The cabinet-makers of Southern Germany also excelled in their art, and their _Kunstschranken_ were sought for presents to princes. The most famous piece of furniture of this class is known as the “Pomeranian Art Cabinet,” now in the Chamber of Arts in Berlin. It was made between 1611 and 1617 for Philip II., Duke of Pomerania. Philip Heinhofer of Augsburg designed it and it was made in that town by Baumgartner. The elaborateness of this cabinet may be appreciated from the great number of workmen employed in its construction. These included three painters, one sculptor, one painter in enamel, six goldsmiths, two clock-makers, an organ-maker, a mechanician, a modeller in wax, a cabinet-maker, an engraver upon metal, an engraver of precious stones, a turner, two locksmiths, a binder and two sheath-makers. This cabinet is 4 feet, 10 inches high, 3 feet, 4 inches wide, and 2 feet, 10 inches deep. It is made of ebony with sandal-wood drawers lined with red morocco, and mounted with silver and _pietra dura_ work. It is supported on four griffins with heads and manes of silver gilt but the real weight is borne upon a large scroll. The base is inlaid with small panels of lapis-lazuli, jasper, cornelian and agate, with plates of chased silver between them. The upper and lower friezes are composed of fruit, and other ornaments consist of female figures and boys playing musical instruments. There are also medallions of silver and Limoges enamel. A fine example of a cabinet of the Seventeenth Century was owned by Horace Walpole at Strawberry Hill. This was 5 feet high and 3 feet wide, composed of ebony, rosso antico columns, lapis-lazuli and bloodstone panels, with settings of _or moulu_ and precious stones. Neptune was represented in the central niche and on either side Tritons and sea nymphs sported. Beneath these were serpents and shells, horses, griffins, lions, bulls and dogs. In the panels above children were fishing with nets and rods. The whole was supported on four ebony legs ornamented with gold. Tables of the period were also most ornate. Vasari speaks of a “splendid library” table made by Bernardo Buontalenti, at the order of Francesco de’ Medici. It was “of ebony veneered with ebony divided into compartments by columns of heliotrope, oriental jasper, and lapis-lazuli, which have the vases and capitals of chased silver. The work is furthermore enriched with jewels, beautiful ornaments of silver, and exquisite little figures interspersed with miniatures and terminal figures of silver and gold in full relief united in pairs. There are besides other compartments formed of jasper, agates, heliotropes, sardonyxes, carnelians, and other precious stones.” The _armoire_ did not lose its importance until the end of the Seventeenth Century, when it was relegated to the _Garde-Robes_; but the _armoires_, called _placards_, hidden under the panels of the room, remained. Mazarin had an _armoire_ in his _Garde-Robe_ 7 feet high and 5 feet 3 inches wide.