to u H Z o ITALIAN FURNITURE AND INTERIORS WITH TEXT BY GEORGE LELAND HUNTER 200 PLATES VOLUME ONE WILLIAM HELBURN INC. 418 MADISON AVE NEW YORK COPYRJGHT 1918 BY WILLIAM HELBURN INC. ""pO the Owner of the Villa Palmieri, to Professor Commendatore Elia Volpi, to the Owner of the Villa Curonia, to the Metropolitan Museum of Art, to the Victoria and Albert Museum, to Messrs. P. W. French & Co., to Messrs. Mack, Jenny & Tyler, to the Boston Museum, to the Minneapolis Fine Arts Museum and others, whose collections have enabled us to present this book, we gratefully acknowledge our indebtedness and gratitude. INTRODUCTORY TEXT •"pHE practical and patriotic value of the two hundred plates that have been selected by the 1 publishers is very great. They are helpful to those who have homes to furnish; and they are indispensable to architects, decorators, designers, students, teachers, libraries and manufacturers. As I look them over I am amazed at the wealth of material. Especially at the present time are these plates important. They supply splendid co-operation to the efforts of those who are endeavoring to so raise the standards of our industrial arts during the war, that we may be able after the war not only to hold American markets but gain others in the face of renewed European competition. Of course, the large amount of ancient Italian Furniture brought to this country during the past three years, much of which is still available, emphasizes the timeliness of this publication. In it in a large way are supplemented the book of Dr. Bode and the catalogues of the Davanzati, Villa Pia, Volpi and Bardini sales. In it are illustrated the best examples of the greatest period of mobiliary art: and in it are presented on a large scale interiors from the Villa Palmieri and elsewhere, showing how Italian Furniture should be installed. Until recently the guiding inspiration of most architects and decorators everywhere was. Baroque. Their idea of decoration was exaggeration of ornamentation, and particularly of ornamentation in rehef To them magnificence was more pleasing than perfection. A striking exception to the rule was the late Stanford White, who shares with the late J. Pierpont Morgan the major part of the credit for the present decorative revival in the United States. Another exception is Charles A. Piatt whose activities still continue to enrich our country. With those who in Gothic sought refuge from seventeenth century Baroque, I have no quarrel. While much Gothic possesses many of the faults of Baroque, it is too noble a style to be condemned, except as misinterpreted in the nineteenth century. But with those who fail to recognize the supreme exquisiteness of Florentine interiors of the fifteenth century, I totally disagree, and do indeed regard them as lacking in taste utterly. The rhythm of Classic and Renaissance art is just as definite and characteristic as the rhythm of the highest types of poetry and of music. It is a rhythm that appeals less to the barbarian than to the gentlemen, and that requires a considerable degree of culture and civili- zation to appreciate. It is a rhythm of balance and of repetition that to the uninitiate often seems monotonous. Naturally to those whose inspiration is Baroque or Rococo, Italian Renaissance interiors seems bare and cold. They lack the "homelike" atmosphere that is caused by overcrowding with ugly furniture badly placed. There is still left in them room apparently as well as really for human occupants. Also as compared with Baroque and Gothic works of art, those of the Italian Renaissance seem low. While in Gothic, vertical effects are exaggerated at the expense of horizontal, and in Baroque large curves introduce heavy contrast and bold variety, in Renaissance there is a balance of horizontal and vertical which makes for aesthetic sanity. Frequently in my classes at the Metropolitan Museum of