iljcei 
 
 mm 
 
 ill 
 
 '.m 
 
iRCRTTEnTnra 
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 ARCHIXSOZORI 
 
 FROM THE LIBRARY OF 
 
 WARREN CHARLES PERRY 
 
 DEAN. SCHOOL OF ARCHITECTURE 
 
 UNIVERSITY OF CALIF0RNL4, BERKELEY 
 
 1927-1949 
 
-^75^. C, /Q</oC 
 
COPYKIGHT, 1916 
 BY 
 
 PAUL WENZEL AND MAURICE KRAKOW 
 New York City 
 
 SECOND PRINTING 1927 
 
 PRINTED IN THE UNITED STATES OF AMERICA 
 
 Add»l 
 
ARCH. 
 LIBRARY 
 
 INDEX 
 
 Title Page designed by Lancelot Suckert 
 
 1 Florence, Palazzo Vecchio, Marble Door, Fountain in Court 
 
 2 Florence, Palazzo Vecchio, Interior with Frescos by Vasari, XVI Century 
 
 3 Interior of Artimino 
 
 4 Florence, Castle di Vincigliata, Interior 
 
 5 Florence, Castle di Vincigliata, Bedroom 
 
 6 Florence, Castle di Vincigliata, Dining Room 
 
 Florence, Castle di Vincigliata, Room with Frescos of the XIV Century 
 
 7 Florence, Villa del Gallo, Main Entrance Hall 
 
 8 Florence, Stibbert Museum, Entrance Hall to the Armory 
 
 9 Florence, Villa Poggio a Cajano, Grand Salon 
 
 Mantova, Ducal Palace, The Hall of Paradise (XV and XVI Century) 
 
 10 Assisi, Church of San Francesco, The Nave 
 Assisi, Church of San Francesco, Interior 
 
 11 Venice, Church of the Miracles, Altar by Pietro Lombardi 
 
 Perugia, Collegio del Cambio, Audience Chamber by Mattiolo and Antonibo 
 
 12 Piedmont, Castle Delia Manta, Fireplace and Frescos, XIII Century 
 Piedmont, Castle della Manta, Grand Salon, XIII Century 
 
 13 Mantova, Palazzo del The, Interior 
 
 14 Rome, Castle S. Angelo, Kitchen, XVII Century 
 
 15 Rome, Sale Borgia, Hall of the Life of the Saints 
 Rome, Sale Borgia, The Ponteficial Hall 
 
 16 Venice, Doge's Palace, Senate Chamber 
 
 17 Venice, Ducal Palace, Council Room 
 Venice, Church of the Salute, Interior 
 
 18 Interior of Artimino 
 
 19 Castello di Collegno, Entrance Hall 
 
 20 Turin, Ante Chamber in the Feudal Castle 
 
 21 Turin, Bed Chamber in the Feudal Castle 
 
 22 Venice, Ducal Palace, Fireplaces by Tullio Lombardi 
 
 23 Venice, Ducal Palace, Fireplaces by Pietro Lombardi 
 
 24 Urbino, Ducal Palace, Fireplace XV Century 
 
 Venice, Ducal Palace, Fireplace, XVI Century, by Scamozzi 
 
 25 Florence, National Museum, Fireplace by L. di A Guardiani, 1478 
 Rome, Fireplace in the Sale Borgia, Hall of Arts and Sciences 
 
 26 Sansepoloro, Stone Fireplace, XIV Century 
 
 Pienza, Palazzo Piecolomini, Stone Fireplace by Bernardo Rossellino 
 
 27 Fireplace, XV Century 
 
 Detail of Stone Fireplace, VX Century 
 
 28 Urbino, Ducal Palace, Fireplace in the Throne Room, XV Century 
 
 111 
 
 745 
 
28 Venice, Ducal Palace, Establature of Fireplace by Pietro Lombardo 
 
 29 Arezzo, Stone Fireplace of the XVI Century 
 Urbino, Stone Fireplace of the XVI Century 
 
 30 Faenza, Public Pinacotheque, Stone Fireplace by Donatelli 
 Mantova, Academy Virgiliana, Stone Fireplace, XVI Century 
 
 31 Citta di Castello, Palazzo Vitelli, Fireplace, XVI Century 
 Arezzo, Palazzo Fossombroni, Fireplace by Simone Moschini 
 
