, taken from an old Miserere seat. Fig. 47 was done for sake of the
rich effect of an inscription on the plain side of a beam, and also for
the peculiar and interesting section to which the beam had been cut.
Fig. 48, again, for sake of the arrangement of the little panels on a
plain surface, and the sense of fitness and proportion which prompted
the carver to dispose his work in that fashion, by which he has enriched
the whole surface at little cost of labor, and by contrast enhanced the
value of the little strips and diamonds of carved work, otherwise of no
particular interest. Figs. 49 and 50 are two sketches of Icelandic
carved boxes. Fig. 49 was drawn as an example of the rich effect which
that kind of engraved work may have, and of the use which it makes of
closely packed letters in the inscription. The pattern is, of course, a
traditional Norse one, although the carving is comparatively modern. The
points to be noted in the other box were its quaint and simple
construction, the use of the letters as decoration, more especially the
unpremeditated manner in which they have been grouped, the four letters
below making a short line which is eked out by a rude bit of ornament.
The letters are cut right through the wood, and are surrounded with an
engraved line. Fig. 51 was noted on account of the way in which a very
simple pierced ornament is made much of by repetition. The ornament is
on a Portuguese bed, and this is only a detail of a small portion. The
effect greatly depends upon the quantity, but in this case that is a
point which is easily remembered without drawing more of it than is
shown. The fact that this work is associated with richly turned
balusters is, however, noticed in the sketch, as that might easily be
forgotten. Figs. 47 to 51 are from South Kensington Museum.

[Illustration: FIG. 47.]

[Illustration: FIG. 48.]

[Illustration: FIG. 49.]

[Illustration: FIG. 50.]

[Illustration: FIG. 51.]

Then we come to the sketch of a chair (Fig. 52), or combined table and
chair. The richly carved back is pivoted, and forms the table top when
lowered over the arms, upon which it rests. The points to be noted in
this are, the general richness of effect, the contrast of wavy and rigid
lines, and the happy way in which the architectural suggestion of arch
and pillars has been translated into ornament. As this sketch was not
made so much for the chair itself as for its enriched back, no
measurements have been t