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I | FURNITURE AND | | | INTERIOR DECORATION | | f OF THE f 1 | ITALIAN RENAISSANCE | (1 by 1 1 1 FRIDA SCHOTTMULLER WITH 590 ILLUSTRATIONS NEW YORK BRENTANO’S MCMXX1 ~i 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ii 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 M 1 1 1 1 1 1 1 1 1 1 1 1 1 1 M 1 1 1 1 1 1 1 1 1 M 1 1 1 1 1 1 1 1 1 1 m 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ii 1 1 1 1 1 1 1 1 Hlllllllllllllllllllllllllllllllllllllllllllllllirillllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllr: PRINTED IN GERMANY Giuliano da Sangallo: Sandstone Relief from a Fireplace Formerly in the Collection of A. von Beckerath, Berlin FOREWORD T he object of this work is to illustrate the culture of the home in the time of the Italian Renais- sance, the decoration of the rooms and the nature of the single objects of furniture. The former is made clear through the paintings of the epoch, the rooms being reconstructed through their help, the latter by single pieces of furniture and sculpture. The special forms of the house- hold furniture in the different Italian regions have been treated exhaustively in a small compre- hensive work by W. von Bode, often cited here; for this reason the types here have only been considered from the point of view of their form-developments, local peculiarites being only inciden- tally taken into account. To complete the picture a few examples of bronze objects, cushions, stuffs have been added and, for the purpose of comparison, also a few kitchen utensils and works of an earlier and later date. The XVII th century is relatively richly represented, but in the main by such works as preserve the traditions of the High Renaissance. It was not possible for me to examine personally all the objects here illustrated as to their age and state of preservation. Some of them may be of earlier form and later build, some of them even composite pieces of furniture. The Directors of various museums, private collectors and spec- ialists have helped me in my work by information, photographs, or by permitting me to have them made, especially the following: Excellency von Bode, Dr. von Falke, and Dr. Jessen, Berlin, Dr. Back, Darmstadt, Dr. Figdor, Vienna, Dr. Graul, Leipzig, Prof. Dr. O. Lanz, Amsterdam, Dr. Maclagan, London, Dr. Malaguzzi Valeri, Bologna, Dr. Robert Schmidt, Frankfort on the Maine, Professor Dr. Schubring, Hanover, Dr. Silten and Dr. E. Simon, Sale-house R. Lepke, all of Berlin, Mr Stefano Bardini, Mr Elia Volpi and Mr Luigi Grassi of Florence, Mr L. Bernheimer, Mr Julius Bohler and Mr A. S. Drey, Munich. I offer them all my sincerest thanks. FRIDA SCHOTTMULLER 1. Umbrian, End of 15 th Century: Mantelpiece Frieze Gubbio, Palazzo Ducale CULTURE OF THE HOME AND THE FURNITURE OF THE ITALIAN RENAISSANCE k I. THE HOME AND ITS FURNISHINGS D uring the Middle Ages the adornment of the Church was the chief object of the fine and applied arts. In the House of God Romanesque and Gothic art found manifold means of expression. Profane buildings only came in the second line; for this special purpose those forms developed in church ornamentation and church furniture were resorted to and even in royal palaces many things were wanting, which to- day are an everyday necessity in the homes even of simple citizens. Only towards the end of this first great epoch of Christian Culture was a change noticeable, the precursor of a new great period, namely the Renaissance. This Jacob Burckhardt called the “re-discovery of the world and mankind”. Man had ceased to consider life here below as a preparation for eternity; he had discovered the beauty and greatness of the earthly world and strove for possession; spiritually through learning, materially through pleasure. It was no mere chance that the churches of the middle ages towered high above the surrounding dwelling-houses, while the churches of the Italian Re- naissance are often lower than the palaces of the same period. The conception of life had changed; man, espe- cially the Italian, had become more conscious of his own dignity and importance, and this new vitality aroused quite other demands respecting the conduct of life, com- fort and outward splendour in his own home playing no mean part in them. In Italy external circumstances also furthered this move- ment: Till late in the XIV 11 ' century, the large Italian cities, especially Rome and Florence, were scenes of frequent civil broils, the civic halls and palaces of the nobles being so built as to serve as strongholds, their chiefest task being to bid defiance to the enemy. Their characteristics are thick walls of rough hewn stone blocks, heavy iron clad doors and small grated windows set high up from the ground ‘), steep and narrow winding staircases. The living rooms, always in the upper stories, were lofty and spacious, but furnished only with the most indispensable objects and little protected against heat or cold. Such were the homes of the nobility; those of ordinary people were smaller and lower and extremely homely in equipment. In the XV th century civil disturbances gradually grew less frequent and, in consequence of the consolidation of power, they were easily suppressed. There were often entire decades of internal peace. The growing power of single cities and single families was favorable to commerce as also to the development of the crafts; a general well-being was everywhere perceptible. In the same way as this happy state of things made possible a spiritual rebirth, it likewise favoured the tendency towards an ever-growing pretensiousness in daily life. Instead of being satisfied with the bare necessities for existence, ever-increasing sections of the people now found ') The Palazzo Davanzati in Florence (figs. 47 — 60) is the best example of such a palace stronghold. Among the prince- ly mansions built in this style, that of the d’Este in Ferrara is the best preserved outwardly. The more recent Castello Sforzesco in Milan, though built in the Renaissance style, is surrounded by walls and moats like a fortress. VII themselves in a position to aspire after the beauty in life. Luxury, which was only known among the wealthy classes of the late middle ages as far as clothing was concerned, since the end of the XV th century had be- come a matter of course also in their homes and their manner of living. Wealth was no longer the attribute of the old nobility , but was shared by many burghers who had grown great through their own ability both in commerce and politics, such as the Medici in Florence, and the Chigi in Siena; and in the course of time it be- came a custom with the Popes to endow their families with earthly wealth. Thus the number of those continually grew who, being above the multitude be- cause of their own per- sonal aspirations after the good in life, could further culture and civ- ilisation. Even the exteriors of the palaces revealed the wealth and artistic taste of their owners both with regard to size and beauty '). The rough- hewn rustic stones were no longer set one on the other in order to give the effect of a fortress, but separated by grooves, or used for thebasementstory. More frequently rough-cast materials of an inferior sort were employed. Only in the north of Italy and the eastern part of central Italy a peculiar sort of red brick archi- tecture gradually developed. The several stories were divided off from one another by friezes and cornices in imitation of the antique, which formed an effective summit of the building. Just as the steep gable everywhere obtained in the fagades of the northern houses till the baroque age, in Italy, for cen- turies , horizontal mouldings for profane building pre- vailed. But, as early as the XV th century, besides the horizontal divisions, vertical ones came into use. Pilasters, less frequently imbedded columns, were disposed along the fagade at regular distances, and somewhat later also in spaces of varying widths, forming rhythmic bands. The windows of the basement stories were small , and in houses of a more common description accomodation J ) One only needs to compare the facades of Brunelleschi’s and Alberti’s palaces with those of Palladio and Alessi, the Palazzo di Venezia with the Palazzo Farnese in Rome, or the Borgia apartments in the Vatican with the Sala Regia, of which illustrations are to be found in J. Baum’s Baukunst und dekorative Plastik der Friih-Renaissance in Italien (Bauformen-Bibliothek, Vol. 11) and C. Ricci’s Baukunst und dekorative Plastik der Hoch- und Spat-Renaissance in Itahen (Bauformen-Bibliothek, Vol. 13). for shops was provided. The upper stories in Italy, being most healthy, were preferably employed for dwell- ing purposes. In their decoration, too, they were usually richer than the rooms on the ground floor. Glass win- dows during the renaissance were only to be found in churches ; but their occasional although not frequent occurrence in private houses is proved by their being mentioned in inventories 1 2 ). They were mostly composed of glass roundlets (bull’s eyes) set in lead, and were made in France, Flanders and Venice. More often according to descriptions in old books, the window- frames were filled in with oiled paper of a gay colour, or with transparent woven material impregnated with turpentine and some- times painted over'-'). The frames were divided both horizontally and perpendicularly and hinges permitted of ope- ning some of the parts. The lower half, however, could be opened out- wards. The wooden shutters were similarly constructed and till far into the Renaissance were studded with thick nails. These also, in Italy, were of most diverse forms and since the end oftheXV 1 ' 1 century were occasionally ornamented with intarsias 3 ) and carvings. In Florence at that time they were still entirely plain; painted or ornamented ones being far rarer than in the northern countries 4 ). Already in the middle ages the windows were pro- vided with curtains. The apartments were . as a rule, more spacious than those of contemporary Europe. The sense for homely comforts seems to have been deficient in the dwellers of the south, they had no under- standing for warmth and coziness. The hot summer lasted too long a time in those parts, or at least the temperature allowed them to spend the greater part of ') Vide A. Schiaparelli, La Casa Fiorentina, (Biblioteca storica del Rinascimento IV) Firenze, Sansoni 1908, Vol. 1, page 124, where documents are quoted mentioning glass windows, first in Bologna 1335 and a little later in Tuscany. 2 ) Vide A. Schiaparelli , La Casa Fiorentina , (Biblioteca storica del Rinascimento IV) Firenze, Sansoni 1908, Vol. 1, page 128 and sequ.; also C. von Stegmann and H. von Gey- miiller: Architektur der Renaissance in Toskana (Miinchen, Bruckmann) Vol. 11, pp. 5 — 7. Both works contain charac- teristic illustrations after pictures and intarsias. 3 ) These may be seen on the Borgognone frescoes in the Certosa near Pavia. - 1 ) A. Schiaparelli : La Casa Fiorentina, p. 118: Besides this wooden lattices may be seen on paintings (Carpaccio’s St. Ursula’s Dream fig. 35). Phot. Alinari 2. Paolo Uccello: A Small Shop, circa 1450 (Painting, Predella) Urbino, Palazzo Ducale VIII the day out of doors ] ). The Italian since the earliest time has been accustomed to live in the open air far more than his northern brother. The Piazza was the place both for business transactions and friendly intercourse ; then as now the wives and daughters of the people performed their household work, as far as possible, in front of the doorsteps. Only the nobility and rich citizens who thought it bad form to live in public, remained within their own doors. The way in which a people lives has at all times influenced decisively the decoration of the home. The manner of living among the burghers in Italy is much more simple than that of people of the same social standing in the north ; the palaces of the patricians are furnished more with a view to ceremony than comfort. This is the case now as it was in the XV th and XVI th cen- turies. Of a like importance for the decoration of the interiors was the feeling for style among the Italians of the Renaissance. They avoided everything pertaining to the vague in forms and mere outlines in architecture, sculpture, and painting; and in the same way as in the treatment of bronze and marble, they always sought to characterize definite gestures and reflex movements and to arrange the groups of figures in their frescoes so that the whole representation could be grasped at once. The same obtained in the exterior of the buildings; in the arrangement of the interiors they felt that each object must stand out clear and precise and that the whole effect should be one of architectural severity. This we gather from pictures of interiors, as also from the single pieces of furniture handed down to us. En- tire suites of furniture of this period have not been preserved. In this respect the predilection for stone ') Therefore the court plays a much larger part in the south than in the northern countries and is often surrounded by arcades as a protection against rain and heat. or related materials is a characteristic. It was used for fillings, the walls were seldom covered entirely with wood panelling like they were on the bordering districts of Italy and the other side of the Alps 1 ) and what is more important, much of the woodwork and furniture are free imitations of the forms used in stone archi- tecture 2 3 ). As a rule the floors (pavimento) s ) of the ceremonial apartments were paved with chequered flags , often separated by narrow longitudinal and lateral stripes. Far less restful in effect were the bright coloured cube mosaics which, influenced by the work of the middle ages, were frequently favoured in Rome even in the XV th century. In the houses of the burghers burnt brick floors were everywhere prevalent. Generally these were in natural colours, rough, sometimes ribbed, square or of lozenge shape. Where a rich effect was desired, they where glazed over yellow, green, white and red and arranged in checkers like the marble flagged floors. Finally in the second half of the XV th century tiles painted in geometrical or heraldic patterns came into vogue. These were often so arranged as to resemble oriental woven stuffs 4 ). Some of a charming Renaissance design (grotesques) made in Siena, now scattered in various collections, originally formed parts of the richly patterned floor of the Palazzo Piccolomini. Such tiles were made in the workshops in Montelupo and in those of della Robbia in Florence, from the latter came the 4 ) In Upper Italy near the Alps high panelling is most fre- quently met with. The Sala della Mercanzia in the Cambio, Perugia is a rare example of an entirely panelled room. (fig. 46.) 2 ) This is true of columns, pilasters and entablature, con- soles, extended volutes, egg and bead moulding, meanders, mat-work, conch friezes and more intricate motives. 3 ) See Lehnert „I!!ustricrte Geschichtc des Kunstgewerbes“, Vol. I pp. 434/5. ‘) Illustrations may be found in J. Baum’s work pag. 157, 158. IX tiles for the papal private rooms (Stanze) and theLoggie 1 ) of the Vatican 2 ). It was sought to establish harmony in coloring, though not in design, with the other decorative work of the room. It was Michelangelo who first brought perfect harmony into effect when he commissioned Tribolo to repeat the design of the richly carved roof of the Laurentian library for the terra cotta and coloured mastic tiled floor. In the later ceremonial apartments of the Palazzo Vecchio in Florence, the chief lines of the roof decoration are repeated in the design on the yellow and red terra cotta floor. Till far into the XV 11 ' century oriental carpets were very rare : but we know from existing paintings that they were sometimes used even in the XIV th cen- tury. Because of their preciousness they were often spread on the steps before the Madonna altars and ducal thrones. It was in Venice that they first became more popu- lar, for being the open door to the orient, there must have been, at a later period, a large export of these costly knot- ted carpets to the Apennine peninsula. Even woven wall hangings were first only to be found in the homes of the rich. But it is characteristic that already in the XIV th century the walls were painted after designs of woven materials. It is equally true that in most houses the walls were simply whitewashed till far into the renaissance. But with increasing wealth frescoe painting which hitherto had been reserved for the church walls and had formed the chief aim of Italian painters, now found its way into private homes; great masters such as Castagno and Botticelli , Mantegna, Raphael, Pierino del Vaga, Dosso Dossi and numerous others decorated the walls of rich patricians houses. It would form an important chapter of Italian art to describe in detail the frescoes representing historical facts and inventions to be found on the walls of the *) Illustrations Lehnert as above p. 516. -) Compare Schiaparelli as above p. 136. The round majo- lica tiles in the Victoria and Albert Museum in London No. 7632 — 7643. J. C. Robinson’s catalogue of Italian Sculpture p. 59, which show the twelve months in a primitive design were brought into connection with Luca della Robbia’s decor- ative work in Piero Medici’s studio. Compare A. Marquard: imcca della Robbia (Princeton a. London 1914) p. 89 a. sequ. buildings of the Renaissance '). On the whole the rich painting was restricted to the upper parts of the walls. Already in the XIV th century, landscapes, mostly rows of trees, were often to be met with, Leonardo da Vinci brought this motive to a superb monumentality in the Sala delle Asse of the Castello Sforzesco in Milan; Correggio and Giovanni da Udine among others, paint- ed vaults to look like arbours. The chief part of the wall was mostly divided off into fields and decorated with geometrical or heraldic designs. They appear either to resemble wall-paper or the design falls into soft falling drapery. At times a peculiar combination takes place, for instance when stuffs or big fur rugs appear to be suspended on the boughs of the trees (fig. 34) -). In Italy wainscot- ting (spalliera) be- yond the lower part of the wall was only used in profane build- ings of a public character, such as guild halls and mu- nicipal palaces. In the sacristries the boiseries served to conceal the cup- boards hidden behind them , a use which later found its way into private houses. Such are mentioned in inventories of the Medici family; an extremely fine example of painted panelling still exists in the study of Francesco I. in the Palazzo Vecchio in Florence, (fig. 62). T he wall - panelling was about a man’s height from the floor and usually divided into perpendicular oblongs; in cases where it was lower the horizontal oblong was preferred, or in order to maintain architectural rhythm, they were used alternately or replaced by a quadratic filling. The brown surfaces were relieved either by narrow border friezes or intarsias, landscape motives, still life and various subterfuges were resorted to in order to deceive the eye. Thus the Stanze della Segnatura in the Vatican was originally decorated with beautiful panelling showing ] ) See Illus. Baum as above pp. 134 — 41. 2 ) Important fragments of profane painting of rather early date are also to be found in the Museo of San Marco in Florence, published in II Centro di Firenze (Florence, Bem- porad 1910). Schiaparelli as above, pp. 146 — 7 derives the latter motive from the tent-like shelters favored by the war-loving barons. These imitative paintings, of the late Middle ages were, in the Renaissance, replaced by woven or leather stuffs stretched in wooden frames, which in Venice were frequently employed instead of wainscotting. (fig. 32.) Phot. Alinari 5. F. Pesellino: Simple Bedroom in Florence ca. 1450 (The Miraculous ITealing. Louvre, Paris) X charming vedutes painted by Fra Giovanni da Verona 1 ). And a still greater display of imagination is exhibited in the decorations of Duke Federigo da Montefeltro’s small study in the castle of Urbino, the panelling of which conveys the illusion of open cupboards containing books and all sorts of things, of benches on which weapons, instruments and manuscripts seem to be plac- ed in motley confusion. Unfortunately the twenty -eight portraits of famous men of genius which once graced the upper part of its walls, are no longer in their places, having been scattered abroad in different museums 2 ), so that we can only imagine the general impression this study once made but can no longer fully appreciate it in its entirety’ 1 ). The same is true of the private rooms (il Paradiso) of Lady Isabella d’Este in the Reggia of Mantua, which for their noble proportions and harmony of their rich decorations, carvings , in- tarsias and co- loured marble ornamentations may be called a gem of Italian home culture. A more austere effect is produced by inlaid work where it is exclusively employed for ornamental purposes, when only two shades of colouring are used. This may be judged from Ghirlandajo’s fresco of the Birth of the Holy Virgin, in S. Maria Novella, in Florence, where, moreover, the upper part of the wall shows a relief instead of the (usual) coloured painting (fig. 38). In some cases, panel work may have been removed later, for fashions changed, or because hangings reaching down to the floor were used to cover the walls. In other cases the desire to employ the panel-paintings for other ') Vasari, English edition, translated by A. B. Hinds, Vol. IV, p. 53. 