Art I am asked to define the difference between Nature and Art. My answer is always something as follows: — I. Just as Nature is what God makes, so Art is what man makes. Nature is raw material for Art. The hand of man is what transforms Nature into Art, making it in a sense human just as Nature is m a sense divme. But just as not all Nature is beautiflil, so not all Art is beautiful, and those who start their art discussions by attributing mysterious perfection to aU Nature and all Art, are blind. God makes hills and valleys and caves and forests. Man makes houses. With the plumb hne he brings the works of Nature down to human scale. Rough and irregular are the floors and roofs and walls of caves and of forests. But the floors and roofs and walls of human houses are exactly horizontal and exactly vertical, and covered with balanced and repeated ornament. It is balance and repetition that most obviously distinguish Art from Nature, and it is perfection of balance and delicacy of rhyme that to a supreme degree distinguishes the art of the Florentine Renaissance, flirniture as well as paintings and sculpture and architecture. Second only to the Florentine furniture of the fifteenth century, is the Witure of the Italian Renaissance of the sixteenth century. Greatly do I wish that I had here the opportunity to elaborate on the qualities and ideals that distinguish the Itahan fourteenth century with its veneer of Gothic; from the Florentine fifteenth century with its living classics; from the Roman sixteenth century with its emphasis of formalism which makes it by comparison almost Baroque; from the Roman seventeenth century with Baroque dominant ; firom the eighteenth century with its Baroque- Rococo Italian imitations of the furniture of France and England. But that would exceed the space my publisher allots me, as well as the time I can aUow to the task. So I beg the indul- gence of my friends and readers if I merely outline the background, and set a task to be perhaps accomplished later. Secondary in importance to the century distinctions are the territorial ones; partly because the provenance of the ancient pieces of furniture that have survived is not always certain; partly because the territorial distinctions are lesser ones, the masterpieces of Florence being copied and reproduced elsewhere; sometimes in Milan where Gothic from the north had most influence ; sometimes in Genoa where the contiguity of France was more in evidence ; even in Venice, where Oriental and Byzantine and Gothic struggled to give richness of color at the expense of purity of line, and of good taste. For those whose Italian geography is hazy, I will add that Tuscan refers to the ancient province of which Florence was the capital, and in which Siena is also situated; Umbrian to the province east of Tuscany in which is situated Citta di Castello ; Ligurian to the province of which Genoa was the capital; Bolognese to the capital of Emiha north of Tuscany; Brescian to the city of Brescia east of Milan in Lombardy ; Paduan to the city west of Venice in Venetia' Tyrolean to the province the Italians are now fighting to win from Austria. As is shown by the " List of Plates " which follows this introduction, the subject divi- sions are five : Plates I to 55, Interiors and Beds Plates 56 to 89, Tables and Frames Plates 90 to 139, Chairs and Benches Plates 150 to 176, Case pieces Plates 177 to 200, Chests n. mill I III MiiiiWri While the chests called by the Italians cassoni, come last in the list, they are of prime T'^xf 'I'^f historically, and from the pomt of view of the evolution of fiirniture forms. In the Middle Ages, they served not only as trunks abroad, but as safes and cabinets at home Placed agamst the wall the lower ones were used as benches, and upon occasion even as couches- and placed m the middle of the room the higher ones served as tables. The earliest chests