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+*** START OF THE PROJECT GUTENBERG EBOOK 30215 ***
+
+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 Floor, Wall, and Vault
+
+
+
+
+  HANDBOOKS FOR THE DESIGNER AND
+  CRAFTSMAN
+
+  INTARSIA AND MARQUETRY
+
+  BY
+
+  F. 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
+  1903
+
+
+
+
+  PRINTED BY
+  WILLIAM HODGE AND COMPANY
+  GLASGOW AND EDINBURGH
+
+
+
+
+CONTENTS
+
+
+                                                                   PAGE
+
+  HISTORICAL NOTES--ANTIQUITY,                                         1
+
+  ITALY IN MEDIÆVAL AND RENAISSANCE TIMES,                             8
+
+  THE CLOISTERED INTARSIATORI AND THEIR PUPILS,                       55
+
+  IN GERMANY AND HOLLAND, ENGLAND AND FRANCE,                         84
+
+  THE PROCESS OF MANUFACTURE,                                        104
+
+  THE LIMITATIONS AND CAPABILITIES OF THE ART,                       118
+
+  WORKSHOP RECEIPTS,                                                 133
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  PLATE
+
+  1. Patterns used in Borders,                          _facing page_ 8
+
+  2. Various Patterns of Borders,                              "      9
+
+  3. Chair Back from S. Ambrogio, Milan,                       "     10
+
+  4. Door of the Sala del Papa, Palazzo Comunale, Siena,       "     13
+
+  5. The Prophet Amos. Figure intarsia from the  }
+     Sacristy of the Cathedral, Florence,        }
+  6. The Annunciation. Figure intarsia from the  } _between pages
+     Sacristy of the Cathedral, Florence,        } 18 and 19_
+  7. The Prophet Hosea. Figure intarsia from the }
+     Sacristy of the Cathedral, Florence,        }
+
+  8. The Nativity. Figure intarsia from the Sacristy
+     of the Cathedral, Florence,                        _facing page 20_
+
+  9. The Presentation in the Temple. Figure Intarsia
+     from the Sacristy of the Cathedral, Florence,             "      21
+
+  10. Panel from Sacristy of S. Croce, Florence,               "      23
+
+  11. Detail of Frieze from the Sacristy of S. Croce,
+      Florence,                                                "      24
+
+  12. Lower Seats of Choir, Cathedral, Perugia,                "      25
+
+  13. Upper Seats of Choir, Cathedral, Perugia,                "      26
+
+  14. One Panel, from Upper Series, Cathedral, Perugia,        "      27
+
+  15. Two Panels from the Sala del Cambio, Perugia,            "      28
+
+  16. Frieze from S. Mark's, Venice,                           "      30
+
+  17. Frieze from S. Mark's, Venice,                           "      32
+
+  18. Stalls from the Cathedral, Lucca,                        "      33
+
+  19. Lectern in Pinacoteca, Lucca,                            "      34
+
+  20. Two-leaved Door in the Pinacoteca, Lucca,                "      35
+
+  21. Stalls at the Certosa, Pavia,                            "      36
+
+  22. Detail of Arabesques, lower Seats, Certosa, Pavia,       "      37
+
+  23. Panel from S. Petronio, Bologna,                         "      38
+
+  24. Panel from S. Petronio, Bologna,                         "      39
+
+  25. Panel from S. Miniato, Florence,                         "      40
+
+  26. Panel from S. Maria Novella, Florence,                   "      42
+
+  27. Panel from S. Maria Novella, Florence,                   "      44
+
+  28. Panel in Sacristy of S. Pietro in Casinense, Perugia,    "      46
+
+  29. Panel from Door of Sala del Cambio, Perugia,             "      48
+
+  30. Panel from lower row of Stalls, S. Maria in
+  Organo, Verona,                                              "      59
+
+  31. Panels from Monte Oliveto Maggiore, now in
+  the Cathedral, Siena,                                        "      60
+
+  32. Frieze from Monte Oliveto Maggiore,                      "      62
+
+  33. Panel from S. Mark's, Venice,                            "      68
+
+  34. Panel from Door in Choir of S. Pietro in
+  Casinense, Perugia,                                          "      74
+
+  35. Lunette from Stalls in Cathedral, Genoa,                 "      77
+
+  36. Panel from lower row of Stalls, Cathedral, Savona,       "      78
+
+  37. Panel from the Ducal Palace, Mantua,                     "      80
+
+  38. Panel from the Rathaus, Breslau, 1563,                   "      84
+
+  39. Panel from Church of S. Mary Magdalene, Breslau,         "      86
+
+  40. Pilaster Strip from the Magdalene Church, Breslau,       "      87
+
+  41. Panel from S. Elizabeth's Church, Breslau,               "      88
+
+  42. Lower Panel of Door, 1564--Tyrolese,                     "      90
+
+  43. Top of Card Table in the Drawing-room, Roehampton
+  House; Dutch, 18th Century,                                  "      92
+
+  44. Panelling from Sizergh Castle, now in Victoria
+  and Albert Museum,                                           "      93
+
+  45. Cabinet with falling front, in the Drawingroom,
+  Roehampton House,                                            "      94
+
+  46. Cabinet belonging to Earl Granville. Boulle
+  work of about 1740,                                          "      96
+
+  47. Top of Writing Table in the Saloon, Roehampton
+  House. Period of Louis XV.,                                  "      97
+
+  48. Encoignure, signed J. F. Oeben, in the Jones
+  Bequest. Victoria and Albert Museum,                         "      98
+
+  49. Panel from back of Riesener's bureau, made
+  for Stanislas Leczinski, with figure of Secrecy,             "     100
+
+  50. Roundel from bureau, made for Stanislas
+  Leczinski, King of Poland, now in the
+  Wallace Collection,                                          "     102
+
+  51. Antonio Barili at work, by himself,                      "     104
+
+  52. Panel from the Victoria and Albert Museum,               "     106
+
+  53. Panel from S. Maria in Organo, Verona,                   "     122
+
+  54. Panel from S. Maria in Organo, Verona,                   "     126
+
+  55. Panel from S. Pietro in Casinense, Perugia,              "     130
+
+
+
+
+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 novelty. In every direction the
+question which is asked is not, "Is this fresh thing good? Is it
+appropriate to, and well-fitted for, its intended uses?" but "Is it
+novel?" 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 change. While there are directions in which this
+desire is not altogether harmful, since at least many monstrosities
+offend our eyes but for a short time, a full compliance with it by the
+designer is likely to prove disastrous to his reputation, 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 centuries, and to
+produce something entirely fresh and individual, have shown how
+impossible it is at this period of the world's history to dispense with
+tradition, and, escaping from the accumulated experience of the race,
+set forth with childlike _naïveté_. 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 generations, and that
+the undigested use of natural _motifs_ results not in nourishment but in
+nightmare.
+
+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 times, 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
+present. Since both design and craftsmanship as known until the end of
+the 18th century were the outcome of centuries of experience of the use
+of material and of the endeavour to meet daily requirements, it may be
+justly called folly to cast all this aside as the fripperies of bygone
+fashion which cramp the efforts of the designer, and attempt to start
+afresh without a rag of clothing, even if it were possible. At the same
+time it is not intended to advocate the direct copyism of any style,
+whether regarded as good, bad, or indifferent. Some minds find
+inspiration in the contemplation of natural objects, while others find
+the same stimulus in the works of man. The fashion of present opinion
+lays great stress upon the former source of inspiration, and considers
+the latter heretical, while, with a strange inconsistency, acclaiming a
+form of design based upon unnatural contortions of growth, and a
+treatment which is often alien to the material. It is the hope of the
+author to assist the second class of mind to the rivalling of the
+ancient glories of design and craftsmanship, 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 individuality. 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 unsuitable, and a greater acquaintance with their
+triumphs is likely, one would hope, to lead students, whether designers
+or craftsmen, to view with disgust undigested designs indifferently
+executed which have little but a fancied novelty to recommend them.
+
+It is intended that each volume shall contain an historical sketch of
+the phase of design and craft treated of, with examples of the
+successful overcoming of the difficulties to be encountered in its
+practice, workshop recipes, and the modes of producing the effects
+required, 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 them.
+
+
+
+
+PREFACE
+
+
+The subject treated of in this handbook has, until lately, received
+scant attention in England; and except for short notices of a general
+nature contained in such books as Waring's "Arts Connected with
+Architecture," technical descriptions, such as those in Holtzapffel's
+"Turning and Mechanical Manipulation," and a few fugitive papers, has
+not been treated in the English language. On the Continent it has,
+however, been the subject of considerable research, and in Italy,
+Germany, and France books have been published which either include it as
+part of the larger subject of furniture, or treat in considerable detail
+instances of specially-important undertakings. From these various
+sources I have endeavoured to gather as much information as possible
+without too wearying an insistence upon unimportant details, 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
+art, and especially for the designer and craftsman, whose business it
+is or may be to produce such works in harmonious co-operation in the
+present day, as they often did in days gone by, and, it may be hoped,
+with a success akin to that attained in those periods to which we look
+back as the golden age of art.
+
+The books from which I have drawn my information are principally the
+following:--
+
+In Italian--Borghese and Banchi's "Nuovi documenti per la storia dell'
+Arte Senese"; Brandolese's "Pitture, sculture, &c., di Padova"; Caffi's
+"Dei lavori d'intaglio in legname e d'intarsia nel Cattedrale di
+Ferrara"; Calvi's "Dei professori de belle arti che fiorirono in Milano
+ai tempi dei Visconti, &c."; Saba Castiglione's "Ricordi"; Erculei's
+paper in his "Catalogue of the Exhibition of works of carving and inlay
+held at Rome in 1885"; Finocchietti's "Report on carving and inlaid work
+in the Jurors' report on the Exhibition of 1867 in Paris"; Lanzi's
+"History of Painting in Italy"; Locatelli's "Iconografia Italiana";
+Marchese's "Lives of Dominican Artists"; Milanesi's "Documenti per la
+Storia dell' Arte Senese"; Morelli's "Notizie d'opere di disegno nella
+prima metà dell' Secolo XVI."; Tassi's "Vite di pittori, architetti,
+&c., Bergamaschi"; Temanza's "Vite dei piu celebri architetti, &c.,
+Dominicani"; Tiraboschi's "Biblioteca Modenese"; Della Valle's "Lettere
+Senesi sopra le belle Arti"; Vasari's "Lives," with Milanesi's notes and
+corrections, and papers in the "Bullettino di Arti, Industrie e
+Curiosità Veneziane," the "Atti e memorie della Società Savonese," the
+"Archivio Storico dell' Arte and its continuation as L'Arte," and the
+"Archivio Storico Lombardo," by such men as Michele Caffi, G. M. Urb,
+Ottavio Varaldo, Francesco Malaguzzi Valeri and L. T. Belgrano.
+
+In German--Becker and Hefner Alteneck's "Kunstwerke and Geräths Schaften
+des Mittelalters und der Renaissance"; Bucher's "Geschichte der
+Technischen Kunst"; Burckhardt's "Additions to Kugler's Geschichte der
+Baukunst, and Geschichte der Renaissance in Italien"; Demmin's "Studien
+über die Stofflich-bildenden Künste"; Von Falke's "Geschichte des
+deutsches Kunstgewerbes"; Scherer's "Technik und Geschichte der
+Intarsia"; Schmidt's "Schloss Gottorp"; Seeman's "Kunstgewerbliche
+Handbücher"; Teirich's "Ornamente aus der Blüthezeit italienischer
+Renaissance," and articles in "Blätter für Kunstgewerbe," and the
+"Kunstgewerbeblatt of the Zeitschrift für bildende Kunst," by such men
+as Teirich, Issel and Ilg.
+
+In French--Asselineau's "A. Boulle, ébéniste de Louis 14"; Burckhardt's
+"Le Cicerone"; Champeaux's "Le bois appliquée au mobilier," and "Le
+meuble"; Demmin's "Encyclopédie historique, archeologique, &c.";
+Luchet's "L'Arte industriel à l'Exposition Universelle de 1867," and
+other encyclopædias.
+
+In English--"The handmaid to the arts"; Holtzapffel's "Turning and
+mechanical manipulation"; Pollen's paper on "Furniture in the Kensington
+Catalogue of Ancient and Modern furniture"; Leader Scott's "The
+Cathedral builders"; Tomlinson's "Cyclopædia of Useful Arts"; Waring's
+"The Arts connected with architecture"; and Digby Wyatt's "Industrial
+Arts of the 19th Century," together with detached articles found in
+various publications.
+
+Those who desire further examples of arabesque patterns may find them in
+Issel's "Wandtäfelungen und Holzdecken"; Lacher's "Mustergültige
+holzintarsien der Deutschen Renaissance aus dem 16 und 17 Jahrhundert";
+Lachner's "Geschichte der Holzbaukunst in Deutschland"; Lichtwark's "Der
+ornamentstich der deutschen Frührenaissance"; Meurer's "Italienische
+Flachornamente aus der Zeit der Renaissance"; Teirich's "Ornamente aus
+der Blüthezeit italienischer Renaissance," and Rhenius "Eingelegte
+Holzornamente der Renaissance in Schlesien von 1550-1650."
+
+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 known,
+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
+question.
+
+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 ways, the facilities
+afforded me, and their unfailing kindness and courtesy; and to the
+Director of the Victoria and Albert Museum for similar kindness and
+assistance.
+
+I have also to thank my friend Mr. C. Bessant, whose experience in all
+kinds of cabinet work is so great, for very kindly looking over the
+section dealing with the processes of manufacture.
+
+  F. HAMILTON JACKSON.
+
+
+
+
+INTARSIA AND MARQUETRY
+
+HISTORICAL NOTES--ANTIQUITY
+
+
+The word "intarsia" is derived from the Latin "interserere," to insert,
+according to the best Italian authorities, though Scherer says there was
+a similar word, "Tausia," which was applied to the inlaying of gold and
+silver in some other metal, an art practised in Damascus, and thence
+called damascening; and that at first the two words meant the same
+thing, but after a time one was applied to work in wood and the other to
+metal work. In the "Museo Borbonico," xii., p. 4, xv., p. 6, the word
+"Tausia" is said to be of Arabic origin, and there is no doubt that the
+art is Oriental. It perhaps reached Europe either by way of Sicily or
+through the Spanish Moors. "Marquetry," on the other hand, is a word of
+much later origin, and comes from the French "marqueter," to spot, to
+mark; it seems, therefore, 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 (or sometimes some other
+material) cut to fit it, and to use the latter for the more modern
+practice of cutting several sheets of differently-coloured thin wood
+placed together to the same design, so that by one cutting eight or ten
+copies of different colours may be produced which will fit into each
+other, and only require subsequent arranging and glueing, as well as for
+the more artistic effects of the marquetry of the 17th and 18th
+centuries, which were produced with similar veneers. The process of
+inlaying is of the most remote antiquity, and the student may see in the
+cases of the British Museum, at the Louvre, and in other museums,
+examples of both Assyrian and Egyptian inlaid patterns of metal and
+ivory, or ebony or vitreous pastes, upon both wood and ivory, dating
+from the 8th and 10th centuries before the Christian Era, or earlier.
+The Greeks and Romans also made use of it for costly furniture and
+ornamental sculpture; in Book 23 of the "Odyssey," Ulysses, describing
+to Penelope the bride-bed which he had made, says--"Beginning from this
+head-post, I wrought at the bedstead till I had finished it, and made it
+fair with inlaid work of gold, and of silver, and of ivory"; the statue
+and throne of Jupiter at Olympia had ivory, ebony, and many other
+materials used in its construction, and the chests in which clothes
+were kept, mentioned by Homer, were some of them ornamented with inlaid
+work in the precious metals and ivory. Pausanias describes the box of
+Kypselos, in the opisthodomos of the Temple of Hera, at Olympia, as
+elliptical in shape, made of cedar wood and adorned with mythological
+representations, partly carved in wood and partly inlaid with gold and
+ivory, in five strips which encircled the whole box, one above another.
+The Greek words for inlaying used by Homer and Pindar are "[Greek:
+daidallô]" and "[Greek: kollaô]," and their derivatives, the first being
+also used for embroidering; Homer and Hesiod also use "[Greek:
+poikilos]" for "inlaid," which shows how closely at that time the arts
+were interwoven. These words have left no trace in the later terms,
+though [Greek: kollaô] means to fix together, or to glue, and it is
+tempting to connect the French word "coller" with it. Vitruvius and
+Pliny use the words "cerostrata" or "celostrata," which means, strictly
+speaking, "inlaid with horn," and "xilostraton." The woods used by the
+Greeks were ebony, cypress, cedar, oak, "sinila," yew, willow, lotus
+(celtis australis), and citron (thuyia cypressoides), a tree which grew
+on the slopes of the Atlas mountains. The value of large slabs of this
+last was enormous. Pliny says that Cicero, who was not very wealthy
+according to Roman notions, spent 500,000 sesterces (about £5400) for
+one table. Asinius Pollio spent £10,800, King Juba £13,050, and the
+family of the Cethegi £15,150 for a single slab. The value of this wood
+consisted chiefly in the beautiful lines of the veins and fibres; when
+they ran in wavy lines they were called "tigrinæ," tiger tables; when
+they formed spirals like so many little whirlpools they were called
+"pantherinæ," or panther tables, and when they had undulating, wavy
+marks like the filaments of a feather, especially if resembling the eyes
+on a peacock's tail, they were very highly esteemed. Next in value were
+those covered with dense masses of grain, called "apiatæ," parsley wood.
