Strangely enough the stretcher, in chairs at least, disappeared at just the time it was most needed. That was at the introduction of the curved or cabriole leg, in the early days of Queen Anne. Those who know by experience how frail the curve makes this sort of construction, sigh with regret that the fine old Queen Anne pieces of their collection cannot be consistently stayed according to the older method. [Illustration: Plate XXVIII--CARVED CHAIRS. PERIOD OF WILLIAM AND MARY With all the fine characteristics of the carved designs of the time] [Illustration: Plate XXIX--WALNUT CHAIRS, WILLIAM AND MARY With the exquisitely carved backs, stretchers and legs characteristic of the time] It was in the interesting time of William and Mary that the kneehole desk made its appearance. A certain enchanting clumsiness marks these desks from later products on the same line, and a decided flavour of Chinese construction. Such a desk was recently rooted out of the dark in an obscure Connecticut town, it having been brought over in the early days, and, not being mahogany, has lain despised by local dealers until one more "knowledgeable" than his fellows discovered that it was Elizabethan! A contribution made by China was the art of lacquering. Although it was not in the fulness of its vogue until the century had turned the corner in Queen Anne's reign, it had its beginnings in the earlier importations of lacquer and the desire of the cabinet-makers to imitate the imported art. Varnish as we know it had never been in use, else had we missed the wonderful hand polish on old oak and walnut that cannot be imitated. And when it appeared it was only to use it in the Chinese manner, as a thick lacquer over painted or relief ornament. As the art of lacquering grew, cabinets of great elaboration became fashionable, and these were in many cases imported from China as the cunning handicraft of the Chinese exceeded that of the English in making tiny drawers and tea-box effects. Then these pieces were sent to England where they were painted and lacquered by ladies as a fashionable pastime, and were set on elaborate carved stands of gilt in a style savouring more of Grinling Gibbons than of China,--which is the true accounting of the puzzling combination of lacquer and gold carving. The metal mounts or hardware of furniture throughout the seventeenth century was simple beyond necessity, yet this simplicity has its charm. In earliest days, iron locks and hinges of a Gothic prudence as to size and invulnerability, ushered in the century, but it was still the time of Shakespeare, and that time threw a glance back to the Gothic just left behind.