The most prominent name associated with the architecture of the period is Thomas Thorpe, who was concerned in many of the principal edifices erected during the reign of Elizabeth and of her successor, James I. The general arrangement of woodwork consisted of architectural façades, and the orders and pediments were utilised wherever possible. Doorways and chimney-pieces offered the principal opportunities for display in interior work. Panelling was retained for the large halls and most of the rooms. The walls were frequently divided into bays by means of pilasters and surmounted by friezes and cornices more or less determined by traditional forms. _Flemish Influence_ The style degenerated in the same reign into a coarser rendering, and was followed by a period of strong Flemish influence. There is, in fact, such a marked similarity between the later Elizabethan and Flemish furniture and wood-work that it is not easy to distinguish the nationality of examples of this period. In cases where figure sculpture is employed, however, it is not difficult to decide, as a considerably higher standard was attained by the Flemish school of figure carvers than is found in English work. Tapered pilaster-like supports, surmounted by half figures or Ionic caps, were often employed in the framing of doors and chimney-pieces, and sometimes on furniture. Table supports and newels of stairs increased in size. The heavy acorn-shaped baluster is a feature. Inlay came into use for panelling as well as for furniture. Synchronously with the changes in detail, there was a more classical tendency displayed in moulded features such as strings and cornices. In the early seventeenth century the scale of the details of Flemish work increased. Diamond-shaped panels were superimposed on square ones; turned work was split and the two halves applied; drop ornaments were used below tables and from the centres of panels under arches--all these being additions to the general structure. _Jacobean_ English work developed in much the same way as Flemish, probably owing to the commerce in wood-work between England and Flanders at this time. In the earlier work, where the orders were employed, there was some regard to proportion and detail, probably direct translation of Italian designs, but in the later Jacobean work there was considerable falling-off, presumably due to native exploitation and experiment. [Illustration: No. 94. Jacobean Wood Carving. Palace of Bromley-by-Bow.] Architectural feeling was prominent in the treatment of interiors, which were invariably panelled as in the earlier period. The characteristic “linen fold” variety of the late Tudor giving place to plain panelling, framed by stiles and rails closely spaced. Walls were occasionally divided into bays by means of pilasters, often supported on pedestals.