 32 Arezzo, Casa Chianini, Fireplace, XVI Century 
 Foligno, Palazzo Comunale, Fireplace, XVI Century 
 
 33 Citerna, Casa Prosperi, Stone Fireplace, XVI Century 
 
 Trento, Palazzo Geremia, Stone Fireplace and Stove, XVI Century 
 
 34 Florence, Gondi Palace, Fireplace by Giuliano da San Gallo 
 
 Florence, National Museum, Stone Fireplace by Benedetto do Rovezanno 
 
 35 Florence, Villa Poggio a Cajano, Fireplace 
 Maser, Villa Giacomelli, Fireplace 
 
 36 Folding Chairs, XIV Century ^ 
 
 37 Lectern, XVI Century 
 Stool, XV Century 
 
 38 Stools, XVI Century 
 
 39 Stools, XVI Century 
 
 40 Florence, 3 Chairs in the National Museum, XVI Century 
 
 41 Venice, Doge's Chair in the Basilica of St. Mark's 
 Choir Stall, XVI Century 
 
 42 Florence, Villa di Poggio a Cajano, Chairs and Writing Desk, XVI Century 
 
 43 Milan, Civic Museum, Chairs and Stool, XVI and XVII Century 
 
 44 Lucca, Pellegrini Palace, Chairs, XVII Century 
 
 45 Chairs, XVII Century 
 
 46 Florence, National Museum, Chairs, XVII Century 
 
 47 Lucca, Pellegrini Palace, Chairs and Stand, XVII Century 
 
 48 Chairs of the XVI Century in the Metropolitan Museum, New York 
 
 49 Chairs, XVI Century 
 
 50 Arm Chair, XVI Century 
 Arm Chair, XVII Century 
 
 51 Chairs, early XVIII Century 
 
 52 Stool and Arm Chair, early XVIII Century 
 Chair, early XVIII Century 
 
 53 Piedmont, Civic Museum, Tables of the XVI and XVII Century 
 
 54 Turin, Tables in the Civic Museum, XVI Century 
 
 55 Table of the XVI Century in the Metropolitan Museum, New York 
 Florentine Table of the XVI Century 
 
 56 Florentine Tables, XVI Century 
 
 57 Writing Desk, XVI Century 
 Stool, XVI Century 
 
 58 Florence, Museum di San Marco, Wardrobe, XVI Century 
 Florence, National Museum, Sideboard, XVI Century 
 
 59 Milan, Two Sideboards in the Mova Collection, XVI Century 
 
 IV 
 
60 Parma, Wardrobes in Archaeological Museum, XVII Century 
 
 61 Sideboards and Writing Desk, XVI Century 
 
 62 Florentine Bench, XVI Century 
 Clothes Hangers, XVI Century 
 
 63 Trent, Chests and Wardrobe, XVI Century 
 
 64 Parma, Museum of Antiquities, Chair, XVI Century 
 Florence, Bench, XVI Century 
 
 65 Florentine Chest, XVI Century 
 
 Lucca, Pellegrini Palace, Cassapanca, XVI Century 
 
 66 Florence, National Museum, Chest, XVI Century 
 Florence, National Museum, Chest, XVI Century 
 Milan, Civic Museum, Chest, XVI Century 
 
 67 Florence, Church of the Holy Spirit, Choir Seats 
 Spoleto, Chest in Public Pinacotheque 
 
 68 Milan, Civic Museum, Chest, XVI Century 
 Parma, Museum of Antiquities, Chest XVI Century 
 Florence, National Museum, Chest, XVI Century 
 
 69 Chests of the XV and XVI Century 
 
 70 Siena, Palazzo della Signoria, Chest by Antonio Barili 
 Florence, National Museum, Chests, XVI Century 
 
 71 Frames in the Art Industrial Museum Berlin, XVI Century 
 
 72 Frames in the South Kensington Museum, London, XVI Century 
 
 73 Siena, Palazzo del Magnifico, Bronze Door Knockers 
 
 74 Venice Door Knockers, XVI Century 
 
 75 Venice, Door Knockers, XVI Century 
 
 76 Venice, Door Knockers, XVI Century 
 
 77 Candelabra of the XV and XVI Century 
 
 78 Urbino, Candelabrum, XVI Century 
 Florentine Candelabrum, XVI Century 
 
 79 Florentine Candelabra, XVI Century 
 
 80 Candelabra of the XVI and XVII Century 
 
 81 Siena Cathedral, Detail of Pulpit by Bernardino di Giacoma 1543 
 Impruneta near Florence, Collegiate Church, Chancel, XVII Century 
 
 82 Rome, Vatican, Sistine Chapel, Part of Balustrade, XV Century 
 
INTRODUCTION 
 
 ALL roads lead to Rome," if we may believe the old proverb. They do eventually in 
 JlX. Western civilisation at any rate and Italian influence, sharing the eternal quality of 
 the Eternal City's mystic spell, has been so universally and beneficially felt for centuries, 
 throughout the Western world, in all the arts that neither apology nor commendation is 
 needed for a volume that avoids intermediary channels and brings architects, decorators, 
 designers of furniture, and others concerned with the decorative arts, directly face to face 
 with Italian interiors of the Renaissance and the contemporary furniture for those interiors, 
 in the shape of examples drawn from the best museum collections in Italy and elsewhere in 
 Europe, and in America. The timeliness of this volume cannot fail to be apparent to all 
 who realise the strong and rapidly increasing disposition on the part of American architects 
 to incorporate features of Italian provenience in their design, especially in the planning of 
 country houses. 
 
 The Romans, of all the peoples of antiquity, were nothing if not pre-eminently and 
 intensely practical. They had a special and masterful genius for utilitarian achievement. 
 Witness their mighty engineering feats — aqueducts, viaducts, sewers, military roads, baths, 
 defensive works — constructed wherever the Roman power extended, and so well built 
 that many of them, with trifling repairs, would serve exacting modern demands as well as 
 they did the requirements of their builders in the days of the Caesars. Practicality, indeed, 
 was one of the Romans' dominant and distinguishing traits. But, combined with all their 
 ever present practicality was the force of fertile Latin imagination and its concomitant 
 appreciation of beauty, so that they were irresistibly constrained to add grace as a basic 
 ingredient in the design of all their creative work. If one wishes a very humble and common- 
 place, and for that reason all the more valuable and convincing, instance of this innate 
 impulse and genius for felicitously uniting beauty with utility, a glance at the pots and 
 pans and commonest crockery should be sufficient to dispel all doubt. These all possessed 
 grace of contour and often grace of decorative detail besides. 
 
 The mantle of the old Romans fell upon their Renaissance descendants and the inherited 
 instinct for inseparably blending the beautiful with the useful again shone forth under the 
 impetus of renewed creative vigour, taking concrete, tangible form in the architectural 
 and other decorative art manifestations of the exuberant Renaissance epoch. In architecture, 
 along with an unerring sense of just and true proportion, this fortunate faculty for creating 
 an intimate relationship between the beautiful and the useful, at the same time eliminating 
 
 vii 
 
all that was non-essential, gave Renaissance buildings poise and sanity and their perennially 
 vital quality that made them such trustworthy examplars and rich sources of inspiration 
 for all succeeding generations, our own no less than those that immediately followed. In 
 the treatment of interiors, the designing of furniture and the practice of other decorative 
 arts, the same conditions obtained no less than in matters purely architectural. 
 
 Fortunately, for some years past, there has been an increasing realisation of an old 
 truth that, for a time, had suffered a partial eclipse of oblivion in quarters where it ought 
 always to have been fully honoured. This truth is that of the close and necessary connexion 
 existing between furniture and architecture. One cannot intelligently study the furniture 
 of a country without knowing the character of the architectural environment in which it 
 was customarily placed nor, on the other hand, can one fully appreciate architectural interiors 
 without some knowledge, at least, of the mobiliary complement with which they were wont 
 to be equipped. While this condition applies universally, it applies with especial force in 
 the case of Italian Renaissance interiors and furniture for reasons which will in due course 
 appear. 
 
