Although not strictly within the period treated of in this chapter, it is convenient to observe that much later, in the seventeenth and eighteenth centuries, one finds the Spanish cabinet maker ornamenting his productions with an inlay of ivory let into tortoiseshell, representing episodes in the history of Don Quichotte, and the National pastime of bull-fighting. These cabinets generally have simple rectangular outlines with numerous drawers, the fronts of which are decorated in the manner described, and where the stands are original they are formed of turned legs of ebony or stained wood. In many Spanish cabinets the influence of Saracenic art is very dominant; these have generally a plain exterior, the front is hinged as a fall-down flap, and discloses a decorative effect which reminds one of some of the Alhambra work—quaint arches inlaid with ivory, of a somewhat bizarre coloring of blue and vermilion—altogether a rather barbarous but rich and effective treatment.

To the seventeenth century also belong the high-backed Spanish and Portuguese chairs, of dark brown leather, stamped with numerous figures, birds and floral scrolls, studded with brass nails and ornaments, while the legs and arms are alone visible as woodwork; they are made of chesnut, with some leafwork or scroll carving. There is a good representative woodcut of one of these chairs.

Until Baron Davillier wrote his work on Spanish art, very little was known of the different peculiarities by which we can now distinguish examples of woodwork and furniture of that country from many Italian or Flemish contemporary productions. Some of the Museum specimens will assist the reader to mark some characteristics, and it may be observed generally that in the treatment of figure subjects in the carved work, the attitudes are somewhat strained, and, as has been stated, the outlines of the cabinets are without any special feature. Besides the Spanish chesnut (noyer), which is singularly lustrous and was much used, one also finds cedar, cypress wood and pine.

In the Chapel of Saint Bruno, attached to the Carthusian Convent at Granada, the doors and interior fittings are excellent examples of inlaid Spanish work of the seventeenth century; the monks of this order at a somewhat earlier date are said to have produced the "tarsia," or inlaid work, to which some allusion has already been made.

The Renaissance in Germany.

German Renaissance may be said to have made its debut under Albrecht Dürer. There was already in many of the German cities a disposition to copy Flemish artists, but under Dürer's influence this new departure became developed in a high degree, and, as the sixteenth century advanced, the Gothic designs of an earlier period were abandoned in favour of the more free treatment of figure ornament, scrolls, enriched panels and mouldings, which mark the new era in all Art work.

Many remarkable specimens of German carving are to be met with in Augsburg, Aschaffenburg, Berlin, Cologne, Dresden, Gotha, Munich, Manheim, Nuremberg, Ulm, Regensburg, and other old German towns.

Although made of steel, the celebrated chair at Longford Castle in Wiltshire is worthy of some notice as a remarkable specimen of German Renaissance. It is fully described in Richardson's "Studies from Old English Mansions." It was the work of Thomas Rukers, and was presented by the city of Augsburg to the Emperor of Germany in 1577. The city arms are at the back, and also the bust of the Emperor. The other minute and carefully finished decorative subjects represent different events in history; a triumphal procession of Caesar, the Prophet Daniel explaining his dream, the landing of Aeneas, and other events. The Emperor Rudolphus placed the chair in the City of Prague, Gustavus Adolphus plundered the city and removed it to Sweden, whence it was brought by Mr. Gustavus Brander about 100 years ago, and sold by him to Lord Radnor.

As is the case with Flemish wood-carving, it is often difficult to identify German work, but its chief characteristics may be said to include an exuberant realism and a fondness for minute detail. M. Bonnaffé has described this work in a telling phrase: "l'ensemble est tourmenté, laborieux, touffu tumultueux."

[The Steel Chair, At Longford Castle, Wiltshire.]