Marble Top French Vitrine with Gilt Bronze Trims

• Cabriole Leg - The cabriole leg evolved from an elongated scroll, curving out at the knee which may or may not be carved, and forming a serpentine shape as it descends to the foot.
  
  First introduced into English furniture in the late 17th century, cabriole legs were widely used during the Queen Anne and early Georgian periods, where they frequently terminated in a pad foot or ball and claw foot. The style has had many imitators since then. The cabriole leg was re-introduced in the mid-19th century, and is commonly associated with the balloon-back dining or drawing-room chairs made in walnut, mahogany or, in Australia, cedar. The Victorian cabriole leg, on the whole, was rather more slender than the earlier form, following the French style, which emphasized the delicacy and daintiness of the chairs they were designed to support. Cabriole legs are sometimes found on windsor chairs, especially those made during the 18th century.
• Bronze - An alloy of copper and tin, traditionally in the proportions of about 9 parts of copper to 1 part of tin.
  
  The discovery of bronze in Western Asia in the 4th century enabled people to create metal objects which were superior to those previoulsy possible because of its strength and hardness, and it has been used throughout the world for weapons, coins, tools, statuary and other decorative items.
  
  It is very fluid in a molten state, and its hardness, strength when set, and non-corrosive properties makes it most suitable for casting sculpture.
• Panels - Timber pieces, usually of well-figured wood either recessed or applied over the frames of doors and as decoration elsewhere in the carcase of cabinet furniture. The panels may take a variety of shapes rectangular, square, shield shape, oval, half-round or in the form of Egyptian pylons.
• Veneers - Veneers are thin sheets of well-figured timber that are glued under pressure to the surface of a cheaper timber for decorative effect, and then used in the making of carcase furniture.
  
  Early veneers were saw-cut so were relatively thick, (up to 2 mm) but is was realised that saw cutting was wasteful, as timber to the equivilent of the thickness of the saw was lot on each cut.
  
  A more efficient method was devised to slice the timber, either horizontally with a knife, or in a rotary lathe.
  
  Flame veneer, commonly found in mahogany or cedar furniture, is cut from the junction of the branches and main trunk. So-called fiddleback veneers, where the grain is crossed by a series of pronounced darker lines, is usually cut from the outer sections of the tree trunk.
  
  During the 17th and 18th centuries, and in much of the walnut marquetry furniture made during the latter part of the 19th century, the veneer was laid in quarters, each of the same grain, so that one half of the surface was the mirror image of the other.
  
  The use of veneer allows many other decorative effects to be employed, including stringing, feather banding, cross banding, and inlaid decorative panels in the piece. The carcase over which veneer is laid is usually of cheaper timber such as pine, oak or, sometimes in Australia during the first half of the 19th century, red cedar.
  
  The important thing to remember about veneers is that prior to about 1850 they were cut by hand, and were consequently quite thick - ranging up to about 2mm deep.
  
  From the mid-19th century veneers were cut by machines and were almost wafer-thin. This is a critical point when trying to judge the approximate age of veneered furniture.

This item has been included into following indexes:

• display cabinets, origin - French 397
• display cabinets, period, age or style
  • 20th century 134
  • Edwardian crystal or display cabinet 219
• vitrines - (upright display cabinet) 295