 The Italian Renaissance interior was either richly ornate with all the wealth of poly- 
 chrome treatment that could be applied to walls and ceiling, such as the main entrance 
 hall in the Villa del Gallo in Florence, the gallery in the Palazzo del The in Mantua, the 
 hall in the Villa Poggio Cajano in Florence, and other examples shown in the following 
 plates — or else it was severely simple and even austere with points of concentrated enrich- 
 ment only where they would give the greatest emphasis, such as some of the rooms in the 
 Palazzo Davanzati or the Villa Curonia. The feature of concentrated enrichment might 
 be an opulence of carving on the overmantel, or it might be the multi-coloured decoration 
 of painted and gilt ceiling beams and panels, or of polychrome doors; in any case, walls 
 plain to severity served as foils and intensified the effect of the carved or painted enrichment. 
 There was little attempt to create interiors of a mixed composition by mingling moderate 
 opulence with medium austerity, with the almost inevitably disastrous results attendant 
 upon such a course. The designers of those rooms and of the furniture that went into them 
 were too wise for that. They knew they would lose all the advantage of contrast by so doing 
 and they had too much reverence for the principles of contrast and restraint. The aus- 
 terity or, as some would call it, the bareness of sixteenth century Italian interiors was the 
 calculated emptiness of restraint and reserve — this subtle quality many of the cleverest 
 decorators are now reaching out to achieve — and not the emptiness of jejune and poverty- 
 stricken imagination. To this very emptiness and austerity of reserved strength is due no 
 small measure of the qualities of permanence, repose, sincerity and dignity inherent in the 
 rooms of sixteenth century Italian houses, qualities they never could have possessed had 
 
 viii 
 
they been subjected to some of the modern hectic efforts to create "cozy" interiors by loading 
 them with trifling, senseless gew-gaws. 
 
 At the antipode from these refreshingly austere compositions, the richly ornate interiors 
 — they belonged especially to public buildings and city palaces while those of plainer type 
 were to be found in the less pretentious houses and in country villas — could stand all the 
 polychrome embellishment lavished upon them because their well disposed architectural 
 lines were strong enough to create the necessary balance. Even these ornate interiors, 
 notwithstanding their sumptuous decoration and vivid colour, possess the cardinal virtues 
 of restraint and virility. 
 
 As to composition and arrangement, it is singularly gratifying to see the entire freedom 
 from the distressing shagginess and overcrowding that too often mar modern interiors 
 that might be really excellent if those responsible for their execution would only hold them- 
 selves in check and, when they have done enough, refrain from adding a sickening array of 
 meaningless and, needless to say, useless fiddle-de-dees and fol-de-rols that give a room a 
 fussy and trivially effeminate air. In his book on the smaller Italian villas, Guy Lowell 
 has pertinently observed that it seems to him "that the greatest interest for us Americans 
 to-day in the Italian villas of the Renaissance does not so much lie in their anecdotal history" 
 with its strong stimulus to the imagination, "as in a consideration of the habit of life and 
 the social customs that seemed to make them necessary." While this comment was made 
 more particularly, perhaps, with reference to exterior composition, it applies with equal 
 force to the treatment of interiors. The habit of life in American country houses approx- 
 imates, in a measure, the habit of life in Renaissance Italian villas. The occupants of those 
 villas were an outdoor people with an intense love for their gardens and all outdoor interests, 
 just as are the occupants of the majority of our own country places. The general similarity 
 of climatic conditions, too, argues the wisdom, for us, of cool, restrained interior composition, 
 no less than for them. Between their houses and their gardens there was a conspicuous 
 degree of unity. The garden was an expanded outdoor living apartment of many moods 
 while the dwelling was, to a great extent, a casino or garden house. The same feeling per- 
 vaded both. This ideal commends itself to many Americans and they seek to realise it. 
 Through the analogy, therefore, Italian Renaissance interiors and furniture make a practical 
 appeal to our consideration and provide abundant scope for adaptation. 
 
 It has been sometimes urged, in a spirit of objection, that both Renaissance interiors, 
 as complete compositions, and also the pieces of furniture, as individual items, lacked com- 
 fort, the latter being neither "so numerous nor yet so skilfully designed to the requirements 
 of the human frame" as much of the mobiliary equipment rejoicing in "the wealth of lux- 
 uriously comfortable designs that came a little later chronologically in France and England." 
 
 IX 
 
While the latter part of this objection may well be left to be considered in a subsequent 
 paragraph, devoted entirely to furniture details, it should be noted, with reference to the 
 stricture upon general composition and the absence of the varied "wealth of luxuriously 
 comfortable designs" conspicuous some years later in England and France, that, for the 
 outdoor Italians with their climate, austerity and restraint in furnishing were positive 
 merits, from an wholly practical point of view, leaving taste altogether out of the question, 
 and that the "almost cluttering 'comfort' of later French and English interiors, permissible, 
 perhaps, in a colder climate, would have been inappropriate and disadvantageous." We 
 are gradually learning — although we still have much to learn — the worth of austerity and 
 "emptiness" in furnishing, not only country houses for summer occupancy, but also our 
 too much upholstered and bedraped dwellings for the cooler months and we cannot do 
 better than study Italian Renaissance models in this respect. The major items of equipment 
 were not necessarily far fewer in number than in some more recent modes of furnishing, 
 but they were apt to be either individually better or more carefully placed and there was no 
 surplus of fussy nonentities. 
 
 The quality of Italian Renaissance interiors in affording adequate backgrounds is one 
 of the most essentially important things for us to recognise. In the simpler compositions, 
 the quiet surfaces of plain, light walls, in rooms with high vaulted or beamed ceilings, pro- 
 vided an ideal background for richly wrought furniture, not too much of it and carefully 
 placed, or an admirable foil to stress the contrast of small areas of rich carved or coloured 
 decoration. In the interiors where the fixed features were more elaborate and chromatically 
 gorgeous, good judgment in placing and discretion in the amount of movable appointments 
 used were still conspicuous characteristics, and the furniture of the period possessed the 
 rare quality of almost universal adaptability, so that it looked equally well in either ornate 
 or simple environment. The one kind of misuse of which Italian Renaissance furniture 
 was absolutely intolerant, whether in large rooms or small, was crowding. The smaller 
 pieces are of scale and bearing that demand elbow room, while the larger articles absolutely 
 require space and freedom from small distracting objects in their vicinity in order to display 
 properly their dignity and the refinement of their contour, to say nothing of the carving, 
 the polychrome decoration or the colour of the upholstery, when any of these features are 
 present. In other words, it needs perspective and such perspective as cannot be had in a 
 crowded room with an "overstuffed atmosphere," where a multiplicity of colours, contours 
 and designs produces an indefinite impression of confusion and choking. Few rooms could 
 stand many of the more ornate pieces of Renaissance cabinet work, whether polychrome or 
 carved, and it was not intended they should. To have had more than a few would have been 
 like trying to make an entire dinner on plum pudding. 
 
