selected as representative of cabinet work at that time.

[Illustration: Cabinet of Ebony with Carvings of Boxwood. Designed and
Manufactured by M. Fourdenois, Paris. 1867 Exhibition, Paris. (Purchased
by S. Kensington Museum for L1,200.)]

[Illustration: Cabinet in Satinwood, With Wedgwood plaques and inlay of
various woods in the Adams' style. Designed and Manufactured by Messrs.
Wright & Mansfield, London. 1867 Exhibition, Paris. Purchased by the S.
Kensington Museum.]

[Illustration: Ebony And Ivory Cabinet. In The Style of Italian
Renaissance by Andrea Picchi, Florence, Exhibited Paris, 1867.

NOTE.--A marked similarity in this design to that of a 17th Century
cabinet, illustrated in the Italian section of Chapter iii., will be
observed.]

The illustration of Wright and Mansfield's satin-wood cabinet, with
Wedgewood plaques inserted, and with wreaths and swags of marqueteric
inlaid, is in the Adams' style, a class of design of which this firm made
a specialite. Both Wright and Mansfield had been assistants at Jackson and
Graham's, and after a short term in Great Portland Street, they removed to
Bond Street, and carried on a successful business of a high class and
somewhat exclusive character, until their retirement from business a few
years since. This cabinet was exhibited in Paris in 1867, and was
purchased by our South Kensington authorities. Perhaps it is not generally
known that a grant is made to the Department for the purchase of suitable
specimens of furniture and woodwork for the Museum. This expenditure is
made with great care and discrimination. It may be observed here that the
South Kensington Museum, which was founded in 1851, was at this time
playing an important part in the Art education of the country. The
literature of the day also contributed many useful works of instruction
and reference for the designer of furniture and woodwork.[21]

One noticeable feature of modern design in furniture is the revival of
marquetry. Like all mosaic work, to which branch of Industrial Art it
properly belongs, this kind of decoration should be quite subordinate to
the general design; but with the rage for novelty which seized public
attention some forty years ago, it developed into the production of all
kinds of fantastic patterns in different veneers. A kind of minute mosaic
work in wood, which was called "Tunbridge Wells work," became fashionable
for small articles. Within the last ten or fifteen years the r