3 ) Bombe, Justus of Ghent in Urbino. Mitteilungen des Kunsthistorischen Institutes in Florenz, Vol. I. (Berlin 1909), p. Ill and sequ. 3 ) L. Venturi believes that the panelling was made be- tween 1472 and 1482 by Baccio Pontelli who learnt tarsia- making from Francione and Giuliano da Maiano, the “Three Cardinal Virtues” being made after a design by Francesco di Giorgio Martini. (L. Venturi, L’Arte Vol. XVII, 1914, pp. 450 — 459, figs ib.) purposes might have been the reason of their removal '). In all cases, however, the panelling terminated at a man’s height above ground in a profiled moulding with a narrow shelf, where bronze statuettes and small ob- jects of household use were placed, while sculptures of a larger size were installed on the mantlepieces or above the doors 2 ). Where the upper parts of the walls were merely white- washed, pictures were hung there, or in some cases the entire surface was covered with them, as in the studio of Urbino. Tapestries were brought from Flanders and France in the XV th century, and even earlier; but only in the palaces of the wealthy princes were they to be met with in larger num- bers. It is char- acteristic for the age of the High Renais- sance that the wall surfaces show an archi- tectonic divi- sion; horizon- tally by a spe- cial decoration of the lower parts of the walls in place of wainscotting; and vertically by pilasters and pilaster- like stripes. And, since the middle of the XVI th century, partially rounded statues were placed between the pictures which, even if painted in fresco, were surrounded by stucco frames. Such may be seen in the Sala Reggia in the Vatican and in the gorgeous corridor of the Palazzo Spada in Rome, which is of more recent origin. By that time a pompous decoration of the apartments of the patricians had almost become the rule, especially in Venice. Francesco Sansovino 3 ) mentions an infinite number of palaces in the city of lagoons in which the walls of the apartments were covered with gobelins, J ) Schiaparelli, in the work quoted above, page 168, and seq, expresses the opinion that many paintings which formerly were believed to be coffer-paintings originally had their places in or above, a panelling. Schubring supposes that intarsias were used for the lower part of the walls, the pictures being placed above them. (Cassoni, Leipzig 1915, pp- 9 — 11.) "’) The largest panel work and wall coverings made of stuffs or leather are to be found in Upper Italy, especially in Venice (fig. 65). In the Ducal Palace in Venice there are extremely fine boiseries of a later period, (figs. 66 and 67.) In Central Italy, marble wall facings, and imitations of such, are not infrequent. 3 ) Venezia nobilissima (Venice 1580) p. 142. Phot. Brogi 6. Fra Filippo Lippi: St. Augustine in his Cell (segment) XI silken hangings 1 ) or pressed leather' 2 ) and the floor laid over with carpets. The latter were frequent even in the houses of the burghers. Sporadic cases of this form of luxury existed soon after 1500. Thus Bandello in his 42 d tale describes the house of the Roman courtesan Imperia, whose apartments were all decked out with velvet and brocade, one of them even with gold brocade, while costly carpets covered the entire floor. Besides richly ornamented furniture superb vases of coloured marble were there, the table was spread with a rich velvet cover, a musi- cal instrument and some precious books lying upon it. And in the 4 th tale the poet depicts a bed- chamber whose walls were hung with richly embroidered red vel- vet and contained, besides the state bed a table , four arm- chairs of red velvet, and no less than eight carved chests and several pictures by Leonardo da Vinci. Although — on men- tion of these pictures — the whole seems rather a poetical in- vention than the description of a real apartment, it may be assumed that richly decorated rooms really existed at that time 3 ). The ceilings were sometimes vaulted, in imitation of the naves of churches or of public halls; as a rule, however, those in private houses were flat timbered. In the XV th century the simple construction left the parallel brown joists visible, the girders being emphasis- ed by slightly projecting small consoles. Afterwards, evi- dently bearing some relation to the classic stone ceiling, the coffer-work ceiling came into vogue ; this gradually developed into richer forms beautified by carvings until these for themselves finally served a purpose, and the regular filling in of the surface by receding quadrangles was replaced by more spacious architectural arrangements *) The Venetian pilaster decorations with trophies made of woven silk which are now in the textile collection in the Museum for Arts and Crafts, Berlin, appear to us as an aber- ration of taste. 2 ) The rare and costly leather tapestries, which frequently were painted with gold or silver, were probably imported from Spain. Vide : Schiaparelli, as above quoted, pp. 229, 230. 3 ) Jakob Burkhardt, Geschichte der Renaissance (5 th edition) page 320. of different forms. This transformation was occasioned by the circumstance that the ceilings, whether flat or vaulted, and also the upper parts of the walls, were decorated by stucco and plasterwork '), either tinted or white with slight touches of gold , or with charming alternations with paintings. The latter was favored in the XV th century for covering gothic vaultings until the new renaissance forms, developed in church architecture, were taken over for profane buildings and adapted to their special purposes. As in the middle ages, now also it was sought to produce an harmo- nious effect between the mural painting and the painted vault- ing. Only the sur- face-like treatment of the decoration was replaced by arrange- ments of an architec- tonic character, either painted or in relief, the handling presenting more broad features. But this manner of dec- oration had no bear- ing on the con- struction of the buil- ding. And the same must be said of the vaulted wood ceilings of the renaissance, the most charming specimen of which is doubtlessly the already mentioned closet of Isabella d’Este in Mantova. The most important decorative object, apart from the furniture, was the fireplace 2 ). It had been in use in Italy since the XIV th century and in the age of the re- naissance it was doubtlessly to be met with in many a reception room and bed-chamber. The fireplace, which in the burgher’s home had served for giving warmth and for cooking purposes (fig. 2) , had developed into an ingenious construction of decorative architecture even towards the end of the middle ages. It was flanked by low stone benches or narrow walls supporting the mantel- piece or hood (fig. 538). Then it began frequently to broaden out while the mantelpiece was emphasised by lending it an entablature, the supports being formed like pilasters or enriched with balusters or columns. All the surfaces were ornamented or covered with storied reliefs (figs. 539 — 550). When possible, the end of the 0 For detailed account on the decoration of the ceiling see Jakob Burkhardt as quoted above, pp. 343 — 358. 2 ) See Schiaparelli, in the book quoted above, pp. 88 and sequ. .t'iiot. Anderson 7. Marriage of the Adimari (segment). Painted on a Chest about 1450 Academy, Florence XII 8. Florentine Banqueting Hall (Feast of Aeneas and Dido). Painted on a Chest Kestner Museum, Hanover gable-shaped hood was fixed into the wall, or it was hidden by plastic decorations (fig. 546) ’). The doors likewise were sculptured * 2 ); and with them still more than with the chimneys, the imitation of classic forms seemed a matter of course. The plastic ornaments were still further enriched by the employment of materials of different colours (fig. 534/5). It was perfectly in keeping with the Italian predilection for spacious rooms, and with the new consciousness of human dignity and social position that the passages were beautified and made loftier ; the cultured sense for architecture demanded that every opening in the wall, whether chimney or door, should be finished off by a cornice (figs. 530 — 533). Wooden door frames from renaissance profane buildings have scarcely been preserved to us, but many wings of double doorways which are simply divided into panels and studded with massive nails, or ornamented with carvings, have come down to us, while in the interiors intarsias and plastic ornaments were combined, or the latter employed alone (figs. 519 — 529). For small doors in the houses of the burghers, narrow bands of intarsia work were thought sufficient, these, however, produced a very pleasing general effect. When a greater display of sumpt- uousness was intended, sculptured friezes, and storied ') Simple andirons are mentioned in inventories as early as 1418. or ornamental panels were chosen (figs. 515, 517 and 518); or the panel was painted to produce the illusion of niches with statuettes or profiles, or even of open cup- boards in which books lay heaped together (fig. 516) '). Such motives, not quite suitable for doors, were alto- gether abandoned in the XVI th century. Here, too, the more multiform ornamental carving became the vogue (figs. 523, 525—527). The culture of the home, during the renaissance, was, as a rule, considered in its entirety ; only the perspic- uity of the architectural proportions in the total effect of the interior arrangements, as well as in each single form , is characteristic throughout this happy period. Its single evolutions greatly differ from one another; and a most momentous development is clearly discern- ible. From simple forms of construction, throwing into relief the rigidity of the walls, it proceeded to a multi- form division of all the surfaces, rendering them con- spicuous by diversifying and enlarging all the profiles. The bright colouring gave way little by little, being restricted, or entirely replaced by sculptured accessories. This may also be maintained regarding the wall cover- ings, furniture, paintings and intarsia work. The inter- connection of the several parts was made obvious by ') Two very beautiful door wing’s with purely ornamental intarsias from the Palace in Gubbio are contained in the I'igdor Collection, Vienna (reproduced by Stegmann in Kunst und Kunsthandwcrk X, 1907, p. 124). 2 ) Illustrations of chimneys and doors may be seen in J. Baum’s work, already cited, pp. 271 272, 163 and sequ. XIII the identity of the motives, or by a like division of the floor and the ceiling; or the latter was brought into relation with the walls by means of the decorations. The covering of the walls with plain velvets or silks in place of verdures and storied tapestry, is also charac- teristic for the change of taste; at the same time the increasing wealth became manifest in the more sump- tuous furniture of the apartments of the patricians. II. FURNITURE General Remarks Household Furniture ') may be considered as either movable or immovable. In ancient times the character of transportable furniture was often indicated by form- ing the feet like a lion’s paw or that of some otheranimal. This motive was even emp- loyed in marble tables, al- though their size together with their great weight, lends them the appearance of decorative stone sculp- tures rather than furniture (fig. 23). Although but few pieces of wood -work ') Bibliography: Wilhelm von Bode, Italian Household Furniture of the Renaissance (2. edition, Leipzig, 1920) a work which could be cited on each of the following pages. Of importance also is: Arts and Crafts at the time of the Renaissance by G.Swarzenski and W. Behnke in Lehnert’s Illustrated History of Arts and Crafts, Vol. I, pp. 423 and sequ.; Lessing, Designs (Vor- bilderhefte) from the Royal Museum of Arts and Crafts (Berlin 1899- 1905) numberl2 (Chests), 14 (Furniture of the XVI th century) and 15 (Doors) ; A. G. Meyer, (Illustrations) for the history of the forms of furni- ture (Leipzig 1902, and sequ). George Leland Hunter: Italian Furniture and Interiors, London and New York, treating chiefly of furniture owned by Americans and English in their respect- ive countries, and in Florentine villas; Molinier: Histoire generate des Arts appliques a l’lndustrie (Paris 1896 — 1900) Vol. II which deals principally with church furniture, (parts are now out of print). G. Ferrari : II Legno nell’ Arte Italiana, likewise about church furniture and ceilings and panelling. On the Culture of the Home in the single villages: Molmenti : La Storia di Venezia nella Vita privata. Vol. II. Bergamo 1906. G. Ludwig: Venetian Furniture at the time of the Renais- sance, Italian Researches I (Berlin 1906), Malaguzzi-Valeri : La Corte di Ludovico il Moro, Vol. I, (Milan 1913) and others. The most important collections of Italian furniture are to be found in the Schloss-Museum, (Museum for Arts and Crafts, in the old imperial castle) in Berlin; in the Landes-Museum in Darmstadt, in the museums for arts and crafts in Leipzig made of wood have come to us from Greek antiquity, it is certain that the Greeks were perfect in crafts- manship. Vase ornamentation shows us that already in the sixth century B. C. house- hold turned furniture was in use. In the following saeculum veneering, intar- sia and sculptured de- corations were employed on coffins and we can imagine that such were also used to ornament household utensils. Hellenism refined all domains of craftsmanship, and the luxury everywhere and Frankfort on the Maine, Hamburg and Vienna, in the Victoria and Albert Museum, London, the Museo Civico, Turin, and the Castello Sforza, Milan. In the Palazzo di Venezia in Rome, a collection of furniture is now being formed. Besides, numerous other collections contain inter- esting pieces of furniture plac- ed between pictures and statues, as e. g. in the Kaiser Friedrich-Museum in Berlin, the Museo Nazionale in Flor- ence, Museo Poldi-Pezzoli in Milan, Musee Andre-jacque- mart in Paris, Liebig House in Frankfort on the Maine, and other cities and towns. Of all the private collections, Dr. Fig- dor’s in Vienna ranks first. Besides this the following should be mentioned: Dr. E. Simon’s in Berlin, those of Prof. Dr. Lanz in Amsterdam, Stefano Bardini in Florence, EliaVolpi in the Palazzo Davanzati, Luigi Grassi and lastly that of Hubert Horne, recently bequeathed to the State, and others to be found in some of the villages in the environs. Milan possesses the large collections of the brothers Bagatti- Valsecchi, that of Dr. v. Beckerath in Berlin was sold by auction in 1915. On the occasion of the jubilee at Rome in 1911, several rooms tastefully decorated with High Renaissance furniture were on view at the Mostre Retrospettive (retro- spective show) at the Castel Saint Angelo. (Illustrated in “L’Arte” XIV th 1911, pp. 447 and 459.) Besides these, a large number of good single pieces, and many made up of different parts, as also copies of ancient furniture, are to be found in divers public and private collections in Europe and the Uni- ted States. 9. Kitchen in House of Patrician after 1600. Engraving XIV prevailing under the Roman emperors found its expression in the culture of the home. But the Italians of the Renaissance, who found immediate in- spiration in antique architecture and sculpture possibly never saw even a single piece of wood furniture : at most only such made of stone or metal. They were , to a large extent, dependent on the types of the late middle ages, in which, it is true, some single pieces showed the in- fluence of the antique. Their habits of life more nearly approached those of the immediate past than those of a thousand years earlier, and in this respect a creative development of the renaissance style was necessary x ) which from the point of view of art de- serves no less appreciation than the construction of churches and palaces. The culture of the home during the Gothic period of art was , on the other side of the Alps, more highly developed than in Italy, a fact which is suf- ficiently explained by the political conditions pre- vailing in the Apennine peninsula, and the habits and customs of the south- erners, as already men- tioned. Still Gothic furni- ture only arrived at perfection in the fifteenth century, at a time when, in Italy, the renaissance had reached its culmination , and northern influence is unmistakable till after 1500, in Liguria 2 ) Piedmont, Lombardy, and Venetia. There was an interchange between both sides of the Alps 2 ). It even accorded with the artistic taste of the city of lagoons to combine Germanic motives with those of the orient and central Italy to a charm- ing effect on one and the same piece of furniture (fig. 78). In northern Italy no new completely pure style could be created. The cradle of home culture was Tus- cany, which not alone invested architecture, painting and sculpture with new forms, but also furniture. From the Arno the new style found its way both to the north ') Only classic forms of marble tables were directly copied in stone and wood. 2 ) Numerous examples exist in the Museo Civico, Turin. ') Vide: Robert Schmidt: Mbbel (Bibliothck fur Kunst und Antiquitatensammler Vol. 5), 3 cl Edition, p. 70 and sequ. and to the south. The first centres of furniture-making were Florence and Siena; from there it found its way to Rome and Venice, finally Milan, Genoa and Bologna gained importance in this respect. But the roving hab- its of the artist-designers and their collaboration with native wood-carvers and cabinet-makers as also with foreign intarsia artists, often make the local peculiar- ities imperceptible. The contrasts between the early and later works of this period are more easily distinguishable. The culture of the home received important stimulus from the churches and their decorations, this influence, however, being of a still higher degree in the middle ages. It was not so much the altar ornaments as the choir stalls, the sacristy fur- niture, and that of the adjoining rooms, which offered valuable examples (fig. 195). Then the fruc- tuation became a mutual one. Famous artists design- ed decorative objects for the Church and private houses, and notable wood- carvers and intarsia-makers ornamented both ; house- hold and church furniture are often so much alike in form and decoration that it is hardly possible to find out which purpose the single pieces were originally intended to serve '). Moreover many fine examples came from the nunneries and monasteries which formed the connecting link between sacred and profane architecture, (figs. 201, 202 and 212.) And it is exactly these build- ings which are often so richly decorated or the furniture of so pure a form that tell us only notable artists could have conceived them. With regard to this point we are best informed concerning the Badia, at the foot of the Fiesolan hills, which Cosimo Medici had restored 2 ). Francesco Sforza also took special interest in the mag- nificent decoration of the Certosa, near Pavia, and the ') This is equally true of benches and cupboards. 2 ) The intarsia door (fig. 515) came from this abbey. For the architecture and decoration of this religious house the following works should be consulted : C. v. Stegmann and H. v. Geymiiller, cited above, Vol. I, Brunnelleschi pp. 49 58 and G. v. Fabriczy, Filippo Brunelleschi p.594; and Jahrbueh der preuss. Kunstsammlungen, XXIV 111 Supplementary number p. 137, (Giuliano da Maiano). 