+But the colour of the wood was also a great factor in the value, that of
+wine mixed with honey being most highly prized. The defect in that kind
+of table was called "lignum," which denoted a dull, log colour, with
+stains and flaws and an indistinctly patterned grain. Pliny says the
+barbarous tribes buried the wood in the ground when green, giving it
+first a coating of wax. When it came into the workmen's hands they put
+it for a certain number of days under a heap of corn, by which it lost
+weight. Sea water was supposed to harden it and act as a preservative,
+and after bathing it, it was carefully polished by rubbing by hand. The
+use of such valuable wood naturally led to the use of veneers, and the
+practice was universal in costly furniture. The word "xilotarsia" was
+used by the Romans to designate a kind of mosaic of wood used for
+furniture decoration. Its etymology suggests that the Greeks were then
+masters in the art. They divided works in tarsia into two
+classes--"sectile," in which fragments of wood or other material were
+inserted in a surface of wood, and "pictorial," in which the various
+pieces of wood covered the ground entirely. The slices of wood,
+"sectiles laminæ," were laid down with glue, as in modern work. Wild and
+cultivated olive, box, ebony (Corsican especially), ilex, and beech were
+used for veneering boxes, desks, and small work. Besides these the
+Romans used the citrus, Syrian terebinth, maple, palm (cut
+transversely), holly, root of the elder, and poplar; the centres of the
+trees being most prized for colour and markings. [See note giving
+extracts from Pliny.[1]]
+
+A few notes on the exceptional scantlings of timber in antiquity may be
+interesting, though not strictly belonging to our subject. 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 curiosity. It measured
+120 feet by 2 feet the entire length. The mast of the vessel which
+brought the large obelisk from Egypt, afterwards set up in the Circus
+Maximus, and now in front of S. John Lateran, was 100 feet by 1-1/2
+feet, and the tree out of which it was cut required four men, holding
+hands, to surround it. A stick of cedar, cut in Cyprus and used as the
+mast of an undecireme, or 11 banked galley of Demetrius, took three men
+to span the tree out of which it was cut. It was the exceptional sizes
+of such pieces of timber, and veneers cut from them, which made the
+value of tables in Rome.
+
+FOOTNOTES:
+
+[1] Pliny, Book 16, Chap. 83--"Glue, too, plays one of the principal
+parts in all veneering and works of marquetry. For this purpose the
+workmen usually employ wood with a threaded vein, to which they give the
+name of 'ferulea,' from its resemblance to the grain of the giant
+fennel, this part of the wood being preferred from its being dotted and
+wavy." Chap. 84--"The wood, too, of the beech is easily worked, although
+it is brittle and soft. Cut into thin layers of veneer it is very
+flexible, but is only used for the construction of boxes and desks. The
+wood, too, of the holm oak is cut into veneers of remarkable thinness,
+the colour of which is far from unsightly; but it is more particularly
+where it is exposed to friction that this wood is valued, as being one
+to be depended upon; in the axle trees of wheels, for instance, for
+which the ash is also employed, on account of its pliancy, the holm oak
+for its hardness, and the elm for the union in it of both these
+qualities.... The best woods for cutting into layers and employing as a
+veneer for covering others are the citrus, the terebinth, the different
+varieties of the maple, the box, the palm, the holly, the holm oak, the
+root of the elder, and the poplar. The alder furnishes, also, a kind of
+tuberosity, which is cut into layers like those of the citrus and the
+maple. In all the other trees, the tuberosities are of no value
+whatever. It is the central part of trees that is most variegated, and
+the nearer we approach to the root the smaller are the spots and the
+more wavy. It was in this appearance that originated that requirement of
+luxury which displays itself in covering one tree with another, and
+bestowing upon the more common woods a bark of higher price. In order to
+make a single tree sell many times over laminæ of veneer have been
+devised; but that was not thought sufficient--the horns of animals must
+next be stained of different colours, and their teeth cut into sections,
+in order to decorate wood with ivory, and, at a later period, to veneer
+it all over. Then, after all this, man must go and seek his materials in
+the sea as well! For this purpose he has learned to cut tortoise shell
+into sections; and of late, in the reign of Nero, there was a monstrous
+invention devised of destroying its natural appearance by paint, and
+making it sell at a still higher price by a successful imitation of
+wood.
+
+"It is in this way that the value of our couches is so greatly enhanced;
+it is in this way, too, that they bid the rich lustre of the terebinth
+to be outdone, a mock citrus to be made that shall be more valuable than
+the real one, and the grain of the maple to be feigned. At one time
+luxury was not content with wood; at the present day it sets us on
+buying tortoise shells in the guise of wood."--Pliny's Natural History,
+Bohn's Translation.
+
+
+
+
+ITALY IN MEDIÆVAL AND RENAISSANCE TIMES
+
+
+The mediæval craft seems, however, to have been derived from the East,
+though Theophilus mentions the Germans as clever practitioners in
+woodwork. A minnesinger's harp of the 14th century, figured by Hefner
+Alteneck, appears to bear out his remark, though later in date, with its
+powdering of geometrical inlays and curiously-designed sprigs, which
+might almost have been produced by the latest art craze, which apes
+archaic simplicity. It belonged to the knightly poet Oswald von
+Wolkenstein, who died in 1445; the colours used are two browns, black,
+white, and green. The oriental inlays of ivory upon wood, elaborate and
+beautiful geometrical designs, are still produced in India in much the
+same fashion as in the middle ages, for the possibilities of geometric
+design were exhausted by the Arabs in Egypt and the Moors in Spain; and
+in Venice there was a quarter inhabited by workmen of the latter race
+who made both metal work and objects in wood. Except for the inlaid
+ivory casket in the Capella Palatina, at Palermo, which seems to be a
+work of Norman times, 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 Certosa," or "tarsia alla Certosina"; but since
+inlaying with small pieces of marble and vitreous pastes was practised
+in central and southern Italy certainly from the 12th century, there is
+little difficulty in imagining how its use arose. This work has its
+derivative still existing in England in the so-called "Tonbridge ware,"
+which is made by arranging rods of wood in a pattern and glueing them
+together, after which sections are sliced off--the same proceeding, in
+effect, as that which the Egyptians made use of with rods or threads of
+glass. One must allow, however, that the wooden border inlays, which are
+also placed under this heading, show greater craft mastery, as the
+examples appended show, which are typical instances. The chair-back from
+S. Ambrogio, Milan, is a characteristic example of the simpler form on a
+tolerably large scale.
+
+[Illustration: Plate 1.--_Patterns used in Borders._
+
+_To face page 8._]
+
+[Illustration: Plate 2.--_Various Patterns of Borders._]
+
+Historians are agreed that the cradle of Italian carving and inlaying
+was Siena, where there is mention of a certain Manuello, who, with his
+son Parti, worked in the ancient choir of the Cathedral in 1259.
+Orvieto was another place where tarsia work was made at an early date,
+but the craftsmen were all Sienese. Mastro Vanni di Tura dell' Ammanato,
+the Sienese, made the design of the stalls for the Cathedral in 1331,
+and commenced the work, some remains of which are still preserved in the
+Museum of the Opera del Duomo. Twenty-eight artists were employed on
+these stalls; Giovanni Talini, Meo di Nuti, and others, all Sienese,
+assisted him, but he died before they were finished, and they remained
+incomplete till 1414, when Domenico di Nicolò is recorded as undertaking
+the work; but neither did he finish it, for in 1431 the overseers gave
+it to Pietro di Minella, and then to his brother Antonio, and to
+Giovanni di Lodovico di Magno. The woods used were ebony, box, walnut,
+and white poplar, and the cost was 3152 lire. In the 14th century tarsia
+was executed at Siena, Assisi, where in 1349 Nicolo di Nicoluccio and
+Tommaso di Ceccolo worked at the Cathedral stalls, which no longer
+remain; Verona, in the sacristy of S. Anastasia, in which city are some
+inlays resembling those at Orvieto, and Perugia, where some inlays
+remain in the Collegio della Mercanzia, but remains of the period are
+few, as may be expected.
+
+[Illustration: _To face page 10._ Plate 3.--_Chair Back from S.
+Ambrogio, Milan._]
+
+Domenico di Nicolò worked for 13 years at the chapel in the Palazzo
+Pubblico at Siena, using some of Taddeo Bartoli's designs, and also
+did the doors of the Sala di Balia, or of the Pope. This man, who was
+one of the best Sienese masters of intarsia and carving, and was head of
+the Opera del Duomo in 1400, and whose work brought him so much
+reputation that his family name of Spinelli was changed for himself and
+his descendants to Del Coro, or Dei Cori, is an example and a proof of
+the small profit which was to be made even then by conscientious and
+careful work. He was not only a worker in wood, in 1424 he also did the
+panels of the Cathedral floor, representing David and Goliath, the
+Amorite Kings, and Samson, ascribed by Vasari to Duccio; in 1415 he was
+paid 42 lire for a tabernacle made of gesso, while as early as February
+28, 1397-8, he was paid 32 lire 10 soldi for 32-1/2 days' work on a
+window above the pulpit; yet on May 13, 1421, he petitions the priors
+and captain of the people to this effect. He says that he is poor, and
+cannot meet the requirements of his family and apprentices, each of
+whom, he says, costs 30 or 40 florins a year, and therefore suggests
+that he should have two or three boys to teach, and that the priors
+should subsidize him for that purpose, and binds himself to teach them
+all he can without reserve. The priors and captains recommended to the
+council that he should be paid by the chamberlain of Bicherna 200 lire,
+free of tax, by the year, "nomine provisionis libr: ducentos den:
+nitidas de gabella," and should have two or three Sienese youths to
+teach, and the council passed the recommendation the same day.
+Twenty-six years later, January 14, 1446-7, he appears again in the
+records with a petition to the Signory. He says that he has always, from
+his youth up, done his best to provide for his family, and that by his
+craft he has always tried to bring honour on the city and spread the
+fame of his works. That as they know he was granted money to teach his
+art to any young man who wanted to learn it, but "because this art was,
+and is, little profitable, there was no one who wished to go on with it
+except Master Mactio di Bernacchino, who followed the art thoroughly,
+and became an excellent master." That, as he thought he was fairly
+prosperous, he gave up the grant (like an honest man!), but the expenses
+of marrying and dowering his daughters had been so great, and added to
+the losses caused by the small profits on his work, had reduced him to
+such poverty that he did not see how he could go on, being 84 years of
+age, or thereabouts, and having a sick wife. He therefore asked to have
+a small pension settled on him for the few years he and his wife had to
+live. He was granted two florins a month, but three years later all
+mention of him ceases.
+
+[Illustration: Plate 4.--_Door of the Sala del Papa, Palazzo Comunale,
+Siena._
+
+_To face page 13._]
+
+The choir of the Chapel of the Palace had been given in 1414 to Simone
+d'Antonio and Antonio Paolo Martini, but they did not satisfy the
+public, so it was taken from them and given to Domenico di Nicolò,
+August 26, 1415. The tarsie are 21 in number, and represent the clauses
+of the apostles' creed and the symbols of the apostles. The unsuccessful
+work was given to the prior of the Servites. In the Communal records
+occur the following, March 31, 1428:--"Domenico di Nicolò, called
+Domenico del Coro, is to have 45 florins at 4 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 Palace, which salary was declared
+by Guido of Turin and Daniello di Neri Martini, two of the three workmen
+upon the contract of the said door, at 180 lire. And is to have 3152
+lire for his salary and workmanship of 21 seats made in the Palace of
+the Magnificent Signors, with all both '_fornamenti et facti_,' in full
+according to his contract"--accepted by Guido di Torino and Daniello di
+Neri Martini. He was called to Orvieto in 1416 to refix the roof of the
+Cathedral; he was not to have more than 200 florins a year, but if he
+came himself all expenses were to be paid. This suggests an appointment
+like that of a consulting engineer.
+
+From Siena masters were continually sent to the other great towns to
+design and carry out works of architecture, sculpture, and woodwork, as
+entries in Sienese documents show. In early times the various arts
+connected with building were in close union, and it appears tolerably
+certain that one guild sheltered them all, proficiency being required in
+several crafts and mastery in one. We find the same man acting in one
+place as master builder or architect, and sometimes only giving advice,
+while elsewhere he is sculptor or woodworker. The painter, the
+mosaicist, and the designer for intarsia are confused in a similar
+manner. Borsieri calls Giovanni de' Grassi, the Milanese painter (known
+as Giovanni de Melano at first, a pupil of Giotto and Taddeo Gaddi;
+pictures of his are in the Academy, Florence, and in the cloister of S.
+Caterina Milan), "an excellent architect"; and he also worked in relief,
+besides conducting very important architectural works. He says that
+about 1385 Giovanni Galeazzo opened an academy of fine art in his
+palace, which was conducted by Giovanni de' Grassi and Michelino da
+Besozzo. On June 19, 1391, he was paid five florins for models executed
+by him, and something for the expense of execution in marble by another
+hand. In 1391 he was called upon by the Council of the Duomo, and after
+four months of uncertainty was assigned the position and pay of first
+engineer, with a servant who was paid by the Council. He did the door of
+the S. Sacristy; it was finished in July, 1395, when he was ordered to
+decorate it with gilding and blue. He also made designs for capitals and
+window traceries, and carved a God the Father for a centre boss of the
+vault of the N. Sacristy. He illuminated the initials, &c., of a copy of
+the Ambrosian ritual of Berold for the "Fabbriceria," and this was his
+last work, as he died July 5, 1398, and the price was paid to his son
+Solomon, the officials declaring that it was most moderate. His pupils
+were nearly all both painters and sculptors, and some of them became
+stained-glass painters. It is well known that Taddeo Gaddi was painter,
+architect, and mosaicist, and Giotto, painter, sculptor, and architect,
+and these details are an example of what was then continually going on.
+Both in mediæval times and at the beginning of the Renaissance the most
+celebrated architects often called themselves by the most humble
+titles--"Magister lignaminio," "maestro di legname," "faber lignarius,"
+"carpentarius." Minerva, the worker, was the patron of all workmen from
+Pheidias to the lowest pottery thrower, and in Christian times the
+Quattro Coronati, the four workmen-saints, were the patrons of all who
+worked with their hands.
+
+The oldest of the differentiated guilds appears to be that of the
+painters, at least in Siena, where one was established in 1355, while in
+Florence they were obliged to enrol themselves in the "Art" of the
+"medici e speziali," unless they preferred, as many of them did, to be
+reckoned with the goldsmiths. In Siena the Goldsmiths' Guild followed
+the Painters' Guild in 1361, while the workers in stone formed their
+guild still later. Among the painters were included designers of every
+sort--moulders, and workers in plaster, stucco, and papier maché, gold
+beaters, tin beaters, &c., and masters and apprentices in stained glass,
+also makers of playing cards--a most comprehensive guild. Vasari, in his
+life of Jacopo Casentino, architect and painter, says, however, "Towards
+1349 the painters of the old Greek style, and those of the new,
+disciples of Cimabue, finding themselves in great number, united and
+formed at Florence a company under the name and protection of S. Luke
+the Evangelist"; and Baldinucci, in his "Notizie dei professori di
+disegno," prints the articles of association at length. Others hold that
+the Confraternità dei Pittori was not founded till 1386.
+
+[Illustration: Plate 5.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PROPHET AMOS.
+
+_This and the two succeeding are part of the same composition._
+
+_To face page 18._]
+
+
+[Illustration: Plate 6.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE ANNUNCIATION.]
+
+[Illustration: Plate 7.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PROPHET HOSEA.]
+
+The rapid rise of the last-named city in wealth and importance was the
+reason that so much of the best later 15th century inlaid work was done
+there, or at least by Florentines, though the art was not new to
+Florence, the names of Matteo di Bernardino, Pietro Antonio, Giovanni
+del Mulinella, and Domenico Tassi being recorded as working there in the
+14th century. Vasari, as usual, is somewhat inaccurate; he says that
+tarsia was first introduced in the time of Brunelleschi and Paolo
+Uccello, "that, namely, of conjoining woods, tinted of different
+colours, and representing with these buildings in perspective, foliage,
+and various fantasies of different kinds." Both he and Lanzi say that
+Brunelleschi gave lessons in perspective and "tarsia" to architects and
+others, of which Masaccio in painting and Benedetto da Majano in his
+inlaid works availed themselves. Vasari held but a poor opinion of
+tarsia, which, he said, "was practised chiefly by those persons who
+possessed more patience than skill in design," and goes on to say that
+the subjects most suitable to the process are "perspective
+representations of buildings full of windows and angular lines, to which
+force and relief are given by means of lights and shades"; that although
+he had seen some good representations of figures, fruit, and animals,
+"yet the work soon becomes dark, and is always in danger of perishing
+from the worms or by fires." He adds that it was first practised in
+black and white alone, 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 colours, making the lights with the whitest pieces of
+the spindle tree; to shade, some singed the wood by firing, others used
+oil of sulphur, or a solution of corrosive sublimate and arsenic. The
+"most solemn" masters of tarsia in Florence were the Majani, La Cecca,
+Il Francione, and the da San Gallo. The first name which he gives is
+that of Giuliano da Majano (1432-90), architect and sculptor, who
+executed as his first work the seats and presses of the sacristy of S.
+S. Annunziata at Florence, with Giusto and Minore, two masters in
+tarsia. He also did other things for S. Marco. In the archives of the
+Duomo, Giuliano di Nardo da Maiano is named in a contract for ornamental
+wood-work in the sacristy, to be finished in 1465. There is still
+existing in the Opera del Duomo a panel of S. Zenobio standing between
+two deacons, executed by him from cartoons by Maso Finiguerra, who
+designed five figures for the panels of the sacristy. The heads were
+painted by Alessio Baldovinetti. There are also several subjects in the
+sacristy, a Nativity, resembling Lippino Lippi's picture in the
+Accademia; a Presentation in the Temple, not without a reminiscence of
+Ghirlandajo's manner; and an Annunciation. The whole scheme of the
+decoration of this wall was Giuliano's, but it was the completion of
+work begun in 1439 by Angelo di Lazzero of Arezzo, Bernardo di Tommaso
+di Ghigo, Giovanni di Ser Giovanni detto Scheggione, painter and brother
+of Masaccio, and Antonio Manetti. Milanesi says his father was Leonardo
+d'Antonio da Majano, master of wood and stone work. He entered the Arte
+del legnajuolo in company with his younger brother Benedetto, and the
+first mention of his work in connection with the "Arte" is in 1455, when
+he made for the Compagnia di S. Agnese delle Laudi, which met in the
+Carmine, a chest with a bookcase of some sort. Five years later he
+carved some candlesticks for the Monastery of S. Monaca, and constructed
+some cupboards ornamented with inlaid work and perspectives for the
+Badia of Fiesole. Among his architectural work may be mentioned the
+Chapel of S. Fina at S. Gemignano, which Ghirlandajo embellished with
+frescoes. He commenced a choir for the Duomo at Perugia, decorated with
+both carving and tarsia, but since he went to Naples shortly after 1481,
+and died there in 1490, the greater part of the credit of this work must
+be given to Domenico del Tasso, who completed it in 1491. His brother
+Benedetto, to whom he turned over most of his commissions for tarsia,
+when he became much occupied with architectural work, was born in 1442.
