The two-storied buffet (_buffet à deux corps_) frequently received similar treatment, totally at variance with the handsome one reproduced in Plate XLIII. A splendid example decorated with the arms of Ypres, Ghent, Bruges and Franc, is preserved in the Ypres Museum. This was the work of Jan van de Velde, who carved it in 1644, and received 162 florins for his trouble. The bench (_banc_), often forms part of the woodwork of the wall of a hall in Flanders in the seventeenth century. It was frequently placed between the windows and made luxurious with cushions. Movable benches were often used. In these the backs turned on an axis and were most convenient, as the occupant could arrange the seat in any position he pleased. The benches in De Vries’s “_Cubiculum_” (Plate X), should be compared with the bench against the wall in Plate XXXVIII in studying the development of the _banc_. The high _banc_, or settle, in this picture is interesting on account of its simplicity. The general tendency of furniture was a gradual breaking away from immovables, a development from monumental solidity into grace and lightness. The heavy tables of De Vries are cut away, and return in general form to the original board and trestles. A glance at Fig. 8 will show that the workman had only to connect the struts of the trestles in the centre of the table in order to produce a rough model of the richly carved tables in vogue from the period of Henri II to that of Louis XIV. The box form of support, therefore, in this style of table gives way to what we may regard as two trestles connected in the middle by an upright board. These, as well as the edge of the table top, are embellished by beautiful carving. The trestles now consist of eagles, lions, chimaeras, mermaids, satyrs and other human and animal figures; and the central connexion is pierced, balustraded, columned and treated in a thousand different ways. In the seventeenth century, lightness was carried a step further, and the favourite table is simply supported by four turned legs with heavy bulb feet, the legs have connecting rails close to the floor and usually have one or more heavy globular swellings. In England during the Tudor and Jacobean periods, this heavy form was known as the drawing-table. It occurs in numberless interiors by Dutch and Flemish masters. The desire for greater lightness, however, made itself increasingly felt; and early in the seventeenth century we find legs turned in plain spirals, or with beading. Chair frames naturally corresponded with table legs.