By the time James I, in 1603, established the Stuart reign, the style became markedly British, and British styles called Jacobean in compliment to James' Latinized name, prevailed until another imported fashion came along. Then came another and another, and so on even until the end of Georgian styles and the beginning of Victorian.
The Jacobean style developed serenely, playing happy pranks with itself, altered by mechanical inventions and by new woods, until the second half of the seventeenth century, when Charles II introduced strong French influence and Portuguese—which was not greatly different from Spanish. The French influence came lightly from the light ladies of the frivolous court, and the Portuguese from Charles' queen, Catherine, whose home was Braganza. Bombay as her dowry threw Eastern colours and design into the mȇlée.
British styles were not yet to be let alone, for no sooner was the French way set than the Dutch pattern appeared, brought over by William and Mary. Delicately it came at first, giving place for hints from the court of Louis XIV, and then in full force by the time Anne took the sceptre in 1703. And all these styles imported throughout the seventeenth century, what were they but the several interpretations of the Renaissance as it was expressed in France, Portugal, and Holland? Let not the student stagger under these complications of English styles, for although there are yet more reasons for the shapes and ornament of furniture in England during the seventeenth century they are all bright with incidents of kings and courts.
Tudor monarchs stop in 1603 at Elizabeth's death, but Tudor styles were not at once outgrown, rather they linger along far into the seventeenth century, heavily and elegantly regarding the newly throned Stuarts and their bewitching manners. The Tudor table, for instance, was a serious piece of furniture, put together as squarely and solidly as a house. Its enduring qualities are proved by the number of these tables still extant which, as refectory tables, are the smart thing for the dining-room of to-day. Bulbous legs with Italian carving, heavy square stretchers low on the ground, and draw-tops, are the distinguishing features. It is even suggested by the erudite that these tables are the last flicker of the style left by the Romans during their occupation of England, so like are they to pictured tables of Rome at that time.
To fix in the mind certain important motifs used in early Jacobean carving, a pause may be made before the fine oak bed pictured in Plate 3, that we may discuss them. It is dated 1593, ten years before James I, but, although Tudor, it has certain decorative features, the development of which was left to the Jacobean styles of the seventeenth century.
Plate VI-OAK CHEST WITH DRAWERS
This is carved with all the characteristic motifs of early Jacobean work—the arch, the guilloche, the S curve in pairs
Plate VII—OAK STAND AND MARQUETRY CABINET