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 façade 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 cut out 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. [Illustration: PLATE X.—_Bedroom, by De Vries “Cubiculum.”_ ] 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 _encoinçon_ (_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.