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 ebony inlay on an English cabinet at south Kensington. So far as mere skill in cutting goes there may be no great difference between the two, but the latter is charming, and the former tedious in the last degree; and the reason is that in the seventeenth century the craftsman loved his work, and was master of it. He started with an idea in his head, and used his material with meaning, and so his inlay is as fanciful as the seaweed, and yet entirely subordinated to the harmony of the whole design. Perhaps some of the best furniture work ever done in England was done between 1600 and 1660. I refer, of course, to the good examples, to work which depended for its effect on refined design and delicate detail, not to the bulbous legs and coarse carving of ordinary Elizabethan, though even this had a naïveté and spontaneity 292