Unlimited Possibilities

Lesson Plan


Students will examine the use of marquetry and other fine artistic processes on the Renaissance Revival/Aesthetic Cabinet, then practice their marquetry skills by creating a piece of art using only black, grey, and white pieces of triangular paper to design a picture.

Intended Age Group

Secondary (grades 6-12)

Length of Lesson

One 50 minute lesson

Standards Area

Visual Arts


Students will be able to:

  • describe the artistic characteristics of the Renaissance Revival/Aesthetic Cabinet;
  • explain the technique of marquetry; and
  • create a piece of art using marquetry skills by placing triangular pieces of paper next to each other to create a design.


  1. Warm-up: Provide each student with a piece of graph paper. Have the students trace the outline of two different squares, each 20 units by 20 units. Invite students to create a picture in the first square by using colored pencils to shade in the unit squares. Have students create another picture in the second square using the same method, but this time, they can only use one color to shade in squares. Encourage the students to stretch their artistic creativity. Ask the students to reflect on their experience. What was challenging or exciting about using only one color as opposed to many colors? Were you able to achieve the effect/design you wanted? Was it difficult to use only one shape (squares) to make a design?
  2. Display the Renaissance Revival/Aesthetic Cabinet and invite the students to share what they see. What materials is the cabinet made from? What processes were used to create the details? What images do the students see? What adjectives or phrases would they use to describe the cabinet? How does it compare to other pieces of art or furniture the students have seen?
  3. Encourage the students to examine the door panels, which provide a fine example of marquetry. How do the students think the artist created the images on the door panels? Explain that these images were created using marquetry, a technique in which small pieces of wood are placed immediately next to each other, similar to building a jigsaw puzzle. See the "Details" information from About the Art for an explanation of marquetry.
  4. Invite the students to explore the technique of marquetry on their own. Provide each student with a small plastic bag filled with triangular pieces of black, white, and gray paper. Encourage the students to create a picture using only a few shapes and shades of color, similar to the way the artist who decorated the door panels used only a few shades of wood.
  5. Be sure to have a gallery show of the students’ artwork when they have finished their artistic creations.


  • One piece of graph paper for each student
  • Colored pencils
  • Small plastic bags filled with triangular pieces of black, white, and gray paper
  • One large piece of art/construction paper for each student, to be used as a background
  • Glue
  • About the Art section on the Renaissance Revival/Aesthetic Cabinet
  • One color copy of the cabinet for every four students, or the ability to project the image onto a wall or screen


CO Standards

  • Visual Arts
    • Invent and Discover to Create
    • Observe and Learn to Comprehend
    • Relate and Connect to Transfer
  • Language Arts
    • Oral Expression and Listening

21st Century Skills

  • Critical Thinking & Reasoning
  • Information Literacy
  • Invention
  • Self-Direction

About the Art

Renaissance Revival/Aesthetic Cabinet

Renaissance Revival/Aesthetic Cabinet


Attributed to Gustave Herter and Christian Herter

Who Made It?

Up to 100 craftsmen, each specializing in a single technique, were employed by the Herter Brothers decorating firm to create this cabinet. Herter Brothers, the New York firm of the German-born brothers Gustave and Christian Herter, was one of the leading cabinetmaking firms in the United States during the late 1800s. Furniture made by Herter Brothers is known for its beauty and design, as well as its fine craftsmanship and attention to detail. The number of materials and the various techniques used to produce this cabinet—including carving, incising (cutting into), gilding (applying gold to the surface), and veneering (covering furniture with other materials, like brass or copper)—create a complex and beautiful piece. People who purchased Herter cabinets were typically wealthy investors, industrialists, and institutions. The Herters were even commissioned for thirteen pieces for the Grant Red Room in the White House.

What Inspired It?

The Herters created furniture of extraordinary craftsmanship; their design was legendary and extremely ornate. Dozens of different woods from all over the world were combined to create this cabinet. The predominant wood used, however, is rosewood, an exotic material at the time, known for its fragrance, smoothness, and strength. This cabinet is an example of American Victorian design. It features rich materials, multiple techniques, and diverse motifs drawn from a variety of cultures—this eclectic style characterized much of the Victorian era. Different motifs to look for in this cabinet include animals, statues, flowers, geometric patterning, and architectural elements. It is believed that this piece was either placed in a parlor opposite a fireplace or in a bedroom to be used as a storage unit. The cabinet would probably have been adorned with a bust or a vase with peacock feathers.



The most noticeable technique used in this cabinet is marquetry. Marquetry is a process by which small pieces of wood that have been stained or bleached to create different colors are fitted together to form patterns. This process is similar to creating a jigsaw puzzle: each piece has to fit perfectly with the one next to it. Check out the two standing figures on the central doors. The folds in their robes are not painted; they are actually made of many tiny pieces of wood that have been meticulously fitted together.


Gilding is a finishing process that involves applying a thin layer of gold to the surface of an object. Look for examples of gilding at the very top of the cabinet.


Another type of gold finish can be found on the cabinet’s three roundels—the three round circular elements (two on the side edges of the main frame and one at the center of the base). The material used for this type of finish is called ormolu [ORma-loo]: literally, “ground gold.” Ormolu was a common decorative finish during the 1700–1800s, especially in France.


Look for carved details at the cabinet’s triangular top and the series of rectangular boxes that run along the inside border. Notice the architectural elements that have been carefully carved: the fluted (or vertically grooved) columns, the female masks beneath the columns, and the winged sphinxes.


Incising is another technique used by the artist to embellish the surface. It involves carving shallow lines into the surface of the cabinet. These lines are often filled with gilding to make them stand out.

Mythological Figures
Mythological Figures

The mythological figures on the two center doors hold staffs and baskets of grain. They represent Demeter, the Greek goddess of fertility. Demeter is known for mourning the abduction of her daughter Persephone by Hades, god of the Underworld.


These are mythological winged creatures that have the body of a lion and the head of a woman. A sphinx is said to have killed anybody who passed by and could not answer her riddle.

Classical References
Classical References

On each of the two small side doors is a large amphora (an ancient Greek jar) that is filled with flowers. These classic, two-handled jars have oval bodies and narrow cylindrical necks.

Renaissance Influence
Renaissance Influence

The portrait medallions, located above and below Demeter, most likely portray a Renaissance academic. He wears a traditional academic skullcap.

Female Heads
Female Heads

Note the carved female masks beneath the fluted columns on either side of the two central doors. This element was seen throughout the Herters’ work. The faces have no pupils, an almost continuous brow, a straight nose, and full lips.

Funding for lesson plans provided by a grant from the Morgridge Family Foundation. Additional funding provided by the William Randolph Hearst Endowment for Education Programs, and Xcel Energy Foundation. We thank our colleagues at the University of Denver Morgridge College of Education.