,,intarsia ,,and ,,marquetry    ,,other 
,,volumes ,,of ,,the ,,series    ,by the
 same ,author         ,mural            
,painting--the ,decoration of the ,wall 
,surface by means of       ,paint       
,mosaic and ,marble ,inlay for ,floor1  
,wall1 and ,vault            ,,handbooks
 ,,for ,,the ,,designer ,,and           
,,craftsman      ,,intarsia ,,and       
,,marquetry      ,,by      ,f4          
,,hamilton ,,jackson      ,,examiner    
,,to ,,the ,,board ,,of ,,education ,,in
 ,,principles    ,,of ,,ornament        
,with ,illustrations from ,photographs  
and from ,drawings    and ,tracings by  
the ,author        ,,london    ,,sands  
,,company    #aijc            ,,printed 
,,by    ,,william ,,hodge ,,and         
,,company    ,,glasgow ,,and ,,edinburgh
          ,,contents                    
,,page      ,,historical                
,,notes--,,antiquity1                   
#a      ,,italy ,,in ,,medi,,val ,,and  
,,renaissance ,,times1                  
#h      ,,the ,,cloistered              

,,intarsiatori ,,and ,,their ,,pupils1  
#ee      ,,in ,,germany ,,and ,,holland1
 ,,england ,,and ,,france1              
#hd      ,,the ,,process ,,of           
,,manufacture1                          
#ajd      ,,the ,,limitations ,,and     
,,capabilities ,,of ,,the ,,art1        
#aah      ,,workshop ,,receipts1        
#acc          ,,list ,,of               
,,illustrations        ,,plate      #a4 
,patterns used in ,borders1             
facing page #h      #b4 ,various        
,patterns of ,borders1                  
#i      #c4 ,chair ,back from ,s4       
,ambrogio1 ,milan1                      
#aj      #d4 ,door of the ,sala del     
,papa1 ,palazzo ,comunale1 ,siena1      
#ac      #e4 ,the ,prophet ,amos4       
,figure intarsia from the               
,sacristy of the ,cathedral1 ,florence1 
#f4 ,the ,annunciation4 ,figure intarsia
 from the   between pages               
,sacristy of the ,cathedral1 ,florence1 
#ah and #ai    #g4 ,the ,prophet ,hosea4
 ,figure intarsia from the              

,sacristy of the ,cathedral1 ,florence1 
#h4 ,the ,nativity4 ,figure intarsia    
from the ,sacristy       of the         
,cathedral1 ,florence1                  
facing page #bj      #i4 ,the           
,presentation in the ,temple4 ,figure   
,intarsia       from the ,sacristy of   
the ,cathedral1 ,florence1              
#ba      #aj4 ,panel from ,sacristy of  
,s4 ,croce1 ,florence1                  
#bc      #aa4 ,detail of ,frieze from   
the ,sacristy of ,s4 ,croce1            
,florence1                              
#bd      #ab4 ,lower ,seats of ,choir1  
,cathedral1 ,perugia1                   
#be      #ac4 ,upper ,seats of ,choir1  
,cathedral1 ,perugia1                   
#bf      #ad4 ,one ,panel1 from ,upper  
,series1 ,cathedral1 ,perugia1          
#bg      #ae4 ,two ,panels from the     
,sala del ,cambio1 ,perugia1            
#bh      #af4 ,frieze from ,s4 ,mark's1 
,venice1                                
#cj      #ag4 ,frieze from ,s4 ,mark's1 
,venice1                                

#cb      #ah4 ,stalls from the          
,cathedral1 ,lucca1                     
#cc      #ai4 ,lectern in ,pinacoteca1  
,lucca1                                 
#cd      #bj4 ,two-leaved ,door in the  
,pinacoteca1 ,lucca1                    
#ce      #ba4 ,stalls at the ,certosa1  
,pavia1                                 
#cf      #bb4 ,detail of ,arabesques1   
lower ,seats1 ,certosa1 ,pavia1         
#cg      #bc4 ,panel from ,s4 ,petronio1
 ,bologna1                              
#ch      #bd4 ,panel from ,s4 ,petronio1
 ,bologna1                              
#ci      #be4 ,panel from ,s4 ,miniato1 
,florence1                              
#dj      #bf4 ,panel from ,s4 ,maria    
,novella1 ,florence1                    
#db      #bg4 ,panel from ,s4 ,maria    
,novella1 ,florence1                    
#dd      #bh4 ,panel in ,sacristy of ,s4
 ,pietro in ,casinense1 ,perugia1       
#df      #bi4 ,panel from ,door of ,sala
 del ,cambio1 ,perugia1                 
#dh      #cj4 ,panel from lower row of  

,stalls1 ,s4 ,maria in    ,organo1      
,verona1                                
#ei      #ca4 ,panels from ,monte       
,oliveto ,maggiore1 now in    the       
,cathedral1 ,siena1                     
#fj      #cb4 ,frieze from ,monte       
,oliveto ,maggiore1                     
#fb      #cc4 ,panel from ,s4 ,mark's1  
,venice1                                
#fh      #cd4 ,panel from ,door in      
,choir of ,s4 ,pietro in    ,casinense1 
,perugia1                               
#gd      #ce4 ,lunette from ,stalls in  
,cathedral1 ,genoa1                     
#gg      #cf4 ,panel from lower row of  
,stalls1 ,cathedral1 ,savona1           
#gh      #cg4 ,panel from the ,ducal    
,palace1 ,mantua1                       
#hj      #ch4 ,panel from the ,rathaus1 
,breslau1 #aefc1                        
#hd      #ci4 ,panel from ,church of ,s4
 ,mary ,magdalene1 ,breslau1            
#hf      #dj4 ,pilaster ,strip from the 
,magdalene ,church1 ,breslau1           
#hg      #da4 ,panel from ,s4           

,elizabeth's ,church1 ,breslau1         
#hh      #db4 ,lower ,panel of ,door1   
#aefd--,tyrolese1                       
#ij      #dc4 ,top of ,card ,table in   
the ,drawing-room1 ,roehampton          
,house2 ,dutch1 #ahth ,century1         
#ib      #dd4 ,panelling from ,sizergh  
,castle1 now in ,victoria    and ,albert
 ,museum1                               
#ic      #de4 ,cabinet with falling     
front1 in the ,drawingroom1             
,roehampton ,house1                     
#id      #df4 ,cabinet belonging to     
,earl ,granville4 ,boulle    work of    
about #agdj1                            
#if      #dg4 ,top of ,writing ,table in
 the ,saloon1 ,roehampton    ,house4    
,period of ,louis ,,xv41                
#ig      #dh4 ,encoignure1 signed ,j4   
,f4 ,oeben1 in the ,jones    ,bequest4  
,victoria and ,albert ,museum1          
#ih      #di4 ,panel from back of       
,riesener's bureau1 made    for         
,stanislas ,leczinski1 with figure of   
,secrecy1                  #ajj         

#ej4 ,roundel from bureau1 made for     
,stanislas    ,leczinski1 ,king of      
,poland1 now in the    ,wallace         
,collection1                            
#ajb      #ea4 ,antonio ,barili at work1
 by himself1                            
#ajd      #eb4 ,panel from the ,victoria
 and ,albert ,museum1                   
#ajf      #ec4 ,panel from ,s4 ,maria in
 ,organo1 ,verona1                      
#abb      #ed4 ,panel from ,s4 ,maria in
 ,organo1 ,verona1                      
#abf      #ee4 ,panel from ,s4 ,pietro  
in ,casinense1 ,perugia1                
#acj          ,,general ,,preface ,,to  
,,the ,,series      ,if there is one    
quality which more than another marks   
the demand of the  present day it is the
 requirement of novelty4 ,in every      
direction the  question which is asked  
is not1 ,is this fresh thing good8 ,is  
it  appropriate to1 and well-fitted for1
 its intended uses8 but ,is it  novel8  
,and the constant change of fashion sets
 a premium upon the  satisfaction of    

this demand and enlists the commercial  
instinct on the  side of perpetual      
change4 ,while there are directions in  
which this  desire is not altogether    
harmful1 since at least many            
monstrosities  offend our eyes but for a
 short time1 a full compliance with it  
by the  designer is likely to prove     
disastrous to his reputation1 and recent
  phases in which an attempt has been   
made to throw aside as effete and       
outworn the forms which have gradually  
grown with the centuries1 and to        
produce something entirely fresh and    
individual1 have shown how  impossible  
it is at this period of the world's     
history to dispense with  tradition1    
and1 escaping from the accumulated      
experience of the race1  set forth with 
childlike navet4 ,careful study of these
 experiments  discloses the fact that in
 as far as they are successful in       
proportion  and line they approach the  
successes of previous generations1 and  
that  the undigested use of natural     

motifs results not in nourishment but in
  nightmare4    ,the object aimed at by 
this series of handbooks is the recall  
of the  designer and craftsman to a     
saner view of what constitutes          
originality  by setting before them     
something of the experience of past     
times1 when  craft tradition was still  
living and the designer had a closer    
contact  with the material in which his 
design was carried out than is usual at 
present4 ,since both design and         
craftsmanship as known until the end of 
the #ahth century were the outcome of   
centuries of experience of the use  of  
material and of the endeavour to meet   
daily requirements1 it may be  justly   
called folly to cast all this aside as  
the fripperies of bygone  fashion which 
cramp the efforts of the designer1 and  
attempt to start  afresh without a rag  
of clothing1 even if it were possible4  
,at the same  time it is not intended to
 advocate the direct copyism of any     
style1  whether regarded as good1 bad1  

or indifferent4 ,some minds find        
inspiration in the contemplation of     
natural objects1 while others find  the 
same stimulus in the works of man4 ,the 
fashion of present opinion  lays great  
stress upon the former source of        
inspiration1 and considers  the latter  
heretical1 while1 with a strange        
inconsistency1 acclaiming a  form of    
design based upon unnatural contortions 
of growth1 and a  treatment which is    
often alien to the material4 ,it is the 
hope of the  author to assist the second
 class of mind to the rivalling of the  
ancient glories of design and           
craftsmanship1 and perhaps even to      
convert  some of those whose talents are
 at present wasted in the chase of the  
will-o'-the-wisp of fancied novelty and 
individuality4 ,much of what  appears to
 the uneducated and ill-informed talent 
as new is really but  the re-discovery  
of motifs which have been tried and     
abandoned by  bygone masters as         
unsuitable1 and a greater acquaintance  

with their  triumphs is likely1 one     
would hope1 to lead students1 whether   
designers  or craftsmen1 to view with   
disgust undigested designs indifferently
  executed which have little but a      
fancied novelty to recommend them4      
,it is intended that each volume shall  
contain an historical sketch of  the    
phase of design and craft treated of1   
with examples of the  successful        
overcoming of the difficulties to be    
encountered in its  practice1 workshop  
recipes1 and the modes of producing the 
effects  required1 with a chapter upon  
the limitations imposed by the material 
and the various modes of evading those  
limitations adopted by those who  have  
not frankly accepted them4              
,,preface      ,the subject treated of  
in this handbook has1 until lately1     
received  scant attention in ,england2  
and except for short notices of a       
general  nature contained in such books 
as ,waring's ,arts ,connected with      
,architecture1 technical descriptions1  

such as those in ,holtzapffel's         
,turning and ,mechanical ,manipulation1 
and a few fugitive papers1 has  not been
 treated in the ,english language4 ,on  
the ,continent it has1  however1 been   
the subject of considerable research1   
and in ,italy1  ,germany1 and ,france   
books have been published which either  
include it as  part of the larger       
subject of furniture1 or treat in       
considerable detail  instances of       
specially-important undertakings4 ,from 
these various  sources ,i have          
endeavoured to gather as much           
information as possible  without too    
wearying an insistence upon unimportant 
details1 and now  present the results of
 my selection for the consideration of  
that part  of the public which is       
interested in the handicrafts which     
merge into  art1 and especially for the 
designer and craftsman1 whose business  
it  is or may be to produce such works  
in harmonious co-operation in the       
present day1 as they often did in days  

gone by1 and1 it may be hoped1  with a  
success akin to that attained in those  
periods to which we look  back as the   
golden age of art4    ,the books from   
which ,i have drawn my information are  
principally the  following3--    ,in    
,italian--,borghese and ,banchi's ,nuovi
 documenti per la storia dell'  ,arte   
,senese2 ,brandolese's ,pitture1        
sculture1 c41 di ,padova2 ,caffi's  ,dei
 lavori d'intaglio in legname e         
d'intarsia nel ,cattedrale di  ,ferrara2
 ,calvi's ,dei professori de belle arti 
che fiorirono in ,milano  ai tempi dei  
,visconti1 c42 ,saba ,castiglione's     
,ricordi2 ,erculei's  paper in his      
,catalogue of the ,exhibition of works  
of carving and inlay  held at ,rome in  
#ahhe2 ,finocchietti's ,report on       
carving and inlaid work  in the ,jurors'
 report on the ,exhibition of #ahfg in  
,paris2 ,lanzi's  ,history of ,painting 
in ,italy2 ,locatelli's ,iconografia    
,italiana2  ,marchese's ,lives of       
,dominican ,artists2 ,milanesi's        

,documenti per la  ,storia dell' ,arte  
,senese2 ,morelli's ,notizie d'opere di 
disegno nella  prima met dell' ,secolo  
,,xvi42 ,tassi's ,vite di pittori1      
architetti1  c41 ,bergamaschi2          
,temanza's ,vite dei piu celebri        
architetti1 c41  ,dominicani2           
,tiraboschi's ,biblioteca ,modenese2    
,della ,valle's ,lettere  ,senesi sopra 
le belle ,arti2 ,vasari's ,lives1 with  
,milanesi's notes and  corrections1 and 
papers in the ,bullettino di ,arti1     
,industrie e  ,curiosit ,veneziane1 the 
,atti e memorie della ,societ ,savonese1
 the  ,archivio ,storico dell' ,arte and
 its continuation as ,l',arte1 and the  
,archivio ,storico ,lombardo1 by such   
men as ,michele ,caffi1 ,g4 ,m4 ,urb1   
,ottavio ,varaldo1 ,francesco ,malaguzzi
 ,valeri and ,l4 ,t4 ,belgrano4    ,in  
,german--,becker and ,hefner ,alteneck's
 ,kunstwerke and ,gerths ,schaften  des 
,mittelalters und der ,renaissance2     
,bucher's ,geschichte der  ,technischen 
,kunst2 ,burckhardt's ,additions to     

,kugler's ,geschichte der  ,baukunst1   
and ,geschichte der ,renaissance in     
,italien2 ,demmin's ,studien  ber die   
,stofflich-bildenden ,knste2 ,von       
,falke's ,geschichte des  deutsches     
,kunstgewerbes2 ,scherer's ,technik und 
,geschichte der  ,intarsia2 ,schmidt's  
,schloss ,gottorp2 ,seeman's            
,kunstgewerbliche  ,handbcher2          
,teirich's ,ornamente aus der ,blthezeit
 italienischer  ,renaissance1 and       
articles in ,bltter fr ,kunstgewerbe1   
and the  ,kunstgewerbeblatt of the      
,zeitschrift fr bildende ,kunst1 by such
 men  as ,teirich1 ,issel and ,ilg4     
,in ,french--,asselineau's ,a4 ,boulle1 
bniste de ,louis #ad2 ,burckhardt's  ,le
 ,cicerone2 ,champeaux's ,le bois       
applique au mobilier1 and ,le  meuble2  
,demmin's ,encyclopdie historique1      
archeologique1 c42  ,luchet's ,l',arte  
industriel  l',exposition ,universelle  
de #ahfg1 and  other encyclopdias4      
,in ,english--,the handmaid to the arts2
 ,holtzapffel's ,turning and  mechanical

 manipulation2 ,pollen's paper on       
,furniture in the ,kensington           
,catalogue of ,ancient and ,modern      
furniture2 ,leader ,scott's ,the        
,cathedral builders2 ,tomlinson's       
,cyclopdia of ,useful ,arts2 ,waring's  
,the ,arts connected with architecture2 
and ,digby ,wyatt's ,industrial  ,arts  
of the #aith ,century1 together with    
detached articles found in  various     
publications4    ,those who desire      
further examples of arabesque patterns  
may find them in  ,issel's              
,wandtfelungen und ,holzdecken2         
,lacher's ,mustergltige  holzintarsien  
der ,deutschen ,renaissance aus dem #af 
und #ag ,jahrhundert2  ,lachner's       
,geschichte der ,holzbaukunst in        
,deutschland2 ,lichtwark's ,der         
ornamentstich der deutschen             
,frhrenaissance2 ,meurer's ,italienische
  ,flachornamente aus der ,zeit der     
,renaissance2 ,teirich's ,ornamente aus 
der ,blthezeit italienischer            
,renaissance1 and ,rhenius ,eingelegte  

,holzornamente der ,renaissance in      
,schlesien von #aeej-afej4    ,i have   
thought it better to run the risk of    
incompleteness than to  overload the    
text with the mere names of indifferent 
designers and  craftsmen about whom and 
whose work scarcely anything is known1  
believing that my object would be       
attained more surely by pointing to  the
 work and lives of those about whose    
capacity there can be no  question4     
,my thanks are due to the officials of  
the ,british ,museum ,library and of    
the ,art ,library at the ,victoria and  
,albert ,museum for the great           
assistance which they have given me in  
many ways1 the facilities  afforded me1 
and their unfailing kindness and        
courtesy2 and to the  ,director of the  
,victoria and ,albert ,museum for       
similar kindness and  assistance4    ,i 
have also to thank my friend ,mr4 ,c4   
,bessant1 whose experience in all  kinds
 of cabinet work is so great1 for very  
kindly looking over the  section dealing

 with the processes of manufacture4     
,f4 ,,hamilton ,,jackson4               
,,intarsia ,,and ,,marquetry            
,,historical ,,notes--,,antiquity       
,the word intarsia is derived from the  
,latin interserere1 to insert1          
according to the best ,italian          
authorities1 though ,scherer says there 
was  a similar word1 ,tausia1 which was 
applied to the inlaying of gold and     
silver in some other metal1 an art      
practised in ,damascus1 and thence      
called damascening2 and that at first   
the two words meant the same  thing1 but
 after a time one was applied to work in
 wood and the other to  metal work4 ,in 
the ,museo ,borbonico1 xii41 p4 #d1 xv41
 p4 #f1 the word  ,tausia is said to be 
of ,arabic origin1 and there is no doubt
 that the  art is ,oriental4 ,it perhaps
 reached ,europe either by way of       
,sicily or  through the ,spanish ,moors4
 ,marquetry1 on the other hand1 is a    
word of  much later origin1 and comes   
from the ,french marqueter1 to spot1 to 

mark2 it seems1 therefore1 accurate to  
apply the former term to those  inlays  
of wood in which a space is first sunk  
in the solid to be  afterwards filled   
with a piece of wood 7or sometimes some 
other  material7 cut to fit it1 and to  
use the latter for the more modern      
practice of cutting several sheets of   
differently-coloured thin wood  placed  
together to the same design1 so that by 
one cutting eight or ten  copies of     
different colours may be produced which 
will fit into each  other1 and only     
require subsequent arranging and        
glueing1 as well as for  the more       
artistic effects of the marquetry of the
 #agth and #ahth  centuries1 which were 
produced with similar veneers4 ,the     
process of  inlaying is of the most     
remote antiquity1 and the student may   
see in the  cases of the ,british       
,museum1 at the ,louvre1 and in other   
museums1  examples of both ,assyrian and
 ,egyptian inlaid patterns of metal and 
ivory1 or ebony or vitreous pastes1 upon

 both wood and ivory1 dating  from the  
#hth and #ajth centuries before the     
,christian ,era1 or earlier4  ,the      
,greeks and ,romans also made use of it 
for costly furniture and  ornamental    
sculpture2 in ,book #bc of the ,odyssey1
 ,ulysses1 describing  to ,penelope the 
bride-bed which he had made1            
says--,beginning from this  head-post1  
,i wrought at the bedstead till ,i had  
finished it1 and made it  fair with     
inlaid work of gold1 and of silver1 and 
of ivory2 the statue  and throne of     
,jupiter at ,olympia had ivory1 ebony1  
and many other  materials used in its   
construction1 and the chests in which   
clothes  were kept1 mentioned by ,homer1
 were some of them ornamented with      
inlaid  work in the precious metals and 
ivory4 ,pausanias describes the box of  
,kypselos1 in the opisthodomos of the   
,temple of ,hera1 at ,olympia1 as       
elliptical in shape1 made of cedar wood 
and adorned with mythological           
representations1 partly carved in wood  

and partly inlaid with gold and  ivory1 
in five strips which encircled the whole
 box1 one above another4  ,the ,greek   
words for inlaying used by ,homer and   
,pindar are ,greek3  daidall and ,greek3
 kolla1 and their derivatives1 the first
 being  also used for embroidering2     
,homer and ,hesiod also use ,greek3     
poikilos for inlaid1 which shows how    
closely at that time the arts  were     
interwoven4 ,these words have left no   
trace in the later terms1  though       
,greek3 kolla means to fix together1 or 
to glue1 and it is  tempting to connect 
the ,french word coller with it4        
,vitruvius and  ,pliny use the words    
cerostrata or celostrata1 which means1  
strictly  speaking1 inlaid with horn1   
and xilostraton4 ,the woods used by the 
,greeks were ebony1 cypress1 cedar1 oak1
 sinila1 yew1 willow1 lotus  7celtis    
australis71 and citron 7thuyia          
cypressoides71 a tree which grew  on the
 slopes of the ,atlas mountains4 ,the   
value of large slabs of this  last was  

enormous4 ,pliny says that ,cicero1 who 
was not very wealthy  according to      
,roman notions1 spent #ejj1jjj sesterces
 7about #edjj7 for  one table4 ,asinius 
,pollio spent #aj1hjj1 ,king ,juba      
#ac1jej1 and the  family of the ,cethegi
 #ae1aej for a single slab4 ,the value  
of this wood  consisted chiefly in the  
beautiful lines of the veins and fibres2
 when  they ran in wavy lines they were 
called tigrin1 tiger tables2 when  they 
formed spirals like so many little      
whirlpools they were called  pantherin1 
or panther tables1 and when they had    
undulating1 wavy  marks like the        
filaments of a feather1 especially if   
resembling the eyes  on a peacock's     
tail1 they were very highly esteemed4   
,next in value were  those covered with 
dense masses of grain1 called apiat1    
parsley wood4  ,but the colour of the   
wood was also a great factor in the     
value1 that of  wine mixed with honey   
being most highly prized4 ,the defect in
 that kind  of table was called lignum1 

which denoted a dull1 log colour1 with  
stains and flaws and an indistinctly    
patterned grain4 ,pliny says the        
barbarous tribes buried the wood in the 
ground when green1 giving it  first a   
coating of wax4 ,when it came into the  
workmen's hands they put  it for a      
certain number of days under a heap of  
corn1 by which it lost  weight4 ,sea    
water was supposed to harden it and act 
as a preservative1  and after bathing   
it1 it was carefully polished by rubbing
 by hand4 ,the  use of such valuable    
wood naturally led to the use of        
veneers1 and the  practice was universal
 in costly furniture4 ,the word         
xilotarsia was  used by the ,romans to  
designate a kind of mosaic of wood used 
for  furniture decoration4 ,its         
etymology suggests that the ,greeks were
 then  masters in the art4 ,they divided
 works in tarsia into two               
classes--sectile1 in which fragments of 
wood or other material were  inserted in
 a surface of wood1 and pictorial1 in   

which the various  pieces of wood       
covered the ground entirely4 ,the slices
 of wood1  sectiles lamin1 were laid    
down with glue1 as in modern work4 ,wild
 and  cultivated olive1 box1 ebony      
7,corsican especially71 ilex1 and beech 
were  used for veneering boxes1 desks1  
and small work4 ,besides these the      
,romans used the citrus1 ,syrian        
terebinth1 maple1 palm 7cut             
transversely71 holly1 root of the elder1
 and poplar2 the centres of the  trees  
being most prized for colour and        
markings4 ,see note giving  extracts    
from ,pliny4#a    ,a few notes on the   
exceptional scantlings of timber in     
antiquity may be  interesting1 though   
not strictly belonging to our subject4  
,a stick of  fir prepared to repair a   
bridge over the ,naumachia in the time  
of ,nero  was left unused for some time 
to satisfy public curiosity4 ,it        
measured  #abj feet by #b feet the      
entire length4 ,the mast of the vessel  
which  brought the large obelisk from   

,egypt1 afterwards set up in the ,circus
  ,maximus1 and now in front of ,s4     
,john ,lateran1 was #ajj feet by #a-a_/b
  feet1 and the tree out of which it was
 cut required four men1 holding  hands1 
to surround it4 ,a stick of cedar1 cut  
in ,cyprus and used as the  mast of an  
undecireme1 or #aa banked galley of     
,demetrius1 took three men  to span the 
tree out of which it was cut4 ,it was   
the exceptional sizes  of such pieces of
 timber1 and veneers cut from them1     
which made the  value of tables in      
,rome4    ,,footnotes3    #a ,pliny1    
,book #af1 ,chap4 #hc--;,glue1 too1     
plays one of the principal  parts in all
 veneering and works of marquetry4 ,for 
this purpose the  workmen usually employ
 wood with a threaded vein1 to which    
they give the  name of 'ferulea1' from  
its resemblance to the grain of the     
giant  fennel1 this part of the wood    
being preferred from its being dotted   
and  wavy4 ,chap4 #hd--,the wood1 too1  
of the beech is easily worked1 although 

it is brittle and soft4 ,cut into thin  
layers of veneer it is very  flexible1  
but is only used for the construction of
 boxes and desks4 ,the  wood1 too1 of   
the holm oak is cut into veneers of     
remarkable thinness1  the colour of     
which is far from unsightly2 but it is  
more particularly  where it is exposed  
to friction that this wood is valued1 as
 being one  to be depended upon2 in the 
axle trees of wheels1 for instance1 for 
which the ash is also employed1 on      
account of its pliancy1 the holm oak    
for its hardness1 and the elm for the   
union in it of both these  qualities4444
 ,the best woods for cutting into layers
 and employing as a  veneer for covering
 others are the citrus1 the terebinth1  
the different  varieties of the maple1  
the box1 the palm1 the holly1 the holm  
oak1 the  root of the elder1 and the    
poplar4 ,the alder furnishes1 also1 a   
kind of  tuberosity1 which is cut into  
layers like those of the citrus and the 
maple4 ,in all the other trees1 the     

tuberosities are of no value  whatever4 
,it is the central part of trees that is
 most variegated1 and  the nearer we    
approach to the root the smaller are the
 spots and the  more wavy4 ,it was in   
this appearance that originated that    
requirement of  luxury which displays   
itself in covering one tree with        
another1 and  bestowing upon the more   
common woods a bark of higher price4 ,in
 order to  make a single tree sell many 
times over lamin of veneer have been    
devised2 but that was not thought       
sufficient--the horns of animals must   
next be stained of different colours1   
and their teeth cut into sections1  in  
order to decorate wood with ivory1 and1 
at a later period1 to veneer  it all    
over4 ,then1 after all this1 man must go
 and seek his materials in  the sea as  
well6 ,for this purpose he has learned  
to cut tortoise shell  into sections2   
and of late1 in the reign of ,nero1     
there was a monstrous  invention devised
 of destroying its natural appearance by

 paint1 and  making it sell at a still  
higher price by a successful imitation  
of  wood4    ,it is in this way that the
 value of our couches is so greatly     
enhanced2  it is in this way1 too1 that 
they bid the rich lustre of the         
terebinth  to be outdone1 a mock citrus 
to be made that shall be more valuable  
than  the real one1 and the grain of the
 maple to be feigned4 ,at one time      
luxury was not content with wood2 at the
 present day it sets us on  buying      
tortoise shells in the guise of         
wood4--,pliny's ,natural ,history1      
,bohn's ,translation4          ,,italy  
,,in ,,medi,,val ,,and ,,renaissance    
,,times      ,the medival craft seems1  
however1 to have been derived from the  
,east1  though ,theophilus mentions the 
,germans as clever practitioners in     
woodwork4 ,a minnesinger's harp of the  
#adth century1 figured by ,hefner       
,alteneck1 appears to bear out his      
remark1 though later in date1 with its  
powdering of geometrical inlays and     

curiously-designed sprigs1 which  might 
almost have been produced by the latest 
art craze1 which apes  archaic          
simplicity4 ,it belonged to the knightly
 poet ,oswald von  ,wolkenstein1 who    
died in #adde2 the colours used are two 
browns1 black1  white1 and green4 ,the  
oriental inlays of ivory upon wood1     
elaborate and  beautiful geometrical    
designs1 are still produced in ,india in
 much the  same fashion as in the middle
 ages1 for the possibilities of         
geometric  design were exhausted by the 
,arabs in ,egypt and the ,moors in      
,spain2 and  in ,venice there was a     
quarter inhabited by workmen of the     
latter race  who made both metal work   
and objects in wood4 ,except for the    
inlaid  ivory casket in the ,capella    
,palatina1 at ,palermo1 which seems to  
be a  work of ,norman times1 we have no 
work of the kind which can be dated     
with precision before the appearance in 
the north of ,italy of the  similar     
lavoro alla ,certosa1 or tarsia alla    

,certosina2 but since  inlaying with    
small pieces of marble and vitreous     
pastes was practised  in central and    
southern ,italy certainly from the #abth
 century1 there is  little difficulty in
 imagining how its use arose4 ,this work
 has its  derivative still existing in  
,england in the so-called ,tonbridge    
ware1  which is made by arranging rods  
of wood in a pattern and glueing them   
together1 after which sections are      
sliced off--the same proceeding1 in     
effect1 as that which the ,egyptians    
made use of with rods or threads of     
glass4 ,one must allow1 however1 that   
the wooden border inlays1 which are     
also placed under this heading1 show    
greater craft mastery1 as the  examples 
appended show1 which are typical        
instances4 ,the chair-back from  ,s4    
,ambrogio1 ,milan1 is a characteristic  
example of the simpler form on a        
tolerably large scale4    ,illustration3
 ,plate #a4--,patterns used in ,borders4
    ,to face page #h4    ,illustration3 

,plate #b4--,various ,patterns of       
,borders4    ,historians are agreed that
 the cradle of ,italian carving and     
inlaying  was ,siena1 where there is    
mention of a certain ,manuello1 who1    
with his  son ,parti1 worked in the     
ancient choir of the ,cathedral in      
#abei4  ,orvieto was another place where
 tarsia work was made at an early date1 
but the craftsmen were all ,sienese4    
,mastro ,vanni di ,tura dell' ,ammanato1
  the ,sienese1 made the design of the  
stalls for the ,cathedral in #acca1  and
 commenced the work1 some remains of    
which are still preserved in the        
,museum of the ,opera del ,duomo4       
,twenty-eight artists were employed on  
these stalls2 ,giovanni ,talini1 ,meo di
 ,nuti1 and others1 all ,sienese1       
assisted him1 but he died before they   
were finished1 and they remained        
incomplete till #adad1 when ,domenico di
 ,nicol is recorded as undertaking  the 
work2 but neither did he finish it1 for 
in #adca the overseers gave  it to      

