The Jacobean parlour differed but little; indeed, in some houses this exact room survived; but the new styles were gradually driving out the heavy chairs and cabinets for the lighter varieties with turned frames and cane webbing or their upholstered backs and seats; and the old carving was being rapidly supplanted by the newer decoration of the black mouldings and applied ornaments. The high-backed and richly carved settle had to give place to the “couch and squab,” a handsome specimen of which appears on Plate VIII. This is also called a settee or a “_chaise longue_.” Our particular example is composed of a walnut frame covered with cane, upon which are placed a mattress or long cushion and a round bolster, both of which are covered with green silk damask bordered with a narrow fringe. The back, resembling the back of a chair, is enclosed in an ornamental frame of scroll-work, somewhat similar to that of No. 1 on the same plate, and turned side pillars. The top rail is surmounted by a pedimental scroll with a crown in the middle. The six legs have projecting knees and feet connected lengthwise by ornamental rails upon which scrolls and crowns are carved. This piece of furniture dates from 1660. We have noted that the bed was generally met with in every room in the house. There were, however, separate bedrooms even in the Tudor age. Shakespeare’s description of Imogen’s apartment gives a very charming picture of a rich sleeping-room of the time: “_First her bed-chamber (Where I confess I slept not; but profess, Had that was well worth watching,) it was hang’d With tapestry of silk and silver; the story, Proud Cleopatra when she met her Roman, And Cnydus swell’d above the banks, or for The press of boats or pride; a piece of work So bravely done, so rich, that it did strive In workmanship, and value; which I wonder’d, Could be so rarely and exactly wrought, Since the true life on’t was...._ _The chimney Is south the chamber; and the chimney-piece, Chaste Dian bathing: never saw I figures So likely to report themselves; the cutter Was as another Nature dumb; outwent her, Motion and breath left out...._ _The roof o’ the chamber With golden cherubins is fretted: her andirons (I had forgot them) were two winking Cupids Of silver, each on one foot standing, nicely Depending on their brands._”[6]