INLAYS.

Press, Volume LXI, Issue 18399, 4 June 1925, Page 4

INLAYS.

RETURNING TO POPULARITY. Inlay is again being introduced in cabinet work and in high-class decorative joinery, such as wainscoating, banister 1 ' and handrails. This made a lecture by Mr P. A. Wells, head of the furniture department, Shoreditch Technical Institute, on "Marquetry, Parquetrv, Inlaying, and Intarsia, deli\ ered 'recently at the Geffrye Museum, most opportune. Referring briefly to the historical side—the use of inlays by the Egyptians, Greeks, and Romans—the lecturer dealt at somo length with the introduction of wood inlay at the 111 r £cr* ; tion of the Renaissance in Italy. Tins work was called intarsia, and consisted in gouging out the pattern in the solid wood and inlaying with thin pieces of differently coloured woods. Tho treatment was usually broad, geometrical patterns, simple conventionalised floral and foliated designs, and was mostly applied to joinerj panelling, church stalls, staircases. Hie , work was copied in France, where the floral and symbolical aspects were developed, and reached us by way of Burgundy and tho Netherlands. Much of the Trench work was very beautiful, but tended to becomo over-elaborate. This was noticeable in the charming large nosegays and dainty floral sprays, tho scenery with figures, stained woods being frequently used to heighten the pictorial effects. Tho other form of inlay, with metals—tin, brass, even silver and gold—bone, ivory, and tcrtoiseshcll, as handled by Boulle, alsobecame over-elaborate. In the broad intarsia representation of simple forms was tortured into reproducing intricate architectural pictures, showing difficult perspective drawing with strong contrasts <A light and shadow. In England tho plain geometrical patterns, the conventionalised floral forms, human, and animal masks, the stiff Dutch tulips, were refined into delicate flower pieces, with occasional representation of the human form, all this ns far as possible treated in direct imitation of painting (involving tho staining of wood). This was a mistaken perversion of the work, and the result becamevulgarised and fe llwas that, it was that it became vulgarised and fell into disuse.

Marquotry requires restraint. It should bo carried out only with naturally coloured woods and the flat treatment adhered to. These we're the lines adopted by the old workers, and are the guiding principles of the best of the moderns. Gimson knew well how to introduce marquetry effectively: a few flowers or symbols treated decorativoly, flat, and conventionally. Parquetry, the building up of veneers, mostly in geometrical patterns, by gluing togothor wooden rods of different sizes, shapes,, and colours, and then cutting the. slabs into slices, as with Tunbridge-ware, has also been revived, mostly for bandings and edgings. It is equally suited to furniture and to joinery. But both stylos should be restrained, not treated pictorially.

As to this last, an exception must be made to the clever and original style of marquetry, introduced by Mr Rowley. He uses naturally coloured woods, selected for their veining and graining, their "figuring," and cut into large or small pieces as required, and used so as to compose complete pictures, including landscapes, and sea-pieces, rock and cloud effects, architectural features, birds, fishes, beasts, and human beings. But all this is decorative, mostly flat, roundness only being suggested by tho natural figuring of tho slices of wood. As a rule, too, artificial colouring is only resorted to occasionally for. backgrounds (such as his matt golds), more commonly for surrounds. It is a successful and legitimate form of the pictorial in marquetry. Speaking generally, however, restraint is the great need in inlaying, whether wood alone or other matorials be used. The contrast, for instance, of box, holly, or pear, with ebony or dark oak, sequoia, or the vivid reds of selected mahogany, on light oak or matt-finished wainut is very effective, particularly if we have plain lining or chequer patterns. This is usually more pleasing than highly coloured" flora! centres or borders, though a strongly coloured floral frieze often looks well. On furniture, nstraint is particularly necessary, especially on chairs and settees. On occasional tables more fancy is allowable.