10. Pantry. Engraving. (After 1600) XV apartment of the abbess in the Parma nunnery must have been a charming work of art when below Cor- reggio’s frescoes the delicately carved furniture, part of which is now in the Parma Museum, was in its destined place (fig. 547). There were, and are even to-day, far fewer pieces of furniture in the rooms of the Italians than in those of a like size on the other side of the Alps. This stately spacious- ness appears to us almost emptiness, and more especially the ceremonial apartments, which were furnished with carpets, cushions and hangings only on festival occasions, must have seemed cold and bare at ordinary times. We gather from pictures that already in the middle ages stuffs played a great role in the interior decorations. Often costly oriental or Italian woven ma- terials may have been used to cover roughly put together pieces of furniture, for only during the renais- sance didtheyreceive that perfection of form which allowed of their being ex- posed to the scru- tiny of all comers. In the sleeping apartments the ample bed often oc- cupied the most prominent place. In reception and living- rooms the centre was sometimes emphasied by a table which not infrequently was of monumental form. Chests, benches and sideboards were placed along the walls, especially the first mentioned, which, as late as the XVI th century were predominate everywhere 1 ), lending to the whole of the wooden furniture the appearance of being a determinate part of the architecture, forming a kind of base to the wall. It was no mere chance, but from what has been said, it rather seems natural that the Gothic cupboards with long slender columns never found way in Italy (figs. 235 — 6); just as coffers with a high substructure open in front are only of exceptional occurrence, and then only near the Alps (fig. 98). Neither did these substructures, or chests supported only by slender pillars, conform to the taste of the southerner. The big sideboard and most of the coffers were planted terra firma on the ground. Only the smaller cupboards and the chests were provided with low feet, and in the high renaissance frequently finished off with an orna- mental carved and painted stretcher to hide the other- wise empty space, (fig. 138). The predilection for such a primitive object of furni- ’) In inventories they are far more numerous than all other pieces of furniture, Vide Bode, p. 29 and sequ, figs. 4, 5 and 35. ture as the coffer, which yet allowed of so manifold a use, was traditional since the middle ages and primi- tive forms as self - understood and purposeful as were the simplest form of architecture for tables and bedsteads, cupboards and chairs. But it was just this almost as- cetic plainness which constituted the postulate for its development 1 ). For here no traditional form of expres- sion derived from a different feeling for style stood in the way, when motives of monumental architecture were taken over and changed in accordance with the new task and material. Moreover the custom of a plain but solid performance was a preservative against the danger of a too rapid growth of rich or even overdone forms and flamboyant or- namentation , before the single types of furniture had devel- oped into a shape best suitable to their respective purposes. Materials Different sorts of wood 2 ) were used in Italy at that time. Chestnut, elm and poplar were employ- ed for ordinary ] ) Schiaparelli says (in the work cited above p. 23 and sequ). that till 1384 fixed measurements were prescribed by the Florence guild of cabinet-makers for the single types of furni- ture. I he employment of different woods and the application of profiled mouldings which would have rendered difficult the presence of veneer being seen, were prohibited. Previous to being painted or mounted with woven stuffs or leather (only ass’s leather was permitted) a guild foreman closely exam- ined the pieces of furniture. Permission to make it other- wise than according to prescribed rules (called extralegali or isfoggiati) was only granted against payment of a certain tax. This became more and more the fashion in elegant house- holds for as early as 1418, veneered furniture, decorated with mouldings and intarsias are mentioned in one inventory. The plain pieces of furniture (called regolati) were removed into the top story, or the servants’ rooms, or sold to more humble citizens. In the country they probably were preserved longest, as we may infer from inventories of the XV th century in which they are designated “selvatico”. Decisive for this evo- lution was the discovery of the saw-mill in the XIV th century and consequent upon it a most important constructive inno- vation was introduced in the XV th century, namely the forming of furniture out of framework and fillings, a circumstance which Schiaparelli omitted to mention. Carpentry was now supplanted by cabinet -making, dove -tailing came also into use at that time (fig. 19) vide: Robert Schmidt, as cited above, pp. 38 — 40, 46 and 70 — 72) ; and J. Brinckmann, Hamburgisches Museum fiir Kunst und Gewerbe, description of furniture and wood-carving, pp. 3—9. 2 ) No account is taken here of furniture made of other materials, such as iron bedsteads, lamp-brackets, washhand stands (figs. 51 and 58) or marble tables and marble wall- basins (figs. 536 — 7). 11. Andrea della Robbia (?): Relief in Coloured Glazed Terra Cotta Formerly A. v. Beckerath’s Collection, Berlin XVI furniture, and also for the ground-work of intarsias. Pitch-pine , stone-pine , cypress , yew-tree and ash were more highly valued, but the highest esteemed and most frequently chosen material for costly objects was the hard, dark-toned walnut, especially since the age 12. Rome about 1475. Marble Altar Balustrade Kaiser Friedrich-Museum, Berlin of the High Renaissance when people had come to know that the noblest effects are obtained by the material itself, and not merely by the employment of colours and inlays. It is true, even at that time, both wood and gilding of single parts of the furniture were painted over with transparent colours, in order to bring about a complete harmony of the whole. But this transparent colouring did not conceal the grain of the wood, which, in truth, is its soul; and well preserved pieces of this kind, with the lustreless polish of the wax -coating, possess most of the beauty of antique bronzes hoary with lovely patina *). In the early part of the epoch panelling, chests, bedsteads, and other articles of furniture were decorated with coloured paintings or intarsias, or the fronts of the coffers were ornamented with flat stucco-reliefs either entirely gilded over, or partly painted in colours 2 ). It may be that this technique was originally a substitute for the more costly gilt-enamelled copper-plates of the Holy Shrines. Stuff and leather mountings seem also to have been of frequent use in earlier times; in later ones when employed at all, it was only for the facings of the chests. But as a covering for upholstered seats ') In many cases this effect is barbarously spoiled either by injudicious restoration or by varnishing' the objects over. 2 ) This technique was longest preserved in Venice, where it was employed together with narrow arabesque ornaments on a blue ground, as late as the middle of the XVI th century. Casts were first made and the forms then only touched up where it seemed necessary, this is proved by the recurrence of the same design on different chests. (Vide: 77, also Schub- ring, Cassoni, p. 229, No. 44 and p. 232, No. 62.) these materials have gained an always increasing import- ance since the XVI th century ; previous to this epoch, chests, benches, and chairs were simply spread over with stuffs, or cushions. Ornamentation by means of intarsia work, known as early as the XIV th century, which de- veloped into richer forms after 1450, denotes a progress towards a right treatment of the material 1 ). Originally the artists merely availed themselves of the contrast between the dark brown ground and the light inlay, employing geometrical forms only ; afterwards heraldic forms, bands, festoons, chandeliers, cornucopiae and vases, arabesques with masks of animals, cherubs and fabulous beings became popular. The employment of dif- ferent kinds of wood, either in their natural colours or dyed, afforded a modest scale of colours between yellow, grey, green, brown and black; but it was just this limit- ation which stimulated the imagination of the artists ; and when the striking effect obtained by simple per- spective foreshortening, and the suitableness for intarsia motives of this kind was recognised, this art soon at- tained a quite peculiar florescence 2 ). Figural represen- tations now alternated with landscapes and pictures of open cupboards containing all sorts of objects; and it was precisely this still life, — the first since the classic period — which enjoyed a general favour on 13. Rome about 1475. Marble Altar Balustrade Kaiser Friedrich-Museum, Berlin account of its surprising realism (figs. 154 — 5). Most of such representations are to be found on church furni- *) Vide: Demetrio Carlo Finocchetti: Della scultura e tarsia in legno dagli antichi tempi ad oggi (Annali del Ministero di Agricoltura, Industria e Commercio). Firence 1873, with a detailed register of the best known wood-carvers and intarsia- makers. pp. 289 — 306. 2) Benedetto Dei, in his chronicle (about 1474) mentions the existence of eighty-four wood-carvers’ and intarsia-makers’ workshops at that time in Florence (Schiaparelli, in the above cited book, p. 243). 2 . XVII ture, such as choir-stalls and lecterns; in private houses they were of less frequent employment, being chiefly restricted to panelling and the profiles of chests. The most beautiful profane work of this kind is handed down to us in the already mentioned study of Federigo Monte- feltro in Urbino; the finest ornamental intarsias existing are perhaps those of the Collegio del Cambio in Perugia, and some few others in divers Florentine churches (fig. 195). Intarsia 1 ) may be considered as an intermediate stage between the painted ornament and architectural decor- ation. It bears some relation to wood- carving where it fills the surfaces with storied reliefs; on the other hand it tends nearer towards architecture where it avails itself of masks, hermae, egg-moulding and cartouches. Pain- ting, intarsia and wood-carving did not follow one another chronologically, but were, for a long time, of con- comitant occurrence. But painting and intarsia existed already at an earlier period and disappeared at the time when architectural and sculptural ornamentation developed into more rich and suitable forms. Profiled top and base mouldings on cupboards and chests were the first step made in this direction. They were of common use for all inlaid and painted coffers in the true renaissance style; but in the course of this epoch richer modi- fications of these horizontal divisions gradually developed ; as also in the vertical ones, favoured by the frame- construction 2 ), the supporting parts being brought into prominence by lending these the form of pilasters, hermae, and columns. Later on, consoles occasionally found favour in tables and cupboards below the pro- jecting tops, or classic forms of en- tab'ature were applied in free imitation. The uprights, tables and chairs gained in richness and expression, their forms becoming more harmonious and stately. Figural and ornamental carvings were not at all rare in the XVI th cen- tury; the most precious pieces of furniture of that period, however, were not the richest in decoration, but *) A variety of intarsia work in Upper Italy is known as Certosina, where, instead of dyed woods, whete tinted bone inlays were employed in stars and circles, of manifold variations and in ever recurring motives: as isolated ornaments they are found, in chair frames ; to a richer effect they were com- bined as diapers, peacock feathers and foliage on the lids and sides of chests. The name suggests that the environs of Pavia gave life to this peculiar technique; to-day, however, one is rather inclined to think that it was Venice, on account of the unmistakable influence of Islamic Art (figs. 403 — 4 and 86 —88). -) Vide: p. XVI right hand column, Note 1. those which through their noble proportions and beauty of workmanship revealed the high cultured taste of this flourishing age. Still as late as the XVII th century, furniture of an austere simplicity was made in some parts of Italy, which, apart from their decoration, betray the late period of their birth by their weighty massive- ness. Even in the baroque age, when all forms were assimilated to the curved line of the contemporary style, Italian furniture preserved all the important characteristics for artistic effect. The Chest or Coffer Coffers are nowadays often known by their Italian name “Cassone”, but during the Italian Renaissance, they were sometimes called “forziere” 1 ). Forziere means chest or box, and up to the XVI th century one and the same chest may have served both for the home and to take on journeys to serve the purpose of a box, a seat and a bedstead. But a differentiation according to the condition and the wealth of the owner must have been attempted at an early period. The chief requirement of a “travelling box” was strength , therefore it had to be plain in form and make, while a more elaborate shape, and decor- ations liable to be damaged could be allowed on chests determined for home use only. Special types were here developed according to the special purposes required; the low chest which merely served as a box, was provided with a raised decorated lid 2 ), the high table-chest had a flat top. The chief object of the bench-chest was to afford a comfortable seat ; but at the same time it was still a box, though part of the seat could be raised. Among such chests which before all were to serve as boxes, the so-called bridal coffers were the most richly decor- J ) Paul Schubring, who in his great work: Cassoni, Truhen und Truhenbilder der italienischen Renaissance (Leipzig, 1915) treats of this matter and especially gives a fundamental and exhaustive account of chests and chest ornamentation in their bearing on the general history of civilisation, expresses the opinion that in the Quattro- and Cinquecento the term Cassone was mostly used (pp. 13 and sequ), while Schiaparelli (in his above cited work pp. 294 and seq), admits the name forziere for all kinds of coffers, and cassone only for the tall table-chest. 2 ) The interiors of the chests were frequently lined with woven stuffs, and inside the lids were sometimes ornamented with paintings. Schubring says that of 600 chests which he examined, 400 had interior fittings; occasionally they were provided with complicated secret places. 14. Later part of the XVI th Century, Painted Linen Wall Hanging Kunstgewerbe-Museum, Frankfort on the Maine XVIII ated '). They usually contained the outfits of the young married couple, their decoration frequently bore some relation to the festal event; as for instance the armorial bearings of the young pair, legendary representations such as the judgment of Paris, or the Rape of Helena, and even the wedding ceremony itself were sometimes pictured. The most ancient coffers were similar to oblong, four- cornered boxes (figs. 69 and 73). Most of them, especi- ally the travelling ones, were mounted with strong iron bands which some- times were painted over; on both ends they were prov- ided with iron handles * 2 ). Afterwards, in the XV th century , a form slightly receding at both ends, came into vogue, whose softly curved ground line vibrates like the rhythm of a gothic line (fig. 89). During the renaissance this motive was more strongly accentuated and in the XV th and XVI th centuries it is also occasionally met with in chests curved on one side only, namely when it was destined to be placed near a door, and therefore seemed to require this form (fig.121). This curved shape grew in importance for it allowed of sitting com- fortably upon it; this pleasing turn being soon ') The most magnificent chests were placed on low pedestals which, in proportion and contour, formed their architectonic complement. For travelling purposes they were covered with special cases to protect them from wear and tear, such as the bridal coffers of the Lady Paola Gonzaga (Schubring pp. 355 and sequ). 2) The employment of handles was customary also on richer chests up to baroque period, and is even met with on cup- boards. The key-hole was, as a rule, roughly cut, and with- out ornament. Only since the middle of the XVI th century it frequently took the form, on richly carved chests, of a gor- gon’s mouth. The keys, on the contrary, already in earlier times, were richly adorned, gothic motives being in vogue far into the age of the Renaissance (fig. 17). The metal mounts on the outer and inner side, especially in the North of Italy, frequently served as ornaments, (fig. 18). In Upper Italy they are always fixed into the wood, sometimes over a coloured ground which rendered conspicuous its fine pierced work ; on the other side of the Alps such metal decorations were applied plastically. given even to such coffers as were exclusively used as boxes. The profiles became more and more accentuated during the renaissance , the upper curve below the lid was less round than the lower one, but they were in perfect harmony; the horizontal parts were distinctly separated from each other and rendered more and more conspicious by profiled mouldings until finally a form resulted which to-day is considered as typical for the sarcophagus (figs. 91 , 81, 124, 134 — 5, 140). The marble coffins of the early renaissance, however, were like plain boxes, simi- lar to the chest of that period, and the trans- formation, under the in- fluence of classic models, simultaneously took place in monumental stone work, and in wood furniture, the plain early form, however, never being quite aband- oned *). Painting, being the ear- liest kind of adornment, and also the later manner of decoration by means of gilt or painted stucco re- liefs 2 ) are principally found on chests with rectilinear contours (figs. 74 — 77). The same may be said of the wood-engravings pasted on to the fronts of the chests which, slightly co- loured, often imitate the patterns and the effect of intarsia work. This art was sometimes practised in Lombardy 3 ). Paintings and stucco reliefs in early times were often mere imitations of stuffs which in the late middle ages frequently served as mountings or coverings for chests. This be- comes particularly manifest where stencilled quadratic motives are repeated over and over again (fig. 73). In the course of the XV th century the painted board and ') Figs, to be seen in Baum’s work cited above pp. 223 and seq. — Vasari, in his Vita Dello Delli (Milanesi II, p. 148) speaks of the painting on large wooden chests as “a uso di sepolture”, and Schubring, in the above cited work (p. 5) says that he found in a long chest, the body of a knight. 2) Vide p. XVII. 1. ’) Illustration in the above cited work of Schubring, Plate No. CLV. Fragments of large woodcuts of Loinbardic origin show that probably this technique was employed in Lombardy to imitate wall paintings, that is to say, they may be called the first paper hangings. 15. Tuscany 1585. Bronze Lamp Cathedral, Pisa XIX reliefs became more and more popular. Large and connected representations frequently filled the front of the chest, or, better said, its middle field, (fig. 96) for the independency of the decoration and the new natural- ism of depiction urged the employment of an efficacious framework. Therefore the architectural construction of the chest was not alone determined by its use but at the same time corresponded to the new art of painting 1 2 3 ). Such chests ornamented with intarsias (figs. 90, 92, 94, 95) were divided off into several fields and in Upper Italy, about 1500, only small paintings were inserted in the plastically carved fronts (figs. 83, 84). It was quite otherwise with the later Bolognesian cupboards on which intarsias were imitated by inserted bright-lined stucco work. In these the fronts are ornamented with a charm- ing acanthus motive throughout the entire surface (fig. 113). Wood-carving on chests was in com- mon use already dur- ing the middle ages, and numerous ex- amples of furniture ornamented with gothic motives, ge- ometrical rosettes and figural represen- tations done in chip or flat carving have come down to us, especially fromUpper Italy-), (figs. 99,100). The latter at times remind printing. The effectful high to express architectonic purpose, renaissance. Chests were then ornamented with wood -carving of manifold designs. The ends were emphasised by diagonally placed figures, the fronts by pillars, hermae, masks, gorgons, harpies, and other mythological beings, amorettes and chained warriors, (figs. 112, 116 — 118, 132 134) :! ). Luxuriant foliage and tendrils covering the entire surface of the chest accentuate its horizontal form or perpendicular reeds strive with every 16. Bronze Door Knockers. Venice about 1575. us of wood blocks for relief, however, intended a creation of the ') Here the question need not be discussed as to how far the renaissance pictures inserted in chests and panelling inter- rupted by its illusion of space, the unity of the whole surface of the pieces of furniture and the panelling. In any case they were more in keeping with the monumental rooms of the renaissance than with those of the present age. Still it is characteristic for the severe artistic taste of the High Re- naissance that painted chests gave way more and more to carved ones. 2 ) See Lehnert, Vol. I, pp. 402 and seq. and Robert Schmidt, pp. 70-71. 