+He assisted his brother in many of his works, such as the doors of the
+hall of audience in the Palazzo Vecchio, made between 1475 and 1480,
+representing Dante and Petrarch, with ornamental borders and other
+panels, in which Il Francione also had a hand. He gave up tarsia in
+disgust for the following reason, according to the story told by
+Vasari:--"He made two chests, with difficult and most splendid mastery,
+of wood mosaic, which he wished to show to Matthew Corvinus, then King
+of Hungary, who had many Florentines at his Court, and had summoned him
+with much favour; so he packed his chests up and sailed for Hungary,
+where, when he had made obeisance to the King, and had been kindly
+received, he brought forward the said cases and had them unpacked in his
+presence, who much wished to see them; 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 ground, at
+which every one may understand how astonished and speechless Benedetto
+was in the presence of so many lords. However, he put the work together
+again as he best might, and satisfied the King; still he was disgusted
+with that kind of work, not being able to forget the vexation which
+he had suffered, and gave it up, taking to carving instead." He finished
+his brother's presses in the sacristy of S. Maria dei Fiori, and, in the
+opinion of Vasari, surpassed him and became the best master of his
+period. He died in 1497. Vasari ascribes the celebrant's seat in Pisa
+Cathedral to Giuliano, together with another of spindlewood, "to be
+placed in the nave where the women sit," finished and sent home in 1477,
+and put up by Baccio Pontelli. Milanesi says, however, that the choir of
+this Cathedral was done by Francesco di Giovanni di Matteo da Firenze,
+called Il Francione. Guido da Seravallino, between 1490 and 1495, made
+for the choir of the sacristy of this Cathedral more than 15
+perspectives; the usual price appears to have been 11 lire. He was a
+Pisan, and his father's name was Filippo. Domenico di Mariotto first
+appears in the accounts in 1489, when he began the choir and seats for
+the Campo Santo; he went on with various works of tarsia and carving
+till 1513. He was a Florentine, but lived in Pisa for many years, dying
+there in 1519. Other names which appear in the accounts are Giuliano di
+Salvatore and Michele Spagnuolo. In 1486 Cristophano d'Andrea da
+Lendinara and Jacopo da Villa came to make a seat for the choir, but
+this does not seem to have been a success, and Il Francione, who had
+been at Pisa as long before as 1462, and Baccio di Fino Pontelli, who
+appears in 1471, were put in charge of the work. Giovanni Battista
+Cervelliera is mentioned first in 1522. He was son of Pietro d'Altro
+Pietra, a native of Corsica, who began the singing gallery of the organ
+in S. Martino, Pietra Santa, finished by his son, who died in about
+1570. In 1596 a great fire took place. After this the best pieces saved
+were used in the decoration of the new choir, in 1606, by Pietro Giolli,
+who also had some fresh ones made; others were mended by Girolamo
+Innocenti, and placed round the walls and round the nave piers in 1613.
+The pieces of Giuliano da Majano's work now remaining are in the side
+aisles, two at the right, one at the left; one represents King David
+with his harp and with a label in the other hand, "Laudate Pueri
+Dominum." The other two figures are prophets, and have scrolls,
+"Benedicam, benedicam," and "Ve qui condunt legem." Pontelli's Faith,
+Hope, and Charity are on the pier near the Chapel of S. Ranier, three
+half-length figures of women. The seated figures of the liberal arts on
+the side panelling of the church are Il Francione's, women with symbols,
+arithmetic, grammar, geometry, astrology, logic, and music. The great
+seat in the nave is the work of Giovanni Battista del Cervelliera. In
+the centre is a large round-headed panel with the Adoration of the
+Magi; at each side are three lower seats with architectural subjects in
+the centre and objects in the side panels and below the seats. It is
+signed and dated 1536. The whole collection of panels is well worth a
+stay at Pisa to see, even if there were not other attractions in that
+pleasant little town. In the registers of the "Opera" is an annual
+charge for two "sbirri," or two servants of the captain of the people,
+to watch the seats of the Cathedral "so that children may not damage
+them in the obscurity," which shows that even Italian children could not
+always be trusted not to be mischievous.
+
+[Illustration: Plate 8.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE NATIVITY.
+
+_To face page 20._]
+
+[Illustration: Plate 9.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PRESENTATION IN THE TEMPLE.
+
+_To face page 21._]
+
+[Illustration: Plate 10.--_Panel from Sacristy of S. Croce, Florence._
+
+_To face page 23._]
+
+[Illustration: _To face page 24._
+
+Plate 11.--_Detail of frieze from the Sacristy of S. Croce, Florence._]
+
+[Illustration: Plate 12.--_Lower Seats of Choir, Cathedral, Perugia._]
+
+
+[Illustration: Plate 13.--_Upper Seats of Choir, Cathedral, Perugia._
+
+_To face page 26._]
+
+[Illustration: Plate 14.--_One panel from upper series, Cathedral,
+Perugia._]
+
+Il Francione had a pupil called Il Cecca. His name was really Francesco
+d'Agnolo, but like most men at that time he went by a nick-name. Cecca
+is a corruption of Francesco into Cecco, Cecca, from being Francione's
+companion and disciple. He was born in 1447; his father was Angelo di
+Giovanni, a mender of leather or "galigajo." He came to Florence from
+Tonda, a little place near S. Miniato al Tedesco. His father died in
+1460; he and three older sisters were left to his mother, Monna Pasqua.
+So the 13 year-old boy went bravely to work to keep his mother and
+sisters, and entered Il Francione's workshop. When he was 25 he left him
+and set up for himself, taking a shop in the Borgo de' Greci, where he
+lived and slept as well as worked. In 1481 he had a commission from the
+magistrates, called "degli ufficiali di Palazzo," for all the wood-work
+of the Hall of the Seventy, Bernardo di Marco Renzi helping him.
+Afterwards he did other work for different parts of the Palace and for
+other places, all of which has perished. Finally, he spent most of his
+time as architect and engineer, 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 engagements. He died in 1488.
+
+The del Tasso lived in the village of S. Gervasio, and moved to a place
+near the walls of Florence, a few steps from the Porta a Pinti. Then
+they went into the city and had a house in the parish of S. Ambrogio, in
+which church Francesco di Domenico made a tomb for himself and his
+family in 1470. They had arms; at first they were a goldsmith's anvil
+(tasso or tassetto), and above a ball or heap of silver. Afterwards the
+field of the shield was divided, and they added in the upper part two
+little badgers (tassi) at the side of the anvil, and put below the keys
+of S. Peter, crossed, and interspersed with four roses. "And this they
+did, not only to point out the parish of S. Pier Maggiore in the
+gonfalon 'Chiavi' of the quarter of S. Giovanni, where the del Tasso
+lived, but also to differentiate their arms from those almost similar of
+another Florentine family of the same name." Evidently there was no
+College of Heralds in Florence in those days! The first of the family
+recorded is Chimenti di Francesco, who, in 1483-4 made a grating or
+gridiron of wood in the Chapel of S. Lorenzo in the Monastery of S.
+Ambrogio, and the dossal of the altar called "del Miracolo." In 1488 he
+carved a choir of walnut, outlined with tarsia, for the Chapel
+Minerbetti in S. Pancrazio, for which he was paid 100 florins of gold.
+He had, among others, two sons, Lionardo and Zanobi, who became
+sculptors under Benedetto da Majano and Andrea Sansovino. They also
+worked in S. Ambrogio, and the figure of S. Sebastian is by Lionardo.
+The two brothers in 1499 made nine antique heads of marble and bronze,
+which the republic sent as a gift to the Maréchal de Guise in France.
+Chimenti had two brothers, also carvers and joiners, Cervagio and
+Domenico, who brought up their sons to follow the same calling, who did
+many things for triumphal arches, cars, &c., for "feste." Domenico did
+the tarsia and rosettes in the seat backs of the refectory of S. Pietro,
+Perugia, and a credence of walnut, ordered on October 20, 1490, for the
+table of the priors, on which were festoons, griffins, and other inlaid
+work. The year after he finished the choir of the Cathedral left by
+Giuliano da Majano, and was paid 1404 florins, according to the estimate
+of Crispolto and Polimante, Perugian joiners. For the same choir he made
+the panelling of wood, for which he was paid 60 florins. There were 34
+seats with ornaments at 36 florins each, and three with figures, which
+were estimated at 60 florins apiece. Payments were also made to him for
+work in the Sala del Cambio, sometimes for wood, sometimes on account of
+salary, so that it seems certain that he made the benches there on
+finishing the choir of the Cathedral, since they were being made between
+1491 and 1494. The first cost 130 florins and 6 soldi in 1491, but it
+was not finished till the next year. Polimante da Nicola was made
+citizen of Perugia in 1473. Three years after he began the choir of S.
+Domenico, which cost 11 florins per seat. Four years later it was still
+unfinished. "Mastro Crespolto and Mastro Giovagne" were his assistants.
+Domenico had three sons, Chimenti, Francesco, and Marco, who followed
+the paternal calling. Chimenti was one of those who were judges in 1490
+in the competition for the façade of S. Maria del Fiore, and in 1504 was
+one of those chosen to decide the position in the piazza to be occupied
+by Michael Angelo's David. Marco was an enthusiastic follower of
+Savonarola; in 1491 he was, with his brother Francesco, at Perugia
+helping his father, and six years later he undertook work there on his
+own account. They did half of the choir of La Badia in 1501-2, and the
+very elaborate lectern. The son of Mark was Giambattista, called Maestro
+Tasso, who was a fine carver in wood, and, in the opinion of Cellini,
+the best in his profession. He did many things both for ephemeral and
+lasting purposes, and became an architect, designing the door of the
+Church of S. Romolo and the Loggia of Mercato Nuovo, Florence, and
+superintending the construction of the latter between 1549 and 1551. In
+1548 he designed an addition to the Palazzo Vecchio, then the ducal
+residence, and also undertook to execute all the joinery. At the same
+time he made a model of the Palace which he intended to build in Pisa,
+which, however, was not carried out. He died in 1555. He was said by
+Vasari to spend his time in playing the wag, in enjoyment rather than
+work, and in criticising the works of others. But Cellini calls him
+pleasant and gay; Bronzino, good, lovable, and honest; and so does Luca
+Martini, who was a great friend of his. The following story of him,
+related by Il Lasca, shows that he was not above playing a practical
+joke of a rough character, and that he took great pride in the
+achievements of his fellow-artists:--"A Lombard Benedictine abbot on
+the way to Rome stayed in Florence, and wished one day to see the
+figures on the Medicean tombs in the sacristy of San Lorenzo carved by
+Michael Angelo, and having therefore gone thither with his two attendant
+monks, the prior of the church asked Tasso, who was then working at the
+floor of the library together with his son-in-law Crocini Antonio di
+Romolo, under the direction of Michael Angelo, to show the abbot the
+sacristy and the said library. Which abbot, after having seen the
+figures in the sacristy, and thought very little of them, set off to see
+the library, and while he was gently ascending a stair which conducted
+to it, talking with Tasso, happened to turn his eyes on the cupola of
+Brunellesco, and stopping to look at it commenced to say that, although
+it was considered by all the world as a marvel, he had heard a person
+worthy of credence say that the dome of Norcia was much more beautiful,
+and made with greater art. Which words so much exasperated Tasso that,
+pulling the abbot backwards with force, he made him tumble down the
+staircase, and he took care to let himself fall on him (!) and calling
+out that the frater was mad, he got two cords, with which he bound his
+arms, his legs, and all his person, so that he could not move, and then
+taking him, hanging over his shoulders, carried him to a room near,
+and, stretching him on the ground, left him there in the dark, locking
+the door and taking away the key." What happened to the unfortunate
+abbot after, and whether he was much damaged or not one does not know,
+for the anecdote stops here. Another instance of a family which devoted
+itself for many years to the production of tarsia and wood-work,
+displaying hereditary aptitude in the craft and gaining great repute, is
+given by the Canozii of Lendinara. The first member who took up tarsia,
+abandoning his craft of painting for that purpose, was Lorenzo Genesino
+da Lendinara, surnamed Canozio, to give him his full description. From
+him descended many excellent workers in wood. He studied in Padua, where
+he had Mantegna as fellow-student, and worked in company with his
+brother, his son, and a relation called Pier Antonio dell' Abate di
+Modena, who did the intarsia in the choir of S. Francesco at Treviso in
+1486. He died in 1477, and is buried in the first cloister of S. Antonio
+at Padua, for which he made the stalls, as his epitaph states. They were
+commenced in 1462, were worked at continuously for three years, and
+after an interval finished in 1468. They were then coloured and gilded
+in places by "Maestro Ugozon de Padoa, depentor." Burnt in 1749, only
+two stalls remain, made into confessional boxes, in the Chapel of the
+Beato Belludi. The designs for the tarsia of the sacristy were made by
+Squarcione, master of Mantegna and Lorenzo, who was paid for them in
+1462. There were 90 seats in this choir, so that it was a very important
+piece of work. A contemporary account by Matteo Colaccio (1486) shows
+what were the aims of the intarsiatori of the period as understood and
+admired by the more or less cultivated populace. "In past days in
+visiting those intarsiad figures, I was so much taken with the
+exquisiteness of the work that I could not withhold myself from praising
+the authors to heaven! And to commence with the objects that one sees
+around every day, here are books expressed in tarsia that seem real.
+Some are one on the other, and arranged carelessly, or by chance, some
+closed, some newly bound and difficult to close; candles of wax with the
+ends of wicks, now in well-turned wooden candlesticks, one straight, one
+crooked, less or more, with another crossing it. Elsewhere one sees
+clouds of smoke which spread out from new chimneys, fish which turn
+round from a full basket, a cithern which hangs from the centre of a
+narrow niche. Close by is a cage of bars expressed with wonderful
+spirit. Palaces, towers, and churches, through the half-closed doors of
+which one can see in the interior arches and windows, cupolas and
+steps. Most natural, then, is it not to be able to decide which tower
+to approach; these mountains appear to one covered with grass and with
+stones; and where earth of various colours appears there all green is
+taken away. But what shall I say of the images of the saints. Of their
+uncut and curled beards, of their hands, the joints of their fingers,
+their nails? Of their clothes, their sinuous folds, and the shadows? Nor
+less pleased me the little collar of rich pearls under the chin of S.
+Prosdocimus. 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 true. And this is specially admirable, that through the dull
+colour of their leaves they seem to have been taken from the tree
+scarcely a day ago." And then he praises in a pompous fashion the folds
+of the Virgin's and the Angel's drapery, the silk veil over a chalice,
+and the perspective of a flight of steps which support the feet of the
+Madonna, &c. One of his first works was done for S. Mark's, Venice, in
+1450. His reputation was much increased by the stalls of the Cathedral
+of Modena, made in 1472 by Lorenzo and Cristoforo, and restored in 1540
+by Mastro Angelo de Piacenza, one of their pupils. He also worked at
+Parma in 1473. Fra Luca Pacioli (1509) makes an enthusiastic eulogium
+upon Lorenzo, "who, in the said art (perspective), was in his time
+supreme, as he showed in all his famous works, as in tarsia in the
+worthy choir of the Santo and its sacristy, and in Venice in the Cha
+Grande, as well as in painting in the same places and elsewhere. And at
+the present time his son, Giovan Marco, my dear comrade, who is worthy
+of his paternity, as his work at Rovigo shows, and that in the choir of
+our convent in Venice, and in Mirandola, the architecture of which
+fortress is well understood." In the sacristy of the Cathedral at Lucca
+are five panels from the seats which once surrounded it, signed
+"Cristopharus de Canociis de Lendinaria fecit opus, MCCCCLXXXVIII." One
+shows S. Martin, the bishop, full length, the others perspectives,
+perhaps of various streets of the city as then existing. He did these in
+conjunction with Matteo Civitale, and they were his last works. He died
+in 1491. Bernardino da Lendinara, who worked at Parma in 1494, and
+later, and was a citizen of that town and of Modena, was son of
+Cristoforo, who was also citizen of those cities from 1463.
+
+[Illustration: Plate 15.--_Two panels from the Sala del Cambio,
+Perugia._
+
+_To face page 28._]
+
+[Illustration: Plate 16.--_Frieze from S. Mark's, Venice._
+
+_To face page 30._]
+
+[Illustration: _To face page 32._ Plate 17.--_Frieze from S. Mark's,
+Venice._]
+
+[Illustration: Plate 18.--_Stalls from the Cathedral, Lucca._]
+
+The stalls from the Cathedral at Lucca, which are illustrated, are now
+in the Picture Gallery. They were made by Leonardo Marti, of Lucca. When
+in 1620 the choir was spoilt (they thought that they were making grand
+improvements) they were moved to the church of the Riformati of S.
+Cerbone, being badly mutilated to adapt them to their new position.
+There, in two centuries of neglect they became in such a state that the
+brothers thought them no longer decent, and wished to sell them and make
+a new choir. The Opera of the Cathedral and the Commission of Art paid
+them something for them, and thus preserved them as they now are, having
+executed some restorations here and there.