In the galleries and lofty salons, with j^ainted or deeply carved and gilded ceilings, 
 walls bright with frescoes or covered with tapestry or rich hangings of velvet or stamped 
 and gilt leather, and floors inlaid with intricate mosaics, the array of movable furniture — 
 the gorgeous Cassoni were the most conspicuous objects — was designedly scant, judged 
 by later standards, for too many pieces would have marred the symmetry of the com- 
 jx)sition. In apartments where the setting was severely simple and all the fixed decoration 
 confined to one or two emphatic features — the door, or ceiling or overmantel — contempor- 
 ary ideals of decorative propriety still required that important pieces of furniture be few in 
 number, for if they exceeded a certain limit the character of the room would be destroyed, 
 the force of contrast between the furniture and its background impaired and the striking 
 effect gained by the concentration of enrichment at a few points on a plain surface lost. 
 Allusion has already been made to the adaptability of Italian Renaissance furniture and its 
 fortunate quality of looking equally well, no matter whether the room in which it stood was 
 plain to the last degree or gorgeous with a profusion of colour and design. In one case there 
 was an harmony of contrast; in the other, an harmony of analogy. Who shall say that 
 the background was not carefully considered before the furniture was designed? It is 
 not unreasonable to accept this hypothesis as explaining, in part, why some of the furniture, 
 quite apart from being the fruit of a rich and vigorous imagination, was covered with a 
 profusion of carving or colour or both. Another secret of the suitability of Italian Renais- 
 sance furniture to its environment, whether utterly plain or highly elaborate, was that it 
 was thoroughly architectural in its lines, detail and method of structure; the interiors for 
 which it was made, rigidly plain as some of them might be, were always obviously archi- 
 tectural in composition. This common quality, shared by both in large measure, created 
 the bond of sympathy and assured harmony, regardless of whatever other elements of 
 diversity or contrast might occur. 
 
 The fireplace, being, as it is, one of the features of natural emphasis in a room, it is not 
 surprising to find the Renaissance architect and craftsman lavishing some of their best 
 efforts upon the adornment at its sides and above it. Realizing that the mantel may often 
 prove a middle ground and point of contact between architecture, in its narrowest inter- 
 pretation, and furniture, they frequently gave rein to a delightful play of fancy in their 
 work and the Renaissance mantels afford numerous examples of some of the happiest achieve- 
 ments of the versatile artist-architect-craftsmen whose names posterity has been proud to 
 associate with the enduring fruit of their genius. The illustrations are so eloquent that they 
 had best be left to speak for themselves and voice their own message of inspiration to the 
 modern designer. 
 
 An examination of the furniture illustrations will show that it is not alone the archi- 
 tecture of the Italian Renaissance that has exercised a very vital and immediate influence 
 
 XI 
 
upon the design of subsequent periods. Knowing the date, or the approximate date, at 
 which certain forms appeared in Italy, it is not only possible but fascinating and instructive 
 to see how those forms were afterwards either closely reproduced or else adapted in France, 
 Spain, Flanders and England. The peculiarities of adaptation in the different lands supply 
 a curious commentary on national taste. At the same time, it must be remembered that 
 a great many Italian craftsmen found their way into all these countries and carried the 
 designs with them It is matter of history that Italian craftsmen both met with a ready 
 welcome in England and France and were actually fetched from Italy, on some occasions, 
 and kept busily employed. As a striking instance of this transference of styles, attention 
 may be called to the early seventeenth century rush-bottomed side chair (from the Art 
 Industrial Museum in Berlin) with a back composed of two arcades of finely turned balus- 
 trades and a shaped cresting. A glance will reveal the resemblance borne to this type by 
 chairs made a few years later in Yorkshire and Lancashire. Again, the chair with elaborately 
 carved C and S scroll back, and shell and acanthus cresting, a chair which the Baroque 
 influence has run riot, finds almost its counterparts in Holland and eventually in England 
 during the reign of William and Mary. Despite the many cases of style migration there 
 were, however, certain features of detail and certain types of contour that always remained 
 characteristically Italian. 
 
 The splendid chests or Cassoni probably received the lion's share of attention at the 
 hands of designers and craftsmen and when eminent artists "deemed it worthy of their 
 best efTorts to design a single piece of furniture and execute it with their own hands with 
 the utmost study and care, as an independent and complete work of art," it is no wonder 
 that the results of their mobiHary handiwork have commanded the admiration of all who 
 have come after them. Nor is it to be wondered at, when Botticelli or Andrea del Sarto, 
 and the cleverest of their pupils, painted chest panels, or when Donatello and Bernardino 
 Ferrante carved them, that they should be prized by their owners and so placed that other 
 pieces would not detract from their charm by being too near. 
 
 The carving on these chests, as also upon the wardrobes or armoires, benches, buffets, 
 cupboards and tables was vigorous, sweeping, "deep and full of character and not at all 
 like some of the later emasculated manifestations, so forced into a sand-papered refinement" 
 that the traces of the carver's art seem scarcely more than skin-deep. This boldness and 
 vigour, however, did not mean crudity, and the carving on some of the chairs and other 
 pieces attests how delicate the Italian Renaissance carver's touch could be. 
 
 In structure, the sixteenth century Italian furniture was thoroughly sound and durable 
 and built with such obvious regard for architectural principles that it is often criticised as 
 uncomfortable. This criticism is scarcely just. Most of the chairs and benches were high- 
 
seated — much higher from the floor than our own chairs and benches and too high for 
 comfort for anyone without phenomenally long legs. But it must be remembered that 
 footstools were used and, once seated with a rest for the feet, these chairs are comfortable. 
 They are not flabbily luxurious, for the men and women of the Renaissance, however lux- 
 urious in their tastes, were not flabby in mind nor habits, but vigorous and red-blooded, 
 and it is not to be expected that their furniture should suggest flabbiness. 
 
 Other evidences of a wholesome, virile luxury are to be seen in the candelabra, which, 
 by the way, exhibit some charmingly delicate carving that shows quite as much verve as 
 the bolder pieces already alluded to; the mirror and picture frames; and the exquisitely 
 modelled bronze and iron door knockers illustrated at the end of the book. In all the 
 examples presented, though many of them bear witness to a taste for brilliant colouring 
 and vigorously elaborate detail of ornamental relief much too strong for numerous folk in 
 an age when vigour and enthusiasm and outspoken admiration are apt to be branded as 
 "in bad form," there is, nevertheless, an underlying grace of contour and balance of pro- 
 portion that become especially noticeable in the simpler pieces such as the comparatively 
 plain cupboards and press-like secretaries, the benches in the church of St. Francis at Assisi 
 or even the table in the kitchen of the Castle of St. Angelo. This refinement of line con- 
 stitutes one of the vital qualities of all the furniture of this period. 
 