,pietro di ,minella1 and then to his    
brother ,antonio1 and to  ,giovanni di  
,lodovico di ,magno4 ,the woods used    
were ebony1 box1 walnut1  and white     
poplar1 and the cost was #caeb lire4 ,in
 the #adth century tarsia  was executed 
at ,siena1 ,assisi1 where in #acdi      
,nicolo di ,nicoluccio and  ,tommaso di 
,ceccolo worked at the ,cathedral       
stalls1 which no longer  remain2        
,verona1 in the sacristy of ,s4         
,anastasia1 in which city are some      
inlays resembling those at ,orvieto1 and
 ,perugia1 where some inlays  remain in 
the ,collegio della ,mercanzia1 but     
remains of the period are  few1 as may  
be expected4    ,illustration3 ,to face 
page #aj4 ,plate #c4--;,chair ,back from
 ,s4  ,ambrogio1 ,milan4    ,domenico di
 ,nicol worked for #ac years at the     
chapel in the ,palazzo  ,pubblico at    
,siena1 using some of ,taddeo ,bartoli's
 designs1 and also  did the doors of the
 ,sala di ,balia1 or of the ,pope4 ,this
 man1 who was  one of the best ,sienese 

masters of intarsia and carving1 and was
 head of  the ,opera del ,duomo in      
#adjj1 and whose work brought him so    
much  reputation that his family name of
 ,spinelli was changed for himself and  
his descendants to ,del ,coro1 or ,dei  
,cori1 is an example and a proof of  the
 small profit which was to be made even 
then by conscientious and  careful work4
 ,he was not only a worker in wood1 in  
#adbd he also did the  panels of the    
,cathedral floor1 representing ,david   
and ,goliath1 the  ,amorite ,kings1 and 
,samson1 ascribed by ,vasari to ,duccio2
 in #adae he was  paid #db lire for a   
tabernacle made of gesso1 while as early
 as ,february  #bh1 #acig-h1 he was paid
 #cb lire #aj soldi for #cb-a_/b days'  
work on a  window above the pulpit2 yet 
on ,may #ac1 #adba1 he petitions the    
priors  and captain of the people to    
this effect4 ,he says that he is poor1  
and  cannot meet the requirements of his
 family and apprentices1 each of  whom1 
he says1 costs #cj or #dj florins a     

year1 and therefore suggests  that he   
should have two or three boys to teach1 
and that the priors  should subsidize   
him for that purpose1 and binds himself 
to teach them  all he can without       
reserve4 ,the priors and captains       
recommended to the  council that he     
should be paid by the chamberlain of    
,bicherna #bjj lire1  free of tax1 by   
the year1 nomine provisionis libr3      
ducentos den3  nitidas de gabella1 and  
should have two or three ,sienese youths
 to  teach1 and the council passed the  
recommendation the same day4            
,twenty-six years later1 ,january #ad1  
#addf-g1 he appears again in the        
records with a petition to the ,signory4
 ,he says that he has always1 from  his 
youth up1 done his best to provide for  
his family1 and that by his  craft he   
has always tried to bring honour on the 
city and spread the  fame of his works4 
,that as they know he was granted money 
to teach his  art to any young man who  
wanted to learn it1 but because this art

 was1  and is1 little profitable1 there 
was no one who wished to go on with it  
except ,master ,mactio di ,bernacchino1 
who followed the art thoroughly1  and   
became an excellent master4 ,that1 as he
 thought he was fairly  prosperous1 he  
gave up the grant 7like an honest man671
 but the expenses  of marrying and      
dowering his daughters had been so      
great1 and added to  the losses caused  
by the small profits on his work1 had   
reduced him to  such poverty that he did
 not see how he could go on1 being #hd  
years of  age1 or thereabouts1 and      
having a sick wife4 ,he therefore asked 
to have  a small pension settled on him 
for the few years he and his wife had to
  live4 ,he was granted two florins a   
month1 but three years later all        
mention of him ceases4    ,illustration3
 ,plate #d4--;,door of the ,sala del    
,papa1 ,palazzo ,comunale1  ,siena4     
,to face page #ac4    ,the choir of the 
,chapel of the ,palace had been given in
 #adad to ,simone  d',antonio and       

,antonio ,paolo ,martini1 but they did  
not satisfy the  public1 so it was taken
 from them and given to ,domenico di    
,nicol1  ,august #bf1 #adae4 ,the tarsie
 are #ba in number1 and represent the   
clauses  of the apostles' creed and the 
symbols of the apostles4 ,the           
unsuccessful  work was given to the     
prior of the ,servites4 ,in the         
,communal records  occur the following1 
,march #ca1 #adbh3--;,domenico di       
,nicol1 called  ,domenico del ,coro1 is 
to have #de florins at #d lire the      
florin for his  salary and the          
workmanship of the door which he has    
made at the entrance  of the ,sala del  
,papa in the ,communal ,palace1 which   
salary was declared  by ,guido of ,turin
 and ,daniello di ,neri ,martini1 two of
 the three workmen  upon the contract of
 the said door1 at #ahj lire4 ,and is to
 have #caeb  lire for his salary and    
workmanship of #ba seats made in the    
,palace of  the ,magnificent ,signors1  
with all both 'fornamenti et facti1' in 

full  according to his                  
contract--accepted by ,guido di ,torino 
and ,daniello di  ,neri ,martini4 ,he   
was called to ,orvieto in #adaf to refix
 the roof of the  ,cathedral2 he was not
 to have more than #bjj florins a year1 
but if he  came himself all expenses    
were to be paid4 ,this suggests an      
appointment  like that of a consulting  
engineer4    ,from ,siena masters were  
continually sent to the other great     
towns to  design and carry out works of 
architecture1 sculpture1 and woodwork1  
as  entries in ,sienese documents show4 
,in early times the various arts        
connected with building were in close   
union1 and it appears tolerably  certain
 that one guild sheltered them all1     
proficiency being required in  several  
crafts and mastery in one4 ,we find the 
same man acting in one  place as master 
builder or architect1 and sometimes only
 giving advice1  while elsewhere he is  
sculptor or woodworker4 ,the painter1   
the  mosaicist1 and the designer for    

intarsia are confused in a similar      
manner4 ,borsieri calls ,giovanni de'   
,grassi1 the ,milanese painter 7known   
as ,giovanni de ,melano at first1 a     
pupil of ,giotto and ,taddeo ,gaddi2    
pictures of his are in the ,academy1    
,florence1 and in the cloister of ,s4   
,caterina ,milan71 an excellent         
architect2 and he also worked in relief1
  besides conducting very important     
architectural works4 ,he says that      
about #ache ,giovanni ,galeazzo opened  
an academy of fine art in his  palace1  
which was conducted by ,giovanni de'    
,grassi and ,michelino da  ,besozzo4 ,on
 ,june #ai1 #acia1 he was paid five     
florins for models executed  by him1 and
 something for the expense of execution 
in marble by another  hand4 ,in #acia he
 was called upon by the ,council of the 
,duomo1 and after  four months of       
uncertainty was assigned the position   
and pay of first  engineer1 with a      
servant who was paid by the ,council4   
,he did the door of  the ,s4 ,sacristy2 

it was finished in ,july1 #acie1 when he
 was ordered to  decorate it with       
gilding and blue4 ,he also made designs 
for capitals and  window traceries1 and 
carved a ,god the ,father for a centre  
boss of the  vault of the ,n4 ,sacristy4
 ,he illuminated the initials1 c41 of a 
copy of  the ,ambrosian ritual of       
,berold for the ,fabbriceria1 and this  
was his  last work1 as he died ,july #e1
 #acih1 and the price was paid to his   
son  ,solomon1 the officials declaring  
that it was most moderate4 ,his pupils  
were nearly all both painters and       
sculptors1 and some of them became      
stained-glass painters4 ,it is well     
known that ,taddeo ,gaddi was painter1  
architect1 and mosaicist1 and ,giotto1  
painter1 sculptor1 and architect1  and  
these details are an example of what was
 then continually going on4  ,both in   
medival times and at the beginning of   
the ,renaissance the most  celebrated   
architects often called themselves by   
the most humble  titles--,magister      

lignaminio1 maestro di legname1 faber   
lignarius1  carpentarius4 ,minerva1 the 
worker1 was the patron of all workmen   
from  ,pheidias to the lowest pottery   
thrower1 and in ,christian times the    
,quattro ,coronati1 the four            
workmen-saints1 were the patrons of all 
who  worked with their hands4    ,the   
oldest of the differentiated guilds     
appears to be that of the  painters1 at 
least in ,siena1 where one was          
established in #acee1 while in          
,florence they were obliged to enrol    
themselves in the ,art of the  medici e 
speziali1 unless they preferred1 as many
 of them did1 to be  reckoned with the  
goldsmiths4 ,in ,siena the ,goldsmiths' 
,guild followed  the ,painters' ,guild  
in #acfa1 while the workers in stone    
formed their  guild still later4 ,among 
the painters were included designers of 
every  sort--moulders1 and workers in   
plaster1 stucco1 and papier mach1 gold  
beaters1 tin beaters1 c41 and masters   
and apprentices in stained glass1  also 

makers of playing cards--a most         
comprehensive guild4 ,vasari1 in his    
life of ,jacopo ,casentino1 architect   
and painter1 says1 however1 ,towards    
#acdi the painters of the old ,greek    
style1 and those of the new1  disciples 
of ,cimabue1 finding themselves in great
 number1 united and  formed at ,florence
 a company under the name and protection
 of ,s4 ,luke  the ,evangelist2 and     
,baldinucci1 in his ,notizie dei        
professori di  disegno1 prints the      
articles of association at length4      
,others hold that  the ,confraternit dei
 ,pittori was not founded till #achf4   
,illustration3 ,plate #e4--;,figure     
intarsia from the ,sacristy of the      
,cathedral1 ,florence4    ,,the         
,,prophet ,,amos4    ,this and the two  
succeeding are part of the same         
composition4    ,to face page #ah4      
,illustration3 ,plate #f4--;,figure     
intarsia from the ,sacristy of the      
,cathedral1 ,florence4    ,,the         
,,annunciation4    ,illustration3 ,plate

 #g4--;,figure intarsia from the        
,sacristy of the  ,cathedral1 ,florence4
    ,,the ,,prophet ,,hosea4    ,the    
rapid rise of the last-named city in    
wealth and importance was the  reason   
that so much of the best later #aeth    
century inlaid work was done  there1 or 
at least by ,florentines1 though the art
 was not new to  ,florence1 the names of
 ,matteo di ,bernardino1 ,pietro        
,antonio1 ,giovanni  del ,mulinella1 and
 ,domenico ,tassi being recorded as     
working there in the  #adth century4    
,vasari1 as usual1 is somewhat          
inaccurate2 he says that  tarsia was    
first introduced in the time of         
,brunelleschi and ,paolo  ,uccello1     
that1 namely1 of conjoining woods1      
tinted of different  colours1 and       
representing with these buildings in    
perspective1 foliage1  and various      
fantasies of different kinds4 ,both he  
and ,lanzi say that  ,brunelleschi gave 
lessons in perspective and tarsia to    
architects and  others1 of which        

,masaccio in painting and ,benedetto da 
,majano in his  inlaid works availed    
themselves4 ,vasari held but a poor     
opinion of  tarsia1 which1 he said1 was 
practised chiefly by those persons who  
possessed more patience than skill in   
design1 and goes on to say that  the    
subjects most suitable to the process   
are perspective  representations of     
buildings full of windows and angular   
lines1 to which  force and relief are   
given by means of lights and shades2    
that although  he had seen some good    
representations of figures1 fruit1 and  
animals1  yet the work soon becomes     
dark1 and is always in danger of        
perishing  from the worms or by fires4  
,he adds that it was first practised in 
black and white alone1 but ,fra         
,giovanni da ,verona improved the art by
  staining the wood with various colours
 by means of liquors and tints  boiled  
with penetrating oil in order to produce
 light and shadow with  wood of various 
colours1 making the lights with the     

whitest pieces of  the spindle tree2 to 
shade1 some singed the wood by firing1  
others used  oil of sulphur1 or a       
solution of corrosive sublimate and     
arsenic4 ,the  most solemn masters of   
tarsia in ,florence were the ,majani1   
,la ,cecca1  ,il ,francione1 and the da 
,san ,gallo4 ,the first name which he   
gives is  that of ,giuliano da ,majano  
7#adcb-ij71 architect and sculptor1 who 
executed as his first work the seats and
 presses of the sacristy of ,s4  ,s4    
,annunziata at ,florence1 with ,giusto  
and ,minore1 two masters in  tarsia4 ,he
 also did other things for ,s4 ,marco4  
,in the archives of the  ,duomo1        
,giuliano di ,nardo da ,maiano is named 
in a contract for ornamental  wood-work 
in the sacristy1 to be finished in      
#adfe4 ,there is still  existing in the 
,opera del ,duomo a panel of ,s4        
,zenobio standing between  two deacons1 
executed by him from cartoons by ,maso  
,finiguerra1 who  designed five figures 
for the panels of the sacristy4 ,the    

heads were  painted by ,alessio         
,baldovinetti4 ,there are also several  
subjects in the  sacristy1 a ,nativity1 
resembling ,lippino ,lippi's picture in 
the  ,accademia2 a ,presentation in the 
,temple1 not without a reminiscence of  
,ghirlandajo's manner2 and an           
,annunciation4 ,the whole scheme of the 
decoration of this wall was ,giuliano's1
 but it was the completion of  work     
begun in #adci by ,angelo di ,lazzero of
 ,arezzo1 ,bernardo di ,tommaso  di     
,ghigo1 ,giovanni di ,ser ,giovanni     
detto ,scheggione1 painter and brother  
of ,masaccio1 and ,antonio ,manetti4    
,milanesi says his father was ,leonardo 
d',antonio da ,majano1 master of wood   
and stone work4 ,he entered the ,arte   
del legnajuolo in company with his      
younger brother ,benedetto1 and the     
first mention of his work in connection 
with the ,arte is in #adee1 when  he    
made for the ,compagnia di ,s4 ,agnese  
delle ,laudi1 which met in the          
,carmine1 a chest with a bookcase of    

some sort4 ,five years later he  carved 
some candlesticks for the ,monastery of 
,s4 ,monaca1 and constructed  some      
cupboards ornamented with inlaid work   
and perspectives for the  ,badia of     
,fiesole4 ,among his architectural work 
may be mentioned the  ,chapel of ,s4    
,fina at ,s4 ,gemignano1 which          
,ghirlandajo embellished with  frescoes4
 ,he commenced a choir for the ,duomo at
 ,perugia1 decorated with  both carving 
and tarsia1 but since he went to ,naples
 shortly after #adha1  and died there in
 #adij1 the greater part of the credit  
of this work must  be given to ,domenico
 del ,tasso1 who completed it in #adia4 
,his brother  ,benedetto1 to whom he    
turned over most of his commissions for 
tarsia1  when he became much occupied   
with architectural work1 was born in    
#addb4  ,he assisted his brother in many
 of his works1 such as the doors of the 
hall of audience in the ,palazzo        
,vecchio1 made between #adge and #adhj1 
representing ,dante and ,petrarch1 with 

ornamental borders and other  panels1 in
 which ,il ,francione also had a hand4  
,he gave up tarsia in  disgust for the  
following reason1 according to the story
 told by  ,vasari3--,he made two chests1
 with difficult and most splendid       
mastery1  of wood mosaic1 which he      
wished to show to ,matthew ,corvinus1   
then ,king  of ,hungary1 who had many   
,florentines at his ,court1 and had     
summoned him  with much favour2 so he   
packed his chests up and sailed for     
,hungary1  where1 when he had made      
obeisance to the ,king1 and had been    
kindly  received1 he brought forward the
 said cases and had them unpacked in his
  presence1 who much wished to see them2
 but the damp of the water and the      
mouldiness of the sea had so softened   
the glue that when the parcels  were    
opened almost all the pieces of the     
tarsia fell to the ground1 at  which    
every one may understand how astonished 
and speechless ,benedetto  was in the   
presence of so many lords4 ,however1 he 

put the work together  again as he best 
might1 and satisfied the ,king2 still he
 was disgusted  with that kind of work1 
not being able to forget the vexation   
which  he had suffered1 and gave it up1 
taking to carving instead4 ,he finished 
his brother's presses in the sacristy of
 ,s4 ,maria dei ,fiori1 and1 in the     
opinion of ,vasari1 surpassed him and   
became the best master of his  period4  
,he died in #adig4 ,vasari ascribes the 
celebrant's seat in ,pisa  ,cathedral to
 ,giuliano1 together with another of    
spindlewood1 to be  placed in the nave  
where the women sit1 finished and sent  
home in #adgg1  and put up by ,baccio   
,pontelli4 ,milanesi says1 however1 that
 the choir of  this ,cathedral was done 
by ,francesco di ,giovanni di ,matteo da
 ,firenze1  called ,il ,francione4      
,guido da ,seravallino1 between #adij   
and #adie1 made  for the choir of the   
sacristy of this ,cathedral more than   
#ae  perspectives2 the usual price      
appears to have been #aa lire4 ,he was a

  ,pisan1 and his father's name was     
,filippo4 ,domenico di ,mariotto first  
appears in the accounts in #adhi1 when  
he began the choir and seats for  the   
,campo ,santo2 he went on with various  
works of tarsia and carving  till #aeac4
 ,he was a ,florentine1 but lived in    
,pisa for many years1 dying  there in   
#aeai4 ,other names which appear in the 
accounts are ,giuliano di  ,salvatore   
and ,michele ,spagnuolo4 ,in #adhf      
,cristophano d',andrea da  ,lendinara   
and ,jacopo da ,villa came to make a    
seat for the choir1 but  this does not  
seem to have been a success1 and ,il    
,francione1 who had  been at ,pisa as   
long before as #adfb1 and ,baccio di    
,fino ,pontelli1 who  appears in #adga1 
were put in charge of the work4         
,giovanni ,battista  ,cervelliera is    
mentioned first in #aebb4 ,he was son of
 ,pietro d',altro  ,pietra1 a native of 
,corsica1 who began the singing gallery 
of the organ  in ,s4 ,martino1 ,pietra  
,santa1 finished by his son1 who died in

 about  #aegj4 ,in #aeif a great fire   
took place4 ,after this the best pieces 
saved  were used in the decoration of   
the new choir1 in #afjf1 by ,pietro     
,giolli1  who also had some fresh ones  
made2 others were mended by ,girolamo   
,innocenti1 and placed round the walls  
and round the nave piers in #afac4  ,the
 pieces of ,giuliano da ,majano's work  
now remaining are in the side  aisles1  
two at the right1 one at the left2 one  
represents ,king ,david  with his harp  
and with a label in the other hand1     
,laudate ,pueri  ,dominum4 ,the other   
two figures are prophets1 and have      
scrolls1  ,benedicam1 benedicam1 and ,ve
 qui condunt legem4 ,pontelli's ,faith1 
,hope1 and ,charity are on the pier near
 the ,chapel of ,s4 ,ranier1 three      
half-length figures of women4 ,the      
seated figures of the liberal arts on   
the side panelling of the church are ,il
 ,francione's1 women with symbols1      
arithmetic1 grammar1 geometry1          
astrology1 logic1 and music4 ,the great 

seat in the nave is the work of         
,giovanni ,battista del ,cervelliera4   
,in  the centre is a large round-headed 
panel with the ,adoration of the  ,magi2
 at each side are three lower seats with
 architectural subjects in  the centre  
and objects in the side panels and below
 the seats4 ,it is  signed and dated    
#aecf4 ,the whole collection of panels  
is well worth a  stay at ,pisa to see1  
even if there were not other attractions
 in that  pleasant little town4 ,in the 
registers of the ,opera is an annual    
charge for two sbirri1 or two servants  
of the captain of the people1  to watch 
the seats of the ,cathedral so that     
children may not damage  them in the    
obscurity1 which shows that even        
,italian children could not  always be  
trusted not to be mischievous4          
,illustration3 ,plate #h4--;,figure     
intarsia from the ,sacristy of the      
,cathedral1 ,florence4    ,,the         
,,nativity4    ,to face page #bj4       
,illustration3 ,plate #i4--;,figure     

intarsia from the ,sacristy of the      
,cathedral1 ,florence4    ,,the         
,,presentation ,,in ,,the ,,temple4     
,to face page #ba4    ,illustration3    
,plate #aj4--,panel from ,sacristy of   
,s4 ,croce1 ,florence4    ,to face page 
#bc4    ,illustration3 ,to face page    
#bd4    ,plate #aa4--;,detail of frieze 
from the ,sacristy of ,s4 ,croce1       
,florence4    ,illustration3 ,plate     
#ab4--,lower ,seats of ,choir1          
,cathedral1 ,perugia4                   
,illustration3 ,plate #ac4--,upper      
,seats of ,choir1 ,cathedral1 ,perugia4 
,to face page #bf4    ,illustration3    
,plate #ad4--,one panel from upper      
series1 ,cathedral1  ,perugia4    ,il   
,francione had a pupil called ,il       
,cecca4 ,his name was really ,francesco 
d',agnolo1 but like most men at that    
time he went by a nick-name4 ,cecca  is 
a corruption of ,francesco into ,cecco1 
,cecca1 from being ,francione's         
companion and disciple4 ,he was born in 
#addg2 his father was ,angelo di        

,giovanni1 a mender of leather or       
galigajo4 ,he came to ,florence from    
,tonda1 a little place near ,s4 ,miniato
 al ,tedesco4 ,his father died in       
#adfj2 he and three older sisters were  
left to his mother1 ,monna ,pasqua4  ,so
 the #ac year-old boy went bravely to   
work to keep his mother and  sisters1   
and entered ,il ,francione's workshop4  
,when he was #be he left him  and set up
 for himself1 taking a shop in the      
,borgo de' ,greci1 where he  lived and  
slept as well as worked4 ,in #adha he   
had a commission from the  magistrates1 
called degli ufficiali di ,palazzo1 for 
all the wood-work  of the ,hall of the  
,seventy1 ,bernardo di ,marco ,renzi    
helping him4  ,afterwards he did other  
work for different parts of the ,palace 
and for  other places1 all of which has 
perished4 ,finally1 he spent most of his
  time as architect and engineer1 and   
had a great deal to do with the         
fortification of various places and with
 the great cars for the  feste--a not   

uncommon juxtaposition of engagements4  
,he died in #adhh4    ,the del ,tasso   
lived in the village of ,s4 ,gervasio1  
and moved to a place  near the walls of 
,florence1 a few steps from the ,porta a
 ,pinti4 ,then  they went into the city 
and had a house in the parish of ,s4    
,ambrogio1 in  which church ,francesco  
di ,domenico made a tomb for himself and
 his  family in #adgj4 ,they had arms2  
at first they were a goldsmith's anvil  
7tasso or tassetto71 and above a ball or
 heap of silver4 ,afterwards the  field 
of the shield was divided1 and they     
added in the upper part two  little     
badgers 7tassi7 at the side of the      
anvil1 and put below the keys  of ,s4   
,peter1 crossed1 and interspersed with  
four roses4 ,and this they  did1 not    
only to point out the parish of ,s4     
,pier ,maggiore in the  gonfalon        
',chiavi' of the quarter of ,s4         
,giovanni1 where the del ,tasso  lived1 
but also to differentiate their arms    
from those almost similar of  another   

,florentine family of the same name4    
,evidently there was no  ,college of    
,heralds in ,florence in those days6    
,the first of the family  recorded is   
,chimenti di ,francesco1 who1 in #adhc-d
 made a grating or  gridiron of wood in 
the ,chapel of ,s4 ,lorenzo in the      
,monastery of ,s4  ,ambrogio1 and the   
dossal of the altar called del          
,miracolo4 ,in #adhh he  carved a choir 
of walnut1 outlined with tarsia1 for the
 ,chapel  ,minerbetti in ,s4 ,pancrazio1
 for which he was paid #ajj florins of  
gold4  ,he had1 among others1 two sons1 
,lionardo and ,zanobi1 who became       
sculptors under ,benedetto da ,majano   
and ,andrea ,sansovino4 ,they also      
worked in ,s4 ,ambrogio1 and the figure 
of ,s4 ,sebastian is by ,lionardo4  ,the
 two brothers in #adii made nine antique
 heads of marble and bronze1  which the 
republic sent as a gift to the ,marchal 
de ,guise in ,france4  ,chimenti had two
 brothers1 also carvers and joiners1    
,cervagio and  ,domenico1 who brought up

 their sons to follow the same calling1 
who did  many things for triumphal      
arches1 cars1 c41 for feste4 ,domenico  
did  the tarsia and rosettes in the seat
 backs of the refectory of ,s4 ,pietro1 
,perugia1 and a credence of walnut1     
ordered on ,october #bj1 #adij1 for the 
table of the priors1 on which were      
festoons1 griffins1 and other inlaid    
work4 ,the year after he finished the   
choir of the ,cathedral left by         
,giuliano da ,majano1 and was paid #adjd
 florins1 according to the estimate  of 
,crispolto and ,polimante1 ,perugian    
joiners4 ,for the same choir he made    
the panelling of wood1 for which he was 
paid #fj florins4 ,there were #cd  seats
 with ornaments at #cf florins each1 and
 three with figures1 which  were        
estimated at #fj florins apiece4        
,payments were also made to him for     
work in the ,sala del ,cambio1 sometimes
 for wood1 sometimes on account of      
salary1 so that it seems certain that he
 made the benches there on  finishing   

the choir of the ,cathedral1 since they 
were being made between  #adia and      
#adid4 ,the first cost #acj florins and 
#f soldi in #adia1 but it  was not      
finished till the next year4 ,polimante 
da ,nicola was made  citizen of ,perugia
 in #adgc4 ,three years after he began  
the choir of ,s4  ,domenico1 which cost 
#aa florins per seat4 ,four years later 
it was still  unfinished4 ,mastro       
,crespolto and ,mastro ,giovagne were   
his assistants4  ,domenico had three    
sons1 ,chimenti1 ,francesco1 and ,marco1
 who followed  the paternal calling4    
,chimenti was one of those who were     
judges in #adij  in the competition for 
the faade of ,s4 ,maria del ,fiore1 and 
in #aejd was  one of those chosen to    
decide the position in the piazza to be 
occupied  by ,michael ,angelo's ,david4 
,marco was an enthusiastic follower of  
,savonarola2 in #adia he was1 with his  
brother ,francesco1 at ,perugia  helping
 his father1 and six years later he     
undertook work there on his  own        

account4 ,they did half of the choir of 
,la ,badia in #aeja-b1 and the  very    
elaborate lectern4 ,the son of ,mark was
 ,giambattista1 called ,maestro  ,tasso1
 who was a fine carver in wood1 and1 in 
the opinion of ,cellini1  the best in   
his profession4 ,he did many things both
 for ephemeral and  lasting purposes1   
and became an architect1 designing the  
door of the  ,church of ,s4 ,romolo and 
the ,loggia of ,mercato ,nuovo1         
,florence1 and  superintending the      
construction of the latter between #aedi
 and #aeea4 ,in  #aedh he designed an   
addition to the ,palazzo ,vecchio1 then 
the ducal  residence1 and also undertook
 to execute all the joinery4 ,at the    
same  time he made a model of the       
,palace which he intended to build in   
,pisa1  which1 however1 was not carried 
out4 ,he died in #aeee4 ,he was said by 
,vasari to spend his time in playing the
 wag1 in enjoyment rather than  work1   
and in criticising the works of others4 
,but ,cellini calls him  pleasant and   

gay2 ,bronzino1 good1 lovable1 and      
honest2 and so does ,luca  ,martini1 who
 was a great friend of his4 ,the        
following story of him1  related by ,il 
,lasca1 shows that he was not above     
playing a practical  joke of a rough    
character1 and that he took great pride 
in the  achievements of his             
fellow-artists3--,a ,lombard            
,benedictine abbot on  the way to ,rome 
stayed in ,florence1 and wished one day 
to see the  figures on the ,medicean    
tombs in the sacristy of ,san ,lorenzo  
carved by  ,michael ,angelo1 and having 
therefore gone thither with his two     
attendant  monks1 the prior of the      
church asked ,tasso1 who was then       
working at the  floor of the library    
together with his son-in-law ,crocini   
,antonio di  ,romolo1 under the         
direction of ,michael ,angelo1 to show  
the abbot the  sacristy and the said    
library4 ,which abbot1 after having seen
 the  figures in the sacristy1 and      
thought very little of them1 set off to 

see  the library1 and while he was      
gently ascending a stair which conducted
  to it1 talking with ,tasso1 happened  
to turn his eyes on the cupola of       
,brunellesco1 and stopping to look at it
 commenced to say that1 although  it was
 considered by all the world as a       
marvel1 he had heard a person  worthy of
 credence say that the dome of ,norcia  
was much more beautiful1  and made with 
greater art4 ,which words so much       
exasperated ,tasso that1  pulling the   
abbot backwards with force1 he made him 
tumble down the  staircase1 and he took 
care to let himself fall on him 767 and 
calling  out that the frater was mad1 he
 got two cords1 with which he bound his 
arms1 his legs1 and all his person1 so  
that he could not move1 and then  taking
 him1 hanging over his shoulders1       
carried him to a room near1  and1       
stretching him on the ground1 left him  
there in the dark1 locking  the door and
 taking away the key4 ,what happened to 
the unfortunate  abbot after1 and       

whether he was much damaged or not one  
does not know1  for the anecdote stops  
here4 ,another instance of a family     
which devoted  itself for many years to 
the production of tarsia and wood-work1 
displaying hereditary aptitude in the   
craft and gaining great repute1 is      
given by the ,canozii of ,lendinara4    
,the first member who took up tarsia1   
abandoning his craft of painting for    
that purpose1 was ,lorenzo ,genesino  da
 ,lendinara1 surnamed ,canozio1 to give 
him his full description4 ,from  him    
descended many excellent workers in     
wood4 ,he studied in ,padua1 where  he  
had ,mantegna as fellow-student1 and    
worked in company with his  brother1 his
 son1 and a relation called ,pier       
,antonio dell' ,abate di  ,modena1 who  
did the intarsia in the choir of ,s4    
,francesco at ,treviso in  #adhf4 ,he   
died in #adgg1 and is buried in the     
first cloister of ,s4 ,antonio  at      
,padua1 for which he made the stalls1 as
 his epitaph states4 ,they were         

commenced in #adfb1 were worked at      
continuously for three years1 and  after
 an interval finished in #adfh4 ,they   
were then coloured and gilded  in places
 by ,maestro ,ugozon de ,padoa1         
depentor4 ,burnt in #agdi1 only  two    
stalls remain1 made into confessional   
boxes1 in the ,chapel of the  ,beato    
,belludi4 ,the designs for the tarsia of
 the sacristy were made by  ,squarcione1
 master of ,mantegna and ,lorenzo1 who  
was paid for them in  #adfb4 ,there were
 #ij seats in this choir1 so that it was
 a very important  piece of work4 ,a    
contemporary account by ,matteo         
,colaccio 7#adhf7 shows  what were the  
aims of the intarsiatori of the period  
as understood and  admired by the more  
or less cultivated populace4 ,in past   
days in  visiting those intarsiad       
figures1 ,i was so much taken with the  
exquisiteness of the work that ,i could 
not withhold myself from praising  the  
authors to heaven6 ,and to commence with
 the objects that one sees  around every

 day1 here are books expressed in tarsia
 that seem real4  ,some are one on the  
other1 and arranged carelessly1 or by   
chance1 some  closed1 some newly bound  
and difficult to close2 candles of wax  
with the  ends of wicks1 now in         
well-turned wooden candlesticks1 one    
straight1 one  crooked1 less or more1   
with another crossing it4 ,elsewhere one
 sees  clouds of smoke which spread out 
from new chimneys1 fish which turn      
round from a full basket1 a cithern     
which hangs from the centre of a  narrow
 niche4 ,close by is a cage of bars     
expressed with wonderful  spirit4       
,palaces1 towers1 and churches1 through 
the half-closed doors of  which one can 
see in the interior arches and windows1 
cupolas and  steps4 ,most natural1 then1
 is it not to be able to decide which   
tower  to approach2 these mountains     
appear to one covered with grass and    
with  stones2 and where earth of various
 colours appears there all green is     
taken away4 ,but what shall ,i say of   

the images of the saints4 ,of their     
uncut and curled beards1 of their hands1
 the joints of their fingers1  their    
nails8 ,of their clothes1 their sinuous 
folds1 and the shadows8 ,nor  less      
pleased me the little collar of rich    
pearls under the chin of ,s4            
,prosdocimus4 ,then round the angel     
,gabriel and the most pious mother one  
admires branches with such fruit and    
twigs that nature does not make  them   
more true4 ,and this is specially       
admirable1 that through the dull  colour
 of their leaves they seem to have been 
taken from the tree  scarcely a day ago4
 ,and then he praises in a pompous      
fashion the folds  of the ,virgin's and 
the ,angel's drapery1 the silk veil over
 a chalice1  and the perspective of a   
flight of steps which support the feet  
of the  ,madonna1 c4 ,one of his first  
works was done for ,s4 ,mark's1 ,venice1
 in  #adej4 ,his reputation was much    
increased by the stalls of the          
,cathedral  of ,modena1 made in #adgb by

