As pictures on a screen melt one into another, so styles merge. Plate 6 shows a chest full of Jacobean promise yet retaining Tudor feeling. The fact that it has drawers under the coffer pronounces it as a novelty of the early seventeenth century, and therefore Jacobean. It especially well illustrates the pattern for carving that occupied workers through the reign of James I. There is the Norman arch, low and wide, set on short supports which have now lost their architectural look of a column. The arches at the ends have as ornament the guilloche, that line of circles that sinuously proceeds through all that time. The carving just under the lid shows the characteristic S curve in one of its many varieties, and the line of decoration just above the drawers indicates the development of the half-circle. Thus are shown in this one early piece the principal motifs of the carvers who were coaxing the models of a past Renaissance into an expression that was entirely British. The small oak cupboard on Plate 11 is another transition piece, being in feeling both Tudor and Jacobean. Here the guilloche is enlarged to form a panel ornament, and the acanthus becomes a long fern frond to ornament the uprights. One hardly feels, however, that this piece was ever the accompaniment of elegant living, although much antiquity gives its present distinction. Continuing with the low round arch as an ornament in the low-relief carving of James' time, an example of its use is given in the folding gate-legged table which is the property of the author (Plate 8). The turned legs finished with squares, top and bottom, are characteristic of the first quarter of the century. The arch is here used as an apron to give elegance, and above is a drawer carved with leaves. In construction this table presents three sides to the front, as does the cabinet just considered, and its Italian inspiration is evident. Like all old oak of the time, it is put together with wooden pegs, and bears the marvellous patine of time. Had the chairs of early Stuart time not been heavily made and squarely constructed we would not have had so many examples with which to gladden the eye. Almost without exception they are variants of the Italian, originality having not then appeared possible to chair makers. Three of the four chairs in the plates illustrate this so well that it is worth while to make a comparison with old Italian chairs. [Illustration: Plate VIII--GATE-LEG TABLE. FORMING CONSOLE WITH GATE CLOSED The turned legs with square bases and tops indicate date as early as 1610. The deep apron carved with fretted arch is an unusual feature] [Illustration: Plate IX--OAK CHAIRS Early XVII Century Italian Inspiration]