 A return to the well-spring of Italian Renaissance inspiration, such as one may readily 
 make in the following pages of illustrations, has always richly repaid the seekers, no matter 
 how much they may have exercised their powers of adaptation afterwards. It repaid the 
 French and English of the sixteenth, seventeenth and eighteenth centuries and we are 
 just beginning to realise how fully the study of the achievements of sixteenth century 
 Italy may also repay us in meeting twentieth century architectural and mobiliary needs. 
 
 XIll 
 
« 
 
 u 
 
 < 
 
 H 
 
 ID 
 
 O 
 
 fa 
 
 u 
 o 
 
 w 
 
 N 
 
 
 u, 
 
 o 
 o 
 
 Q 
 
 W 
 -I 
 cq 
 
 < 
 
ID 
 
 H 
 
 y. 
 
 w 
 u 
 
 > 
 
 s 
 
 < 
 
 < 
 
 > 
 
 pa 
 
 O 
 
 u 
 
 w 
 
 I 
 
 H 
 
 O 
 
 2 
 
 w 
 
 y. 
 
 u 
 u 
 
 w 
 > 
 
 o 
 
 N 
 < 
 < 
 
 Oh 
 W 
 
 u 
 y 
 
 w 
 « 
 o 
 J 
 
INTERIOR OF ARTIMINO 
 
H 
 
 y. 
 
 O 
 
 w 
 
 CO 
 
 U 
 I 
 
 tJ 
 
 u 
 y. 
 
 w 
 
 C 
 
o 
 o 
 « 
 
 Q 
 W 
 Da 
 
 I 
 < 
 
 < 
 O 
 
 u 
 y. 
 
 w 
 
 H 
 [/) 
 
 u 
 
 I 
 
 w 
 o 
 
 U 
 « 
 O 
 
FLORENCE— CASTLE Dl VINCIGiLL\TA-DINING ROOM 
 
 FLORENCE— CASTLE DI VINCIGLIATA— ROOM WITH FRESCOS OF THE XIV CENTURY 
 
 6 
 
FLORENCE— VILLA DEL GALLO, MAIX ENTRANCE HALL 
 
FLOREN'CE— STIBBERT MUSEUM-ENTRANCE HALL TO THE ARMORY 
 
Pi 
 
 H 
 Z 
 
 M 
 O 
 
 > 
 
 a 
 
 < 
 
 > 
 
 x 
 
 W 
 
 5 
 < 
 
 < 
 
 ti, 
 o 
 
 hJ 
 •J 
 < 
 
 H 
 
 W 
 U 
 
 < 
 
 < 
 
 < 
 
 u 
 
 Q 
 I 
 
 < 
 > 
 O 
 H 
 
 < 
 
 O 
 
 < 
 
 Q 
 < 
 
 O 
 I 
 
 o 
 
 < 
 < 
 
 o 
 o 
 o 
 
 < 
 
 w 
 u 
 
 o 
 
 -J 
 
ASSISI-CHURCH OF SAX FRANCESCO— THE NAVE 
 
 ASSISI— CHURCH OF SAX FRAXCESCO-IXTERIOR 
 
 10 
 
VENICE— CHURCH OF THE MIRACLES-ALTAR BY PIETRO LOMBARDI 
 
 PERUGIA— COLLEGIO DEL CAMBIO— AUDIENCE CHAMBER BY MATTIOLO AND ANTONIBO 
 
 11 
 
PIEDMONT— CASTLE DELLA MANTA— FIREPLACE AND FRESCOS, XIII CENTURY 
 
 PIEDMONT— CASTLE DELLA MANTA— GRAND SALON, XIII CENTURY 
 
 12 
 
o 
 
 H 
 
 -J 
 O 
 
 p 
 
H 
 
 W 
 
 u 
 
 > 
 
 X 
 
 w 
 u 
 
 H 
 
 O 
 
 J 
 
 w 
 o 
 
 z 
 
 a 
 J 
 
 H 
 
 C/) 
 
 < 
 u 
 
 I 
 
 w 
 
 o 
 a; 
 
ROME— SALE BORGIA-HALL OF THE LH^'E OE THE SALXTS 
 
 ROME— SALE BORGIA— THE PONTEFICIAL HALL 
 
 15 
 
VENICE— DOGE'S PALACE— SENATE CHAMBER 
 16 
 
VENICE— DUCAL PALACE— COUNCIL ROOM 
 
 VENICE-CHURCH OF THE SALUTE-INTERIOR 
 
 17 
 
INTERIOR OF ARTIMINO 
 
 18 
 
_) 
 < 
 
 W 
 
 < 
 
 H 
 
 z 
 w 
 
 I 
 
 o 
 
 o 
 w 
 J 
 
 o 
 u 
 
 o 
 w 
 
 H 
 
 CO 
 
 < 
 
w 
 ►J 
 
 H 
 
 < 
 
 u 
 Q 
 
 w 
 
 H 
 
 w 
 
 <: 
 a 
 u 
 
 w 
 
 H 
 
 < 
 
 
 
w 
 
 H 
 If) 
 
 < 
 
 u 
 < 
 
 Q 
 W 
 
 w 
 
 H 
 
 X 
 
 Di 
 W 
 
 m 
 
 < 
 
 X 
 
 u 
 
 Q 
 W 
 oa 
 
 I 
 
 2 
 
 H 
 
p 
 
 <; 
 pa 
 
 O 
 
 H 
 
 >H 
 CO 
 
 W 
 U 
 
 < 
 
 w 
 
 I— ( 
 
 fa 
 
 I 
 
 w 
 u 
 < 
 
 < 
 
 < 
 u 
 t> 
 
 Q 
 I 
 
 u 
 u 
 
 >^ 
 
 W 
 > 
 
 IN 
 04 
 
Q 
 
 cm 
 
 < 
 
 o 
 
 o 
 
 H 
 
 W 
 
 > 
 
 n 
 
 en 
 
 U 
 
 u 
 
 < 
 
 p-( 
 w 
 
 J, 
 
 < 
 
 < 
 
 < 
 
 u 
 
 Q 
 I 
 
 u 
 u 
 
 s 
 
 w 
 
 
N 
 N 
 
 o 
 
 < 
 
 u 
 
 en 
 
 >- 
 
 oi 
 tJ 
 
 H 
 X. 
 
 w 
 u 
 
 > 
 
 y. 
 