Illustrated are the two Gothic fourteenth century examples from the Villa Palmieri and the Davanzati Palace on Plate 179. The example from the Davanzati Palace on Plate 178 is not Venetian of the fourteenth, but French-Flemish of the fifteenth century. Gothic examples of the early fifteenth century are three, from the Milan Poldo-Pezzoli Museum on Plate 178, and from the Davanzati Palace and the Florence National Museum on Plate 177. Chests like these, and the classic ones that succeeded them are often called marriage and bridal chests, not without reason, because they were often used as containers for bridal trousseau. At the same time, it is only fair to state that this applies to only a small percentage of the extant cassoni, and to label them all marriage chests is just as inaccurate as to call all Oriental kelims "kis-keUms". Splendid Classic fifteenth century chests are the two from the Davanzati Palace on Plate 180, the upper one obviously descended from some ancient Roman sarcophagus, and the gesso sculpture that adorns the front panel of the lower one also betraying the same inspiration. Distinguished for the beauty of their floral scroll-work in gilded gesso are the two Florentine chests in the Victoria and Albert Museum illustrated on Plate 185. Typically Umbrian is the lower one on Plate 186, in the Metropolitian Museum of Art. A super example of fifteenth century acanthus leaf carving is the top chest on Plate 187. A unique example of landscape and figure carving as applied to the ornamentation of cassone panels is the chest in the Milan Civic Museum, illustrated on Plate 193. Extra-ordinary for the merit of the nude figures is the carving in high relief on the chest in the Victoria and Albert Museum, also illustrated on Plate 193. Almost equal to this, but not as perfectly preserved is the lower chest on Plate 194, while the upper one on the same plate displays the same marvelous skill in the shaping of of acanthus leaf scrolls already noted on Plate 187. Even more than these cassoni, do the large benches and cassapancas and tables and side boards of the ItaHan Renaissance accentuate the horizontal lines that make Italian Renaissance interiors look low and restftil, even when they are very high. Examples of the first are the superb late fifteenth century example on Plate 136, and the sixteenth century example with balustered back in the Metropolitan Museum of Art, on Plate 139. Splendid cassapancas — which are really long chests, with backs and arms, and usually mounted on platforms — are the fifteenth century Florentine inlaid one on Plate 133, from the Davanzati Palace ; and the carved sixteenth century one in the Metropolitan Museum of Art, on Plate 136. Other fine Florentine examples are those on Plate 138, with Baroque tendencies already manifest. A sixteenth century inlaid one, with paneled back but without arms, is from the Davanzati Palace and illustrated on Plate 133. The fifteenth century one on Plate 131 has such a high back that it groups among those commonly called thrones. Among noble tables are those on Plates i, 12, 13, 18, 29, 30, 35, 45, 56, 58, 60. Impressive and beautiful sideboards — which are really long chests that have grown a little in height and substituted doors for lid, and usually added drawers above the doors — are those on Plates 143, 152. Other larger cabinets are those on Plates 145, 147, 148, 151. Smaller cabinets m. also called commodes, are those on Plates 146, 150, 171, 174, X76. Cabinets planned for use as writmg desks are the upper one on Plate 147, and the two story one on Plate 157. At this point it seems pertinent to say something regarding the development of two- story furniture. At first it was often merely a temporary union of table with chest, or chest with chest, or cabinet with cabinet, or cabinet with case of shelves, the latter in each instance being placed temporarily and