We also note in this room a beautifully made wicker cot, or basket, for the baby.

In early days this article of furniture was of large dimensions, and the nurse sat beside it with a large screen at the side to keep away draughts. Some of these cots were shaped like cradles without the rockers, and were supplied with a shelf or wing on the side as a protection from the heat of the peat fire. At a later period of this century, the cradle rested on two rounded rockers, and had a rounded hood or canopy. It was made of plum-tree wood, or of wicker lined with yellow satin and trimmed with costly lace. Royalty was rocked in cradles of gold or silver; that of Charles V, however, shown in the Brussels Museum, is of wood, carved in the Gothic style and painted. A primitive form of Dutch cradle was suspended from iron rings on two posts of wood, and a later kind, recommended by 's Gravesande, had a spring on one side and a weight on the other, so that when once put in motion it would continue rocking for a long time.

Near the cradle stood the "fire" or "napkin basket," also made of wicker and covered with serge, or with richer material if the home was one of wealth. In the inventory of Vrouwe Reepmaker (1670), for example, "white and satin basket covers" occur. The "fire" or "napkin basket" contained everything pertaining to the baby's outfit; and mention is made in the inventories of "a neat," "a simple," or "a costly fire basket," according to the circumstances of the owner. The "fire basket" with its outfit was given as a present to the young mother by the husband's mother or one of the aunts. In a celebrated farce of the period, Old Brechtje says: "Van mijn peetje een wonderlicke schoone corf ecregen, die voor al myn kyeren eef edient. Ze eef hem van lapwerck en fraeykens van croonsaey en passementen emaeckt." ("I got from my aunt a wonderfully beautiful basket, which has served for all my children. She made it of patchwork, and covered it nicely with serge and embroidery.")

On a table, an open buffet, or dressoir, or a glass cabinet, all the baby's silver was arrayed, such as the herb-box, the pap-pot, the cinnamon bowl with cover and spoon, and the large clothes tray - all inherited gifts from godfathers and godmothers of many generations. Each piece is variously inscribed, sometimes dating as far back as the sixteenth century, or earlier. This large silver tray holds the costly clothing that will be used at the christening, such as the cambric and lace robes and the red velvet robe lined with red silk, the satin tufted blanket and other articles of baby dress. Nor must the large pincushion be forgotten, on which the baby's name will be printed with pins.

The bride's basket was just as important as the baby's basket. This was also made of wicker, and, according to the means of the parents, lined with rich or simple material. It was adorned with flowers, and contained, not the bride's dresses, but the wedding-shawl and ornaments belonging to it, the jewels and gloves that the bride was to wear at the wedding, and also the gifts of the bridegroom.

The "bride's crown" and "bride's throne" received a great deal of attention from the loving hands that were busy with the preparations for the festivities. The house was turned into a perfect bower on the occasion of a wedding. Garlands of palms, flowers and evergreens were interwoven, and hung upon the walls with the green boughs that were variously twined and twisted. Gold and silver favours, love-knots, marriage-bells and other devices and letters forming mottoes and riddles, were displayed among the greenery and flowers, and the name or initials of the bride and groom were to be seen on every side. Magnificent Japanese vases filled with flowers, particularly the brilliant tulip, were placed in every available space. Handsome mirrors were removed from other rooms and hung among the garlands and flowers to add more fight and beauty to the rooms. Not unfrequently the outside of the house received its share of decoration, when the street doors were covered with greenery and garlands were hung from all the windows.

The Dutch made lavish use of flowers and greenery on festive occasions.

When Charles II was called home from Holland in 1660 to ascend the empty throne, he received a magnificent farewell entertainment by the States-General. The festivities lasted over several days, and are described in considerable detail by Sir John Lower, who was present. In his book we get an occasional glimpse of the furniture of the day, particularly its disposition on gala occasions. The great sideboards, or cupboards, are mentioned with admiration. The great feasts were given in the Maurits-huis, The Hague, which was the scene of lavish hospitality. Describing one of these entertainments, Lower tells us: "From the centre of the lover or open roof descended a Royal Crown, very gallantly made, in the midst of four lusters or crystal candlesticks, which with many other candlesticks, arms of silver and a great number of torches, enlightened all corners much better than the Sun could have done at midday. They gave particularly a marvellous lustre to the two bottoms of the chimney which is on the left side, where two partitions of painted wood shut up as many cupboards of crystal glasses, and a great store of vessels and of silver plate and ver-million gilt.

The Hall was furnished with ordinary Tapestry, which is of crimson damask, and had no other adornments but that here and there there were some fair pictures, and that the ends of the chimnies and the void places above the cross-bar windows were adorned with garlands, leaves and figures of trees loaden with oranges and mingled with all sorts of flowers, which formed not only a very regular compartment, but wonderfully refreshed also the chamber and charmed no less the smell by their perfume than they pleased the sight through the diversity of their rich enamel."