The soundboards of Renaissance and Baroque instruments, especially Flemish and French, were often lavishly decorated with botanical and moresque motifs. In the center of the soundboard was a rosette made of parchment or metal, often exquisitely decorated and gilded. Decorators of that time had at their disposal various pattern books, the style of which changed with the prevailing fashion. While working, I rely on original sources, creating a coherent and homogeneous whole
That is, imitating marble with the use of paints, by imitating the veins typical of this stone. Marbling was often used in the 16th, 17th and 18th centuries, decorating wooden wall coverings, some types of furniture, organ cabinets, harpsichords and virginals.
Latin maxims often appeared on lapels, rarely on other parts of the instruments.
A characteristic feature of Flemish instruments is that the inner walls of the instrument, and the inner side of the lid are covered with decorative paper. Often, the paper was also decorated with moresque patterns, similar to the soundboard, and Latin sentences were often placed on the lids.
The more expensively decorated instruments had a richly decorated inner side of the lid, often with full-size oil or tempera paintings, depicting landscapes, allegories or biblical scenes.
Chinoiserie entered European art and decoration in the mid-to-late 17th century; the work of Athanasius Kircher influenced the study of Orientalism. The popularity of chinoiserie peaked around the middle of the 18th century when it was associated with the Rococo style.
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