Cabinet furniture, following models of the Crown of Aragon of the XVII century; XIX century.

Cabinet furniture, following models of the Crown of Aragon of the seventeenth century; nineteenth century.
Walnut and inlaid bone.
No key.
It presents faults and damages caused by xylophagous.
One of the handles is missing.
Measurements: 168, 5 x 114 x 65 cm.
Cabinet made of walnut wood with inlaid bone applications. The piece of furniture of straight lines and rounded volume sits on four legs of feline representation. A carved molding gives way to the body, of rectangular design with two doors whose aesthetics is based on compartmentalization, dividing each door leaf into four squares inside which develops a geometric design with bone embedded in the wood. Finally, the exterior is finished with an overhanging cornice. The interior of the piece has a more complex design, both in the ornamentation and in the division of space. It has three lower drawers, above them a hinged door that can be used as a desk and leaves an empty space in view, and in the upper area, on the top, a set of drawers designed in a symmetrical manner.
During the 19th century, in the context of Romanticism and the rise of nationalism, there was an aesthetic and historical revaluation of the artistic styles of the past, a phenomenon known as historicism. This trend responded to a desire for cultural identity, partly as a reaction to the rapid changes brought about by the Industrial Revolution and the processes of modernization. In the arts, this translated into a resurgence of styles such as neo-Gothic, neo-Renaissance and neo-Mudejar, with applications in architecture as well as in the decorative arts and painting.
In the case of Spain, this movement was closely linked to the construction of a national and regional narrative. Particularly significant was the recovery of the style associated with the Crown of Aragon, with special emphasis on its Gothic and Mudejar forms, considered symbols of the medieval splendor of the peninsula. The recovery of these models not only obeyed aesthetic reasons, but also political and cultural ones: the aim was to exalt a glorious past and to distinguish the Catalan, Aragonese and Valencian identity within the national discourse. This interest was manifested both in the restoration of heritage and in the production of new works that reinterpreted, from an idealized point of view, the visual heritage of that period, giving it new symbolic validity in the imaginary of the 19th century.