The bed in Fig. 19 is interesting as an example of a Renaissance bed without supporting corner posts. The canopy and curtains are evidently suspended from the ceiling by cords in the old style, for there is no woodwork visible above the carved head-board. This is very unusual and is doubly interesting as the bed in Plate XII, by the same artist, is massive in form, and the dome is supported by strong Classic columns. In the latter design the curtains are looped around the columns and a pillow is placed on the bolster at the back. The canopy is dome-shaped and the top of each column is decorated with a “_pomme_,” destined to develop and survive as a decoration for the bedstead. The head-board is quite ornate, and the bedstead, like that in Fig. 19, stands upon a low platform. A similar dome-topped bed appears in the inner room in the background of Plate XXIV. One of De Vries’ designs for a bed is reproduced on Plate XIII. It has a heavy panelled head-board surmounted by a pediment with _pommes_; and the four supporting posts consist of turned caryatides. The bedstead proper that holds the mattress and other bedding is supported independently by vase-shaped legs. The frieze of the canopy is decorated with scroll-work. In this style of bed, the curtains did not hide the elaborately carved woodwork; they hung from the cornice and feet _inside_ the outer posts. The hangings could thus be very sumptuous without detracting from the effect of the carved woodwork. Plate XIV, which represents a beautiful bed of this period, massive and richly carved, shows the same arrangement of curtains. It should be borne in mind that wherever the framework is richly carved, curtains were never intended to hide it. This magnificent specimen, from the Rijks Museum, Amsterdam, is of beautiful proportions. The ornamentation is chaste and in perfect harmony, consisting of carved panels, cornice and Corinthian columns. The woodwork is walnut and the hangings are pale blue damask. The Plantin Museum in Antwerp contains an _armoire_ and a bed after the designs of De Vries. Another De Vries bed in the now dispersed Minard of Ghent collection had a canopy and balusters and the central part was arranged in the form of an _armoire_ with two shutters decorated with low reliefs of religious subjects. Upon the upper gallery was a cartouche held by two angels, and on this cartouche the inscription, “Vriese inv. 1565.” [Illustration: PLATE XIII.—_Bedstead, by De Vries._ ]