+
+At Ferrara are some remains of stalls in the apse of the Cathedral which
+were commissioned from Bernardino da Lendinara in 1501, though not made
+by him owing to the defalcations of a dishonest steward. In 1519 the
+Chapter of the Cathedral renewed the contract with Pietro de' Rizzardi
+and Bernardino, but as he died in 1520, M. Angelo Discaccia, of Cremona,
+son of M. Cristoforo (da Lendinara?), was substituted, and assisted
+Rizzardi till the work was finished in 1525. The gilding was done by
+Baldassare dalla Viola and Albertino dalla Mirandola. A note in the
+books of the Fabbrica, June 30, 1525, states that "Mro. Piero di
+Richardo dale Lanze" owes for work not yet completed 58 lire 20 soldi.
+There are three rows of seats, 132 in all, and the Episcopal throne in
+the middle. The upper row is of 56 seats, without the throne, the middle
+one 42, the lowest 34. Originally there were 150, but in the
+alterations of 1715 nine from each side were taken away, as the high
+altar was placed further within the apse. The upper stalls are divided
+by a chancelled column with Corinthian capital, and terminated in a
+shell hood. The intarsia on the back showed ornament of fine style,
+drawings of sacred objects and perspectives of fine buildings drawn from
+various parts of the city. Two of the best preserved show the ducal
+castle and the ancient ducal courtyard with the still-existing staircase
+constructed by Ercole I. in 1481. The usual bird in a cage appears, the
+symbol of human passions conquered by religious abnegation. The lower
+rows of seats are also worked in tarsia, but with ornaments of
+geometrical form, books, and joint-stools, the diamond, the cognisance
+of Ercole I. (who gave the original commission), and the pomegranate,
+that of Alfonso, and this last figure, which only occurs in the third
+stall to the right in the lower order, makes one think that only that
+part was finished under him. The frames surrounding are carved with
+restraint. The work cost altogether 2771 lire 8 soldi 2 denari besides
+the expense of making the lower seats, which cost 3984 lire marchesane
+16 soldi 10 denari. The lira marchesana in 1523-25 corresponded to 43
+Roman bajocchi 9 denari, about 2 francs 35 centimes of modern Italian
+money.
+
+[Illustration: Plate 19.--_Lectern in Pinacoteca, Lucca._]
+
+[Illustration: Plate 20.--_Two-leaved door in the Pinacoteca, Lucca._
+
+_To face page 35._]
+
+The Canozii were also at Reggio, in the Emilia, in 1474 and in 1485, but
+the work of the stalls in the Cathedral seems rather more archaic than
+their period, and the lectern is dated 1459. It is probably the work of
+Antonio da Melaria, who three years later made one exactly like it, with
+other things, for the Church of S. Domenico. This was done for Antonia
+di Fiordibelli, and the contract shows what were the conditions under
+which such work was done. He was given 50 lire at once to buy material
+with, 50 when he began working, 50 when he had finished a third of the
+work, 50 when it was half done, 50 more when three-quarters was
+finished, and the rest of the whole price of 336 lire when it was
+completed. He was to use wood of Piella, and give 48 planks to the
+lady--a very curious clause in the contract.
+
+At Città di Castello there are tarsie designed by Raffaello da Colle in
+the Cathedral.
+
+The choir stalls at the Certosa, Pavia, were made by Bartolommeo Poli,
+surnamed dalla Polla, from designs by Borgognone, as is said, and the
+style certainly seems to bear out the assertion, though no document has
+yet been found directly connecting him with them. They were restored in
+1847 by Count Nava with wax and stucco coloured to imitate the missing
+pieces of wood. The upper row contains a series of figures of saints
+and prophets, and below are exceedingly graceful and flowing arabesques.
+A document in the Brera Library notes that in 1490 "Mro. Bartolommeo de
+Polli da Mantoa, who made the inlaid choir and the doors of the chapels,
+has a right to 8 ducats per door, and also for the wooden pulpits 30
+ducats a pulpit." He was the son of Andrea da Mantova, who was born at
+Modena, but lived and worked at Mantua, and also with his brother Paolo
+in S. Mark's, Venice. The stalls were made between 1486 and 1501, and
+are the only work which he is recorded to have executed. A Cremonese,
+Pantaleone de' Marchi also worked on these stalls--a relation of the
+large family of the Marchi of Crema, perhaps, who worked in S. Petronio,
+Bologna, in 1495. The father was named Agostino, and he had six sons,
+Giacomo, Nicolo, Taddeo, Biagio, Agostino, and a second Giacomo. The
+stalls in the Chapel of S. Sebastian are signed Jacopo de Marchis. Some
+stalls by Pantaleone de' Marchi are in the Museum at Berlin, acquired in
+1883. They probably came from Bramante's Church, the Madonna of Tirano,
+in the Valtelline, which was built in 1505, and where there are still
+some remains of seats similar in style. The upper range of panels has a
+few half-lengths of saints, landscapes, and the usual open cupboard
+doors revealing objects on the shelves within. On the backs of the seats
+below are arabesques, and the pilaster panels and divisions between are
+also inlaid, as is the cornice. He also worked at Savona.
+
+[Illustration: Plate 21.--_Stalls at the Certosa, Pavia._]
+
+[Illustration: Plate 22.--_Detail of Arabesques, lower seats, Certosa,
+Pavia._
+
+_To face page 37._]
+
+One of the best Sienese masters has not yet been mentioned, Antonio
+Barili, much of whose work has perished, like that of many other
+intarsiatori, an example of which the collectors for the Austrian K.K.
+Museum at Vienna have picked up, however, where it may now be seen. He
+was born in Siena, August 12, 1453. His first work on his own account
+was the choir of the Chapel of S. Giovanni, in the Cathedral, Siena, of
+which a few poor remains have escaped the carelessness of the last
+century, and are in the Collegiate Church of S. Quirico in Osenna, 26
+miles from Siena, on the old Roman road. The contract is dated January
+16, 1483, and in it he engages to finish it in about two years. He was
+to be paid 50 florins of 4 lire beyond what he expended, and was to go
+on working at the rate of 10 florins a month. If he did not finish it in
+the given time he was to forfeit 100 florins, except for cause of
+infirmity, plague, &c. It was to be valued in the usual manner, and 100
+florins was the penalty for the breaking of the contract on either side.
+As a matter of fact it took him nearly 20 years to complete. On one of
+the panels Barili made a portrait of himself at work, the one referred
+to above, now in the K.K. Austrian Museum at Vienna, which shows the
+very simple means used by the great intarsiatori. His tools consist of a
+folding pocket-knife, a square-handled gouge, and a short-bladed,
+long-handled knife, which he holds with the left hand and presses his
+shoulder against, so as to use the push of the shoulder in cutting,
+while in the right he holds a small pencil, with which he appears to
+direct the knife edge. The panel upon which he is at work bears the
+inscription, "Hoc ego Antonius Barilis opus c[oe]lo non penicello
+excussi. Anno. D., 1502." He works in a window opening with panelled
+framing, and behind him a tree spreads across a courtyard against the
+sky, upon a branch of which a parrot is seated. Von Tschudi says that
+the panel is about 2 feet 10 inches long by 1 foot 9-1/2 inches broad,
+and that the woods employed are pear and walnut, oak, maple, box,
+mahogany, palisander, and one as hard as birch in texture. A full
+description of it as it originally was is appended in a note taken from
+Della Valle's "Lettere Senese." It was valued by Fra Giovanni of Verona
+at 3990 lire. 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 2000 lire, and did other work for private persons. Another
+great work was the choir of the Certosa of Maggiano, which has entirely
+disappeared. He was not only intarsiatore, but was much employed by the
+commune on architectural works. In 1484 he was sent to rebuild the
+bridge of Buonconvento, broken by a flood of the Ombrone, and in the
+same year, with Francesco di Giorgio, and on equal terms with him,
+restored the bridge of Macereto. In 1495 he was asked to make designs
+and models for a bastion to be erected over against the bridge of
+Valiano, taken by the Florentines. Owing to a bad guard being kept this
+was taken, and between 1498 and 1500 Barili was sent again to rebuild it
+larger and stronger. Finally, in 1503, he was sent to make designs and
+models of the new walls for the fortifications of Talamone, an important
+coast town. In his intarsias he was helped by his nephew, Giovanni,
+whose salary, when working for Leo X. at Rome, was five ducats a month.
+He died in 1516.[2]
+
+[Illustration: Plate 23.--_Panel from S. Petronio, Bologna._]
+
+[Illustration: Plate 24.--_Panel from S. Petronio, Bologna._
+
+_To face page 39._]
+
+[Illustration: _To face page 40._
+
+Plate 25.--_Panel from S. Miniato, Florence._]
+
+[Illustration: Plate 26.--_Panel from S. Maria Novella, Florence._
+
+_To face page 42._]
+
+Other names mentioned by Vasari are Baccio Albini and his pupil Girolamo
+della Cecca, _pipers to the signoria_, as good intarsiatori who worked
+also in ivory when Benedetto da Majano was yet a young man, and
+David of Pistoia and Geri of Arezzo, who decorated the choir and pulpit
+of S. Agostino in the latter town. Geri also made intarsie for S.
+Michele, Arezzo. Milanesi says Girolamo della Cecca was of Volterra,
+and calls Baccio, di Andrea Cellini; he was in Hungary in 1480 with his
+brother Francesco; they were brothers of Giovanni, who was father of
+Benvenuto and piper also. The stalls in S. Miniato, Florence, were made
+in 1466 by Francesco Manciatto and Domenico da Gajuolo; but perhaps the
+highest point reached by Florentine intarsia is shown by the stalls of
+S. Maria Novella, made by Baccio d'Agnolo from Filippino Lippi's
+designs. There are 40 stalls and 30 different ornamental fillings; the
+capitals, pilasters, and frieze are inlaid, the rest carved; the
+execution of figures, scrolls, leaves, and ornamental forms is as near
+perfection as may be.
+
+Baccio, or Bartolommeo d'Agnolo Baglioni, was born May 19, 1462. "In his
+youth he did very fine intarsia in the choir of S. Maria Novella, in
+which are a very fine S. John Baptist and S. Laurence, and also carved
+the ornaments in the same place and the organ case"--so says Vasari. The
+organ case is no longer there, having been sold in England, but the
+stalls still remain. After carving the surroundings of the altar at S.
+S. Annunziata, which no longer exist, he went to Rome and studied
+architecture, of which Vasari remarks, "the science of which has not
+been exercised, for several years back, except by carvers and deceitful
+persons, who made profession of understanding perspective without
+knowing even the terminology and the first principles" (!) When he
+returned to Florence he made triumphal arches of carpentry for the entry
+of Leo X. But he still stuck to his shop, in which, especially in the
+winter, fine discourses and discussions on art matters were held,
+attended at different times by Raffaello, then quite young; by Andrea
+Sansovino, il Maiano, il Cronaca, Antonio and Giuliano San Gallo, il
+Granaccio, and sometimes, by chance, by Michel Agnolo, and many young
+men, both Florentines and strangers. He did a great deal of work for the
+great hall of the Palazzo Vecchio in conjunction with others, and the
+staircase of the Sala del Dugento. After this he did many architectural
+works, palaces and additions to churches, some of which are still
+existing. The design of Brunelleschi for the gallery to surround the
+dome of the Cathedral having been lost, Baccio was commissioned to make
+a fresh one, and a piece of it was put up; but when Michael Angelo came
+back from Rome he said it was not large enough in style for the dome; in
+fact, he called it a cage for grasshoppers (grilli), and made a design
+to replace it himself; as, however, the authorities could not make up
+their minds to accept it, and Baccio's work was much blamed, it went no
+farther, and was never finished. He died on May 6, 1543, at the age of
+83, being still in full possession of his faculties, and leaving three
+sons, of whom the second, Giuliano, did a good deal of carving both in
+stone and wood, and architectural design, working in conjunction with
+Baccio Bandinelli, among which was the choir of the Cathedral of
+Florence. Another son, Domenico, showed great promise, but died young.
+
+[Illustration: Plate 27.--_Panel from S. Maria Novella, Florence._
+
+_To face page 44._]
+
+The seats near the high altar at S. Maria Novella, and other things
+there were made between 1491 and 1496. The floor of the hall of the
+Great Council in the Palazzo Vecchio was begun in 1496, and with other
+works there went on till 1503. On October 1, 1502, he engaged to do the
+choir of S. Agostino Perugia from Perugino's designs at 1120 florins of
+40 bolognini each, but he did not work at it much at that time, since on
+June 20, 1532, he made a fresh contract with the monks to continue and
+complete the choir of their church. Adamo Rossi gives other curious
+details about this work drawn from Perugian records, which are worth
+noting. He says that in 1501 Bacciolo d'Agnolo, not having a good design
+to show, agreed with the prior Federico di Giuliano in three months'
+time to submit two different seats for the choir of S. Agostino, and
+confessed to having received 50 broad ducats of gold as part of the
+price of the choir and the two stalls mentioned. He also agreed to
+return the money if he did not undertake the choir or did not finish it
+according to contract. He presented them accordingly, and in 1502 the
+contract was signed at 30 florins for each upper seat. Rossi also says
+that he finds trace of another Baccio d'Agnolo in the collection of
+wills of Pietro Paolo di Lodovico, under date June 11, 1529, and thinks
+that the work was done by him. One Baccio was elected capo-maestro of
+the Duomo in 1507 together with Giuliano and Antonio da San Gallo and il
+Cronaca (Simone del Pollajuolo), and continued in that office until
+1529.
+
+Rossi also gives other interesting details about the making of various
+pieces of joinery in Perugia and their makers, from which I extract the
+following:--"In the refectory of S. Agostino two Sienese, Giovanni and
+Cristoforo de'Minelli, worked in 1477. The cupboards in the sacristy of
+S. Pietro in Casinense were made by Giusto di Francesco of Incisa and
+Giovanni di Filippo da Fiesole in 1472. They were bought in Florence,
+and are particularly fine and large in their treatment of flowers, &c.
+The work was finished with the assistance of Mariotto di Mariotto of
+Pesaro, three workmen coming from places at considerable distances from
+each other, proving that they wandered about the country a good deal.
+The lectern in the same church, which is well inlaid and finely carved,
+was made by Battista the Bolognese, Ambrose the Frenchman, and Lorenzo.
+The contract was between the abbot and Fra Damiano's brother, Maestro
+Stefano di Antoniuolo de' Zambelli da Bergamo, and was for the whole
+choir at 30 scudi for each seat, wood being provided. The lectern itself
+cost 176 florins, and was finished in 1535. In the Sala del Cambio,
+besides Domenico del Tasso's seats, there is a fine door which was made
+by Antonio di Benciviene da Mercatello da Massa, for which he was paid
+10 florins 93 soldi 6 denari. The orator's desk, the 'ringhiera,' was
+made by Antonio di Antonio Masi, the Fleming, though often ascribed to
+Mercatello. It was estimated by Eusebio del Bastone as worth 68 florins.
+At Assisi the choir of the upper church, which is the most important in
+all Italy for the number of its stalls, the mastery of its figure
+intarsia, and the elegance of its form, was made by Domenico da S.
+Severino, who agreed with the superiors on July 8, 1491, to make it for
+770 ducats of gold. It was not finished till 1501, but no payments are
+noted in the archives after November 18, 1498. In the lower church two
+Sienese worked in 1420, and a Florentine from 1448 to 1471. The choir
+of the Cathedral in the same city was made by Giovanni di Piergiacomo,
+also of S. Severino, and there is sometimes confusion between the two
+artists. The price was 57 florins. On one of the backs is carved the
+date 1520. The most ancient piece of joinery in Perugia is that executed
+for the Arte della Mercanzia in the 14th century."
+
+[Illustration: Plate 28.--_Panel in Sacristy of S. Pietro in Casinense,
+Perugia._
+
+_To face page 46._]
+
+Rossi prints a priced list of joiners' tools, dated November 8, 1496,
+which is interesting as showing the small amount of tools and furniture
+required in a joiner and intarsiatore's workshop at that period. It runs
+thus:--
+
+     Bernardino di Lazzaro buys from Angelo di Maestro Jacopo, called
+     Boldrino, joiner, the underwritten tools and apparatus at the price
+     at which they were valued by Master Giovanni da Siena and Ercolano
+     di Gabriele of Perugia.
+
+                                                  Florins.   Soldi.
+
+  Two benches,                                       2          0
+  Four planes,                                       1          0
+  Two screw profiles, one broad and one narrow,      0         40
+  Two rules,                                         0         16
+  Four straight edges, one large and three small,    0         28
+  One outliner for tarsia,                           0          8
+  Rods for making cornices,                          0         12
+  A cross beam,                                      0          6
+  Two compasses, one large and one small,            0         12
+  Two rulers,                                        0          5
+  Four one-handed little planes,                     0         16
+  One two-handed little plane,                       0          8
+  Two broad planes,                                  0         12
+  Two hollow moulding planes,                        0         12
+  Three pieces of unfinished tarsia, and one
+    with a wire drawing iron,                        1         30
+  Two large squares and one "grafonetto" and
+    one little square,                               0          8
+  Two old irons for making cornices,                 0          8
+  Nine files, large and small, round and
+    straight,                                        0         30
+  Fifteen "gulfie," large and small,                 0         24
+  Three chisels, one glued and one all of iron
+    and one "a tiro colla manacha de legusa
+    saietta,"                                        0          7
+  One small hammer,                                  0         16
+  Two arm chairs,                                    0          8
+  A big "tenevello,"                                 0         25
+  A little anvil,                                    0         20
+  A pair of big pincers,                             0         32
+  Two little axes,                                   0         20
+  A two-handed axe,                                  0         25
+  A two-handed saw with a file,                      0         60
+  A cutting saw,                                     0         25
+  Two stools,                                        0         16
+  Nine presses (clamps),                             0         60
+  Two cupboards,                                     0         90
+  Five pieces of panels, two on the benches
+    and three outside,                               0         20
+  Three pieces of tarsia frieze and two
+    pictures with a box without a lid,               1          0
+  A bench to put the tarsia on,                      0         40
+
+
+The words untranslated are, I suppose, Perugian words. At all events,
+they do not appear in the large Italian dictionary edited by Tommaseo
+and Bellini.
+
+This Bernardino six years earlier worked as apprentice with Maestro
+Mattia da Reggio, and was paid 6 florins 22 soldi for four months. His
+name appears in the list of masters of stone and wood.
