Art in the early days of Charles I. was undimmed. The tapestry factory at Mortlake, established by James I., was further encouraged by the "White King." He took a great and a personal interest in all matters relating to art. Under his auspices the cartoons of Raphael were brought to England to foster the manufacture of tapestry. He gave his patronage to foreign artists and to foreign craftsmen, and in every way attempted to bring English art workers into line with their contemporaries on the Continent. Vandyck came over to become "Principal painter of Their Majesties at St. James's," keeping open table at Blackfriars and living in almost regal style. His grace and distinction and the happy circumstance of his particular style being coincident with the most picturesque period in English costume, have won him a place among the world's great painters. Fine portraits, at Windsor and at Madrid, at Dresden and at the Pitti Palace, at the Louvre and in the Hermitage at Petersburg, testify to the European fame of the painter's brilliant gallery representing the finest flower of the English aristocracy, prelates, statesmen, courtiers and beautiful women that were gathered together at the Court of Charles I. and his Queen Henrietta Maria. [Illustration: OAK CHAIR. CHARLES I. PERIOD. With arms of Thomas Wentworth, first Earl of Strafford (1593-1641). (_Victoria and Albert Museum._)] In Early Stuart days the influence of Inigo Jones, the Surveyor of Works to Charles I., made itself felt in woodwork and interior decorations. He was possessed with a great love and reverence for the classicism of Italy, and introduced into his banqueting hall at Whitehall (now the United Service Museum), and St. Paul's, Covent Garden, a chaster style, which was taken up by the designers of furniture, who began to abandon the misguided use of ornament of later Elizabethan days. In the Victoria and Albert Museum is an oak chair with the arms of Thomas Wentworth, first Earl of Strafford, which, in addition to its historic interest, is a fine example of the chair of the period of Charles I. (illustrated p. 93). [Illustration: ITALIAN CHAIR, ABOUT 1620. Thence introduced into England. (_Victoria and Albert Museum._)] It is certain that the best specimens of Jacobean furniture of this period, with their refined lines and well-balanced proportions, are suggestive of the stately diction of Clarendon or the well-turned lyrics of Herrick. [Illustration: _By permission of Messrs. Hampton & Son_ HIGH-BACK OAK CHAIR. EARLY JACOBEAN. Elaborately carved with shell and scroll foliage. (Formerly in the Stuart MacDonald family, and originally in the possession of King Charles I.)]