without being fastened, upon the former. Plate 161 on the left shows an early example of this, upon the top of which has been added recently as a temporary third story, a tiny and very delightflil carved Gothic chest. Plate 161 shows a cabinet with legs (cabmet and table made as one), that is not Venetian of the fourteenth century, but Flemish of the late fifteenth. Plate 175 shows a seventeenth century unattached chest resting upon a table. Plate 160 shows an exquisite leather-covered fall-front cabinet with tiny drawers resting upon a stand that is not an integral part of it. Other temporary unions are those on Plates 159 and 166. The two cabinets on Plate 169 seems to have been composed as units, although even of them the upper cabinet can probably be easily removed from the lower. Long chests by elaborately architectural superstructure of shelves with transparent doors have been trans- formed into massive curio cabinets, are those on Plates 167 and 168. SmaU cabinets that with the aid of platforms have become prie-dieus are those on Plate 162. Of small tables there is illustrated a wide variety of the finest examples, rectangular as well as hexagonal and octagonal; on Plate 61 from the Davanzati Palace; on Plate 6z from the Villa Pia; on Plate 63 from the Villa Palmieri two extraordinary examples of the fifteenth century; on Plate 67, two almost equally extraordinary examples of the sixteenth century from the Davanzati Palace and Villa Palmieri; besides others on Plates 64, 65, 66, 69, 72, 76 et al The Genoese side table on Plate 72 and the carved table firom the Victoria and' Albert Museum on Plate 73, have carving of such excellence as to suggest the best work of the French Renaiss- ance, though of course entirely different in character. Plate 71 shows an ingenious and wonderfully beautiful carved writing table of the sixteenth century, in the Victoria and Albert Museum. The finest beds illustrated are those on Plates 27, 47, 48, 52, 53. The latter three are four posters from the sixteenth century, while the first two fifteenth century ones fi-om the Davanzati Palace and the Villa Palmieri respectively, have head and foot paneled, and are exalted above the floor on a high platform the extensions of which serve both as benches and as chests. So that while they exaggerate the size of the bed, and accentuate tremendously the Italian Renaissance horizontality, they really are very useful. Tiny by comparison but yet interesting are the three cradles on Plates 54 and 55, and the small bed on Plate 55. Of Italian chairs there are more types than were until recently known to exist: chairs with three sprawling legs, chairs supported not on legs but on broad carved standards fi-ont and back ; folding X chairs of the type sometimes called " Savonarola "; wonderfhl " Dante " chairs hke the two on Plate 96; monastery chairs like that on Plate loi ; besides enough four-legged side and arm chairs to furnish pictures for a complete history of the subject. The°gold tapestry that upholsters one of the chairs on Plate 117 is remarkably fine. A "chest" chair with low back is the fifteenth century one on Plate 90, and a fifteenth century chair with high canopied back is that on Plate 130. In the middle of Plate 130 is a "cabinet" chair with polyagonal enclosed back. The chair on the right of Plate 130 must have been executed by a carver from France or Flanders. IV. I would also call attention not only to the exquisitely carved mirror and picture frames, but also among other fireplace mantles, to those on Plates 49 and 50, and to the hatrack with Gothic canopy on Plate 132; and to the spinning wheel, silk winders, floor and other lighting, fixtures, which appear not only in the interiors but also on some of the other plates. In summing up I would emphasis the fact that Italian furniture is Straight Line fur- niture. Indeed, it might almost be called Box