The principal fault with which the Flemish artists of the period are reproached is that of "painting the lily." They frequently are lacking in restraint, and overcharge their surfaces with riot of ill-combined mouldings and carvings; but in this specimen we have fine restraint. Its structure and general disposition are strong and well-contrived; the mouldings have a good profile; the sculpture is in the right place, and, at the same time, is subordinated to the lines whose mission is to contain and quiet it. This piece belongs to the best school of the Renaissance, and will hold its own in almost any surroundings.

In the lower part of this cabinet, the two panels that form the doors are carved with the figures of Diana and Juno with their attributes. The drawers above are decorated also: the central one has a lion's head, to which a ring is suspended, and the two others have a simple knob. In the panels of the upper doors, Paris is presenting the golden apple to Venus, whose beauty has outshone that of her rivals. A garland of fruits with a mascaron in the centre is above this, and the whole is topped by a broken pediment framing an armed Pallas.

If we cast a glance at Italian furniture, we shall see that the French and Flemish artists at first frankly copied what they had seen when they accompanied the three expeditions to Naples.

In the sixteenth, as in the preceding century, the Italians were particularly fond of the Roman triumphal arch and sarcophagus, as forms for furniture. The Classic Orders were in great vogue, and the arabesque and candelabra-shaped pilasters, introduced so long ago into decoration, were renewed and made popular by Raphael. To the ancient style of marquetry, composed of little geometrically-cut cubes of natural wood, there succeeded a marquetry of coloured woods arranged to form actual pictures with perspective. Some of the furniture was carved, and then painted, or gilded; but other furniture shows large surfaces that are decorated with beautiful oil paintings.

The Italian furniture was particularly da pompa, made for the adornment of long galleries, enriched with paintings, gildings, tapestries, velvets, damasks, brocades, cushions, curtains, mirrors, and sumptuous cassoni. Beds, chairs, tables, cabinets, mirror and picture frames, standing candelabra, bellows, coffers, chests, seats and buffets (credenza), are of the most luxurious nature; and the latter display magnificent gold and silver work (Cellini is busy at this period), and marvellous examples of faience; for, be it remembered, it is also the period of Luca della Robbia and his school.

The Italians cared little or nothing for the large chimney-pieces, so dear to the northern races in their colder climate; and the great seats by the fireside have also no attractions. The Italian has no oak, nor half-timbered houses with pointed gables without and heavy beams within: his woods are walnut, pine and chestnut for ordinary furniture, and ebony, cedar and cypress for his luxurious articles. His materials, like his taste, are more decorative than practical.

Such was the taste that invaded the Low Countries during the Renaissance; much of it brought home by the Flemish artists who visited Italy; and some of it coming into the country by way of France, where Serlio was the guiding spirit, Cellini had settled, and the school of Fontainebleau was in full blast.

The characteristic feature of Renaissance furniture consists in the monumental facade that is like a Roman temple, and various orders of Classic architecture are superimposed: it is Doric at the base; Doric in the centre; and Corinthian at the top. The whole is surmounted by a pediment, the triangle of which is broken in the centre to receive a bust, vase or statuette. (See Plate VIII.)

The projections stand out boldly and form sharp cornices. In the panels, in the supports and between the columns, niches are cutout and framed in an architectural motive of some kind. In them are figures of heroes or classic deities. Sometimes also there are round medallions in the form of dormer windows from which curious heads with outstretched necks peer forth.

Ornate pieces of furniture exhibit a whole world of real or imaginary beings, mingled with garlands of fruits, or flowers, and ribbons. Often the figures are fantastically developed out of the leaves and floral branches. The favourite decorative motives are antique columns, pediments, broken pediments, terms, garlands, pagan deities, classical heroes, caryatides, grotesque figures, initial letters smothered in branches of foliage, cartouches, pilasters and arabesques. Gothic perforations are also used, although they are more geometrical than during the preceding period. (See Plate X.) The favourite linen-fold pattern dies very hard. Strips of leather called "cuirs," variously folded and plaited, enjoy a great vogue. (See panel on Plates XXI and XX). The encoincon (see Figs. 17 and 18) is also popular; and the "compartiment" appears in hundreds of designs. The compartment ceiling is a favourite room decoration, and is often ornamented with roses, brackets, floral designs and monograms. A compartment ceiling of intricate design appears in Plate XXIV.

The arabesque, which so often forms a central motive, is usually in the form of a flower stem, a knot of ribbon or a candelabra, symmetrically arranged with branches to right and left, and charged with trophies, vases, fantastic beings, animals, etc., at the caprice of the artist. These delicate ornaments flourish in the panels, mingling with the horn of plenty, bold sirens, and medallions of antique heroes in high relief.

The arabesque was beautifully treated by many artists, but the most successful were Marc Gerard, a celebrated painter, sculptor and architect of Bruges, and Lucas van Leyden whose style of treating arabesques follows Albrecht Durer. Examples of Lucas van Leyden appear in Figs. 10,11 and 12.