[6] Even though the Bodenham family members were not the initial lords of the Rotherwas estate, they did control other areas around the River Wye.

Blount stated in his MSS Collections for Herefordshire, "the house is partly of old tymber work, but an end of it was new built in the last age by Sir Roger.

However, not all parts of the room made it into the new wing: "Elements of the paneling and chimneypiece that didn't fit into the eighteenth century enfilade were moved onto ceiling beams or stored in cupboards.

Herbert Pratt chose architect James Brite to build him a Neo-Jacobean house, called "The Braes" in Glen Cove, Long Island.

It was a Jacobean H plan brick house adorned with Tudor and Flemish Renaissance-derived limestone ornamentation on the exterior.

The Illustrated London News wrote a story with a headline lamenting the loss of the room, "Lost to England: Superb Rotherwas Panelling for America".

The Brooklyn Daily Eagle ran a story in the Sunday paper that read: "Famous Art Treasures for Pratt Country Home.

Herbert L. Pratt not only donated artwork from the seventeenth, eighteenth and nineteenth century, but also bequeathed the Rotherwas Room to the Mead Art Museum.

[20] Architect James Kellum Smith of McKim, Mead and White, incorporated the room into the design of the new building.

The Rotherwas Room remained untouched except for new sprinklers, motion detectors, better windows and a fresh coat of paint.

[25] Reference to the use of parlors at the time include examples from William Shakespeare's Taming of the Shrew, where Bianca and the widow 'sit conferring by the fire,' and in Sir Philip Sidney's Arcadia, where Kalander brings Palladius 'into the parlour where they used to sup.

'[26] Since the Elizabethan era, the location of the ground floor parlor at the upper end of the hall and near the kitchen provided owners and guests with proximity to service areas.

[25] By the end of the sixteenth and beginning of the seventeenth century, parlors were often almost as lavishly decorated as the great halls in such houses.

Thus, coats of arms were usually seen on top of the fireplace, and classical ornamentation along with symbols and emblems would showcase a family's values and cultivation.

[30] Its woodwork is a product of the union of artisanal tradition of the English countryside and an interest in architectural ornamentation arriving from Renaissance Italy.

[8] From 1560 to 1610 Italian designs arrived from northern European countries, particularly the Netherlands, in the form of engraving pattern books.

The illustrations within these books lacked precision in both form and scale, leaving the craftsman to interpret information according to local tradition and personal expertise.

[8] Although the identities of the craftsmen are unknown, the figural carvings on the mantel bear similarity to contemporary works by the Huguenot sculptor Maximilian Colt at Robert Cecil, 1st Earl of Salisbury's Hatfield House, which dates from the same period.

In heraldic terms, the crest consists of a horizontal stripe (called a fess) between three chess rooks, all rendered in gold.

[36] While oak was widely used in construction in the Rotherwas estate due to its abundance on the five thousand acre property, large walnut trees did not exist in England prior to 1650 and were rarely used in English paneling if at all.

[8] The wainscoting design of lower inner-framed tiers and upper-arcaded panels divided by pilasters and capitals is extremely similar to that of Billesley Manor, Warwickshire and Carbrook Hall, near Sheffield.