Renaissance.— By 1530 the Netherlands had developed their Italian influence, but they re tained their fold( motif in carving into the 17th century. The earliest Renaissance Flemish furniture was, of course, copied from imported pieces, but the native woodworkers were soon greatly aided by the designs of Cor nelis Bos, Frans Floris and Alaert Gass, Lucas van Leyden, Jean Vredeman (called de Vries), Theodore de Bry; Hugues Sambin and Pierre Coech also helped, as did the Italian designs of Serlio. The boxed seat and stiff perpendicular back gave way to open work chairs, the four legs are now clearly defined, the back loses its stiff uprightness and leans to the rear; it is a light, movable piece. But, as is always the case when styles change, we find many transi tion pieces, modifications of the Gothic decora tion, but not entirely representing the Classic. Another change is the partial displacement of the former universal oak by the use of walnut as a medium. In this 16th century product we later get the carved work decoration in high relief caryatids, grotesque figures, herms, acting as supports, often combined with columns draped with swags, etc., instead of the former prevailing motifs taken entirely from the vege table kingdom. The closets obtain two doors, the dressoirs become a buffet, carved friezes take on scenes of native human life instead of panel work. The °court* cupboards and buffets in this style are magnificent in their rich orna mentation and are the admiration of connois seurs. Large armoires are often on eight legs. The table, which had evolved the trestles at each end into heavy, carved supports in the form of eagles, chimeras, lions, mermaids and satyrs, now took on revolutionary forms. And we get legged side-tables, folding tables, telescope tables, even dumbwaiters. Besides carved work inlays were becoming a decorative method, and before the 17th century the Flem ish cabinetmakers were equalling if not excelling the Italian, German and other nations in this art. Noted Flemish Renaissance talent is found in the genius of Lucas Faydherbe, the Verbrug gens and Albert Bruhl. The wonderful chim neypiece at Bruges from the designs of Lancelot Blondel and Guyot de Beauregrant, with its armorial bearings, armorini and floral detail, was carried out by the carvers, Herman Glos encamp, Andre Rash and Roger de Smet. With the rapid advance of the artisan in inlay work by the 17th century came also the closer com mercial relations of the Dutch with the Indies and the consequent importation of exotic woods. The veneered marquetry which the Flanders woodworker had evolved from the thick inlaid Italian intarsia created a mighty influence. Flat surfaces gained an artistic treat ment never before dreamed of. Large heavy wardrobes now came into being, often with columns at each side and in the centre, with rich square panels in the doors, their centres carved and framed in fine moldings. Philip and Theodore Galle belong to the second half of the Renaissance. The form and decoration are becoming more severe. The salient parts are held in restraint; columns begin to lose their high reliefs of figures and appear fluted or grooved. Beds are so high steps are needed, and the bedstead comes out into the room, the canopy now resting on the carved or channeled posts. The posts are often of a style termed "distaff') (guenouille) like the French; or form. There are now regular dining tables, writing tables, card tables, chair tables, bench tables (tables d bane), round, square and oval tables, tables standing on one leg, on two and on three legs. They are made of walnut, oak, maple,
cedar, cypress, marble and some even of silver. Their decoration consists of beautiful carving, mosaic work, marquetry and some are embel lished with gold. The richly carved chairs often have spiral turned legs as well as the old baluster form with bulbed feet; seats and backs are padded with stamped leather, velvet, silk or woolen fabrics, tassels border the seat coverings and large-headed nails add to the decorative appearance. Connecting rails (stretchers) are placed near the ground. It was the age of Rubens, and he well defines in his paintings the furniture pieces in vogue. A peculiar style of ornamentation was the curved embossing exactly representing the human ear; it was termed genre auriculaire. The chair with caned back and front is said to have had its birth in Flanders. But the grandest and most prized piece of furniture of the Netherlands was the cabinet. Numismatics was the rage and the coins and medals found repose in this unique • it is the Kunstschrank of the Germans. The usual form consisted of two parts, the upper being of, smaller dimensions than the lower and being also set back some what. Its construction was on architectural lines, and was surmounted by a pediment, usually the °broken') style with a carved figure standing in the open space. Originally the cab inet for curios was placed on a support (often of eight legs) or table; the lower section was now dosed in and had two panels as had the upper half. Lovely classical figures were carved on these panels; the subjects were frequently Nep tune (for corals were one of the curio col lectors hobbies), also the Muses, Apollo, etc. The elaborate inlay decoration was truly lavish and of several varieties. Some had the Italian pietra dura or mosaic of encrusted stones, also amber, enamel work, even Venetian glass. The marquetry work is heightened with small pieces of ivory and mother-of-pearl. Ebony was used to enrich the finest pieces of this period, in fact some pieces were constructed entirely of ebony. Beautiful work was done by Hugues Goltz (Goltius). So renowned were the productions of the Flemish artisans that the French court sent cabinetmakers to learn this ebony and mar quetry technique. On their return they were called ebenistes, and the term has lasted to this day for the French cabinetmaker. Artus Quel lin did fine decoration, and some of his pieces are still extant; Crispin van den Passe designed much furniture. But the day of decadence brought with it poorer work in the marquetry, lacking finish and delicacy of coloring; the veneers ranged from crude to gaudy. Early in the 19th century the School of Woodcarving still kept up the art to an excellence not equalled in other European centres, and Antwerp, Brus sels, Liege and other Flemish centres maintained their precedence in woodcarving.
Bibliography, Claesen, J., 'L'Art ancien au Pays de Liege; nouveau Recueille de Meubles, Portes, Cheminees, etc., en Bois' (Liege 18—) ; Singleton, E., 'Dutch and Flem ish Furniture' (London 1907) ; Sluyterman, K., 'Alte Innenriume in Holland' (Leipzig 1908) ; Same, anciens en Belgique' (La Haye 1913) ; Terme, G., 'L'Art ancien au Pays de Liege> (Liege 1907) ; Vogelsang, W., landische Mobel in Niederlandisches Museum in Amsterdam' (Amsterdam and Leipzig 1910).