+
+[Illustration: Plate 29.--_Panel from door of Sala del Cambio, Perugia._
+
+_To face page 48._]
+
+Frederic of Montefeltro, Duke of Urbino, built himself a splendid palace
+in that city between the years of 1468 and 1480, which cost 200,000
+golden scudi. At that time a sack of corn cost rather less than five
+modern Italian lire in the duchy, and a hectolitre of wine only one
+franc sixty centimes, 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 figures. Among the decorations, which
+include much stone carving of the most extraordinary finish, which in
+the interior of the palace appears as fresh as the day it was completed,
+were some splendidly inlaid doors, eight or nine of which still remain.
+The palace was constructed upon the foundations of an older palace of
+1350, much enlarged, and here he lived magnificently, and collected that
+fine library which was subsequently removed to Rome, of which Vespasiano
+da Bisticci, the Florentine bookseller, who had a good deal to do with
+it, says that it was the most perfect that he knew, for in others there
+were either gaps or duplicates, from which defects it was free.
+Castiglione's "Cortigiano," the ideal of a courtier in those days,
+describes the Court of Urbino as it was under Guidobaldo, his son and
+successor. Among the decorations of the palace which still remain is the
+panelling of a small studio on the _piano nobile_, close to the tiny
+chapel, which is entirely surrounded by intarsia of the finest
+description, which represents in the lower part a seat something like
+the misereres of choir stalls surrounding the apartment, some parts of
+which are raised and some lowered. In the spaces rest some portions of
+the duke's arms, a sword, a mace, &c., leaning in the corners, and on
+the lower parts of the seat are musical instruments, fruits and
+sweetmeats in dishes, cushions, books, &c. The upper panels show
+cupboards with doors partly open, showing all sorts of things within in
+the usual fashion, and there are four figure panels inserted at
+intervals containing the portrait of the duke and the Christian virtues
+of Faith, Hope, and Charity which he strove to exemplify in his life. At
+one end of the room are two recesses divided by a projecting pier; in
+the one to the left the armour of the duke is represented as hanging
+piece by piece on the wall, in that on the right is shown his reading
+desk, made to turn on a pivot, with books upon it and around, and on the
+pier between, a landscape, seen through an arcade with a terrace in
+front, upon which are a squirrel and a basket of fruit. Close to the
+reading desk is a representation of an organ with a seat in front of it,
+upon which is a cushion covered with brocade or cut velvet, which is
+most realistic, and on the organ is the name Johan Castellano, which is
+supposed to be the name of the intarsiatore, though this name does not
+appear in the accounts. The custodian called him a Bergamase, I do not
+know on what authority. The designs of the figures are ascribed to
+Botticelli, and some of them look as if the ascription might possibly be
+correct. The only names of intarsiatori found in the ducal accounts are
+Beneivegni da Mercatello, who worked in the Sala del Cambio at Perugia,
+and no doubt had to do with the making of the doors, which resemble that
+work, and perhaps a Taddeo da Rovigno, the town from which the Olivetan
+Fra Sebastian came. Pungileone, however, found a payment of seven
+florins in 1473 to "Maestro Giacomo, from Florence, on account of
+intarsia for the audience hall." Dennistoun says that this study
+contained "arm-chairs encircling a table all mosaicked with tarsia, and
+carved by Maestro Giacomo of Florence," but it is now quite bare,
+though, fortunately, the tarsie are well preserved. He goes on to say
+that "on each compartment of the panelling was the portrait of some
+famous author and an appropriate distich," which leads one to suppose
+either that his information was inaccurate or that he was referring to
+the similar small study on the lower floor, in which Timoteto delle Vite
+did some painting.
+
+The duke and his son Guidobaldo were both great builders, and Urbino was
+not the only town in which they raised palaces, though the others were
+not of so much importance. The names by which they were denominated show
+this. It is always the _corte_ at Urbino, at Pesaro it is the _palazzo_,
+and at Gubbio the modest _casa_. Nevertheless, at this last place the
+intarsias were of almost as great importance, though now the palace is
+ruinous and the intarsias dispersed, some of them being at South
+Kensington. Dennistoun quotes descriptions from Sig. Luigi Bonfatti and
+Mr. F. C. Brooke, which are worth reproducing, as showing the care some
+times expended on the decoration of quite small apartments. This study,
+which was commissioned by Duke Guidobaldo, is only 13 by 6-1/2 feet in
+plan, though it is 19 feet high. The inlaid work only went half-way up,
+as at Urbino, the upper part of the walls having been covered with
+tapestries. The tarsie showed "emblematic representations of music,
+literature, physical science, geography, and war; bookcases, or rather
+cupboards, with their contents, among which were a ship, a tambourine,
+military weapons, a cage with a parrot in it, and as if for the sake of
+variety only, a few volumes of books, over one of which, containing
+music, with the word 'Rosabella' inscribed on its pages, was suspended
+a crucifix. On the central case opposite the window, and occupying as it
+were the place of honour, was the garter, with its motto, 'Honi soit q.
+mal i pense,' a device which was sculptured on the exterior of the stone
+architrave of the door of this apartment. It appeared again in tarsia in
+the recess of the window, where might also be seen, within circles, 'G.
+Ubaldo Dx. and Fe Dux.' Amongst the devices was the crane standing on
+one leg, and holding, with the foot of the other, which is raised, the
+stone he is to drop as a signal of alarm to his companions. Among other
+feigned contents of a bookcase were an hour-glass, guitar, and pair of
+compasses; in another were seen a dagger, dried fruits in a small basket
+made of thin wood, and a tankard, while in a third was represented an
+open book surmounted with the name of Guidobaldo, who probably made the
+selection inscribed on the two pages of the volume, comprising verses
+457-491 of the tenth Æneid." On the cornice was an inscription. It was
+thought to be the work of Antonio Mastei of Gubbio, a famous artist in
+wood, who executed the choir of S. Fortunato at Todi, and who is known
+to have been much in favour with Dukes Guidobaldo and Francesco Maria
+I., the latter of whom gave him an exemption from imposts.
+
+In the 17th century tarsia was more used for domestic furniture than
+for stationary decoration. The character of the design changed in
+consequence, and mother-of-pearl, ivory, tortoiseshell, silver, and
+other materials were used. The first Tuscan, or one of the first who did
+so was Andrea Massari of Siena. A few works in tarsia were still
+executed, but none of much importance. The choir of S. Sigismondo,
+outside Cremona, commenced by Gabriel Capra and finished by his son
+Domenico in 1605, is one of the principal, and the choir of S.
+Francesco, Perugia, where Fortebraccio was buried, but this latter no
+longer exists. Marquetry was produced in Florence, Venice, Milan, and
+Genoa down to a still later date, but the fashion for ivory and ebony
+carried all before it. The Italian work of this kind is often most
+beautifully engraved, but less accurate than that produced in France.
+The later Italian marquetry does not lose decorative effect though the
+figure drawing becomes very conventional, and the curves of ornament are
+often cut with a mechanical sweep. A good deal of it is in only two
+colours, a return to the simplicity of earlier days.
+
+FOOTNOTES:
+
+[2] There were nineteen subjects, divided by channelled pilasters with a
+carved frieze, above a bench which ran round the circular wall from one
+doorpost to the other, the whole work crowned with a cornice also carved
+with foliated ornament. The first subject on the right was an open
+cupboard with architects' and joiners' tools. The second was the
+portrait described above. The third showed a cupboard half open, worked
+with a grille of pierced almond shapes and divided. "In the upper part
+is a naked boy, standing with a ball in his left hand, below is a large
+circle with a bridge within and without in the form of a diamond. Within
+the closed part of the grille one sees a ewer above and a basin below.
+The fourth is a figure of S. Ansano, half-length, below whom is the head
+of a man who receives baptism with joined hands, and the saint with a
+vase in his hand pours water on his head, holding in his right hand a
+standard. The fifth shows a cupboard open and shelved in the
+middle--above is a chalice and paten, below is a salver with fruit
+within and falling from it. The sixth contains an organ case with a man
+who, with raised head, enjoys the sweetness of the sounds, on the side
+of the organ are the arms of the Opera and below are the arms of the
+rector Arringhieri. The seventh is a cupboard half open with pierced
+doors, in the upper half a censer, and an incense boat, with a label
+above with these words, 'Dirigatur Domine oratio mea sicut incensum in
+conspectu tuo.' Below is the holy water pot with the sprinkler within,
+and with a pair of sacrament cruets. The eighth shows the figure of a
+man with a glory and a diadem on his head, with face and right arm
+raised to heaven, representing whom I do not understand; above him is a
+garden full of different flowers and trees. The ninth is a cupboard cut
+across and half open; in the upper part a label with these words 'Qui
+post me venit, ante me factus est. Cujus non sum dignus calceamente
+solvere;' below are different musical instruments, the words above are
+set to plain song. The tenth, that is the centre one, is a half-length
+of S. John Baptist with the cross in his left hand, and in the right a
+label with the words, 'Ecce Agnus Dei,' while with his finger he points
+to Christ in a figure which represents him. The eleventh shows another
+cupboard half open and shelved, above is a label on which are some lines
+of the hymn of S. John Baptist, with notes in plain song and with the
+name of the author above, which was Alessandro Agricola, and below is a
+flute and a violin with its bow. The twelfth is the figure of a young
+man with a label below which says, 'Johannis Baptistæ discipulus.' This
+is generally thought to represent S. Andrew the apostle. The thirteenth
+is another open cupboard with a shelf. In the upper part is a chalice
+and more fruit, and in the lower a hollow dish with a foot also full of
+fruit. The fourteenth shows the half-length of a man who plays a lute,
+above him appears a garden with different trees. The fifteenth is a
+cupboard with open division, with a little gate and grating with almond
+shaped openings, above is a candlestick with a candle half burnt, and
+below is a box full of yellow tapers. The sixteenth represents S.
+Catherine with her wheel, half-length, disputing with the tyrant, before
+her is an open book on which are cut these words, 'Catharina
+disputationis virginitatis ac martirii palmam reportat.' The seventeenth
+shows a cupboard divided and half closed, with a grating like the
+others, above is a missal laid down, with a chalice upright, and a paten
+on the missal, and there are also a pair of spectacles and another paten
+leaning against the wall, below there is a closed book which seems to be
+a breviary, upon which is an open book with these words, 'Ecce mitto
+angelum meum ante faciem tuam, qui preparabit viam tuam ante te. Vox
+clamantis in deserto; parate viam Domini: rectas facite semitas ejus.'
+The eighteenth shows a fine gate through which one sees a garden, within
+which appear different trees with fruit on them, 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 words, 'Alberto
+Aringherio operaio fabre factum.' The last panel shows an open cupboard
+with shelf and grating, above is a harp and below is a violin and other
+musical instruments. The rector Arringhieri paid 4090 scudi for the work
+as a matter of compromise on the valuing of Fra Giovanni da Verona. It
+was in so dark a place that it could not be seen except with lighted
+torches, and it was also damaged because it was put in a newly built
+place, the walls of which were not sufficiently dry to receive such
+delicate work." This account was written in 1786.
+
+
+
+
+THE CLOISTERED INTARSIATORI AND THEIR PUPILS
+
+
+The Order of the Olivetans took its rise from the piety and liberality
+of a Sienese noble, Bernardo Tolomei, who, with two companions, Ambrogio
+Piccolomini and Patricio Patrizzi, established himself as a hermit on a
+barren point of land at Chiusuri, some miles from Siena, in the same
+manner as did S. Benedict at Subiaco. This was in 1312, but the Papal
+charter by which the Order was founded dates from 1319. It was called
+"Monte Oliveto," from a vision seen by Guido Tarlati, Bishop of Arezzo,
+the Papal commissary, in which the Virgin ordered that the monks should
+have a white habit, and that the badge of the Order should be three
+hills surmounted by a branch of olive. It was a branch of the
+Benedictines, and, like them, the monks devoted their lives to useful
+labours. As Michele Caffi says, "The Olivetans did not strive in
+political or party struggles, but spent their simple lives in works of
+charity and industry, and showing great talent for working in wood
+succeeded to the heirship of the art of tarsia in coloured woods, which
+they got from Tuscany."
+
+The first master of intarsia mentioned among the Olivetan monks is a
+certain lay brother, "laico Olivetano," who came from Tuscany in the
+first half of the fifteenth century, and taught the art to the monks of
+S. Elena, the island which lies just beyond the Public Gardens at
+Venice, and was so beautiful before the iron foundry was established
+upon it. His principal pupil was Fra Sebastiano of Rovigno, known as the
+"Zoppo Schiavone," the lame Slavonian, who taught Fra Giovanni da Verona
+and Domenico Zambello of Bergamo, Fra Damiano. Fra Giovanni, again, was
+master to Vincenzo dalle Vacche and Raffaello da Brescia, and perhaps to
+the oblate of S. Elena, Antonio Preposito, in 1493.
+
+Fra Sebastiano da Rovigno was probably born in 1420. The register of
+professions and deaths at Monte Oliveto Maggiore says--"In conventu
+Paduæ professus est sub die 15 Augusti, an 1461, fr: Sebastianus de
+Rovinio"; his death is shown by another extract--"Venetiis, obiit in
+Mon. S. Helenæ, anno Domini, 1505, fr: Sebastianus de Histria,
+conversus" (lay brother). He was at S. Maria in Organo, in 1464-5 and
+1468-9, and at S. Elena in 1479-80-81, and again from 1484 to 1494. He
+was also at Monte Oliveto 1466-7, 1474-5, and 1482-3, and at S. Michele
+in Bosco, Bologna, from 1494 till shortly before his death, in all of
+which places were important works in tarsia. The inscription in the
+corner of the sacristy at S. Elena runs thus:--"Extremus hic mortalium
+operum fr: Sebastianus de Ruigno Montis Oliveti, qui III. id: Sept: diem
+obiit, 1505." Some of his work is in the stalls and sacristy cupboards
+of S. Marco, signed C.S.S., or S.S.C., that is, "Converso Sebastiano
+Schiavone," or "Seb: Sch: converso." His pupil Fra Giovanni da Verona
+was one of the most celebrated of the carvers and intarsiatori, and left
+works in many places in Italy. He was born in Verona in 1457, and no one
+has been able to discover either his family name nor who his father was.
+When still a boy he left his native town and went into Tuscany to Monte
+Oliveto di Chiusuri of Siena, the principal monastery of the Olivetan
+order. He may perhaps have gone with Liberale of Verona, who was of
+about the same age, the first time he went to Monte Oliveto, in 1467, or
+more probably on the second occasion, in 1474, his business being to
+illuminate the choir books. In the administration books of that convent
+it is recorded that in 1467 Liberale had as assistant a certain
+Bernardino, and in 1474 another whose name is not mentioned. This may
+have been Fra Giovanni, who might then have learnt to illuminate, which
+was his first profession, and in which he succeeded excellently. He
+resolved to "profess religion" about this time, and was received as
+novice in the beginning of 1475. The year of noviciate being passed he
+made his solemn profession on March 25, 1476, and remained for about
+four years more in the monastery, during which time he finished his
+studies and became priest. In 1480 he was sent for a short time to the
+monastery of S. Elena, near Venice. Here he found the lay brother Fra
+Sebastiano da Rovigno, whom he may perhaps have known before, since they
+were both at Monte Oliveto in 1475. At all events he spoke to him about
+learning his art, and finding him willing to teach him, "set about it
+with so much diligence and assiduity that he was soon able to give him
+valuable assistance." The work was on the cupboards of the sacristy and
+on the backs of the choir stalls, which were 34 in number. On these the
+principal cities of the world, as they then were, were drawn in
+perspective "with great beauty and cleverness." About 1485 he went to an
+abbey of Olivetan monks at Villanova, a small village in lower Lombardy,
+where he illuminated 20 choral books with heads of saints and prophets,
+with very beautiful borders of flowers, fruits, and animals. These were
+sold by an ignorant and greedy priest for 17 zecchins, and only a few
+of the miniatures have been recovered, which are now kept in the
+sacristy. Of them, Vincenzo Sabbia, the Olivetan abbot, who was
+"confratello di religione" and nearly contemporary, says, when
+describing the abbey and its treasures in 1594, that there are there
+"stupendous and wonderful choral books to the number of twenty, made
+about the year 1485, and rare and wonderful miniatures are among the
+letters, like lovely flowers in a delicious garden, and many most
+beautiful imaginings, heads of saints and of all the ancient prophets,
+and other wonderful things of like kind, made and illuminated by that
+celebrated Fra Giovanni da Verona, around the text."
+
+[Illustration: Plate 30.--_Panel from lower row of Stalls, S. Maria in
+Organo, Verona._
+
+_To face page 59._]
+
+[Illustration: Plate 31.--_Panels from Monte Oliveto Maggiore, now in
+the Cathedral, Siena._
+
+_To face page 60._]
+
+In 1490 he was summoned to the Certosa at Pavia to estimate the value of
+the stalls made by Bartolommeo dei Polli, in company with Giacomo dei
+Crocefissi and Cristoforo de' Rocchi. Except for these there are no
+notices of the work which he must have done till 1502, when the abbot
+and monks of Monte Oliveto Maggiore, having determined to renew the
+choir of their church, confided the work to Fra Giovanni, and
+necessarily recalled him. 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 monks." "The whole comprised 52 stalls, with
+their backs, seats and arm rests, kneelers and all things appertaining"
+(it now consists of 48 stalls and 47 pictures), and the panels of the
+backs were worked in tarsia with perspective views "beautiful to a
+marvel," where were figured houses, views of the country, cupboards,
+grilles, sacred utensils, and other fancies. In the early years of the
+19th century 38 of these perspectives were moved to Siena and placed in
+the Cathedral, where they now are. Another choir, smaller but not less
+beautiful, was made for the church of the Olivetan monastery of S.
