The characteristic table of Jacobean days is the “drawing-table,” a solid piece of furniture with massive legs, often carved, and connected with rails near the floor. The top is a large slab of oak and beneath it are two other slabs or leaves; when these are drawn out at each end, the large slab falls into the space they occupied, and the table is thus lengthened.
Another typical table, called either “round” or “oval,” is shown on Plate [XI.] This is an eight-legged table provided with flaps, or falling leaves, supported by legs that can be pulled forward. When not in use, they fold into the frame. Sometimes this variety of table has six instead of eight legs. A popular modern name for these is “the gate-legged” and “the thousand-legged tables.” Frequently the legs were turned spirally. There was another round, or oval table, whose falling leaf was supported by a bracket, shaped something like the wing of a butterfly, from which it has received the modern and popular name of “butterfly table.” The square table was also in use. The table was always covered with its “carpet”; indeed, in the inventories of the period, the “table and carpet” are often mentioned together.
On Plate [XI.] are three specimen table legs. No. 1 shows legs that are ornamented with a round globe, which like the round ball foot, is of ebony or wood stained black in imitation. The stretchers and rest of the frame are oak. Frequently the table leg was decorated with the carved bulb or acorn, as is shown in No. 2, Plate [X.] A similar leg to No. 1, Plate [XI.], occurs on the table in Plate [V.], but the stretchers here are different. No. 2 and No. 3 on Plate [XI.] are good types of the ornamentation of the period and their legs are also connected by stretchers. The latter would be used as side-tables or placed in the centre of a room.
The furniture of the parlour in the late Tudor period consisted of high-backed carved chairs, joined stools with cushions covered with rich material and fringed, foot-stools, turned chairs, “lyttle guilt chairs for the women,” high folding screens with many leaves, long, square and round tables with “carpets,” “conversation stools” with ornamented ends and backs, chests, cabinets, coffers and all the ornaments of the period. A wood fire gives warmth, and silver candelabra and sconces light to the room, while further comfort is added by the tapestries, curtains and innumerable cushions. Often, indeed, a bed occurs.
The Jacobean parlour differed but little; indeed, in some houses this exact room survived; but the new styles were gradually driving out the heavy chairs and cabinets for the lighter varieties with turned frames and cane webbing or their upholstered backs and seats; and the old carving was being rapidly supplanted by the newer decoration of the black mouldings and applied ornaments. The high-backed and richly carved settle had to give place to the “couch and squab,” a handsome specimen of which appears on Plate [VIII.] This is also called a settee or a “chaise longue.” Our particular example is composed of a walnut frame covered with cane, upon which are placed a mattress or long cushion and a round bolster, both of which are covered with green silk damask bordered with a narrow fringe. The back, resembling the back of a chair, is enclosed in an ornamental frame of scroll-work, somewhat similar to that of No. 1 on the same plate, and turned side pillars. The top rail is surmounted by a pedimental scroll with a crown in the middle. The six legs have projecting knees and feet connected lengthwise by ornamental rails upon which scrolls and crowns are carved. This piece of furniture dates from 1660.
We have noted that the bed was generally met with in every room in the house. There were, however, separate bedrooms even in the Tudor age. Shakespeare’s description of Imogen’s apartment gives a very charming picture of a rich sleeping-room of the time:
“First her bed-chamber
(Where I confess I slept not; but profess,
Had that was well worth watching,) it was hang’d
With tapestry of silk and silver; the story,