and Board Furniture. Also that while the structure and frame work are architectural in form, the carved and sculptural ornament are "fat and flat" as compared with French Gothic or French Rennaissance, while gesso and paint- ing are employed with great elaboration, principally on the chests, so many of which have already been illustrated by the devotees of "representative art," on the plea that they were too important to be classed as furniture. However that may be, it was certainly vandalism to destroy so many of the chests as have been destroyed in order to preserve the fronts as easel paintings and sculptures. Again I reiterate that the Italian Renaissance is a period of balanced straight lines, horizontal and vertical, as distinguished from Gothic with its exaggeration of verticality, and from Baroque with its exaggeration of balanced curves. I hope and believe that a study of the illustrations in "Italian Furniture and Interiors" will spread and promote artistic sanity and industrial accomplishment. George Leland Hunter December, 1918 V. LIST OF PLATES, VOLUME ONE SEE END OF LIST FOR DIMENSIONS OF PIECES ON STARRED PLATES INTERIORS AND BEDS Frontispiece Villa Palmieri 1 Living Room Villa Palmieri r J OfPTi re* 2 Drawing Room Villa Palmieri r* 1 Of pn pf* 3 Bed Room Villa Palmieri 4 Bed Room Villa Palmieri 5 Bed Room Villa Palmieri I* Infpnr'p 6 Room Villa Palmieri r InTPTipp 7 Living Room Villa Palmieri H InTPT^r'f^ 8 Reception Room Villa Palmieri Florence 9 Reception Room Villa Palmieri Florence 10 Entrance Davanzati Palarp rlnrprirp 11 Great Hall, First Floor Davanzati Palarp 12 Great Hall, Third Floor Davanzafi Pal^rp H l01"PTIFP 13 Great Hall, Second Floor Davanzati Pfll^rp p IriT'p'n rc* 14 Dining Room Davanzati Palarp r* InrpTiPP X l-V^Xt^lX^iC 15 Stairway X/illfl Pplmipn' H lO'K'PTl PP 16 Kitchen of the Villetta V^illa Pfllmipn" y i. aiiiiiCJ.! J. HJlCllLc 17 Reception Room (Villa Aurora) Villa Palmieri r lofpTifp 18 Dining Room (Villa Aurora) Villa Palmieri -JL jLV_7J. ^1X^1^ 19 Dining Room \^illa Curonia P loTPnrp 20 Drawing Room Villa Curonia FlnT'pnrp 21 Hall Villa Curonia Flof pnrp 22 Salon Villa Curonia I'lOTPTIPP -x x\wJX t-lX^w-l^ ^3 Bed Room Axilla Curonia H 1 OTPn^o 24 Parraquet Room Davanzati Palace p loT"p'npc> ^5 Hall, Second Floor Davanzati Palace P \r\rc*r\r'a 26 Living Room Davanzati Palace Florence ^7 Bed Room Davanzati Palace P 1 (TP"f>'n n e> 28 Peacock Room Davanzati Palace p loi*i>nr'c» i- lUxcllCc 29 Second Hall Art Museum V-zictd ui VjaSteilO 30 Second Hall Art Museum Citta di Castello 31 Fifth Hall Art Museum Citta di Castello 3^ Seventh Hall Art Museum Citta di Castello 33 Eighth Hall Art Museum Citta di Castello 34 Mantle Art Museum Citta di Castello 35 Ninth Hall Art Museum Citta di Castello 36 Ninth Hall Art Museum Citta di Castello 37 Council Hall Vincigliata Palace Florence 38 Dining Room Vincigliata Palace Florence 39 Service Room Vincigliata Palace Florence 40 Bed Room Vincigliata Palace Florence 41 Hall of Ruggero Royal Palace Palermo 42 First Room Buonarroti Gallery Florence 43 Decond Room Buonarroti Gallery Florence 44 Inird Koom Buonarroti Gallery Florence 45 Koom 01 Clemente VII . Vecchio Palace Florence 4" Uming Room Stibbert Museum Florence 47 l.-'ldb JDcU Villa Falmieri Florence 48 Bed, Sixteenth Century Villa Palmieri Florence 49 Mantles, Fourteenth Century Davanzati Palace c? Villa Palmieri H 1 (^Vi^n r" 0 5° Mantles Davanzati Palace Florence 51 Living Room Davanzati Palace Florence *5^ Low Post Bed, Sixteenth Century Davanzati Palace Florence '53 Low Post Bed, Late Sixteenth Century Davanzati Palace Florence '54 Cradles, Sixteenth Century Davanzati Palace Florence 55 Cradle, Sixteenth Century Metropolitan Museum of Art New York * Small Bed, Sixteenth Century Davanzati Palace Florence TABLES AND FRAMES *56 57 *58 '59 *6o *6i *62 63 64 *65 66 67 *68 *69 '70 *7^ *7i '73 Umbrian