One might almost say that since Henry the Eighth's introduction of the styles of the Italian Renaissance into England, that country has produced no original style of furniture. But lest this statement be resented by affronted savants and hurt sentimentalists, side by side with that fact must be placed another, that England has played upon the styles she imported with such skill and grace that she has thus produced variants of great and peculiar beauty. England has taken the furniture creations of Europe through the centuries and has impressed them with her national traits, with a resulting beauty entirely her own. The effect is bewildering to all but the student of styles, for without study one is often unable to account for certain alterations of detail and construction. It cannot be too often repeated that as each nation in turn adopted the Italian Renaissance, that nation impressed its own signet upon the style. Thus came all the variations. It is to be remembered that in the case of England, the affair is one of great interest and complication. In the sixteenth century Pistaccio and his artist mates hurried from Italy at the bidding of Henry VIII and planted their classic patterns in the British kingdom. That was an infusion of the pure Renaissance drawing is visible but with a general flattening of the relief blood of the Renaissance, and it lasted well into Elizabeth's time before the Anglo-Saxon temperament altered it characteristically. [Illustration: Plate IV--LARGE OAK CHEST In noblest type of early Jacobean carving] _Courtesy of Charles_ [Illustration: Plate V--EARLY JACOBEAN CHEST OF CARVED OAK] By the time James I, in 1603, established the Stuart reign, the style became markedly British, and British styles called Jacobean in compliment to James' Latinized name, prevailed until another imported fashion came along. Then came another and another, and so on even until the end of Georgian styles and the beginning of Victorian. The Jacobean style developed serenely, playing happy pranks with itself, altered by mechanical inventions and by new woods, until the second half of the seventeenth century, when Charles II introduced strong French influence and Portuguese--which was not greatly different from Spanish. The French influence came lightly from the light ladies of the frivolous court, and the Portuguese from Charles' queen, Catherine, whose home was Braganza. Bombay as her dowry threw Eastern colours and design into the mêlée.