That the chest remained in somewhat primitive form is shown by the illustration of a seventeenth-century specimen (p. 35). It will be observed that the panels have early scratched mouldings, that is to say they are not mitred. The fashion of mitreing in cabinet-work came into general use about the year 1600, but minor examples of country furniture often possess scratched moulding at a much later date. On the same page is an Elizabethan chair. This type is of exceptional interest. It has a long and proud history. They are, according to Mr. Percy Macquoid, "of Byzantine origin; their pattern was introduced by the Varangian Guard into Scandinavia, and from there doubtless brought to England by the Normans. They continued to be made until the end of the sixteenth century." These turned chairs are interesting as having spindles, which came into use at a much later period in the spindle-back chair. With the growth of prosperity and the increased use of domestic comforts, cottage furniture becomes a wider subject. Carved oak bedsteads, simple four-posters, bacon-cupboards, linen-chests became more common. In eighteenth-century days there was quite an outburst of enthusiasm, and the small cabinet-maker gained knowledge of his craft and became ambitious. On the promulgation of Chippendale's designs he made copies in elm and oak and beech for village patrons and essayed to follow Hepplewhite and even Sheraton. But this wave of success was followed by the competitive inroad made by factory-made cabinet-work, and during these last days the local cabinet-maker adhered closer than ever to the early oak examples of his forefathers. The village craft practically came to an end in the fifties, but it was a glorious end, and it is happy that it did not survive to produce bad work of atrocious design. The passing of cottage and farmhouse furniture may be said to be like the disappearance of dialect. The modern spirit has entered into village life, the town newspaper has permeated the country-side and disturbed the old-world repose. The lover of English folk-ways and the simplicity of rural life may echo the line of Wordsworth, "The things that I have seen I now can see no more." In the illustrations of two interiors shown on p. 39 it will be seen how happily placed the furniture becomes when in its old home. The atmosphere of these rural homesteads is at once soothing and restful, and the pieces of furniture had an added dignity. It seems almost sacrilege to tear such relics of bygone days from their ancient resting-place. But the collector is abroad, and few sanctuaries have escaped his assiduous attention. The lower illustration shows the interior of a cottage with its original panelled walls. This cottage actually has Tudor frescoes. [Illustration: INTERIOR OF FARMHOUSE PARLOUR.] [Illustration: INTERIOR OF COTTAGE. With original panelled walls. This cottage has Tudor frescoes.]