+Benedetto fuori della Porta at Tufi, near Siena. This church is in
+ruins; 31 perspectives from the choir were sent to fill the gaps in
+Monte Oliveto Maggiore, the monks who returned after the revocation of
+the suppression in 1813 having appealed to the Archbishop to allow them
+to take them. Four of the ancient backs were found in a corner of the
+sacristy, and eight carried to Siena and found superfluous were
+returned, as well as one which a neighbouring villager had taken. Some
+of them show the conventual buildings as they were at the beginning of
+the 16th century. The frames resemble friezes, and are decorated with
+flowers, fruit, birds, musical instruments, arms, and ornament. Each
+back is separated from the next by a colonnette carved with delicate
+arabesques. In this choir is also an Easter candlestick much like that
+at S. Maria in Organo, Verona, and there are two doors which belonged
+to the library. Pope Julius II. called him to Rome in 1571, and
+commissioned the ornamentation of the Camera della Segnatura in the
+Vatican, the designs for which are ascribed to Raffaelle, not only the
+seat backs with their seats, but also the doors, all worked with
+perspectives, "in which he succeeded so well that he gained great favour
+with the pontiff." 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
+Tolosa, in the church of Monte Oliveto in that city, works not less
+successful and lauded than those of Siena and Rome. This church is now
+called that of S. Anna dei Lombardi. The tarsie in the sacristy are in a
+later setting, and include nine panels of perspectives of landscapes,
+buildings, &c., nine others showing cupboards with objects on the
+shelves, and one with a figure of an abbot around which the following
+inscription runs:--
+
+
+  ·T·EPRE·R·P·F·DOMI·DE·LEV·GNK·ABBATIS·ET
+         R·P·ALOISII·DE·SALER·NO·PRIOR.
+
+The work is exceedingly delicate, pieces of wood no thicker than a thick
+pencil line being often used. In one panel is a well-executed lily, in
+another a hare is a foreground figure, in another are an owl and a
+bullfinch, while a hoopoe appears in another, with mountains behind
+him. The objects on the shelves of the cupboards are turned at queer
+angles to show his skill in perspective, but, since they lack tone, do
+not appear quite accurate. Among the architectural subjects are the
+choir of a church, a harbour, and a castle on a hill, seen from a
+balustraded terrace, and a circular building a little like that in the
+background of Raffaelle's "Sposalizio." They were well restored in 1860
+by C. G. Minchiotti. In the monks' choir in the church are other
+intarsie said to be by Angelo da Verona, Giovanni's brother. They are
+principally arabesques, somewhat resembling the panels in the Cathedral
+at Genoa, but include four figure panels of little angels and an
+Annunciation in two panels, which are not without charm, though rather
+overstiff.
+
+[Illustration: Plate 32.--_Frieze from Monte Oliveto Maggiore._
+
+_To face page 62._]
+
+In his last years he returned to Verona, where he had made the monks'
+choir in S. Maria in Organo, and the cupboards of the sacristy. These
+have the reputation of being not only the finest of the period but also
+the best which came from his hand. The Adige was in this church for two
+months during one of the inundations, but the tarsie did not suffer so
+much as might have been expected. He accepted a commission in 1523 for
+some stalls for the Olivetan church at Lodi, S. Cristopher, eleven of
+which are now in the suburban church of S. Bernardino in that city,
+but died before they were completed. Vincenzo Sabbia writes of
+these:--"In the year 1523 the reverend father Fra Filippo Villani of
+Lodi, prior of the convent of S. Cristoforo in that city, agreed with
+Fra Giovanni Veronese, an excellent master of perspective, to make him
+35 pictures of perspective at the rate of 30 or 40 broad ducats of gold
+for each--which are worth 5 lire 4 soldi each--which were to be finished
+in two or three years, and 300 broad ducats of gold were counted out to
+him. The said brother was not able to finish more than 23, because he
+died on February 10, 1525. They were sent from Verona and taken to Lodi,
+and in 1586 the new church of S. Cristoforo being finished, Don
+Agostino, the prior, who had charge of the fabric, had the aforesaid 23
+pictures with their ornaments set in the choir by the hand of Paolo
+Sasono." He died in the 68th year of his age, and was buried in S. Maria
+in Organo. He is called "prior" in a chronicle of the monastery under
+date 1511, and in the list of dead. In his portrait in the sacristy, by
+Caroto, he is represented with the tonsure and with the hood and cowl of
+the form which was proper to monks who were constituted "in sacris."
+
+Fra Raffaello da Brescia, whose name was Roberto Marone, was born in
+1477. His father's name was Pietro Marone, and his mother was a
+Venetian, named Cecilia Tiepolo. When twenty-two years old he took the
+monastic habit as a lay brother in the convent of S. Nicolò di Rodengo,
+near Brescia, and a little later (in 1502) was sent to Monte Oliveto
+Maggiore. Fra Giovanni being then established there as "conventual
+brother," took young Marone and taught him, seeing that he had both
+liking and talent for the work, so that he soon became a clever workman.
+Between 1504 and 1507 he worked with him at the choir of Monte Oliveto,
+from 1506 to 1510 he was with him at Naples, when the famous sacristy
+panels were being executed, and in 1511 and 1512 he was at S. Nicolò di
+Rodengo, where he worked at the choir of that church. The lectern from
+Rodengo is now in the Galleria Tosi at Brescia; the inlays are in the
+lower portion, and show architectural compositions in perspective and
+the usual objects, such as a censer, an open book, &c. It is signed
+F.R.B. In 1513 Raffaello commenced the magnificent choir of S. Michaele
+in Bosco, Bologna, and here he also made the design for the campanile,
+which was built by Maestro Pedrino di Como, showing that like so many of
+the intarsiatori he was no mere worker in wood. While this work was in
+progress he executed a lectern for Monte Oliveto, ordered by the abbot
+Barnaba Cevenini, who was a Bolognese. It is signed and dated 1520, and
+shows on each side a choir book open, with notes of music and words. In
+one of the lower panels a black cat symbolises fidelity.
+
+S. Michele in Bosco was among the largest of the Olivetan convents. The
+Benedictines entered into possession in 1364, but these buildings were
+destroyed by the Bolognese in 1430, "so that they might not give shelter
+and a base for hostilities to the soldiers of Martin V." The
+re-construction began in 1437. The choir was raised on several steps,
+and called "Il Paradiso," ten years later, but subsequent alterations
+have left very little of the original work visible. Raffaello's stalls
+were probably finished in 1521, that being the date on a panel which was
+formerly in the centre of the choir. Of these splendid works only two
+confessionals still remain in the church. At the time of the suppression
+of the convents at the end of the 18th century the populace, drunk with
+rapine and devastation, tore down these stalls, and they were sold for a
+few pence to the Bolognese marine store dealers and rag merchants. Only
+18 of the principal row were saved from destruction, the Marquis Antonio
+Malvezzi buying them in 1812, and having them restored and placed in the
+chapel of his family in S. Petronio (now the chapel of the Holy
+Sacrament), where they now are. He was not able to save the hoods and
+shell canopies, which were sold for firewood for 4 baiocchi each! (about
+two pence.) The designs are of the usual style, cupboards and various
+objects in perspective; one of the finest is the first on the left,
+which includes a fine sphere and sundial, and several books written in
+German letters, black and red, a chalice in a cupboard, two books, and a
+cross. In the seventh is the figure of Pope Gregory in the act of
+blessing, and the last on the right shows loggias and porticoes of good
+style, well put in perspective. With part of the tarsie from S. Michele
+pianoforte cases were made, other portions were used for the floor of
+the Casino, near the theatre of the Corso, and were worn to pieces by
+the feet of the dancers! In 1525 Fra Raffaello went to Rome, and no
+further notices of him or of his work occur till his death there in
+1537; he was buried in S. Maria in Campo Santo.
+
+Another somewhat similar set of stalls, though rather later in date,
+also at Bologna, are the upper row in the choir of S. Giovanni in Monte,
+which have on their backs intarsie representing monuments, fantastic
+battlemented buildings, musical instruments, and geometrical motives,
+all executed with a mastery which reveals an artist old at the work.
+They recall in their general effect those in S. Prospero at Reggio, in
+the Emilia, which were executed by the brothers Mantelli in 1546. They
+are set in a carved framing of arches divided by pilasters which
+terminate above in brackets which support the cornice. The pilasters
+rest on the arms which divide the seats. Champeaux says they were made
+by Paolo del Sacha.
+
+The tarsie in S. Mark's, Venice, were worked by Fra Vincenzo da Verona,
+another Olivetan, under whom was Fra Pietro da Padova, Jesuit, with two
+youths to assist them. The commission was given in 1523. Three rooms in
+the hospital of "Messer Jesu Cristo" were assigned him as workshops, and
+100 ducats for food and clothing, as stated in the registers of the
+procurators of S. Mark's. On January 15, 1524, they inspected the work
+done, and were not satisfied, and so suspended it, "praising,
+nevertheless, the manners and the life of Fra Vincenzo." According to
+Cicogna, the registers contained, under date April 7, 1526, a note of
+money paid to "Fra Vincenzio, of the order of the Jesuits, for the
+finishing of the works of inlay" in the choir of S. Marco. On February
+25, 1537, certain moneys were given to more workmen for the construction
+of the doge's seat, which is said to have been "a great thing full of
+artistic pangs" (!), and rather hindered the genuflections to the
+altar. This was made for Andrea Gritti, who was doge that year. This Fra
+Vincenzo da Verona, or Vincenzo dalla Vacche, is mentioned by Morello in
+his "Notizie" as excellent, especially in his work at S. Benedetto
+Novello at Padua, four panels from which are now in the Louvre. He
+became novice in 1492, "Conventuale" of Monte Oliveto in 1498, was a
+priest like Fra Giovanni, and lived almost all his life in his native
+city. He died in 1531. The tarsie in the presbytery at S. Marco consist
+of seven great compartments, five lesser, and thirteen which are small.
+The eighteen smaller compartments are panels of ornament. The others are
+figure subjects, but by more than one hand. First comes a figure of S.
+Mark with a lion at his feet, which is not very good (it was restored in
+1848-50 by Antonio Camusso); next, a figure of Charity side by side with
+one of Justice, a woman with a baby, and one holding the balances. Next
+comes a figure of Strength or Courage, older and rougher in character,
+then four ornamental panels, a door, and five others, also of ornament.
+The next panel in the corner bears date 1535, to which year the figures
+of Justice and Charity may be assigned. The other figures are Prudence
+and Temperance, the latter of which resembles Strength in character. The
+remaining subject, a Pietà, is like Charity and Justice, and is
+masterly. Three spaces are empty. The doge's seat, until the fall of the
+Republic, was on the right of the principal entrance to the choir, as
+Sansovino says. It had on its back a figure of Justice, now in the Museo
+Civico. He also says that Sebastiano Schiavone did these tarsie, but he
+died in 1505. Various initials appear here and there through the work;
+on each side of the figure of S. Mark are U.F.Q. and M.S.R. in
+cartouches, Charity and Justice have N. and P. at the sides, and
+Prudence has P.S.S. and S.S.C. attached to her. The panels of ornament
+seem to be of the same period as the figure of Charity.
+
+[Illustration: Plate 33.--_Panel from S. Mark's, Venice._
+
+_To face page 68._]
+
+Fra Damiano of Bergamo, Fra Giovanni's fellow-pupil, attained, if
+possible, even greater reputation. He was considered the finest artist
+in tarsia of his time, he having, "with his woods, coloured to a marvel,
+raised the art to the rank of real painting." His family name was
+Zambello, he is thought to have been born about 1490, and he became a
+Dominican monk. An anonymous MS. of the 16th century, published by
+Morelli, calls him a pupil of a Slavonian, that is, Illyrian, brother of
+Venice, Fra Sebastiano da Rovigno. He passed the greater part of his
+life at Bologna, in the Dominican cloister there, into which he was
+admitted in 1528. In the records of the convent for that year occurs the
+note, "Frater Damianus de Bergomo, homo peritissimus, singularissimus,
+et unicus in l'arte della tarsia, conversus, receptatus fuit in filium
+conventus." At S. Domenico the choir stalls were his first work; he did
+seven, containing fourteen subjects and seven heads of saints. These
+were finished in 1530, and in consequence of their success he was
+commissioned to complete the choir. He carried the tinting of the wood
+farther than Fra Giovanni did, using solutions of sublimate of mercury,
+of arsenic, and what they called oil of sulphur. He is said to have had
+Vignola's designs for the architectural parts.
+
+Charles the Fifth was in Bologna with Clement VII., and was crowned
+Emperor in S. Petronio on December 5, 1529. One day he was in S.
+Domenico admiring the works of art, and, doubting that the tarsie were
+made of tinted wood, as he was told, drew his rapier and cut a bit out
+of one of the panels, which has always remained in the state in which he
+left it in memory of his act. Desiring to see how the work was done he
+determined to visit Fra Damiano's studio. Accordingly, on March 7, 1530,
+he took with him Alfonso d'Este, Duke of Ferrara, and several princes of
+his escort, and went to the convent, when, being conducted to Fra
+Damiano's poor cell, he knocked at the door. The friar, having opened
+and allowed the Emperor to enter, shut it quickly. "Stay," said the
+Emperor, "that is the Duke of Ferrara, who follows me." "I know him,"
+answered Fra Damiano, "and that is why I will never let him enter my
+cell." "And why?" said Charles V.; "have you anything of his doing to
+complain of then?" "Listen, your majesty," answered the lay brother. "I
+had to come from Bergamo to Bologna to undertake the work of this choir.
+I had with me these tools which you see, few in number, but necessary
+for the work in which it is my study to worthily spend my life, and to
+delight in the art. I had scarcely touched the frontiers of Ferrara when
+they not only obliged me, a poor friar, to pay a heavy and unjust tax,
+but the manner of doing it was most offensive. Now, while that duke
+allows such roguery in his State, it is right that he should not see
+this work which you see." Charles smiled, and promised to obtain from
+Duke Alfonso the amplest satisfaction. Going out of the cell he told the
+duke the reason of Fra Damiano's anger, and he not only promised to
+repay the loss which he had suffered, but conceded a patent to him, by
+which he and his pupils were for ever free from any tax or duty when
+crossing the duchy of Ferrara. Then they all came laughing and joking
+into the cell, and Fra Damiano, to show them that his tarsie were not
+painted with a brush took a little plane and passed it over a panel with
+some force, showing how the colours, after that treatment, still
+retained their integrity and beauty. And then he gave the Emperor a most
+beautiful piece of the Crucifixion, and another to the Duke of Ferrara,
+who valued it greatly. Locatelli gives some conversations between Fra
+Damiano and his assistant Zanetto, which must have preceded this visit,
+which are worth recording for their racy expression, according well with
+his reported action. "If it were in my power I would nail up this door
+for Charles and for all the dukes of the world. This art which I
+exercise is exceeding dear to me, and I hate to have to do with these
+signori who manage things after their own fashion; and sad it is for
+those who have to endure it. I respect His Majesty the Emperor, and hold
+him to be a great man, but the fate of Rome sticks in my throat. That
+other, too, who accompanies him--" "Who?" interrupted Zanetto, "the
+Pope?" "Oh, rubbish; the Pope! The Duke of Ferrara. With him I have a
+special account, and he must not come here." He also adds the detail
+that Fra Damiano had no money with him, and had to go about begging for
+wherewithal to pay the duke's dues till he blushed.
+
+From 1530 to 1534 he worked at a great piece of panelling to be placed
+in the chapel of the "arca," the tomb of S. Dominic, which is now in the
+sacristy, and thought by some to be his masterpiece. There are eight
+cupboards in this, and on each are eight subjects. In 1534 the Order was
+so poor that such expenses were stopped. Seven years later the work was
+recommenced and finished in 1550 by Fra Bernardino and Fra Antonio da
+Lunigiano a few months after Fra Damiano's death, which occurred on
+August 30, 1549. The choir consists of a double row of 28 stalls on each
+side, making 112 in all, showing on the right subjects from the New, and
+on the left from the Old Testament. Those on the right are the best, and
+are probably Fra Damiano's own work. He had as assistants at one time
+Zanetto da Bergamo, Francesco di Lorenzo Zambelli, and a lay brother,
+Fra Bernardino, who afterwards did the sacristy door. At another time
+his brother Stefano helped him, together with Zampiero da Padova, Fra
+Antonio Asinelis, the brothers Capo di Ferro of Lovere, Pietro di
+Maffeis, Giovanni and Alessandro Belli. The choir of S. Domenico cost
+2809 scudi. Henry II. of France commissioned a little chapel from him
+with an altar-piece, for his reputation had crossed the Alps, and
+Cardinal Salviati and Paul III., the Farnese Pope, also wished for his
+work, as did the Benedictine monks of S. Pietro in Casinense, at
+Perugia. He did for them a two-leaved door, which cost 120 scudi, now
+placed at the back of the choir, and opening on to a balcony, from which
+one sees, in fine weather, as far as the Castle of Spoleto. There are
+four subjects, two on each leaf; the Annunciation illustrated is one of
+them. Sabba Castiglione uses the most enthusiastic language about him
+and his work. "But, above all, those who can obtain them decorate their
+mansions with the works, rather divine than human, of Fra Damiano, who
+excelled not only in perspectives, like those other worthy masters, but
+in landscapes, in backgrounds, and what is yet more, in figures; and who
+effected in wood as much as the great Apelles did with his pencil. I
+even think that the colours of these woods are more vivid, brilliant,
+and beautiful than those used by painters, so that these most excellent
+works may be considered as a new style of painting without colours, a
+thing much to be wondered at. And what adds to the marvel is, that
+though these works are executed with inlaid pieces the eye cannot even
+by the greatest exertion detect the joints." He then goes on in the same
+grandiloquent strain--"This good father in dyeing woods in any colour
+that you may wish, and in imitation of spotted and marbled stones, as
+he has been unique in our century, so I think that he will be without
+equal in the future; it is certain that our Lord God has lent him grace,
+as I believe, because he wished so much that things might be well ended,
+to put his final work on the work of S. Domenico of Bologna. I think,
+indeed I am certain, that it will be called the eighth wonder of the
+world; and as the Babylonians, the Assyrians, the Egyptians, and the
+Greeks boasted of their temples, pyramids, colossi, and sepulchres, thus
+happy Bologna will be able to glory in and to boast of the choir of S.
