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 faïence; for, be it remembered, it is also the period of Luca della Robbia and his school.