 ,lorenzo and ,cristoforo1 and restored 
in #aedj  by ,mastro ,angelo de         
,piacenza1 one of their pupils4 ,he also
 worked at  ,parma in #adgc4 ,fra ,luca 
,pacioli 7#aeji7 makes an enthusiastic  
eulogium  upon ,lorenzo1 who1 in the    
said art 7perspective71 was in his time 
supreme1 as he showed in all his famous 
works1 as in tarsia in the  worthy choir
 of the ,santo and its sacristy1 and in 
,venice in the ,cha  ,grande1 as well as
 in painting in the same places and     
elsewhere4 ,and at  the present time his
 son1 ,giovan ,marco1 my dear comrade1  
who is worthy  of his paternity1 as his 
work at ,rovigo shows1 and that in the  
choir of  our convent in ,venice1 and in
 ,mirandola1 the architecture of which  
fortress is well understood4 ,in the    
sacristy of the ,cathedral at ,lucca    
are five panels from the seats which    
once surrounded it1 signed              
,cristopharus de ,canociis de           
,lendinaria fecit opus1 ,,mcccclxxxviii4
 ,one  shows ,s4 ,martin1 the bishop1   

full length1 the others perspectives1   
perhaps of various streets of the city  
as then existing4 ,he did these in      
conjunction with ,matteo ,civitale1 and 
they were his last works4 ,he died  in  
#adia4 ,bernardino da ,lendinara1 who   
worked at ,parma in #adid1 and  later1  
and was a citizen of that town and of   
,modena1 was son of  ,cristoforo1 who   
was also citizen of those cities from   
#adfc4    ,illustration3 ,plate         
#ae4--,two panels from the ,sala del    
,cambio1  ,perugia4    ,to face page    
#bh4    ,illustration3 ,plate           
#af4--;,frieze from ,s4 ,mark's1        
,venice4    ,to face page #cj4          
,illustration3 ,to face page #cb4 ,plate
 #ag4--;,frieze from ,s4 ,mark's1       
,venice4    ,illustration3 ,plate       
#ah4--,stalls from the ,cathedral1      
,lucca4    ,the stalls from the         
,cathedral at ,lucca1 which are         
illustrated1 are now  in the ,picture   
,gallery4 ,they were made by ,leonardo  
,marti1 of ,lucca4 ,when  in #afbj the  

choir was spoilt 7they thought that they
 were making grand  improvements7 they  
were moved to the church of the         
,riformati of ,s4  ,cerbone1 being badly
 mutilated to adapt them to their new   
position4  ,there1 in two centuries of  
neglect they became in such a state that
 the  brothers thought them no longer   
decent1 and wished to sell them and make
  a new choir4 ,the ,opera of the       
,cathedral and the ,commission of ,art  
paid  them something for them1 and thus 
preserved them as they now are1 having  
executed some restorations here and     
there4    ,at ,ferrara are some remains 
of stalls in the apse of the ,cathedral 
which  were commissioned from           
,bernardino da ,lendinara in #aeja1     
though not made  by him owing to the    
defalcations of a dishonest steward4 ,in
 #aeai the  ,chapter of the ,cathedral  
renewed the contract with ,pietro de'   
,rizzardi  and ,bernardino1 but as he   
died in #aebj1 ,m4 ,angelo ,discaccia1  
of ,cremona1  son of ,m4 ,cristoforo 7da

 ,lendinara871 was substituted1 and     
assisted  ,rizzardi till the work was   
finished in #aebe4 ,the gilding was done
 by  ,baldassare dalla ,viola and       
,albertino dalla ,mirandola4 ,a note in 
the  books of the ,fabbrica1 ,june #cj1 
#aebe1 states that ,mro4 ,piero di      
,richardo dale ,lanze owes for work not 
yet completed #eh lire #bj soldi4       
,there are three rows of seats1 #acb in 
all1 and the ,episcopal throne in  the  
middle4 ,the upper row is of #ef seats1 
without the throne1 the middle  one #db1
 the lowest #cd4 ,originally there were 
#aej1 but in the  alterations of #agae  
nine from each side were taken away1 as 
the high  altar was placed further      
within the apse4 ,the upper stalls are  
divided  by a chancelled column with    
,corinthian capital1 and terminated in a
  shell hood4 ,the intarsia on the back 
showed ornament of fine style1  drawings
 of sacred objects and perspectives of  
fine buildings drawn from  various parts
 of the city4 ,two of the best preserved

 show the ducal  castle and the ancient 
ducal courtyard with the still-existing 
staircase  constructed by ,ercole ,i4 in
 #adha4 ,the usual bird in a cage       
appears1 the  symbol of human passions  
conquered by religious abnegation4 ,the 
lower  rows of seats are also worked in 
tarsia1 but with ornaments of           
geometrical form1 books1 and            
joint-stools1 the diamond1 the          
cognisance  of ,ercole ,i4 7who gave the
 original commission71 and the          
pomegranate1  that of ,alfonso1 and this
 last figure1 which only occurs in the  
third  stall to the right in the lower  
order1 makes one think that only that   
part was finished under him4 ,the frames
 surrounding are carved with  restraint4
 ,the work cost altogether #bgga lire #h
 soldi #b denari besides  the expense of
 making the lower seats1 which cost     
#cihd lire marchesane  #af soldi #aj    
denari4 ,the lira marchesana in #aebc-be
 corresponded to #dc  ,roman bajocchi #i
 denari1 about #b francs #ce centimes of

 modern ,italian  money4                
,illustration3 ,plate #ai4--,lectern in 
,pinacoteca1 ,lucca4    ,illustration3  
,plate #bj4--,two-leaved door in the    
,pinacoteca1 ,lucca4    ,to face page   
#ce4    ,the ,canozii were also at      
,reggio1 in the ,emilia1 in #adgd and in
 #adhe1 but  the work of the stalls in  
the ,cathedral seems rather more archaic
 than  their period1 and the lectern is 
dated #adei4 ,it is probably the work of
  ,antonio da ,melaria1 who three years 
later made one exactly like it1 with    
other things1 for the ,church of ,s4    
,domenico4 ,this was done for ,antonia  
di ,fiordibelli1 and the contract shows 
what were the conditions under  which   
such work was done4 ,he was given #ej   
lire at once to buy material  with1 #ej 
when he began working1 #ej when he had  
finished a third of the  work1 #ej when 
it was half done1 #ej more when         
three-quarters was  finished1 and the   
rest of the whole price of #ccf lire    
when it was  completed4 ,he was to use  

wood of ,piella1 and give #dh planks to 
the  lady--a very curious clause in the 
contract4    ,at ,citt di ,castello     
there are tarsie designed by ,raffaello 
da ,colle in  the ,cathedral4    ,the   
choir stalls at the ,certosa1 ,pavia1   
were made by ,bartolommeo ,poli1        
surnamed dalla ,polla1 from designs by  
,borgognone1 as is said1 and the  style 
certainly seems to bear out the         
assertion1 though no document has  yet  
been found directly connecting him with 
them4 ,they were restored in  #ahdg by  
,count ,nava with wax and stucco        
coloured to imitate the missing  pieces 
of wood4 ,the upper row contains a      
series of figures of saints  and        
prophets1 and below are exceedingly     
graceful and flowing arabesques4  ,a    
document in the ,brera ,library notes   
that in #adij ,mro4 ,bartolommeo de     
,polli da ,mantoa1 who made the inlaid  
choir and the doors of the chapels1  has
 a right to #h ducats per door1 and also
 for the wooden pulpits #cj  ducats a   

pulpit4 ,he was the son of ,andrea da   
,mantova1 who was born at  ,modena1 but 
lived and worked at ,mantua1 and also   
with his brother ,paolo  in ,s4 ,mark's1
 ,venice4 ,the stalls were made between 
#adhf and #aeja1 and  are the only work 
which he is recorded to have executed4  
,a ,cremonese1  ,pantaleone de' ,marchi 
also worked on these stalls--a relation 
of the  large family of the ,marchi of  
,crema1 perhaps1 who worked in ,s4      
,petronio1  ,bologna1 in #adie4 ,the    
father was named ,agostino1 and he had  
six sons1  ,giacomo1 ,nicolo1 ,taddeo1  
,biagio1 ,agostino1 and a second        
,giacomo4 ,the  stalls in the ,chapel of
 ,s4 ,sebastian are signed ,jacopo de   
,marchis4 ,some  stalls by ,pantaleone  
de' ,marchi are in the ,museum at       
,berlin1 acquired in  #ahhc4 ,they      
probably came from ,bramante's ,church1 
the ,madonna of ,tirano1  in the        
,valtelline1 which was built in #aeje1  
and where there are still  some remains 
of seats similar in style4 ,the upper   

range of panels has a  few half-lengths 
of saints1 landscapes1 and the usual    
open cupboard  doors revealing objects  
on the shelves within4 ,on the backs of 
the seats  below are arabesques1 and the
 pilaster panels and divisions between  
are  also inlaid1 as is the cornice4 ,he
 also worked at ,savona4                
,illustration3 ,plate #ba4--,stalls at  
the ,certosa1 ,pavia4    ,illustration3 
,plate #bb4--;,detail of ,arabesques1   
lower seats1 ,certosa1  ,pavia4    ,to  
face page #cg4    ,one of the best      
,sienese masters has not yet been       
mentioned1 ,antonio  ,barili1 much of   
whose work has perished1 like that of   
many other  intarsiatori1 an example of 
which the collectors for the ,austrian  
,k4,k4  ,museum at ,vienna have picked  
up1 however1 where it may now be seen4  
,he  was born in ,siena1 ,august #ab1   
#adec4 ,his first work on his own       
account  was the choir of the ,chapel of
 ,s4 ,giovanni1 in the ,cathedral1      
,siena1 of  which a few poor remains    

have escaped the carelessness of the    
last  century1 and are in the           
,collegiate ,church of ,s4 ,quirico in  
,osenna1 #bf  miles from ,siena1 on the 
old ,roman road4 ,the contract is dated 
,january  #af1 #adhc1 and in it he      
engages to finish it in about two years4
 ,he was  to be paid #ej florins of #d  
lire beyond what he expended1 and was to
 go  on working at the rate of #aj      
florins a month4 ,if he did not finish  
it in  the given time he was to forfeit 
#ajj florins1 except for cause of       
infirmity1 plague1 c4 ,it was to be     
valued in the usual manner1 and #ajj    
florins was the penalty for the breaking
 of the contract on either side4  ,as a 
matter of fact it took him nearly #bj   
years to complete4 ,on one of  the      
panels ,barili made a portrait of       
himself at work1 the one referred  to   
above1 now in the ,k4,k4 ,austrian      
,museum at ,vienna1 which shows the     
very simple means used by the great     
intarsiatori4 ,his tools consist of a   

folding pocket-knife1 a square-handled  
gouge1 and a short-bladed1  long-handled
 knife1 which he holds with the left    
hand and presses his  shoulder against1 
so as to use the push of the shoulder in
 cutting1  while in the right he holds a
 small pencil1 with which he appears to 
direct the knife edge4 ,the panel upon  
which he is at work bears the           
inscription1 ,hoc ego ,antonius ,barilis
 opus coelo non penicello  excussi4     
,anno4 ,d41 #aejb4 ,he works in a window
 opening with panelled  framing1 and    
behind him a tree spreads across a      
courtyard against the  sky1 upon a      
branch of which a parrot is seated4 ,von
 ,tschudi says that  the panel is about 
#b feet #aj inches long by #a foot      
#i-a_/b inches broad1  and that the     
woods employed are pear and walnut1 oak1
 maple1 box1  mahogany1 palisander1 and 
one as hard as birch in texture4 ,a full
  description of it as it originally was
 is appended in a note taken from       
,della ,valle's ,lettere ,senese4 ,it   

was valued by ,fra ,giovanni of ,verona 
at #ciij lire4 ,while this work was in  
progress he made the benches and  other 
wood-work in the ,cathedral ,library for
 ,francesco ,piccolomini at a  cost of  
#bjjj lire1 and did other work for      
private persons4 ,another  great work   
was the choir of the ,certosa of        
,maggiano1 which has entirely           
disappeared4 ,he was not only           
intarsiatore1 but was much employed by  
the  commune on architectural works4 ,in
 #adhd he was sent to rebuild the       
bridge of ,buonconvento1 broken by a    
flood of the ,ombrone1 and in the  same 
year1 with ,francesco di ,giorgio1 and  
on equal terms with him1  restored the  
bridge of ,macereto4 ,in #adie he was   
asked to make designs  and models for a 
bastion to be erected over against the  
bridge of  ,valiano1 taken by the       
,florentines4 ,owing to a bad guard     
being kept this  was taken1 and between 
#adih and #aejj ,barili was sent again  
to rebuild it  larger and stronger4     

,finally1 in #aejc1 he was sent to make 
designs and  models of the new walls for
 the fortifications of ,talamone1 an    
important  coast town4 ,in his intarsias
 he was helped by his nephew1 ,giovanni1
  whose salary1 when working for ,leo   
,x4 at ,rome1 was five ducats a month4  
,he died in #aeaf4b    ,illustration3   
,plate #bc4--,panel from ,s4 ,petronio1 
,bologna4    ,illustration3 ,plate      
#bd4--,panel from ,s4 ,petronio1        
,bologna4    ,to face page #ci4         
,illustration3 ,to face page #dj4       
,plate #be4--,panel from ,s4 ,miniato1  
,florence4    ,illustration3 ,plate     
#bf4--,panel from ,s4 ,maria ,novella1  
,florence4    ,to face page #db4        
,other names mentioned by ,vasari are   
,baccio ,albini and his pupil ,girolamo 
della ,cecca1 pipers to the signoria1 as
 good intarsiatori who worked  also in  
ivory when ,benedetto da ,majano was yet
 a young man1 and  ,david of ,pistoia   
and ,geri of ,arezzo1 who decorated the 
choir and pulpit  of ,s4 ,agostino in   

the latter town4 ,geri also made        
intarsie for ,s4  ,michele1 ,arezzo4    
,milanesi says ,girolamo della ,cecca   
was of ,volterra1  and calls ,baccio1 di
 ,andrea ,cellini2 he was in ,hungary in
 #adhj with his  brother ,francesco2    
they were brothers of ,giovanni1 who was
 father of  ,benvenuto and piper also4  
,the stalls in ,s4 ,miniato1 ,florence1 
were made  in #adff by ,francesco       
,manciatto and ,domenico da ,gajuolo2   
but perhaps the  highest point reached  
by ,florentine intarsia is shown by the 
stalls of  ,s4 ,maria ,novella1 made by 
,baccio d',agnolo from ,filippino       
,lippi's  designs4 ,there are #dj stalls
 and #cj different ornamental fillings2 
the  capitals1 pilasters1 and frieze are
 inlaid1 the rest carved2 the  execution
 of figures1 scrolls1 leaves1 and       
ornamental forms is as near  perfection 
as may be4    ,baccio1 or ,bartolommeo  
d',agnolo ,baglioni1 was born ,may #ai1 
#adfb4 ,in his  youth he did very fine  
intarsia in the choir of ,s4 ,maria     

,novella1 in  which are a very fine ,s4 
,john ,baptist and ,s4 ,laurence1 and   
also carved  the ornaments in the same  
place and the organ case--so says       
,vasari4 ,the  organ case is no longer  
there1 having been sold in ,england1 but
 the  stalls still remain4 ,after       
carving the surroundings of the altar at
 ,s4  ,s4 ,annunziata1 which no longer  
exist1 he went to ,rome and studied     
architecture1 of which ,vasari remarks1 
the science of which has not  been      
exercised1 for several years back1      
except by carvers and deceitful         
persons1 who made profession of         
understanding perspective without       
knowing even the terminology and the    
first principles 767 ,when he  returned 
to ,florence he made triumphal arches of
 carpentry for the entry  of ,leo ,x4   
,but he still stuck to his shop1 in     
which1 especially in the  winter1 fine  
discourses and discussions on art       
matters were held1  attended at         
different times by ,raffaello1 then     

quite young2 by ,andrea  ,sansovino1 il 
,maiano1 il ,cronaca1 ,antonio and      
,giuliano ,san ,gallo1 il  ,granaccio1  
and sometimes1 by chance1 by ,michel    
,agnolo1 and many young  men1 both      
,florentines and strangers4 ,he did a   
great deal of work for the  great hall  
of the ,palazzo ,vecchio in conjunction 
with others1 and the  staircase of the  
,sala del ,dugento4 ,after this he did  
many architectural  works1 palaces and  
additions to churches1 some of which are
 still  existing4 ,the design of        
,brunelleschi for the gallery to        
surround the  dome of the ,cathedral    
having been lost1 ,baccio was           
commissioned to make  a fresh one1 and a
 piece of it was put up2 but when       
,michael ,angelo came  back from ,rome  
he said it was not large enough in style
 for the dome2 in  fact1 he called it a 
cage for grasshoppers 7grilli71 and made
 a design  to replace it himself2 as1   
however1 the authorities could not make 
up  their minds to accept it1 and       

,baccio's work was much blamed1 it went 
no  farther1 and was never finished4 ,he
 died on ,may #f1 #aedc1 at the age of  
#hc1 being still in full possession of  
his faculties1 and leaving three  sons1 
of whom the second1 ,giuliano1 did a    
good deal of carving both in  stone and 
wood1 and architectural design1 working 
in conjunction with  ,baccio            
,bandinelli1 among which was the choir  
of the ,cathedral of  ,florence4        
,another son1 ,domenico1 showed great   
promise1 but died young4                
,illustration3 ,plate #bg4--,panel from 
,s4 ,maria ,novella1 ,florence4    ,to  
face page #dd4    ,the seats near the   
high altar at ,s4 ,maria ,novella1 and  
other things  there were made between   
#adia and #adif4 ,the floor of the hall 
of the  ,great ,council in the ,palazzo 
,vecchio was begun in #adif1 and with   
other  works there went on till #aejc4  
,on ,october #a1 #aejb1 he engaged to do
 the  choir of ,s4 ,agostino ,perugia   
from ,perugino's designs at #aabj       

florins of  #dj bolognini each1 but he  
did not work at it much at that time1   
since on  ,june #bj1 #aecb1 he made a   
fresh contract with the monks to        
continue and  complete the choir of     
their church4 ,adamo ,rossi gives other 
curious  details about this work drawn  
from ,perugian records1 which are worth 
noting4 ,he says that in #aeja ,bacciolo
 d',agnolo1 not having a good design  to
 show1 agreed with the prior ,federico  
di ,giuliano in three months'  time to  
submit two different seats for the choir
 of ,s4 ,agostino1 and  confessed to    
having received #ej broad ducats of gold
 as part of the  price of the choir and 
the two stalls mentioned4 ,he also      
agreed to  return the money if he did   
not undertake the choir or did not      
finish it  according to contract4 ,he   
presented them accordingly1 and in #aejb
 the  contract was signed at #cj florins
 for each upper seat4 ,rossi also says  
that he finds trace of another ,baccio  
d',agnolo in the collection of  wills of

 ,pietro ,paolo di ,lodovico1 under date
 ,june #aa1 #aebi1 and thinks  that the 
work was done by him4 ,one ,baccio was  
elected capo-maestro of  the ,duomo in  
#aejg together with ,giuliano and       
,antonio da ,san ,gallo and il  ,cronaca
 7,simone del ,pollajuolo71 and         
continued in that office until  #aebi4  
,rossi also gives other interesting     
details about the making of various     
pieces of joinery in ,perugia and their 
makers1 from which ,i extract the       
following3--,in the refectory of ,s4    
,agostino two ,sienese1 ,giovanni and   
,cristoforo de',minelli1 worked in      
#adgg4 ,the cupboards in the sacristy of
  ,s4 ,pietro in ,casinense were made by
 ,giusto di ,francesco of ,incisa and   
,giovanni di ,filippo da ,fiesole in    
#adgb4 ,they were bought in ,florence1  
and are particularly fine and large in  
their treatment of flowers1 c4  ,the    
work was finished with the assistance of
 ,mariotto di ,mariotto of  ,pesaro1    
three workmen coming from places at     

considerable distances from  each other1
 proving that they wandered about the   
country a good deal4  ,the lectern in   
the same church1 which is well inlaid   
and finely carved1  was made by         
,battista the ,bolognese1 ,ambrose the  
,frenchman1 and ,lorenzo4  ,the contract
 was between the abbot and ,fra         
,damiano's brother1 ,maestro  ,stefano  
di ,antoniuolo de' ,zambelli da         
,bergamo1 and was for the whole  choir  
at #cj scudi for each seat1 wood being  
provided4 ,the lectern itself  cost #agf
 florins1 and was finished in #aece4 ,in
 the ,sala del ,cambio1  besides        
,domenico del ,tasso's seats1 there is a
 fine door which was made  by ,antonio  
di ,benciviene da ,mercatello da ,massa1
 for which he was paid  #aj florins #ic 
soldi #f denari4 ,the orator's desk1 the
 'ringhiera1' was  made by ,antonio di  
,antonio ,masi1 the ,fleming1 though    
often ascribed to  ,mercatello4 ,it was 
estimated by ,eusebio del ,bastone as   
worth #fh florins4  ,at ,assisi the     

choir of the upper church1 which is the 
most important in  all ,italy for the   
number of its stalls1 the mastery of its
 figure  intarsia1 and the elegance of  
its form1 was made by ,domenico da ,s4  
,severino1 who agreed with the superiors
 on ,july #h1 #adia1 to make it for     
#ggj ducats of gold4 ,it was not        
finished till #aeja1 but no payments are
  noted in the archives after ,november 
#ah1 #adih4 ,in the lower church two    
,sienese worked in #adbj1 and a         
,florentine from #addh to #adga4 ,the   
choir  of the ,cathedral in the same    
city was made by ,giovanni di           
,piergiacomo1  also of ,s4 ,severino1   
and there is sometimes confusion between
 the two  artists4 ,the price was #eg   
florins4 ,on one of the backs is carved 
the  date #aebj4 ,the most ancient piece
 of joinery in ,perugia is that executed
  for the ,arte della ,mercanzia in the 
#adth century4    ,illustration3 ,plate 
#bh4--,panel in ,sacristy of ,s4 ,pietro
 in ,casinense1  ,perugia4    ,to face  

page #df4    ,rossi prints a priced list
 of joiners' tools1 dated ,november #h1 
#adif1  which is interesting as showing 
the small amount of tools and furniture 
required in a joiner and intarsiatore's 
workshop at that period4 ,it runs       
thus3--         ,bernardino di ,lazzaro 
buys from ,angelo di ,maestro ,jacopo1  
called       ,boldrino1 joiner1 the     
underwritten tools and apparatus at the 
price       at which they were valued by
 ,master ,giovanni da ,siena and        
,ercolano       di ,gabriele of         
,perugia4                               
,florins4   ,soldi4      ,two benches1  
#b          #j    ,four planes1         
#a          #j    ,two screw profiles1  
one broad and one narrow1      #j       
#dj    ,two rules1                      
#j         #af    ,four straight edges1 
one large and three small1    #j        
#bh    ,one outliner for tarsia1        
#j          #h    ,rods for making      
cornices1                          #j   
#ab    ,a cross beam1                   

#j          #f    ,two compasses1 one   
large and one small1            #j      
#ab    ,two rulers1                     
#j          #e    ,four one-handed      
little planes1                     #j   
#af    ,one two-handed little plane1    
#j          #h    ,two broad planes1    
#j         #ab    ,two hollow moulding  
planes1                        #j       
#ab    ,three pieces of unfinished      
tarsia1 and one      with a wire drawing
 iron1                        #a        
#cj    ,two large squares and one       
grafonetto and      one little square1  
#j          #h    ,two old irons for    
making cornices1                 #j     
#h    ,nine files1 large and small1     
round and      straight1                
#j         #cj    ,fifteen gulfie1 large
 and small1                 #j          
#bd    ,three chisels1 one glued and one
 all of iron      and one a tiro colla  
manacha de legusa      saietta1         
#j          #g    ,one small hammer1    
#j         #af    ,two arm chairs1      

#j          #h    ,a big tenevello1     
#j         #be    ,a little anvil1      
#j         #bj    ,a pair of big        
pincers1                             #j 
#cb    ,two little axes1                
#j         #bj    ,a two-handed axe1    
#j         #be    ,a two-handed saw with
 a file1                      #j        
#fj    ,a cutting saw1                  
#j         #be    ,two stools1          
#j         #af    ,nine presses         
7clamps71                             #j
         #fj    ,two cupboards1         
#j         #ij    ,five pieces of       
panels1 two on the benches      and     
three outside1                          
#j         #bj    ,three pieces of      
tarsia frieze and two      pictures with
 a box without a lid1               #a  
#j    ,a bench to put the tarsia on1    
#j         #dj      ,the words          
untranslated are1 ,i suppose1 ,perugian 
words4 ,at all events1  they do not     
appear in the large ,italian dictionary 
edited by ,tommaseo  and ,bellini4      

,this ,bernardino six years earlier     
worked as apprentice with ,maestro      
,mattia da ,reggio1 and was paid #f     
florins #bb soldi for four months4 ,his 
name appears in the list of masters of  
stone and wood4    ,illustration3 ,plate
 #bi4--,panel from door of ,sala del    
,cambio1 ,perugia4    ,to face page #dh4
    ,frederic of ,montefeltro1 ,duke of 
,urbino1 built himself a splendid palace
  in that city between the years of     
#adfh and #adhj1 which cost #bjj1jjj    
golden scudi4 ,at that time a sack of   
corn cost rather less than five  modern 
,italian lire in the duchy1 and a       
hectolitre of wine only one  franc sixty
 centimes1 and one may gain some idea of
 the way in which  princes of liberal   
tastes lavished their money over the    
production of  works of art by comparing
 these figures4 ,among the decorations1 
which  include much stone carving of the
 most extraordinary finish1 which in    
the interior of the palace appears as   
fresh as the day it was completed1  were

 some splendidly inlaid doors1 eight or 
nine of which still remain4  ,the palace
 was constructed upon the foundations of
 an older palace of  #acej1 much        
enlarged1 and here he lived             
magnificently1 and collected that  fine 
library which was subsequently removed  
to ,rome1 of which ,vespasiano  da      
,bisticci1 the ,florentine bookseller1  
who had a good deal to do with  it1 says
 that it was the most perfect that he   
knew1 for in others there  were either  
gaps or duplicates1 from which defects  
it was free4  ,castiglione's            
,cortigiano1 the ideal of a courtier in 
those days1  describes the ,court of    
,urbino as it was under ,guidobaldo1 his
 son and  successor4 ,among the         
decorations of the palace which still   
remain is the  panelling of a small     
studio on the piano nobile1 close to the
 tiny  chapel1 which is entirely        
surrounded by intarsia of the finest    
description1 which represents in the    
lower part a seat something like  the   

misereres of choir stalls surrounding   
the apartment1 some parts of  which are 
raised and some lowered4 ,in the spaces 
rest some portions of  the duke's arms1 
a sword1 a mace1 c41 leaning in the     
corners1 and on  the lower parts of the 
seat are musical instruments1 fruits and
  sweetmeats in dishes1 cushions1 books1
 c4 ,the upper panels show  cupboards   
with doors partly open1 showing all     
sorts of things within in  the usual    
fashion1 and there are four figure      
panels inserted at  intervals containing
 the portrait of the duke and the       
,christian virtues  of ,faith1 ,hope1   
and ,charity which he strove to         
exemplify in his life4 ,at  one end of  
the room are two recesses divided by a  
projecting pier2 in  the one to the left
 the armour of the duke is represented  
as hanging  piece by piece on the wall1 
in that on the right is shown his       
reading  desk1 made to turn on a pivot1 
with books upon it and around1 and on   
the  pier between1 a landscape1 seen    

through an arcade with a terrace in     
front1 upon which are a squirrel and a  
basket of fruit4 ,close to the  reading 
desk is a representation of an organ    
with a seat in front of it1  upon which 
is a cushion covered with brocade or cut
 velvet1 which is  most realistic1 and  
on the organ is the name ,johan         
,castellano1 which is  supposed to be   
the name of the intarsiatore1 though    
this name does not  appear in the       
accounts4 ,the custodian called him a   
,bergamase1 ,i do not  know on what     
authority4 ,the designs of the figures  
are ascribed to  ,botticelli1 and some  
of them look as if the ascription might 
possibly be  correct4 ,the only names of
 intarsiatori found in the ducal        
accounts are  ,beneivegni da            
,mercatello1 who worked in the ,sala del
 ,cambio at ,perugia1  and no doubt had 
to do with the making of the doors1     
which resemble that  work1 and perhaps a
 ,taddeo da ,rovigno1 the town from     
which the ,olivetan  ,fra ,sebastian    

came4 ,pungileone1 however1 found a     
payment of seven  florins in #adgc to   
,maestro ,giacomo1 from ,florence1 on   
account of  intarsia for the audience   
hall4 ,dennistoun says that this study  
contained arm-chairs encircling a table 
all mosaicked with tarsia1 and  carved  
by ,maestro ,giacomo of ,florence1 but  
it is now quite bare1  though1          
fortunately1 the tarsie are well        
preserved4 ,he goes on to say  that on  
each compartment of the panelling was   
the portrait of some  famous author and 
an appropriate distich1 which leads one 
to suppose  either that his information 
was inaccurate or that he was referring 
to  the similar small study on the lower
 floor1 in which ,timoteto delle ,vite  
did some painting4    ,the duke and his 
son ,guidobaldo were both great         
builders1 and ,urbino was  not the only 
town in which they raised palaces1      
though the others were  not of so much  
importance4 ,the names by which they    
were denominated show  this4 ,it is     

always the corte at ,urbino1 at ,pesaro 
it is the palazzo1  and at ,gubbio the  
modest casa4 ,nevertheless1 at this last
 place the  intarsias were of almost as 
great importance1 though now the palace 
is  ruinous and the intarsias dispersed1
 some of them being at ,south           
,kensington4 ,dennistoun quotes         
descriptions from ,sig4 ,luigi ,bonfatti
 and  ,mr4 ,f4 ,c4 ,brooke1 which are   
worth reproducing1 as showing the care  
some  times expended on the decoration  
of quite small apartments4 ,this study1 
which was commissioned by ,duke         
,guidobaldo1 is only #ac by #f-a_/b feet
 in  plan1 though it is #ai feet high4  
,the inlaid work only went half-way up1 
as at ,urbino1 the upper part of the    
walls having been covered with          
tapestries4 ,the tarsie showed          
emblematic representations of music1    
literature1 physical science1 geography1
 and war2 bookcases1 or rather          
cupboards1 with their contents1 among   
which were a ship1 a tambourine1        

