and tables, made up the chief articles of domestic use.

Even the very word "furniture" itself is of obscure origin and was used formerly, as now, to describe the fittings of houses, churches, and other buildings.

There are a few terms applied to furniture referring either to its decoration or process of manufacture with which it is well to become acquainted. They are given here in the order of their importance.

Veneering is the process of coating common wood with slices of rare and costly woods fastened down with glue by screw presses made to fit the surface to be covered. It was first used in the reign of William and Mary, in the last decade of the seventeenth century. Until that time furniture had been made of solid wood. Veneer of this early period, particularly burr-walnut veneer, was about one sixteenth of an inch thick, and was sometimes applied to oak. Chippendale, Hepplewhite, and Sheraton used mahogany and satin-wood both solid and for veneers. When used as veneers they were all hand-cut, as they are in all high-class furniture to-day. It was not till the late Georgian period that machinery for cutting veneer was first used, and slices were produced one thirty-second of an inch in thickness. Most of the cheaper kinds of modern furniture are veneered.

Marquetry is veneer of different woods, forming a mosaic of ornamental designs. In the early days of the art, figure subjects, architectural designs, and interiors were often represented in this manner.

Rococo, made up from two French words meaning rock and shells, roequaille et coquaille, is a florid style of ornamentation which was in vogue in the latter part of the eighteenth century.

Buhl, or Boulle, is inlaid work with tortoise-shell or metals in arabesques or cartouches. It derived its name from Boule, a French wood-carver who brought it to its highest perfection.

Ormolu refers to designs in brass mounted upon the surface of the wood. This metal was given an exceedingly brilliant colour by the use of less zinc and more copper than is commonly used in the composition of brass, and was sometimes still further made bright by the use of varnish and lacquer.

Baroque. This word, which was derived from the Portuguese baroco, meant originally a large irregular pearl. At first the term was used only by jewellers, but it gradually became technically applied to describe a kind of ornament which became popular on furniture early in the nineteenth century, after the rage for the classic had passed. It consisted of a wealth of ornament lavished in an unmeaning manner merely for display; and scrolls, curves, and designs from leaves were used to cover pieces, making them lack beauty and that grace which comes from pure and simple lines.

Lacquer is coloured or opaque varnish applied to metallic objects as well as wood. The name is obtained from "resin lac," the material which is used as the base of all lacquers. In the East Indies the whole surface of wooden objects, large and small, is covered with bright-coloured lacquers. The Japanese lacquers are the finest that are made. They excel in the variety and exquisite perfection of this style of work, and under their skilful manipulation it becomes one of the choicest forms of decorative art. The most highly prized lacquer is on a gold ground, some specimens of which reached Europe in the time of Louis XV.

Japanning. This style of treating wood and metal derives its name from the fact of its being an imitation of the famous lacquering of Japan, although the latter is prepared with entirely different materials and processes, and is in every way much more durable, brilliant, and beautiful than any European "Japan work." This latter process is done in clear transparent varnishes, or in black or colours, but the black japan is the most common. By japanning a very brilliant polished surface may be secured, which is more durable than ordinary painted or varnished work. It is usually applied to small articles of wood, to clock-faces, papier-maché, etc.

Joined furniture. All the parts are joined by mortise and tenon, no nails or glue being used. This method prevents the parts from warping or springing, as so much of the modern machine-made furniture does.

Figure 1 shows an ancient carved-oak bed of the time of Queen Elizabeth, with grotesque carvings on the headboard in Renaissance style, which is said to have been introduced into England by Holbein. This bed has an interesting history. It belongs to the Herricks of Beaumanor Park, and came to them from Professor Babington, of St. John's College, Cambridge, England. He inherited it from his father, whose ancestors kept the "Blue Boar" inn at Leicester, where Richard III slept the night before the battle of Bosworth Field, in August, 1485. This has always been called "King Richard's Bed," and many learned antiquaries have waxed eloquent for and against this assumption. Mr. Henry Shaw, author of "Specimens of Early Furniture," published in 1836, says it is a good specimen of the modern four-poster of Elizabeth's time, the more ancient beds being without foot-posts. In fact the earlier beds were mere couches. As more luxury was demanded they grew larger, counterpanes were made of the richest materials, gorgeously embroidered with the arms and badges of their owners, and from their great cost and imperishable character descended from one generation to another. They provided employment, too, for the lady of the castle and her bower maidens, who had no end of leisure which had to be filled in some way, and which dragged along for many a long year, broken only by the chance visit of a wandering hawker or my lord's return from the wars.

Hollingbourne Manor, in Kent, is one of the old mansions still standing which was built in Queen Elizabeth's time. The manor was originally owned by Sir Thomas Culpeper, and his initials appear in many places about the house. In the great hall the fireplace has an iron back with the initials "T. C." and the date 1683 wrought in it. The present owner, Mr. Gerald Arbuthnot, has preserved the old-time atmosphere as much as possible, and in connection with home-made tapestry the "needle-room" is especially interesting. In that room the four Ladies Culpeper, daughters of that John, Lord Culpeper, who was exiled for his devotion to King Charles, spent so much of their time making tapestry that one of the sisters became blind from the effects of her close application. Among the pieces of the handiwork of the four sisters preserved is a magnificent altar-cloth which they presented to the parish church. For two centuries and a half a needle left by the fingers of the worker remained sticking in the corner of the cloth, but it was stolen about two years ago by some one of a party of antiquarians visiting the Manor.

Figure 2. OLIVE-WOOD CHEST.

In Mr. Shaw's book already quoted are many items concerning these great and handsome beds, which were often the finest pieces of furniture in the castle or manor, and from the safe seclusion of which the king or great lord received the homage of his vassals.

The bed and bedstead were sometimes classed separately, but in many inventories the former word covers the bedstead and all its furnishings. The fittings of the bed were well in keeping with the fine carved woodwork, and were of softest feathers or down. Sheets of linen, and rugs or blankets of fine wool, were covered by a