In the early seventeenth century the scale of the details of Flemish work increased. Diamond-shaped panels were superimposed on square ones; turned work was split and the two halves applied; drop ornaments were used below tables and from the centres of panels under arches—all these being additions to the general structure.
Jacobean
English work developed in much the same way as Flemish, probably owing to the commerce in wood-work between England and Flanders at this time.
In the earlier work, where the orders were employed, there was some regard to proportion and detail, probably direct translation of Italian designs, but in the later Jacobean work there was considerable falling-off, presumably due to native exploitation and experiment.
No. 94. Jacobean Wood Carving. Palace of Bromley-by-Bow.
Architectural feeling was prominent in the treatment of interiors, which were invariably panelled as in the earlier period. The characteristic “linen fold” variety of the late Tudor giving place to plain panelling, framed by stiles and rails closely spaced.
Walls were occasionally divided into bays by means of pilasters, often supported on pedestals.
The panels in the later development were invariably plain, but a decorated frieze, carved in relief, was carried round immediately under the cornice. Coats of arms at intervals sometimes supplied the decoration. The carved frieze gave place to a simple form of patterning, which was produced by sinking the ground to practically one level and leaving the ornament which had little or no modelling, flush with the face of the panel. This led to fretting out the pattern and applying it to the surface. The idea of planting ornament evidently spread, and may be seen in such obviously applied details as studs and half-balusters.