deavour to gain a realistic effect, and
the same defect may be traced more clearly in the clumsier Dutch and
German productions. Even in the Italian work of an earlier date every
now and then the same fault peeps out, though the excellent taste of the
nation at that period prevented the Italians from falling into such
excesses, and one generally feels the wood even in their most elaborate
perspectives. It may be asserted in a general way that the more colours
are used the less likelihood is there of the effect being quite
satisfactory, and that any light and shade introduced should be of the
simplest kind. A slight darkening of parts of the wood to gain a certain
suggestion of roundness is quite admissible, but the expedient should be
used with discretion, lavish employment of it leading to heaviness of
effect and a monotony of tone which are most unpleasing. If ivory or
metals are introduced the greatest care is necessary to prevent them
from giving a spotty and uneven effect to the design, for neither these
two materials nor mother-of-pearl marry quite with the tone of the wood;
and this inequality is likely to increase with age, as the wood becomes
richer and mellower in colour. Such materials should be so used that
the points where they occur may form a pattern in themselves
independently of the rest of the design, so that the effect may be
pleasing at first sight, before the general meaning of the less
prominent details is realised. Any other way of using them courts
failure, since the effect of the whole design is ruined by the
uncalculated prominence and inequality of these materials here and
there. The Dutch sometimes made use of mother-of-pearl, in pieces upon
which engraving broke up the hard glitter of the material, mingled with
brass wire and nails or studs driven into the surface of the wood. The
two materials appear to be quite harmonious, and small articles
decorated in this manner are effective and satisfactory. The Italian use
of ivory for the decoration of musical instruments, chess and backgammon
boards, and other small objects is almost always successful, the
proportion between wood and ivory being well judged, and the forms of
the ornament pleasing.

[Illustration: _To face page 122._

Plate 53.--_Panel from S. Maria in Organo, Verona._]

The modern French marquetry, though exceedingly clever and beautiful in
its use of various woods, errs by want of consideration of the surface
to be decorated,