+Domenico. 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 (!), a thing far from me, and especially with friends about
+whom I always speak the truth, I say no more; yet all that which I could
+say would be little enough on the merit of his rare and singular virtue,
+and on the goodness of his religious and holy life." Fra Leandro
+Alberti, in his description of Italy, speaks in something the same
+manner--"Frate Damiano, lay brother of the Order of Preachers, has
+become a man of as much genius as is to be found in the whole world at
+present, in putting together woods with so much art that they appear
+pictures made with a brush."
+
+[Illustration: Plate 34.--_Panel from door in Choir of S. Pietro in
+Casinense, Perugia._
+
+_To face page 74._]
+
+A few stalls made by him are now in the church of S. Bartolommeo,
+Bergamo, which were brought from the Dominican church of S. Stefano,
+destroyed for the fortifications in 1561. The designs were made by Trozo
+da Monza, Bernardo da Trevi (? Treviglio), and Bramantino. As Locatelli
+says, they preceded the famous choir at Bologna, and show the master
+trying his wings. Some think that his best works are those in which he
+did not employ colour, but only shading, but general opinion considers
+his highest point was reached in the doors of S. Pietro in Casinense.
+
+Another Dominican intarsiatore was Fra Antonio da Viterbo, who, in 1437,
+made the doors of S. Peter's at Rome by order of Eugenius IV., which
+were subsequently destroyed by Paul V. He was paid 800 ducats of gold
+before the Pope died, when they were nearly finished. They were both
+inlaid and carved in the most elaborate fashion, as the list of subjects
+shows:--The Saviour, the Blessed Virgin, SS. Peter and Paul, and
+Eugenius on his knees, the martyrdom of SS. Peter and Paul, S.
+Plautilla, who received the borrowed veil from S. Paul; the Coronation
+of the Emperor Sigismund in S. Peter's in 1433 by Eugenius, "and there
+you see the Prefect of Rome holding the sword before him, their march
+through Rome, the union of the Greek Church with the Latin, the entry
+of the ambassador from the King of Ethiopia, and other histories of the
+time." He had two assistants, Valentine and Leonardo.
+
+[Illustration: _To face page 77._ Plate 35.--_Lunette from Stalls in
+Cathedral, Genoa._]
+
+The choir stalls in the Cathedral at Genoa are attributed to Francesco
+Zambelli of Bergamo, a relative of Fra Damiano. He was helped by Anselmo
+de' Fornari, Andrea and Elia della Rocca, Giovanni Michele de
+Pantaleone, and Giovanni Piccardo, who had already worked in the choir
+of the Cathedral of Savona. 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 Lorenzo, dated
+April 12, 1540. He agrees to get to work not later than the first of
+September next, and to stay in the city till the work is done. Nor must
+he undertake other work under a penalty of 100 scudi, which he is to pay
+in such case without demur or defence. The procurators agree to pay for
+every picture, with its frame, according to the design furnished to him,
+and they also promise to provide lodgings for himself and his family
+without any expense to him, and to give him a present when the work is
+finished. On the same day his relative, Fra Damiano, promises to make
+two pictures, one for the seat of the archbishop and one for the doge,
+to be ready by Christmas Day next, to be paid for at the rate of 27
+scudi each, measure and design to be given by the signory. The same day
+the aforesaid "Magnifici" had it explained to them that they would have
+to pay the expenses of making sketches. In the panel with the history of
+Moses Zambelli signs his name and domicile. Fra Damiano's subjects
+appear to be the large ones in the panelling before the stalls commence,
+"The Massacre of the Innocents" and "The Martyrdom of S. Laurence." The
+figure subjects are not very successful, the arabesques are better; but
+the panels with open cupboard doors and objects within are not so well
+done as Fra Giovanni's. The stalls were restored in 1868, and a good
+deal of new work put in. The choir of the Cathedral of Savona was made
+in 1500 by Anselmo de' Fornari, a native of Castelnuovo da Scrivia; Pope
+Julius II. (della Rovere), who was born in the city, commissioned it.
+The intarsias are on the elbows of the stalls, half-figures of saints
+nearly life size, singly or in pairs, among which is a portrait of the
+donor, with perspectives of palaces, temples, or interiors on the backs.
+The lower stalls have less important subjects, such as censers,
+chalices, vases of flowers, animals, armillary spheres, musical
+instruments, etc. The cost of these stalls was 1132 scudi d'oro larghi
+(10 francs each and a little more) half of which was paid by Julius
+II. and half by the Commune of Savona. In the same Cathedral are a fine
+lectern, an episcopal throne, two doors of the chapel of our Lady of the
+Column, and a fine seat, the "banco dell' opera," commonly called
+"Massaria." Upon such a seat sat anciently the four citizens elected by
+the Commune to attend to the interests of the Church governed by them.
+Within this bench were preserved the diplomas, statutes, and arguments
+held to be most important to the greatness of the country. Anselmo de'
+Fornari was helped by Elia de' Rocchi, and the commission was given to
+them jointly on January 30, 1500, on which date Cardinal della Rovere
+promised to pay 570 ducats towards the expenses.
+
+[Illustration: _To face page 78._
+
+Plate 36.--_Panel from lower row of Stalls, Cathedral, Savona._]
+
+Another intarsiatore who worked with Fra Damiano was Giovanni Francesco
+Capo di ferro of Lovere, on Lake Iseo. His masterpiece is the choir of
+S. Maria Maggiore, Bergamo. When it was determined to commence it in
+1521 the presidents of the church fabric sent to various cities of
+Italy, especially to Milan, to consult over the model to be selected for
+so important a work with the excellent painter and architect M. Bernardo
+Zenale da Treviglio. In the archives of the Misericordia is a book
+entitled "Fabbrica Chori," in which is noted the great expense of the
+designs only, among which were some made by Lorenzo Lotto, by
+Alessandro Bonvicini, called Il Moretto; Andrea Previtali, Giacomo de'
+Scipioni, Filippo Zanchi, Giuseppe Belli, Domenico di Albano, Niccolino
+Cabrini, Pietro da Nembro, Francesco Boneri, and other painters, as well
+as the making of models and other similar operations. Those who worked
+at carving and tarsia under the direction of Giovanni Francesco were his
+son Zinino and Pietro his brother, who lived in Lodi; Paolo da Pesaro,
+and many others, including a whole family, Giovanni di Ponteranica and
+his four sons. The part towards the sacristy was designed by Lorenzo
+Lotto, the rest by Alessandro Belli. The sedilia on the Gospel side bear
+a signature hung from a tree, "Opus Jo: Franc: D. Cap. Ferr. Bergomi."
+The four panels outside the screen are Noah entering the ark, the
+passage of the Red Sea, the triumph of Judith by the death of
+Holofernes, and the victory of David over Goliath. Thus Tassi speaks of
+them--"These, to speak the truth, for their admirable workmanship,
+singular art, and beautiful colouring, do not appear to be pieces of
+wood put together, but rather pictures formed by an excellent brush, the
+pieces placed with such mastery, 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 designs, and as he was a celebrated and
+finished painter and a powerful one, thus certainly these pieces of wood
+put together could stand in face of paintings by the most celebrated
+brushes, which, beyond the exactness of drawing, gave to their works
+singular force and finish; for in them all the possible excellences of
+drawing and of art are displayed, and whoever has had the opportunity of
+well considering them has remained surprised and delighted, never
+believing that human art could reach so high a pitch of perfection." His
+last work is mentioned in 1533, two pictures of Samson, at 60 lire each.
+In 1547 his son Zinino and his brother Giovanni Pietro went on with the
+choir, and finished it nine years later. The total cost for labour alone
+was 7000 lire Imperiali.
+
+[Illustration: _To face page 80._
+
+Plate 37.--_Panel from the Ducal Palace, Mantua._]
+
+In Spain there must have been a good deal of intarsia done, seeing how
+long the Moors held the southern part of the country, but very little
+has come down to us. In the Mosque at Cordova was a finely inlaid mihrab
+of the 10th century, which was unfortunately destroyed in the 16th
+century and its material used to make an altar. In the Museum at South
+Kensington are some panels with Hispano-Moresque geometric inlays of
+bone of the 15th century, which are very pleasing; the ground is of
+chestnut, the bone is often stained green, and metal triangles and
+light wood are also used. This use of bone, which is frequently tinted,
+in conjunction with black and pale wood, is characteristic of Spanish
+work of the 16th century. The design is often exceedingly naive,
+employing birds, animals, plants, and trees, with scrolls and monsters.
+There is one cabinet at South Kensington with the animals entering the
+ark, which is most entertaining. The Portuguese carried this work on
+later, especially at Goa, in the 17th century, but neither here nor in
+Spain is the later work tasteful, except occasionally. Cabinets were
+then made at Toledo of ebony and ivory, and at Seville and Salamanca the
+same materials were used for chests and sideboards.
+
+At Burgos is a pulpit decorated with inlay as well as carving, and one
+of the most elaborate works of marquetry of comparatively modern times
+is Spanish. This consists of the decoration of four small rooms in the
+Escurial, upon which 28,000,000 reals (£300,000) was spent in 1831. They
+are called "piezas de maderas finas," rooms of perfect or delicate
+woods, and are entirely covered with landscapes, still-life subjects,
+flowers, etc., made of the finest and most costly woods, and almost like
+paintings; floor, frieze, panels, window recesses, and doors.
+
+There was a mode of decorating furniture much used in Spain and
+Portugal, especially the latter, in which metal plates, cut and pierced
+into elaborate and fanciful patterns, were fastened on to the surface of
+objects made of black wood by means of small pins. From this to the
+decoration of the same surfaces by sinking the metal in the wood is a
+short step, and some think that this was the origin of the metal inlay
+so well known a little later under the name of Boulle work.
+
+
+
+
+IN GERMANY AND HOLLAND, ENGLAND AND FRANCE
+
+
+[Illustration: Plate 38.--_Panel from the Rathaus, Breslau, 1563._
+
+_To face page 84._]
+
+In Germany there can be little doubt that the art first struck root in
+the southern part of the country, the towns which produced the earliest
+furniture and other objects decorated in this manner being Augsburg and
+Nuremberg. The first names of workers recorded, however, are those of
+the two brothers Elfen, monks of S. Michael at Hildesheim, who made
+altars, pulpits, mass-desks, and other church furniture for their
+monastery, ornamented with inlays, at the beginning of the 16th century,
+and Hans Stengel, of Nuremberg, but none of the inlaid work of either
+has come down to us. Two earlier pieces are figured by Hefner Alteneck,
+the harp already referred to on p. 8, and a folding seat of brown wood
+inlaid with ivory, stained yellow or light green, and black or dark
+brown wood, in oriental patterns, both of the latter part of the 14th or
+beginning of the 15th century. Two other names are mentioned as capable
+craftsmen in Nuremberg, Wolf Weiskopf and Sebald Beck; the latter died
+in 1546. The Augsburg work was much sought after, the "so-called
+mosaic work of coloured woods." The designs for the panels were
+generally made by painters, architectural and perspective subjects being
+most common, but flower pieces, views of towns, and historical
+compositions were also made. A German work thus characterises the later
+16th century productions of this type--"A certain kind of intarsia
+becomes common in the German panelling and architectural woodwork; also
+in cabinets, vases, and arabesques, with tasteless ruins and
+architectural subjects with arabesque growths clinging all over them, of
+which examples may be seen in the museums at Vienna and Berlin, where
+one may also see works in ebony with engraved ivory inlays, which are
+generally more satisfactory. In German work, however, inlay was never of
+so much importance as carving, and the Baroque influence almost
+immediately affected the character of the design for the worse." At
+Dresden and Munich there were several celebrated inlayers in the 17th
+century, among whom may be named Hans Schieferstein, Hans Kellerthaler,
+of Dresden, and Simon Winkler, N. Fischer, and his son Johann Georg, of
+Munich, the last of whom, with his contemporary Adam Eck, practised
+relief intarsia, of which the latter is said to have been the inventor.
+It was known in the art trade as "Präger arbeit," which was not a name
+which accurately described its origin. Panellings of walls and doors
+were often decorated with inlays, most frequently of arabesques, of
+which the town halls of Lübeck and Danzig furnish fine examples. The
+"Kriegsstube" at Lübeck was done by Antonius Evers, who in 1598-9 was
+master of the joiners' guild, with his companions. The Rathsaal at
+Lüneburg was made in 1566-78, and the name of Albert von Soest is
+connected with it. Danzig, in the "Sommerrathstube," shows intarsias and
+decorations of 1596 in which the painter Vriedeman Vriese and a certain
+Simon Herle, probably a local man, collaborated. Other similar works may
+be seen at Brunswick and Breslau, at Ulm, in the Michel Hofkirche at
+Munich, and in the Cathedral at Mainz. At Coburg, in the so-called
+"Hornzimmer," are intarsias worked from the designs of Lucas Cranach and
+others, at Rothenburgh, at Geminden, at Landshut, and in many places in
+Tyrol and Steiermark, most of them much mixed with carving, too numerous
+to describe. The intarsias at the Hofkirche at Innsbruck, begun in 1560
+by Conrad Gottlieb, may, however, be mentioned as being remarkably fine.
+Schleswig Holstein is full of intarsias of the end of the 16th and
+beginning of the 17th century, of which perhaps the finest are in the
+chapel of the Castle of Gottorp. The princes' prayer chamber or pew
+is elaborately panelled, and the panels are all filled with inlays,
+mostly arabesques. The door and wall panels have elaborate architectural
+forms in relief with base, frieze, and pilasters; and are also fully
+inlaid with arabesques, counterchanged bay by bay. The ceiling is
+coffered, and the male and female patterns are counterchanged
+diagonally. Bosses of lions' heads and rosettes project from the
+surfaces of the beams, between which the intarsia panels are flat. The
+central features in the several divisions are sunk, a central oblong
+with an oval in centre bearing the subject of the Resurrection and two
+side diamonds. The panels surrounding these have raised mouldings, so
+that there is considerable variety of level, and the whole is raised on
+a bracketed cornice, the flat surface of which has small panels inlaid
+in the same fashion. It was put up in 1612 by Duke Johann Adolf of
+Schleswig Holstein and his wife, Augusta of Denmark.
+
+[Illustration: Plate 39.--_Panel from Church of S. Mary Magdalene,
+Breslau._
+
+_To face page 86._]
+
+[Illustration: Plate 40.--_Pilaster strip from the Magdalen Church,
+Breslau._]
+
+In the State archives of Schleswig, in 1608, the names of Andreas
+Sallig, court joiner; Jochim Rosenfeldt, carver; and others are noted.
+Also in 1609, with the addition of the painter Herman Uhr and Hans and
+Jürgen Dreyer, of Schleswig; also the carver Hans Preuszen, and Adam
+Wegener, the figure-cutter. In 1610 the names of Jürgen Koningh,
+joiner's workman, several carvers, and Herman Uhr, the painter, occur.
+In 1611 Herman Uhr and Klaus Barck work in the chapel, the first for 115
+days, and the second for 178 days, and in 1612 several carvers and
+turners work for a long time at the rate of five "schillings" a day, as
+well as Herman Uhr and his assistant. These records distinctly suggest
+that the painter Herman Uhr was the designer, since his name is the only
+one which appears for four years consecutively, though the long period
+during which he worked in 1612 may be explained by the number of
+paintings which cover a portion of the exterior of the pew.
+
+[Illustration: Plate 41.--_Panel from S. Elizabeth's Church, Breslau._
+
+_To face page 88._]
+
+In South Germany one often meets with musical instruments which are
+inlaid with conventionalised floral forms. They were produced in the
+17th century in considerable quantities in Wurtemburg, Bavaria, and on
+the Southern Shores of Lake Constance. Nor must one forget the
+extraordinarily elaborate ivory inlays on the stocks of arquebuses. In
+the Wallace collection are many examples, and attention may be drawn to
+a jewel box made in 1630 by Conrad Cornier, arquebus mounter, which is
+decorated with most elaborate scrolls, leaves, and birds of ivory and
+mother-of-pearl, stained green in parts. It is made of walnut, and has
+metal scrolls at the corners of the panel framing. The German inlays
+on the whole rather run to arabesques and strapwork, or naturalistic
+vases of flowers, with butterflies and birds; one meets occasional
+perspectives and even figures, but the work is generally harder and less
+successful than the Italian technique, with a larger and less
+intelligent use of scorched tints.
+
+In the latter part of the 17th 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 another, or even of two others;
+the effect is not quite happy. Tortoiseshell also appears, and metal and
+coloured stones; the striving after what they thought to be greater
+artistry soon caused them to outstep more and more the proper limits of
+the art, and brought about decadence. The South German bride chests of
+the century before are decorated a good deal with inlays, Peter
+Flotner's designs often serving as patterns; a little green and red
+appear mixed with the commoner colours. The architectural forms project,
+and would form a tolerable design by themselves, though scarcely
+suitable to the object to which they are applied. In German work the
+cabinets are often of the most elaborate architectural design, like the
+façade of a palace, made of ebony, or occasionally even of ivory, and
+inlaid with ivory, silver, gold and enamels or precious stones.
+Augsburg was the most celebrated place for such work. The joiner, the
+woodcarver, the lapidary, and the goldsmith all worked together on such
+things. In the North of Germany tarsia was principally used on chests,
+cabinets, seats, and smaller objects of furniture; in South Germany,
+where the Italian influence was stronger, it was much used in
+wall-panelling and the panels of doors. The little castle of Völthurn,
+near Brixen, built by the bishop of that town in 1580-85 and decorated
+by Brixener artists and joiners (now belonging to Prince Lichtenstein),
+shows "panelled walls with architectural features, columns, cornices,
+and friezes, with gabled doorways with columns and pediments, decorated
+with very delicate intarsias, foliage ornaments, flowers, and fruit, a
+work which modern Brixener joiners could with difficulty understand"; so
+says Von Falke. Ebony and ivory work came to Germany in the latter half
+of the 16th century, when Augsburg and Nuremberg soon exported their
+productions of this sort to all the world, and with this commercial
+production the use of male and female designs begins, black on white and
+white on black. The latter is the better and more valued. Hans
+Schieferstein's cabinet, now at Dresden, a work of this period, has an
+ingenious use of this mode of inlay. It is made of ebony or veneered
+with that wood, and has inlays of brown cypress and of ivory. The
+panel on the inside of the door is of the same design as that on the
+outside, but what was white becomes brown, what was brown is black, and
+the black becomes white.