3 ) Figural ornamentation of old triumphal arches are chiefly found on Roman chests. force upwards against the power of the horizontal, again long curved flutes voice the swinging curves (figs. 108, 123, 124). Architectural stone forms such as metopes and trig- lyphs are applied to the fronts, not used, as in classic times, to give the impression of beams, but remodelled for the purpose of having forceful decorative fillings (fig. 102) Or, the chief accentuation is in the centre where it takes the form of an ornamental shield or some other emblem as a relief to the surrounding plain surface (fig. 106 and 112). Finally the figural reliefs seem like those pictoral stones taken mostly from ancient history and sagas found on Roman chests of the XVI th century (figs. 125 — 132). But these fillings almost always find their necessary equi" poise in a strong accentuation of the architectonic articu- lation, by free plastic ornamentation at the corners, and the deep shadow effect of the rich framework. This type of chest earliest found favor with col- lectors. But those coffers of the XVI th century possess more inner charm where a simple motive, such as dividing the front into fields of a dif- ferent size, has been developed to a most noble harmony of the whole, or where the rhythm of the parts and the delicate outlines with their narrow decorative lines accord with one another. But these delights can only be felt by the connoisseur (figs. 93 and 101). Another variety of distinguished furniture is the so-called treas- ure box ') which developed on pretty much the same lines as its bigger sister. The small box usually had its place on tables or chests, it never served as a seat, therefore rarely had a flat lid. The earliest have mostly pointed ones; these seem copies of small Reliquaries, in imitation of the bone ornamentation frequently made by the Embriacchi, a family of artists in the XIV th cen- tury -), the surfaces were covered with bright coloured reliefs made of rice-paste (pasta di riso) (figs. 142 and J ) This seems to have served many purposes, vide Bode p. 9. Schubring (pp. 14 and 211) shows that articles of gold and silver and also money were boarded in the big chests kept in the bedrooms. Ludwig pp. 304 — 5 maintains that valuables were treasured in heavy iron-plated chests (scrigni) fig. 18 and considered the jewel-chests to have been at the same time both for jewelry and toilette necessaries, in Italy known as casselle di banca da letto, in a way corresponding to the present day night-commodes. 2 ) Vide Schubring pp. 211 and sequ. XX following). The designs are often the same as those of the paintings and stucco work on the coffers. The carved oak boxes with broadly moulded profiles and slightly raised lids are of a later date (figs. 146, 148, 149). The ornamentation is the same as that on chests and dressers ; in the XVI th century in order to obtain a richer effect, colored marble slabs were sometimes inserted (fig. 147). Cassapanca and Throne As panelling was not common in dwelling houses, from the earliest time the need of wooden backs for chest-seats must have made itself felt. In this way the bench-box came into existence and from this in the XV th century developed the throne by adding arms and building up the back sup- port architecturally; a few decades later came the cassapanca, that is a box- settle. In the older type of cassapanca the back and arms were of a like height. By this the horizontal is strongly accentuated and the entire effect much more imposing than that of the chest; all the more so as the measurements, both in height and breadth are larger. Placed as it was in the middle of the long wall and clearly propor- tioned, the architecture of the cassapanca must have conveyed a monumental impres- sion. The oldest among those still in existence, that is, of the XVI th century (fig. 187, 188), are of an austere form, with sparse decoration, whose beauty consists in their noble proportions and an apparently easy solution of the task on the part of their makers. For, as the name implies, the cassa- panca was a coffer and a seat at the same time ; being covered over with cushions and rugs it became the forerunner of the sofa, and from pictures we know that it occasionally did duty as a bed. The step was a na- tural evolution. The lower curve taken over from the chest was felt as an incongruity, so the straight perpendicular line of the arms was continued to the floor; or, as another expedient, the rhythm of the lower end curve was repeated on the inner front of the arms (fig. 186). In addition to a modest amount of carving — especially on the front — intarsias laid in small inconspicuous lines, were also used as ornamentation on these severe types of cassapanche. Then in the course of the XVI th cen- tury these also grew much more elaborate by enriching them with sculptured decorations. The back was crown- ed at times, with a strongly defined ornament, a coat of arms or freely conceived figures. The arms were deeply curved in front and the socles sharply drawn in. In some cases these have a disturbing effect; and compared to the ornamental harmony of like values shown in those of a more simple character, they appear overladen and a deterioration of former good taste. But where the ornamentation — superbly developed — is restricted to some of the parts and held in restraint by the rhythm of the architecture, the cassapanca of the high renaissance symbolizes the ideal in form of this period; the impact of passionate energies (figs. 184, 193). In those days the term throne was not limited to the princely seat with over towering baldachin, but com- prised also the chairs of the master and mistress of the house, distinguished by their size and richness of orna- mentation. As opposed to the cassapanca the back of the throne was much higher and naturally built up architectonically. In the XV th century this was res- tricted to side pilasters with moulded cornices and the centre ornamented with intarsia work. Sometimes the seat is cornered, or finished off quite separately (figs. 172, 176) and the pro- portions between the seat and the back are not, even in ceremonial ones, such as the throne of Filippo Strozzi (now in the Roth- schild collection , Paris) '*) of that harmony and force- fulness to be found on the few later cassapanche. Here too the concord was first found in the high renaissance. Arms were added, then the pillars above, making a projecting entablature and cornice necessary. In this way the seat was firmly enclosed in an appropriate frame. Moreover the upper part of the back was divided off by pilasters and like other pieces of furniture ornamented with carving. The bishop’s throne was the progenerator of the throne. In Italy in a half gothic form it had already found its way at the beginning of the renaissance' ). It is character- istic that it had its place, as late as the XVI th century, in the bed-chamber, for this served, at the same time, the purpose of a reception room (fig. 41). Cupboards (Credenze) Cupboards are here meant to include dressers, side- boards, cabinets and other receptacles, with the exception of chests, for the preservation of precious things. ') Bode Plate XIII. 2 ) This may be seen on a predella picture by the Carrand Master in the Museo Buonarroti, Florence. 17. Cupboard and Chest Keys Kaiser Friedrich-Museum, Berlin XXI In the middle ages cupboards were only to be found in sacristies, civic halls, and guilds; in ordinary homes their place was supplied by chests, niches or simple shelves with stuff hangings to conceal what was behind them from view. Cupboards in private homes appear to have been derived from the praying-desk present in all bed-chambers ; they first made their appearance in the XV th century, and were of varying shapes accord- ing to the use they were meant to serve. But the chest was still preferred to store linen, cushions, cover- lets and clothing, and at times also for costly treasures 1 2 ); but vessels and other articles of household use were kept in dressers, or two-storied cupboards. Soon, the upper part was divided off into several compartments, some rounded off with doors, others with drawers, a downdrop hiding the contents of this small world. So the cabinet arose, which in the XVI th cen- tury was also in favour north of the Alps. In it were guarded documents and other articles of value; in ex- ceptional cases they were used as writing-desks and bureaus-). A fourth type was the bookcase, (libreria) the upper part of which was sometimes ornamented with tracery carving or composed of shelves built architecton- ally 3 ) (fig. 270). Dressers or sideboards are much more varied both as to size and construction, than chests ; a single glance convinces us that their proportions were determinative for their manner of treatment. Together with broad simple or almost robust forms, looking like ponderous socles placed along the walls (figs. 201 , 202 and 240), there are such of a quite narrow almost pilaster-like shape supported by lions claws, which seem to negative the character of their heaviness (figs. 214, 221). In other structures broad or narrow in their proportions, lying between these two, either an attempt has been made to convey the illusion of restful massivity by a coarse treatment of the forms and profiles, or to bring about a solution of the plane, a negation of ponderous space filling, by a manifold and rich ornamentation. The rounding off of the corners of the top above the carrying body and the relation between this and the lower part of the cupboard are, in any case, of importance for the entire effect (figs. 223 and 225). In cupboards of a later date it is but rarely that painting has a part in its decoration (fig. 271) and only very seldom are *) Vide: Schubring p. 14. 2 ) Personally I know of no picture which can prove this assertion and the very numerous paintings and engravings of Evangelists, either reading or writing, St. Hieronymus and other Saints — as also profane writers and poets — always show them sitting at tables or slanting desks. On the other hand, Vasari mentions a “scrittoio” which from the descrip- tion given must have been a writing-cabinet. For this rea- son in the illustration reproduced here, the more common nomenclature “bureaus” has been retained. 3 ) The most beautiful of its kind is in reigning Prince Lichtenstein’s castle at Eisgrub (Moravia) vide Bode : Plate XXIV. they to be found richly ornamented with intarsia work, narrow friezes of inlays framing the fields, used with the utmost circumspection, being much more frequent. By the time sideboards had found a place in the home the florid joyousness of the early renaissance had al- ready given way to a taste more directed towards the architectonic. The development of architectural forms for furniture and the predominance of wood-carving had become the rule in most parts of Italy. Only the socle 18. Chest, Ornamented with Intarsias and Metal Mountings: North of Italy or South Tyrol Schloss-Museum, Berlin and top were accentuated, while the panels of the door were marked by finely drawn profiles and narrow ornamentation (figs. 203, 220). The corners, at times also the centres, were accen- tuated by pilasters, columns, long drawn volutes or hermae sculpture (figs. 205, 214, 224). The panels and other parts were covered with a severe and pure surface orna- mentation, or they were framed in scroll work and finish- ed off with a peculiar sort of crown. The end of the XVI th century saw an accumulation of motives, columns and pillars in juxtaposition to one another (figs. 207, 217) and in the rich decorative work, masks, other distortions and lions heads were interwoven with one another (fig. 233). Consoles were placed close to one another in rows to form supports for the top, or they were used in rhythmic alternations to accentuate the sides and the centre (fig. 208). Frequently secret places were hidden behind these pillars and the decorative work running the whole length beneath the top of the cupboard. The semicircular knobs and the small rings on the doors and drawers were chiefly of bronze, but their deep patina fitted well to the warm colour tones of the whole. The two-storied cupboards are as a rule, less richly XXII decorated, this being due perhaps to their having been destined for anterooms and therefore of minor impor- tance. In these cupboards, the relation between the upper and the lower parts is significant, as also the manner in which the different parts lying either above or next to one another, are clearly and decisively fused into one another by the articulating framework. The decorative forms are the same as in the more simple types of the sideboard or dresser, only on account of their being taller, the top is both broader and heavier (figs. 241—246, 255—257). An enormous amount of care was spent on cabinets. The lower part is not always an enclosed cupboard above which the top part of like width, or somewhat narrower is built. Sometimes carved console -like side parts with smooth back walls and flat tops suffice as supports. This is shown for instance in the Mantua cabinet in the Victoria and Albert Museum in London (fig. 259 — 261) where the top drawers and doors are richly decorated with inlaid work. Such pictorial dec- oration on such a simple construction is a rare excep- tion; another rare exception is a cabinet contained in the Bardini Collection, sold at auction in 1902 (Cata- logue Nr. 578) which has its lower part richly orna- mented with grotesques on two panels, the drawers of the upper part have flowing ribbons with inscriptions made in intarsias. The latter relief types are, however, more frequent. Among these the earlier ones from Tuscany are striking by their calm, severe beauty. They are discreetly ornamented with narrow bands or merely with architectonic ornamented forms (figs. 262, 263). But rich carving is far more frequent. In Lombardian furni- ture all the planes are covered in low relief (fig. 267) carried out in perfect symmetry ; or this then almost generally accepted principle is boldly set aside as in the Paul III cabinet (fig. 264); in Lombardian cabinets hermae are placed on the smooth central panels in order to accentuate the outward edges (fig. 265); in Tuscany ones there is a crowd of almost free standing small plastic groups of figures arranged one above the other below the top, forming a broad and disturbing console (fig. 266). The edges which when drawn out support the low turn-back, are also ornamented with like groups. The virtuosity of the wood carvers here celebrates its full triumph; but the quiet perfect effect, the noble harmony of the Italian cabinet is no longer present in this superabundance of decoration. The desire to make the receptacle of precious things superb certainly often led to bad taste. It is this flamboyant furniture of circa 1600 which shows a decisive deterioration of Italian taste. Bedsteads Bed-chambers and their most important articles of furniture have been repeatedly painted and represented in reliefs (figs. 3 — 5 and 35 — 43). The Birth of the Virgin, St. John the Baptist, the Annunciation, the Mira- culous Healing and Ecstatic Dreams required such a setting. By means of such depictions we know exactly everything concerning the renaissance beds, although but few of this period have come down to us. In palaces and the homes of well-to-do citizens bedsteads of the XV th century were built rather high from the ground; the legs were invisible because two chests were placed close together at either side and sometimes one at the foot, forming steps to make getting into bed easier, 19. Venice after 1500. Chest with Velvet Mountings Arts and Crafts Museum, Leipzig- and at the same time serving as sitting accomodation '). They were always shaped like simple boxes with flat profiles, but where money was no object to their owners, they were ornamented with intarsia work and sometimes even with paintings * 2 ). In the XV th century some bed- steads had long boxes of almost the same size, called carriola or lettucino under the bed, which could easily be drawn out at the foot and may have served as sofas by day 3 ). As a rule the bedstead projected far into the room, the head being placed against the wall; some- times the whole length was set against the wall or it occupied a niche*). So common were chest steps that *) Examples in Palazzo Davanzati (fig-. 59) and in the Villa Palmieri near Florence (Illustr. in Hunter’s Work, Plate 4). 2 ) In inventories painted bedsteads are often mentioned, there is one in the Ospedale del Ceppo in Pistoia (fig. 273). 3 ) Vide: “L’Arte e la Casa” in Rassegna d’Arte antica e moderna VII (1920) p. 53, in which a lettucino on a fresco in Fossombrone is reproduced. Bandello mentions this lettu- cino in his 5 t! > and 40 1,1 tales, saying that such were in use in Tuscany. It also appears in an inventory of Bianca Maria Sforza’s dowry and is mentioned in an inventory of Count di Challant in Val d'Aosta. The lying-in bed and cradle must not be confused with the carriola (fig. 278). *) This may be seen on a picture of a confinement by Carpaccio in the Academia Carrara, Bergamo; and on the painted wooden alcove by Frederigo da Montefeltro in the palace of Urbino (vide Schubring, p. 340 No. 500) where the lower part seems to be marble and the upper part painted in with trees. XXIII even Piero della Francesca depicted them on his fresco in Arezzo, representing Constantine’s bed in his war tent. They were even to be found in the homes of the poorer class, although the bedstead may have consisted of nothing but a broad plank placed on two wooden trestles ’). The head of the bed (superiore) was from the earliest times always higher than the foot (postergale) and in the course of its development more and more resem- bled the back of the family state chair in size, arti- culation and ornamentation. In this way it became a thing for itself, while before it must have been like the surrounding chests (figs. 38, 59). During the XVI th century the head-board was carved, the design being sometimes repeated on the foot but done more flatly, or a part of the superiore resolved itself into an arcade with gallery (fig. 275). After 1500, bed-steps went out of fashion and as the sides were then exposed the feet were also carved with balusters. Sometimes in order to accentuate the corners they towered upwards like pillars and were crowned with pine cones (fig. 277). The banishing of the bed chests meant that the bed in losing its broadness now had a scaffold-like appearance. But the artist-craftsman then concentrated his attention to the decoration of the tester which now roofed the entire bedstead, this was either secured to its framework or depended from a broad ring secured to the ceiling' * 2 ). In the XVI th century the four-cornered framework was freely copied from marble tabernacles, with finely pro- portioned noble columns, entablatures and coffered testers. Here also it is crowned with carved figures 2 ). We know that other types also existed, a simple frame- work entirely mounted in velvet or some other costly material, so that the wooden or metal parts were entirely hidden. Sometimes the bed curtains are adorned with beautiful embroidery designed by some famous artist 4 ). Exactly in such bedsteads their appointments are of great interest. The large pillows at the head sometimes had their counterpart at the foot 3 ). The bed linen was J ) A singular form of bed has been handed down to us in a fresco by Domenico di Bartolo in the Ospedale S. Maria della Scala in Siena. Here the bedsteads take the form of stretchers the sides being fixed into the high-low head and foot, so that the handles project. -) See fig. 41 , where both forms are shown. When the bedstead occupies nearly the whole length of the wall, as in Fra Angelico’s predella picture of the Miraculous Healing by St. Cosmas and St. Damian, in the Academy in Florence, a curtain depends from a cornice which is fastened to the op- posite long wall of the room. 3 ) The most beautiful bedstead of this kind is in Sodoma’s fresco: The Marriage of Alexander and Roxane, in the Far- nese, Rome; Scarsellino’s “Childbed” (fig. 42, 43) is also a remarkable example. 4 ) Count Sormanni possesses some embroidery from a bed, supposed to have been designed by Pierino del Vaga; it was reproduced in the Gazette des Beaux-Arts, 1876, and in the Rassegna d’Arte p. 52. 5 ) Vide Rassegna d’Arte p. 52. embroidered of one colour, either a bright one or with gold threads and ornamented with lace insertions. A costly coverlet was used during the day to hide the coloured woollen or silk bed -clothing. The repeated laws against excessive luxury seem to have borne little fruit. It must not be forgotten, that the bed, like the chest, formed part of the marriage dowry, and that ladies of high birth not alone received their guests in their bed-chambers, but also reclining, beautifully dress- ed, on their beds. Tables Tables are often delineated in pictures of the Lord’s Supper and other sacred and profane subjects. Most such are primitive in form; being merely flat boards supported by two, sometimes three, trestles, and covered over by a tablecloth ’). Such served for momentary use for they could be quickly set up when occasion required, they were seldom of artistic importance. Nat- urally no examples of these trestle tables have come down to us, 2 ) there are numerous specimens of long tables, polygon, oblong and round ones of the XVI th and XVII th centuries, purposefully built and more or less beautifully decorated. The partiality for surface treatment here also has become of importance, antique marble tables serving as direct models for this (fig. 22). Instead of rounded or four-cornered feet, antique tables were supported by broad sculptured marble slabs, these were copied in stone; but more frequently in wood and adapted 20. Small Chest to be placed on Sideboard, circa 1600 Arts and Crafts Museum, Leipzig- to the nature of the material 3 ). At first in the XV th century the supports were of a simple vase like shape, devoid of plastic inner ornamention (fig. 284 ff .). The ’) This is specially conspicuous in Sodoma’s fresco, paint- ings of scenes from the Miracle of the Pot, performed by St. Benedict on Monte Oliveto near Buonconventi , and in Leonardo da Vinci’s “Last Supper” and other pictures. 