Modern execution, in oak, oj the early 
English form of carved panel called “parch- 
emin”, because its design was originally 
made to suggest a scroll of parchment 
The “linenfold” panel, another early En¬ 
glish type, seen here in a modern rendering 
in oak, is a secular survival of a type of 
paneling used in Gothic churches 
Before getting on with the less elaborate 
types of paneling, a definition of a few of 
the decorative varieties derived from early 
English work comes logically at this point. 
The first fine woodwork was made from the 
churches, and during the whole Gothic era 
woodcarving and joinery had ample oppor¬ 
tunity to perfect itself for choir-stalls, rood 
screens, and all the intricate woodwork of 
the Gothic church interior. 
Panels, then, were carved 
with Gothic tracery in re¬ 
lief, and represent some of 
the most truly beautiful 
woodwork ever created by 
the hands of master crafts¬ 
men. 
The “Linenfold” panel 
which began to appear 
during the last quarter of 
the 13th Century, was of 
ecclesiastical origin, and 
was symbolically based on 
the folds of the veil cover¬ 
ing the chalice at the conse¬ 
cration of the Host in the 
Mass. From the church 
this type of panel became 
popular in secular interiors 
and furniture, and its fine 
intrinsic decorative quality 
has held it in popularity 
through the intervening 
years. 
Contemporary with the 
linenfold panel was the 
“parchemin” panel, based 
in its design upon a parch¬ 
ment scroll rolled on two 
rods. These rods sometimes 
appear in the carving, but 
as both linenfold and par- 
chemin panels were exe¬ 
cuted in ever increasing 
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Detail of a piece of well-designed 
oak paneling, the upper side of the 
horizontal “rails” being beveled 
quantities, the distinction between them, in 
design, became somewhat confused and each 
often partook of the nature of the other. 
Both linenfold and parchemin panels are 
often seen in modern work, usually used to 
accent some portion of the paneling of a 
room, as about a fireplace or door, or in all 
the top panels of a wainscot. 
An interesting early English panel which 
marks the transition from 
Gothic to Renaissance, or, 
more exactly the first ap¬ 
pearance of Renaissance 
motif in English architec¬ 
ture and furniture, is the 
“Romayne” panel, which 
showed a crudely but vigor¬ 
ously carved head, either 
framed by an arch, or set in 
a circle. These heads were 
usually portraits and the 
term “Romayne” was de¬ 
rived from the semblance 
of the heads in circles to 
Roman coins and medals, 
and to the recognition of the 
fact that here was a distinct 
departure from the age-old 
Gothic motifs, and a begin¬ 
ning of an art as new to 
England prior to Henry 
VII as the art of the Vien¬ 
nese Secession was in 1900, 
or the Art Nouveau in its 
day. 
Paneling came into secu- 
(Continued on page 150) 
Simple paneling in a 
library where built- 
in bookcases are also a 
part of the room gives 
a peculiarly satisfying 
effect. Ay mar Embury 
II, was the architect 
