The 16th century, therefore, presents us a most varied and interesting series in furniture; coffers, credenzas, cabinets, double-bodied presses or armoires, tables, beds, seats and gates can all be obtained from it, and all in perfection. We must make a distinction, however, and not bring the simple and light compositions of France in contact with the redundant productions of Germany. Some amongst these, notwithstanding the science of their workmanship, sculpture exuberant garlands, protruding consols and caryatids, whose structures seem barely sturdy enough to maintain the balance of the piece. This degeneration will reach its final limits in what is called a kunstschrank (cabinet). The cabinet-makers of Dresden, Augsburg and Nuremberg not only utilise various woods and stones, they also request the aid of goldsmiths. Thus, in 1585, Johann Kellerthaler of Nuremburg covers the smallest surfaces of the wood with embossed silver and various gems. Yes, it is the close of the Renaissance and the threshold of the 17th century; however, in France during this time, the decline only manifested itself in the application of marble on panels and the intervention of ebony.

      We should consider the variety of wood carved during the Renaissance which had designs sketched out on it, was covered with a preparation of stucco moulded in relief and finally painted and gilded, as was done in the case of frames, consoles, etc. What we find most frequently in this style are small jewel boxes and other minor items as accessories to luxurious furniture. The disappearance of many principal pieces should be attributed, for the most part, to their fragility alone. At the time of the Sechan collection sale a cassone, belonging to the best period was to be seen, the exterior of which, discoloured and defaced by time, scarcely conveyed any idea of its original splendour. In the form of an ancient sarcophagus, supported and divided by elegant caryatids, its reliefs represented wreaths hanging from the heads of cherubs, with palmette friezes separated by tritons with coiled ends. The upper part showed traces of a semé which was impossible to distinguish due to the severity of damage suffered by the details. Upon raising the lid, all was explained; its interior, like the top, was a grid-pattern of golden roses set against a red background. All the threads of the gold trim, bordered by a succession of beading, were ornamented with arabesques of a matte blue. The circumference of the chest, being furnished with closed compartments, served as a receptacle for valuables which were thus kept separate from the large cavity appropriated for clothing. These dark green boxes shone with the enhancement of fine gold arabesques. Using these elements of ornamentation, the imagination could easily complete the restoration of the outer walls, at which point one could easily realise what degree of opulence would be necessary in order to obtain a piece of furniture of this description.

      We will pause here, thought that is not to say that the 17th and 18th centuries were wanting for armoires, buffets, or even dressers of carved walnut. However, these articles, reserved mainly for the middle classes, were infrequent and can scarcely be found in the present day. It is among other styles of work, therefore, that we must seek out the various branches of luxurious furnishings.

      Furniture inlaid with piqué

      What the Italians call tarsia, inlay work, would be, if we accept Tommaso Garzoni’s definition in his Piazza Universale, the same thing as the work designated by Pliny, under the name of cerostrotum. According to this etymology, therefore, this word indicates a combination of wood with inlaid pieces of horn and more especially designates the species which is called piqué when it comes from the East and certosino when it is of Italian origin. The intarsiatori, or inlay workers, made their appearance in Italy in the 13th century. It is without a doubt that this work was completed by numerous brethren trained in religious communities; this style is known as, lavoro alia certosa (Carthusian work), or by abbreviation, certosino.

      In their eagerness to push wood inlay work beyond its rational limits, artists sought to make it representative of scenes and landscapes, as many celebrated churches can testify. It was a senseless attempt which would end in nothing durable which we would ultimately see renewed in France in later centuries.

      The real certosino, which we will now discuss, originated in Venice, and was an Oriental imitation. From the 13th century to the end of the 14th, the inlays were made of black and white wood, sometimes accented with ivory; it was not until later that the frequency of stained wood and use of ivory in its natural tint or a stained green began to increase; sometimes small metallic plaques were added to the work. These primitive labours are almost always of small dimensions, consisting of boxes and jewel cases of rather hasty construction. When the inlaid work is applied to furniture, it is at first with a certain reserve. A bahut belonging to Henry Cernuschi is simply decorated with nets around its circumference, and each side has a circle of diamond encrusted bone on brown wood. This chest dates from the 15th century. Later come the cassoni, the cabinets, the folding tables, the seats with backs in the shape of an X, as well as elegantly carved high-backed chairs in which coloured woods are combined with ivory and form geometrical designs of great richness. Often in circular medallions or in the middle of panels a vase appears from which flowering stems of a blossoming bouquet of fireworks appears. Nothing can be more elegant than this style of furniture, the only defect of which is its uniformity. Notwithstanding some small flowers and rare coiled bouquets, what chiefly predominates in the decoration is a repetition of circles, stars, diamonds and other common geometric figures.

      Nearly all the furniture in piqué, alia certosa, comes from Italy; but some may be met with, among the most striking, those which have been manufactured in Portugal. They are generally to be recognised by the abundance of copper sconces used as garnish. The cabinets have complicated corners and keyholes which the gilding renders peculiarly bright.

      Guidoccio Cozzarelli, Ulysses’ Departure, detail: The Boatmen, 1480–1481. Poplar wood, cut on the first or last board of the trunk, 34 × 121.5 × 2.5 cm. Castle of Écouen, Musée national de la Renaissance.

      Ebony furniture inlaid with ivory or carved

      The period in which ebony came to be used in cabinet work remains to be decided, but which is of little importance. Oak and walnut already satisfied the wants of sculpture and gave a suitable ground to inlays of coloured wood; ebony made its appearance precisely at the time when these inlays appeared to gain favour and show themselves accompanied by brilliant stones. Know as a rebellious material to work, ebony created a sombre effect and, especially when associated with ivory, assumes a truly mournful aspect. Yet it is Italy, the land of supreme elegance, which gives the first impetus, not only in the working of this wood, but also in the idea of those white inlays on a black ground called scagliola, which formed the tops of tables similar to that of which a fragment exists at Musée de Cluny.

      It is at the end of the 16th century that we must place this unusual manifestation of art. What, then, could have been passing through the minds of the people? Was it not around this period that the court of France adopted funereal trinkets and the skull and crossbones appeared on the dresses of ladies devoted to the pursuit of pleasure?

      Whatever may be the cause of this innovation, its first manifestations are of exquisite delicacy and taste. The charming stipo cabinet, originating in Italy and lent by Baron Alphonse de Rothschild to the Exhibition of the Corps législatif, will not be forgotten. Its architectural structure,

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