2 ) Figs. 282 and 283 are interesting examples of the tran- sition period. 3 ) The outward sides of the supports were often more richly carved in relief than the inward parts. As a rule there are but two supports, but longer tables have sometimes three or more. In Cisalpine tables of the Gothic period the supports are frequent, but of another construction. XXIV single and, for this reason, most effective decoration being the curved outline. In the course of development the supports were more and more richly decorated with florid wood carving. At the same time their outlines became more varied; together with vase shapes came such as are akin to Roman sculptured marble ones, ornamented with fan- tastic combinations of volutes, acanthus leaves, animals, and sagas, coats of arms, pine-cones, and other orna- mental motives (figs. 297 ff.). A fulness of possibilities was here offered and of these every advantage was taken by the craftsmen. The supports are in almost all cases broader and by this correspond to their pur- pose, to bear the heavy top; while the rhythmical outline and the carving often at the same time serve to symbolize the supporting strength and carrying weight. As in Greek temples or mediaeval cathedrals , in the finest specimens of renaissance tables the function of bear- ing and poising is embodied, although the means resorted to attain to this per- fection were naturally far different. The traverses are just as manifold in their forms as the supports which they connect together (figs. 301 ff.). They are sometimes curved on the lower or upper edge, the outline being repeated on both sides, and are in some specimens placed close to the top, in others about half-way up the supports. In earlier types where the table consists of a few more or less ornamented boards, the traverses are placed in the supports and made firm by means of a wedge ') (figs. 284 ff.). In more florid forms it was thought suf- ficient to insert the traverses in such a manner as to be imperceptible from without. At times in place of traverses a narrow foot-board touching the floor connects the supports with one another. By the accord between the top and foot board the restfulness of the entire table, and thereby its architectonic entirety, is most felicit- ously accentuated. This accord in some specimens is heightened by columns or balusters above the foot-board, ') It was but rarely that the frame was made to draw out, and when this was the case only so far as to enable getting- at the secret places hidden within them; in the Bagatti- Valsecchi Collection in Milan (illustrated by Malaguzzi-Valeri p. 104). Unfortunately I have not been able to consult Pietro Toelsca’s (Milan) recent catalogue of this collection. so that the view of the long side becomes richer and at times even superb (figs. 312, 313, 316). Besides these, from the earliest times, free standing pillars, as also balusters and columns were used as single supports; the size of the table, the weight or elegance of its supports, and the manner in which these are con- nected with the plate, being decisive for its character. Attention must be drawn in all cases including those just mentioned, to the profile of the plate and the oc- casional presence of drawers beneath it. These in their perfect relation to one another accentuate the burden of the horizontal and at the same time divide it off either at regular intervals or in rhythmical alternation (figs. 294, 316, 322). In cases when these tables are of the same length and breadth, they form an imperceptible transition to the poly- gon and round ones, the framework often being the same. These show a greater diversity of form and richness of treatment. For a single support shaped like a pillar or a baluster suffices to bear the plate (figs. 352, 353, 354, 355) and this central support is sometimes compact in con- struction and ornamented with outstanding sculpture, at times being formed of a single piece of sculpture; or the table is encircled with supports set close to its edge either at stated distances or in juxta- position to one another, in this way again expressing a certain completeness of the whole (figs. 337, 338 and 347). Again in some the supports, like those of long tables, meet together in the diagonal (figs. 340 — 345). In all the types mentioned, round, hexagonal, and octagonal plates are to be met with, the plate not always being in accord with the arrangements of the supports, in cases for instance where an hexagonal is borne by only four supports. These latter have the effect of being slender, up-climbing, or heavy and squat, as the case may be, and, as in long tables they have their broadest parts either direct above or below (figs. 351, 357). The encircling supports, when not pillar-like in form, some- times accentuate the vertical by their very shape, or they are lion-clawed with flat volutes (fig. 347). The traverses are either round or polygon in form, or arc connected with the legs by cross-bars (figs. 329 — 336). Some tables have an additional control support (fig. 334). 21. Central Italy after 1550. Small Bench Landes-Museum, Darmstadt XXV On the other hand should there be only one, it is more strongly constructed and broadens out below in order to make the table stand firmer (fig. 358 ff.). But all these tables have purposefulness of construction and harmony of rhythm in common, however much they may differ in other respects. The writing-desk appears to form the transition be- tween table , low cupboard and their related praying- desk '). This, however, is better known from pictorial representations of Saints and scholars at their books than by original ex- isting specimens 2 ). It is true Carpaccio painted St. Hierony- mus (fig. 44) sitting on a simple bench at a table formed of a plain board resting on one side on con- soles, the narrow side being held fast by a slender metal candelabra. But sloping desks for sitting were far more common; though varied as to details, they all convey the impression of being both perfectly suited to their purpose and harmonious in their proportions. To- gether with the sur- rounding book-shelves they seem to have formed ideal places for study (figs. 6, 40). The free standing small cup- boards with their broad overlapping tops seem to have been another transition of the table to the dresser. But these are very rarely to be met with and, in all probability, were more meant for ornament than for use. For between the modestly decorated supports or even within them, drawers and doors were inserted. Cabinets of this kind at which a person might sit comfortably (figs. 363 — 364) may be regarded as being of a new and distinct type. ') (Fig. 248.) Many of the existing- small dressers were originally praying desks, which art dealers in order to dispose of them advantageously provided with a small socle instead of the kneeling step. A peculiarly broad praying desk in the Villa Pia near Florence is a free copy of a three-gated ancient triumphal arch. -) Savonarola’s writing-desk in S. Marco, Florence would in truth prove a valuable relic were we sure that it had once served the famous Dominican friar. Among the most simple forms of writing and reading-desks may be counted those represented in Masolino’s fresco of the Fathers of the Church in the Baptistery of Castiglione d’Olona: narrow boxes placed sloping and, on their small ends, around opening to give place for the knees. Chairs, Settees and Benches. What primitive chairs and benches looked like, as with most pieces of simple household furniture, is only known by pictorial representations ’). Carved benches of a later period which are even rarely to be found in art collections, probably came from sacristies and reli- gious houses, but their construction is not in contra- diction with their having been used for profane public or private purposes. They differentiate from the chest insomuch as they served only for sit- ting purposes. The seats are borne by either quadrangular or round supports, most varied in their articulation. Often the backs are formed of balusters which when they are rather long, are sep- arated by a central upright (fig. 190). They are but rarely supported by con- soles in place of legs (fig. 179). Otherwise the variety of artic- ulation and orna- mentation plays little part in the general impression conveyed by such pieces of furniture, because the ground construction and the hori- zontal divisions always remain the same, the settees and benches vary only as to length. On small ones two persons could sit comfortably together, on very long ones there was place enough for more than twenty (figs. 21, 22, 191). With stools and chairs it was far otherwise for many types existed from the middle ages, varying in form according to the special purpose for which they were to be used. The armchair (poltrona) stood in imposing stateliness against the wall between the chests. The chair (sedia) is similar to the armchair in its imposing effect, but could be more easily moved. In the home of the burgher, however, the stool (sgabello) in its most primitive form, was in common use for centuries, generally it had three or four straddling legs with a round or square seat. Such are frequently to ') A perfectly simple bench standing on four slender legs is depicted in Ghirlandajo’s fresco: The Death of St. Fina in San Gimignano; another supported by plain boards once existed in the Palazzo Davanzati (Illustrated in Hunter, Plate 27). 22. Marble Table, Roman under Creek influence Pompeii XXVI be seen on XV th century paintings'), but only one orig- inal specimen of this kind has been handed down to us, namely the Strozzi sgabello in the Figdor collection, Vienna, which in contradistinction to the original type which, besides being provided with a back crowned with a round relief, is embellished with delicate inlaid friezes (figs. 380 and 382). This type is of frequent occurrence in Upper Italy where it appears in a more heavy, almost rustic variety, distinguished by a somewhat broader back with a peculiarly shaped profile and rich chip carving ornamentation (figs. 381, 373/4). But in Venice even this variety underwent a transformation from which resulted a charming, elegant object with turned legs and with backs ornamented with dainty bone inlays (fig. 375). The so-called Andrea del Sarto chair (formerly in the Palazzo Davanzati) is a later modification of this type. The seat is semicircular, the back being formed of a like balustrade (fig. 406). In stools, too, the predilection for unbroken surface effects became prevalent as early as the XVI th century: four boards tapering off towards the upper end, now sometimes supported the seats (fig. 26). More frequently there were only two supporting boards, one in the front, and one behind, profiled and ornamented with reliefs like those on the higher and broader ones of the tables -). Again, stools of this kind without backs, but with straw-plaited seats, or, in later times, upholstered ones, were relatively rare, while a large number of chairs 23. Model for a Table after 1500 Kunstg-ewerbe-Museum, Frankfort on the Maine have been preserved to us. The backs frequently show rich carving, and the same outline and decoration as the supports (figs. 385, 387). However, types of this ') Thus for instance it often recurs on Fra Angelico’s famous frescoes in the Monastery of San Marco, Florence. In Michel- angelo’s “Deluge” in the Sistine Chapel, a woman is depicted carrying such a stool turned upside down on her head, in which all sorts of household utensils are placed. 2 ) Vide pag. XXIV/V. 24. Central Italy after 1550. Small Settee E. Simon’s Collection, Berlin kind which are simpler in decoration, but more impres- sive in outline, are of a far higher artistic value. Their backs slant towards the lower end and are slightly curved in order to make sitting comfortable (figs. 376, and sequ, 383)* The folding chairs of the renaissance were derived from mediaeval chairs, perhaps, even, in an indirect way, from classic forms. As already in earlier times, so in the age of the renaissance they were frequently made of iron and bronze (figs. 391/2) and the employment of these materials was retained, especially in Venice, even for more complete forms, mounted in rich velvet and ornamented with passementerie, the shining heads of the nails securing it forming an additional decoration (fig. 44). From the simple flap stools') developed the folding and X stools-). The former consisted of two pairs of curved rods joined together by a profiled rod at the points of crossing beneath the seat, and by stretchers below, the upper part being connected by straight or curved arm-rests. The back and seat were formed of stretched leather or girths (figs. 399 — 405). The X chair is built on the same principals, a number of small laths being crossed together so closely as to ') In the middle ages called “faldistorium”, hence the French word “fauteuil”. 2 ) In trade these are known as Dante or Savonarola chairs but without justifiable reason. XXVII appear fast joined to one another * * * 4 ). Naturally laths appear more delicate than hardwood. The object of the folding chair, viz. to be easily transported, was aban- doned for both types as early as the XV th century, so a back formed of a simple board and a seat consisting of laths placed close together were added to the X chair. At the same time the front profile grew richer in the rhythm of its outline, the curve became more and more varied, and was orna- mented with flat carving ; the backs being diverse in shape'-’) (fig. 396 and seq.). The folding chair underwent a like metamorphosis. The seat and back were then upholstered and together with the arm -rests orna- mented with relief carving. In Upper Italy the front of the chairs were decorated with certosina inlays (fig. 403 ff.). In this way folding chairs became stable and comfort- able seats; they had lost the attribute originally determin- ing their peculiar function; but the impressive suit- ableness and harmony of their forms lent a new and peculiar charm to the not too florid productions of the later renaissance. Besides straddle-legged X chairs there can be no doubt that others with vertical supports were also in use. Low chairs of this kind are to be seen on paintings of the XV th century, especially in bed-chambers. Higher ones are ordinarily provided with a back, the seats being made of wood or plaited straw 3 ) (fig. 408). Carved ornaments were applied to the cross-bars between the front legs and to the backs 4 ), or these latter were resolv- ed into a row of small columns (fig. 409 ff.). From the primitive original form of this object of daily use developed the stately massive chair whose place was always close to the wall. For by extending the front ') Or the laths are crossed in the other direction, so as to form the back (fig-. 394). -) Sometimes they were ornamented with reliefs, this being an unsuitable decoration because it made leaning uncomfor- table. — The so-called Savonarola X chair was also known in the Alpine countries and in South Germany, in the XVI 4,1 century. '■') Upholstery in most cases has probably been added later. 4 ) Chairs with particularly rich carvings in cartouche forms (fig. 450 — 455) were probably first made in the north of Lombardy, and imitated in the Alpine countries and in South Germany. legs above the seat and connecting their upper parts with the back the arm-rests were formed (figs. 420 ff.). Velvet, stuff or leather mountings soon became of general use ; it is most instructive to follow in all de- tails how the simple frame of the chair more and more acquired unity and a certain grandezza, by merely broad- ening out the back and emphasizing the seat whose mounting now reached down to the legs being some- times edged with fringes of about a hand’s breadth wide (figs. 419- — 438). Here, too, the application of carving was mostly limited to the cross-bar in front; the sup- ports of the arm-rests were sometimes formed like balusters, while the arm-rests themselves together with the backs were carved. The seats and the backs were mounted with pressed leather gilded over and partly tooled, or covered with costly patterned stuffs. It is remarkable how uncommonly high the seats of these chairs were, a circumstance which, in a way, helped to making a straight and ceremonious attitude ’) unavoidable. The same may be said of the sgabelli. Folding-stools were mostly of their present height; besides these, some very low chairs with ornamented backs, a row of balusters, or a carved frieze, are still in existence, which are very comfortable to sit upon (figs. 409 and 415). Reading-Desks, Stands, Wall Brackets and Frames. The less frequent articles of furniture of the Italian renaissance were built on the same architectural principles, and decorated in a like manner as the most necessary pieces of house- hold furniture. This is true of writing and reading-desks, stands for busts, and other pur- poses, brackets, mirror and pic- ture-frames, and other objects peculiar to the home. The use of the church reading- desk or lectern was for the psalter to rest upon at such a height that all the choristers might be able to read the large and clearly traced music and the text of the sacred hymns. Its heavy base was generally a self-contained box in which the missals were kept, at the same time it formed a step 4 ) Most tables and a great many sideboards are likewise higher than seems convenient in our days. 25. Venice (?) XVI 41 ' Cen- tury, Chair with Sloping Seat Formerly in L. Bernheimer’s Collection, Munich 26. Italy, XVI 41 ' Century: Carved Stool Schloss-Museum, Berlin XXVIll thus making turning the pages easy. Here as well as in the church-stalls, intarsia work and rich carving were usual as ornamentation. In those reading-desks meant for private use there was no need of tall and heavy bases, the sloping upper part, perfect in itself, was detachable from its socle, and could be used on a writ- ing table ] ), or the reading-desk proper was supported by a tall column or a baluster (figs. 458 — 460). The bronze eagle-desks came to Italy from the coun- tries of the Meuse but were probably little used for secular purposes. According to Bernardino Baldi, one such existed in the famous library of Federigo da Montefeltro, in the castle of Urbino * 2 ). Folding desks were also known, they were made of crossed laths, a piece of tensely stretched ornamented leather supporting the book. Flat carvings cov- ered the slender supports which were joined tog- ether by delicately turned cross-bars. On some, behind the foliage a narrow band of pierced wood carving is present (fig. 462). Stands meant for busts and medium-sized objects of plastic art were very rarely made open (fig.478) simply because of the heavy weight, they, as a rule, had to carry; more- over such an incongruity would have hurt the refined artistic feeling of the High Renaissance. It was only in the XVI th cen- tury that lighter stands came into vogue when busts — in imitation of classic Roman models — were tapered off into an oval and fixed on round profiled socles. In the XV th century busts terminated at the shoulders, their place was on the mantlepiece or above the doors. Now the stands, which as supports for tables and chairs had been developed in manifold forms and designs as also in their carved decorations, became taller and more slender (fig. 476, 477, 479). Painting was but rarely ’) Such a one is depicted in one of Carpaccio’s paintings (fig. 44) and on Ghirlandajo’s frescoes, Botticelli’s St. Hierony- mus and St. Augustinus, in the church Ogni Santi in Florence, and in Pinturicchio’s ‘‘Virgin Surrounded by Angels” in S. Maria del Popolo, in Rome, as well in many other pictures. Also small writing-desks, placed on tables, have sometimes been depicted (figs. 4 and 371, and Bode Plate LXX1). 