The Court cupboard, also of the same date, begins to show the coming style of Jacobean ornamentation in the turning in the upright pillars and supports and the square baluster termination. The massive carving and elaborate richness of the early Elizabethan period have given place to a more restrained decoration. Between the drawers is the design of a tulip in marquetry, and narrow bands of inlay are used to decorate the piece. In place of the chimerical monsters we have a portrait in wood of a lady, for which Arabella Stuart might have sat as model. The days were approaching when furniture was designed for use, and ornament was put aside if it interfered with the structural utility of the piece. The wrought-iron handle to the drawer should be noted, and in connection with the observation brought to bear by the beginner on genuine specimens in the Victoria and Albert Museum and other collections, it is well not to let any detail escape minute attention. Hinges and lock escutcheons and handles to drawers must not be neglected in order to acquire a sound working knowledge of the peculiarities of the different periods. [Illustration: MIRROR. Glass in oak frame with carved scroll outline and narrow bands inlaid with small squares of wood. The glass nineteenth century. ENGLISH. DATED 1603. (_Victoria and Albert Museum._)] [Illustration: COURT CUPBOARD, CARVED OAK. ENGLISH. DATED 1603. Decorated with narrow bands inlaid, and having inlaid tulip between drawers. (_Victoria and Albert Museum._)] In contrast with this specimen, the elaborately carved Court cupboard of a slightly earlier period should be examined. It bears carving on every available surface. It has been "restored," and restored pieces have an unpleasant fashion of suggesting that sundry improvements have been carried out in the process. At any rate, as it stands it is over-laboured, and entirely lacking in reticence. The elaboration of enrichment, while executed in a perfectly harmonious manner, should convey a lesson to the student of furniture. There is an absence of contrast; had portions of it been left uncarved how much more effective would have been the result! As it is it stands, wonderful as is the technique, somewhat of a warning to the designer to cultivate a studied simplicity rather than to run riot in a profusion of detail. [Illustration: COURT CUPBOARD, CARVED OAK. ABOUT 1580. (RESTORED.) (_Victoria and Albert Museum._)] Another interesting Court cupboard, of the early seventeenth century, shows the more restrained style that was rapidly succeeding the earlier work. This piece is essentially English in spirit, and is untouched save the legs, which have been restored. [Illustration: _By kind permission of T. E. Price Stretche, Esq._ COURT CUPBOARD, EARLY SEVENTEENTH CENTURY. With secret hiding-place at top.]