Besides the "_chaire_," which was reserved for the "_seigneur_," there were smaller and more convenient stools, the [Illustration] form supports of which were also carved. [Illustration: CARVED OAK PANEL, DATED 1577.] Cabinets were made with an upper and lower part; sometimes the latter was in the form of a stand with caryatides figures like the famous cabinet in the Chateau Fontainebleau, a vignette of which forms the initial letter of this chapter; or were enclosed by doors generally decorated with carving, the upper part having richly carved panels, which when opened disclosed drawers with fronts minutely carved. M. Edmond Bonnaffé, in his work on the sixteenth century furniture of France, gives no less than 120 illustrations of "_tables_, _coffres_, _armoires_, _dressoirs_, _sieges_, _et bancs_", manufactured at Orleans, Anjou, Maine, Touraine, Le Berri, Lorraine, Burgundy, Lyons, Provence, Auvergne, Languedoc, and other towns and districts, besides the Capital, which excelled in the reputation of her "menuisiers," certain articles of furniture being particularised in old documents as "_fait a Paris_." He also mentions that Francis I. preferred to employ native workmen, and that the Italians were retained only to furnish the designs and lead the new style; and in giving the names of the most noted French cabinet makers and carvers of this time, he adds that Jacques Lardant and Michel Bourdin received no less than 15,700 livres for a number of "_buffets de salles_," "_tables garnies de leur tréteaux_," "_chandeliers de bois_," and other articles. [Illustration: FAC SIMILES OF ENGRAVINGS ON WOOD. By J. Amman, in the 16th century, shewing interiors of Workshops of the period.] The bedstead, of which there is an illustration on the opposite page, is a good representation of French Renaissance. It formed part of the contents of the Chateau of Pau, and belonged to Jeanne d'Albret, mother of Henri Quatre, who was born at Pau in 1553. The bedstead is of oak, and by time has acquired a rich warm tint, the details of the carving remaining sharp and clear. On the lower cornice moulding, the date 1562 is carved. This, like other furniture and contents of Palaces in France, forms part of the State or National Collection, of which there are excellent illustrations and descriptions in M. Williamson's "Mobilier National" a valuable contribution to the literature of this subject which should be consulted. Another example of four-post bedsteads of French sixteenth century work is that of the one in the Cluny Museum, which is probably some years later than the one at Pau, and in the carved members of the two lower posts more resembles our English Elizabethan work. [Illustration: CARVED OAK BEDSTEAD OF JEANNE D'ALBRET. From the Chateau of Pau. (Collection "Mobilier National.") PERIOD: FRENCH RENAISSANCE (Date 1562).] [Illustration: FRENCH CARVED OAK CABINET. In the Musée du Louvre. (Collection Sauvageot.) PERIOD: EARLY XVI. CENTURY.