now well grounded in the knowledge of construction, took the Dutch ideas
as a foundation and developed them along their own lines, until we have
the late Queen Anne type made by Chippendale.

The change in the style of chairs was most marked and noticeable. They
were more open backed than in Charles's time and had two uprights and a
spoon-or fiddle-shaped splat to support the sitter's back. The chair
backs took more the curve of the human figure, and the seats were
broader in front than in the back; the cabriole legs were broad at the
top and ended in claw or pad feet, and there were no straining-rails.
The shell was a common form of ornament, and all crowns and cherubs had
disappeared. Inlay and marquetry came to be generously used, but there
had been many cabinets of Dutch marquetry brought to England even
before the time of William and Mary. Flower designs in dyed woods,
shell, mother-of-pearl, and ivory were used.

The marquetry clocks made at this time are wonderful and characteristic
examples of the work, and are among the finest clocks ever made for
beauty of line and finish, and proportion.

Although marquetry and inlay have much in common there is one great
difference between them, and they should not be used as synonymous
terms. In marquetry the entire surface of the article is covered with
pieces of different colored woods cut very thin and glued on. It is like
a modern picture puzzle done with regard to the design. In inlay, the
design only is inlaid in the wood, leaving a much larger plain
background. Veneering is a thin layer of beautiful and often rare wood
glued to a foundation of some cheaper kind. The tall clocks and cabinets
of William and Mary's time and the wonderful work of Boulle in France
are examples of marquetry, the fine furniture of Hepplewhite and