Renaissance he subdivides the latter period into three classes:—1. Renaissance grafted on Byzantine. 2. Renaissance grafted on Gothic. 3. Renaissance grafted on Renaissance, and this last the veteran art critic calls "double darkness," one of his characteristic terms of condemnation which many of us cannot follow, but the spirit of which we can appreciate.

Speaking generally of the character of ornament, we find that whereas in the furniture of the Middle Ages, the subjects for carving were taken from the lives of the saints or from metrical romance, the Renaissance carvers illustrated scenes from classical mythology, and allegories, such as representations of elements, seasons, months, the cardinal virtues, or the battle scenes and triumphal processions of earlier times.

[Carved Walnut Wood Italian Chairs.] 16th Century. (From Photos of the originals in the South Kensington Museum.)

[Ebony Cabinet.] With marble mosaics, and bronze gilt ornaments, Florentine work. Period: XVII. Century.

The outlines and general designs of the earlier Renaissance cabinets were apparently suggested by the old Roman triumphal arches and sarcophagi; afterwards these were modified and became varied, elegant and graceful, but latterly as the period of decline was marked, the outlines as shewn in the two chairs on the preceding page became confused and dissipated by over-decoration.

The illustrations given of specimens of furniture of Italian Renaissance render lengthy descriptions unnecessary. So far as it has been possible to do so, a selection has been made to represent the different classes of work, and as there are in the South Kensington Museum numerous examples of cassone fronts, panels, chairs, and cabinets which can be examined, it is easy to form an idea of the decorative woodwork made in Italy during the period we have been considering.

[Venetian State Chair.] Carved and Gilt Frame, Upholstered with Embroidered Velvet. Date about 1670. (In the possession of H.M. the Queen at Windsor Castle.)

The Renaissance In France.