This development will be apparent by glancing at the chest-of-drawers, or case-of-drawers, on Plate X. This contains but four drawers, although at first sight it would seem that there were eight. The panels of these drawers are edged with a flat bevelled moulding stained black, and within that is a sunk panel, in the centre of which is the brass handle-plate. A moulding incised with cuts edges the top slab. The chest-of-drawers stands on four turned knobs or balls. A specimen handle and key-plate of the period appropriate for chest, chest-of-drawers, or cabinet are No. 5 and No. 6 on Plate X. The case-of-drawers is also found in the bedroom, where the other furniture includes a dressing-table and glass, tables, chairs and stools, very often a cupboard, sometimes a desk or “screetore,” and always plenty of cushions. The “drawing-table,” of course, has no place in the bedroom; such a one as that shown on Plate XI., with either a square or round top is the most usual. Its “carpet” matches the hangings of the room. The cupboard, chairs, stools, and couch and desk do not differ from those already described. The dressing-table is merely a simple table covered with drapery, and upon it or above it stands or hangs a mirror, the frame of which in general design is like the one shown on Plate XI. In very rich homes, this is of solid silver, but more frequently it is carved and gilt, or made of olive-wood, or ebony. Sometimes it has merely a square and unornamented frame, and again the frame may be inlaid. Turning now to the chairs, we find the heavy wooden chairs, such as are shown on Plate VII., Nos. 1, 2, 3, and 4, and No. 2 on Plate VIII., are giving place to newer forms. One of the most typical is the “low leather” chair, which we have already spoken of in the preceding chapter. This was generally covered with leather put on with large brass nails, and was sometimes also decorated with fringe. Genoa velvet, silk, serge, needlework, etc., were also used for covering this form of chair. A square straining-rail usually connects the legs close to the floor. It was popularly known as “the Cromwell,” and is shown on Plate V. and in the Frontispiece. Two good variants occur on Plate I., No. 3, and lower right-hand corner. Another typical chair, which is also reminiscent of Abraham Bosse, appears on Plate VII. This shape is frequently met with in the pictures of the old Dutch masters. This particular specimen, which is preserved at Knole Park, is covered with rose-coloured velvet, divided into squares by means of a braid of mixed gold and silk threads, and adorned with a fringe of the same. The nails that fasten the material are copper-gilt, and a large quatrefoil ornament marks the intersection of the legs. The oval finials on the back are also decorated with copper-gilt nails. The woodwork is painted with red lacquer ornamented with a floral design in gold.