urniture of the earlier part
of the sixteenth century, that the religious persecutions of the time,
together with the general break-up of the feudal system, had gradually
brought about the disuse of the old custom of the master of the house
taking his meals in the large hall or "houseplace," together with his
retainers and dependants; and a smaller room leading from the great hall
was fitted up with a dressoir or service cupboard, for the drinking
vessels in the manner just described, with a bedstead, and a chair, some
benches, and the board on trestles, which formed the table of the period.
This room, called a "parler" or "privee parloir," was the part of the
house where the family enjoyed domestic life, and it is a singular fact
that the Clerics of the time, and also the Court party, saw in this
tendency towards private life so grave an objection that, in 1526, this
change in fashion was the subject of a court ordinance, and also of a
special Pastoral from Bishop Grosbeste. The text runs thus: "Sundrie
noblemen and gentlemen and others doe much delighte to dyne in corners and
secret places," and the reason given, was that it was a bad influence,
dividing class from class; the real reason was probably that by more
private and domestic life, the power of the Church over her members was
weakened.

[Illustration: Chair Said To Have Belonged to Anna Boleyn, Hever Castle.
(_From the Collection of Mr. Godwin, F.S.A._)]

In spite, however, of opposition in high places, the custom of using the
smaller rooms became more common, and we shall find the furniture, as time
goes on, designed accordingly.

[Illustration: Tudor Cabinet in the South Kensington Museum. (_Described
below._)]

In the South Kensington Museum there is a very remarkable cabinet, the
decoration of which points to its being made in England at this time, that
is, about the middle, or during the latter half, of the sixteenth century,
but the highly finished and intricate marqueterie and carving would seem
to prove that Italian or German craftsmen had executed the work. It should
be carefully examined as a very interesting specimen. The Tudor arms, the
rose and portcullis, are inlaid on the stand. The arched panels in the
folding doors, and at the ends of the cabinet are in high relief,
representing battle scenes, and bear some resemblance to Holbein's style.
The general arrangement of the design reminds one of a Roman triumphal
arch. The woods employed are ch