Among the famous examples of German cabinets is one by Hans Schieferstein dated 1568, ornamented with carved ivory; and one by Kellerthaler of Nuremberg, in ebony, dated 1585 - both in the Museum of Dresden. An ebony cabinet decorated with plaques of copper on which are engraved pictures from Virgilius Solis, dating from the end of the Sixteenth Century, is in the Castle of Rosenborg (Copenhagen). The most celebrated of all is the Kunstschrank of Pomerania, now in the Museum of Industrial Art, Berlin. The latter displays all the magnificence of Italian luxury as interpreted by a German artist. This cabinet was made in Augsburg by Philip Hainhofer, for Philip II., Duke of Pomerania. It was finished in 1617. Hainhofer called in the aid of many artists for the ivory carvings, the silver bas-reliefs and the enamelled plaques which entered into its decoration. Altogether the services of one sculptor, three painters, one painter in enamel, six goldsmiths, an organ-maker, two clock-makers, a mechanician, a cabinet-maker, a modeller in wax, an engraver on metal, an engraver of precious stones, a turner, a locksmith, two sheath-makers and a binder were employed. This wonderful cabinet is, however, comparatively small; it is but four feet, ten inches high; three feet, four inches wide; and two feet, ten inches deep. The wood is ebony, supported on four heads of griffins of silver-gilt, and also a large scroll which bears the chief weight. Lapis-lazuli, jasper, cornelian, agate and chased silver ornaments adorn the work; and there are also medallions of silver and Limoges enamel. The drawers are of sandal-wood lined with red morocco.

Plate LXIII Louis XV. Commode, signed L. Boudin

Every Dutch house of the Seventeenth Century had its cabinet for the preservation and display of the little articles that had been gathered for several generations. Sometimes these were simple and sometimes they were very costly. It is amusing to read that the wife of an old Dutch pastor of this date had a longing for one of these treasures. When the worthy minister was asked how much he would charge for his translation of Cicero's Epistolae ad familiares, he apologized for mentioning any reward; but "having to take heed of his wife whom the Lord had given him for a helpmeet," he asked for a "nutwood cabinet with a set of porcelain to go with it and ornaments for the top," which the good lady, like all other Dutch ladies of her time, was very anxious to possess; and so the pastor hoped the consistory would grant it.

The cabinet was an object of special luxury for the exhibition of little articles of value possessed by the rich. Whether carved or inlaid, its drawers were lined with morocco, velvet, or silk; and those cabinets that had glass doors and shelves were covered with crimson velvet, green silk, tooled-leather, or cloth-of-gold. Very frequently, silver ribbon was twisted behind the glass into geometrical patterns, or into a sort of lattice-work, or the initials or monogram of the owner, and supplied with hooks, from which were suspended the watches, jewels, silver trinkets and Oriental curios so valued by the owner.

There was a great taste for lacquered cabinets in England during the days of the later Stuarts; and they were called, as a rule, "Japan Cabinets." These were not only imported from the East and from Holland, but were made in England, where the art of lacquering became known about 1633. In 1693, we hear of "Japan Cabinets, Indian and English," made by John Gunley, in London. In Queen Anne's day, they lacquered upon oak and pine; and some of it is in excellent preservation. Later in the century, they used the less durable beech and sycamore. Lacquered panels were also imported and made up into the pieces of furniture.

Marquetry cabinets were also highly prized in their day. Occasionally beautiful specimens come into the market. A cabinet of the William III. period was sold recently in London for a hundred guineas. It was five feet, nine inches high and three feet,.eleven inches wide. It consisted of sixteen drawers and cupboard. The work was English marquetry on a walnut ground, and the folding-doors were beautifully inlaid with birds, insects and flowers in vases.

The "Queen Anne cabinets" most prized by collectors are those decorated with marquetry in arabesque patterns, or with "cobweb" or "seaweed" panels. The cornice often contains a long, single drawer, and the inside of the doors is ornamented with marquetry panels.

A very handsome example was sold recently in London for 340 guineas. It was composed of ten drawers and a cupboard with one drawer, on a stand, having two drawers, with scroll-shaped supports. The cabinet was inlaid with arabesque foliage and brass drop-handles. Its height was five feet, five inches, and its width three feet, five inches.

A cabinet of the first half of the Eighteenth Century is shown on Plate LX. It is of fine walnut, inlaid with ivory and having carved and gilt decorations. The upper part consists of a cupboard with a long drawer underneath. Behind this the two small cupboards containing eight drawers. The stand has richly carved and gilt cabriole legs with ball-and-claw feet. An Italian stand and glass cabinet of the same period shows similar legs with extravagant carving and appears also on Plate LX.

Plate LXIV Regency Bureau made for Louis XV.

The Adam cabinets are semi-circular. They are often ornamented with painted panels, and are made of beautiful exotic woods. They differ but little from the commodes of the day. The Heppelwhite cabinet is also similar to the Heppelwhite commode.

Sheraton designed cabinets in the prevailing taste of the Louis XVI. Style in his first period; and later in his career cabinets in the new Empire taste.