 u 
 < 
 J 
 
 Oh 
 W 
 
 I 
 
 w 
 u 
 
 < 
 
 u 
 
 7 
 
 w 
 u 
 
 1— ( 
 
 > 
 
 H 
 X 
 
 u 
 
 u 
 
 W 
 
 W 
 
 u 
 
 -r; 
 
 n, 
 
 < 
 
 u 
 
 Q 
 
 I 
 
 o 
 
 X 
 
 ^3 
 
m 
 
 u 
 u 
 
 u 
 
 to 
 
 Q 
 ■< 
 
 en 
 H 
 
 CHS 
 
 < 
 
 b 
 O 
 
 J 
 < 
 
 « 
 O 
 n 
 
 u 
 
 -r; 
 
 W 
 H 
 
 w 
 
 u 
 < 
 
 Oh 
 
 w 
 o 
 
 < 
 
 3 
 a: 
 < 
 
 o 
 
 « 
 
 w 
 u 
 < 
 
 a, 
 u 
 
 w 
 
 < 
 
 O 
 
 H 
 < 
 
 « 
 o 
 
S.\XSI':i'C)LORO— STOXE FIREPLACE, XIV CENTURA' 
 
 PI ENZ A— PALAZZO PICCOLOMINI— STONE FIREPLACE BY BERNARDO ROSSELLINO 
 
 26 
 
FIREPLACE, XV CENTURY 
 
 DETAIL OF STOXE FIREPLACE, X\^ CENTURY 
 
 27 
 

 URBINO— DUCAL PALACE— FIREPLACE IN THE THRONE ROOM XV CENTURY 
 
 VENICE-DUCAL PALACE— ENTABLATURE OF FIREPLACE BY PIETRO LOMBARDO 
 
o 
 y. 
 
 3 
 
 oi 
 ti 
 H 
 Z 
 
 w 
 
 u 
 
 > 
 
 X 
 
 w 
 ac 
 
 H 
 O 
 
 w 
 u 
 
 < 
 
 Ph 
 
 w 
 
 E 
 
 w 
 z 
 
 o 
 
 H 
 
 o 
 
 N 
 N 
 
 < 
 
FAENZA— PUBLIC PIXACOTHEQUE— STONE FIREPLACE BY DONATELLI 
 
 MANTOVA— ACADEMY VIRGILIANA— STONE FIREPLACE, XVI CENTURY 
 
 30 
 
U 
 
 in 
 
 O 
 
 O 
 
 « 
 
 U 
 < 
 
 W 
 
 o 
 ffl 
 
 o 
 
 CO 
 
 m 
 O 
 
 O 
 
 N 
 
 N 
 
 < 
 
 < 
 
 I 
 
 o 
 
 N) 
 N 
 W 
 
 :d 
 
 H 
 
 u 
 o 
 
 t— f 
 
 > 
 
 u 
 
 < 
 ►J 
 
 w 
 
 ►J 
 w 
 
 H 
 
 o 
 
 N 
 N 
 
 < 
 
 < 
 
 Oh 
 I 
 
 o 
 
 J 
 w 
 
 H 
 
 < 
 
AREZZO— CASA CHIANINI— FIREPLACE, XVI CENTURY 
 
 FOLIGXO— PALAZZO COMUKALE-FIREPLACE, XVI CENTURY 
 
H 
 
 y. 
 
 M 
 U 
 
 > 
 
 > 
 
 o 
 
 J5 
 
 < 
 
 w 
 u 
 < 
 
 D-, 
 W 
 
 2: 
 
 O 
 H 
 
 I 
 
 < 
 
 w 
 « 
 w 
 o 
 
 o 
 
 N 
 
 < 
 < 
 
 Oh 
 I 
 
 o 
 
 H 
 
 CO 
 
 CO 
 
 H 
 Z 
 
 w 
 u 
 
 > 
 
 X 
 
 u 
 
 < 
 
 w 
 « 
 
 w 
 o 
 
 « 
 W 
 
 Oh 
 (/) 
 
 o 
 « 
 a, 
 
 < 
 
 < 
 
 u 
 
 I 
 
 < 
 
 w 
 
 H 
 
 U 
 
w 
 
 
 u 
 
 
 < 
 
 
 J 
 
 
 a, 
 
 
 w 
 
 
 « 
 
 
 
 
 ^ 
 
 o 
 
 a 
 
 X 
 
 X 
 
 Sc 
 
 n 
 
 < 
 
 H 
 
 '/I 
 
 N 
 
 1 
 
 > 
 
 
 o 
 
 w 
 
 o 
 
 t/! 
 
 n 
 
 Lj 
 
 
 <-; 
 
 o 
 
 
 H 
 
 J 
 
 H 
 
 ^ 
 
 UJ 
 
 X 
 
 Q 
 
 o 
 
 W 
 
 
 X 
 
 H 
 
 W 
 
 < 
 
 CQ 
 
 X 
 
 
 1 
 
 -^ 
 
 (i 
 
 CQ 
 
 u 
 
 
 'Z 
 
 
 w 
 
 
 « 
 
 
 o 
 
 
 J 
 
 
 W 
 
 
 U 
 
 
 < 
 
 
 hJ 
 
 
 Cl, 
 
 C) 
 
 w 
 
 J 
 
 « 
 
 hJ 
 
 
 -^ 
 
 1 
 
 o 
 
 w 
 
 z 
 
 u 
 
 < 
 
 <; 
 
 CO 
 
 
 <; 
 
 fl^ 
 
 u 
 
 ►_ 
 
 n 
 
 u 
 
 X 
 
 X 
 
 <r' 
 
 tj 
 
 1— 1 
 
 IT 
 
 ►J 
 
 1 
 
 3 
 
 w 
 
 u 
 
 1— 1 
 
 O 
 
 X 
 
 >> 
 
 f 
 
 « 
 
 a; 
 
 
 
 
 
 
 J 
 
 
 Uh 
 
 
w 
 u 
 
 < 
 
 W 
 Oi 
 
 I— i 
 
 H-) 
 W 
 
 o 
 o 
 
 < 
 
 O 
 -< 
 
 < 
 
 U3 
 C4 
 
 u 
 
 < 
 
 w 
 
 I 
 o 
 
 a 
 o 
 o 
 
 < 
 
 > 
 
 U 
 
 w 
 o 
 
?1 
 H 
 
 y. 
 
 w 
 u 
 
 > 
 
 P; 
 
 'vi CO 
 
 ;^ CO 
 
 •J 
 
 -J 
 
 o 
 
H 
 
 y. 
 
 w 
 u 
 
 J 
 o 
 o 
 
 H 
 t/2 
 
 CO 
 
 P 
 H 
 Z 
 
 (1) 
 
 u 
 
 x" 
 
 u 
 
 H 
 U 
 W 
 J 
 
STOOLS, XVI CENTURY 
 38. 
 