2 ) A. Schmarsow: Melozzo da Forli pp. 33/4. used to ornament them (fig. 463). Typical, however, for all these stands is that they narrow off upwards, the front and back straddle apart, but their profiles are identical. The clothes-rack (attaccapanno or capellinaro *) was occasionally provided with a carved ornamental top, or it was of a shield shape with cartouche ornaments (fig. 247). Sometimes it was combined with a shelf, and with this in Venice a peculiar small ornamented object of furniture was created known as restello di camera' 2 ), to which a mirror was often added. Its pegs, however were not intend- ed for suspending clothes, but small articles of wear 3 ). It must not be forgotten that mirrors made of glass 4 ) at that time were held as precious objects and therefore their fram- ing worthy of every ad- ornment ; florid decor- ations which with paintings and reliefs would have diverted the attention from the chief object, were here in their right place. The earliest mir- rors were round like bulls’ eyes and often deeply set in their frames which were likewise round ; the transition to oblong forms was brought about by adding ornament- ed wedges. The frames were sometimes so broad and elaborate, especially in the restello, that the mirror itself was relegated to a secondary place, the decoration being the chief thing. Square mirrors sometimes bear phantastic carvings such as hermae and *) This literally means the place where clothes or hats are to be suspended. Another expression especially used in Venice is taccatabarro, the tabarro being the ample picturesque mantle of the Italian. -) G. Ludwig, in the above cited work gives full details as to the restello, and also mentions the restello di scrittura, serving for letters and writing materials. He derives the word from restellus (a small rack). The restello must not be con- fused with the restelliera or lanziera which was a large rack for holding weapons, lances, and banners. 3 ) Therefore the lower part of the mirror frame is some- times particularly broad, the transition towards the upper part being formed by scrolls or phantastic forms of fish (fig. 481). *) There were also such made of burnished metal plate. In Murano, the Italian place for glass-manufacture, the art of mirror making reached a high stage of perfection after the Germans improved the art of quicksilvering (Ludwig pp. 306 7) 27. Venice, about 1500, Small Wall Mirror XXIX gorgons ! ), while the head pieces and the consoles are decorated with rich festoons, armorial bearings, putti and fabulous animals (fig. 491, 494 — 498). For large frames' ) of a determined renaissance style architectonic constructions were naturally favored, the horizontals being shaped like socles and cornices; the verticals like pilasters. At first articulation and decora- tion were not achieved alone by carvings, for painting also had its part in this; up to circa 1500 a predella picture was inserted into the frame at the base. It is in harmony with the spirit of “classic art”, which, essen- tially restricts coloured representations to the picture proper; to bring this into prominence by a forcible profiled carved frame, this indeed being its true office. Large frames, it is true, were chiefly in use for altar pictures; for in private houses large pictures were very rare :i ). Such architecturally built frames were also made on a smaller scale, and used for reliefs, paintings and mir- rors (figs. 492/3). Besides these, the now common frames with like mouldings on all sides came into vogue for pictures of a small or medium size (fig. 506 and seq.); for their ornamentation the whole richness of motives developed by Italian cabinet-makers in the XV and XVI centuries were employed. The larger round frames imitating the festoons of fruit which the della Robbia family had made popular in their works, became a speciality. At a later period they were covered with rich bas-reliefs of a more ornamental character, rhythmi- ’) These sometimes serve as handles to a shutter to be drawn across the mirror as a safeguard, similar to those used to protect pictures during the renaissance. -) Vide: E. Bock, Florentinische und Venezianische Bilder- rahmen aus der Zeit der Gotik und Renaissance (Munich 1902), and Guggenheim : Le Cornici Italiane (Milan 1897). 3 ) Vide: Schubring pp. 9 — 11. cally divided off by projecting heads or knobs 1 ). Finally the so-called Sansovino frames (fig. 513/4) which in pic- turesque alternation combine cartouches with different kinds of architectorial forms and fanciful decorations, 28. Painted Wooden Box, Gilded and Ornamented with Stucco, XV th Century Victoria and Albert Museum, London were a transition to the flamboyant language of forms of the baroque period. Towards the end of the renais- sance these became very popular, not only in Venice, which was their birth-place, but throughout Italy. The unrestfulness and intricacy of the pictorial composition and the high degree of the plastic illusion obtained, demanded, as a counterpoise, a ponderous or strongly rhythmical delimitation. ] ) Sometimes they were inserted in carved wood ceilings. Vide: Geymiiller and Stegmann quoted above, Vol. VII 1, Plate 6. III. ARTS AND CRAFTSMEN At the time of Renaissance no sharp line was drawn between arts and craftsmen. The builder who built the house also provided for its furnishings, the sculptor be- gan his career as a stone-mason or goldsmith, and famous artists have even painted furniture '). Nevertheless there were specialists'-’) in intarsia -making and wood-carving of great renown, and more especially artist- painters of chests 3 ). But the influence of famous artists on the build and decoration of the furniture is beyond question. ’) Vide Schubring, pp. 76 ff. and numerous passages in Vasari (collected by Schubring, p. 90). Vasari mentions furni- ture of Baccio d’Agnolo having been painted for Pier Francesco Borgherini in Florence by Andrea del Sarto, Pontormo and other famous artists. ’) A complete list is contained in Finocchetti and other works. 3 ) Vide Schubring, pp. 430 and ff. who has published a workshop book kept by two chest painters who between the ^ ears 1446 and 1463 painted between 170—200 chests. This is true especially of Giuliano da Maiano •) and Michelangelo. It was exactly this iatter many-sided artist whose wish it was to be only a sculptor, who gave so much impulse to the art of furniture-making. He de- signed the book-shelves and chairs in Lorenzo da Medici’s library (fig. 153), the austere profiles of many chests calling up reminiscences of strong metal coffers may be traced to his influence and probably the fantastic masks (figs. 110, 214, 135 etc.) which played so great a role during the XVI t!l century, as also other figural motives, owe their origin to him 2 ). The Uffizi Gallery ] ) See Schottmiiller, Amtliche Berichte aus der Kgl. Kunst- sammlung XXXIX (Berlin 1918), pp. 80 ff. 2 ) Vide: Thode, Michelangelo, Kritische Untersuchungen fiber seine Werke, Vol. II (Berlin 1908), for the library pp. 118 and 135, for the candelabra in the Medici Chapel p. Ill, and regarding those objects of furniture wrongly attributed to him p. 513. For the frame of the round picture of the Holy Family see : E. Bock, p. 78 (fig. 489). XXX in Florence, the British Museum in London, and other art collections contain numerous designs for furniture by his contemporaries and successors (figs. 29, 30), famous artists having more especially made designs for chests with figura! reliefs (figs. 125 — 132, 134 — 138, 139) ’). The enormous importance of such close connection between artists and craftsmen and their joint work is above all question. The artist intimate with the work J ) Vide figs. 29 and 134. of the craftsman understood and appreciated the value of good work and designed objects corresponding to the material out of which they were to be formed, while the craftsman received new impulse from the artist which led him to perform his utmost. In this way ex- pression was immediately given to the new ideas, there was no going back from them; and the culture of the home during the Renaissance acquired that harmony corresponding to the intrinsic grandeur of this great age. 29. Design for a Coffer, after 1550 Pen Drawing Uffizi Gallery, Florence XXXI 30. Design for a State Bed, after 1550 Pen Drawing Library of the Arts and Crafts Museum, Berlin XXXII 1 Phot. Anderson 31. G. Mansueti: Hall in Venetian Palace about 1500 (Miraculous Healing of Blind Girl by the Means of a Candle standing by a Relic) Venice, Academy >Aa A .t A 4 ia i -h > 4ilUr A -/ ■ Te MP LA DOM V POSIT IS; V 1C O S FORA M OE N I A PONTES Virgin eam trivi! qvod repararis aqvam- . PlUSCA LICET NA.VTIS STATVAS DARE COMMODA PORTVS! CT VATIC AN.VM C1NGERE S1XTE 1VGVM; Plvs tamen vrus de bet: Nam qvae sqvalore latebat CeRJMITVR INCELEBIU BIBLIOTHECA LOCO- P*t' ; m^Msmddddm Phot. Anderson 32. Melozzo da Forli: Roman Palace Hall 1476 — 1477 (Foundation of the Vatican Library) Rome, Vatican 3 33. C. Crivclli: Street and Dwelling-House in Border Town 1486 (The Annunciation) London, National Gallery 4 Phot. Alinari 34 Domenico di Bartolo: Hospital about 1440 — 1443 (Healing of the Sick) Siena, S. Maria della Scala 35. V. Carpaccio: Venetian Bedroom (1490 to 1495) St. Ursula’s Dream Venice, Academy 6 about 1500 (The Annunciation) (Tidings of Death to Virgin Maria) Venice, S. Francesco, della Vig-na Siena, Cathedral / 38. Domenico Ghirlandajo: Patrician Bedroom 1490 (Birth of the Virgin Florence S. Maria Novella 39. Benedetto da Maiano: Bedroom with Boiserie about 1475 (Birth of John the Baptist) London, Victoria and Albert Museum 40. Antonello da Messina: St. Hieronymus in his Study (detail) London, National Gallery 9 41. Andrea del Sarto: Patrician Bedroom 1514 (Birth of the Virgin) Florence, S. S. Annunciata 1U 42. Sodoma: Patrician Bedroom 1511/12 (Alexander and Roxane) Rome, Villa Farnesina 11 43. Scarsellino: Birth-Room after 1550 12 44. V. Carpaccio: St. Hieronymus’ Study, between 1502 and 1507 Venice, Scuola S. Giorgio dei Schiavoni 13 45. J. Tintoretto: Hall in Palace, 1561 (Marriage at Cana) Venice, S. Maria della Salute 14 46. Collegio della Mercanzia, Perugia (Merchant’s Guild), End of 14 th Century 15 47. Palazzo Davanzati, Florence: Large Room on First Floor 6 48. Palazzo Davanzati, Florence: Large Room on First Floor 49. Citta di Castello, Pinacoteca Communale: Large Room 17 4 50. Palazzo Davanzati, Florence: Large Room on Second Floor : 0 - 18 51. Palazzo Davanzati, Florence, Large Room on Third Floor # 19 52. Palazzo Davanzati, Florence, Room on Third Floor 20 53. Palazzo Davanzati: Florence, Parrot-Room 21 54. Palazzo Davanzati, Florence: Parrot-Room 22 55. Palazzo Davanzati, Florence, Peacock-Room 23 56. Palazzo Davanzati, Florence, Room white Silk Wall-Hangings 24 57. Palazzo Davanzati, Florence: Room on Second Floor, with Corner Fireplace 25 58. Palazzo Davanzati, Florence: Bedroom on Third Floor 26 59. Palazzo Davanzati, Florence, Bedroom on Third Floor rr 27 60 . Palazzo Davanzati, Florence, Mural Painting on Third Floor 28 Pliot, Alinnri 61. Chapel in Palazzo Ducale, Urbino about 1475 29 I’liot. Alinari 62. Palazzo Vecchio, Florence, built between 1570 and 1573 by G. Vasari: Privy Cabinet of Duke Francesco Medici 30 63. Palazzo Vecchio, Florence, Large Hall in Suite of Leo X, After 1555, Built by Vasari 31 64. Corte Vecchia, Mantua, Marble Hall, after 1550 32 65. Scuola S. Giorgio dei Schiavoni, Venice: Entrance Hall, after 1500, Now Used for Religious Services 33 5 66. Palace of the Doges, Venice, Sala della Bussola, Interior Decoration after 1550 34 Paintings by P. Veronese and J. Tintoretto 35 68. Pinacoteca Communale, Citta di Castello: Hall with Mural Paintings, after 1550 36 69. Florence: First Half of 15 th Century, Painted Chest with Metal Mountings Formerly in the Bardini Collection, Florence 70. Siena about 1450, Chest Painted and with Stucco Reliefs Private Collection, Florence 37 Victoria and Albert Museum, London Schloss-Museum, Berlin 38 Arts and Crafts Museum, Leipzig Schloss-Museum, Berlin Caslello Vincigliata, Florence Phot. Brogi 74— 76. Tuscany, 14 11 ' and IS 11 ' Century: Fronts of Chest and Chest with Gilded Stucco Reliefs 39 77. Venice about 1550. Table-Chest with Gilded Stucco Reliefs Arts and Crafts Museum, Frankfort on Maine 78. Venice about 1500: Carved and Gilded Cupboard-Chest Schloss-Museum, Berlin 40 Venice about 1500. Museo Poldi Pezzoli, Milan 79 — 80 . Chests with Gilded Stucco Reliefs 41 42 Phot. Anderson Verona about 1500. Museo Civico, Verona Verona about 1510. Museo Poldi-Pezzoli, Milan Venice about 1530. Schloss-Museum, Berlin 83—85. Chest-Front, Carved and Painted Chests 43 Amsterdam in Collection O. Lanz 86 — 88. Upper I taly (Venice?) about 1500 Certosina Chests (open and closed) Schloss-Museum, Berlin 44 Kaiser Friedrich-Museum, Berlin 45 Kaiser Friedrich-Museum, Berlin 46 Victoria and Albert Museum, London Victoria and Albert Museum, London Arts and Crafts Museum, Leipzig- 93 — 95. Tuscany beginning of the 16 th Century: Inlaid Chests K8 47 rtUJL^IlM" - r ■- ;-JZ; iiii-y'io . ft Mmi 96. Florence: 1512: Bridal Chest bearing Strozzi and Medici Arms Schloss-Museum, Berlin 97. Central Italy about 1460: Isotta da Rimini’s Table-Chest Figdor Collection, Vienna 48 District of the Etsch, Schloss Museum, Berlin 98—100. About 1450, Chests Inlaid or with low Relief Carving 49 6 . 101—102. Carved Chests ■PIBSiHlMIflBHS : ,y !. ' iA'M -vvi ;vl > ,S CiUO v.U> Siena about 1540 Florence about 1490 Siena about 1550 103 105. Carved Chests Kaiser Friedrich-Museum, Berlin 51 Verona after 1500 Venice (?) about 1600 Bologna after 1550 106 — 108. Carved Chests Kaiser Friedrich-Museum, Berlin 52 110. Florence about 1550: Carved Chest-Seat Kaiser Friedrich-Museum, Berlin 53 Upper Italy about 1550 111—112. Carved Chest-Seats Schloss-Museum, Berlin Formerly in the Bardini Collection, Florence Formerly in Julius Bohler’s Collection, Munich 113 — 115. Upper Italy, late 16 t!l Century: Chests, Inlaid with stucco work or carved 55 Upper Italy after 1550 Florence (?) about 1570 Venice about 1600 116 — 118. Carved Chest-Seats Kaiser Friedricl -Museum, Berlin 56 Arts and Crafts Museum, Leipzig- National-Museum, Darmstadt National-Museum, Darmstadt 119—121. Tuscany, 16 th Century: Carved Chest Seats 57 Central Italy about 1600 Florence after 1550 122 — 124. Carved Chests Kaiser Fricdrich-Museum, Bcrlii 58 125 — 129. Rome about 1540: Chests with Carved Figural Reliefs, Front and side Views Kaiser Friedrich-Museum, Berlin 59 130. Central Italy 17 th Century: Chest with Rich Figural and Ornamental Carving Formerly Julius Bohler’s Collection in Munich 131. Central Italy about 1550: Chest with Carved Figural Reliefs and Corner Figures Formerly Julius Bohler’s Collection in Munich 60 Pilot. Brogi Tuscany after 1550, FI orence Museo Nazionale 132—134. Chests with Carved Figural Reliefs 61 Rome about 1550, Arts and Crafts Museum, Leipzig Central Italy about 1540, Castcllo Sforzesco, Milan 135 — 137. Carved Chests 62 Schloss-Museum, Berlin 138- 139. Rome after 1550: Marriage Chests with Carved Figural Reliefs 63 Castello Vincigtiata, Florence 140 141. Toscana about 1550. Chests with Chip Carving 64 65 7 . 146—149. Tuscany 16 th Century: Carved Jewel Boxes Formerly in L. Bernheimer’s Collection, Munich 150 — 151. Central Italy 16 th Century: Boiserie with Choir-Stalls 67 National-Museum, Darmstadt 152. Tuscany after 1550: Boiserie with Seat 68 154—155. Pantaleone de’ Marchis: Inlaid Choir-Stalls, Lombardian about 1500 Kaiser Friedrich-Museum, Berlin 69 156 — 157. Florence after 1450: Carved Choir-Stalls with Intarsias 70 158 — 163. Pantaleone de’ Marchis: Intarsia Scroll Fillings from Choir-Stalls Kaiser Fi iedrich-Museum, Berlin 71 164—171. Pantaleone de’ Marchis: Intarsia Scroll Fillings from Choir-Stalls Kaiser Fricdrich-Muscum, Berlin 72 172. Siena about 1525: Back of a Throne, Mounted in Silk (added later) and Chest (Venice about 1550) < Schloss-Museum, Berlin §B ii t t'ii t J iHJ li t in Uu.t | itf Vut XtCU’U rti jUMkktUOM^ 1 ' Century: Sideboards 96 Kaiser Friedrich-Museum, Berlin 97 9 . 221 222. Liguria about 1600: Richly Carved Sideboards 98 223. Bologna, 17 th Century: Sideboard Studded with Nails Kaiser Friedrich-Museum, Berlin 224. Tuscany 17 th Century: Carved Sideboard Kaiser Friedrich-Museum, Berlin 99 Tuscany, 16 th Century Bologna, 17th Century 225 226. Sideboards with Tiers 100 227 -228. Tuscany Second Half of 16 th Century Dressers Ornamented with Hanging Fruit Formerly in Julius Bohler’s Collection 101 229. Central Italy, 16 th Century (?): Dresser Arts and Crafts Museum, Leipzig- 230. Tuscany about 1575: Richly Carved Dresser with Pillars 102 Formerly in L. Bernheimer’s Collection, Munich 231 -232. Chests with Hermes Heads 103 Upper Italy (Milan?) after 1600, Formerly Munich, L. Bernheimer's Collection 233—234. Richly Carved Dressers 104 235 — 236. Liguria or South of France, late 16 th Century: Cupboards on Stands Formerly in Julius Bohler’s Collection, Munich 105 Formerly in Julius Bohler’s Collection, Munich Schloss-Museum, Berlin 237 — 238. Liguria or South of France after 1550: Double-Tiered Cupboards 106 239. Umbria about 1480: Chest of Drawers 240. Central Italy, late 16 lh Century: Dresser Formerly in Julius Bohler’s Collection, Munich 107 241. Central Italy, late 16«> Century: Doubled Tiered Cupboard 242 ' Bologna after 1600: Tiered Sideboard 108 243—244. Cabinets with Pilasters 109 245 — 246. Tuscany, 16 th Century: Cabinets 110 Ill 252. Province Emilia about 1520: 254. Rome about 1550: Cabinet Synagogue Cabinet Bardini Collection, Florence Musee Andre, Paris 112 255. Tuscany about 1550: Cabinet with Pilasters Formerly in Julius Bohler's Collection, Munich 113 256. Upper Italy, (Brescia?) about 1550: Cabinet Schloss-Muscum, Berlin 10. 114 257. Upper Italy (Venice?) about 1560: Cabinet Formerly in the Bardini Collection, Florence 115 258. Lombardy after 1600: Richly Carved Cupboard Castello Sforzesco, Milan 116 259 261. Upper Italian early 16 th Century: Inlaid Writing Cabinet, Mantova •rwy.A.ru2Tu 117 262. Central Italy after 1550: Writing Cabinet 263. Faenza about 1500: Writing Cabinet Schloss-Museum Berlin 8 264. Rome about 1530: Writing Cabinet Bearing the Farnese Arms Victoria and Albert Museum, London ) 119 265. Florence (?) after 1550: Writing Cabinet Bearing the Castellani Arms Formerly in the Barilini Collection, Florence 120 266. Florence, End of 16 th Century: Sculptured Writing Cabinet 121 267. Liguria about 1550: Writing Cabinet Victoria and Albert Museum, London 268. Upper Italy, late 16 th Century: Writing Cabinet Formerly in the Bardini Collection, Florence 123 269. Florence about 1560: Bracket with Coat of Arms Kaiser Friedrich-Museum, Berlin 270. Upper Italy after 1550: Apothecary’s Cupboard Kaiser Fricdrich-Museum, Berlin 124 271. Siena about 1540: Painted Cabinet Palazzo Davanzati Florence 125 272. Upper Italy (?) after 1600: Bedstead Formerly in L. Bernheimer’s Collection, Munich 273. Tuscany 1337 : Painted Bedstead Ospcdalc del Ccppo, Pistoja 126 Central Italy after 1600. Formerly in L. Bernheimer’s Collection, Munich Bologna, 17 th Century. Formerly in L. Bernheimer’s Collection, Munich 274-275. Bedsteads 127 276 — 277. Central Italy, 16 th and 17 11 ' Centuries: Cradle with Coat of Arms and Short-Posted Bedstead Palazzo Dnvanzati, Florence 128 278. Florence about 1550: Cradle Figdor Collection, Vienna Phot. Paraard 279. Italian 17 th Century: Cradle Musee des Arts Decoratifs, Paris 129 280. Upper Italy, 17 th Century: Crib (?) Fig-dor Collection, Vienna 281. Upper Italy, 16 th (?) Century: Cradle Palazzo Davanznti, Florence 11. 130 Tuscan about 1540 Venetian (?) after 1500 282—285. Plain Constructed Tables Italian 15 th Century 131 286 288. Tuscan after 1500: Tables with Simple Vasiform Uprights (286 with Delphins) Formerly Bardini Collection, Horencc 132 Formerly in the Glisenti Collection, Florence Formerly in Julius Bohler’s Collection, Munich 289 —290. Tuscan about 1550: Tables with Vasiform Uprights Ornamented 133 291. Florence, First Half of 16 th Century: Table, Vasiform Uprights Ornamented Arts and Crafts Museum, Leipzig 292. Central Italy about 1530: Table with Three Uprights formed of Double Oblique Volutes Arts and Crafts Museum, Leipzig 134 Venice about 1550 Upper Italy about 1600, Formerly in Julius Bbhler’s Collection, Munich 293—294. Tables with Volutes on the Uprights 135 Centra! Italy about 1560 Tuscan about 1540 295 296. Tables with Simply Curved Uprights and Ornamented Crossbars Formerly in Julius Bohler's Collection, Munich 136 Upper Italy about 1550, Kaiser Friedrich-Museum, Berlin 297—298. Tables with Carved Uprights, without Crossbar: 137 299 — 300. Florence about 1550: Tables with Carved Uprights and Crossbars Formerly in the Bardini Collection, Florence 138 301—302. Venice, Late 16 th Century: Tables with Richly Carved Crossbars Formerly in the Bardini Collection, Florence 139 Kaiser Friedrich-Museum, Berlii 140 Tuscan, 16 th Century. Formerly in Julius Bohler’s Collection, Munich Upper Italy about 1600. Paris, Louvre Central Italy, 16 th Century. Formerly in the Barozzi Collection, Rome 305 -307. Carved Tables and Front of Coffer 141 Formerly in L. Bernheimer’s Collection, Munich Formerly in Julius Bohler’s Collection, Munich .308 309. Central Italy 17 1,1 Century: Table with Richly Carved Crossbars 142 Italy, 17 th (?) Century, Bologna Phot. Poppi Tuscan, End of 16th Century, Formerly in the Bardini Collection, Florence 310 — 311. Richly Carved Tables 143 Florence about 1550 Formerly in the Bardini Collection, Florence Upper Italy about 1550. E. Simon’s Collection, Berlin 312 — 313. Tables with Arcade Galleries 144 Central Italy after 1600 314 — 315. Tables with Oblique Volutes on the Uprights 145 12. Palazzo Davanzati, Florence 146 317. Central Italy about 1600: Table with Ornamented Balustrade Feet Formerly Julius Bohler’s Collection, Munich 318. Siena 16 tl ' Century: Small Table with Figural Uprights 319. Upper Italy 16/17 th Century: Small Table Ornamented with Chip Carving, Balustrade Feet 147 Formerly Bardini Collection, Florence Formerly Bardini Collection, Florence 148 Formerly L. Bernheimer’s Collection, Munich Formerly Julius Bohler’s Collection, Munich Formerly L. Bernheimer’s Collection, Munich 323—325. Upper Italy (?) about 1600: Tables with Balustrade Feet 149 326—328. Bologna after 1600: Tables with Balustrade Feet Formerly Julius Bohlcr’s Collection, Munich 150 Formerly Julius Bohler’s Collection, Munich 151 , hSS?' 333 — 336. Bologna after 1600: Tables with Balustrade Feet Formerly L. Bernheimer’s Collection (333—335) and that of Julius Bohler, Munich (336) 152 337—338. Bologna after 1600: Round Tables with Balustrade Feet Kaiser Fricdrich-Museum, Berlin 153 Ai Venice Central Italy 339—340. 