The examples, therefore, of the woodwork of this period to which we have access are found to be mostly of Gothic pattern, with quaint distorted conceptions of animals and reptiles, adapted to ornament the structural part of the furniture, or for the enrichment of the panels.

To the end of the thirteenth century belongs the Coronation chair made for King Edward I., 1296-1300, and now in Westminster Abbey.  This historic relic is of oak, and the woodcut on the following page gives an idea of the design and decorative carving.  It is said that the pinnacles on each side of the gabled back were formerly surmounted by two leopards, of which only small portions remain.  The famous Coronation stone which, according to ancient legend, is the identical one on which the patriarch Jacob rested his head at Bethel, when “he tarried there all night because the sun was set, and he took of the stones of that place and put them up for his pillows,” Gen. xxviii., can be seen through the quatrefoil openings under the seat.[4]

The carved lions which support the chair are not original, but modern work; and were regilt in honour of the Jubilee of Her Majesty in 1887, when the chair was last used.  The rest of the chair now shows the natural colour of the oak, except the arms, which have a slight padding on them.  The wood was, however, formerly covered with a coating of plaster, gilded over, and it is probably due to this protection that it is now in such excellent preservation.

Standing by its side in Henry III.’s Chapel in Westminster Abbey is another chair, similar, but lacking the trefoil Gothic arches, which are carved on the sides of the original chair; this was made for and used by Mary, daughter of James II. and wife of William III., on the occasion of their double coronation.  Mr. Hungerford Pollen has given us a long description of this chair, with quotations from the different historical notices which have appeared concerning it.  The following is an extract which he has taken from an old writer: 

“It appears that the King intended, in the first instance, to make the chair in bronze, and that Eldam, the King’s workman, had actually begun it.  Indeed, some parts were even finished, and tools bought for the clearing up of the casting.  However, the King changed his mind, and we have accordingly 100s. paid for a chair in wood, made after the same pattern as the one which was to be cast in copper; also 13s. 4d. for carving, painting, and gilding two small leopards in wood, which were delivered to Master Walter, the King’s painter, to be placed upon and on either side of the chair made by him.  The wardrobe account of 29th Ed. I. shows that Master Walter was paid L1 19s. 7d. ’for making a step at the foot of the new chair in which the Scottish stone is placed; and for the wages of the carpenters and of the painters, and for colours and gold employed, and for the making a covering to cover the said chair.’”