military weapons1 a cage with a parrot  
in it1 and as if for the sake of        
variety only1 a few volumes of books1   
over one of which1 containing  music1   
with the word ',rosabella' inscribed on 
its pages1 was suspended  a crucifix4   
,on the central case opposite the       
window1 and occupying as it  were the   
place of honour1 was the garter1 with   
its motto1 ',honi soit q4  mal i pense1'
 a device which was sculptured on the   
exterior of the stone  architrave of the
 door of this apartment4 ,it appeared   
again in tarsia in  the recess of the   
window1 where might also be seen1 within
 circles1 ',g4  ,ubaldo ,dx4 and ,fe    
,dux4' ,amongst the devices was the     
crane standing on  one leg1 and holding1
 with the foot of the other1 which is   
raised1 the  stone he is to drop as a   
signal of alarm to his companions4      
,among other  feigned contents of a     
bookcase were an hour-glass1 guitar1 and
 pair of  compasses2 in another were    
seen a dagger1 dried fruits in a small  

basket  made of thin wood1 and a        
tankard1 while in a third was           
represented an  open book surmounted    
with the name of ,guidobaldo1 who       
probably made the  selection inscribed  
on the two pages of the volume1         
comprising verses  #deg-dia of the tenth
 neid4 ,on the cornice was an           
inscription4 ,it was  thought to be the 
work of ,antonio ,mastei of ,gubbio1 a  
famous artist in  wood1 who executed the
 choir of ,s4 ,fortunato at ,todi1 and  
who is known  to have been much in      
favour with ,dukes ,guidobaldo and      
,francesco ,maria  ,i41 the latter of   
whom gave him an exemption from imposts4
    ,in the #agth century tarsia was    
more used for domestic furniture than   
for stationary decoration4 ,the         
character of the design changed in      
consequence1 and mother-of-pearl1 ivory1
 tortoiseshell1 silver1 and  other      
materials were used4 ,the first ,tuscan1
 or one of the first who did  so was    
,andrea ,massari of ,siena4 ,a few works

 in tarsia were still  executed1 but    
none of much importance4 ,the choir of  
,s4 ,sigismondo1  outside ,cremona1     
commenced by ,gabriel ,capra and        
finished by his son  ,domenico in #afje1
 is one of the principal1 and the choir 
of ,s4  ,francesco1 ,perugia1 where     
,fortebraccio was buried1 but this      
latter no  longer exists4 ,marquetry was
 produced in ,florence1 ,venice1 ,milan1
 and  ,genoa down to a still later date1
 but the fashion for ivory and ebony    
carried all before it4 ,the ,italian    
work of this kind is often most         
beautifully engraved1 but less accurate 
than that produced in ,france4  ,the    
later ,italian marquetry does not lose  
decorative effect though the  figure    
drawing becomes very conventional1 and  
the curves of ornament are  often cut   
with a mechanical sweep4 ,a good deal of
 it is in only two  colours1 a return to
 the simplicity of earlier days4        
,,footnotes3    #b ,there were nineteen 
subjects1 divided by channelled         

pilasters with a  carved frieze1 above a
 bench which ran round the circular wall
 from one  doorpost to the other1 the   
whole work crowned with a cornice also  
carved  with foliated ornament4 ,the    
first subject on the right was an open  
cupboard with architects' and joiners'  
tools4 ,the second was the  portrait    
described above4 ,the third showed a    
cupboard half open1 worked  with a      
grille of pierced almond shapes and     
divided4 ,in the upper part  is a naked 
boy1 standing with a ball in his left   
hand1 below is a large  circle with a   
bridge within and without in the form of
 a diamond4 ,within  the closed part of 
the grille one sees a ewer above and a  
basin below4  ,the fourth is a figure of
 ,s4 ,ansano1 half-length1 below whom is
 the head  of a man who receives baptism
 with joined hands1 and the saint with a
  vase in his hand pours water on his   
head1 holding in his right hand a       
standard4 ,the fifth shows a cupboard   
open and shelved in the  middle--above  

is a chalice and paten1 below is a      
salver with fruit  within and falling   
from it4 ,the sixth contains an organ   
case with a man  who1 with raised head1 
enjoys the sweetness of the sounds1 on  
the side  of the organ are the arms of  
the ,opera and below are the arms of the
  rector ,arringhieri4 ,the seventh is a
 cupboard half open with pierced  doors1
 in the upper half a censer1 and an     
incense boat1 with a label  above with  
these words1 ',dirigatur ,domine oratio 
mea sicut incensum in  conspectu tuo4'  
,below is the holy water pot with the   
sprinkler within1  and with a pair of   
sacrament cruets4 ,the eighth shows the 
figure of a  man with a glory and a     
diadem on his head1 with face and right 
arm  raised to heaven1 representing whom
 ,i do not understand2 above him is a   
garden full of different flowers and    
trees4 ,the ninth is a cupboard cut     
across and half open2 in the upper part 
a label with these words ',qui  post me 
venit1 ante me factus est4 ,cujus non   

sum dignus calceamente  solvere2' below 
are different musical instruments1 the  
words above are  set to plain song4 ,the
 tenth1 that is the centre one1 is a    
half-length  of ,s4 ,john ,baptist with 
the cross in his left hand1 and in the  
right a  label with the words1 ',ecce   
,agnus ,dei1' while with his finger he  
points  to ,christ in a figure which    
represents him4 ,the eleventh shows     
another  cupboard half open and shelved1
 above is a label on which are some     
lines  of the hymn of ,s4 ,john         
,baptist1 with notes in plain song and  
with the  name of the author above1     
which was ,alessandro ,agricola1 and    
below is a  flute and a violin with its 
bow4 ,the twelfth is the figure of a    
young  man with a label below which     
says1 ',johannis ,baptist discipulus4'  
,this  is generally thought to represent
 ,s4 ,andrew the apostle4 ,the          
thirteenth  is another open cupboard    
with a shelf4 ,in the upper part is a   
chalice  and more fruit1 and in the     

lower a hollow dish with a foot also    
full of  fruit4 ,the fourteenth shows   
the half-length of a man who plays a    
lute1  above him appears a garden with  
different trees4 ,the fifteenth is a    
cupboard with open division1 with a     
little gate and grating with almond     
shaped openings1 above is a candlestick 
with a candle half burnt1 and  below is 
a box full of yellow tapers4 ,the       
sixteenth represents ,s4  ,catherine    
with her wheel1 half-length1 disputing  
with the tyrant1 before  her is an open 
book on which are cut these words1      
',catharina  disputationis virginitatis 
ac martirii palmam reportat4' ,the      
seventeenth  shows a cupboard divided   
and half closed1 with a grating like the
  others1 above is a missal laid down1  
with a chalice upright1 and a paten  on 
the missal1 and there are also a pair of
 spectacles and another paten  leaning  
against the wall1 below there is a      
closed book which seems to be  a        
breviary1 upon which is an open book    

with these words1 ',ecce mitto  angelum 
meum ante faciem tuam1 qui preparabit   
viam tuam ante te4 ,vox  clamantis in   
deserto2 parate viam ,domini3 rectas    
facite semitas ejus4'  ,the eighteenth  
shows a fine gate through which one sees
 a garden1 within  which appear         
different trees with fruit on them1 and 
at the bottom is a  little table upon   
which is an inkstand with a pen and a   
penknife with a  label which issues from
 the inkstand with these words1         
',alberto  ,aringherio operaio fabre    
factum4' ,the last panel shows an open  
cupboard  with shelf and grating1 above 
is a harp and below is a violin and     
other  musical instruments4 ,the rector 
,arringhieri paid #djij scudi for the   
work  as a matter of compromise on the  
valuing of ,fra ,giovanni da ,verona4   
,it  was in so dark a place that it     
could not be seen except with lighted   
torches1 and it was also damaged because
 it was put in a newly built  place1 the
 walls of which were not sufficiently   

dry to receive such  delicate work4     
,this account was written in #aghf4     
,,the ,,cloistered ,,intarsiatori ,,and 
,,their ,,pupils      ,the ,order of the
 ,olivetans took its rise from the piety
 and liberality  of a ,sienese noble1   
,bernardo ,tolomei1 who1 with two       
companions1 ,ambrogio  ,piccolomini and 
,patricio ,patrizzi1 established himself
 as a hermit on a  barren point of land 
at ,chiusuri1 some miles from ,siena1 in
 the same  manner as did ,s4 ,benedict  
at ,subiaco4 ,this was in #acab1 but the
 ,papal  charter by which the ,order was
 founded dates from #acai4 ,it was      
called  ,monte ,oliveto1 from a vision  
seen by ,guido ,tarlati1 ,bishop of     
,arezzo1  the ,papal commissary1 in     
which the ,virgin ordered that the monks
 should  have a white habit1 and that   
the badge of the ,order should be three 
hills surmounted by a branch of olive4  
,it was a branch of the  ,benedictines1 
and1 like them1 the monks devoted their 
lives to useful  labours4 ,as ,michele  

,caffi says1 ,the ,olivetans did not    
strive in  political or party struggles1
 but spent their simple lives in works  
of  charity and industry1 and showing   
great talent for working in wood        
succeeded to the heirship of the art of 
tarsia in coloured woods1 which  they   
got from ,tuscany4    ,the first master 
of intarsia mentioned among the         
,olivetan monks is a  certain lay       
brother1 laico ,olivetano1 who came from
 ,tuscany in the  first half of the     
fifteenth century1 and taught the art to
 the monks of  ,s4 ,elena1 the island   
which lies just beyond the ,public      
,gardens at  ,venice1 and was so        
beautiful before the iron foundry was   
established  upon it4 ,his principal    
pupil was ,fra ,sebastiano of ,rovigno1 
known as the  ,zoppo ,schiavone1 the    
lame ,slavonian1 who taught ,fra        
,giovanni da ,verona  and ,domenico     
,zambello of ,bergamo1 ,fra ,damiano4   
,fra ,giovanni1 again1 was  master to   
,vincenzo dalle ,vacche and ,raffaello  

da ,brescia1 and perhaps to  the oblate 
of ,s4 ,elena1 ,antonio ,preposito1 in  
#adic4    ,fra ,sebastiano da ,rovigno  
was probably born in #adbj4 ,the        
register of  professions and deaths at  
,monte ,oliveto ,maggiore says--,in     
conventu  ,padu professus est sub die   
#ae ,augusti1 an #adfa1 fr3 ,sebastianus
 de  ,rovinio2 his death is shown by    
another extract--,venetiis1 obiit in    
,mon4 ,s4 ,helen1 anno ,domini1 #aeje1  
fr3 ,sebastianus de ,histria1  conversus
 7lay brother74 ,he was at ,s4 ,maria in
 ,organo1 in #adfd-e and  #adfh-i1 and  
at ,s4 ,elena in #adgi-hj-ha1 and again 
from #adhd to #adid4 ,he  was also at   
,monte ,oliveto #adff-g1 #adgd-e1 and   
#adhb-c1 and at ,s4 ,michele  in ,bosco1
 ,bologna1 from #adid till shortly      
before his death1 in all of  which      
places were important works in tarsia4  
,the inscription in the  corner of the  
sacristy at ,s4 ,elena runs             
thus3--,extremus hic mortalium  operum  
fr3 ,sebastianus de ,ruigno ,montis     

,oliveti1 qui ,,iii4 id3 ,sept3 diem    
obiit1 #aeje4 ,some of his work is in   
the stalls and sacristy cupboards  of   
,s4 ,marco1 signed ,c4,s4,s41 or        
,s4,s4,c41 that is1 ,converso           
,sebastiano  ,schiavone1 or ,seb3 ,sch3 
converso4 ,his pupil ,fra ,giovanni da  
,verona  was one of the most celebrated 
of the carvers and intarsiatori1 and    
left  works in many places in ,italy4   
,he was born in ,verona in #adeg1 and no
 one  has been able to discover either  
his family name nor who his father was4 
,when still a boy he left his native    
town and went into ,tuscany to ,monte   
,oliveto di ,chiusuri of ,siena1 the    
principal monastery of the ,olivetan    
order4 ,he may perhaps have gone with   
,liberale of ,verona1 who was of  about 
the same age1 the first time he went to 
,monte ,oliveto1 in #adfg1 or  more     
probably on the second occasion1 in     
#adgd1 his business being to  illuminate
 the choir books4 ,in the administration
 books of that convent  it is recorded  

that in #adfg ,liberale had as assistant
 a certain  ,bernardino1 and in #adgd   
another whose name is not mentioned4    
,this may  have been ,fra ,giovanni1 who
 might then have learnt to illuminate1  
which  was his first profession1 and in 
which he succeeded excellently4 ,he     
resolved to profess religion about this 
time1 and was received as  novice in the
 beginning of #adge4 ,the year of       
noviciate being passed he  made his     
solemn profession on ,march #be1 #adgf1 
and remained for about  four years more 
in the monastery1 during which time he  
finished his  studies and became priest4
 ,in #adhj he was sent for a short time 
to the  monastery of ,s4 ,elena1 near   
,venice4 ,here he found the lay brother 
,fra  ,sebastiano da ,rovigno1 whom he  
may perhaps have known before1 since    
they  were both at ,monte ,oliveto in   
#adge4 ,at all events he spoke to him   
about  learning his art1 and finding him
 willing to teach him1 set about it     
with so much diligence and assiduity    

that he was soon able to give him       
valuable assistance4 ,the work was on   
the cupboards of the sacristy and  on   
the backs of the choir stalls1 which    
were #cd in number4 ,on these the       
principal cities of the world1 as they  
then were1 were drawn in  perspective   
with great beauty and cleverness4 ,about
 #adhe he went to an  abbey of ,olivetan
 monks at ,villanova1 a small village in
 lower ,lombardy1  where he illuminated 
#bj choral books with heads of saints   
and prophets1  with very beautiful      
borders of flowers1 fruits1 and animals4
 ,these were  sold by an ignorant and   
greedy priest for #ag zecchins1 and only
 a few  of the miniatures have been     
recovered1 which are now kept in the    
sacristy4 ,of them1 ,vincenzo ,sabbia1  
the ,olivetan abbot1 who was            
confratello di religione and nearly     
contemporary1 says1 when  describing the
 abbey and its treasures in #aeid1 that 
there are there  stupendous and         
wonderful choral books to the number of 

twenty1 made  about the year #adhe1 and 
rare and wonderful miniatures are among 
the  letters1 like lovely flowers in a  
delicious garden1 and many most         
beautiful imaginings1 heads of saints   
and of all the ancient prophets1  and   
other wonderful things of like kind1    
made and illuminated by that  celebrated
 ,fra ,giovanni da ,verona1 around the  
text4    ,illustration3 ,plate          
#cj4--,panel from lower row of ,stalls1 
,s4 ,maria in  ,organo1 ,verona4    ,to 
face page #ei4    ,illustration3 ,plate 
#ca4--,panels from ,monte ,oliveto      
,maggiore1 now in  the ,cathedral1      
,siena4    ,to face page #fj4    ,in    
#adij he was summoned to the ,certosa at
 ,pavia to estimate the value of  the   
stalls made by ,bartolommeo dei ,polli1 
in company with ,giacomo dei            
,crocefissi and ,cristoforo de' ,rocchi4
 ,except for these there are no  notices
 of the work which he must have done    
till #aejb1 when the abbot  and monks of
 ,monte ,oliveto ,maggiore1 having      

determined to renew the  choir of their 
church1 confided the work to ,fra       
,giovanni1 and  necessarily recalled    
him4 ,he worked with so much enthusiasm 
that in  three years he entirely        
completed them to his great repute and  
with no  less satisfaction to the monks4
 ,the whole comprised #eb stalls1 with  
their backs1 seats and arm rests1       
kneelers and all things appertaining    
7it now consists of #dh stalls and #dg  
pictures71 and the panels of the  backs 
were worked in tarsia with perspective  
views beautiful to a  marvel1 where were
 figured houses1 views of the country1  
cupboards1  grilles1 sacred utensils1   
and other fancies4 ,in the early years  
of the  #aith century #ch of these      
perspectives were moved to ,siena and   
placed in  the ,cathedral1 where they   
now are4 ,another choir1 smaller but not
 less  beautiful1 was made for the      
church of the ,olivetan monastery of ,s4
  ,benedetto fuori della ,porta at      
,tufi1 near ,siena4 ,this church is in  

ruins2 #ca perspectives from the choir  
were sent to fill the gaps in  ,monte   
,oliveto ,maggiore1 the monks who       
returned after the revocation of  the   
suppression in #ahac having appealed to 
the ,archbishop to allow them  to take  
them4 ,four of the ancient backs were   
found in a corner of the  sacristy1 and 
eight carried to ,siena and found       
superfluous were  returned1 as well as  
one which a neighbouring villager had   
taken4 ,some  of them show the          
conventual buildings as they were at the
 beginning of  the #afth century4 ,the  
frames resemble friezes1 and are        
decorated with  flowers1 fruit1 birds1  
musical instruments1 arms1 and ornament4
 ,each  back is separated from the next 
by a colonnette carved with delicate    
arabesques4 ,in this choir is also an   
,easter candlestick much like that  at  
,s4 ,maria in ,organo1 ,verona1 and     
there are two doors which belonged  to  
the library4 ,pope ,julius ,,ii4 called 
him to ,rome in #aega1 and  commissioned

 the ornamentation of the ,camera della 
,segnatura in the  ,vatican1 the designs
 for which are ascribed to ,raffaelle1  
not only the  seat backs with their     
seats1 but also the doors1 all worked   
with  perspectives1 in which he         
succeeded so well that he gained great  
favour  with the pontiff4 ,then he went 
to ,naples and did the same sort of     
carving and intarsia in the sacristy of 
the choir of the chapel of ,paolo       
,tolosa1 in the church of ,monte        
,oliveto in that city1 works not less   
successful and lauded than those of     
,siena and ,rome4 ,this church is now   
called that of ,s4 ,anna dei ,lombardi4 
,the tarsie in the sacristy are in a    
later setting1 and include nine panels  
of perspectives of landscapes1          
buildings1 c41 nine others showing      
cupboards with objects on the  shelves1 
and one with a figure of an abbot around
 which the following  inscription       
runs3--                                 
,t,,epre,r,p,f,,domi,,de,,lev,,gnk,,abba

tis,,et                                 
,r,p,,aloisii,,de,,saler,,no,,prior4    
,the work is exceedingly delicate1      
pieces of wood no thicker than a thick  
pencil line being often used4 ,in one   
panel is a well-executed lily1 in       
another a hare is a foreground figure1  
in another are an owl and a  bullfinch1 
while a hoopoe appears in another1 with 
mountains behind  him4 ,the objects on  
the shelves of the cupboards are turned 
at queer  angles to show his skill in   
perspective1 but1 since they lack tone1 
do  not appear quite accurate4 ,among   
the architectural subjects are the      
choir of a church1 a harbour1 and a     
castle on a hill1 seen from a           
balustraded terrace1 and a circular     
building a little like that in the      
background of ,raffaelle's ,sposalizio4 
,they were well restored in #ahfj  by   
,c4 ,g4 ,minchiotti4 ,in the monks'     
choir in the church are other  intarsie 
said to be by ,angelo da ,verona1       
,giovanni's brother4 ,they are          

principally arabesques1 somewhat        
resembling the panels in the ,cathedral 
at ,genoa1 but include four figure      
panels of little angels and an          
,annunciation in two panels1 which are  
not without charm1 though rather        
overstiff4    ,illustration3 ,plate     
#cb4--;,frieze from ,monte ,oliveto     
,maggiore4    ,to face page #fb4    ,in 
his last years he returned to ,verona1  
where he had made the monks'  choir in  
,s4 ,maria in ,organo1 and the cupboards
 of the sacristy4 ,these  have the      
reputation of being not only the finest 
of the period but also  the best which  
came from his hand4 ,the ,adige was in  
this church for two  months during one  
of the inundations1 but the tarsie did  
not suffer so  much as might have been  
expected4 ,he accepted a commission in  
#aebc for  some stalls for the ,olivetan
 church at ,lodi1 ,s4 ,cristopher1      
eleven of  which are now in the suburban
 church of ,s4 ,bernardino in that city1
  but died before they were completed4  

,vincenzo ,sabbia writes of  these3--,in
 the year #aebc the reverend father ,fra
 ,filippo ,villani of  ,lodi1 prior of  
the convent of ,s4 ,cristoforo in that  
city1 agreed with  ,fra ,giovanni       
,veronese1 an excellent master of       
perspective1 to make him  #ce pictures  
of perspective at the rate of #cj or #dj
 broad ducats of gold  for each--which  
are worth #e lire #d soldi each--which  
were to be finished  in two or three    
years1 and #cjj broad ducats of gold    
were counted out to  him4 ,the said     
brother was not able to finish more than
 #bc1 because he  died on ,february #aj1
 #aebe4 ,they were sent from ,verona and
 taken to ,lodi1  and in #aehf the new  
church of ,s4 ,cristoforo being         
finished1 ,don  ,agostino1 the prior1   
who had charge of the fabric1 had the   
aforesaid #bc  pictures with their      
ornaments set in the choir by the hand  
of ,paolo  ,sasono4 ,he died in the     
#fhth year of his age1 and was buried in
 ,s4 ,maria  in ,organo4 ,he is called  

prior in a chronicle of the monastery   
under  date #aeaa1 and in the list of   
dead4 ,in his portrait in the sacristy1 
by  ,caroto1 he is represented with the 
tonsure and with the hood and cowl of   
the form which was proper to monks who  
were constituted in sacris4    ,fra     
,raffaello da ,brescia1 whose name was  
,roberto ,marone1 was born in  #adgg4   
,his father's name was ,pietro ,marone1 
and his mother was a  ,venetian1 named  
,cecilia ,tiepolo4 ,when twenty-two     
years old he took the  monastic habit as
 a lay brother in the convent of ,s4    
,nicol di ,rodengo1  near ,brescia1 and 
a little later 7in #aejb7 was sent to   
,monte ,oliveto  ,maggiore4 ,fra        
,giovanni being then established there  
as conventual  brother1 took young      
,marone and taught him1 seeing that he  
had both  liking and talent for the     
work1 so that he soon became a clever   
workman4  ,between #aejd and #aejg he   
worked with him at the choir of ,monte  
,oliveto1  from #aejf to #aeaj he was   

with him at ,naples1 when the famous    
sacristy  panels were being executed1   
and in #aeaa and #aeab he was at ,s4    
,nicol di  ,rodengo1 where he worked at 
the choir of that church4 ,the lectern  
from  ,rodengo is now in the ,galleria  
,tosi at ,brescia2 the inlays are in the
  lower portion1 and show architectural 
compositions in perspective and  the    
usual objects1 such as a censer1 an open
 book1 c4 ,it is signed  ,f4,r4,b4 ,in  
#aeac ,raffaello commenced the          
magnificent choir of ,s4 ,michaele  in  
,bosco1 ,bologna1 and here he also made 
the design for the campanile1  which was
 built by ,maestro ,pedrino di ,como1   
showing that like so many of  the       
intarsiatori he was no mere worker in   
wood4 ,while this work was in  progress 
he executed a lectern for ,monte        
,oliveto1 ordered by the abbot  ,barnaba
 ,cevenini1 who was a ,bolognese4 ,it is
 signed and dated #aebj1 and  shows on  
each side a choir book open1 with notes 
of music and words4 ,in  one of the     

lower panels a black cat symbolises     
fidelity4    ,s4 ,michele in ,bosco was 
among the largest of the ,olivetan      
convents4 ,the  ,benedictines entered   
into possession in #acfd1 but these     
buildings were  destroyed by the        
,bolognese in #adcj1 so that they might 
not give shelter  and a base for        
hostilities to the soldiers of ,martin  
,v4 ,the  re-construction began in      
#adcg4 ,the choir was raised on several 
steps1  and called ,il ,paradiso1 ten   
years later1 but subsequent alterations 
have left very little of the original   
work visible4 ,raffaello's stalls  were 
probably finished in #aeba1 that being  
the date on a panel which was  formerly 
in the centre of the choir4 ,of these   
splendid works only two  confessionals  
still remain in the church4 ,at the time
 of the suppression  of the convents at 
the end of the #ahth century the        
populace1 drunk with  rapine and        
devastation1 tore down these stalls1 and
 they were sold for a  few pence to the 

,bolognese marine store dealers and rag 
merchants4 ,only  #ah of the principal  
row were saved from destruction1 the    
,marquis ,antonio  ,malvezzi buying them
 in #ahab1 and having them restored and 
placed in the  chapel of his family in  
,s4 ,petronio 7now the chapel of the    
,holy  ,sacrament71 where they now are4 
,he was not able to save the hoods and  
shell canopies1 which were sold for     
firewood for #d baiocchi each6 7about   
two pence47 ,the designs are of the     
usual style1 cupboards and various      
objects in perspective2 one of the      
finest is the first on the left1  which 
includes a fine sphere and sundial1 and 
several books written in  ,german       
letters1 black and red1 a chalice in a  
cupboard1 two books1 and a  cross4 ,in  
the seventh is the figure of ,pope      
,gregory in the act of  blessing1 and   
the last on the right shows loggias and 
porticoes of good  style1 well put in   
perspective4 ,with part of the tarsie   
from ,s4 ,michele  pianoforte cases were

 made1 other portions were used for the 
floor of  the ,casino1 near the theatre 
of the ,corso1 and were worn to pieces  
by  the feet of the dancers6 ,in #aebe  
,fra ,raffaello went to ,rome1 and no   
further notices of him or of his work   
occur till his death there in  #aecg2 he
 was buried in ,s4 ,maria in ,campo     
,santo4    ,another somewhat similar set
 of stalls1 though rather later in date1
  also at ,bologna1 are the upper row in
 the choir of ,s4 ,giovanni in ,monte1  
which have on their backs intarsie      
representing monuments1 fantastic       
battlemented buildings1 musical         
instruments1 and geometrical motives1   
all executed with a mastery which       
reveals an artist old at the work4      
,they recall in their general effect    
those in ,s4 ,prospero at ,reggio1 in   
the ,emilia1 which were executed by the 
brothers ,mantelli in #aedf4 ,they  are 
set in a carved framing of arches       
divided by pilasters which  terminate   
above in brackets which support the     

cornice4 ,the pilasters  rest on the    
arms which divide the seats4 ,champeaux 
says they were made  by ,paolo del      
,sacha4    ,the tarsie in ,s4 ,mark's1  
,venice1 were worked by ,fra ,vincenzo  
da ,verona1  another ,olivetan1 under   
whom was ,fra ,pietro da ,padova1       
,jesuit1 with two  youths to assist     
them4 ,the commission was given in      
#aebc4 ,three rooms in  the hospital of 
,messer ,jesu ,cristo were assigned him 
as workshops1 and  #ajj ducats for food 
and clothing1 as stated in the registers
 of the  procurators of ,s4 ,mark's4 ,on
 ,january #ae1 #aebd1 they inspected the
 work  done1 and were not satisfied1 and
 so suspended it1 praising1             
nevertheless1 the manners and the life  
of ,fra ,vincenzo4 ,according to        
,cicogna1 the registers contained1 under
 date ,april #g1 #aebf1 a note of  money
 paid to ,fra ,vincenzio1 of the order  
of the ,jesuits1 for the  finishing of  
the works of inlay in the choir of ,s4  
,marco4 ,on ,february  #be1 #aecg1      

certain moneys were given to more       
workmen for the construction  of the    
doge's seat1 which is said to have been 
a great thing full of  artistic pangs   
7671 and rather hindered the            
genuflections to the  altar4 ,this was  
made for ,andrea ,gritti1 who was doge  
that year4 ,this ,fra  ,vincenzo da     
,verona1 or ,vincenzo dalla ,vacche1 is 
mentioned by ,morello in  his ,notizie  
as excellent1 especially in his work at 
,s4 ,benedetto  ,novello at ,padua1 four
 panels from which are now in the       
,louvre4 ,he  became novice in #adib1   
,conventuale of ,monte ,oliveto in      
#adih1 was a  priest like ,fra          
,giovanni1 and lived almost all his life
 in his native  city4 ,he died in #aeca4
 ,the tarsie in the presbytery at ,s4   
,marco consist  of seven great          
compartments1 five lesser1 and thirteen 
which are small4  ,the eighteen smaller 
compartments are panels of ornament4    
,the others are  figure subjects1 but by
 more than one hand4 ,first comes a     

figure of ,s4  ,mark with a lion at his 
feet1 which is not very good 7it was    
restored in  #ahdh-ej by ,antonio       
,camusso72 next1 a figure of ,charity   
side by side with  one of ,justice1 a   
woman with a baby1 and one holding the  
balances4 ,next  comes a figure of      
,strength or ,courage1 older and rougher
 in character1  then four ornamental    
panels1 a door1 and five others1 also of
 ornament4  ,the next panel in the      
corner bears date #aece1 to which year  
the figures  of ,justice and ,charity   
may be assigned4 ,the other figures are 
,prudence  and ,temperance1 the latter  
of which resembles ,strength in         
character4 ,the  remaining subject1 a   
,piet1 is like ,charity and ,justice1   
and is  masterly4 ,three spaces are     
empty4 ,the doge's seat1 until the fall 
of the  ,republic1 was on the right of  
the principal entrance to the choir1 as 
,sansovino says4 ,it had on its back a  
figure of ,justice1 now in the ,museo   
,civico4 ,he also says that ,sebastiano 

,schiavone did these tarsie1 but he     
died in #aeje4 ,various initials appear 
here and there through the work2  on    
each side of the figure of ,s4 ,mark are
 ,u4,f4,q4 and ,m4,s4,r4 in  cartouches1
 ,charity and ,justice have ,n4 and ,p4 
at the sides1 and  ,prudence has        
,p4,s4,s4 and ,s4,s4,c4 attached to her4
 ,the panels of ornament  seem to be of 
the same period as the figure of        
,charity4    ,illustration3 ,plate      
#cc4--,panel from ,s4 ,mark's1 ,venice4 
,to face page #fh4    ,fra ,damiano of  
,bergamo1 ,fra ,giovanni's fellow-pupil1
 attained1 if  possible1 even greater   
reputation4 ,he was considered the      
finest artist  in tarsia of his time1 he
 having1 with his woods1 coloured to a  
marvel1  raised the art to the rank of  
real painting4 ,his family name was     
,zambello1 he is thought to have been   
born about #adij1 and he became a       
,dominican monk4 ,an anonymous ,,ms4 of 
the #afth century1 published by         
,morelli1 calls him a pupil of a        

,slavonian1 that is1 ,illyrian1 brother 
of  ,venice1 ,fra ,sebastiano da        
,rovigno4 ,he passed the greater part of
 his  life at ,bologna1 in the          
,dominican cloister there1 into which he
 was  admitted in #aebh4 ,in the records
 of the convent for that year occurs the
  note1 ,frater ,damianus de ,bergomo1  
homo peritissimus1 singularissimus1  et 
unicus in l'arte della tarsia1          
conversus1 receptatus fuit in filium    
conventus4 ,at ,s4 ,domenico the choir  
stalls were his first work2 he did      
seven1 containing fourteen subjects and 
seven heads of saints4 ,these  were     
finished in #aecj1 and in consequence of
 their success he was  commissioned to  
complete the choir4 ,he carried the     
tinting of the wood  farther than ,fra  
,giovanni did1 using solutions of       
sublimate of mercury1  of arsenic1 and  
what they called oil of sulphur4 ,he is 
said to have had  ,vignola's designs for
 the architectural parts4    ,charles   
the ,fifth was in ,bologna with ,clement

