The cabinet was known in England at an early date. In 1550, we read of a “fayre large cabinett covered with crimson velvet with the King’s arms crowned.” In the Seventeenth Century, the cabinet was panelled and carved, adorned with turned pillars, pendants or swelling bulbs, or it was of the newer style with applied ornaments and turned supports. Frequently also an imported cabinet was to be seen in the English home of this century,—a beautiful specimen of Dutch marquetry, of Italian inlay, of Oriental lacquer, or, indeed, of Boulle work, to say nothing of the splendid examples of Flemish carving. Some of these cabinets were very ornate specimens of workmanship. Inlay or marquetry was the leading feature of decoration for them. Natural flowers, birds, animals and foliage in bright colours, or in the colours of the exotic woods, undyed, were in use. Ivory and mother-of-pearl, as well as shell were also employed. Even before the days of William and Mary, when the Dutch marquetry became universally popular, there was much inlaid furniture. In 1697, John Evelyn notes: “Emblema, continued to this day by the Italians in their Pietra Comessa.... St. Lawrence at Florence, where the pavement and all the walls are most richly encrusted with all sorts of precious marbles, serpentine, porhirie, ophitis, achat, rants, coral, cornelian, lazuli, etc., of which one may number thirty sorts, cut and laid into a _fonds_ or ground of black marble (as our cabinet-makers do their variegated woods) in the shape of birds, flowers, landskips, grotesks, and other compartments.” The above reference shows that the English cabinet-makers were accustomed to work in inlay. One of the designs of marquetry that came into vogue in the Seventeenth Century was the “herring-bone” pattern. A clock made by Daniel Quare late in the Seventeenth Century, and preserved at Hampton Court Palace, has its case inlaid with a border of herring-bone pattern. The characteristic table of Jacobean days is the “drawing-table,” a solid piece of furniture with massive legs, often carved, and connected with rails near the floor. The top is a large slab of oak and beneath it are two other slabs or leaves; when these are drawn out at each end, the large slab falls into the space they occupied, and the table is thus lengthened.