Perhaps it is allowable to add here that marquetry, or marqueterie, its French equivalent, is the more modern survival of “Tarsia” work to which allusion has been made in previous chapters.  Webster defines the word as “Work inlaid with pieces of wood, shells, ivory, and the like,” derived from the French word marqueter to checker and marque (a sign), of German origin.  It is distinguished from parquetry (which is derived from “pare,” an enclosure, of which it is a diminutive), and signifies a kind of joinery in geometrical patterns, generally used for flooring.  When, however, the marquetry assumes geometrical patterns (frequently a number of cubes shaded in perspective) the design is often termed in Art catalogues a “parquetry” design.

In considering the design and manufacture of furniture of the present day, as compared with that of, say, a hundred years ago, there are two or three main factors to be taken into account.  Of these the most important is the enormously increased demand, by the multiplication of purchasers, for some classes of furniture, which formerly had but a limited sale.  This enables machinery to be used to advantage in economising labour, and therefore one finds in the so-called “Queen Anne” and “Jacobean” cabinet work of the well furnished house of the present time, rather too prominent evidence of the lathe and the steam plane.  Mouldings are machined by the length, then cut into cornices, mitred round panels, or affixed to the edge of a plain slab of wood, giving it the effect of carving.  The everlasting spindle, turned rapidly by the lathe, is introduced with wearisome redundance, to ornament the stretcher and the edge of a shelf; the busy fret or band-saw produces fanciful patterns which form a cheap enrichment when applied to a drawer-front, a panel, or a frieze, and carving machines can copy any design which a century ago were the careful and painstaking result of a practised craftsman’s skill.

Again, as the manufacture of furniture is now chiefly carried on in large factories, both in England and on the Continent, the sub-division of labour causes the article to pass through different hands in successive stages, and the wholesale manufacture of furniture by steam has taken the place of the personal supervision by the master’s eye of the task of a few men who were in the old days the occupants of his workshop.  As a writer on the subject has well said, “the chisel and the knife are no longer in such cases controlled by the sensitive touch of the human hand.”  In connection with this we are reminded of Ruskin’s precept that “the first condition of a work of Art is that it should be conceived and carried out by one person.”

Instead of the carved ornament being the outcome of the artist’s educated taste, which places on the article a stamp of individuality—­instead of the furniture being, as it was in the seventeenth century in England, and some hundred years earlier in Italy and in France, the craftsman’s pride—­it is now the result of the rapid multiplication of some pattern which has caught the popular fancy, generally a design in which there is a good deal of decorative effect for a comparatively small price.