factory decoration, and in the best Italian
intarsias founded upon freely-growing, natural plants this is well
shown. The observation of natural growth shown in illustrations Nos. 53,
54, and 55 is considerable, but the panels are not so beautiful because
the bay, the pink, or the lily are so well rendered, but because the
pattern of waving lines is so well fitted to the space it has to fill,
and the shapes of the silhouettes are so expressive. In the later French
marquetry we often find an equal or almost equal dexterity in expressing
the natural form, and an almost greater cleverness in adapting the
design to the material; but the Italian work has a fineness of style
shown in a grace of arrangement and of proportioning the ornament to the
space to be filled which is unsurpassable.

Certain remarks made by Mr. Stephen Webb, in a paper read to the Society
of Arts on April 28, 1899, as to the qualities which the designer or
craftsman must possess for successfully producing intarsia, are worth
reproducing here as the sayings of a man who himself has done much
beautiful work of the kind. "Tone harmony, and in a limited degree, the
sense of values, he must certainly cultivate. He must be able to draw a
line or combination of lines which _may_ be ingenious if you like, but
_must_ be delicate and graceful, vigorous withal, and in proper relation
to any masses which he may introduce into his design. He must thoroughly
understand the value of contrast in line and surface form, but these
matters, though a stumbling block to the amateur, are the opportunities
of the competent designer and craftsman. The most charming possibilities
of broken colour lie ready to his hand, to be merely selected by him and
introduced into his design. If the wood be properly selected shading is
rarely necessary, and if it is done at all should be done by an artist.
In the hands of an artist very beautiful effects may be obtained, the
same kind of wood being made to yield quite a number of varying shades
of colour of a low but rich tone. Over-staining and the abuse of shading
are destructive. Ivory has always been a favourite material with workers
in tarsia, and in the hands of an experienced designer very charming
things may be done with it. There is, however, no material suitable for
tarsia which requires so much care and experience in its use. It is
ineffective in light-coloured woods, and in the darker ordinary woods,
such as ebony, stained mahogany