mple columns with plain turned capitals and bases. Other tables of this
period are to be found in a few old country mansions; there is one in
Longleat, which, the writer has been told, has a small drawer at the end,
to hold the copper coins with which the retainers of the Marquis of Bath's
ancestors used to play a game of shovel penny. In the Chapter House in
Westminster Abbey, there is also one of these plain substantial James I.
tables, which is singular in being nearly double the width of those which
were made at this time. As the Chapter House was, until comparatively
recent years, used as a room for the storage of records, this table was
probably made, not as a dining table, but for some other purpose requiring
greater width.

[Illustration: Oak Sideboard in the S. Kensington Museum. Period: William
III.]

In the chapter on Renaissance there was an allusion to Charterhouse,
which was purchased for its present purpose by Thomas Sutton in 1611, and
in the chapel may be seen to-day the original communion table placed there
by the founder. It is of carved oak, with a row of legs running lengthways
underneath the middle, and four others at the corners; these, while being
cast in the simple lines noticed in the tables in the Barbers' Hall, and
the Chapter House, Westminster Abbey, are enriched by carving from the
base to the third of the height of the leg, and the frieze of the table is
also carved in low relief. The rich carved wood screen which supports the
organ loft is also of Jacobean work.

There is in the South Kensington Museum a carved oak chest, with a centre
panel representing the Adoration of the Magi, about this date, 1615-20; it
is mounted on a stand which has three feet in front and two behind, much
more primitive and quaint than the ornate supports of Elizabethan carving,
while the only ornament on the drawer fronts which form the frieze of the
stand are moulded panels, in the centre of each of which is a turned knob
by which to open the drawer. This chest and the table which forms its
stand were probably not intended for each other. The illustration on the
previous page shows the stand, which is a good representation of the
carving of this time, i.e., early seventeenth century. The round backed
arm chair which the Museum purchased last year from the Hailstone
collection, though dated 1614, is really more Elizabethan in design.

There is no greater storehouse for specimens of furniture in use during
th