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 Sheraton are masterly examples of inlay. [Illustration: Examples of line reproductions. The lacquer chairs carry out the true feeling of the old with great skill.] [Illustration: A reproduction of a walnut chair with cane seat and back, of the William and Mary period.] [Illustration: Reproduction of chair showing the transition between the time of Charles II and William and Mary. The carved strut remains but the back is lower and simpler.] _Queen Anne_ "Queen Anne" furniture is a very elastic term, for it is often used to cover the reigns of William and Mary, Queen Anne, George I, and a part of the reign of George II, or, in other words, all the time of Dutch influence. The more usual method is to leave out William and Mary, but at best the classification of furniture is more or less arbitrary, for in England, as well as other countries, the different styles overlap each other. Chippendale's early work was distinctly influenced by the Dutch. Walnut superseded oak in popularity, and after 1720 mahogany gradually became the favorite. There was a good deal of walnut veneering done, and the best logs were saved for the purpose. Marquetry died out and gave place to carving, and the cabriole leg, one of the chief marks of Dutch influence, became a firmly fixed style. The carving was put on the knees and the legs ended in claw and ball and pad feet. Some chairs were simply carved with a shell or leaf or scroll on top rail and knees of the legs. In the more elaborately carved chairs the arms, legs, splat, and top rail were all carved with acanthus leaves, or designs from Gibbons's decoration. Chairs were broad in the seat and high of back with wide splats, often decorated with inlay, in the early part of the period. The top rail curved into the side uprights, and the seat was set into a rebate or box-seat. The chair backs slowly changed in shape, becoming broader and lower, the splat ceased to be inlaid and was pierced and carved, and the whole chair assumed the shape made so familiar to us by Chippendale. Tables usually had cabriole legs, although there were some gate-or thousand-legged, tables, and card tables, writing-tables, and flap-tables, were all used. It was in the Queen Anne period that highboys and lowboys made their first appearance.