H 
 I? 
 Ui 
 
 l-H cc 
 
 > 
 
 t/f 
 
 O 
 O 
 H 
 
 ^^^>. 
 
 
 
 /^ 
 
PS 
 
 H 
 
 W 
 U 
 
 > 
 
 w 
 
 ►J 
 
 < 
 
 O 
 
 < 
 
 w 
 
 w 
 
 H 
 
 
 o 
 
 I 
 
 u 
 u 
 
 w 
 
 o 
 _) 
 
H 
 ^: 
 
 w 
 u 
 
 I— I 
 
 > 
 X 
 
 < 
 
 H 
 
 « 
 
 o 
 u 
 
 en 
 
 Pi 
 
 H 
 
 t. 
 O 
 
 u 
 
 I—* 
 
 < 
 CQ 
 
 M 
 
 H 
 
 U 
 
 W 
 
 o 
 o 
 
 Q 
 I 
 
 u 
 
 z 
 u 
 > 
 
H 
 
 w 
 u 
 
 > 
 
 U 
 
 Q 
 
 O 
 
 2 
 
 Q 
 < 
 
 G 5J 
 
 o 
 
 ' — . 
 
 < 
 u 
 
 o 
 o 
 o 
 
 < 
 
 J 
 J 
 
 w 
 u 
 
 X 
 
 o 
 
H 
 
 Q 
 
 > 
 
 X 
 
 J 
 o 
 o 
 
 Q 
 
 < 
 
 '-J 
 I 
 
 
 > 
 
 I 
 X, 
 
 CO 
 
^ ^rK\\'^5M»XybAV\'VV 
 
 cm 
 
 H 
 
 z 
 w 
 
 u 
 
 > 
 
 X 
 in 
 
 U 
 I 
 
 w 
 u 
 < 
 
 < 
 
 I— 1 
 
 :^ 
 
 ■—I 
 
 ai 
 
 J 
 J 
 
 Oh 
 I 
 
 <; 
 :_) 
 
 
H 
 
 M 
 
 U 
 
 (/I 
 
 u 
 
H 
 
 w 
 u 
 
 X 
 c/T 
 
 < 
 u 
 
 <-, 
 ■^ 
 w 
 
 ►J 
 
 < 
 
 o 
 
 (— t 
 
 H 
 
 < 
 
 I 
 
 w 
 u 
 
 X 
 
 o 
 
 
H 
 
 w 
 
 > 
 
 X 
 
 Q 
 
 z 
 
 < 
 
 H 
 en 
 
 Q 
 
 < 
 to 
 
 < 
 
 E 
 
 u 
 
 I 
 
 w 
 u 
 < 
 
 < 
 111 
 
 « 
 o 
 
 w 
 
 I 
 
 < 
 u 
 u 
 
 
''^^'^'"»t>»»«, 
 
 *if>f> 
 
 o 
 
 w 
 
 CO 
 
 ID 
 IZ 
 
 < 
 
 J 
 O 
 
 o 
 Pi 
 
 H 
 W 
 
 W 
 H 
 
 t-H 
 
 H 
 
 W 
 U 
 
 t-H 
 
 > 
 
 w 
 
 E 
 H 
 
 O 
 m 
 
 I— I 
 
 < 
 u 
 
 CO 
 
Pi 
 
 H 
 
 M 
 U 
 
 > 
 tn" 
 
 I— I 
 
 < 
 
 u 
 
 05 
 
a! 
 
 H 
 ■z 
 w 
 u 
 
 I— t 
 
 > 
 X 
 
 of 
 
 < 
 U 
 
 o 
 
 H 
 J^ 
 W 
 U 
 
 > 
 I— I 
 
 < 
 u 
 
 < 
 
w 
 u 
 
 > 
 
 < 
 
 t— • 
 
 < 
 
 X 
 u 
 
U 
 
 > 
 
 < 
 
 u 
 
 
 w 
 u 
 
 > 
 
 « 
 <; 
 w 
 
 « 
 
 < 
 U 
 
 Ft: 
 
 Q 
 
 < 
 ^^ 
 o 
 o 
 
 H 
 
JBL 
 
 PIEDMQNT— CIVIC MUSEUM— TABLES OF THE XVI AND XVII CENTURY 
 
 53 
 
TURIN— TABLES IX THE CIVIC MUSEUM— XVI CENTURY 
 
 54 
 
TABLE OF THI£ XVI CENTURY L\ THE METROPOLITAN MUSEUM NEW YORK 
 
 '^' - T*^' ■ 
 
 FLORENTINE TABLE OF THE XVI CENTURY 
 55 
 
■;..»*»'r— .■—.■w^riirr**-. "j^'j:^<™^w-'-'rrr-B*'w*^^PW)n?™-,tWi,WW'"*'^ lv*'*»Wim^Hpi*i^!l?^T^lpifl|(a?yi«9.^--' 
 
 FLORENTINE TABLES, XVI CENTURY 
 
 56 
 
H 
 
 w 
 u 
 
 > 
 
 X 
 
 J 
 o 
 o 
 
 H 
 
 CO 
 
 OS 
 H 
 
 w 
 u 
 
 U 
 Q 
 
 O 
 /^ 
 
 H 
 
 
H 
 
 y. 
 
 w 
 u 
 
 O 
 
 5 
 
 
 < 
 
 c 
 
 < 
 
 I 
 
 w 
 u 
 ??: 
 
 w 
 
 00 
 
H 
 X 
 
 w 
 
 o 
 
 H 
 U 
 U 
 ►J 
 J 
 
 o 
 
 u 
 < 
 
 o 
 
 H 
 
 Q 
 
 < 
 O 
 CQ 
 W 
 Q 
 
 I 
 
 < 
 J 
 
 
o 
 
Pi 
 
 H 
 W 
 
 u 
 
 > 
 
 w" 
 
 CO 
 
 W 
 Q 
 O 
 
 Q 
 
 < 
 in 
 Q 
 
 < 
 O 
 m 
 w 
 Q 
 
 Av«T 
 
FLORENTINE BENCH, XVI CENTURY 
 
 CLOTHES HANGERS, XVI CENTURY 
 63 
 
H 
 
 y. 
 
