A rare carved walnut wardrobe opening with four door-leaves and two drawers in the lower part. The doors bear architectural views in low reliefs, fluted pilasters and Ionic capitals.
Two door-leaves with carved architectural perspectives open the wardrobe framed by three fluted pilasters with Ionic capitals.
Each door-leaf depict two semi-circular arcades whose cornice and base shows a central vanishing point. Likewise the pavement’s lines act for the artisan as a way to create depth. The vaulting instead leads us to think the vanishing point has to be situated where the handle is, between the two complementaries reliefs.
The elegant moulded belt hides an internal secret space, accessible through a moveable plank in the upper body.
Two door-leaves identical to those of the upper body framed by three fluted pilasters with Doric capitals. The base of the wardrobe opens with two large drawers.
The sides also bear panels depicting architectural perspectives. The external pilasters share their Ionic capital with the facade’s pilasters. Thus we can observe on the wardrobe’s sides the capital’s lateral parts with the elegant volute specific to the Ionic order.
This palace wardrobe is topped by an overlapping cornice standing on three consoles for the facade and two consoles on each sides. Placed right above the pilasters each console are adorned by fully expanded leaves.
During the 15th century a major interest for architecture and perspective studies arises and influences patrons tastes. The work of great theorists such as Leon Battista Alberti or Filippo Brunelleschi, are published from the mi-fifteenth century onwards and has a great impact on the arts.
It can be seen in the field of paintings where numerous buildings are included in diverse subjects and even becoming the main subject of paintings. It also characteristic of the furnishing with the making of credenza, cabinets or wardrobes using architectonical vocabulary, progressively evoking real palaces facades.
This important wardrobe with panels sober and sophisticated depicting arcades reminds us this infatuation typical of the Renaissance. In the decorative arts these subjects were mainly made in marquetry. It was far more difficult to carve those views in a solid wood plank as on our wardrobe, requiring a high degree ability to master technic and material. Hence this Renaissance palace carved walnut wardrobe is very unusual and a rare testimony of this era.
While chests were meant to store clothes and linen wardrobes were usually containing weapons and curious and collectable items.
The sense of proportions and volumes shining through this palace wardrobe has to be the achievement of a true artist-architect. The unity in its decor, its elegance and refinement respond to the command of a patron enthusiastic about geometry and arts.