 ,,vii41 and was crowned  ,emperor in   
,s4 ,petronio on ,december #e1 #aebi4   
,one day he was in ,s4  ,domenico       
admiring the works of art1 and1 doubting
 that the tarsie were  made of tinted   
wood1 as he was told1 drew his rapier   
and cut a bit out  of one of the panels1
 which has always remained in the state 
in which he  left it in memory of his   
act4 ,desiring to see how the work was  
done he  determined to visit ,fra       
,damiano's studio4 ,accordingly1 on     
,march #g1 #aecj1  he took with him     
,alfonso d',este1 ,duke of ,ferrara1 and
 several princes of  his escort1 and    
went to the convent1 when1 being        
conducted to ,fra  ,damiano's poor cell1
 he knocked at the door4 ,the friar1    
having opened  and allowed the ,emperor 
to enter1 shut it quickly4 ,stay1 said  
the  ,emperor1 that is the ,duke of     
,ferrara1 who follows me4 ,i know him1  
answered ,fra ,damiano1 and that is why 
,i will never let him enter my  cell4   
,and why8 said ,charles ,v42 have you   

anything of his doing to  complain of   
then8 ,listen1 your majesty1 answered   
the lay brother4 ,i  had to come from   
,bergamo to ,bologna to undertake the   
work of this choir4  ,i had with me     
these tools which you see1 few in       
number1 but necessary  for the work in  
which it is my study to worthily spend  
my life1 and to  delight in the art4 ,i 
had scarcely touched the frontiers of   
,ferrara when  they not only obliged me1
 a poor friar1 to pay a heavy and unjust
 tax1  but the manner of doing it was   
most offensive4 ,now1 while that duke   
allows such roguery in his ,state1 it is
 right that he should not see  this work
 which you see4 ,charles smiled1 and    
promised to obtain from  ,duke ,alfonso 
the amplest satisfaction4 ,going out of 
the cell he told the  duke the reason of
 ,fra ,damiano's anger1 and he not only 
promised to  repay the loss which he had
 suffered1 but conceded a patent to him1
 by  which he and his pupils were for   
ever free from any tax or duty when     

crossing the duchy of ,ferrara4 ,then   
they all came laughing and joking  into 
the cell1 and ,fra ,damiano1 to show    
them that his tarsie were not  painted  
with a brush took a little plane and    
passed it over a panel with  some force1
 showing how the colours1 after that    
treatment1 still  retained their        
integrity and beauty4 ,and then he gave 
the ,emperor a most  beautiful piece of 
the ,crucifixion1 and another to the    
,duke of ,ferrara1  who valued it       
greatly4 ,locatelli gives some          
conversations between ,fra  ,damiano and
 his assistant ,zanetto1 which must have
 preceded this visit1  which are worth  
recording for their racy expression1    
according well with  his reported       
action4 ,if it were in my power ,i would
 nail up this door  for ,charles and for
 all the dukes of the world4 ,this art  
which ,i  exercise is exceeding dear to 
me1 and ,i hate to have to do with these
  signori who manage things after their 
own fashion2 and sad it is for  those   

who have to endure it4 ,i respect ,his  
,majesty the ,emperor1 and hold  him to 
be a great man1 but the fate of ,rome   
sticks in my throat4 ,that  other1 too1 
who accompanies him-- ,who8 interrupted 
,zanetto1 the  ,pope8 ,oh1 rubbish2 the 
,pope6 ,the ,duke of ,ferrara4 ,with him
 ,i have a  special account1 and he must
 not come here4 ,he also adds the detail
  that ,fra ,damiano had no money with  
him1 and had to go about begging for    
wherewithal to pay the duke's dues till 
he blushed4    ,from #aecj to #aecd he  
worked at a great piece of panelling to 
be placed  in the chapel of the arca1   
the tomb of ,s4 ,dominic1 which is now  
in the  sacristy1 and thought by some to
 be his masterpiece4 ,there are eight   
cupboards in this1 and on each are eight
 subjects4 ,in #aecd the ,order was  so 
poor that such expenses were stopped4   
,seven years later the work was         
recommenced and finished in #aeej by    
,fra ,bernardino and ,fra ,antonio da   
,lunigiano a few months after ,fra      

,damiano's death1 which occurred on     
,august #cj1 #aedi4 ,the choir consists 
of a double row of #bh stalls on each   
side1 making #aab in all1 showing on the
 right subjects from the ,new1 and  on  
the left from the ,old ,testament4      
,those on the right are the best1 and   
are probably ,fra ,damiano's own work4  
,he had as assistants at one time       
,zanetto da ,bergamo1 ,francesco di     
,lorenzo ,zambelli1 and a lay brother1  
,fra ,bernardino1 who afterwards did the
 sacristy door4 ,at another time  his   
brother ,stefano helped him1 together   
with ,zampiero da ,padova1 ,fra         
,antonio ,asinelis1 the brothers ,capo  
di ,ferro of ,lovere1 ,pietro di        
,maffeis1 ,giovanni and ,alessandro     
,belli4 ,the choir of ,s4 ,domenico cost
  #bhji scudi4 ,henry ,,ii4 of ,france  
commissioned a little chapel from him   
with an altar-piece1 for his reputation 
had crossed the ,alps1 and  ,cardinal   
,salviati and ,paul ,,iii41 the ,farnese
 ,pope1 also wished for his  work1 as   

did the ,benedictine monks of ,s4       
,pietro in ,casinense1 at  ,perugia4 ,he
 did for them a two-leaved door1 which  
cost #abj scudi1 now  placed at the back
 of the choir1 and opening on to a      
balcony1 from which  one sees1 in fine  
weather1 as far as the ,castle of       
,spoleto4 ,there are  four subjects1 two
 on each leaf2 the ,annunciation        
illustrated is one of  them4 ,sabba     
,castiglione uses the most enthusiastic 
language about him  and his work4 ,but1 
above all1 those who can obtain them    
decorate their  mansions with the works1
 rather divine than human1 of ,fra      
,damiano1 who  excelled not only in     
perspectives1 like those other worthy   
masters1 but  in landscapes1 in         
backgrounds1 and what is yet more1 in   
figures2 and who  effected in wood as   
much as the great ,apelles did with his 
pencil4 ,i  even think that the colours 
of these woods are more vivid1          
brilliant1  and beautiful than those    
used by painters1 so that these most    

excellent  works may be considered as a 
new style of painting without colours1 a
  thing much to be wondered at4 ,and    
what adds to the marvel is1 that  though
 these works are executed with inlaid   
pieces the eye cannot even  by the      
greatest exertion detect the joints4 ,he
 then goes on in the same  grandiloquent
 strain--,this good father in dyeing    
woods in any colour  that you may wish1 
and in imitation of spotted and marbled 
stones1 as  he has been unique in our   
century1 so ,i think that he will be    
without  equal in the future2 it is     
certain that our ,lord ,god has lent him
 grace1  as ,i believe1 because he      
wished so much that things might be well
 ended1  to put his final work on the   
work of ,s4 ,domenico of ,bologna4 ,i   
think1  indeed ,i am certain1 that it   
will be called the eighth wonder of the 
world2 and as the ,babylonians1 the     
,assyrians1 the ,egyptians1 and the     
,greeks boasted of their temples1       
pyramids1 colossi1 and sepulchres1 thus 

happy ,bologna will be able to glory in 
and to boast of the choir of ,s4        
,domenico4 ,and because ,i do not wish  
that the love and affection that ,i     
bear to my most excellent father should 
make me to be considered a  flatterer   
7671 a thing far from me1 and especially
 with friends about  whom ,i always     
speak the truth1 ,i say no more2 yet all
 that which ,i could  say would be      
little enough on the merit of his rare  
and singular virtue1  and on the        
goodness of his religious and holy life4
 ,fra ,leandro  ,alberti1 in his        
description of ,italy1 speaks in        
something the same  manner--,frate      
,damiano1 lay brother of the ,order of  
,preachers1 has  become a man of as much
 genius as is to be found in the whole  
world at  present1 in putting together  
woods with so much art that they appear 
pictures made with a brush4             
,illustration3 ,plate #cd4--,panel from 
door in ,choir of ,s4 ,pietro in        
,casinense1 ,perugia4    ,to face page  

#gd4    ,a few stalls made by him are   
now in the church of ,s4 ,bartolommeo1  
,bergamo1 which were brought from the   
,dominican church of ,s4 ,stefano1      
destroyed for the fortifications in     
#aefa4 ,the designs were made by ,trozo 
da ,monza1 ,bernardo da ,trevi 78       
,treviglio71 and ,bramantino4 ,as       
,locatelli  says1 they preceded the     
famous choir at ,bologna1 and show the  
master  trying his wings4 ,some think   
that his best works are those in which  
he  did not employ colour1 but only     
shading1 but general opinion considers  
his highest point was reached in the    
doors of ,s4 ,pietro in ,casinense4     
,another ,dominican intarsiatore was    
,fra ,antonio da ,viterbo1 who1 in      
#adcg1  made the doors of ,s4 ,peter's  
at ,rome by order of ,eugenius ,,iv41   
which  were subsequently destroyed by   
,paul ,v4 ,he was paid #hjj ducats of   
gold  before the ,pope died1 when they  
were nearly finished4 ,they were both   
inlaid and carved in the most elaborate 

fashion1 as the list of subjects        
shows3--,the ,saviour1 the ,blessed     
,virgin1 ,,ss4 ,peter and ,paul1 and    
,eugenius on his knees1 the martyrdom of
 ,,ss4 ,peter and ,paul1 ,s4            
,plautilla1 who received the borrowed   
veil from ,s4 ,paul2 the ,coronation  of
 the ,emperor ,sigismund in ,s4 ,peter's
 in #adcc by ,eugenius1 and there  you  
see the ,prefect of ,rome holding the   
sword before him1 their march  through  
,rome1 the union of the ,greek ,church  
with the ,latin1 the entry  of the      
ambassador from the ,king of ,ethiopia1 
and other histories of the  time4 ,he   
had two assistants1 ,valentine and      
,leonardo4    ,illustration3 ,to face   
page #gg4 ,plate #ce4--,lunette from    
,stalls in  ,cathedral1 ,genoa4    ,the 
choir stalls in the ,cathedral at ,genoa
 are attributed to ,francesco  ,zambelli
 of ,bergamo1 a relative of ,fra        
,damiano4 ,he was helped by ,anselmo    
de' ,fornari1 ,andrea and ,elia della   
,rocca1 ,giovanni ,michele de           

,pantaleone1 and ,giovanni ,piccardo1   
who had already worked in the choir  of 
the ,cathedral of ,savona4 ,the contract
 is still extant by which  ,francesco di
 ,zambelli of ,bergamo undertakes to    
make them with three of  the procurators
 for the building and ornamentation of  
,san ,lorenzo1 dated  ,april #ab1 #aedj4
 ,he agrees to get to work not later    
than the first of  ,september next1 and 
to stay in the city till the work is    
done4 ,nor must  he undertake other work
 under a penalty of #ajj scudi1 which he
 is to pay  in such case without demur  
or defence4 ,the procurators agree to   
pay for  every picture1 with its frame1 
according to the design furnished to    
him1  and they also promise to provide  
lodgings for himself and his family     
without any expense to him1 and to give 
him a present when the work is          
finished4 ,on the same day his relative1
 ,fra ,damiano1 promises to make  two   
pictures1 one for the seat of the       
archbishop and one for the doge1  to be 

ready by ,christmas ,day next1 to be    
paid for at the rate of #bg  scudi each1
 measure and design to be given by the  
signory4 ,the same day  the aforesaid   
,magnifici had it explained to them that
 they would have  to pay the expenses of
 making sketches4 ,in the panel with the
 history of  ,moses ,zambelli signs his 
name and domicile4 ,fra ,damiano's      
subjects  appear to be the large ones in
 the panelling before the stalls        
commence1  ,the ,massacre of the        
,innocents and ,the ,martyrdom of ,s4   
,laurence4 ,the  figure subjects are not
 very successful1 the arabesques are    
better2 but  the panels with open       
cupboard doors and objects within are   
not so well  done as ,fra ,giovanni's4  
,the stalls were restored in #ahfh1 and 
a good  deal of new work put in4 ,the   
choir of the ,cathedral of ,savona was  
made  in #aejj by ,anselmo de' ,fornari1
 a native of ,castelnuovo da ,scrivia2  
,pope  ,julius ,,ii4 7della ,rovere71   
who was born in the city1 commissioned  

it4  ,the intarsias are on the elbows of
 the stalls1 half-figures of saints     
nearly life size1 singly or in pairs1   
among which is a portrait of the  donor1
 with perspectives of palaces1 temples1 
or interiors on the backs4  ,the lower  
stalls have less important subjects1    
such as censers1  chalices1 vases of    
flowers1 animals1 armillary spheres1    
musical  instruments1 etc4 ,the cost of 
these stalls was #aacb scudi d'oro      
larghi  7#aj francs each and a little   
more7 half of which was paid by ,julius 
,,ii4 and half by the ,commune of       
,savona4 ,in the same ,cathedral are a  
fine  lectern1 an episcopal throne1 two 
doors of the chapel of our ,lady of the 
,column1 and a fine seat1 the banco     
dell' opera1 commonly called  ,massaria4
 ,upon such a seat sat anciently the    
four citizens elected by  the ,commune  
to attend to the interests of the       
,church governed by them4  ,within this 
bench were preserved the diplomas1      
statutes1 and arguments  held to be most

 important to the greatness of the      
country4 ,anselmo de'  ,fornari was     
helped by ,elia de' ,rocchi1 and the    
commission was given to  them jointly on
 ,january #cj1 #aejj1 on which date     
,cardinal della ,rovere  promised to pay
 #egj ducats towards the expenses4      
,illustration3 ,to face page #gh4       
,plate #cf4--,panel from lower row of   
,stalls1 ,cathedral1 ,savona4           
,another intarsiatore who worked with   
,fra ,damiano was ,giovanni ,francesco  
,capo di ferro of ,lovere1 on ,lake     
,iseo4 ,his masterpiece is the choir of 
,s4 ,maria ,maggiore1 ,bergamo4 ,when it
 was determined to commence it in  #aeba
 the presidents of the church fabric    
sent to various cities of  ,italy1      
especially to ,milan1 to consult over   
the model to be selected for  so        
important a work with the excellent     
painter and architect ,m4 ,bernardo     
,zenale da ,treviglio4 ,in the archives 
of the ,misericordia is a book  entitled
 ,fabbrica ,chori1 in which is noted the

 great expense of the  designs only1    
among which were some made by ,lorenzo  
,lotto1 by  ,alessandro ,bonvicini1     
called ,il ,moretto2 ,andrea ,previtali1
 ,giacomo de'  ,scipioni1 ,filippo      
,zanchi1 ,giuseppe ,belli1 ,domenico di 
,albano1 ,niccolino  ,cabrini1 ,pietro  
da ,nembro1 ,francesco ,boneri1 and     
other painters1 as well  as the making  
of models and other similar operations4 
,those who worked  at carving and tarsia
 under the direction of ,giovanni       
,francesco were his  son ,zinino and    
,pietro his brother1 who lived in ,lodi2
 ,paolo da ,pesaro1  and many others1   
including a whole family1 ,giovanni di  
,ponteranica and  his four sons4 ,the   
part towards the sacristy was designed  
by ,lorenzo  ,lotto1 the rest by        
,alessandro ,belli4 ,the sedilia on the 
,gospel side bear  a signature hung from
 a tree1 ,opus ,jo3 ,franc3 ,d4 ,cap4   
,ferr4 ,bergomi4  ,the four panels      
outside the screen are ,noah entering   
the ark1 the  passage of the ,red ,sea1 

the triumph of ,judith by the death of  
,holofernes1 and the victory of ,david  
over ,goliath4 ,thus ,tassi speaks of   
them--,these1 to speak the truth1 for   
their admirable workmanship1  singular  
art1 and beautiful colouring1 do not    
appear to be pieces of  wood put        
together1 but rather pictures formed by 
an excellent brush1 the  pieces placed  
with such mastery1 and the woods of     
different colours to  form the          
chiaroscuro so arranged with the        
darkening of others that they  make the 
half-tints appear as if really painted  
with oil by the same  ,lotto who made   
the coloured designs1 and as he was a   
celebrated and  finished painter and a  
powerful one1 thus certainly these      
pieces of wood  put together could stand
 in face of paintings by the most       
celebrated  brushes1 which1 beyond the  
exactness of drawing1 gave to their     
works  singular force and finish2 for in
 them all the possible excellences of   
drawing and of art are displayed1 and   

whoever has had the opportunity of  well
 considering them has remained surprised
 and delighted1 never  believing that   
human art could reach so high a pitch of
 perfection4 ,his  last work is         
mentioned in #aecc1 two pictures of     
,samson1 at #fj lire each4  ,in #aedg   
his son ,zinino and his brother         
,giovanni ,pietro went on with the      
choir1 and finished it nine years later4
 ,the total cost for labour alone  was  
#gjjj lire ,imperiali4    ,illustration3
 ,to face page #hj4    ,plate           
#cg4--,panel from the ,ducal ,palace1   
,mantua4    ,in ,spain there must have  
been a good deal of intarsia done1      
seeing how  long the ,moors held the    
southern part of the country1 but very  
little  has come down to us4 ,in the    
,mosque at ,cordova was a finely inlaid 
mihrab  of the #ajth century1 which was 
unfortunately destroyed in the #afth    
century and its material used to make an
 altar4 ,in the ,museum at ,south       
,kensington are some panels with        

,hispano-,moresque geometric inlays of  
bone of the #aeth century1 which are    
very pleasing2 the ground is of         
chestnut1 the bone is often stained     
green1 and metal triangles and  light   
wood are also used4 ,this use of bone1  
which is frequently tinted1  in         
conjunction with black and pale wood1 is
 characteristic of ,spanish  work of the
 #afth century4 ,the design is often    
exceedingly naive1  employing birds1    
animals1 plants1 and trees1 with scrolls
 and monsters4  ,there is one cabinet at
 ,south ,kensington with the animals    
entering the  ark1 which is most        
entertaining4 ,the ,portuguese carried  
this work on  later1 especially at ,goa1
 in the #agth century1 but neither here 
nor in  ,spain is the later work        
tasteful1 except occasionally4 ,cabinets
 were  then made at ,toledo of ebony and
 ivory1 and at ,seville and ,salamanca  
the  same materials were used for chests
 and sideboards4    ,at ,burgos is a    
pulpit decorated with inlay as well as  

carving1 and one  of the most elaborate 
works of marquetry of comparatively     
modern times  is ,spanish4 ,this        
consists of the decoration of four small
 rooms in the  ,escurial1 upon which    
#bh1jjj1jjj reals 7#cjj1jjj7 was spent  
in #ahca4 ,they  are called piezas de   
maderas finas1 rooms of perfect or      
delicate  woods1 and are entirely       
covered with landscapes1 still-life     
subjects1  flowers1 etc41 made of the   
finest and most costly woods1 and almost
 like  paintings2 floor1 frieze1 panels1
 window recesses1 and doors4    ,there  
was a mode of decorating furniture much 
used in ,spain and  ,portugal1          
especially the latter1 in which metal   
plates1 cut and pierced  into elaborate 
and fanciful patterns1 were fastened on 
to the surface of  objects made of black
 wood by means of small pins4 ,from this
 to the  decoration of the same surfaces
 by sinking the metal in the wood is a  
short step1 and some think that this was
 the origin of the metal inlay  so well 

known a little later under the name of  
,boulle work4          ,,in ,,germany   
,,and ,,holland1 ,,england ,,and        
,,france      ,illustration3 ,plate     
#ch4--,panel from the ,rathaus1         
,breslau1 #aefc4    ,to face page #hd4  
,in ,germany there can be little doubt  
that the art first struck root in  the  
southern part of the country1 the towns 
which produced the earliest  furniture  
and other objects decorated in this     
manner being ,augsburg and  ,nuremberg4 
,the first names of workers recorded1   
however1 are those of  the two brothers 
,elfen1 monks of ,s4 ,michael at        
,hildesheim1 who made  altars1 pulpits1 
mass-desks1 and other church furniture  
for their  monastery1 ornamented with   
inlays1 at the beginning of the #afth   
century1  and ,hans ,stengel1 of        
,nuremberg1 but none of the inlaid work 
of either  has come down to us4 ,two    
earlier pieces are figured by ,hefner   
,alteneck1  the harp already referred to
 on p4 #h1 and a folding seat of brown  

wood  inlaid with ivory1 stained yellow 
or light green1 and black or dark  brown
 wood1 in oriental patterns1 both of the
 latter part of the #adth or  beginning 
of the #aeth century4 ,two other names  
are mentioned as capable  craftsmen in  
,nuremberg1 ,wolf ,weiskopf and ,sebald 
,beck2 the latter died  in #aedf4 ,the  
,augsburg work was much sought after1   
the so-called  mosaic work of coloured  
woods4 ,the designs for the panels were 
generally made by painters1             
architectural and perspective subjects  
being  most common1 but flower pieces1  
views of towns1 and historical          
compositions were also made4 ,a ,german 
work thus characterises the later  #afth
 century productions of this type--,a   
certain kind of intarsia  becomes common
 in the ,german panelling and           
architectural woodwork2 also  in        
cabinets1 vases1 and arabesques1 with   
tasteless ruins and  architectural      
subjects with arabesque growths clinging
 all over them1 of  which examples may  

be seen in the museums at ,vienna and   
,berlin1 where  one may also see works  
in ebony with engraved ivory inlays1    
which are  generally more satisfactory4 
,in ,german work1 however1 inlay was    
never of  so much importance as carving1
 and the ,baroque influence almost      
immediately affected the character of   
the design for the worse4 ,at  ,dresden 
and ,munich there were several          
celebrated inlayers in the #agth        
century1 among whom may be named ,hans  
,schieferstein1 ,hans ,kellerthaler1  of
 ,dresden1 and ,simon ,winkler1 ,n4     
,fischer1 and his son ,johann ,georg1 of
  ,munich1 the last of whom1 with his   
contemporary ,adam ,eck1 practised      
relief intarsia1 of which the latter is 
said to have been the inventor4  ,it was
 known in the art trade as ,prger       
arbeit1 which was not a name  which     
accurately described its origin4        
,panellings of walls and doors  were    
often decorated with inlays1 most       
frequently of arabesques1 of  which the 

town halls of ,lbeck and ,danzig furnish
 fine examples4 ,the  ,kriegsstube at   
,lbeck was done by ,antonius ,evers1 who
 in #aeih-i was  master of the joiners' 
guild1 with his companions4 ,the        
,rathsaal at  ,lneburg was made in      
#aeff-gh1 and the name of ,albert von   
,soest is  connected with it4 ,danzig1  
in the ,sommerrathstube1 shows intarsias
 and  decorations of #aeif in which the 
painter ,vriedeman ,vriese and a certain
  ,simon ,herle1 probably a local man1  
collaborated4 ,other similar works may  
be seen at ,brunswick and ,breslau1 at  
,ulm1 in the ,michel ,hofkirche at      
,munich1 and in the ,cathedral at       
,mainz4 ,at ,coburg1 in the so-called   
,hornzimmer1 are intarsias worked from  
the designs of ,lucas ,cranach and      
others1 at ,rothenburgh1 at ,geminden1  
at ,landshut1 and in many places in     
,tyrol and ,steiermark1 most of them    
much mixed with carving1 too numerous   
to describe4 ,the intarsias at the      
,hofkirche at ,innsbruck1 begun in #aefj

  by ,conrad ,gottlieb1 may1 however1 be
 mentioned as being remarkably fine4    
,schleswig ,holstein is full of         
intarsias of the end of the #afth and   
beginning of the #agth century1 of which
 perhaps the finest are in the  chapel  
of the ,castle of ,gottorp4 ,the        
princes' prayer chamber or pew  is      
elaborately panelled1 and the panels are
 all filled with inlays1  mostly        
arabesques4 ,the door and wall panels   
have elaborate architectural  forms in  
relief with base1 frieze1 and pilasters2
 and are also fully  inlaid with        
arabesques1 counterchanged bay by bay4  
,the ceiling is  coffered1 and the male 
and female patterns are counterchanged  
diagonally4 ,bosses of lions' heads and 
rosettes project from the  surfaces of  
the beams1 between which the intarsia   
panels are flat4 ,the  central features 
in the several divisions are sunk1 a    
central oblong  with an oval in centre  
bearing the subject of the ,resurrection
 and two  side diamonds4 ,the panels    

surrounding these have raised mouldings1
 so  that there is considerable variety 
of level1 and the whole is raised on  a 
bracketed cornice1 the flat surface of  
which has small panels inlaid  in the   
same fashion4 ,it was put up in #afab by
 ,duke ,johann ,adolf of  ,schleswig    
,holstein and his wife1 ,augusta of     
,denmark4    ,illustration3 ,plate      
#ci4--,panel from ,church of ,s4 ,mary  
,magdalene1  ,breslau4    ,to face page 
#hf4    ,illustration3 ,plate           
#dj4--,pilaster strip from the ,magdalen
 ,church1  ,breslau4    ,in the ,state  
archives of ,schleswig1 in #afjh1 the   
names of ,andreas  ,sallig1 court       
joiner2 ,jochim ,rosenfeldt1 carver2 and
 others are noted4  ,also in #afji1 with
 the addition of the painter ,herman    
,uhr and ,hans and  ,jrgen ,dreyer1 of  
,schleswig2 also the carver ,hans       
,preuszen1 and ,adam  ,wegener1 the     
figure-cutter4 ,in #afaj the names of   
,jrgen ,koningh1  joiner's workman1     
several carvers1 and ,herman ,uhr1 the  

painter1 occur4  ,in #afaa ,herman ,uhr 
and ,klaus ,barck work in the chapel1   
the first for #aae  days1 and the second
 for #agh days1 and in #afab several    
carvers and  turners work for a long    
time at the rate of five schillings a   
day1 as  well as ,herman ,uhr and his   
assistant4 ,these records distinctly    
suggest  that the painter ,herman ,uhr  
was the designer1 since his name is the 
only  one which appears for four years  
consecutively1 though the long period   
during which he worked in #afab may be  
explained by the number of  paintings   
which cover a portion of the exterior of
 the pew4    ,illustration3 ,plate      
#da4--,panel from ,s4 ,elizabeth's      
,church1 ,breslau4    ,to face page #hh4
    ,in ,south ,germany one often meets 
with musical instruments which are      
inlaid with conventionalised floral     
forms4 ,they were produced in the  #agth
 century in considerable quantities in  
,wurtemburg1 ,bavaria1 and on  the      
,southern ,shores of ,lake ,constance4  

,nor must one forget the                
extraordinarily elaborate ivory inlays  
on the stocks of arquebuses4 ,in  the   
,wallace collection are many examples1  
and attention may be drawn to  a jewel  
box made in #afcj by ,conrad ,cornier1  
arquebus mounter1 which is  decorated   
with most elaborate scrolls1 leaves1 and
 birds of ivory and  mother-of-pearl1   
stained green in parts4 ,it is made of  
walnut1 and has  metal scrolls at the   
corners of the panel framing4 ,the      
,german inlays  on the whole rather run 
to arabesques and strapwork1 or         
naturalistic  vases of flowers1 with    
butterflies and birds2 one meets        
occasional  perspectives and even       
figures1 but the work is generally      
harder and less  successful than the    
,italian technique1 with a larger and   
less  intelligent use of scorched tints4
    ,in the latter part of the #agth    
century they often made the ground of a 
cabinet or panelling of one wood and the
 mouldings which defined the  panels and

 the carved ornaments added of another1 
or even of two others2  the effect is   
not quite happy4 ,tortoiseshell also    
appears1 and metal and  coloured stones2
 the striving after what they thought to
 be greater  artistry soon caused them  
to outstep more and more the proper     
limits of  the art1 and brought about   
decadence4 ,the ,south ,german bride    
chests of  the century before are       
decorated a good deal with inlays1      
,peter  ,flotner's designs often serving
 as patterns2 a little green and red    
appear mixed with the commoner colours4 
,the architectural forms project1  and  
would form a tolerable design by        
themselves1 though scarcely  suitable to
 the object to which they are applied4  
,in ,german work the  cabinets are often
 of the most elaborate architectural    
design1 like the  faade of a palace1    
made of ebony1 or occasionally even of  
ivory1 and  inlaid with ivory1 silver1  
gold and enamels or precious stones4    
,augsburg was the most celebrated place 

for such work4 ,the joiner1 the         
woodcarver1 the lapidary1 and the       
goldsmith all worked together on such   
things4 ,in the ,north of ,germany      
tarsia was principally used on chests1  
cabinets1 seats1 and smaller objects of 
furniture2 in ,south ,germany1  where   
the ,italian influence was stronger1 it 
was much used in  wall-panelling and the
 panels of doors4 ,the little castle of 
,vlthurn1  near ,brixen1 built by the   
bishop of that town in #aehj-he and     
decorated  by ,brixener artists and     
joiners 7now belonging to ,prince       
,lichtenstein71  shows panelled walls   
with architectural features1 columns1   
cornices1  and friezes1 with gabled     
doorways with columns and pediments1    
decorated  with very delicate intarsias1
 foliage ornaments1 flowers1 and fruit1 
a  work which modern ,brixener joiners  
could with difficulty understand2 so    
says ,von ,falke4 ,ebony and ivory work 
came to ,germany in the latter half  of 
the #afth century1 when ,augsburg and   

,nuremberg soon exported their          
productions of this sort to all the     
world1 and with this commercial         
production the use of male and female   
designs begins1 black on white and      
white on black4 ,the latter is the      
better and more valued4 ,hans           
,schieferstein's cabinet1 now at        
,dresden1 a work of this period1 has an 
ingenious use of this mode of inlay4 ,it
 is made of ebony or veneered  with that
 wood1 and has inlays of brown cypress  
and of ivory4 ,the  panel on the inside 
of the door is of the same design as    
that on the  outside1 but what was white
 becomes brown1 what was brown is black1
 and  the black becomes white4          
,illustration3 ,plate #db4--,lower panel
 of door1 #aefd--,tyrolese4    ,to face 
page #ij4    ,in the ,muse ,cluny is a  
wire drawing bench made in #aefe for    
,augustus ,i41  ,elector of ,saxony1 who
 was an amateur craftsman4 ,the two     
longitudinal  surfaces are covered with 
a double frieze of marquetry1 one side  

representing a satirical tournament     
between the ,papacy and ,lutheranism1   
and the other a carousal of wild men4   
,in front one sees the marqueteur  with 
his tools doing his work1 below which he
 has placed his monogram1  ,l--,d41     
accompanied by a cup4    ,in the ,museum
 at ,leipzig is a very fine cabinet1    
with many drawers  within1 elaborately  
inlaid with arabesques on a light       
ground1 with a few  architectural forms 
in ebony projecting4 ,it is ,tyrolese   
work of the  beginning of the #agth     
century1 and is a typical example4 ,to  
the few  names of ,german intarsiatori  
may be added those of ,isaac ,kiening1  
of  ,frissen1 and ,sixtus ,loblein1 of  
,landshut4    ,in the lower ,rhine and  
in ,holland tarsia was used for great   
and small  chests1 sideboards and doors 
with rich gable crownings1 with good    
drawing of flowers1 and sprigs of leaves
 with birds and beasts among  them1 the 
ground being generally light4 ,the doors
 ordered by the ,swedish  ,chamberlain1 

