The massive bed with its four posts of carved oak, which had so long been in fashion, had now been supplanted by one in which upholstery was the chief decorative feature. This bed consisted of a light frame supporting a canopy, the four corners of which were surmounted by a bunch of plumes, or ornaments, or knobs, in imitation of ostrich feathers, called “_pommes_.” The furnishings of the bed, including head-board, canopy, counterpane, curtains and valances, were of the same material—velvet, brocade, silk, satin, chintz, or white dimity worked in coloured crewels or worsted. Three beds of this period are to be seen at Hampton Court Palace—William’s, Mary’s and Queen Anne’s. Both William’s and Mary’s are now in the Private Diningroom. The former, which is about fifteen feet high, is covered entirely with crimson damask, and Mary’s, which is much smaller, with crimson velvet. The small bed used by George II when he lived in this Palace, and which stands between William’s and Mary’s, may also belong to this period. Queen Anne’s bed is more elaborate. This stands in her State Bed-chamber; and it is not unlikely that Queen Anne’s bed originally belonged to Mary; for she owned a number of very handsome beds draped with materials of the latest fashion. The elaborate designs upon the rich Genoa velvet that adorns this piece of furniture are quite in the Marot style. [Illustration: PLATE XLVII.—_Carved Oak Bahut._ CLUNY MUSEUM, PARIS. Fig. 38: Ornament in the Auricular Style. ] The bed of this period was particularly suited to Marot’s taste, and he made many designs, in which the festoon is conspicuous. The bed shown in the frontispiece of this book is a typical example of Marot. The heavy cornice is adorned with a cartouche in the centre and four “_pommes_” of ostrich feathers in vases at the corners. The headboard is also characteristic of Marot, and consists of an urn with swags of leaves and husks, with mermaids as caryatides or supporters at the sides. At the base of the bed is a mascaron. The silk draperies are arranged in formal swags tied with bows of silk and cords and tassels, and the valance around the bottom of the bed is similar to the cornice decoration. Running around the cornice is a brass rail for the outside curtains, which can be drawn around the bed enclosing it entirely, with the exception of the “_pommes_.” The counterpane, bolster and pillow are covered with material that carries Marot designs. The pillow is adorned with tassels.