d Klaus Barck work in the chapel, the first for 115
days, and the second for 178 days, and in 1612 several carvers and
turners work for a long time at the rate of five "schillings" a day, as
well as Herman Uhr and his assistant. These records distinctly suggest
that the painter Herman Uhr was the designer, since his name is the only
one which appears for four years consecutively, though the long period
during which he worked in 1612 may be explained by the number of
paintings which cover a portion of the exterior of the pew.

[Illustration: Plate 41.--_Panel from S. Elizabeth's Church, Breslau._

_To face page 88._]

In South Germany one often meets with musical instruments which are
inlaid with conventionalised floral forms. They were produced in the
17th century in considerable quantities in Wurtemburg, Bavaria, and on
the Southern Shores of Lake Constance. Nor must one forget the
extraordinarily elaborate ivory inlays on the stocks of arquebuses. In
the Wallace collection are many examples, and attention may be drawn to
a jewel box made in 1630 by Conrad Cornier, arquebus mounter, which is
decorated with most elaborate scrolls, leaves, and birds of ivory and
mother-of-pearl, stained green in parts. It is made of walnut, and has
metal scrolls at the corners of the panel framing. The German inlays
on the whole rather run to arabesques and strapwork, or naturalistic
vases of flowers, with butterflies and birds; one meets occasional
perspectives and even figures, but the work is generally harder and less
successful than the Italian technique, with a larger and less
intelligent use of scorched tints.

In the latter part of the 17th century they often made the ground of a
cabinet or panelling of one wood and the mouldings which defined the
panels and the carved ornaments added of another, or even of two others;
the effect is not quite happy. Tortoiseshell also appears, and metal and
coloured stones; the striving after what they thought to be greater
artistry soon caused them to outstep more and more the proper limits of
the art, and brought about decadence. The South German bride chests of
the century before are decorated a good deal with inlays, Peter
Flotner's designs often serving as patterns; a little green and red
appear mixed with the commoner colours. The architectural forms project,
and would form a tolerable design by themselves, though scarcely
suitable to the object to which they are applied. In German work t