,axel ,oxenstiern1 now in the           
drinking-room of the ,king's  ,castle of
 ,ulriksdal1 near ,stockholm1 are said  
by ,von ,falke to be the  finest        
examples extant of this kind of work1   
and to have been made in  the #agth     
century by a ,dutch craftsman4 ,the best
 period in ,holland was  the second half
 of the #afth and the first half of the 
#agth century4 ,in  the work of this    
period the handling is broad1 and the   
composition often  a little over-full1  
but the many different woods which      
,dutch commerce  made available seduced 
the marqueteurs into too pictorial a    
treatment in  point of colour4 ,their   
reputation was so great that ,colbert   
engaged two  ,dutch marqueteurs1 ,pierre
 ,gole and ,vordt1 for the ,gobelins at 
the  beginning of the #agth century1 and
 ,jean ,mac also learnt the craft by a  
long stay in ,holland4 ,here1 as well as
 in ,france and ,italy1 rich chairs     
were commonly decorated with marquetry1 
and in ,william and ,mary's reign  such 

things became the fashion in ,england4  
,the design employed tulips  and other  
flowers1 foliage1 birds1 etc41 all in   
gay colours2 ivory and  mother-of-pearl 
were used occasionally for salient      
points1 such as eyes4  ,examples of the 
use and misuse of these materials may be
 seen in the  ,victoria and ,albert     
,museum at ,south ,kensington4          
,illustration3 ,plate #dc4--,top of card
 table in the ,drawing-room1            
,roehampton ,house4 ,dutch1 #ahth       
,century4    ,to face page #ib4         
,illustration3 ,plate #dd4--,panelling  
from ,sizergh ,castle1 now in  ,victoria
 and ,albert ,museum4    ,although not  
much work of importance is known in     
,england which is  certainly the        
production of native craftsmen1 a few   
notable examples may  be called to mind1
 such as the room from ,sizergh ,castle1
 now at ,south  ,kensington1 with inlays
 of holly and bog-oak1 and the fine     
suite of  furniture at ,hardwick ,hall1 
made for ,bess of ,hardwick by ,english 

workmen  who had been to ,italy for some
 years4 ,correspondence passed between  
her  and ,sir ,john ,thynne on the      
subject of the craftsmen employed by    
both1  and there seems no doubt that    
,longleat and ,hardwick were the work of
 the  same men4 ,the inlays upon the    
long table are particularly fine1 and   
except for a certain clumsiness almost  
recall the glories of the great  period 
of ,italian marquetry4 ,the cradle of   
,james ,i4 7#aeff7 is enriched  with    
inlays4    ,at ,gilling ,castle1 near   
,wakefield1 are some panels inlaid with 
flowers1  etc41 which local tradition   
says were executed by some of the ladies
 of  the family1 which probably points  
to their having been done under their   
superintendence by local workmen1 and   
small panels of rough inlay are  not    
uncommon in chest and bedstead1         
overmantel and cabinet from the         
,jacobean period onward4 ,s4 ,mary      
,overie1 ,southwark1 possesses a fine   
parish chest decorated with a good deal 

of ,dutch-looking inlay in  conjunction 
with carving1 and a rather unusual piece
 of work may be  seen at ,glastonbury   
,hall1 where the treads and landings of 
the oak  stairs are inlaid with mahogany
 and a light wood with stars and        
lozenges  and a cartouche with a        
monogram and date #agbf4 ,the use of    
satin wood  came into fashion towards   
the end of the eighteenth century1 and  
was  accompanied by a delicate inlay of 
other woods1 which1 however1 scarcely   
went beyond the simplest ornament1 since
 the decoration of furniture by  means  
of painting became fashionable at nearly
 the same period4    ,illustration3     
,plate #de4--;,cabinet with falling     
front1 in the  drawing-room1 ,roehampton
 ,house4    ,to face page #id4    ,it   
was in ,france that the most wonderful  
achievements of the later  marqueteurs  
were produced1 which have made ,french  
furniture recognised  by the public as  
well as by connoisseurs as an art       
manufacture1 in  conjunction with the   

wonderfully chiselled ormolu mountings4 
,mention is  made of intarsia in ,france
 as early as the end of the fifteenth   
century1  however4 ,in the inventory of 
,anne of ,brittanny's effects 7#adih7   
may be  read ung coffret faict de       
musayeque de bois et d'ivoire1 and in a 
still earlier one of the ,duke de       
,berry's1 dated #adaf1 is mentioned a   
grant tableau1 o est la passion de      
,nostre ,seigneur1 fait de poins de     
marqueterie4 ,this is as early as the   
intarsias of ,domenico di ,nicol at     
,siena1 and was probably of foreign     
manufacture4 ,in #aegf a certain ,hans  
,kraus was called marqueteur du roi1 but
 the first ,frenchman known to  have    
practised the art is ,jean ,mac of      
,blois1 who was at work in  ,paris from 
#afdd or earlier to #afgb as sculptor   
and painter4 ,he is said  to have been  
the first who brought intarsia into     
,france1 under the name  of marqueterie1
 having been for some time in the       
,netherlands4 ,his  title was menuisier 

et faiseur de ,cabinets et tableaux en  
marqueterie  de bois4 ,he was lodged in 
the ,louvre in #afdd 7when ,louis ,,xiv4
 was six  years old71 en honneur de la  
longue et belle pratique de son art dans
  les ,pays ,bas4 ,his daughter married 
,pierre ,boulle1 who in #afai was       
turner and joiner to the ,king1 probably
 both to ,louis ,,xiii4 and ,henry      
,,iv4 ,in #afba ,paul ,boulle was born1 
and five years later ,jacques4 ,the     
family was settled at                   
,charenton-le-,pont1 near ,paris1 the   
principal town  of the ,huguenots for   
eighty years4 ,here1 in #afdi1 ,pierre  
,boulle was  buried1 the father of seven
 children4 ,the earlier seventeenth     
century  designs show picturesque       
landscapes or broken ruins or figures1  
motifs  which recur a century later1 as 
in the beautiful panel signed ,follet   
in the ,cabinet by ,claude ,charles     
,saunier in the ,wallace collection4    
,the  colours are occasionally stained1 
and ebony and ivory are favourite       

materials4 ,it is impossible to fix the 
exact time when copper and              
tortoiseshell came into use in ,france4 
,some of the cabinets in which  they    
appear are certainly of the period of   
,louis ,,xiii4 ,it was probably         
imported either from ,spain or          
,flanders2 it became very fashionable   
about the middle of the seventeenth     
century1 and ended by entirely          
absorbing the official orders of the    
,court of ,louis ,,xiv4 ,with this work 
the name of ,boulle is indissolubly     
associated4 ,pierre ,boulle was lodged  
in the ,louvre about #afdb4 ,in #afcf he
 is on the list for #djj livres         
annually4 ,jean ,boulle died in the     
,louvre in #afhj4 ,he was the father of 
,andr ,charles probably1 who was born in
 ,november1 #afdb1 and the nephew  of   
,pierre4 ,andr ,charles ,boulle in #afgb
 succeeded to the lodging of ,jean  ,mac
 in the same building1 and seven years  
later by a second brvet to  the         
demilogement1 formerly occupied by      

,guillaume ,petit to allow him  to      
finish the works executed for ,his      
,majesty's service4 ,it is told of  him 
by a contemporary that the talented boy 
wanted to be a painter1 but  his father 
would not allow it1 and insisted upon   
his keeping to  handicraft4 ,he was a   
man of most varied talent2 when he was  
first  granted apartments in the ,louvre
 it was as joiner1 marqueteur1 gilder1  
and chiseller1 and in the decree of     
,louis ,,xiv41 by which he was          
appointed the first art-joiner to the   
,king1 he is called architect1          
sculptor1 and engraver4 ,he had a       
passion for collecting drawings1        
paintings1 and other works of art1 and  
when his workshops were burnt his       
collection was valued at #fj1jjj livres4
 ,this taste brought him into  money    
difficulties1 and in #agjd his creditors
 obtained a decree  against him1 and he 
would have been imprisoned if the ,king 
had not  extended the safeguard of the  
,palace of the ,louvre to him on        

condition  that he made an arrangement  
with them4 ,he was a member of the      
,academy of  ,s4 ,luke as sculptor and  
brass engraver4 ,the ,cabinet of the    
,dauphin was  considered his            
masterpiece1 in which the walls and     
ceiling were covered  with mirrors in   
ebony frames1 with inlays of rich       
gilding1 and the floor  laid with wood  
mosaic1 in which the initials of the    
,dauphin and his wife  were intertwined4
 ,the drawing made for it is now in the 
,muse des ,arts  ,dcoratifs1 but the    
work itself no longer exists4 ,on       
,august #cjth1 #agbj1  his works were   
burnt1 it was thought by a thief whom   
the workmen of  ,marteau1 his neighbour 
at the ,louvre1 had surprised some      
months before  and punished summarily1  
who1 by way of vengeance on the         
menuisiers1  set fire to the bnistes4   
,nearly everything he possessed was     
either  burnt1 lost1 or stolen2 models  
of the value of #cg1jjj livres1 wood and
  tools worth #be1jjj1 many pieces of   

furniture finished or in course of      
construction2 works in metal1 as well as
 in wood1 and his whole  collection of  
drawings1 paintings1 and objects of art4
 ,his total loss  was estimated by      
experts at #chc1ghj livres1 more than   
#a1jjj1jjj of  francs in the money of   
to-day1 from which an income of #ej1jjj 
francs  might be expected4 ,this        
valuation was on an inventory drawn up  
shortly  after1 perhaps for the purpose 
of getting the ,king's help4 ,the number
 of  undeniable productions of his hand 
is small1 but objects which came from   
the studio after his death are tolerably
 plentiful since his four sons  carried 
on the business1 though not the         
inspiration2 contemporaries             
characterised them as apes4 ,two        
commodes which were in ,louis ,,xvi4's  
bedroom at ,versailles are now in the   
,bibliothque ,mazarin1 and a chest      
which was forgotten in the ,custom      
,house at ,havre now belongs to the     
museum of that city4 ,a cabinet is in   

the ,mobilier ,national1 and a  pedestal
 is in the ,grnes ,gewlbe at ,dresden4  
,other genuine ,boulles are  in the     
,wallace collection1 in the ,rothschild 
collection1 and at the  ,hotel ,cluny4  
,a writing table1 for which the         
millionaire ,samuel ,bernard  7who died 
in #agci71 a great collector of art     
treasures1 had given #ej1jjj  livres1   
appears to be lost4 ,m4 ,luchet asks1   
with some truth1 ,can you  imagine a    
financier1 ,jew or ,christian1 paying   
#ajj1jjj francs for a new  bureau8 ,old1
 it would be another thing--an object of
 art to sell4  ,boulle was most careful 
over his materials4 ,he had #ab1jjj     
livres worth  of wood in his stores1    
fir1 oak1 walnut1 battens1 ,norwegian   
wood1 all  collected and kept long and  
carefully for the benefit of the work4  
,he  also used real tortoiseshell1      
which1 is replaced in the economical art
  industry of the day with gelatine4    
,the mountings were always chiselled1   
cast quite roughly1 so that the artist  

did nearly everything4 ,he was  helped  
in this part of the work by ,domenico   
,cucci and others4 ,the inlay1  instead 
of being tortoiseshell1 may have been   
horn1 mother-of-pearl1  ivory1 or wood2 
the motive1 instead of brass1 may be    
pewter1 silver1  aluminium1 or gold2 it 
is still known by the name of ,boulle   
work4 ,boulle  himself worked intarsia  
of wood also at intervals all through   
his life4  ,he died ,february #bith1    
#agcb4    ,illustration3 ,plate         
#df4--;,cabinet belonging to ,earl      
,granville4 ,boulle  work of about      
#agdj4    ,to face page #if4            
,illustration3 ,plate #dg4--,top of     
writing table in  the ,saloon1          
,roehampton ,house4 ,period of ,louis   
,,xv4    ,illustration3 ,plate          
#dh4--;,encoignure1 signed ,j4 ,f4      
,oeben1 in the ,jones  bequest1         
,victoria and ,albert ,museum4    ,to   
face page #ih4    ,his pupil1 ,j4 ,f4   
,oben1 became bniste du roi1 with a     
lodging in the  dpendances of the       

,arsenal in #aged4 ,he was marqueteur   
especially4  ,examples of his work are  
both at ,south ,kensington and in the   
,wallace  collection1 and in the        
,gallerie d',apollon at the ,louvre is  
the great  secretary bureau1 which he   
was making for ,louis ,,xv4 at the time 
of his  death1 in or about #agfe4 ,his  
widow carried on the establishment2 her 
foreman1 ,j4 ,henry ,riesener1 completed
 the unfinished work4 ,he was also a    
,german1 born in #agce at ,gladbach1    
near ,cologne1 and coming to ,paris     
quite young entered ,oben's atelier4 ,on
 his death he was made foreman1  and two
 years after1 when he was thirty-two    
years of age1 married his  master's     
widow4 ,the year following #agfh he was 
received as master  menuisier bniste4   
,in #aggf his wife died1 and six years  
after he  married again1 but was        
divorced as soon as the new legislation 
allowed  it4 ,when he was married the   
first time he had no fortune1 but       
fifteen  years after he declared in his 

marriage contract that there was then   
owing to him by the ,king1 the royal    
family1 and other debtors #ejd1ega      
livres1 without counting the finished   
objects in his warehouses1 his  models  
of bronze1 his jewels1 and personal     
effects1 and several  important life    
annuities4 ,between #agge and #aghe he  
received from the  ,garde ,meuble       
#ejj1jjj livres1 so profitable had the  
production of  furniture of the highest 
class become4 ,he was in full work at   
the time  of the ,revolution1 and two of
 his finest pieces bear the dates #agij 
and  #agia in their marquetry4 ,when the
 furniture of the royal residences was  
sold1 ,riesener bought back several     
pieces1 being aided by ,charles         
,delacroix1 the husband of his first    
wife's daughter1 who directed the  sale 
at ,versailles4 ,he tried to sell these 
again1 but with poor success1  and when 
he died1 on ,january #hth1 #ahjf1 at the
 age of #ga1 he was again  almost       
without fortune4 ,his beautiful bureau  

secretary in the ,wallace  collection1  
made for ,stanislas ,leczinski1 ,king of
 ,poland1 and dated  #agfi1 shows him at
 his best4 ,the workmanship is superb1  
and the design  most pleasing1 almost   
the only point to which exception may be
 taken  being the crude green1 obtained 
by staining1 here and there4 ,the       
half-length of ,secrecy in the oval     
cartouche at the back is as good as  the
 best ,italian figure work1 and was     
often reproduced by him4 ,the  flower   
panels are particularly delicate and    
beautiful4 ,there is an  upright        
secretary1 also by him1 in the same     
collection almost equally  delicate and 
beautiful in its marquetry decorations4 
,the diaper patterns  so characteristic 
of this period are most beautifully     
executed1 but are  not very interesting1
 and the mountings take the interest    
rather from  the marquetry1 becoming    
more and more delicately designed and   
elaborately worked4 ,the principal woods
 used by ,riesener were tulip and  rose 

wood1 holly1 maple1 laburnum1 purple    
wood1 and sometimes snake  wood4 ,his   
contemporary1 ,david ,roentgen1 used    
principally pear1 lime1 and             
light-coloured woods1 burnt for the     
shades4    ,illustration3 ,plate        
#di4--,panel from back of ,riesener's   
bureau1 made  for ,stanislas ,leczinski1
 with figure of ,secrecy4    ,to face   
page #ajj4    ,illustration3 ,plate     
#ej4--,roundel from bureau1 made for    
,stanislas  ,leczinski1 ,king of        
,poland1 now in the ,wallace            
,collection4    ,to face page #ajb4     
,paris has endured a regular invasion of
 ,german craftsmen from the middle  of  
the eighteenth century1 and the         
,faubourg ,s4 ,antoine still has a      
number of ,german-born joiners among its
 workmen4 ,among the most  celebrated of
 them was ,david ,roentgen1 born either 
at ,neuwied or  ,herrenhagen in #agdc4  
,in #aggb he succeeded his father1      
,abraham ,roentgen1  in his business at 
,neuwied am ,rhein1 which he had founded

 in #agec1 and  from which he retired   
into the house of the ,moravian         
brethren1 where he  lived for twenty    
years longer4 ,the engraver ,wille      
relates that he came  to his house in   
,paris in #aggd with letters of         
recommendation1 and that  he put him in 
touch with designers and sculptors4     
,when ,marie ,antoinette  became ,queen 
he was appointed bniste mchanicien to   
the ,queen4 ,he  was in such good odour 
with her as to be charged on several    
occasions to  carry presents to her     
mother and sisters4 ,her favour excited 
the  jealousy of the other joiners1 and 
they contested his right to sell        
foreign-made furniture4 ,he got out of  
this difficulty by being admitted  a    
member of their corporation on ,may     
#bdth1 #aghj4 ,he was so entirely       
master of his craft1 and increased its  
resources so much by using exotic       
woods1 that contemporary opinion thought
 it difficult to imagine greater        
success in the particular direction in  

which he worked4 ,in #aggi he  showed a 
table of marquetry1 made in a new       
fashion1 which he described  as a       
mosaic1 in which the shades are neither 
burnt1 nor engraved1 nor  darkened with 
smoke1 as one has been obliged to       
express them until now1  a return in    
fact to the earlier ,italian method4    
,his designs were many of  them made by 
,johann ,zick of ,coblenz1 others by    
,jean ,baptiste ,le ,prince1            
chinoiseries1 and shepherd games4 ,under
 him the later ,german marqueterie      
reached its highest point4 ,his works   
went all over ,europe1 from ,st4        
,petersburg to ,paris1 and replicas were
 ordered by those who were obliged  to  
forego the originals4 ,he sold to       
,catherine of ,russia a series of       
articles of furniture for #bj1jjj       
roubles1 and the ,empress added a       
present of #ejjj roubles and a gold     
snuff-box4 ,the ,king of ,prussia was   
his constant protector1 and in          
,february1 #agib1 gave him the title of 

,secret ,councillor1 and in ,november of
 the same year named him ,royal  ,agent 
on the ,lower ,rhine4 ,the ,revolution  
ruined him1 and he was obliged  in #agif
 to close his factory4 ,he abandoned    
,france at this period1 and  the        
,government1 considering him as an      
,emigr1 seized all his effects  in      
#agic1 including the furniture made at  
,neuwied1 then in his stores4 ,he  died 
at ,wiesbaden in #ahjg4 ,with him these 
incomplete historical notes  may        
terminate4 ,many of the names mentioned 
are but names1 while in many  cases     
names and works cannot be connected1 for
 the carver and  intarsiatori were      
often1 like other craftsmen1 content to 
do the work  without caring about the   
reputation of doing it2 but the cases in
 which  facts of the lives or work of   
these men have been preserved are so    
much  the more interesting from their   
rarity1 and certainly do not show them  
to any disadvantage compared with other 
artists1 or those among whom  their     

lives were passed4          ,,the       
,,process ,,of ,,manufacture      ,the  
early mode of working intarsia in       
,italy1 where it is more than #ajj      
years more ancient than in any other    
country1 was by sinking forms in  the   
wood1 according to a prearranged design1
 and then filling the  hollows with     
pieces of different coloured woods4 ,at 
first the number of  colours used was   
very small--indeed1 ,vasari says that   
the only tints  employed were black and 
white1 but this must be interpreted     
freely1  since the colour of wood is not
 generally uniform1 and there would     
consequently often be a difference in   
tint in portions cut from  different    
parts of the same plank4 ,a cypress     
chest of #acej1 now in the  ,victoria   
and ,albert ,museum1 shows another mode 
of decoration standing  between tarsia  
proper and the medival ,german and      
,french fashion of  sinking the ground  
round the ornament and colouring it4 ,in
 this example  the design is incised1   

the ground cleared out to a slight      
depth1 and the  internal lines of the   
drawing and the background spaces filled
 in with a  black mastic1 the result    
much resembling niello4 ,if dark wood be
  substituted for the mastic background 
we have almost the effect of  the stalls
 of the chapel of the ,palazzo ,pubblico
 at ,siena1 which1 though  an early work
 of ,domenico di ,nicol1 are well       
considered in design1 well  executed1   
and quite satisfactory in point of      
harmony between material  and design4   
,illustration3 ,plate #ea4--;,antonio   
,barili at work1 by himself4    ,to face
 page #ajd4    ,at the commencement of  
the ,renaissance the fancy of the       
intarsiatori  overflowed in the most    
graceful arabesques1 which are perfectly
 suited  to the material and are often  
executed with absolute perfection1 and  
these may perhaps be held to be the most
 entirely satisfactory of their  works1 
though not the most marvellous4 ,the    
ambition of the craftsman led  him to   

emulate the achievements of the painter1
 and we find1 after the  invention of   
perspective drawing1 views of streets   
and other  architectural subjects1 which
 are not always very successful1 and the
  representation of cupboards1 the doors
 of which are partly open1 showing      
objects of different kinds on the       
shelves1 which are often rendered with  
the most extraordinary realism1 when the
 means adopted are  considered4#c ,this 
realism was much assisted by ,fra       
,giovanni da  ,verona's discovery of    
acid solutions and stains for treating  
the wood1  so as to get more variety of 
colour1 and by the practice of scorching
  portions of the pieces of which the   
subject was composed1 thus  suggesting  
roundness by means of shading4 ,it was a
 common practice to  increase the       
decorative effect by means of gilding   
and paint1 thus  obtaining a brilliancy 
of colour at the expense of unity of    
effect  sometimes1 one may think1 if one
 may judge from the panels in the stalls

  at the ,certosa of ,pavia--though     
perhaps it is scarcely fair to take them
  as examples of the effect of the older
 work since they have been  restored in 
modern times4 ,at the best period it was
 used almost entirely  for church       
furniture and the furnishings of public 
edifices1 in ,italy at  least1 and many 
of the ranges of stalls still occupy    
their original  positions4              
,illustration3 ,plate #eb4--,panel from 
the ,victoria and ,albert ,museum4      
,to face page #ajf4    ,the principal   
woods used in the work of the best      
period were pear1  walnut1 and maple1   
though pine and cypress also appear4    
,ebony was  imitated with a tincture of 
gall apples1 green was obtained with    
verdigris1 and red with cochineal4      
,sublimate of mercury1 arsenical acid1  
and sulphuric acid were also used to    
affect the colour of the wood4 ,this    
treatment lessened its lasting power1   
and often caused its decay through  the 
attacks of worms4 ,the scorching was    

done with molten lead1 or in  very dark 
places with a soldering-iron4 ,it is now
 done with hot sand4  ,the following    
technical description is taken from a   
,german book of  #affi--,wood-workers   
paint with quite thin little bits of    
wood1 which  are coloured in different  
ways1 and the same are put together     
after  the form of the design in        
hollowed-out panels1 fastened with glue 
and  polished with an iron on the       
surface so that they may become quite   
smooth4 ,they paint at the present time 
in this manner tables and jewel  chests 
or trays1 and all in the highest        
artistic manner4 ,also separate         
pictures are put together1 which copy   
the works of the most celebrated        
masters4 ,first1 they take small1 very  
thin pieces of pear or lime dyed        
through with different colour-stuffs1   
which are prepared by certain           
processes1 so that the wood is the same 
colour within and without4 ,then  they  
give them their several shapes as the   

kind of picture requires1  cutting them 
according to the size and shape1 and    
stick them with glue  on the board4 ,in 
the place of wood they sometimes use    
bone1 horn1 and  tortoiseshell cut into 
fine strips1 also ivory and silver4 ,the
 whole  work is called by the ,germans  
',einlegen' or ',furnieren1' because    
although each piece is separate from the
 others no part is taken out  from the  
surface in which such figures are       
inlaid1 but the whole is  covered4 ,with
 the use of the fret-saw for cutting the
 patterns1 and the  consequent discovery
 of the possibility of counterchanging  
the ground  and the design 7that which  
was black becoming white1 and vice      
vers71  called male and female forms1   
the manufacture of tarsia1 or marquetry 
rather1 commenced to take a more        
commercial aspect1 the cost being       
considerably reduced by the making of   
several copies by one sawing4 ,this  is 
the process used at the present day4    
,the durability of inlaid work depends  

upon the tightness and  completeness    
with which the inlaid parts are fitted  
together or mortised  into the main body
 or bed of the wood1 and also on the    
level grounding  out of the matrix4 ,in 
,spanish and ,portuguese work ivory or  
ebony pins or  pegs were used also4     
,marquetry is a form of veneering1 and  
the operation  is thus conducted3--,the 
under surface of the veneer and the     
upper  surface of the bed are both      
carefully levelled and toothed over so  
as to  get a clean1 newly-worked        
surface2 the ground is then well wetted 
with  glue1 at a high temperature1 and  
the two surfaces pressed tightly        
together so as to squeeze as much out as
 possible4 ,the parts are screwed  down 
on heated metal beds1 or between wooden 
frames1 made so as to  exactly fit the  
surfaces in every part1 called cauls1   
until the glue  is hard4 ,in cutting the
 patterns of ,boulle work two or three  
slices of  material1 such as brass and  
tortoiseshell or ebony1 are glued       

together  with paper between1 so that   
they may be easily separated when the   
cutting is done4 ,another piece of paper
 is glued outside1 upon which the       
pattern is indicated4 ,a fine watch     
spring saw is then introduced  through a
 hole in an unimportant part of the     
design1 and the patterns  sawn out as in
 ordinary fretwork4 ,the slices are then
 separated1 and  that cut out of one    
slice is fitted into the others so that 
one cutting  produces several           
repetitions of the design with          
variations in ground and  pattern4 ,when
 there are only two slices of material  
the technical term  for them is ,boulle 
and ,counter4 ,when the various parts   
have been  arranged in their places1    
face downwards1 paper is glued over them
 to  keep the whole in place1 and       
filings of the material rubbed in to    
fill  up any interstices4 ,the whole is 
then toothed over and laid down in the  
same manner as ordinary veneer1 the     
ground being first rubbed over with     

garlic1 or some acid1 to remove any     
traces of grease4 ,marquetry of wood  is
 made in the same way1 but more         
thicknesses of wood are put together  to
 be sawn through1 as many as four not   
being an unusual number1 while  for     
common work even eight may be sawn at   
one time1 and the various  sheets are   
pinned together only with a stiff       
backing of common veneer of  good       
thickness to steady the work4 ,dye woods
 are used as far as  possible1 and holly
 stained to the required colour serves  
for greens and  blues and a few other   
tints4 ,pearl is always cut in one      
thickness1 and  is glued down on a      
backing of wood at least #a_/h-;inch    
thick4    ,another mode of cutting the  
design approximates more nearly to the  
ancient practice4 ,the whole design is  
drawn on paper attached to the  ground1 
or counter1 and cut out entirely4 ,the  
various portions of inlay  are then cut 
from different veneers of the desired   
colour and fitted  into their places4   

,another method is to paste the paper   
with the whole  design on the ground1   
and on it to paste the various ornaments
 cut from  suitable veneers1 then to cut
 through the ground1 the saw grazing the
  edges of the ornamental forms4 ,the   
parts so cut out are then pushed        
through the ornaments1 separated from   
the paper1 and laid down in the  vacant 
places4 ,a variation on this method is  
to cut out the forms to be  inlaid in   
different veneers1 and glue them in     
their proper positions on  a sheet of   
paper4 ,a sheet of white paper is pasted
 on the veneer1 which  is to serve as   
the ground4 ,a sheet of blackened paper 
is laid over it1  and over this the     
sheet with the forms to be inlaid1 which
 are then  struck with a light mallet1  
so as to print an impression of their   
edges  upon the paper4 ,the printed     
shapes are then cut out one at a time1  
care  being taken to make the saw       
exactly follow the outline4 ,the object 
of  all these processes is1 of course1  

to ensure the ground and the inlaid     
forms exactly fitting4 ,after cleaning  
the surface from paper and glue it  is  
smoothed with plane and scraper1 and the
 markings on leaves or other  figures   
made by a graver1 if not already made by
 saw cuts1 and they and  the lines      
between the male and female forms are   
filled with shellac or  wood-dust and   
glue4    ,in ,germany the veneers used  
are one to two millimetres thick1 i4e41 
one-twenty-fifth or two-twenty-fifths of
 an inch4 ,the principal woods  used are
 walnut1 pear1 ash1 bird maple1 holly1  
olive1 amboyna1 rose  wood1 violet wood1
 thuya1 and palisander1 which name is   
also used on the  ,continent for rose   
wood and violet1 though it is really a  
sort of cedar4  ,tortoiseshell1 ivory1  
and metal plates are also used1         
principally of  pewter1 brass1 and zinc4
 ,seeman's ,kunstgewerbliche ,handbcher 
advise  thus3--,when ivory or hard      
precious metals are used it is better to
  divide the design into smaller parts4 

