Early in the 16th century a new style of bed design appeared; the greater part of the frame was left exposed and was enriched with carving and other decoration, making the frame itself an important part of the design. Favourite carvers' motifs for beds and other types of furniture included strapwork, grotesque masks, and caryatids (draped female figures), bulbous turned pillars and supports, arcading (decorating consisting of arches or arcades), and patterns of scrolled foliage. The heavily turned “cup and cover” motif is frequently found on bedposts in the later 16th century. The cumbersome Gothic trestle tables were replaced by “joyned tables,” with tops fixed to the frames. Draw tables, which could be conveniently lengthened by pulling out the two leaves concealed under the top, were also introduced. Table legs and sides were decorated with carving and inlay, and the cup and cover motif is often found on the legs. Various types of cupboards were made, usually in two stages, or levels. In court cupboards both stages were left open. A simple form of chest of drawers was introduced about 1620.
French furniture of the 16th century was remarkably graceful and delicate; it was enriched with inlay of small plaques of figured marble and semiprecious stones, sometimes with inlay or marquetry of ivory, mother-of-pearl, and different coloured woods. Chairs began to be lighter in design; the back became narrower, the panelled sides and base were replaced by carved and turned arms and supports, and legs were joined by stretchers at their base. A specialized chair known as a caquetoire, or conversation chair, supposedly designed for ladies to sit and gossip in, had a high, narrow back and curved arms. Elaborately carved oblong tables were supported by consoles or fluted columns connected by a stretcher surmounted by an arched colonnade. Chests decorated in the new style were still widely used, although frequently replaced by the armoire (a tall cupboard or wardrobe), which was sometimes made in two stages, the upper compartment containing numerous small drawers.
Apart from the gradual change from Gothic to Renaissance ornament, the 16th century produced several changes in the design and construction of individual types. Chairs became slightly more common, though even in Elizabeth's own palaces, stools were the usual form of seating. From the box chair evolved a type in which the arms and legs were no longer filled in with panelling but which had plain or turned legs, with shaped arms resting on carved or turned supports. The backs of chairs were still panelled and decorated with carving and inlay or surmounted with a wide and richly carved cresting. Folding chairs, X-shaped and of varying construction, were also used. Chairs without arms, called farthingale chairs, were introduced in the early 17th century to accommodate the wide skirts, called farthingales, that were popular at the time. Farthingale chairs had upholstered seats and a low, rectangular upholstered back raised on short supports a little above the seat. Armchairs of similar design were made. Turkey work (a type of needlework) and velvet were usually employed for upholstery.
Any content, trademark/s, or other material that might be found on the Snokey website that is not Snokey’s property remains the copyright of its respective owner/s.pointgreypictures.com
In no way does Snokey claim ownership or responsibility for such items, and you should seek legal consent for any use of such materials from its owner.