 M 
 U 
 
 > 
 X 
 
 23 
 
 o 
 
 Q 
 < 
 
 C3 
 
 Q 
 < 
 
 H 
 W 
 
 I 
 
 H 
 ^5 
 
 (I] 
 
« 
 
 H 
 
 w 
 u 
 
 > 
 
 U 
 
 w 
 
 m 
 
 w 
 u 
 
 W 
 
 o 
 
 
 u 
 
 to 
 M 
 
 a 
 
 < 
 
 o 
 
 ID 
 w 
 
 I 
 
 -* 
 
 o 
 
FLORENTINE CHEST, XVI CENTURY 
 
 LUCCA— PELLEGRINI PALACE— CASSAPANCA. XVI CENTURY 
 
 66 
 
FLOREXCK— XATIOXAL MUSEUM— CIIICST, X\ I Cl'.XTURY 
 
 -/ 
 
 MILAN-CIVIC MUSEUM— CHEST, XVI CENTURY 
 
 66 
 
1 and 2. FLOREXCE-CHURCH OF THE HOLY SPIRIT-CHOIR SEATS 
 3. SPOLETO-CHEST IN PUBLIC PINACOTHEQUE 
 
 6r 
 
MILAN— CIVIC MUSEUM— CHEST, XVI CENTURY 
 
 PARMA— MUSEUM OF ANTIQUITIES— CHEST, XVI CENTURY 
 
 WIIP' 
 
 FLORENCE— NATIONAL MUSEUM— CHEST, XVI CENTURY 
 
 68 
 
*inf*-^ 
 
 / 
 
 GHESTS OF THE XV AND XVI CEN'TURY 
 
 69 
 
D 
 H 
 
 y. 
 
 w 
 u 
 
 > 
 
 CO 
 UJ 
 
 u 
 
 w 
 
 CO 
 
 O 
 
 H 
 
 w 
 u 
 
 CO 
 
 w 
 u 
 
 I 
 
 W 
 
 CO 
 
 < 
 o 
 
 l-H 
 
 < 
 
 y, 
 
 I 
 
 w 
 
 u 
 
 X 
 
 w 
 
 o 
 J 
 
 H 
 X 
 
 w 
 u 
 
 X 
 H 
 
 CO 
 
 W 
 
 X 
 u 
 
 w 
 
 1/1 
 
 X 
 
 g 
 < 
 
 X 
 
 I 
 
 w 
 u 
 
 X 
 
 w 
 
 o 
 -J 
 
-1 Li in 111 n r 
 
 Vi\""[ff 
 
 FRAMES IN THE ART INDUSTRIAL MUSEUM, BERLIN-XVI CENTURY 
 
 71 
 

 > 
 
 I 
 o 
 
 Q 
 
 o 
 
 ID 
 W 
 t/) 
 
 o 
 
 H 
 O 
 X 
 
 t/2 
 
 w 
 
 X 
 
 o 
 w 
 
 IN 
 
 
 « 
 
1~ 
 
H 
 
 y. 
 
 w 
 u 
 
 in 
 
 '_/_ 
 u 
 o 
 5?; 
 
 oi 
 
 o 
 o 
 
 Q 
 
 W 
 u 
 
 y. 
 
 w 
 > 
 
frf-^t 
 
 VENICE— DOOR KNOCKERS, XVI CENTURY 
 
 75 
 
't.m^i'^K'^'srmsmi 
 
 
 VENICE— DOOR KNOCKERS, XVI CENTURY 
 76 
 
s 
 
 / 
 
 p 
 
 H 
 
 w 
 u 
 
 > 
 X 
 
 Q 
 
 < 
 > 
 
 W '^ 
 
 •X 
 H 
 
 < 
 
 W 
 Q 
 Z 
 < 
 U 
 
 ov R « m • < ■ •> 
 
 I 'lliM. Ilinri i; :l..l.l 
 
D 
 H 
 2; 
 w 
 u 
 
 > 
 X 
 
 m 
 < 
 
 w 
 
 Q 
 
 < 
 u 
 
 w 
 
 H 
 
 w 
 o 
 
 fcL, 
 
 00 
 
 « 
 H 
 
 w 
 u 
 
 > 
 
 Pi 
 
 m 
 
 < 
 
 w 
 
 Q 
 
 < 
 
 u 
 
 I 
 
 < 
 
 l-H 
 
H 
 
 w 
 
 u 
 
 X 
 
 I 
 
 < 
 
 < 
 (— t 
 W 
 
 Q 
 
 < 
 u 
 
 w 
 2; 
 
 H 
 W 
 
 C5 
 
H 
 
 w 
 u 
 
 > 
 X 
 
 Q 
 'Z 
 < 
 
 w 
 X 
 H 
 
 to 
 O 
 
 <: 
 
 cq 
 < 
 J 
 W 
 Q 
 
 < 
 U 
 
SIEXA CATHEDRAL— DETAIL OF PULPIT BY BERNARDINO DI GIACOMO (1343) 
 
 IMPRUNETA NEAR FLORENCE— COLLEGIATE CHURCH— CHANCEL, XVII CENTURY 
 
 81 
 
H 
 
 W 
 
 u 
 
 > 
 
 w" 
 
 Q 
 < 
 
 < 
 
 m 
 o 
 
 H 
 Pi 
 < 
 
 Ph 
 
 J 
 w 
 
 < 
 
 u 
 
 w 
 
 H 
 c/5 
 
 t—t 
 t/) 
 
 I 
 
 < 
 y 
 
 > 
 
 I 
 
 W 
 
 o 
 
 0( 
 
 CO 
 
14 DAY USE 
 
 RETURN TO DESK FROM WHICH BORROWED 
 
 This book is due on the last date stamped below, or 
 
 on the date to which renewed. 
 
 Rene-wed bookiare subjeCT to immediate recall. 
 
 M AR yft 1966 — 
 
 I'iAY 6 1966 
 
 OCT 11 1966 
 
 FEB2C1SG8 
 
 — MAR10tS7f 
 
 QUE END nECALLADLE ONE WE^K AFTEB_ 
 
 WINTER MA«-5 — ^7^ 
 
 PERIOD 
 
 DEC 1 9 1^^4 
 
 ^^ff ^ '1000 
 
 LD 21-100m-6,'56 
 (B9311sl0)476 
 
 General Library 
 
 University of California 
 
 Berkeley 
 
'Ifff' 
 
 , 
 
 CD3^a7S37□ 
 
 I