16 th Century: Tables Kaiser Friedrich-Museum, Berlin 154 341 — 342. Tuscan 16 th Century: Tables with Three Profile Uprights (Top of 341 added) Formerly Julius Bohler’s Collection, Munich 155 From the Bordering Countries Early 16th Century Tuscan about 1580 343—344. Tables with Three Curved Uprights Kaiser Friedrich-Museum, Berlin liSi 156 Formerly in the Bardini Collection, Florence 345 - 346. Tuscan about 1550: Tables with Ornamented Uprights 157 347. Rome 16 th Century: Inlaid Table Victoria and Albert Museum, London 348. Florence after 1500: Tables with Four Pedestals I'igdor Collection, Vienna 158 159 160 Siena, about 1550 Tuscan, First half 16 th Century 354. 355. Tables with Pillar Uprights and octogone Tops Kaiser Friedrich-Museum, Berlin 161 Central Italy after 1700 Florentine-Roman. Second Half 16 th Century 356 — 357 . Tables with Four Traverse Supports Kaiser Fricdrich-Muscum, Berlin 13 . 162 358—359. Italy End of 16 th Century: Tables with Balustrade-like Feet Formerly in Julius Bohler’s Collection, Munich 163 Formerly in L. Bernheimer’s Collection, Munich Schloss-Museum, Berlin 360 362. Italian Tables after 1600 164 363 — 364. Tuscan, Late 16 th Century: Sideboards 165 Formerly in Julius Bohler’s Collection, Munich Palazzo Davanznti, Florence 365 -367. Central Italy about 1550: Long Table (Narrow Side), Console Table and Writing-Table Pliot. Brog 368. Tuscan about 1570: Table with Hermes Heads Palazzo Davanzati, Florence 369. Lombardy 16 th (?) Century: Table with Console Volutes and Coat of Arms Bazzero Collection 167 Phot. Bl-ogi phot. Brogi 370. Lombardy about 1550: Inlaid Writing-Table 371 . Florence about 1550: Table Writing Desk and O. Lanz's Collection, Amsterdam High-Backed Baldachin-Chair 168 Fig-dor Collection, Vienna 372. Venetian 15 th Century Folding Chairs Bagatti -Valsecchi Collection, Milan Bagatti -Valsecchi Collection, Milan Sehloss-Museum, Berlin 373—375. Upper Italy about 1560: Chairs, Carved or with Bone Inlays 169 r • •• Schloss-Museum, Berlin Bardini Collection, Florence Fijrdor Collection, Vienna 376 — 379. Tuscan 16 th Century: Chairs with Bent Backs 170 cC CO G CO - 4 — * G O G u co VO 13 CL CL D ■■ . u tiiri:***-* V ? *VV ww VMVV>WV\< V -M M«!Wiimim 1 | l i "Mtmm'-m'riuiii'im'n'M-i — "■■i'i-nn W i ;i .^ UT . r )' L J J iM A V--W-4J -kJI -JLl -XJ W *> ' ^ ’ v •■!».’ ne* . i intnrmifii'KitomMiMuiiniuutnfi imo.iui O m in CN m About 1600 522 — 524. Tuscan and Central Italy: Folding-Doors Carved or Inlaid E. Simon’s Collection B3SES 219 Sacristy, Lucca of S. Frediano Schloss Museum, Berlin Museo d’Antichita, Parrra 525 - 527. Italian, 16 th and 17 th Centuries: Richly Carved Door Panels 220 528. Giuliano da Maiano : Door Panel Richly Carved 529. Tuscan about 1480: Limestone Portal and and Inlaid about 1480 Carved Door Panel E. Simon’s Collection, Berlin Kaiser Friedrich-Museum, Berlin Both pieces from the Palazzo Ducale, Gubbio 221 530 —531. Bergamo, Beginning of 16 th Century: Portals Richly Ornamented in Relief Kaiser Friedrich-Museum, Berlin 222 532. Genoa 15 th Century: Portal of St. George 533. Florence about 1500: Portal with Arms of the Canigiani Kaiser Friedrich-Museum, Berlin 223 534 -535. Portals of Limestone and Coloured Marble 224 536 — 537. Venice, Beginning of 16 th Century: Wall Fountains of Limestone and Marble Kaiser Friedrich-Museum, Berlin 225 17. 226 540. Florence about 1475: Fireplace of Green Sandstone by Francesco di Simone Ferrucci 541. Venice about 1560: Fireplace of Istrian Limestone (manner of Jacopo Sansovino) Kaiser Friedrich-Museum, Berlin 227 Phot. Alinari 542. After the manner of Desiderio da Settignano : Marble Fireplace after 1450 Victoria and Albert-Museum, London Phot. Kmllln 543. Tuscan after 1450: Marble Fireplace by Michelozzo Palazzo Davanzati, Florence 228 ». c >..( ) i ) _( ).( >. .u.()()..( m i su u« ut >u jujju »J» Phot. Brogi 544. Upper Italy after 1550: Marble Fireplace Villa S. Michele in Bosco, Bologna 545. Giuliano da Sangallo: Marble Fireplace, about 1510 Palazzo Gondi, Florence 229 546. Benedetto da Rovezzano: Sandstone Fireplace after 1500 Musco Nazionale, Florence 230 Tuscan, Middle 16th Century Venice, End of 16th Century 547 — 548. Fireplaces Formerly in Julius Bohler’s Collection, Munich M 231 549 — 550. Italy, Late 16 th Century: Fireplaces Formerly in L. Bernheimcr’s Collection, Munich 232 552— 554. Central Italy, End of 15 th Century: Stone Friezes for Doors with Arms of the Montefeltro of Urbino Victoria and Albert Museum, London 233 555. Urbino (?) about 1475: Low Relief in Limestone 556 — 558. Venice and Central Italy, 15 th Century: Coat of Arms, Carved in Stone 559. Urbino after 1550: Limestone Frieze, Part of a Fireplace (?) Kaiser Fricdrich-Muscum, Berlin 234 "O O O \o m Kaiser Friedrich-Museum, Berlin 235 Kaiser Friedrich-Museum, Berlin 236 Formerly in the Bardini Collection, Florence Formerly in the Bardini Collection, Florence Arts and Crafts Museum, Berlin Formerly in the Bardini Collection, Florence 568 — 571. Italy, 16 th and 17 th Centuries: Embroidered Silk Cushions 572. Italy, 16 th Century: White Linen Coverlet Arts and Crafts Museum, Berlin 237 573 — 576. Italian, 15 th and 16 th Centuries: White and Blue Hand-Woven Linen, Embroidered in Red on White Linen (576) Arts and Crafts Museum, Berlin 238 577 — 580. Italian, 16 th and 17 th Centuries: Small Patterned Velvet and Silk Damask 239 581 — 584. Italian, 16 th and 17 th Centuries: Damask, Probably Wall Covering 240 585 — 586. Italian, End of 16 th Century: Large Patterned Silk Damask 587 -588. 16 th and 17 th Centuries: “Spanish Leather Wall Covering” Arts and Crafts Museum, Berlin 241 589. A. Ricclo (Venice after 1500). Bronze Door Handle Berlin, Kaiser Friedrich-Museum EXPLANATORY Abbreviations Bode = Bode, Wilhelm, Die italienischen Hausmobel der Renaissance. 2. Edition. 1920. Cicerone = Burckhardt, Jakob, Der Cicerone. 10th Edition, edited by W. Bode and C. v. Fabriczy. Leipzig- 1910. Erulei = Erulei, Raffaele, Catalogs delle opere d’intaglio e intarsio in legno esposte nel 1885 a Roma. Roma 1885. Finocchietti = Finocchietti, Demetrio, Carlo. Della scultura e tarsie in legmo. Florence 1873. Geymiiller = Stegrnann, Carl von, and Heinrich von Geymiiller, Die Architek- tur der Renaissance in Toscana. Munich since 1885. Lessing = Lessing-, Julius, Vorbilderhefte aus dem Kgl. Kunstgewerbe- Museum. Berlin 1889-1905. Robinson = Robinson, J. C., Italian Sculpture of the Middle Ages and Period of the Revival of Art. South Kensington Museum. London 1862. Schubring = Schubring, Paul, Cassoni. Truhen and Truhenbilder der italieni- schen Renaissance. Leipzig 1915. Stegrnann = Stegrnann, Carl von, Holzmobel der Sammlung Figdor. Kunst und Kunsthandwerk. No. X. Vienna 1907. Kiinstler-Lex. = Thieme, Ulrich and F. Becker: Allgemeines Lexikon derbildenden Kiinstler. Leipzig since 1907. Vasari = Vasari, Giorgio, Die Lebensbeschreibungen der beriihmtesten Archi- tekten, Bildhauer und Maler. German Edition by A. Gottschewski and G. Gronau. Strabburg since 1906. Jahrbuch = Jahrbuch der kgl. preufi. Kunstsammlungen. Berlin. Amtl. Berichte = Amtliche Berichte aus d. kgl. preufi. Kunstsammlungen. Berlin. Bardini = Catalogue des Objets d’Art . . . Collection Bardini de Florence. Vente a Londres chez Mr. Christie, 5. VI. 1899 and ibid. Vente a Londres chez Mr. Christie, 27. V. 1902. Beckerath = Residue of Alfred von Beckerath. Rud. Lepkes Art Auction House. Catalogue No. 1755. Berlin 1916. Introductory Notice The figures at the end of a description of a single object of art refer to the catalogue, or the inventory number of the respective museum With objects in the Victoria and Albert Museum in London the second figures refer to the date of acquisition (e. g. 69 = 1869). Measurements are given in feet and inches when taken from English catalogues, otherwise they are everywhere given in metres. Where the present whereabouts of an object could not be traced, the name of the last known owner has been retained. In cases where many illustrations are reproduced on one Plate, the name of the locality is printed beneath the titles; this is good for all pieces reproduced on one and the same place. On the other hand when the name of the locality is printed close beneath a particular object, it refers to this one alone. Page IV. Statuette of a Lion. Wood. Height 0,14. Body pain- ted bronze, mouth and teeth in natural colours. Venice (?) after 1600. (Beckerath No. 169.) No. 1. Pietra serena. Height 0,48, breadth 1,43. (Beckerath No. 32.) No. 3 & 4. From the Hypnerotomachia by Fra Francesco Colonna. Venice 1499. Published by Aldus Manutius. No. 8. Masterpiece of the Dido Master. Schubring No. 222, page 273. No. 9 & 10. From Bartolomeo Scappi’s Dell’ Arte dell Cuci- nare con il Mastro di Casa e Trinciante. Venice 1643. No. 11. Height 0,33, breadth 0,71. (Beckerath No. 137.) No. 12 & 13. Marble. Height 1,09 minus the added horizontal stone, supports above and below. Breadth 0,94. School of Mino da Fiesole. No. 14. Canvas, painted in diverse colours. Height 1,85, breadth 0,77. No. 15. Executed after a model made by Battista Lorenzi in 1585. No. 17. Iron. The largest key 0,13, in length. No. 18. Firwood. Height 0,58, breadth 0,89, depth 0,49. No. 19. Alder or poplarwood. Height 0,60, breadth 1,69, depth 0,47 ; mounted in red velvet, border of stucco reliefs. No. 20. Walnut-wood. Height 0,26, breadth 0,865, depth 0,25. No. 21. Height 0,65, breadth 1,00. No. 23. Walnut-wood, stained brown. Height 0,27, breadth 0,465, depth 0,33. No. 26. Walnut-wood. Height 0,475, breadth and depth 0,33; gilded. No. 28. Height 5 s / 4 inches, diameter 1 3 V 4 inches. No. 29. Bernardo Buontalenti (1536— 1608). Design for fig. 134 or a like object. No. 30. Sepia pendrawing. Inscription Spanish, but from the style of the design it may have been made by one of the numerous Italian artists living in Spain. No. 31. Height 3,60, breadth 2,95. Painted for the Scuola di San Giovanni Evangelista. No. 32. Originally in the Vatican library. No. 33. Height 6 ft 10 7 , inches, breadth 4 ft 10 '/„ inches. Signed below Opus Caroli Crivelli Veneti 1486. Painted for S. S. Annunziata in Ascoli. No. 34. Fresco. (Compare this with X and XXIV 1.9.) No. 35. As owing to the moist air of Venice frescoes did not keep long the large wall paintings such as this since the end of XV th century were done on canvas. Originally in the Scuola di S. Orsola. No. 37. Compare Schubring; Urbano da Cortona, Strassburg. 1903, p. 35 ff. No. 38. hresco. Panelling ornamented with intarsias. Bed-chests. No. 39. Wrongly attributed to Ghiberti by Robinson (No. 7593). No. 40. This picture was in 1529 in the Collection of Antonio Pasqualino in Venice. Height 1 foot 6 inches, breadth 1 ft 2 '/ 8 inches. Catalogue of the National Gallery, London, Foreign Schools No. 1418. No. 41. Fresco. A fireplace with reliefs. Dated 1514. No. 42. Fresco. No. 43. Bedroom. Ferrara, after 1580 (compare fig. 30). A similar picture by the same artist is in the Palazzo Pitti, Florence. 18 No. 44. Canvas, height 1,41, breadth 2,18. Signed Victor Carpathius pingebat. No. 45. Canvas. Till 1657 in the Refectory of the monastery of the Crociferi. No. 46. According to Bombe (Perugio page 68) done between 1390 and 1403. The office table (to the right) was origi- nally in the Guild of Notaries, but perhaps it was from the same workshop. No. 47 — 60. Palazzo Davanzati, Florence, or Palazzo Davizzi from the name of its first owner. The members of this family till the beginning of the XVI century built large roof loggias, the Palazzo dates from the XIV 1,1 century. In 1516 it came into the possession of the Bartolini-Salim- beni family, in 1576 it passed over to Bernardo Davanzati. His last descendent died in 1838. The palace was opened as a museum in 1911, after having been restored by Elia Volpi, the present owner. During restoration many old and valuable wall paintings came to light. The rooms are named after these decorative paintings; in the bed-room in the third floor (figs. 58 -60) the walls show pictures illustrating Vergi’s Story of the Chatelaine; probably these were painted on the occasion of the marriage of Catelana degli Alberti to Francesco di Tommaso in 1395. (See Bombe „Mit- teilungen des Kunsthistorischen Instituts in Florenz“, Berlin, 1912, Vol. II, pp. 1 — 26.) Part of the furnishings were sold by auction to America during the world war, and later replaced by other good examples of the Italian renaissance. (See ,,Les Arts" No. 116, August 1911.) No. 62. I he small windowless room was intended for an alchemist’s study. The painted cupboard doors around the room, the bronze statuettes and the frescoes above represent technical discoveries and related subjects, besides family portraits. The study was only rediscovered some years ago and restored as it originally was, by bringing the pictures from San Salvi and the sculpture from the Museo Nazionale, Florence. (Rusconi, Les Arts, No. 110, February 1911, p. 1-7.) No. 63. The quarters named after Pope Leo X (the chief room is here reproduced) are by Vasari, who directed the buil- ding from 1555. The walls of light greygreen marble with pale pink and light red decorations between. Vasari’s fres- coes represent scenes from the lives of the Popes. Marble busts of Clemens VII and Giuliano Medici by Alfonso Lombardi, and those of Leo X and Lorenzo Duke of Urbino by later sculptors, are over the doors. (Vasari, VII, p. 187 and Geymiiller, IX, pp. 2 and 4.) No. 64. The former antique hall built by Giulio Romano between 1525 and 1531, is most richly ornamented with grotesque paintings and stucco reliefs. (Cicerone pp.256 — 257.) No. 65. The Scuola was built in 1451 and was founded by Illyrian seamen in the Monastry S. Giovanni di Gerusaleme; it was newly built in 1501; between the years 1502 and 1507 Carpaccio decorated it with nine paintings of which one is here reproduced (fig. 44) vide Hadeln, Kiinstler- Lexicon VI, p. 37. No. 66. Wall-paintings by Aliense and Marco Vecellio. The ceiling pictures were originally by Paolo Veronese, but the centre picture was taken away by the French in 1797 and is now in the Louvre. It has been replaced by a copy by G. Carlini. No. 67. Wall-paintings, to the right Paolo Veronese’s Rape of Europe. Next to the door, to the right Jacopo Tintoretto’s Minerva and Bacchus, Ariadne and Venus. No. 69. Breadth 1,42. Nun’s chest from San Maria Nuova, Florence. No. 70. Breadth 1,68. No. 71. Height 2 ft 5 in., breadth 5 ft 10 '/«, in., depth 1 ft 11 in. Light toned stucco reliefs, ground gilded. No. 72. Height 0,46, breadth 1,50, depth 0,48, from same place as 69. No. 73. From San Maria Nuova, Florence. Arms of the Cap- poni-Bonciani and Larioni. A very similar chest is in the Victoria and Albert Museum, London. Nos 317 — ’94 (Schubring No. 17, p. 222 and Schiapparelli, p. 260). No. 74. After stuff patterns, height 0,68, breadth 1,75. (Mit- teilungen des Stadt. Kunstgewerbe - Museums , Leipzig. 4. VI. 1913, p. 38 and Schubring No. 8, p. 220.) No. 75. Front of Chest. Height 0,39, breadth 1,65. No. 77. Walnut-wood. Height 0,87, breadth 1,70, depth 0,58. Gold on a blue ground. A chest nearly corresponding to this with small details in relief on the feet, is in the Victoria and Albert Museum, London. (See p. XVII of the present work.) No. 78. Height 1,09, breadth below 1,32, depth 0,62. Exterior now redbrown; interior gilded and painted. In the centre of the front South Tyrol scroll-work. The stars are formed of oriental motives but filled in with scroll-work motives. The inside of the lid shows painted ornaments in the style of the early Italian renaissance. Interior richly ornamented. J. v. Falke, Official reports (Amtliche Berichte) 1909, p. 284. No. 79. Height 0,46, breadth 1,68, Art of A. Pollaiuolo. (Schubring No. 69, p. 233.) No. 80. Schubring, No. 755, p. 39. No. 82. Height 23 in., breadth 5 ft 9 in., depth 23 l /° in., Nos 52—81. No. 83. Height 1,96, breadth 0,59, According to Schubring (No. 697, p. 379) by Nice Giolfino, after Trecca (Catalogue of the Museo Civico 1912, p. 20 says by Liberale da Verona). No. 84. According to Schubring, No. 630, p. 364 — 365, painted by Montagna: subject Roman legends of chastity. No. 85. Painted, partly gilded. Height 0,64, breadth 1,875, depth 0,53. Scenes from the Romulus saga. Schubring, No. 890, p. 418. No. 86. Height 0,46, breadth 1,24, depth 0,49. No. 87 88. Height 0,57, breadth 1,23. Interior richly fitted up. (Schubring, No. 740/1, p. 387.) No. 89. Walnut-wood. Height 0,50, breadth behind 1,66, depth 0,45. Intarsias on a dark ground. A very similar chest is in the Schloss-Museum, Berlin. No. 90. Walnut-wood. Height 0,84, breadth 1,93, depth 0,73. Intarsias in colored wood. A very similar chest in Frankfort on the Maine, Liebighaus. No. 91. Walnut-wood. Height 0,52, breadth and depth of cover 2,34 and 0,42. A replica is in the Ned. Museum voor Ge- schiedenes en Kunst, Amsterdam. No. 92. Walnut-wood, stained light brown. Height 0,87, breadth 2,13, denth 0,71. The cover has a border of tendrils. A very similar chest with castles in the fillings is in the Ca- stello Sforcesco, Milan. (See No. 94.) No. 93. Walnut-wood. Height 22 in., breadth 6 ft 1 in., depth 19 7» in. Intarsia frieze and black painted ornaments. No. 94. Walnut-wood. Height 2 ft 10 in., breadth 7 ft, depth 2 ft 9 in. The cover bears the arms of the Rospigliosi family, Rome. Came from a villa belonging to this family, in Pistoia. No. 95. Height 0,75, breadth 1,92, depth 0,74. No. 96. Walnut-wood. Wood-carving partly gilded over. Height 1,04, breadth 2,23, depth 0,70. Made for Maria Medici on the occasion of her marriage with a Strozzi in 1512. (Schub- ring No. 795, P . 399.) No. 97. A present from Sigismondo Maletesta to Isotta da Rimini. (Schubring No. 557, p. 351.) 243 No. 99 & 100. So-called Champleve-technique : No. 99 Sub- ject Annunciation and tendrils. Height 0,38, breadth 0,55, depth 0,27/Bode pp.32— 3 and Stegrnann pp. 137, 8, No. 100. Height 0,60, breadth 1,825, depth 0,57. (Schubring No. 743, p. 388.) No. 101. Walnut-wood. Height 0,62, breadth 1,91, depth 0,58. After Peruzzi. Very similar chests in the National Gallery, Munich and in Rome. No. 102. Walnut-wood. Height 0,59, breadth 1,92, depth 0,60. (Compare this with pp. XX and XXXI.) No. 103. Walnut-wood. Height 0,56, breadth 1,70, depth 0,54. Remains of old gilding perceptible in the wood-carving. No. 104. Walnut-wood. Height 0,98, breadth 1,95, depth 0,71. The front is almost identical and of like execution as the desk-like cabinet in Cambio, Perugia. Domenico del Tasso 1490 — 1493. (Schottmiiller, Amtl. Berichte XXXIX. 