. The book of decorative furniture, its form, colour and history . LATEK RENAISSANCE IN GERMANY 279. RHENISH CABINET. SEVENTEENTH CENTtHlY. fled to England and Germany, as well as to Holland, from thedragonnades, that the style in which they afterwards worked becameknown on the Continent as the StyleRefugie. The decorative cabinetmakers ofGermany, later in reception and aliento the Italian spirit in their treat-ment of Renaissance detail, wouldseem to have been little behindFrance in point of time in the floriddegeneration equivalent to the haroccoof Italy. They called to their aidthe repousse
. The book of decorative furniture, its form, colour and history . LATEK RENAISSANCE IN GERMANY 279. RHENISH CABINET. SEVENTEENTH CENTtHlY. fled to England and Germany, as well as to Holland, from thedragonnades, that the style in which they afterwards worked becameknown on the Continent as the StyleRefugie. The decorative cabinetmakers ofGermany, later in reception and aliento the Italian spirit in their treat-ment of Renaissance detail, wouldseem to have been little behindFrance in point of time in the floriddegeneration equivalent to the haroccoof Italy. They called to their aidthe repousse worker in gold, silver,and precious stones, at a period whenFrance was content with pietra duraand ebony. Probably no designer influenced more profoundly German wood-work concepts of the Renaissance than did Wendel Dietterlin, whose period of activity was midway between the earlyGerman Renaissance and the latter phase. In matters architectural, until the introduc-tion of the Italian harocco modes in the latter halfof the seventeenth century, the Germans remainedcontent with their mediaeval civi
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Keywords: ., bookcentury1900, bookdecade191, booksubjectdecorationandornament