Table, Seventeenth Century Table, Fifteenth Century Bronze Room Center Table, Sixteenth Century Tuscan Center Table, Sixteenth Century Brescian Table, Sixteenth Century Paduan Table, Sixteenth Century Venetian Table, Fifteenth Century Umbrian Table, Fifteenth Century Tuscan Table, Early Sixteenth Century Tables, Sixteenth Century Center Tables, Fifteen Century Tables, Fifteenth Century Umbrian Center Table, Early Sixteenth Century Folding Side Table, Fifteenth Century Walnut Side Table, Early Seventeenth Century Center Table, Sixteenth Century Four Tables. Sixteenth Century UmM-ian Center Table, Sixteenth Century Refectory Table, Sixteenth Century Florentine Dining Table, Sixteenth C'try Table, Sixteenth Century Writing Table, Sixteenth Century Genoese Side Table, Fifteenth Century Umbrian Center Table, Sixteenth Century Carved Table, Sixteenth Century Davanzati Palace Villa Palmieri National Museum Davanzati Palace Davanzati Palace Villa Pia Davanzati Palace Davanzati Palace Davanzati Palace Davanzati Palace Villa Pia Villa Palmieri Villa Palmieri Davanzati Palace Private Collection Villa Palmieri Metropolitan Museum of Art Villa Pia Davanzati Palace Metropolitan Museum of Art Villa Pia Metropolitan Museum of Art Victoria and Albert Museum Davanzati Palace Davanzati Palace Victoria and Albert Museum Florence Florence Florence Florence Florence Florence Florence Florence Florence Florence Florence Florence Florence Florence Florence New York Florence Florence New York Florence New York London Florence Florence London 74 75 76 77 78 79 8o *8i *82 *83 *84 *85 *86 *87 *88 *89 Table and Chairs, Sixteenth Century Table, Sixteenth Century Chairs, Fifteenth Century Table and Chairs, Sixteenth Century Table and Chair, Sixteenth Century Table, Sixteenth Century Chair, Seventeenth Century Tables and Chairs, Sixteenth Century Table and Chairs, Fifteenth Century Table and Chairs, Sixteenth Century Table, Fifteenth Century Table, Fourteenth Century Chair, Sixteenth Century Frame, Sixteenth Century Bible Stand Frame, Sixteenth Century Prie-Dieu Chair, Sixteenth Century Frame, Late Fifteenth Century Kitchen Mill, Sixteenth Century Frame, Late Sixteenth Century Silk Winders, Seventeenth Century Frame, Sixteenth Century Frame, Sixteenth Century Mirror Frame, Fifteenth Century Mirror Frame, Sixteenth Century Spinning Wheel, Seventeenth Century Sienese Frame, Late Fifteenth Century Work Table, Seventeenth Century Frame, Sixteenth Century Sienese Bowl Holder Villa Palmieri Florence Villa Palmieri Florence Villa Palmieri Florence Vilia Falmieri Florence Villa Palmien Florence Villa Palmieri r* inrpnrp Villa Palmien Florence Victoria and Albert Museum London Museum of Antiques Parma Victoria and Albert Museum London Davanzati Palace rlorence Victoria and Albert Museum London Davanzati Palace rlorence Victoria and Albert Museum London Davanzati Palace rlorence Victoria and Albert Museum London Victoria and Albert Museum London Victoria and Albert Museum London Davanzati Palace Florence Victoria and Albert Museum London Davanzati Palace Florence Victoria and Albert Nuseum London Davanzati Palace Florence PLATES IN VOLUME ONE WITH DIMENSIONS 52 Low Post Bed, height 5 ft. 4 in., length 6 ft \vidth 4 ft. 6 in. 53 Low Post Bed, height 5 ft. 11J4 in., length 7 ft. 5 in., width 5 ft. 334 in. 54 Upper Cradle, height 3 ft. in., length 4 ft , width 2 ft. Lower Cradle, height 3 ft., length 3 ft 3 in width 2 ft. 1 in. 55 Small Bed, height 2 ft. 8 in., length 4 ft. 2 in., width 2 ft. H'/i in. 56 Umbrian Table, height 2 ft. 8 in., length 13 ft. 5 in., width 3 ft. 3 in. 58 Center Table, height 2 ft. 914 in., length 5 ft. SJ4 in., width 3 ft. 334 in. 59 Tuscan Table, height 2 ft. 73^ in., length 9 ft. 634 in., width 3 ft. Zyi in. Brescian Table, height 2 ft. 103^ in., length 6 ft. 8 in., width 2 ft. 11 in. 60 Paduan Table, height 3 ft. 2 in., length 9 ft. 5 in., width 3 ft. 4 in. Venetian