1917 — 18, pp. 88/9.) No. 105. Walnut-wood. Height 0,465, breadth 1,51, depth 0,47. Style and origin the same as Nos 101 and 103. No. 106. Walnut-wood. Height 0,65, breadth 1,69, depth 0,58. The arms are those of the family of Borsa belonging to Verona and Lodi. No. 107. Walnut-wood. Height 0,56, breadth 1,71, depth 0,56. Compare the more richly ornamented, partly of a later date, chests of this type, Nos 112 and 133. No. 108. Walnut-wood. Height 0,75, breadth 1,77, depth 0,55. The decoration is typical for Bologna, but is also to be met with in Central Italy. No. 109. Walnut-wood. Height 0,56, breadth 1,55, depth 0,45. Ornament wood-carving and an Intarsia ground. Arms of the Crescenzi family, Rome. But the chest was made in Siena. No. 110. Walnut-wood. Height 0,55, breadth (behind) 1,80 and 1,46, depth 0,46. Compare this with p. XXXI. No. 111. Walnut-wood (?). Height 0,63, breadth 1,75, depth 0,58. Comes from the neighbourhood of Brescia. No. 112. Walnut-wood (?). Height 0,52, breadth 1,07, depth 0,54. A chest similar in form and ornamentation in the Schwerin Museum. Schubring (882) considers it Venetian of about 1540. No. 113. Walnut-wood. Height 0,63, breadth 1,75, depth 0,575. The light stucco in imitation of intarsias is typical for Bo- logna after 1550. No. 116. Walnut-wood. The sides plain. Height 0,55, breadth 1,69, depth 0,53. Feet falsely added. (Compare Nos 117 and 118.) No. 117. Walnut-wood. Height 0,57, breadth 1,76, depth 0,53. No. 118. Walnut-wood. Height 0,57, breadth 1,70, depth 0,55. Sides plain. No. 120. Height 0,57, breadth 1,73, depth 0,54. No. 121. Height 0,51, breadth 1,40, depth 0,44 (compare here with p. XIX). No. 122. Walnut-wood. Height 0,63, breadth 1,71, depth 0,65. No. 123. Walnut-wood. Height 0,62, breadth 1,55, depth 0,45. A similar chest with other arms in Rome. Castle of St. Angelo. No. 124. Walnut-wood. Height 0,62, breadth 1,55, depth 0,45. No. 125 — 129. Walnut-wood. Height 0,69, breadth 1,86 (and 1,85), depth 0,62, partly gilded. On one of them festival scenes decorate the front, the sides are ornamented with trophies (No. 127) on the other in front Apollo and Diana killing the Niobides; on either end is a boy riding on a sea-bull with a triad in his hand. (Compare here No. 139.) No. 132. Walnut-wood. Height 0,75, breadth 1,79, depth 0,60. Cover (height 0,1 1 5) added later. The front decorated with the triumphal procession of Poseidon. (Schubring No. 893, p. 418.) No. 134. Fhe design for this or a similar chest is reproduced here Fig. 29. No. 135. Walnut-wood. Height 0,78, breadth 1,90, depth 0,68. No. 137. Walnut-wood, partly gilded. (Schubring No. 854, p. 41 1 .) No. 138. Walnut-wood, partly gilded. Height 2 ft 3 in., breadth 5 ft 7 in., depth 1 ft 10 in. Arms of the Delfini family, orna- mented with the fall of Phaeton and three scenes from the Daphne-saga, like its counterpart in the Victoria and Albert Museum, London, bearing the Lancelotti arms. It was made on the occasion of the marriage of Giulia Delfini to Paolo Lancelotti in Rome 1570. (Schubring No. 866, p. 413.) No. 4417-57. No. 139. Walnut-wood. Height 0,76, breadth 1,78, depth 0,59. The representation of The Death of the Niobides is in all probability carved after the same design as No. 129 and a chest in Schlofi Glienicke near Berlin. (Schubring No. 858, p. 412.) No. 140. Walnut-wood. No. 142— 144. Small wooden boxes ornamented with small pastiglia reliefs (compare here p. XX) No. 144 about 1450. Height 0,25, breadth 0,40, depth 0,27. No. 145. Height 4 7 / 8 in., breadth 1 6 '/s > depth 6°/ 8 in. Cata- logued in the Victoria and Albert Museum, London, as Siena, 14 th century. No. 146. Walnut-wood. Height 0,35, breadth 0,62, depth 0,30. No. 147. Walnut-wood, inlaid with gay-coloured marbles. A similar cassette is in the colletion of Herr v.Dierksen, Berlin, and another one in the Palazzo Vecchio, Florence. No. 148. Walnut-wood. Height 0,33, breadth 0,525, depth 0,345, partly gilded. No. 149. Walnut-wood. Height 0,33, breadth 0,65, depth 0,41, partly gilded. No. 152. Walnut-wood. Height 2,10, breadth 2,00. No. 153. In autumn 1523 negotiations for the building of the library of San Lorenzo were begun with Michelangelo. On the 2 d of August 1524 particulars were gone into regarding the distance of the benches from one another, and the number of books in each division. On April 3 d 1526 the Pope decided upon walnut-wood benches which were to be separated into two rows by three spaces. On the 17 th of June Michelangelo hoped to have completed the decorations in four months. In July 1533 fresh negotiations were held. Probably soon afterwards the benches were left to Battista del Cinque and Ciappino. The design for a bench in the Museo Buonarotti in Florence. (Thode, Michelangelo. Critical Researches II, Berlin 1908, pp. 113 to 120 and 136.) No. 154, 155. The three benches, one with place for ten and the other two for five persons each in the Kaiser Friedrich Museum, Berlin, were since the Napoleonic times in the Villa Monastirlo, in the Brianza. There they were discovered by the Florentine art dealer Bardini, who succeeded in putting the pieces together. For this reason the scats arc firm and have lower fore-boards and the consoles which were probably above have been used as arm supports. Two benches of like origin are in the Musee Andre, Paris. On the book not reproduced here, is the inscription of St. Bartho- lomew, in capitals: Hoc est de Marchis Pantaleonis opus. Walnut-wood. Height 1,98, breadth 7,20, 3,74 and 3,70. (Schottmiiller, Jahrbuch XXXVI (1915), p. 175.) No. 156. The interior decorations of Cosimi Medici s palace began in 1444 were completed under the reign of his son Piero in 1459-1460. Fhe later broadening of the staircase necessitated an annex (not visible on the illustration) and removal of a part of the seat of the choir-stall, which came into the hands of art dealers. No. 157. The intarsias are the early work of Baccio d’ Agnolo; (between 1491 and 1496) the carving is done from the design made by Vasari and renovated 75 years later. (Lim- burger, Kiinstlerlexikon II, p. 358.) 244 No. 158—71. See Nos. 154-155. No. 172. Height 2,70, breadth 2,24, depth (above) 0,42. Came from a synagogue in Siena. (Lessing 14, plate II, and Bode p. 24, fig 86.) No. 173. After the death of Giuliano Medici Duke of Nemours (1478 — 1516) the throne came into the possession of the Strozzi, from them it passed as dowry to Count Nuti, and in 1872 to Prince Demidoff in Florence and in 1880 to Count Pio Resse. In modern times it was renovated and provided with intarsias. Bode p. 11 and Erulei, pp. 149 — 152. No. 176. Walnut-wood. Height 1,885, breadth 1,77. No. 177. Walnut-wood. Height 1,12, breadth and depth in sitting height 2,65 and 0,79. No. 178. Walnut-wood. Height 1,52, breadth and depth in sitting height 3,63 and 0,485. No. 179. Walnut-wood, stained brown. Height 0,95, breadth 1,91, depth 0,57 (depth of seat 0,36). No. 180. Walnut-wood, stained dark brown. Height 1,02, breadth 1,54, depth 0,50. No. 181. Walnut-wood, stained dark brown. Height 1,12, breadth and depth in sitting height 2,66 and 0,86. No. 183. Walnut-wood, stained dark brown. Height 0,5 1 , breadth 2,08, depth 0,35. No. 184. Walnut-wood, stained brown. Height 0,99, breadth and depth in sitting height 2,86 and 0,77. No. 185. The Strozzi arms ornament the feet. No. 187. Formerly in Florence, Collection E. Volpi. No. 189 & 191. Walnut-wood, stained dark red brown. Height 1,07, breadth and depth in sitting height 6,82 and 0,95. Comes from Naples. No. 190. Walnut-wood, stained dark red brown. Height 0,99, breadth 2,33, depth 0,47. No. 195. A part of the upper half of a sacristy cupboard (compare Baccio d’Agnolo, here ill. fig. 157). No. 196 197. Compare pp. XXI and XXII. No. 201. Walnut-wood, stained dark brown. Height 0,95, breadth 3,37, depth 0,78. No. 202. Walnut-wood, stained dark brown. Height 0,95, breadth 3,75, depth 0,78. No. 203. Walnut-wood, stained dark brown. Height 1,06, breadth 1,87, depth 0,54; wooden knobs. No. 204. Walnut-wood, stained dark brown. Height 1,125, breadth 1,80, depth 0,65. Remains of gilding in the rich carving. Came from the Palazzo Martelli in Florence. No. 206. Walnut-wood, stained b rown. Height 0,88, breadth 1,32, depth 0,45. No. 207. Breadth 2,43. No. 2C9. Walnut-wood, stained dark brown. Height 1 ,25, breadth 2,287, depth 0,88. May be from the workshops of Bal- dassare Peruzzi. No. 210. Walnut-wood, stained brown. Height 0,90, breadth 0,94, depth 0,39. No. 211. Walnut-wood, stained brown. Height 1,02, breadth 0,90, depth 0,48. No. 212. Walnut-wood, stained brown. Height 0,90, breadth 0,88, depth 0,44. No. 213. Walnut-wood, stained dark brown. Height 1,33, breadth 0,705, depth 0,675. No. 214. Walnut-wood, stained brown. Height 1,10, breadth 0,87, depth 0,37. No. 218. The step-like upper part (Gradino) is probably to be found in a variety of forms on many side-boards. No. 219. Walnut-wood, stained dark brown. Height 1,17, breadth 0,86, depth 0,42. No. 220. Walnut-wood, stained brown. Height 1,19, breadth 1,14, depth 0,57. No. 222. Breadth 1,64. No. 223. Walnut-wood, stained dark red brown. Height 1,12, breadth and depth of the plate 2,29 and 0,63. No. 224. Walnut-wood, stained dark red brown. Height 1,24, breadth 2,02, depth 0,77. No. 225. Breadth 1,80. No. 226. Breadth 1,96, depth 0,70. No. 229. Walnu t-wood. Height 1,31, breadth 2,28, depth 0,85. No. 231. Breadth 1,76. No. 233. Breadth 1,73. No. 242. Height 2,00. No. 244. Walnut-wood. Height 1,82, breadth 1,33, depth 0,62. No. 245. Height 2,02, breadth 1,88. No. 247. Walnut-wood. Height 1 7 ;J / 4 in., breadth 4 ft 7 l / 4 in. No. 248. Walnut-wood. Height 2 ft 10 '/„ in., breadth 2 ft 3 '/„ in., depth 2 ft 1 inch. No. 249. Walnut-wood. Height 2,21, breadth 1,18, depth 0,41. Carving partly gilded, in the separate gables are the Alliance arms of the Piccolomini-Patrizi. No. 250. Pine-wood. Height 2 ft 1 in., breadth 18 ft 6 in. No. 251. Height 1,08, breadth 0,80, depth 0,36. No. 252. Height 2,27, breadth 1,11. No. 254. Walnut-wood. Height 2,47, breadth 1,14, depth 0,46. (Bardini, 1902, No. 582.) No. 256. Height 1,77, breadth 1,31, depth 0,53. No. 257. Walnut-wood. Height 2,42, breadth 1,70, depth 0,62. (Bardini, 1902, No. 580.) No. 259—261. Walnut-wood. Height 2 ft 8 in., breadth 4 ft 4 3 / 4 in., depth 1 ft 5 '/„ in. No. 263. Walnut-wood. Height 1,67, breadth 1,13, depth 0,41. No. 264. Walnut-wood. Height 1,82, breadth 1,42. (Bardini, 1902, No. 574 ascribes this to Bernardo Tasso.) No. 265. Walnut-wood. Height 2,09, breadth 1,40, depth 0,62. (Bardini, 1902, No. 581.) No. 267. Walnut-wood. Height 5 ft 6 in., breadth 3 ft 9 in., depth 1 ft 3 in. No. 268. Walnut-wood. Height 1,90, breadth 1,23. (Bardini, 1902, No. 575.) No. 269. Walnut-wood, stained light brown. Height 0,30, breadth 1,74, depth 0,24, carving gilded. No. 270. Walnut, stained red brown, height 2,48, breadth 2,04, depth 0,62. Carving and profiles partly gilded. No. 271. Grotesque paintings from Sodoma’s workshop. The inscription in capitals: Non baccho sed gravido mart... No. 273. Painting in the manner of Bernardo Daddi. (Schub- ring, p. 228 and No. 43.) No. 280. Height 0,175, breadth 0,19, depth 0,12. No. 284. Breadth 1,05. No. 285. Breadth 0,66. No. 286. Breadth 2,00. No. 287. Breadth 2,77. No. 288. Breadth 2,93. No. 291. Walnut-wood. Height 0.815, breadth 1,67, depth 0,69. No. 292. Walnut-wood. Height 0,81, breadth 1,67, depth 0,69. From the refectory of the Franciscan Monastery in Cori (Mitteilungen des Stiidt. Kunstgewerbemuseums in Leipzig, April 2"ci 1912, p. 16 and L’Arte 1909, p. 297.) No. 297. Walnut-wood, stained brown. Height 0,79, breadth and depth of the plate 2,90 and 0,74. No. 298. Walnut-wood, stained brown. Height 0,98, breadth and depth of the plate 4,79 and 1,11. No. 300. Breadth of the plate 3,42. No. 301 — 302. Walnut-wood. Height 0,88, breadth and depth of the plate 3,04 and 1,13. (Bardini, 1902, Nos 609/10.) 245 No. 303 304. Walnut-wood, stained dark brown. Height 0,865, length and breadth of the plate 5,69 and 1,13. A so-called Sansovini style. No. 311. Walnut-wood. Height 0,84, breadth and depth of the plate 1,26 and 0,73. (Bardini, 1902, No. 608.) No. 312. From the Palazzo Torrigiani, Florence. No. 313. Walnut, stained light brown. Height 0,925, breadth and depth of plate 1,50 and 0,88. (Bardini, 1902, No. 607.) No. 314. Breadth of plate 2,95, from Palazzo Palmier!, Siena. No. 315. Breadth of plate 3,25. No. 319. Breadth of plate 0,90. No. 320. Walnut-wood. Height 0,91, breadth and depth of plate 2,67 and 0,94. (Bardini, 1899, No. 413.) No. 321. Walnut-wood. Height 0,83, breadth and depth of plate 3,00 and 1,07. (Bardini, 1899, No. 412.) No. 322. Height 0,79, breadth and depth of plate 2,63 and 0,82. No. 337. Walnut-wood, stained deep brown. Height 0,865, diameter of plate 1,15. No. 338. Walnut-wood, stained deep brown. Height 0,905, diameter of plate 1,30. No. 339. Walnut-wood, stained light brown. Height 0,87, breadth and depth of plate 1,06 and 0,47; carved and profile partly gilded. No. 340. Walnut-wood, stained brown. Height 0,78, diameter of plate 1,10. No. 343. Walnut-wood, stained dark brown. Height 0,83, diameter of plate 1,11. No. 344. Walnut-wood, stained dark brown. Height 0,78, diameter of plate 1,30. No. 347. Walnut-wood. Height 2 ft 9 */„ in., diameter 4 ft 7 7* in. No. 348. Walnut-wood. Height 0,81, diameter 1,31. (Stegmann pp. 158/9.) No. 352. Walnut-wood. Height 0,845, diameter of plate 0,95. (Bardini, 1902, No. 587.) No. 353. Walnut-wood. Height 0,93, diameter of plate 0,83. (Bardini, 1902, No. 585.) No. 354. Walnut-wood, stained brown. Height 0,87, diameter of plate 1,06. No. 355. Walnut-wood, stained brown. Height 0,89, diameter of plate 1,14. No. 356. Walnut-wood, stained light brown. Height 0,84, diameter of plate 0,77. No. 357. Walnut-wood, stained light brown. Height 0,85, diameter of plate 1,40. No. 361. Height 1,34, diameter 0,84, parts added. No. 362. Diameter 1,89. No. 367. Breadth 1,28. No. 371. See figs 208 and 296. No. 372. Height 1,10 and 1,08, breadth 0,65. (Bode p. 35, Stegmann pp. 572 — 573.) No. 375. Walnut-wood. Height 1,05, breadth and depth sitting height 0,305 and 0,435. Beautiful bone intarsias. (Becke- rath No. 228.) No. 376. Walnut-wood. Height 1,04, breadth 0,32, depth 0,42. No. 377. Walnut-wood. Height 1,02. (Bardini, 1902, No. 591.) No. 378. Height 1,49, breadth 0,28. No. 380 & 382. Height 1,56, breadth 0,42. From Palazzo Strozzi, Florence. (Stegmann pp. 576 and 577.) No. 384. Both chairs walnut-wood. Height 3 ft 4 '/., in., breadth 15 in. The one on the left partly gilded. No. 385. Walnut-wood, stained dark red brown. Height 1,04, breadth and depth in sitting height 0,32 and 0,42. No. 387. An almost exact counterpart is in the Victoria and Albert Museum. No. 388. Walnut-wood. Height 0,88, 1,10 and 1,06. (Bardini, 1902, Nos 588-590.) No. 395. Height 0,98, breadth 0,64. No. 405. Height 0,75, breadth 0,65. No. 409. Height 0,69, breadth 0,45, depth 0,34. No. 412 — 413. Height 1,04, breadth 0,50 and height 1,01, breadth 0,47. No. 432. Walnut-wood, stained dark brown. Height 1,27, breadth and depth of the seat 0,61 and 0,42. No. 433. Walnut-wood, stained light brown. Height 1,25, breadth and depth of seat 0,62 and 0,45. No. 434. Walnut-wood. Height 1,22, breadth and depth sitting height 0,59 and 0,43. No. 435. Walnut-wood, stained dark brown. Height 1,24, breadth and depth of seat 0,64 and 0,55. 1 he pressed leather bears the arms of the Fassati di Casale. No. 441. Walnut-wood, stained dark brown. Height 1,23, breadth and depth sitting height 0,62 and 0,50. No. 442. Height 1,29, breadth 0,64. The leather mountings on the back are 17 th century German. (Stegmann p. 587.) No. 443. Height 1,13, breadth 0,45. No. 444. Height 1.33, breadth 0,59. No. 448. Faldistorium (compare this with p. XXVII r.). Walnut- wood. Height 0,74, breadth 0,73, partly gilded. (Stegmann pp. 571 and 582/3.) No. 449. Height 0,59, breadth 0,64. No. 456. Ligurian or more probably French. Height 1,70, breadth 0,81, depth 0,52. No. 457. (Compare this with pp. XV and XVI.) No. 458. Stained light colour. Height 1,77, breadth 0,56, depth 0,46. No. 459. Reading-desk. Height 1,55, stool, height 1,03. No. 460. Walnut-wood. Height 1,90. Partly gilded. Below arms of the Gianfigliazzi, Florence. Desk ornamented with in- tarsias done in capitals, Asperamontis mirandule fecit. (Bardini, 1902, No. 586.) No. 461. Walnut-wood. Height 1,26, breadth and depth above 0,335 and 0,32, depth below 0,51. Partly gilded. No. 462. Walnut-wood, stained light brown. Height 1,40, breadth 0,50. Partly gilded. No. 463. Height 1,14, breadth and depth above 0,395, below 0,50 and 0,47. No. 464. Walnut-wood, stained brown. Height 1,29, breadth and depth above 0,275, below 0,37. No. 465. Walnut-wood, stained light brown. Height 1,43, breadth 0,45, depth 0,39. No. 466. Height 1,32, breadth and depth above 0,29 and 0,24, breadth below 0,34. Gilded. No. 467. Height 0,79. Gilded. No. 469. Walnut-wood. Height 0,89. No. 470. Height 5 ft 5 '/ 2 in., breadth and depth of the socle 15 in. Gilded. No. 472. Left: Walnut-wood, stained brown. Height 0,43, breadth 0,72, depth 0,41, partly gilded. Right: gilded. Height 0,47, breadth 0,62, depth 0,37. No. 473. Stained dark brown and partly gilded. No. 474. Height 0,185, breadth 0,33, depth 0,15. Gilded and painted like dark marble. No. 475. Height 0,185, breadth 0,33, depth 0,15. Gilded. No. 479. Left: Height 1,28. Partly gilded (compare this with No. 461). Centre: Walnut-wood. Height 1,27. Right: Walnut- wood. Height 1,30 (Bardini, 1902, Nos 596, 597 and 599.) No. 481. Height 0,85, breadth 0,68. (Beckerath No. 1048.) 246 No. 482. Walnut-wood. Height 2 ft 7 in. No. 485. Walnut-wood. Height 22 in. No. 486. Walnut-wood. Diameter 1 ft 7 in. Partly gilded. No. 487. Walnut-wood. Height 2 ft 9 in., breadth 2 ft 4 ’ in. No. 488 Walnut-wood. Height 0,31, breadth 1,33. Partly gilded. No. 489. The gilded frame (diameter 1,18) was intended for the picture propably designed by Michelangelo on the occasion of the marriage of Angelo Doni to Maddalena Strozzi (1503 or the beginning of 1504). (Thode, Michelangelo, Critical Investigations, I. p. 118.) No. 490. Height 0,60, breadth 0,325. Gilded. No. 492. Height 0,98, breadth 0,645. Gilded. No. 493. Walnut-wood, stained brown. Height 0,47, breadth 0,38. No. 494. Height 0,91, breadth 0,51. Gilded carving partly on a blue ground. (Beckerath 320.) No. 495. Height 0,625, breadth 0,48. Gilded. No. 496. Height 0,73, breadth 0,385. Ground blue, carving painted white or gilded. No. 497. Walnut-wood, stained brown. Height 0,52, breadth 0,41. Partly gilded. No. 498. Walnut. Height 0,91, breadth 0,58. Partly gilded. No. 499. Height 2,62, breadth 1,30. Carving gilded. Arms of the Ruccelai. No. 501. Looking-glass Frame. Height 0,312, breadth 0,142. No. 506. Walnut-wood, stained brown. Height 0,56, breadth 0,425. No. 507. Height 0,92, breadth 0,71. Gilded and painted blue. No. 508. Height 0,385, breadth 0,33. Carving gilded. No. 509. Height 0,61, breadth 0,535. Painted. No. 511. Height 0,76, breadth 0,37. No. 512. Height 0,94, breadth 0,69. No. 513. Height 1,71, breadth 1,53. Gilded. No. 515. Walnut-wood. Height 2,63, breadth of each wing 0,655. From the Badia Fiesolana. (Schottmiiller, Amtl. Be- richte, XXXIX, 1918, pp. 80 and seq.) No. 516. (Geymiiller, Vol 4, p. 1 seq.) No. 523. Height 2,90, breadth 1,49. No. 526. Walnut-wood, with inlays of yellow pine. Height 1,90, breadth 0,87. No. 527. Walnut-wood. No. 528. Frieze over the door, (Central Italy about 1475) grey limestone. Height 0,19, breadth 1,66. Door-wing walnut- wood, height 2,25, breadth 1,10. No. 530 531. Grey limestone. Height 4,10, breadth 2,43. No. 532. Pietra di Lavagno (grey limestone). Height 3,95, breadth 2,04. No. 533. Pietra serena. Height 5,18, breadth 3,18. No. 534. Pietra d’Istria (limestone) and black grained marble. Height 5,14, breadth 4,04. No. 535. Reddish, black and yellow-grey Veronese limestone. Height 4,75, breadth 2,58. No. 536. White and bright-veined marble. Height 2,84, breadth 1,48. Arms of the Trevisani (Bode-Tschudi , Beschreibung d. Bildw. d. chr. Epochen, No. 238). No. 537. Limestone and white and black marble. Height 3,50, breadth 1,83, depth 0,64. No. 540. Pietra serena (greenish sandstone). Height 2,48, breadth 9,50. Chimney piece decorated with the Prometheus legend, and firedogs 17 th century. No. 541. Istrian limestone. Height 2,30, breadth of the central part 2,93. Mantelpiece does not belong to it. Venice, Palazzo Foscari. No. 542. Pietra serena. Height 8 ft 6 in., breadth 12 ft. No. 545. Pietra serena. The palazzo Gondi was built in 1490 1494 by Giuliano da Sangallo. No. 546. Originally in the house of Pier Francesco Borgherini in Florence. No. 552 554. Gubbio’s palace was built by Luciano del Lau- rana from 1474 — 1482. No. 555. Limestone. Height 0,574, breadth 2,895. No. 556. Limestone. Height 0,85, breadth 0,48. No. 557. Pietra serena. Height 0,43, breadth 0,29. Gilded discs on a blue ground. No. 558. Marble. Height 0,635, breadth 0,44. No. 559. Urbino limestone. Height 0,27, breadth 0,82. No. 560. Marble. Height 0,56, breadth 0,52. No. 561. Wood. Height 0,45, breadth 0,84. No. 562. Sandstone. Diameter 0,79. No. 563. Pietra serena. Height 0,423, breadth 0,325. No. 564. Limestone. Height 0,78, breadth 0,62. No. 565. Urbino limestone. Height 1,145, diameter above 0,30. No. 566. Urbino limestone. Height 0,75, breadth 0,265. No. 567. Istrian limestone. Height 0,96, breadth below 0,30. No. 568 — 569. Embroidered on silk in gold threads. (Bardini, 1899, Nos 231 and 234.) No. 570. Red satin braided with gold threads. Height 0,36, breadth 0,47. (Beckerath No. 860.) No. 571. Braided in gold threads sewn on with silk. (Bardini, 1899, No. 237.) No. 577. Red velvet with patterned white satin. No. 578. Dark red damask satin. No. 579. Blue-violet velvet patterned. No. 581. Velvet. Pattern silver and gold on a red ground. No. 582. Velvet. Foundation gold. Pattern red with gold. (Kumsch, Stoffmuster, Plate 151.) No. 583. Velvet. Stamped with pomegranates. No. 584. Velvet. Ground gold. Pattern worked in red and silver. No. 589. Bronze. Height 0,15, breadth 0,31. 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