It must be borne in mind, in considering the furniture of the earlier part of the sixteenth century, that the religious persecutions of the time, together with the general break up of the feudal system, had gradually brought about the disuse of the old custom of the master of the house taking his meals in the large hall or "houseplace," together with his retainers and dependants; and a smaller room leading from the great hall was fitted up with a "dressoir" or "service cupboard," for the drinking vessels in the manner just described, with a bedstead, and a chair, some benches, and the board on trestles, which formed the table of the period. This room, called a "parler" or "privee parloir," was the part of the house where the family enjoyed domestic life, and it is a singular fact that the Clerics of the time, and also the Court party, saw in this tendency towards private life so grave an objection that, in 1526, this change in fashion was the subject of a Court ordinance, and also of a special Pastoral from Bishop Grosbeste. The text runs thus: "Sundrie noblemen and gentlemen and others doe much delighte to dyne in corners and secret places," and the reason given, was that it was a bad influence, dividing class from class; the real reason was probably that by more private and domestic life, the power of the Church over her members was weakened.
CHAIR SAID TO HAVE BELONGED TO ANNA BOLEYN, HEVER CASTLE.
(From the Collection of Mr. Godwin, F.S.A.)
In spite, however, of opposition in high places, the custom of using the smaller rooms became more common, and we shall find the furniture, as time goes on, designed accordingly.
TUDOR CABINET IN THE SOUTH KENSINGTON MUSEUM.
(Described below.)
In the South Kensington Museum there is a very remarkable cabinet, the decoration of which points to its being made in England at this time—that is, about the middle, or during the latter half of the sixteenth century; but the highly finished and intricate marqueterie and carving would seem to prove that Italian or German craftsmen had executed the work. It should be carefully examined as a very interesting specimen. The Tudor arms, the rose and portcullis, are inlaid on the stand. The arched panels in the folding doors and at the ends of the cabinet are in high relief, representing battle scenes, and bear some resemblance to Holbein's style. The general arrangement of the design reminds one of a Roman triumphal arch. The woods employed are chiefly pear tree, inlaid with coromandel and other woods. Its height is 4ft. 7in. and width 3ft. 1in., but there is in it an immense amount of careful detail which could only be the work of the most skilful craftsmen of the day, and it was evidently intended for a room of moderate dimensions where the intricacies of design could be observed. Mr. Hungerford Pollen has described this cabinet fully, giving the subjects of the ornament, the Latin mottoes and inscriptions, and other details, which occupy over four closely-printed pages of his Museum catalogue. It cost the nation £500, and was a very judicious purchase.