The beautiful silver furniture at Knole belongs to this time, having been made for one of the Earls of Dorset, in the reign of James II. The illustration is from a photograph taken by Mr. Corke, of Sevenoaks. Electrotypes of the originals are in the South Kensington Museum. From two other suites at Knole, consisting of a looking glass, a table, and a pair of _torchères_, in the one case of plain walnut wood, and in the other of ebony with silver mountings, it would appear that a toilet suite of furniture of the time of James II. generally consisted of articles more or less costly, according to circumstances, but of a similar pattern to those shewn in the illustration. The silver table bears the English Hall mark of the reign. Specimens of English furniture, dating from about 1680 to 1700, distinctly shew the influence of Flemish design. The Stadtholder, King William III., with his Dutch friends, imported many of their household gods, and our English craftsmen seem to have copied these very closely. The chairs and settees in the South Kensington Museum, and at Hampton Court Palace, have the shaped back, with a wide inlaid or carved upright bar; the cabriole leg and the carved shell ornament on the knee of the leg, and on the top of the back, which are still to be seen in many of the old Dutch houses. There are a few examples of furniture of this date, which it is almost impossible to distinguish from Flemish, but in some others there is a characteristic decoration in marqueterie, which may be described as a seaweed scroll in holly or box wood, inlaid on a pale walnut ground. A good example of this is to be seen in the upright "grandfather's clock" in the South Kensington Museum, the effect being a pleasing harmony of color. In the same collection there is also a walnut wood centre table, dating from about 1700, which has twisted legs and a stretcher, the top being inlaid with intersecting circles, relieved by the inlay of some stars in ivory. As we have observed with regard to French furniture of this time, mirrors came more generally into use, and the frames were both carved and inlaid. There are several of these at Hampton Court Palace, all with bevelled edged plate glass; some have frames entirely of glass, the short lengths which make the frame having, in some cases, the joints covered by rosettes of blue glass, and in others a narrow moulding of gilt work on each side of the frame. In one room (the Queen's Gallery) the frames are painted in colors and relieved by a little gilding.