Sometimes richness of effect is no further attempted than is obtained by the natural beauty of the wood which is employed; and when this natural beauty is considerable, this simple kind of furniture is most highly valued.

But wood, so fine in colour and figure, as alone to give richness of effect to furniture, is very rare, and still more frequently defective; hence, the more usual mode of combining different coloured woods, or of metals and shells with woods, require some degree of attention. The pre vailing combinations are formed by coloured bands, lines, and ornaments of wood, or by lines, beads, or ornaments of brass; the brass being in many instances cut into beautiful forms and further embellished by engraved lines on its surface.

The circumstances to be attended to in forming these combinations, are, harmony of colour, due proportion of the coloured parts to one another, and relief by contrast.

Much depends on the colour of the principal mass of the piece of work, which we call the predominating colour. If this colour be rich, very little variety of other colours should be added. On the contrary, if the predominating colour be light and delicate, it will bear to be enlivened and supported by contrast with fine lines or borders of an opposing colour; taking care that the mass of opposing colours be so small as not to produce opposition instead of contrast; for contrast, skilfully managed, gives force and lustre to the ground, while opposition destroys even its natural beauty