The method now practised in using marquetry to decorate furniture is very similar to the one explained in the description of "Boule" furniture given in Chapter VI., except that instead of shell, the marquetry cutter uses the veneer, which he intends to be the groundwork of his design, and as in some cases these veneers are cut to the thickness of 1/16 of an inch, several layers can be sawn through at once. Sometimes, instead of using so many different kinds of wood, when a polychromatic effect is required, holly wood and sycamore are stained different colors, and the marquetry thus prepared, is glued on to the body of the furniture, and subsequently prepared, engraved, and polished. This kind of work is done to a great extent in England, but still more extensively and elaborately in France and Italy, where ivory and brass, marble, and other materials are also used to enrich the effect. This effect is either satisfactory or the reverse, according as the work is well or ill-considered and executed. It must be obvious, too, that in the production of marquetry the processes are obtainable by machinery, which saves labour and cheapens productions of the commoner kinds; this tends to produce a decorative effect which is often inappropriate and superabundant. 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 "_parc_," 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. [Illustration: DESIGN FOR A DINING ROOM. BY BRUCE J. TALBERT. EXHIBITED IN THE ROYAL ACADEMY IN 1870.]