,to avoid damage to the effect by  time 
and change of colour in the woods such  
combinations as the  following are to be
 preferred3--,mahogany and black walnut1
 pear and  black walnut1 ,hungarian ash 
and black thuya1 pear and palisander1   
brass  and black1 etc4 ,for fine1 small 
ornament smooth1 even-textured woods    
should be used such as pear1 mahogany1  
maple1 or holly2 for broad  patches and 
backgrounds1 which are not required to  
be dark1 you should  use patterned or   
streaked woods1 like bird maple1        
amboyna1 thuya1 or  olive4 ,ivory1      
mother-of-pearl1 and metals in large    
pieces look hard and  loud1 so it is    
better to use them in quite small       
pieces4 ,if engraved1  larger pieces may
 be employed and used for inscription   
tablets1 coats of  arms1 and cartouches1
 or for bits of figures1 birds1 and     
butterflies4  ,shading may be done in   
various ways4 ,lines may be engraved and
 filled up  with a glue cement1 or      
hatchings may be drawn with a scorching 

solution1  or the wood may be burnt with
 hot sand4 ,the sand is made hot in an  
iron  pot1 and the piece to be darkened 
inserted4 ,or it may be scorched with a 
hot iron or spirit or gas flame4 ,the   
simplest way is with the poker used  in 
poker work4 ,in ,england the sand is    
heaped upon a metal plate which  is     
heated underneath4 ,the veneer is held  
with tweezers and pushed into  the sand1
 the gradation of heat giving gradation 
of tone4 ,the hot sand  shrinks the     
wood1 and allowance must be made for    
this4    ,veneers are both saw and knife
 cut2 the saw wastes about as much as   
the  thickness cut in sawdust4 ,they    
range from #h to #ae to the inch4 ,the  
,french saw-cut their veneers thinner   
than the ,english do4    ,the woods in  
every-day use at the present day are    
white holly1 box1 pear  7in various     
shades71 and holly 7dyed all colours72  
while the veneer  merchants sometimes   
supply also planetree1 sycamore1        
chestnut1  ,brazilwood1 yellow fustic1  

barwood1 tulipwood1 kingwood1 ,east and 
,west  ,india satinwood1 rosewood1      
ebony1 ash1 harewood1 ,indian           
purplewood1  hornbeam1 and snakewood4   
,bird's-eye maple and partridgewood may 
also be  bought4    ,dye woods used for 
marquetry--,braziletto1 cam wood1       
logwood1 ,nicaragua1  red sanders1      
sapan1 ebony1 fustic 7a species of      
mulberry71 ,zante 7a  species of        
sumach74 ,ebony is the black pear tree  
of ,madagascar1 at  least they make     
cider of its fruit4 ,so says ,m4 ,luchet
 in an interesting  excursus on         
furniture manufacture in his book on the
 ,paris ,exhibition of  #ahfg1 in which 
he gives further details of ancient     
manufacture and its  modern imitation4  
,i know a factory1 he says1 where the   
tortoiseshell  is false1 the            
mother-of-pearl false1 the ivory holly  
wood2 the brass is  the only real thing1
 because science applied to industry has
 not yet  found out how to imitate it4  
,when ,boulle employed wood in his work 

it  was ebony--they have abandoned that 
for blackened pear wood1 under the      
pretext that ebony is a hard1 close wood
 which twists1 splits1 and  cracks1     
takes glue badly1 and refuses varnish4  
,so that they call a man  who never uses
 ebony 'bniste4' ,they did not trouble  
about these things  in the time of      
,louis ,,xiv4 ,they never varnished     
their furniture1 so it  did not matter  
that ebony would not take varnish4444   
,there are two sorts  of tortoiseshell1 
that of the ,antilles1 often bad and    
scaly1 but good  enough for common work1
 because it is thin and equal in        
thickness1 and a  little carmine        
vermilion gives it a not unpleasant red 
tint4 ,the ,indian  tortoiseshell is    
thick and opaque and unequal1 demanding 
preparation and  welding4 ,it can only  
be used for expensive work1 and takes   
easily a  black preparation which makes 
it magnificently austere4 ,one ought to 
mention here that good shell was often  
treated with carmine vermilion or  with 

gold1 and that without a colour         
background it loses half its beauty  and
 value4    ,in modern times six or eight
 couples of shell and metal are sawn    
together1 whereas two was the number in 
the fine period4 ,this saves  money4 ,a 
new ,boulle bed1 secretary1 or chest of 
drawers should cost #ae  to #bj1jjj     
francs4 ,you may easily get one for     
#bjjj made of rubbish4 ,an  honest chest
 of drawers with tolerable mountings is 
worth #aejj francs4  ,in gelatine       
tortoiseshell and brass or zinc of the  
future #ajj is the  price4444 ,the mode 
still practised in ,paris of making a   
good 'placage'  in preparation for      
marquetry or ,boulle work is as         
follows3--,a thicker or  thinner sheet  
of ,italian poplar is placed between two
 sheets of oak with  the grain the other
 way1 then on the external sheet of oak 
is placed the  wood intended to be seen1
 also with the grain the other way1 the 
whole  of convenient thickness1 and     
glued with the best glue4 ,good glue is 

the  nurse of the wood1 say the masters4
 ,these four or five thicknesses of     
wood pulling against each other         
neutralise all bad effects1 and the     
result is very good4 ,the external      
covering is usually either mahogany1    
,american walnut1 or violet wood 7a sort
 of cedar74 ,sometimes it is  ebony1 or 
perhaps a collection of small pieces of 
wood1 such as acacia1  which are called 
by all sorts of pretty names4 ,it is of 
this fine and  good 'plaqu' that they   
still make cupboards at #ajjj francs1   
beds at #fjj  francs1 and bureaus at    
#hjj francs1 which are the success and  
the pride  of ,parisian joinery4 ,the   
marqueteurs of ,nice made use of olive  
for  veined grey backgrounds1 orange and
 lemon for pale yellow1 carob for  dark 
red1 jujube tree for rose colour1 holly 
for white1 and charred fig  for black2  
arbutus served for dark flesh1 and      
sumach for light4    ,it is advisable   
after the marquetry has been put        
together to reduce the  surface to a    

level and do something in the way of    
polishing1 though it  is not necessary  
to carry the process as far as is often 
done by the  cheap furniture            
manufacturers4 ,if nothing but wood has 
been used1 the  surface should be       
reduced to a level with a toothing plane
 and scraped  with a joiner's scraper1  
taking care to apply it obliquely to the
 joints  as far as possible1 so as to   
avoid digging down and so failing in the
  object aimed at4 ,if done very well   
and carefully it sometimes only         
requires to be rubbed down with its own 
shavings1 but it is more usually        
necessary to follow with a worn piece of
 glass-paper on a flat piece of  cork1  
but the dust must not be allowed to     
collect into hard lumps upon  it1 as    
these lumps would scratch the surface4  
,holtzapffel says that when  metal1     
ivory1 pearl1 shell1 or tortoiseshell   
are mixed with the wood the  surface    
must be carefully levelled with flat    
files1 ending with a very  smooth one1  

after which the scraper should be used  
if possible and  followed by glass or   
emery paper very sparingly4 ,when metal 
preponderates emery paper is best1 and  
really good sand paper may also  be     
used1 but all paper should have very    
little cut1 should be applied  dry1 and 
allowed to become clogged1 so as to act 
principally as a hard  dry rubber or    
burnisher4 ,if the polishing is at all  
in excess the wood  will get rubbed or  
worn down below the metal4 ,the fine    
finish required  when tortoiseshell and 
metal are used is got by rubbing with   
blocks of  charcoal used endways with   
oil and the finest rotten-stone powder1 
much  like polishing marble1 using oil  
instead of water4 ,wet polishing should 
not be used for inlaid works2 the water 
may soften the glue4 ,a  superficial    
wetting is likely to warp the woods and 
make them curl up at  the edges1 and the
 grain of the wood is almost certain to 
rise4 ,oil is  better than water1 but   
light woods are almost certain to become

 stained  by polishing powders and      
fluid4 ,to avoid this modern marquetry  
is often  covered with varnish applied  
with friction like ,french polish1 or   
laid  on in several coats with a brush  
and polished off with pumice and rotten 
stone1 like the ,vernis ,martin1 being  
first levelled with a file or  scraper  
and smoothed with glass-paper4          
,,footnotes3    #c ,the panel           
illustrated from the ,albert and        
,victoria ,museum is a good  average    
specimen of this kind1 but not quite a  
masterpiece4          ,,the             
,,limitations ,,and ,,capabilities ,,of 
,,the ,,art      ,the process described1
 by which the early works in intarsia   
were  produced1 was slow and tedious2   
and1 as may be supposed1 though fame    
might be won by its exercise1 the       
winning of fortune was a very  different
 thing4 ,domenico di ,nicol1 who made   
the stalls in the chapel  of the        
,palazzo ,pubblico1 ,siena1 and was     
thence called del ,coro1 or  dei ,cori1 

a name which descended to his children  
in place of their  proper name of       
,spinelli1 is an example in point4 ,the 
petitions to the  priors already        
referred to1 printed in ,milanesi's     
,documenti per la  ,storia dell' ,arte  
,senese1 show how little a man of       
talent1 who was  constantly employed for
 many years and gained great reputation 
in his  art1 could do to provide for his
 old age2 and many returns of both      
painters1 sculptors1 and woodworkers1   
made for the purposes of taxation  and  
printed in the same book1 show that even
 in a great and flourishing  town like  
,siena1 which prided itself on its      
artistic reputation1 it was  often most 
difficult for the craftsmen1 on whose   
work that reputation  was based1 to make
 a living4#d ,it is true that there were
 thirty-four  workshops for wood carving
 and intarsia in ,florence at one time  
7#adgh1  as ,fabroni says in his life of
 ,lorenzo the ,magnificent71 from which 
one  may conclude that work of a certain

 sort was plentiful and lucrative1  and 
panels of intarsia were certainly       
sometimes exported1 but it may be       
observed that all the most celebrated   
intarsiatori practised some other  form 
of art also1 and generally abandoned    
intarsia sooner or later2 the           
exceptions being those who belonged to  
the ,olivetan and ,dominican  orders1   
and therefore had no anxiety about their
 living4 ,of these  craftsmen the most  
celebrated were ,fra ,giovanni da       
,verona and ,fra  ,damiano of ,bergamo1 
whose works were so elaborate and so    
finely executed  as to excite the       
suspicion that they were painted with   
the brush1 though  supposed to be       
executed with wood and the chisel4 ,the 
anecdote of the  ,emperor ,charles ,v4's
 trial of ,fra ,damiano's tarsia panel  
in ,s4 ,domenico1  ,bologna1 attests the
 wonderful quality of the work1 and its 
success in  attaining a doubtful aim1   
and ,barili's inscription in the panel  
showing  himself at work shows that it  

was not uncommon for such panels to be  
supposed to be the work of the brush4   
,the designs from which the  intarsia   
was executed were often furnished by    
painters of repute1 and  pictures or    
portions of pictures were copied1 a     
proceeding which ,fra  ,giovanni's      
discovery of stains and washes of       
different kinds made  easier1 until the 
proper limits of the art were far       
overpassed1 and its  decorative quality 
quite lost sight of in the attempt to   
rival a form of  art the requirements of
 which were quite different4 ,the       
beautiful  arabesques1 which the        
designers of the early ,renaissance     
poured forth  with exhaustless          
fertility1 show the capabilities of the 
process for  decorating flat surfaces1  
and the perspectives of cupboards and   
buildings were often most successful    
without passing the limits imposed  by  
the material4    ,the question of the   
limits within which the craftsman's     
effort should be  confined in any form  

of art craftsmanship is a thorny one1   
for the  attempt to overstep those      
limits has always had attractions for   
the  craftsman who is master of his     
craft1 and who sighs for fresh fields to
  conquer1 knowing better than the      
outsider what are the difficulties      
which he has overcome successfully in   
any piece of work from the side of      
craftsmanship1 though often with        
disastrous results when the matter is   
regarded from the point of view of      
excellence in design and purity of      
taste4 ,it has been maintained by       
purists in modern times that all        
engraving or shading of the pieces of   
wood used in forming the design is      
illegitimate2 and if this be so1 it is  
equally illegitimate to stain any  of   
them2 but it is undeniable that a great 
addition to the resources of  the       
inlayer was made by the discoveries of  
,fra ,giovanni1 and it seems            
unreasonable to refuse to make any use  
of them because later  intarsiatori     

abused these means of gaining effect4   
,the earliest work1 it  is true1 depends
 mainly upon silhouette for its beauty1 
but does not  altogether disdain lines  
within the main outline1 and the        
abandonment of  these inner lines1      
whether made by graver or saw1 so       
reduces the  possibilities of choice of 
subject as to restrict the designer to a
  simplicity which is apt to become     
bald4 ,a great deal may be done by      
choice of pieces of wood and arrangement
 of the direction of the  lines of the  
grain2 some of ,fra ,giovanni's         
perspectives show very  suggestive skies
 made in this manner1 and ,fra ,damiano 
was very  successful in thus suggesting 
the texture of much veined and coloured 
marble and of rocks1 but directly the   
human figure enters into the  design    
these expedients are felt to be         
insufficient and inexpressive1  and     
inner lines have perforce to be         
introduced4 ,the opposite extreme is    
such work as the panels by the brothers 

,caniana in the ,colleoni ,chapel  at   
,bergamo1 in which the composition and  
drawing of the figures recall  the      
designs of the ,caracci1 and the        
technique of the shading reminds one  of
 a copper plate1 while the tinting and  
gradation of the colours take  away all 
impression of a work in wood1           
substituting that of a coloured         
engraving4 ,here it is quite evident    
that the desire to imitate pictorial    
qualities has led the craftsman far away
 from what should have been his  aim1   
viz41 to display the qualities of the   
material which he was using  to the best
 advantage1 consistently with the       
position and purpose of his  work in it4
 ,not that perfection of workmanship is 
to be decried1 though  it is only       
occasionally that one is able to make   
use of1 or indeed  produce it4 ,but the 
sthetic sense demands that consideration
 for  material and purpose in every     
production which the joy and pride of   
the  craftsman in overcoming            

difficulties sometimes prevents him from
  giving4 ,notwithstanding the beauty of
 much of the marquetry of the  periods  
of ,louis ,,xiv4 and ,louis ,,xv41 one  
often feels that design has  been put to
 one side in the endeavour to gain a    
realistic effect1 and  the same defect  
may be traced more clearly in the       
clumsier ,dutch and  ,german            
productions4 ,even in the ,italian work 
of an earlier date every  now and then  
the same fault peeps out1 though the    
excellent taste of the  nation at that  
period prevented the ,italians from     
falling into such  excesses1 and one    
generally feels the wood even in their  
most elaborate  perspectives4 ,it may be
 asserted in a general way that the more
 colours  are used the less likelihood  
is there of the effect being quite      
satisfactory1 and that any light and    
shade introduced should be of the       
simplest kind4 ,a slight darkening of   
parts of the wood to gain a certain     
suggestion of roundness is quite        

admissible1 but the expedient should be 
used with discretion1 lavish employment 
of it leading to heaviness of  effect   
and a monotony of tone which are most   
unpleasing4 ,if ivory or  metals are    
introduced the greatest care is         
necessary to prevent them  from giving a
 spotty and uneven effect to the design1
 for neither these  two materials nor   
mother-of-pearl marry quite with the    
tone of the wood2  and this inequality  
is likely to increase with age1 as the  
wood becomes  richer and mellower in    
colour4 ,such materials should be so    
used that  the points where they occur  
may form a pattern in themselves        
independently of the rest of the design1
 so that the effect may be  pleasing at 
first sight1 before the general meaning 
of the less  prominent details is       
realised4 ,any other way of using them  
courts  failure1 since the effect of the
 whole design is ruined by the          
uncalculated prominence and inequality  
of these materials here and  there4 ,the

 ,dutch sometimes made use of           
mother-of-pearl1 in pieces upon  which  
engraving broke up the hard glitter of  
the material1 mingled with  brass wire  
and nails or studs driven into the      
surface of the wood4 ,the  two materials
 appear to be quite harmonious1 and     
small articles  decorated in this manner
 are effective and satisfactory4 ,the   
,italian use  of ivory for the          
decoration of musical instruments1 chess
 and backgammon  boards1 and other small
 objects is almost always successful1   
the  proportion between wood and ivory  
being well judged1 and the forms of  the
 ornament pleasing4    ,illustration3   
,to face page #abb4    ,plate           
#ec4--,panel from ,s4 ,maria in ,organo1
 ,verona4    ,the modern ,french        
marquetry1 though exceedingly clever and
 beautiful in  its use of various woods1
 errs by want of consideration of the   
surface  to be decorated1 the subjects  
flowing over the surfaces and           
overflowing  the proper boundaries very 

often2 and also sins in using many woods
 of  very slightly different tones and  
textures1 which will almost certainly   
lose their reciprocal relation in the   
course of time1 and thereby their       
decorative effect4 ,the ancient         
intarsias were made of a small number of
  different woods1 and the effect was   
kept simple2 pear1 white poplar1  oak1  
walnut1 and holly almost exhaust the    
list2 while even ,roentgen's  work1 in  
which he used a larger number of woods1 
including some of those  foreign trees  
which ,dutch commerce made available for
 him1 has suffered  from their changing 
and fading4 ,i would advise the         
marqueteur to  disregard most of the    
many foreign woods now in the market1   
and content  himself with simple and    
well-proved effects for the most part1  
trusting  rather to beauty of design to 
give distinction to his work than to    
variety of colour and startling effects 
of contrast4    ,illustration3 ,plate   
#ed4--,panel from ,s4 ,maria in ,organo1

 ,verona4    ,to face page #abf4    ,it 
is the fashion at the present day to    
exhort the designer to found his  design
 upon the study of nature1 which is     
right enough if accompanied by          
discretion and a feeling for style4 ,in 
many mouths1 however1 the  exhortation  
means that the copying of natural forms 
is advised1 and  often1 if one may judge
 from the examples which one sees around
 one1  without selection either of      
subject or form4 ,now it is obvious that
 it  is sometimes the beauty of form in 
natural objects which attracts the  eye1
 and sometimes the beauty or strangeness
 of colours1 either in their            
combination or from the unusual tint4   
,and while the former quality  fits the 
object for translation into ornament1 by
 means of  simplification and           
repetition1 the latter is more likely to
 be the  suggestive starting point for  
the production of something quite       
different than a factor in a            
directly-derived composition4 ,certain  

forms  of flowers and leaves are also   
suitable for ornament expressed in a    
certain way1 and when this harmony      
occurs the representation of nature  is 
satisfactory as ornament2 but the       
reverse is very often shown to be  the  
case in work of a more modern type1 in  
which the design is based on  the dictum
 that the copying of natural forms will 
produce ornament4 ,it  is not the       
copying of natural forms1 but the       
ordering of the spaces1 the  arranging  
and balancing of line and mass1 and the 
adaptation of means to  ends which      
produce satisfactory decoration1 and in 
the best ,italian  intarsias founded    
upon freely-growing1 natural plants this
 is well  shown4 ,the observation of    
natural growth shown in illustrations   
,nos4 #ec1  #ed1 and #ee is             
considerable1 but the panels are not so 
beautiful because  the bay1 the pink1 or
 the lily are so well rendered1 but     
because the  pattern of waving lines is 
so well fitted to the space it has to   

fill1  and the shapes of the silhouettes
 are so expressive4 ,in the later       
,french  marquetry we often find an     
equal or almost equal dexterity in      
expressing  the natural form1 and an    
almost greater cleverness in adapting   
the  design to the material2 but the    
,italian work has a fineness of style   
shown in a grace of arrangement and of  
proportioning the ornament to the  space
 to be filled which is unsurpassable4   
,certain remarks made by ,mr4 ,stephen  
,webb1 in a paper read to the ,society  
of ,arts on ,april #bh1 #ahii1 as to the
 qualities which the designer or        
craftsman must possess for successfully 
producing intarsia1 are worth           
reproducing here as the sayings of a man
 who himself has done much  beautiful   
work of the kind4 ,tone harmony1 and in 
a limited degree1 the  sense of values1 
he must certainly cultivate4 ,he must be
 able to draw a  line or combination of 
lines which may be ingenious if you     
like1 but  must be delicate and         

graceful1 vigorous withal1 and in proper
 relation  to any masses which he may   
introduce into his design4 ,he must     
thoroughly  understand the value of     
contrast in line and surface form1 but  
these  matters1 though a stumbling block
 to the amateur1 are the opportunities  
of the competent designer and craftsman4
 ,the most charming possibilities  of   
broken colour lie ready to his hand1 to 
be merely selected by him and           
introduced into his design4 ,if the wood
 be properly selected shading is  rarely
 necessary1 and if it is done at all    
should be done by an artist4  ,in the   
hands of an artist very beautiful       
effects may be obtained1 the  same kind 
of wood being made to yield quite a     
number of varying shades  of colour of a
 low but rich tone4 ,over-staining and  
the abuse of shading  are destructive4  
,ivory has always been a favourite      
material with workers  in tarsia1 and in
 the hands of an experienced designer   
very charming  things may be done with  

it4 ,there is1 however1 no material     
suitable for  tarsia which requires so  
much care and experience in its use4 ,it
 is  ineffective in light-coloured      
woods1 and in the darker ordinary woods1
  such as ebony1 stained mahogany1 or   
rosewood1 under polish1 the contrast  of
 colour is so great that the ivory must 
be used very sparingly4 ,the  ivory is  
sometimes stained in order to bring its 
colour more into  harmony with a dark   
wood-ground1 but it is never quite      
satisfactory4 ,the  use of inlay makes  
the direction from which the light      
enters the room a  matter of no moment1 
so long as the light reaches the object 
decorated4    ,the effect of intarsia   
has been sought by various imitative    
processes1  some of which are           
indistinguishable from it except by     
close inspection4  ,in one of these wax1
 either in its natural state or tinted  
with an  addition of powder colour1 was 
used2 in another glue mixed with whiting
  or plaster1 also sometimes tinged1 or 

red lead4 ,on ,april #g1 #aijb1 a  paper
 was read at the ,royal ,institute of   
,british ,architects on wax  stoppings  
of this kind by ,mr4 ,heywood ,sumner1  
in the course of which he  said that the
 process he himself had used was as     
follows3--,first trace  the design on   
the panel of wood to be incised2 cut it1
 either with a ,v  tool or knife blade  
fixed in a tool-handle2 clear out the   
larger spaces  with a small gouge1      
leaving tool-mark roughness in the      
bottoms for key2  when cut1 stop the    
suction of the wood by several coats of 
white1 hard  polish4 ,for coloured      
stoppings1 resin 7as white as can be    
got71 beeswax1  and powdered distemper  
are the three things needful4 ,the      
melted wax may  be run into the         
incisions by means of a small funnel    
with handle and gas  jet affixed2 it is 
attachable to the nearest gas burner by 
india-rubber  tubing1 so that a         
regulated heat can be applied to the    
funnel4 ,when thus  attached and heated1

 pieces of wax of the required inlay    
colour are  dropped into the funnel1 and
 soon there will be a run of melted wax 
dropping from the end of the            
funnel-spout1 which is easily guided by 
means of the wooden handle1 and thus the
 entire panel may be inlaid with  the   
melted wax4 ,superfluous surface wax is 
cleared off with a broad  chisel1 so as 
to make the whole surface flush4 ,the   
suction of the wood  is stopped by means
 of white1 hard polish1 otherwise the   
hot wax will  enter the grain of the    
wood and stain it4 ,incised panels may  
be filled  successfully with japanner's 
gold size and powdered distemper colour1
  using a palette knife to distribute   
the slab mixture4 ,a close grain is  the
 one thing needful in the wood4 ,as to  
design1 that which is best  suited may  
be compared to a broad sort of          
engraving4 ,red lead was also  used     
sometimes1 and in the furniture room at 
,south ,kensington there are  several   
chests and other pieces of furniture    

which have the incised  design filled in
 with a mixture of whiting1 glue1 and   
linseed oil4    ,illustration3 ,plate   
#ee4--,panel from ,s4 ,pietro in        
,casinense1 ,perugia4    ,to face page  
#acj4    ,at ,hardwick some of the door 
panels are painted with arabesques in   
,indian ink1 and varnished 7a process   
also employed on several pieces of      
furniture in the ,south ,kensington     
collection71 and even in certain  cases1
 no doubt under the direction of ,bess  
of ,hardwick1 engravings have  been     
stuck on the panels1 tinted1 surrounded 
with similar painting1 and  then        
similarly varnished over4 ,the sacristy 
cupboards at ,s4 ,maria delle  ,grazie1 
,milan1 called ,lo ,scaffale1 show      
paintings of no less an artist  than    
,luini1 the ornamental part of which is 
intended to simulate tarsia4    ,for    
small objects1 such as trinket boxes1 a 
marquetry of straw tinted to  different 
colours was sometimes employed1 which1  
though not very  lasting1 in the hands  

of a worker who possessed taste in      
colour  sometimes produced pleasing     
results1 a form of work practised both  
in  ,holland and ,england1 and lasting  
well into the #aith century4 ,the writer
  possesses one or two objects decorated
 by this process which were bought  from
 the ,french prisoners taken in the     
,peninsular ,war1 who provided          
themselves with little luxuries by      
making and selling them4 ,in all these  
imitative processes the question of     
design becomes of the very highest      
importance1 since the material has      
neither beauty nor intrinsic value in   
itself2 and here1 even more than in many
 other forms of manufacture1 the        
presence and influence of the           
intelligent designer is most desirable1 
and should be paramount4    ,,footnotes3
    #d ,in #adec ,matteo di ,giovanni   
,bartoli1 painter1 says that he         
possesses  the half of certain tools and
 appliances of his art1 which are not   
worth  #bj florins1 and that the other  

half belongs to ,giovanni di ,pietro1   
painter1 his partner4 ,that they are in 
a house or dwelling that they  hire from
 ,guicciardo ,forteguerri in the        
,palazzo ,forteguerri1 which they  have 
as a house and not a shop1 and that he  
has nothing else in the  world but a few
 debts 7674 ,he says that he makes no   
profit1 but is  learning as well as he  
can1 and that his uncle1 ,ser           
,francescho di  ,bartolo1 the notary1   
keeps him4 ,this is a young and         
promising artist who  cannot get on4    
,priamo della ,quercia1 brother of the  
celebrated sculptor  ,jacopo della      
,fonte1 painter1 says that he is poor   
and without anything  to live on2 that  
he has a girl of marriageable age and a 
young boy2 that  he owes money to       
several people4 ,he had a dower of #bjj 
florins which  came from a possession   
which the nuns of ,ogni ,santi held1    
because they  said that they were heirs 
to his daughter-in-law1 a nun in that   
convent  767 and they had kept          

possession for six years and he could   
not sue  these nuns at law on account of
 his poverty4 ,there are several        
documents  referring to money and       
property which his brother left to this 
man1 but  which he seems to have        
difficulty in obtaining possession of1  
and he  gives one the impression of     
being unfortunate through life4 ,in the 
same  year ,antonio di ,ser ,naddo1     
painter1 says he has a house with an    
oven  within the walls of ,siena1 male  
in ponto1 in which he lives in the      
,contrada of ,camporegi4 ,that he has   
three useless mouths in the house  which
 gain nothing1 two children1 one a boy1 
and the other a girl of  marriageable   
age1 but if he dowered her1 so that she 
could be married1  he would have nothing
 to live on4 ,also that he owes #bj     
florins to  various people4 ,in the same
 year others1 both painters and         
woodworkers1  complain that they have   
nothing to live on and owe money1 some  
saying  that they have become old and   

poor in the art4 ,in #adgh ,ventura di  
,ser  ,giuliano1 architect and          
woodcarver1 says that he has a little   
house in  the city division in the place
 called of ,s4 ,salvador1 and that he is
  away at ,naples because of his debts1 
for he is afraid to return4 ,that he    
owes ,ser ,biagio1 the priest1 #hj      
florins and other persons #djb4 ,in     
#adhh  ,giovanni di ,cristofano ,ghini1 
painter1 says that he has a vineyard at 
,terraia in the commune of ,s4 ,giorgio 
a ,papaino from which he receives in    
dues about #bd florins4 ,that he has a  
wife and three sons and nothing to  keep
 them on4 ,that five years ago he had   
sold all that he had in the  house1 for 
times were very bad4 ,that though he    
sticks to his work so  closely that he  
does not even go for a walk he has not  
made the bread  which he has eaten in   
the last six years4 ,that he and his    
father have to  keep a sister who was   
married to ,andreoccio d',andrea di     
,pizichino with  her three little sons  

unless they are to die of hunger1 and   
that they  have a girl of marriageable  
age in the house1 his sister1 ,che  il  
fiorimento d'ognichosa4 ,in the same    
year ,benvenuto di ,giovanni says  that 
he is obliged to work away from ,siena  
because his gains are so  small2 and    
finally in #aeba1 ,ventura di ,ser      
,giuliano di ,tura petitions  the ,balia
 as follows3--,he was a master joiner   
and says that he passed  his youth and  
almost all his age in gathering ancient 
objects and  carvings1 which the        
craftsmen of the city have copied1 so   
that one may  say that the antique in   
the city has been re-discovered by his  
labours4  ,but that he has not by this  
benefit to the craftsmen provided for   
his  old age1 since both he and his wife
 have been very unwell for years  past1 
and that he finds himself old1 with four
 little daughters1 one no  heavier than 
the other1 so he asks for a little      
pension of eight lire a  month 7which   
has been suspended apparently71 so that 

he may not have to  go to the hospital  
for bread with his wife and the four    
little ones4          ,,workshop        
,,receipts      ,the use of stains and  
chemical baths for changing the colour  
of the wood  employed by the            
intarsiatori was common from the time of
 ,fra ,giovanni da  ,verona1 to whom    
,vasari ascribes the invention1 but is  
most distinctive  of the work of the    
later ,dutch and ,french marqueteurs4   
,receipts for the  purpose were handed  
down from master to pupil1 and while    
sometimes held  as traditional secrets  
to be jealously guarded1 were sometimes 
committed  to writing2 and several of   
these manuscripts have come down to us4 
,the  following have been collected from
 ,french1 ,german1 and ,italian sources1
  and though not all of equal value1    
show the way in which the ancient       
workers produced the effects1 most of   
which we admire in the present  day3--  
,to stain wood yellow 7,no4 #a74--,put  
saffron in water1 and when it is well   

steeped place the jar over hot coals4   
,then spread the stuff over boxwood     
with a brush4 ,to make it brilliant let 
it dry1 and put it with oil on  the wood
 to be coloured4 7,no4 #b47--,take the  
plant turmeric 7curcuma  longa71 grind  
it to powder2 put an ounce into a pint  
of spirit 7#ab  oz471 and leave it for a
 day4 ,if the tone is required reddish1 
add some  dragon's blood4 7,no4         
#c47--;,a cheaper but duller colour is  
to be obtained  from steeped ,french    
berries1 then dried1 with weak alum     
water brushed  over it4 ,thin pieces are
 dipped in it4 ,the solution of ,french 
berries  may be made thus--,take #a lb4 
of ,french berries1 and a gallon of     
water  with #a_/b oz4 of alum2 boil for 
an hour in a pewter vessel1 and filter  
through paper4 ,evaporate till the      
colour appears strong enough4 ,another  
receipt says #d oz4 of ,french berries  
put to steep in a pint of water is  to  
have added to it #a oz4 of hazel nuts   
and as much alum4 ,wood may also  be    

stained yellow with aqua fortis1 used   
warm1 and then immediately  placed near 
the fire4 ,the aqua fortis must not be  
too strong1 or the  wood will go brown  
or black4 ,this is apparently the same  
thing as ,vasari  calls oil of sulphur1 
used in his time for colouring wood4 ,a 
,nuremberg  receipt book says that the  
plant ,tournesol 7croton tinctorium7 may
 be  steeped in water1 and this solution
 mixed with yellow colour and glue  may 
be spread over the wood warm1 and       
finally polished with a burnisher4      
,holtzapffel gives the following3--,a   
bright yellow stain may be obtained     
from #b oz4 of turmeric allowed to      
simmer for some hours in #a quart of    
water in an earthen vessel1 water being 
added from time to time to  replace     
evaporation4 ,sparingly applied cold1 it
 stains white woods the  colour of satin
 wood4 ,a canary yellow results from    
immersing the wood in  the liquid1 which
 can be rendered permanent without      
polishing by a  strong solution of      

common salt4 ,washing the stained       
surface with  nitro-muriate of tin for  
about a minute changes the colour to    
orange4  ,the work should then be well  
rinsed in plain water to check the      
further  action of the acid4 ,treating  
the canary yellow with #b oz4 of        
sulphate of  iron dissolved in #c quarts
 of water1 after it has been allowed to 
dry1  dyes a delicate olive brown4 ,a   
tincture of #a_/d oz4 of turmeric to #c 
oz4  of spirits of wine1 allowed to     
stand for some days and well shaken     
daily1 gives a rather higher colour4    
,red may be produced by 7,no4 #a7 taking
 a pound of ,brazil wood1 with some     
rain water1 a handful of unslaked lime1 
and two handsful of ashes2 soak  all for
 half an hour in water1 cook it1 and    
pour it out into another  pot1 in which 
is a measure of gum arabic4 ,the wood to
 be coloured must  be cooked in alum    
water1 and then brushed over with the   
warm colour2 the  result is a splendid  
scarlet red4 ,if the wood was first     

grounded with  saffron water and then   
had the ,brazil decoction applied1 the  
result was  orange2 a spoonful of lye   
made a browner colour1 with a little    
alum4 ,if  whiter wood was taken the    
colour was correspondingly brighter4    
7,no4  #b47--,orcanda or ,akanna root   
powdered1 with nut oil1 gives a fine    
red4  7,no4 #c47--,put lime in rain     
water1 strain it1 scrape ,brazil twigs  
in it1  then proceed as in ,no4 #a4 ,you
 can also soak the ,brazil in tartar4   
,the  same colour with ,tournesol       
steeped in water gives a fine purple    
when  spread on the wood4 ,lebrun gives 
the same receipt1 adding that the       
beauty of the colour is increased by    
rubbing with oil1 and that pear  wood is
 the best to use4 ,another receipt      
says3--,make a strong infusion  of      
,brazil wood in stale urine or water    
impregnated with pearl ash1 #a oz4  to a
 gallon2 to a gallon of either of which 
put #a lb4 of ,brazil wood4  ,let it    
stand for two or three days1 often      

stirring it4 ,strain the  infusion1 and 
brush over the wood boiling hot2 then1  
while still wet1  brush over with alum  
water1 #b oz4 to a quart of water4 ,a   
less bright red  may be made with #a oz4
 of dragon's blood in a pint of spirits 
of wine1  brushed over the wood4        
,holtzapffel gives for red stains the   
following3--,dragon's blood1 an ,east   
,indian resin1 gives a crimson with a   
purple tinge4 ,put a small quantity  in 
an open vessel1 and add sufficient      
linseed oil to rather more than  cover  
it2 it will be fit for use in a few     
days1 when the oil may be  poured off   
and more added4 ,this dissolves more    
readily in oil than  spirit4 ,the       
colouring matter of ,alkanet root1 from 
which another red  may be obtained1 is  
contained in the rind1 so that small    
pieces are the  most useful4 ,a deep red
 of a crimson character may be made with
 #a_/b oz4  of raspings of ,brazil wood 
macerated in #c oz4 of alcohol4 ,a wash 
of  logwood 7see below7 given with the  

