old dames, whose white locks were once as golden as
the flax upon the distaffs in their hands ; and clocks
that have beat for years the march of Time's stately
tread. Viewed in this light a collection of furniture
such as that gathered together in the galleries of the
Royal Scottish Academy possesses an interest which
made in the following lines to work out the subject
chronologically, and to parallel the various periods of
history by a mention of the examples which are the
products of such periods.
Ignoring the antique, of which no specimen here is
worthy of note, we may divide modern furniture into
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CORNER IN THE EXHIBITION
appeals to a wider circle than that ot dealers and connoisseurs, and one that, by thus arousing a direct power of association, may possibly lead to just as direct a study of the objects for the sake of their own beauty. Un- fortunately this particular collection is strong only within certain definite limits, but an attempt has been early and late medieval, renaissance, seventeenth and eighteenth century work. Early mediaeval art, in- cluded under the general name of Gothic, continued down to the twelfth century full of Romanesque forms and details, and, like much of the architecture of that period, was a heritage of classic work changed and
