ttle that was appropriate for intimate
domestic life. The early Renaissance furniture was palatial,
architectural in outline and, one might almost say, in proportions.
The tables were impossibly high, the chairs were stiff, and the
cabinets immense and formal in outline. It had, however, much stately
beauty, and very lovely are certain old pieces of carved and gilded
wood where the gilt, put on over a red preparation and highly
burnished, has rubbed off with time, and shows a soft glow of colour
through the gold.

But as always, the curse of over-elaboration to please perverted
minds, was resorted to by cabinet-makers who copied mosaics with their
inlaying, and invented that form known as _pietra-dura_--polished
bits of marble, agates, pebbles and lapis lazuli. Ivory was carved
and used as bas-reliefs and ivory and tortoise shell, brass and
mother-of-pearl used as inlay. Elaborate Arabesque designs inlaid
were souvenirs of the Orient, and where the cabinetmaker's saw left
a line, the cuts were filled in with black wood or stained glue, which
brought out the design and so gave an added decorative effect. Skilled
artisans had other designs bitten into wood by acids, and shading was
managed by pouring hot sand on the surface of the wood. Hallmarks of
the Renaissance are designs which were taken from Greek and Roman
mythology, and allegories representing the elements, seasons, months
and virtues. Also, battle scenes and triumphal marches.

The insatiable love for decoration found still another expression in
silver and gold plaques of the highest artistic quality, embossed and
engraved for those princes of Florence, Urbino, Ferrara, Rome, Venice
and Naples, who vied with one another in extravagance until the
inevitable reaction came.

PLATE XVII

An example of good mantel decoration. The vases and clock are
Empire, the chairs Directoire, and footstools Louis XV.

A low bowl of modern green Venetian glass holds flowers.

[Illustration: _An Example of Perfect Balance and Beauty in Mantel
Arrangement_]

Edmund Bonneffe says that in the latter part of the Renaissance,
while the effort of the Italians seems to have been to disguise wood,
French cabinet-makers emphasised its value--an interesting point to
bear in mind.

* * * * *

If we trace the Renaissance movement in Germany we find that it was
Albrecht Duerer who led it. Then, as always, the Germans were foremost
i