brush1 and when dry followed with a     
wash of ,brazil1 produces a deep1 full  
colour1 and when the two are  applied in
 the reverse order a more brilliant     
colour of the same kind4 ,a  decoction  
of ,brazil 7#d oz47 allowed to simmer   
for some hours in #a quart  of water    
yields a rather brown-red stain4        
,treating light woods so  stained with  
nitro-muriate of tin gives a brilliant  
crimson of a purple  tinge4    ,a brown 
red is made from a decoction of #b oz4  
of logwood dust in #a quart  of water1  
or #a_/b oz4 of logwood in #c oz4 of    
alcohol4 ,nitro-muriate of  tin used on 
it gives a deep1 dusky crimson purple4  
,the same treated with  alum solution   
yields a medium purple1 darker and bluer
 than that from  ,brazil4    ,white wood
 stained with ,brazil and then treated  
with alum 7#d oz4  dissolved in a quart 
of water7 acquires a light pink tinge4  
,another  receipt for pink or rose red  
says3--#a gallon of infusion of ,brazil 
wood1  with #b oz4 additional of pearl  

ash2 but it is necessary to brush the   
wood often with alum water4 ,by         
increasing the proportion of pearl ash  
the red may be made still paler1 in     
which case make the alum water          
stronger4    ,for purple one brushes the
 wood over several times with a strong  
decoction of logwood and ,brazil1 #a lb4
 of logwood and #a_/d lb4 of ,brazil  to
 a gallon of water boiled for an hour or
 more4 ,when the wood is dark  enough   
let it dry1 and then lightly pass over  
with a solution of #a  drachm of pearl  
ash to a quart of water4 ,use this      
carefully1 as the  colour changes       
quickly from brown red to dark purple4  
,jet black may be made by using the     
logwood stain1 followed by a solution   
of iron1 #a oz4 sulphate of iron to #a  
quart of water1 and a less intense      
black by the same mixture about three   
times diluted4 ,the ,italian receipt    
books are well provided with receipts   
for producing black1 which  suggests    
that most of the ebony used in inlay was

 factitious4 ,a #aeth  century ,,ms4    
says3--,take boxwood1 and lay in oil    
with sulphur for a  night1 then let it  
stew for an hour1 and it will become as 
black as  coal4 ,evidently this means   
what ,vasari calls oil of sulphur1 aqua 
fortis4 ,others are founded upon the    
application of a solution of  logwood1  
followed by one of iron4 ,stew logwood  
till the liquid is  reduced to one-third
 of its bulk1 mix with stone alum1 and  
leave for  three days4 ,mix iron filings
 with very strong wine1 and let it stand
 for  twenty-four hours4 ,on the        
quantity of iron filings the depth of   
the tone  depends4 ,lastly1 ox-gall is  
dissolved in this mixture1 and the whole
 is  three times worked over4 ,an       
,english receipt says3--,brush the wood 
over  several times with a hot decoction
 of logwood2 take #a_/d lb4 of powdered 
galls1 and set in the sun or other      
gentle heat in #b quarts of water for   
three or four days2 brush the wood over 
with it three or four times1  and1 while

 wet1 with a solution of green vitriol  
in water1 #b oz4 to a  quart2 or use a  
solution of copper in aqua fortis1 then 
the solution  of logwood1 and repeat    
until black enough4 ,a ,german receipt  
says3--,take half a measure of iron     
filings and a pennyweight of sal        
ammoniac1 and put into a pot of vinegar2
 let it stand for twelve days at  least4
 ,in another pot put blue ,brazil and #c
 measures of bruised gall  apples in    
strong lime lye1 and let it stand for   
the same time4 ,the wood  must be first 
washed over with lye1 and then with hot 
vinegar1 and  finally polished with wax4
 ,pear wood may be grounded with ,brazil
  steeped in alum water1 then coloured  
with the black which the                
leather-stainers use1 twenty times4     
,another says3--,take a pennyweight  of 
fine silver1 with a pound of aqua       
fortis2 add a measure of water1  and    
soak the wood with it4 ,the best wood   
for imitating ebony is holly2  also1 box
 cooked in olive oil is good for it1 or 

well-planed pear soaked  with aqua      
fortis1 and then coloured with ink      
several times2 or stew  the wood in     
lamp-black1 and soak with oil4    ,blue 
may be obtained by the use of a solution
 of copper brushed hot over  the wood   
several times2 then brush hot a solution
 of pearl ash1 #b oz4 to  a pint of     
water1 until the wood becomes perfectly 
blue4 ,the copper  solution is prepared 
in this way3--,take of the refiner's    
solution of  copper made in the         
precipitation of silver from the spirit 
of nitre2 or  dissolve copper in spirit 
of nitre1 or aqua fortis1 by throwing in
  filings or putting in strips of copper
 gradually till all effervescence       
ceases4 ,add to it starch finely        
powdered1 one-fifth or one-sixth of the 
weight of copper dissolved4 ,make a     
solution of pearl ash and filter it2    
put gradually to the solution of copper 
as much as will precipitate the  whole  
of the copper4 ,the fluid becomes       
colourless4 ,wash the powder1 and  when 

so well drained of water by means of a  
filter as to be of the  proper          
consistence1 grind well together1 and   
lay out to dry4 ,this makes  dark       
verditer4 ,indigo may also be used1     
prepared with soap lees as when  used by
 dyers2 brush it over the wood boiling  
hot4 ,with a solution of  cream of      
tartar1 #c oz4 to a quart of water1 and 
boiled1 brush over the  wood copiously  
before the moisture is quite dried out4 
,a ,german receipt  says3--,put #d oz4  
of ,tournesol in three parts of lime    
water to cook for  an hour and spread it
 on the wood4 ,wood coloured green with 
verdigris  can be made blue by using    
pearl ash4 ,this is the process         
described  first4    ,for green         
verdigris dissolved in vinegar may be   
used2 or crystals of  verdigris in      
water1 brushed hot over the wood4 ,a    
#aeth century ,,ms4 gives  a traditional
 mode thus3--,wood1 bone1 small leaves1 
and knife handles  can be made green by 
strong1 red vinegar and brass filings   

mixed  together with a little ,roman    
vitriol and stone alum in a glass       
vessel4  ,when it has stood for a day   
the object is dipped in it1 and steeps  
itself in the liquid4 ,the colour will  
be very permanent4 ,a ,german  receipt  
says3--,take walnut shells from the     
green fruit1 and put in very  strong lye
 with some copper vitriol and alum to   
stew for two or three  hours4 ,the wood 
must be put in strong wine vinegar for  
several days1  then it is put in the    
above-mentioned mixture1 to which ground
 verdigris  mixed with vinegar is added4
 ,or you can mix this ground verdigris  
with  vinegar with some winestone1 let  
it clarify1 and spread the wood with    
the filtered stuff4 ,the addition of    
saffron makes a grass green4    ,a      
silver grey may be given to white wood  
by immersion in a decoction of  #d oz4  
of sumach in #a quart of water1 and     
afterwards in a very dilute  solution of
 sulphate of iron4 ,a dilute solution of
 bichromate of potash  is frequently    

employed to darken oak1 mahogany1 and   
coloured woods4 ,this  should be used   
carefully1 since its effects are not    
altogether stopped  by thoroughly       
washing the wood with water when dark   
enough4 ,to bleach  woods1 immerse them 
in a strong1 hot solution of oxalic     
acid4    ,since ivory is often used in  
inlaying and is sometimes stained1 a few
  receipts for its staining will not be 
out of place4 ,these come from          
,holtzapffel's book3--,a pale yellow    
will be given by immersing the ivory    
for one minute in the tepid stain given 
by #fj grains of saffron boiled  for    
some hours in half-a-pint of water4     
,immersion for from five to  fifteen    
minutes produces a canary yellow        
brighter or deeper according to  the    
time given1 but all somewhat fugitive4  
,a stain from #d oz4 of fustic  dust and
 chips boiled in #a quart of water      
produces similar but somewhat  darker   
and more permanent results4 ,ivory      
subjected to either of these  stains for

 fifteen minutes1 and then placed for   
one to three minutes in  ,brazil water  
stain acquires an orange colour4 ,if    
then treated with  nitro-muriate of tin1
 an orange of a brighter1 redder tone is
 produced2  transfer to a clean water   
bath directly the required colour       
appears1 as  the nitro-muriate of tin   
acts very rapidly upon the ivory4       
,fine scarlet cloth is used for dyeing  
various tones of red4 ,a piece  about a 
foot square may be cut into shreds and  
boiled1 with the addition  of #aj grains
 of pearl ash1 in half-a-pint of water  
from #e to #f hours4  ,immersion in the 
liquid for from three to ten minutes    
gives tones of  pink2 for one hour and  
subsequently for half-an-hour in an alum
 mordant  gives a pink of a bright      
crimson character4 ,when the ivory is   
from two  to three hours in the tepid   
stain a crimson red results1 and the    
addition of #a part of sulphuric acid to
 #fj of stain gives billiard ball       
colour4 ,pinks of a different and duller

 full tone may be obtained by  immersion
 for three minutes in ,brazil water     
stain1 followed by treatment  with      
nitro-muriate of tin2 when the ,brazil  
is used for six minutes a  deeper colour
 results4 ,fifteen minutes in ,brazil1  
then treatment with  nitro-muriate of   
tin and immediate washing gives a duller
 and deeper red  than the first         
red-cloth stain4 ,the depth of colour   
may be increased by  longer immersion or
 a higher temperature4 ,a dull scarlet  
or brick red  is made by the ,brazil    
bath1 followed by thirty to sixty       
minutes in an  alum mordant4    ,the    
cloth stain for one hour1 followed by   
pearl ash for half-an-hour1  gives a    
bright purple2 if iron is used instead  
of pearl ash a sombre  purple results2  
if you add alkalies to the stain instead
 of sulphuric  acid you obtain purple   
reds4 ,fifteen minutes in ,brazil1 and  
then three  or four in pearl ash gives  
full red purples deepening to maroon4   
,five  minutes in logwood water stain   

gives a good warm brown2 half-an-hour1 a
  chocolate brown4 ,ten minutes in      
logwood stain1 washing1 and one or two  
seconds in pearl ash1 and instantly     
washing again gives a deep red  brown1  
and if one minute in alum instead of    
pearl ash a deep purple  brown4    ,blue
 stains may be made from sulphate of    
indigo1 #a_/b drachm to #a pint of      
previously boiled water1 with #aj grains
 of carbonate of potash added4  ,one to 
two minutes' immersion and immediate    
washing yields a delicate  turquoise1   
five minutes a bright full blue2 and ten
 to fifteen a  considerable depth of    
colour4 ,blues are rather fugitive4     
,staining with  saffron or fustic for   
five minutes1 and then with indigo for  
the same  time1 produces a clear pea    
green2 with indigo for ten minutes1 a   
deep  grass green4 ,the greens from     
fustic are more permanent and yellower4 
,the  sequence of the stains also       
affects the green1 the last used having 
most  effect4 ,blue stain first for     

fifteen minutes1 followed by fustic for 
thirty1 stains ivory the green used for 
table knife handles--a colour  which may
 also be obtained by immersion for some 
weeks in a clear  solution of verdigris 
in dilute vinegar and water4    ,before 
applying these stains the ivory must be 
prepared by first  polishing with       
whiting and water and washing quite     
clean4 ,next immerse  it for three to   
five minutes in acid cold water 7#a part
 muriatic acid to  #dj or #ej of water1 
or the same proportion of nitric74 ,this
 extracts the  gelatine from the surface
 of the ivory4 ,extreme cleanliness and 
absence  of grease or soiling is most   
important2 the ivory is not to be       
touched  by the fingers1 but removed    
from one vessel to another by wooden    
tongs1  one pair to each colour4 ,after 
treating with the acid1 place the ivory 
in clean1 cold1 boiled water for some   
minutes4 ,water stains are used1  but   
strained or filtered and warm or only   
tepid1 for fear of injuring  the surface

 of the ivory4 ,increasing the          
temperature also sometimes  deepens or  
changes the colour4 ,the best           
temperature is #ajj deg4 ,fahr4  ,when  
sufficiently stained the ivory is well  
rinsed in water1 and if  there are two  
colours on top of each other always well
 rinsed before  going into the second   
bath4 ,after thoroughly drying1 repolish
 by  friction1 first with a few drops of
 oil on a soft clean rag2 continue  with
 a dry clean rag till the oil           
disappears4    ,an old ,italian receipt 
for polishing wood blackened to imitate 
ebony  runs thus3--,is the wood to be   
polished with burnt pumice stone8 ,rub  
the  work carefully with canvas and this
 powder1 then wash the piece with       
,dutch lime water so that it may be more
 beautifully polished4 ,then it is  to  
be cleaned with another cloth4 ,then the
 rind of a pomegranate must be  steeped1
 and the wood smeared over with it and  
set to dry1 but in the  shade4          
,,index        ,a      ,angelo di       

,lazzero1 of ,arezzo1 #ai      ,anselmo 
de' ,fornari1 #gg-gh      ,antique      
inlaid furniture1 #b1 #c1 #f 7note7     
,antonio da ,melaria1 #ce      ,antonio 
di ,minella1 of ,siena1 #aj             
,antonio ,manetti1 #ai      ,antonio    
,paolo ,martini1 #ac      ,assisi1 #aj1 
#df    ---- ,stalls of the ,upper church
 of ,s4 ,francesco1 #df      ,arezzo1   
,s4 ,agostino and ,s4 ,michele1 #da     
,augsburg work1 #he1 #ij        ,b      
,baccio ,albini1 #dj      ,baccio       
d',agnolo1 #db-dc      ,barck1 ,klaus1  
#hh      ,barili1 ,antonio1 of ,siena1  
#cg1 #ch1 #ci    ---- ---- ,panel in    
,k4,k4 ,museum at ,vienna1 #cg1 #ch     
---- ---- description of ,chapel of ,s4 
,giovanni1 ,siena1 #ci1 #dj1 #da    ----
 ,giovanni1 #ci      ,bartolommeo ,poli1
 surnamed dalla ,polla1 #ce1 #cf        
,beck1 ,sebald1 #hd      ,belli1        
,giovanni and ,alessandro1 #gc          
,bencivieni da ,mercatello da ,massa1   
,antonio di1 #df-ea      ,benedetto da  
,majano1 ,vasari's story of the reason  

of his giving up      working in tarsia1
 #bj      ,bergamo1 ,choir of ,s4 ,maria
 ,maggiore1 #gi1 #hj    ---- ,tassi's   
account of1 #hj    ---- ,stalls in      
church of ,s4 ,stefano1 #gf             
,bernardo di ,tommaso di ,ghigo1 #ai    
,bernardino da ,lendinara1 #cb          
,brescia1 ,lectern from ,rodengo in     
,galleria ,tosi1 #fd      ,bologna1 ,s4 
,domenico tarsie1 by ,fra ,damiano1 #gj1
 #gc1 #ge    ---- ,sabba ,castiglione's 
account1 #gd1 #ge    ---- ,stalls in ,s4
 ,giovanni in ,monte1 #ff    ---- ,s4   
,michele in ,bosco1 stalls now in ,s4   
,petronio1 #fe1 #ff    ---- ,s4         
,petronio1 #cf      ,boulle1 ,andr      
,charles1 #if1 #ig    ---- ,works by    
him1 #ig1 #ih1 #ii      ,boulle1        
,pierre1 #ge-if        ,c      ,canozio1
 of ,lendinara1 ,lorenzo ,genesino1 #bi 
,capo di ,ferro of ,lodi1 ,zinino and   
,pietro1 #hj      ,capo di ,ferro of    
,lovere1 ,giovanni ,francesco1 #gc1 #gi 
,capra1 ,gabriel and ,domenico1 #ed     
,chapel of ,palace1 ,siena1 #ac         

,cecca1 ,il 7,francesco d',agnolo71 #bc1
 #bd      ,certosa1 ,pavia1 #ce         
,cervelliera1 ,giovanni ,battista1 #bb  
,character of ,german inlays of late    
#afth ,century1 #he      ,coburg1       
,hornzimmer1 #hf      ,cornier1 ,conrad1
 #hh      ,cost of choir of ,s4         
,domenico1 ,bologna1 #gc      ,cost of  
the stalls in ,ferrara ,cathedral1 #cd  
,cost of stalls1 ,cathedral ,orvieto1   
#aj      ,cremona1 church of ,s4        
,sigismond1 outside1 #ed      ,cypress  
chest of #acej in ,victoria and ,albert 
,museum1 #ajd        ,d      ,daniello  
di ,neri ,martini1 #ac      ,danzig     
,sommerrathstube1 #hf      ,david of    
,pistoia1 #da      ,del ,tasso1 arms of 
the family1 #bd    ---- ,chimenti di    
,domenico1 #bf    ---- ,chimenti di     
,francesco1 #be    ---- ,domenico1 #ai1 
#be1 #bf    ---- ,francesco1 #bg    ----
 ,francesco di ,domenico1 #bd    ----   
,giambattista called ,maestro ,tasso1   
#bg1 #bh    ---- ,lionardo1 #be    ---- 
,marco1 #bf    ---- ,zanobi1 #be        

,della ,rocca1 ,andrea and ,elia1 #gg1  
#gh      ,designs for intarsia made by  
,painters1 #aba      ,de' ,marchi1      
,pantaleone1 stalls in ,museum at       
,berlin1 #cf      ,domenico da ,gajuolo1
 #db      ,domenico di ,mariotto1 #ba   
,domenico di ,nicol of ,siena1 #aj1 #aa 
,domenico ,tassi of ,florence1 #ag      
,dreyer1 ,hans and ,jrgen1 of           
,schleswig1 #hg      ,dutch work1       
characteristics of1 #ib        ,e       
,eck1 ,adam1 #he      ,elfen1 brothers1 
of ,s4 ,michael1 ,hildesheim1 #hd       
,escurial1 rooms in1 decorated with     
inlays1 #hf      ,evers1 ,antonia1      
master of joiners' guild at ,lbeck1 #hf 
,f      ,ferrara1 stalls in ,cathedral1 
#cc      ,fischer1 ,n41 and ,johann     
,georg of ,munich1 #he      ,florence1  
#af1 #ah    ---- stalls at ,s4 ,maria   
,novella1 #db    ---- stalls at ,s4     
,miniato1 #db    ---- tarsia in sacristy
 of the ,cathedral1 #ah1 #ai            
,flotner1 ,peter1 #hi      ,folding seat
 of #adth century1 #hd      ,fra        

,antonio ,asinelis1 #gc      ,fra       
,antonio da ,lunigiano1 ,dominican1 #gc 
,fra ,antonio da ,viterbo1 ,dominican1  
#gf      ,fra ,bernardino1 ,dominican1  
#gc      ,fra ,damiano of ,bergamo1     
#fi-gf1 #gi      ,fra ,damiano of       
,bergamo1 the ,emperor ,charles ,v41 and
 the ,duke of      ,ferrara1 #gj1 #ga1  
#gb      ,fra ,giovanni da ,verona1 #ag1
 #eg1 #fc      ,fra ,raffaello da       
,brescia1 #fc1 #fd      ,fra ,sebastian 
da ,rovigno1 #ef1 #eg      ,fra         
,vincenzo da ,verona1 called dalla      
,vacche1 #fg      ,francesco di         
,lorenzo1 ,zambelli1 #gc1 #gg           
,francesco ,manciatto1 #db              
,francione1 ,il 7,giovanni di ,matteo di
 ,firenze71 #ba      ,french ,cabinets  
of #agth ,century1 #ie1 #if        ,g   
,genoa1 stalls in ,cathedral1 #gg1 #gh  
,geri of ,arezzo1 #da      ,german      
intarsiatori of #afth and #agth         
,century1 #hd1 #he      ,gilling        
,castle1 near ,wakefield1 inlays1 #ic   
,giovanni di ,filippo da ,fiesole1 #de  

,giovanni de ,grassi 7,giovanni de      
,melano71 #ad      ,giovanni di         
,lodovico di ,magno of ,siena1 #aj      
,giovanni ,michele de ,pantaleone1 #gg  
,giovanni del ,mulinella of ,florence1  
#ag      ,giovanni ,piccardo1 #gg       
,giovanni di ,ponteranica and his four  
sons1 #hj      ,giovanni di ,ser        
,giovanni detto ,scheggione1 #ai        
,giovanni ,talini of ,siena1 #aj        
,girolamo della ,cecca1 #dj             
,giuliano di ,salvatore1 #ba            
,giusto di ,francesco of ,incisa1 #de   
,glastonbury ,hall1 ,staircase1 #id     
,gole1 ,pierre1 #ib      ,gottlieb1     
,conrad1 #hf      ,gottorp1 ,castle of1 
,prince's prayer chamber in1 #hg        
,gubbio1 tarsia in study of ,duke       
,guidobaldo1 #eb1 #ec      ,guido da    
,seravallino1 #ba      ,guido di        
,torino1 #ac      ,guild of ,painters1  
,siena1 #af        ,h      ,hans        
,schieferstein's ,cabinet at ,dresden1  
#ij      ,hardwick ,hall1 furniture at1 
#ic      ,herle1 ,simon1 #hf            

,heywood ,sumner1 paper at ,royal       
,institute of ,british ,architects1     
#abi1 #acj        ,i      ,imitative    
processes1 straw1 wax1 painting in      
,indian ink1 c41 #abi1      #acj1 #aca  
,inlaid work1 ,greek and ,latin names   
for1 #c    ---- woods used for1 by the  
ancients1 #c1 #e1 #f 7note7    ----     
wood1 cost of1 in ancient times1 #d     
,inlaying1 antiquity of1 #b             
,innsbruck1 ,hofkirche1 #hf             
,intarsia1 derivation of1 #a            
,invention of stains for wood1 by ,fra  
,giovanni da ,verona1 #ah      ,ivory or
 metals in intarsia1 #abd1 #abe         
,j      ,jacopo da ,villa1 #ba          
,joiners' tools1 priced list of         
,perugian of #adif1 #dg1 #dh        ,k  
,kellerthaler1 ,hans1 of ,dresden1 #he  
,kiening1 ,isaac1 of ,frissen1 #ia      
,kraus1 ,hans1 marqueteur du roi1 #id   
,l      ,lavoro alla ,certosa1 or tarsia
 alla ,certosina1 #i      ,leipzig      
,museum1 ,cabinet in1 #ia               
,lendinara1 ,cristophano d' ,andrea da1 

#ba      ,limitations of the art of     
intarsia1 #abb1 #abc      ,loblein1     
,sixtus1 of ,landshut1 #ia      ,lodi1  
,stalls in ,s4 ,bernardino1 by ,fra     
,giovanni da ,verona1 #fc      ,louvre1 
#d panels from ,s4 ,benedetto ,novella1 
,padua1 of ,fra ,vincenzo      dalla    
,vacche1 #fh      ,lbeck1 ,kriegs       
,stube1 #hf      ,lucca1 panels in      
sacristy of ,cathedral1 by ,christoforo 
da ,lendinara1 #cb    ---- ,stalls from 
,cathedral in ,pinacotheca1 #cb         
,luchet1 ,m41 ,excursus on furniture in 
,france1 #ahfg1 #aac1 #aad              
,lneburg1 ,rathsaal1 #hf        ,m      
,mac1 ,jean1 of ,blois1 #ib-ie          
,majano1 ,benedetto da1 #ai1 #bj        
,majano1 ,giuliano di ,nardo da1 #ah1   
#bb    ---- ,leonardo d' ,antonio da1   
#ai      ,manuello1 of ,siena1 #i       
,marchi1 of ,crema1 ,family of1 #f1 #cf 
,mariotto di ,mariotto1 of ,pesaro1 #de 
,marquetry1 ,derivation of1 #a          
,marti1 ,leonardo1 #cb      ,masi1      
,antonio di ,antonio1 ,the ,fleming1 #df

      ,massari1 ,andrea1 of ,siena1 #ed 
,mastei1 ,antonio1 of ,gubbio1 #ec      
,mastro ,crespolto1 of ,perugia1 #bf    
,mastro ,vanni di ,tura dell' ,ammanato1
 ,sienese1 #aj      ,matteo di          
,bernardino1 of ,florence1 #ag      ,meo
 di ,nuti1 of ,siena1 #aj      ,michele 
,spagnuolo1 #ba      ,milan1 ,cathedral1
 #ae      ,minelli1 ,giovanni and       
,cristoforo de1 #de      ,miniatures at 
,villanova1 by ,fra ,giovanni da        
,verona1 #ei      ,minnesinger's harp1  
of #adth ,century1 #h      ,modern      
,french marquetry1 #abe      ,monte     
,oliveto1 #ee1 #ei1 #fj      ,muse      
,cluny1 wire-drawing bench made for     
,augustus1 ,elector of ,saxony1 #ia     
,n      ,naples1 tarsia by ,fra         
,giovanni da ,verona in ,s4 ,anna dei   
,lombardi1 #fa1 #fb      ,nicol di      
,nicoluccio1 #aj      ,nuremberg work in
 ebony and ivory1 #ij        ,o         
,,oeben1 ,j4 ,f41 beniste du roi1 #ii   
,orvieto1 #aj1 #ac        ,p            
,padua1 stalls in ,church of ,s4        

,antonio1 account by ,matteo ,colaccio1 
#cj1 #ca      ,paint and gilding added  
to intarsia work1 #ajf      ,paolo da   
,pesaro1 #hj      ,parti of ,siena1 #i  
,perugia1 #aj1 #ai1 #bf    ---- choir of
 the ,cathedral1 #ai    ---- choir of   
,s4 ,domenico1 #bf    ---- door in choir
 of ,s4 ,pietro in ,casinense by ,fra   
,damiano1 #gd    ---- ,sala del ,cambio1
 #bf1 #df    ---- stalls of ,s4         
,agostino1 #dd      ,pier ,antonio dell 
',abate of ,modena1 #bi      ,pietro    
,antonio of ,florence1 #ag      ,pietro 
di ,maffeis1 #gc      ,pietro di        
,miaella of ,siena1 #aj      ,pietro di 
,rizzardi1 #cc      ,pisa ,cathedral1   
#ba1 #bb1 #bc      ,polimante da        
,nicola1 #bf      ,pontelli1 ,baccio1   
#ba      ,portuguese decorations with   
pierced metal plates1 #hc      ,poverty 
of craftsmen1 ,domenico del ,coro1 #aj1 
#ab      ,preuszen1 ,hans1 carver1 #hg  
,r      ,realism in intarsia panels1    
#aje      ,reasons for beauty in        
designs1 #abg      ,reggio in ,emilia1  

#ce      ,relief intarsia or ,prger     
arbeit1 #he      ,returns made by       
,sienese craftsman for taxation1 #aai1  
#abj      ,riesener1 ,j4 ,henry1 #ii1   
#ajj      ,roentgen1 ,david1 #ajb1 #ajc 
,rome1 doors of ,st4 ,peter's1 by ,fra  
,antonio da ,viterbo1 #gf1 #gg          
,rosenfeldt1 ,jochim1 #hg        ,s     
,s4 ,mary ,overie1 ,southwark1 parish   
chest1 #ic      ,sallig1 ,andreas1 #hg  
,san ,sevrino1 ,domenico di1 #df        
,savona1 choir of1 ,cathedral1 #gh      
,schieferstein1 ,hans1 #he1 #ij         
,scraping and polishing marquetry1      
operation of1 #aae1 #aaf      ,shading  
of subjects in marquetry1 #aab          
,siena1 #i1 #aj1 #ac1 #af1 #cg1 #fj     
,simone d',antonio of ,siena1 #ac       
,sizergh ,castle1 panelling from1 #ic   
,south ,german ,bride chests1 #hi       
,south ,german inlaid ,musical          
,instruments1 #hh      ,spanish inlaid  
work in ,victoria and ,albert ,museum1  
#ha1 #hb        ,t      ,taddeo         
,bartoli's designs for chapel of        

,palazzo ,pubblico1 ,siena1 #aa         
,tassi1 ,domenico of ,florence1 #ag     
,tasso1 ,maestro1 his practical joke on 
the ,benedictine ,abbot1 #bh            
,technical description from ,german book
 of #agth century1 #ajf      ,thickness 
of veneers in the market1 #aab          
,tommaso di ,ceccolo1 #aj               
,tonbridge ware1 #i      ,to stain ivory
 blue1 #add      ,to stain ivory green1 
#add      ,to stain ivory orange1 #adb  
,to stain ivory purple1 #adc      ,to   
stain ivory various kinds of red1 #adb1 
#adc      ,to stain ivory yellow1 #adb  
,to stain wood black1 #ach1 #aci        
,to stain wood blue1 #adj      ,to stain
 wood green1 #ada      ,to stain wood   
pink1 #acg      ,to stain wood purple1  
#acg1 #ach      ,to stain wood red1     
#ace1 #acf1 #acg      ,to stain wood    
silver grey1 #ada      ,to stain wood   
yellow1 #acc1 #acd        ,u      ,uhr1 
,herman1 #hg1 #hh      ,ulriksdal       
,castle1 doors of drinking room1 #ib    
,union of the crafts in one guild1 #ad  

,urbino1 tarsia in palace of ,frederic  
of ,montefeltro1 #di1 #ej1 #ea      ,use
 of mother-of-pearl1 ivory1             
tortoiseshell1 silver1 c41 #ed        ,v
      ,vasari's opinion of tarsia1 #ag  
,veneering1 operation of1 #ajh          
,veneers for marquetry1 thickness of1   
#aji1 #aaj      ,venice1 ,sacristy of   
,s4 ,elena1 #eg1 #eh      ,venice1      
tarsia in ,sacristy of ,s4 ,mark's1 #fg1
 #fh1 #fi      ,verona1 ,sacristy of ,s4
 ,anastasia1 #aj      ,volthurn ,castle1
 near ,brixen1 #ij      ,von ,soest1    
,albert1 #hf      ,vordt1 #ib           
,vriese1 ,vriedemann1 #hf        ,w     
,wallace ,collection1 ,cabinet by       
,claude ,charles ,saunier1 #ie          
,wallace ,collection1 ,cabinets by      
,oeben and ,riesener1 #ii1 #ajj         
,wallace ,collection1 jewel box by      
,conrad ,cornier1 #hh      ,webb1       
,stephen1 paper at the ,society of      
,arts1 #abh      ,wegener1 ,adam1 figure
 cutter1 #hg      ,weiskopf1 ,wolf1 #hd 
,winkler1 ,simon1 #he      ,wood1       

exceptional scantlings used by the      
ancients1 #f1 #g      ,woods1           
combinations of1 for marquetry1 #aaa    
,woods in use in ,england for marquetry1
 #aab    ---- used by the marqueteurs of
 ,nice1 #aae    ---- used by ,riesener1 
#aja    ---- used in ,barili's panel1   
#ch    ---- used in the best period1    
#ajf    ---- used in stalls1 ,cathedral1
 ,orvieto1 #aj    ---- used on the      
,continent for veneers1 #aaa        ,z  
,zambelli1 of ,bergamo1 ,stefano di     
,antoniuolo de1 #df1 #gc      ,zampiero 
da ,padova1 #gc      ,zanetto da        
,bergamo1 #gb1 #gc      ,willam ,hodge  
,co41 ,glasgow and ,edinburgh