e wall, in order, it
may be supposed, to be the more ready to resist any sudden raid, which
might be made on the house, during the relaxation of the supper hour, and
this custom remained long after there was any necessity for its
observance.

In the time of Charles the First the width was increased, and a
contrivance was introduced for doubling the area of the top when required,
by two flaps which drew out from either end, and, by means of a
wedge-shaped arrangement, the centre or main table top was lowered, and
the whole table, thus increased, became level. Illustrations taken from
Mr. G.T. Robinson's article on furniture in the "Art Journal" of 1881,
represent a "Drawinge table," which was the name by which these "latest
improvements" were known; the black lines were of stained pear tree, let
into the oak, and the acorn shaped member of the leg is an imported Dutch
design, which became very common about this time, and was applied to the
supports of cabinets, sometimes as in the illustration, plainly turned,
but frequently carved. Another table of this period was the "folding
table," which was made with twelve, sixteen, or with twenty legs, as shewn
in the illustration of this example, and which, as its name implies, would
shut up into about one third its extended size. There is one of these
tables in the Stationers' Hall.

[Illustration: Couch, Arm Chair and Single Chair. Carved and Gilt.
Upholstered in rich Silk Velvet. Part of Suite at Penshurst Place. Also an
Italian Cabinet. Period: Charles II.]

[Illustration: Folding Table at Penshurst Place. Period: Charles II. to
James II.]

[Illustration: "Drawing" Table with Black Lines Inlaid. Period: Charles
II.]

It was probably in the early part of the seventeenth century that the
Couch became known in England. It was not common, nor quite in the form in
which we now recognize that luxurious article of furniture, but was
probably a carved oak settle, with cushions so arranged as to form a
resting lounge by day, Shakespeare speaks of the "branch'd velvet gown"
of Malvolio having come from a "day bed," and there is also an allusion to
one in Richard III.[10]

In a volume of "Notes and Queries" there is a note which would show that
the lady's wardrobe of this time (1622) was a very primitive article of
furniture. Mention is made there of a list of articles of wearing apparel
belonging to a certain Lady Elizabeth Morgan, sister to Sir Nathaniel
Rich, which, according