The lower part
It stands on an ogee molded base and four feet with two front legs more massive and detailed than the others.
It opens with two doors and three drawers.
The vertical outer beams are enriched with feminine terms sheathed in an acanthus leaf and standing apon a veiled pedestal.
The upper part
The upper body presents a set back and is composed of a small bottom part with two door-leaves and an original pair of wrought iron grille doors above.
The origins of the credenza and armoires date back to when its sole function related to Church ceremonies and was a humble opening in the wall of the Church which was covered by wooden panels for containing valuables such as religious artefacts positioned near the altar or in the sacristy.
Up until the 14th century, the piece was made from roughly hewn timbers with a uniform surface painted and decorated with elaborate metalwork, of which the present credenza is reminiscent. In the early 14th century, scultural decoration, was aded to the painted decoration which resulted from a more sophisticated construction of the furniture and a change in function, from being merely an opening in the wall to a decorative and moveable piece of furniture for domestic use.
The wrought iron fronted upper section would suggest that this present credenza was purposely built for a library. The wrought iron would have permitted the books to breathe in the cupboard and to show the leather spines to the viewer.
A. Pedrini, Italian Furniture and Interiors and Decorations of the 15th and 16th centuries, London, 1949, p.134, fig. 343, illustrates virtually identical beading to the panelling.
F. Schottmuller, Whohnungskulture und Mobel der Italiennischen Renaissance, Stuttgart, 1921, p.88, fig. 203, illustrates similar beading to the panelling and lion paw feet.