The Pyx Chapel coffer is interesting from its being possibly a receptacle made to replace one which was previously injured or destroyed during the Great Robbery in 1303, but its actual date is, to say the least of it, debatable. It is certain, however, that this relic, like the Tempsford example, belongs to a period anterior to the generality of our barrel-lidded coffers now remaining. On the other hand, we are able to date some specimens of this type with accuracy as belonging to the sixteenth century. Mention may be made of two such - viz., the huge iron-sheathed coffer in the Castle Buttery, Durham, which has been indubitably proved to be that constructed by the Commissioners of Henry VIII. in order to contain the crumbling remains of St. Cuthbert, and a considerably smaller example in Faversham Church, Kent, which was actually left by the will of one Henry Rate in 1533 'to keep jewels and plate in.' The latter, as well as the so-called Norman example at Minster, is constructed of some soft wood, and is in the last stage of decay.

Among curiosities in the shape of iron-bound coffers, notice should be taken of a remarkable specimen in Louth Church, Lincolnshire. The bottom of this strong-box is formed of an immensely thick slab of oak, which was at one time embedded in the floor, thus frustrating effectually any attempt to remove the coffer from its proper resting-place.

During the reign of Henry VIII. inlay was employed lavishly in the decoration of some of the more sumptuous pieces of furniture, but, as we would expect from the Italian models which they followed, the form of the objects to which the inlay was applied was flat and wanting in contour. In Elizabeth's time inlay was applied to chests and cabinets as supplemental to the fine effects of light and shade in the carving. The mouldings of the Elizabethan period are frequently very broad and embellished with jewelwork; the panels, on the other hand, are mostly smaller than those of the succeeding reigns, giving great richness of effect. The uprights in fine chests of this period are often carved with caryatides, or sometimes fashioned in the form of trusses decorated with a leaf ornament. More often than not the form which these caryatides took did not follow the graceful classic lines of the pure Italian style, frequently assuming the appearance of savages, or 'sylvan men,' as they were called. On some of the most elaborate specimens these figures were often somewhat rudely sculptured, even when placed in conjunction with the very finest of inlay and strap ornament.

Occasionally, however, we meet with pieces in which the Italian influence is stronger and truer, such specimens possessing caryatides finely modelled, as in Mr. Seymour Lucas's chest depicted on page 146. This interesting example shows so pronounced a Southern character that its origin would be unhesitatingly assigned by many to the Italian States; but, in spite of its ironwork, which smacks of an Austro-Germanic source, and the ultra-classic details of its carving generally, I believe it to be mainly a home production. That the craftsman who fashioned it was deeply impressed with the traditions of Italy there is every evidence, but the difference between such pieces as this and the more strictly national productions of the late sixteenth century may be accounted for by the hypothesis that one craftsman had travelled far afield and profited by his investigation, while the other received his impressions of classic art at third hand. While admitting the difficulty of absolutely classifying so debatable a piece, there seems to be a character about the figures of the virtues carved on the recessed panels which savours more of English handiwork than of Italian, while the existence of the Hanseatic League may supply an explanation of the mystery of the ironwork.

A nice detail may be observed in the central caryatid, whose arms are unfolded to accommodate the introduction of a keyhole.

SIXTEENTH-CENTURY CHEST.

In the possession of Seymour Lucas, Esq., R.A. Height, 2 ft. 2 in.; depth, 2 ft. 1 in.; width of chest, 3 ft. 1 1/2 in.; extreme width of lid, 3 ft. 5 1/2 in.

Chests produced during the Elizabethan period are 10 - 2 frequently constructed of three or four different kinds of wood, oak and chestnut in the framework being associated with holly, walnut, and elm in the surface decoration. It occasionally happens that the caryatides which decorate the chest front are themselves formed of the lighter material, but these instances are rare. Inlay upon the panels usually took the form of an interlaced geometrical strap, or more rarely of sprays of conventional flowers somewhat resembling pinks. They were also frequently adorned with a series of little views representing elevations of buildings which popular fancy nowadays asserts to be Nonsuch House, but which might possibly be the more recent Palace of Theobald's or some other noble seat.* Some superb specimens of these types are in the possession of Ernest Crofts, Esq., R.A., Keeper of the Royal Academy; General Sir Coleridge Grove, K.C.B.; the Ven. Archdeacon J. J. Lawrence, of St. Albans; and Sydney W. Lee, Esq., of Putney Hill. Every one of these examples is essentially English in all its characteristics. Mr. Crofts' chest in particular should be commented upon. It is a fine piece, having its front decorated with caryatides, and exhibiting most of the usual Elizabethan details.

The long drawer, however, at its base, indicates a later period. The inlaid views of buildings which are pictured beneath the depressed arches also show, on close examination, what is technically known as rusticated architecture - a fashion which came into vogue after Elizabeth's time. Finally, on the top rail, beneath the lid, one can discern the inlaid inscription 'A 1653 D' - a date one is accustomed to associate with the severe plainness of the Puritan period. It may be mentioned that this chest possesses two hiding-places.

* The extraordinary building known as Nonsuch House was erected near Ewell, in Surrey, during the reign of Henry VIII., and for a century remained an object of wonder and admiration. Its name is said to have originated in the fantastic character of its magnificence; but, whether this be true or not, the storied turrets flanking its corners certainly bore a great resemblance to the representations of palaces which appear upon certain inlaid chests of sixteenth and seventeenth century work. Nonsuch House, which was the most favoured residence of Queen Elizabeth, retained a moderate amount of royal favour during the two succeeding reigns, but was eventually demolished by the Duchess of Cleveland, to whom it had been granted by Charles II. No vestige of the building now remains, but engravings of it may be seen in Braun and Hohen-burg's 'Civitates Orbis Terrarum' and Speed's 'Theatre of Great Britain.'