Though the usual conveyance during the thirteenth century was a horse litter for women of rank, and men rode on horseback, yet covered and open carriages or waggons were not unknown in that and in the following century. A charette containing a number of maids of honour in attendance on Anne of Bohemia at her public reception in London in 1392, was upset on London bridge from the rush of the crowd to get a sight of the queen, and her ladies were not without difficulty replaced. These charettes, cars, or waggons were covered carts on four wheels, like country waggons of our days, panelled at the sides, and the tilt covered with leather, sometimes with lead, and painted.
We must not pass without a very brief notice the large constructions of roofs of wood begun as early as the twelfth, and continued and improved through the thirteenth and fourteenth centuries, the period during which the finest efforts of mediæval Gothic art were embodied all over the north and over parts of the south of Europe. The older part of Westminster hall dates from the reign of Rufus, and the walls of the present building belong to that period, though faced at a later time. How the roof of the enormous space, sixty-five feet diameter, was at first constructed there is no evidence to show. It had, perhaps, a row of arches down the middle, like the great hall of the palace of Blois, said to be of the thirteenth century, or huge kingposts supporting the ties between rafters, which in that case may have been as long as those of the later roof. The present roof, work of the fourteenth century, marks the beginning of a change in the style of architecture that accompanied and caused great changes in furniture and household woodwork. The ties are supported by curved braces that descend like arches on the stone corbels made in the wall to receive them. These braces take two flights, being tied back where they meet by hammer beams into a lower part of the rafter. The lower brace upholds another upright or collar post which supports the junction of these beams with the rafter, at its weakest part. A rich subdivision of upright mullions with cusped arch heads fills up the spandrels between these braces and the beams they support, and adds stiffness as well as decoration to the whole.
Such constructions were not only more scientific than those of older date, but they are more pompous and complicated, and have a greater apparent affinity with the architecture of the day. This architectural character, from the date of the change to the third period of pointed architecture, began to show itself in furniture and wood structure of every kind. Until then a certain originality and inventiveness were preserved in the decoration both of architective woodwork and furniture, notwithstanding the strictest observance of the rules and unities of architectural law in buildings, ecclesiastical and civil. Small sculpture, such as that on ivories and utensils made of metal, or that which decorated woodwork as well as stone, and the general forms of furniture, were designed without immediate imitation of architectonic detail. Figure sculpture of great dignity remains in ivories of the twelfth, thirteenth, and fourteenth centuries, illustrative of the general character given to things of daily use which were not, probably, nearly so numerous as in a later age, and were each carefully elaborated for the person for whom they were made. We need go no further than some of the objects in the Kensington museum, such as the statuettes and caskets of ivory, English and French work of that time.
We can point to few large pieces of furniture, except the coronation chair, illustrating the fashions of this early period. Examples of wooden movable furniture are extremely rare in this country. There are large semicircular cope chests in the cathedrals of Wells, York, and other cities. These are merely chests or boxes in which the copes are spread out full size, one over the other, and the only decoration consists in the floriated ironwork attached to the hinges.
We must not omit to remark that some examples of very beautiful oriental panelling of this period are to be seen in various collections. The woodcuts represent the fittings of a series of such panels from a mosque at Cairo, now at South Kensington, no. 1,051; and a single piece to show the detail. The delicacy of the carving and the apparent intricacy of the geometrical arrangement are very remarkable.
