silver
should be manufactured."

The beautiful silver table in Her Majesty's collection at Windsor Castle,
illustrated on page 68, is probably one of Spanish make of late sixteenth
or early seventeenth century.

Although not strictly within the period treated of in this chapter, it is
convenient to observe that much later, in the seventeenth and eighteenth
centuries, one finds the Spanish cabinet maker ornamenting his productions
with an inlay of ivory let into tortoiseshell, representing episodes in
the history of _Don Quichotte_, and the National pastime of bull-fighting.
These cabinets generally have simple rectangular outlines with numerous
drawers, the fronts of which are decorated in the manner described, and
where the stands are original they are formed of turned legs of ebony or
stained wood. In many Spanish cabinets the influence of Saracenic art is
very dominant; these have generally a plain exterior, the front is hinged
as a fall-down flap, and discloses a decorative effect which reminds one
of some of the Alhambra work--quaint arches inlaid with ivory, of a
somewhat bizarre coloring of blue and vermilion--altogether a rather
barbarous but rich and effective treatment.

To the seventeenth century also belong the high-backed Spanish and
Portuguese chairs, of dark brown leather, stamped with numerous figures,
birds and floral scrolls, studded with brass nails and ornaments, while
the legs and arms are alone visible as woodwork; they are made of chesnut,
with some leafwork or scroll carving. There is a good representative
woodcut of one of these chairs.

Until Baron Davillier wrote his work on Spanish art, very little was known
of the different 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 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 chesnut (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