Table, height 2 ft. 834 in., length 4 ft. 73^ in., width 3 ft. 61 Umbrian Table, height 2 ft. 7 in., length 4 ft. 34 in., width 3 ft. 434 in. Tuscan Table, height 2 ft. 8^ in., length 3 ft. 8>4 in., width 3 ft. 6 in. 62 Upper Left, height 2 ft. 11 34 in., length 3 ft 6 in., width 3 ft. 6 in. Upper Right, height 2 ft. 63^ in., length 4 ft., width 1 ft. 11J4 in. Lower Left., height 2 ft. 10 in., length 4 ft. 6 in., width 3 ft. 4 in. Lower Right, height 2 ft. 10 in., length 5 ft. 3 in., width 2 ft. 11 in. 65 Umbrian Center Table, height 2 ft. 7 in., diam- eter 4 ft. 1 in. 67 Center Table (Davanzati Palace), height 3 ft diameter 4 ft. 434 in. 68 Lower Left (Villa Pia), height 2 ft. lO/^ in., diameter 3 ft 934 in. Lower Right (Villa Pia), height 2 ft. 9 in , diam- eter 4 ft. 8 in. 69 Umbrian Center Table, height 2 ft. 834 in., length 3 ft. 1 in., width 2 ft. 4 in. 70 Florentine Dining Table, height 2 ft. 7J4 in length 10 ft. eyi in., width 2 ft. 33^ in. 71 Writing Table, height 3 ft., length 4 ft. 4 in width 2 ft. 9 in. 72 Genoese Side Table, height 2 ft. 11 34 in. length 4 ft. 134 in,, width 2 ft. 6H in. Umbrian Center Table, height 2 ft. 834 in length 3 ft. 734 in., width 3 ft. 334 in. 73 Carved Table, height 2 ft. 1 1 in., length 4 ft. 1 in., width 2 ft. 6 in. 81 Frame, height 4 ft. 234 in., width 3 ft. 234 in. 82 Frame, height 3 ft. 33^ in., width 2 ft. 7^ in. 83 Frame, height 4 ft. 6% in., width 3 ft. IO34 in. 84 Frame, height 4 ft. 5 in., width 4 ft 3 in A. Silk Winder, height 3 ft. 234 in. B. Silk Winder, height 3 ft. 11 34 in. 85 Frame, height 3 ft. 4 in., width 4 ft. 8 in., depth 9 in. 86 Frame, height S ft., width 4 ft. 3 in. Mirror Frame, height 2 ft. 7 in., size of plate 1034 in. by 8'/i in. 87 Mirror Frame, height I ft. 6 in., width 1 ft. 10 in. Spinning Wheel, height 2 ft. 2^ in. 88 Sienese Frame, height 2 ft. 9 in., width 2 ft. 434 in. 89 Frame, height 2 ft. 434 in. Bowl-Holder, height 2 ft. 10 in. Errata. All Plates titled City Hall, Costello or Castello, should read Art Museum, Citta di Castello. < — ""^ "HBrHJiT.fr'.'iiHn »s::::'air-':ie:aif.ia — ^^^^ o 2 m H Z Q Z < D H Z < H Z Q Z < va U H Z < FLORENCE, DAVANZATI PALACE. ENTRANCE ai O 5 tu H z Q Z < tu d 0 f- Z D Z < < ITALIAN FURNITURE AND INTERIORS PLATE 15 FLORENCE, VILLA PALMIERL STAIRWAY, THIRTEENTH CENTURY ittiBB g 2 H Z Q Z < u of. D H z Z < < ITALIAN FURNITURE AND INTERIORS ITALIAN FURNITURE AND INTERIORS PI-ATE 41 -V-'? PALERMO, ROYAL PALACE, HALL OF RUGGERO ITALIAN FURNITURE AND INTERIORS PLATE 54 FLORENCE, DAVANZATI PALACE. CRADLES, SIXTEENTH CENTURY ITALIAN FURNITURE AND INTERIORS FLORENCE. VILLA PIA, BRESCIAN WALNUT TABLE, SIXTEENTH CENTURY ITALIAN FURNITURE AND INTERIORS PLATE 61 UMBRIAN WALNUT TABLE, FIFTEENTH CENTURY TUSCAN WALNUT l ABLE. EARLY SIXTEENTH CENTURY FLORENCE, DAVANZATI PALACE H Z a z < Z < ITALIAN FURNITURE AND INTERIORS PLATE 6^ FLORENCE, VILLA PALMIERI, TABLES. FIFTEENTH CENTURY ITALIAN FURNITURE AND INTERIORS PLATE 65 FLORENCE, DAVANZATI PALACE, UMBRIAN CENTER TABLE, EARLY SIXTEENTH CENTURY ITALIAN FURNITURE AND INTERIORS PLATE 66 WALNUT SIDE TABLE EARLY SEVENTEENTH CENTURY ITALIAN FURNITURE AND INTERIORS ITALIAN FURNITURE AND INTERIORS PLATE 72 GENOESE WALNUT SIDE TABLE, FIFTEENTH CENTURY UMBRIAN WALNUT CENTER TABLE, SIXTEENTH CENTURY FLORENCE, DAVANZATI PALACE ITALIAN FURNITURE AND INTERIORS PLATE 75 FLORENCE. VILLA PALMIER!, CHAIRS AND TABLES, SIXTEENTH CENTURY LONDON. VICTORIA AM.i 'Al i.[ in ML'bhL M, i RAMh. SIXTEENTH CENTURY PARMA, MUSEUM OF ANTIQUES, BIBLE STAND ITALIAN FURNITURE AND INTERIORS ITALIAN FURNITURE AND INTERIORS PLATE 88 LONDON, VICTORIA AND ALBERT MUSEUM, FRAME, LATE FIFTEENTH CENTURY FLORENCE, DAVANZATI PALACE. WALNUT WORK TABLE, SEVENTEENTH CENTURY ITALIAN FURNITURE AND INTERIORS PLATE 89 LONDON, VICTORIA AND ALBERT MUSEUM. FRAME, SIXTEENTH CENTURY FLORENCE, DAVANZATI PALACE, SIENESE BOWL-HOLDER, SIXTEENTH CENTURY