Heavy carving had been almost the only ornament when inch-thick planks were the usual material. Now, a wondrous field of possibilities lay before the ambitious in the way of inlay and veneer. Possibly André Boulle in France gave the inspiration, but even so the English inlay is a matter all by itself. From the invention of that saw arose a style of decoration that developed from such simplicity as the rare and occasional flower seen on early Jacobean panels, to the exquisite elaboration known as the sea-weed pattern, and other masses of curving filaments, which found highest perfection in the last quarter of the century. The cabinets on Plates 18 and 19 illustrate the almost unbelievable fineness of the work. In the larger cabinet the inlay is drawn with a free hand and is less characteristic of English design than the other, excepting the naïveté of the birds and trees, and the central panel wherein a gaily caparisoned youth strides a horse held by an infinitesimal blackamoor--a bit of the East's submission thus noted. Wherever a plain surface was found, the new ornament seized it. Cabinets and chests of drawers offered the best opportunities, but next to them were tables. The tops gave a fine field--although there is always a lack of unity of feeling between a table maker and a table user. The one thinks the table should be left inviolably empty, the other regards it as a rest for books and bibelots. But there is also the drawer of the table and its apron, so upon these the inlay designs were put in all their dainty beauty of design. This class of work must not be in any way confused with the Dutch inlay of a later epoch and which is imitated to-day ad nauseam. If you have naught else to guide you in knowing the old English from modern Dutch, there are the shapes of the pieces on which the inlay is put, besides the pattern of the work. The second matter which made a change in the general aspect of furniture in the second half of the seventeenth century was the use of walnut wood in place of oak. It is a pretty bit of history, that of the rich-toned walnut. As far back as Elizabeth's day furniture of that wood was imported from Italy in all its beauty of design, colour and finish. The wise queen ordered trees brought from Italy and forests planted, that England might have a supply of the admired wood. She did not live to see the trees of use, but in the century following hers, it came suddenly into vogue. Imagine the delight of those who had been working in the more obdurate oak, to feel this finer, softer wood under the tool. [Illustration: Plate XVIII--MARQUETRY CABINET ABOUT 1700 Showing Dutch Indian influence in its design and ornament] [Illustration: Plate XIX--WALNUT CABINET With veneer and inlay of seaweed pattern showing the extreme skill of cabinet workers in the second half of the XVII century. Drop handles are noticeable]