Until Baron Davillier wrote his work on Spanish Art, very little was known of the various peculiarities by which we can now distinguish examples of woodwork and furniture of that country from many Italian or Flemish contemporary productions. Some of the Museum specimens will assist the reader to mark some of these characteristics, and it may be observed generally that in the treatment of figure subjects in the carved work, the attitudes are somewhat strained and, as has been stated, the outlines of the cabinets are without any special feature. Besides the Spanish chestnut (noyer), which is singularly lustrous and was much used, one also finds cedar, cypress wood and pine. In the Chapel of Saint Bruno, attached to the Carthusian Convent at Granada, the doors and interior fittings are excellent examples of inlaid Spanish work of the seventeenth century; the monks of this order at a somewhat earlier date are said to have produced the "tarsia," or inlaid work, to which some allusion has already been made. THE RENAISSANCE IN GERMANY. German Renaissance may be said to have made its debût under Albrecht Dürer. There was already in many of the German cities a disposition to copy Flemish artists, but under Dürer's influence this new departure became developed in a high degree, and, as the sixteenth century advanced, the Gothic designs of an earlier period were abandoned in favour of the more free treatment of figure ornament, scrolls, enriched panels and mouldings, which mark the new era in all Art work. Many remarkable specimens of German carving are to be met with in Augsburg, Aschaffenburg, Berlin, Cologne, Dresden, Gotha, Munich, Manheim, Nuremberg, Ulm, Regensburg, and other old German towns. Although made of steel, the celebrated chair at Longford Castle in Wiltshire is worthy of some notice as a remarkable specimen of German Renaissance. It is fully described in Richardson's "Studies from Old English Mansions." It was the work of Thomas Rukers, and was presented by the city of Augsburg to the Emperor of Germany in 1577. The city arms are at the back, and also the bust of the Emperor. The other minute and carefully finished decorative subjects represent various events in history; a triumphal procession of Cæsar, the Prophet Daniel explaining his dream, the landing of Æneas, and other events. The Emperor Rudolphus placed the chair in the City of Prague, Gustavus Adolphus plundered the city and removed it to Sweden, whence it was brought by Mr. Gustavus Brander about 100 years ago, and sold by him to Lord Radnor. As is the case with Flemish wood-carving, it is often difficult to identify German work, but its chief characteristics may be described as an exuberant realism and a fondness for minute detail. M. Bonnaffé has described this work in a telling phrase: "_l'ensemble est tourmenté, laborieux, touffu tumultueux_." [Illustration: THE STEEL CHAIR. At Longford Castle, Wiltshire.]