[Illustration: BRASS LANTERN CLOCK. Maker, Thomas Tompion (1671-1713). Height 8-3/4 inches. (_At British Museum. Reproduced by permission._)] Perhaps it is a wise dispensation of Providence that the man of wealth can possess the originals and that the poor man and the man of taste must content himself with copies. It was Balzac who chalked up in his garret, "Here is a Velasquez," "Here is an Andrea del Sarto." Lovers of the real can impart to the modern replicas purchased for a few pounds the spirit of the old examples. It is the same artistic impulse which accepts the translation in lieu of the original. Through FitzGerald we read Omar. Horatius Flaccus, who appeals to the esoteric with his _odi profanum vulgus_, is filtered through a Western tongue. One is grateful to see plaster casts in the British Museum of the Three Fates from the Parthenon at Athens. Echoes suggest so much to those who have the inner spirit to conjure up the original. CHAPTER III THE LONG-CASE CLOCK--THE PERIOD OF VENEER AND MARQUETRY What is veneer?--What is marquetry?--The use of veneer and marquetry on long-case clocks--No common origin of design--Le style réfugié--Derivative nature of marquetry clock-cases--The wall-paper period--The incongruities of marquetry. For some fifty years--that is, from about 1670, the date of the secret treaty of Charles II with Louis XIV, to about the year 1720, the early years of the reign of George I--there was a marked leaning towards colour in furniture as distinct from form. The solid English oak of early days and the later intricacies of walnut were dependent solely on form, either in carving or in elaborate turning, as in the Charles II and James II period, when the so-called "barley-sugar" pattern and other elaborate "corkscrew" turned legs added grace and beauty to furniture beginning to take its place beside the work of great European craftsmen. In flattering imitation of continental schools, but more particularly the Dutch, English cabinet-makers commenced to inlay their furniture with ivory and coloured woods, and designs embodying conventional birds and flowers became of frequent use. A considerable amount of skill was employed in adopting this new art, which necessitated the careful laying of veneer. In comparison with the ordinary Dutch cabinet-work, this derivative English furniture exhibits, in a measure, finished work of a high degree in regard to the exactitude of cabinet-work which surpassed the prototypes. The English craftsman was working in a new medium, and he apparently was exceptionally careful in handling its technique.