The circumstances of the Italian noble caused him to be very amenable to Art influence. Living chiefly out of doors, his climate rendered him less dependent on the comforts of small rooms, to which more northern people were attached, and his ideas would naturally incline towards pomp and elegance, rather than to home life and utility. Instead of the warm chimney corner and the comfortable seat, he preferred furniture of a more palatial character for the adornment of the lofty and spacious saloons of his palace, and therefore we find the buffet elaborately carved with a free treatment of the classic antique which marks the time; it was frequently "garnished" with the beautiful majolica of Urbino, of Pesaro, and of Gubbio. The sarcophagus, or _cassone_, of oak, or more commonly of chestnut or walnut, sometimes painted and gilded, sometimes carved with scrolls and figures; the cabinet designed with architectural outline, and fitted up inside with steps and pillars like a temple; chairs which are wonderful to look upon as guardians of a stately doorway, but uninviting as seats; tables inlaid, gilded, and carved, with slabs of marble or of Florentine mosaic work, but which from their height are as a rule impossible to use for any domestic purpose; mirrors with richly carved and gilded frames: these are all so many evidences of a style which is palatial rather than domestic, in design as in proportion. [Illustration: VENETIAN CENTRE TABLE, CARVED AND GILT. (_In the South Kensington Museum._)] The walls of these handsome saloons or galleries were hung with rich velvet of Genoese manufacture, with stamped and gilt leather, and a composition ornament was also applied to woodwork, and then gilded and painted, a kind of decoration termed "gesso work." [Illustration: MARRIAGE COFFER IN CARVED WALNUT. (Collection of Comte de Briges). PERIOD: RENAISSANCE (XVI. CENTURY) VENETIAN.] A rich effect was produced on the carved console tables, chairs, stools and frames intended for gilding, by the method employed by the Venetian and Florentine craftsmen, the gold leaf being laid on a red preparation, and then the chief portions highly burnished. There are in the South Kensington Museum several specimens of such work, and now that time and wear have caused this red groundwork to shew through the faded gold, the harmony of color is very satisfactory. Other examples of fifteenth century Italian carving, such as the old Cassone fronts, are picked out with gold, the remainder of the work displaying the rich warm color of the walnut or chestnut wood, either of which was most invariably used. [Illustration: MARRIAGE COFFER. Carved and Gilt, with Painted Subject. ITALIAN. XVI. CENTURY.] [Illustration: PAIR OF ITALIAN CARVED BELLOWS, IN WALNUT WOOD. (_South Kensington Museum._) on other drawings]