+
+[Illustration: Plate 42.--_Lower panel of door, 1564--Tyrolese._
+
+_To face page 90._]
+
+In the Musée Cluny is a wire drawing bench made in 1565 for Augustus I.,
+Elector of Saxony, who was an amateur craftsman. The two longitudinal
+surfaces are covered with a double frieze of marquetry, one side
+representing a satirical tournament between the Papacy and Lutheranism,
+and the other a carousal of wild men. In front one sees the marqueteur
+with his tools doing his work, below which he has placed his monogram,
+L--D., accompanied by a cup.
+
+In the Museum at Leipzig is a very fine cabinet, with many drawers
+within, elaborately inlaid with arabesques on a light ground, with a few
+architectural forms in ebony projecting. It is Tyrolese work of the
+beginning of the 17th century, and is a typical example. To the few
+names of German intarsiatori may be added those of Isaac Kiening, of
+Frissen, and Sixtus Loblein, of Landshut.
+
+In the lower Rhine and in Holland tarsia was used for great and small
+chests, sideboards and doors with rich gable crownings, with good
+drawing of flowers, and sprigs of leaves with birds and beasts among
+them, the ground being generally light. The doors ordered by the Swedish
+Chamberlain, Axel Oxenstiern, now in the drinking-room of the King's
+Castle of Ulriksdal, near Stockholm, are said by Von Falke to be the
+finest examples extant of this kind of work, and to have been made in
+the 17th century by a Dutch craftsman. The best period in Holland was
+the second half of the 16th and the first half of the 17th century. In
+the work of this period the handling is broad, and the composition often
+a little over-full, but the many different woods which Dutch commerce
+made available seduced the marqueteurs into too pictorial a treatment in
+point of colour. Their reputation was so great that Colbert engaged two
+Dutch marqueteurs, Pierre Gole and Vordt, for the Gobelins at the
+beginning of the 17th century, and Jean Macé also learnt the craft by a
+long stay in Holland. Here, as well as in France and Italy, rich chairs
+were commonly decorated with marquetry, and in William and Mary's reign
+such things became the fashion in England. The design employed tulips
+and other flowers, foliage, birds, etc., all in gay colours; ivory and
+mother-of-pearl were used occasionally for salient points, such as eyes.
+Examples of the use and misuse of these materials may be seen in the
+Victoria and Albert Museum at South Kensington.
+
+[Illustration: Plate 43.--_Top of card table in the Drawing-room,
+Roehampton House. Dutch, 18th Century._
+
+_To face page 92._]
+
+[Illustration: Plate 44.--_Panelling from Sizergh Castle, now in
+Victoria and Albert Museum._]
+
+Although not much work of importance is known in England which is
+certainly the production of native craftsmen, a few notable examples may
+be called to mind, such as the room from Sizergh Castle, now at South
+Kensington, with inlays of holly and bog-oak, and the fine suite of
+furniture at Hardwick Hall, made for Bess of Hardwick by English workmen
+who had been to Italy for some years. Correspondence passed between her
+and Sir John Thynne on the subject of the craftsmen employed by both,
+and there seems no doubt that Longleat and Hardwick were the work of the
+same men. The inlays upon the long table are particularly fine, and
+except for a certain clumsiness almost recall the glories of the great
+period of Italian marquetry. The cradle of James I. (1566) is enriched
+with inlays.
+
+At Gilling Castle, near Wakefield, are some panels inlaid with flowers,
+etc., which local tradition says were executed by some of the ladies of
+the family, which probably points to their having been done under their
+superintendence by local workmen, and small panels of rough inlay are
+not uncommon in chest and bedstead, overmantel and cabinet from the
+Jacobean period onward. S. Mary Overie, Southwark, possesses a fine
+parish chest decorated with a good deal of Dutch-looking inlay in
+conjunction with carving, and a rather unusual piece of work may be
+seen at Glastonbury Hall, 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 1726. The use of satin wood
+came into fashion towards the end of the eighteenth century, and was
+accompanied by a delicate inlay of other woods, which, however, scarcely
+went beyond the simplest ornament, since the decoration of furniture by
+means of painting became fashionable at nearly the same period.
+
+[Illustration: Plate 45.--_Cabinet with falling front, in the
+drawing-room, Roehampton House._
+
+_To face page 94._]
+
+It was in France that the most wonderful achievements of the later
+marqueteurs were produced, which have made French furniture recognised
+by the public as well as by connoisseurs as an art manufacture, in
+conjunction with the wonderfully chiselled ormolu mountings. Mention is
+made of intarsia in France as early as the end of the fifteenth century,
+however. In the inventory of Anne of Brittanny's effects (1498) may be
+read "ung coffret faict de musayeque de bois et d'ivoire," and in a
+still earlier one of the Duke de Berry's, dated 1416, is mentioned a
+"grant tableau, où est la passion de Nostre Seigneur, fait de poins de
+marqueterie." This is as early as the intarsias of Domenico di Nicolò at
+Siena, and was probably of foreign manufacture. In 1576 a certain Hans
+Kraus was called "marqueteur du roi," but the first Frenchman known to
+have practised the art is Jean Macé of Blois, who was at work in
+Paris from 1644 or earlier to 1672 as sculptor and painter. He is said
+to have been the first who brought intarsia into France, under the name
+of "marqueterie," having been for some time in the Netherlands. His
+title was "menuisier et faiseur de Cabinets et tableaux en marqueterie
+de bois." He was lodged in the Louvre in 1644 (when Louis XIV. was six
+years old), "en honneur de la longue et belle pratique de son art dans
+les Pays Bas." His daughter married Pierre Boulle, who in 1619 was
+turner and joiner to the King, probably both to Louis XIII. and Henry
+IV. In 1621 Paul Boulle was born, and five years later Jacques. The
+family was settled at Charenton-le-Pont, near Paris, the principal town
+of the Huguenots for eighty years. Here, in 1649, Pierre Boulle was
+buried, the father of seven children. The earlier seventeenth century
+designs show picturesque landscapes or broken ruins or figures, _motifs_
+which recur a century later, as in the beautiful panel signed "Follet"
+in the Cabinet by Claude Charles Saunier in the Wallace collection. The
+colours are occasionally stained, and ebony and ivory are favourite
+materials. It is impossible to fix the exact time when copper and
+tortoiseshell came into use in France. Some of the cabinets in which
+they appear are certainly of the period of Louis XIII. It was probably
+imported either from Spain or Flanders; it became very fashionable
+about the middle of the seventeenth century, and ended by entirely
+absorbing the official orders of the Court of Louis XIV. With this work
+the name of Boulle is indissolubly associated. Pierre Boulle was lodged
+in the Louvre about 1642. In 1636 he is on the list for 400 livres
+annually. Jean Boulle died in the Louvre in 1680. He was the father of
+André Charles probably, who was born in November, 1642, and the nephew
+of Pierre. André Charles Boulle in 1672 succeeded to the lodging of Jean
+Macé in the same building, and seven years later by a second brévet to
+the "demilogement," formerly occupied by Guillaume Petit "to allow him
+to finish the works executed for His Majesty's service." It is told of
+him by a contemporary that the talented boy wanted to be a painter, but
+his father would not allow it, and insisted upon his keeping to
+handicraft. He was a man of most varied talent; when he was first
+granted apartments in the Louvre it was as "joiner, marqueteur, gilder,
+and chiseller," and in the decree of Louis XIV., by which he was
+appointed the first art-joiner to the King, he is called "architect,
+sculptor, and engraver." He had a passion for collecting drawings,
+paintings, and other works of art, and when his workshops were burnt his
+collection was valued at 60,000 livres. This taste brought him into
+money difficulties, and in 1704 his creditors obtained a decree
+against him, 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 them. He was a member of the Academy of
+S. Luke as sculptor and brass engraver. The Cabinet of the Dauphin was
+considered his masterpiece, in which the walls and ceiling were covered
+with mirrors in ebony frames, with inlays of rich gilding, and the floor
+laid with wood mosaic, in which the initials of the Dauphin and his wife
+were intertwined. The drawing made for it is now in the Musée des Arts
+Décoratifs, but the work itself no longer exists. On August 30th, 1720,
+his works were burnt, it was thought by a thief whom the workmen of
+Marteau, his neighbour at the Louvre, had surprised some months before
+and punished summarily, who, by way of vengeance on the "menuisiers,"
+set fire to the "ébénistes." Nearly everything he possessed was either
+burnt, lost, or stolen; models of the value of 37,000 livres, wood and
+tools worth 25,000, many pieces of furniture finished or in course of
+construction; works in metal, as well as in wood, and his whole
+collection of drawings, paintings, and objects of art. His total loss
+was estimated by experts at 383,780 livres, more than 1,000,000 of
+francs in the money of to-day, from which an income of 50,000 francs
+might be expected. This valuation was on an inventory drawn up shortly
+after, perhaps for the purpose of getting the King's help. The number of
+undeniable productions of his hand is small, but objects which came from
+the studio after his death are tolerably plentiful since his four sons
+carried on the business, though not the inspiration; contemporaries
+characterised them as "apes." Two commodes which were in Louis XVI.'s
+bedroom at Versailles are now in the Bibliothêque Mazarin, and a chest
+which was forgotten in the Custom House at Havre now belongs to the
+museum of that city. A cabinet is in the Mobilier National, and a
+pedestal is in the Grünes Gewölbe at Dresden. Other genuine Boulles are
+in the Wallace collection, in the Rothschild collection, and at the
+Hotel Cluny. A writing table, for which the millionaire Samuel Bernard
+(who died in 1739), a great collector of art treasures, had given 50,000
+livres, appears to be lost. M. Luchet asks, with some truth, "Can you
+imagine a financier, Jew or Christian, paying 100,000 francs for a new
+bureau? Old, it would be another thing--an object of art to sell."
+Boulle was most careful over his materials. He had 12,000 livres worth
+of wood in his stores, fir, oak, walnut, battens, Norwegian wood, all
+collected and kept long and carefully for the benefit of the work. He
+also used real tortoiseshell, which, is replaced in the economical art
+industry of the day with gelatine. The mountings were always chiselled,
+cast quite roughly, so that the artist did nearly everything. He was
+helped in this part of the work by Domenico Cucci and others. The inlay,
+instead of being tortoiseshell, may have been horn, mother-of-pearl,
+ivory, or wood; the motive, instead of brass, may be pewter, silver,
+aluminium, or gold; it is still known by the name of Boulle work. Boulle
+himself worked intarsia of wood also at intervals all through his life.
+He died February 29th, 1732.
+
+[Illustration: Plate 46.--_Cabinet belonging to Earl Granville. Boulle
+work of about 1740._
+
+_To face page 96._] [Illustration: Plate 47.--_Top of writing table in
+the Saloon, Roehampton House. Period of Louis XV._]
+
+[Illustration: Plate 48.--_Encoignure, signed J. F. Oeben, in the Jones
+bequest, Victoria and Albert Museum._
+
+_To face page 98._]
+
+His pupil, J. F. Oëben, became "ébéniste du roi," with a lodging in the
+_dépendances_ of the Arsenal in 1754. He was marqueteur especially.
+Examples of his work are both at South Kensington and in the Wallace
+collection, and in the Gallerie d'Apollon at the Louvre is the great
+secretary bureau, which he was making for Louis XV. at the time of his
+death, in or about 1765. His widow carried on the establishment; her
+foreman, J. Henry Riesener, completed the unfinished work. He was also a
+German, born in 1735 at Gladbach, near Cologne, and coming to Paris
+quite young entered Oëben's atelier. On his death he was made foreman,
+and two years after, when he was thirty-two years of age, married his
+master's widow. The year following 1768 he was received as master
+_menuisier ébéniste_. In 1776 his wife died, and six years after he
+married again, but was divorced as soon as the new legislation allowed
+it. When he was married the first time he had no fortune, but fifteen
+years after he declared in his marriage contract that there was then
+owing to him by the King, the royal family, and other debtors 504,571
+livres, without counting the finished objects in his warehouses, his
+models of bronze, his jewels, and personal effects, and several
+important life annuities. Between 1775 and 1785 he received from the
+Garde Meuble 500,000 livres, so profitable had the production of
+furniture of the highest class become. He was in full work at the time
+of the Revolution, and two of his finest pieces bear the dates 1790 and
+1791 in their marquetry. When the furniture of the royal residences was
+sold, Riesener bought back several pieces, being aided by Charles
+Delacroix, the husband of his first wife's daughter, who directed the
+sale at Versailles. He tried to sell these again, but with poor success,
+and when he died, on January 8th, 1806, at the age of 71, he was again
+almost without fortune. His beautiful bureau secretary in the Wallace
+collection, made for Stanislas Leczinski, King of Poland, and dated
+1769, shows him at his best. The workmanship is superb, and the design
+most pleasing, almost the only point to which exception may be taken
+being the crude green, obtained by staining, here and there. The
+half-length of Secrecy in the oval cartouche at the back is as good as
+the best Italian figure work, and was often reproduced by him. The
+flower panels are particularly delicate and beautiful. There is an
+upright secretary, also by him, in the same collection almost equally
+delicate and beautiful in its marquetry decorations. The diaper patterns
+so characteristic of this period are most beautifully executed, but are
+not very interesting, and the mountings take the interest rather from
+the marquetry, becoming more and more delicately designed and
+elaborately worked. The principal woods used by Riesener were tulip and
+rose wood, holly, maple, laburnum, purple wood, and sometimes snake
+wood. His contemporary, David Roentgen, used principally pear, lime, and
+light-coloured woods, burnt for the shades.
+
+[Illustration: Plate 49.--_Panel from back of Riesener's bureau, made
+for Stanislas Leczinski, with figure of Secrecy._
+
+_To face page 100._]
+
+[Illustration: Plate 50.--_Roundel from bureau, made for Stanislas
+Leczinski, King of Poland, now in the Wallace Collection._
+
+_To face page 102._]
+
+Paris has endured a regular invasion of German craftsmen from the middle
+of the eighteenth century, and the Faubourg S. Antoine still has a
+number of German-born joiners among its workmen. Among the most
+celebrated of them was David Roentgen, born either at Neuwied or
+Herrenhagen in 1743. In 1772 he succeeded his father, Abraham Roentgen,
+in his business at Neuwied am Rhein, which he had founded in 1753, and
+from which he retired into the house of the Moravian brethren, where he
+lived for twenty years longer. The engraver Wille relates that he came
+to his house in Paris in 1774 with letters of recommendation, and that
+he put him in touch with designers and sculptors. When Marie Antoinette
+became Queen he was appointed "Ébéniste méchanicien" to the Queen. He
+was in such good odour with her as to be charged on several occasions to
+carry presents to her mother and sisters. Her favour excited the
+jealousy of the other joiners, and they contested his right to sell
+foreign-made furniture. He got out of this difficulty by being admitted
+a member of their corporation on May 24th, 1780. He was so entirely
+master of his craft, and increased its resources so much by using exotic
+woods, that contemporary opinion thought it difficult to imagine greater
+success in the particular direction in which he worked. In 1779 he
+showed a table of marquetry, made in a new fashion, which he described
+as a mosaic, "in which the shades are neither burnt, nor engraved, nor
+darkened with smoke, as one has been obliged to express them until now,"
+a return in fact to the earlier Italian method. His designs were many of
+them made by Johann Zick of Coblenz, others by Jean Baptiste Le Prince,
+chinoiseries, and shepherd games. Under him the later German marqueterie
+reached its highest point. His works went all over Europe, from St.
+Petersburg to Paris, and replicas were ordered by those who were obliged
+to forego the originals. He sold to Catherine of Russia a series of
+articles of furniture for 20,000 roubles, and the Empress added a
+present of 5000 roubles and a gold snuff-box. The King of Prussia was
+his constant protector, and in February, 1792, gave him the title of
+Secret Councillor, and in November of the same year named him Royal
+Agent on the Lower Rhine. The Revolution ruined him, and he was obliged
+in 1796 to close his factory. He abandoned France at this period, and
+the Government, considering him as an "Emigré," seized all his effects
+in 1793, including the furniture made at Neuwied, then in his stores. He
+died at Wiesbaden in 1807. With him these incomplete historical notes
+may terminate. Many of the names mentioned are but names, while in many
+cases names and works cannot be connected, for the carver and
+intarsiatori were often, like other craftsmen, content to do the work
+without caring about the reputation of doing it; 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 rarity, and certainly do not show them
+to any disadvantage compared with other artists, or those among whom
+their lives were passed.
+
+
+
+
+THE PROCESS OF MANUFACTURE
+
+
+The early mode of working intarsia in Italy, where it is more than 100
+years more ancient than in any other country, was by sinking forms in
+the wood, according to a prearranged design, and then filling the
+hollows with pieces of different coloured woods. At first the number of
+colours used was very small--indeed, Vasari says that the only tints
+employed were black and white, but this must be interpreted freely,
+since the colour of wood is not generally uniform, and there would
+consequently often be a difference in tint in portions cut from
+different parts of the same plank. A cypress chest of 1350, now in the
+Victoria and Albert Museum, shows another mode of decoration standing
+between tarsia proper and the mediæval German and French fashion of
+sinking the ground round the ornament and colouring it. In this example
+the design is incised, the ground cleared out to a slight depth, and the
+internal lines of the drawing and the background spaces filled in with a
+black mastic, the result much resembling niello. 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 Siena, which, though
+an early work of Domenico di Nicolò, are well considered in design, well
+executed, and quite satisfactory in point of harmony between material
+and design.
+
+[Illustration: Plate 51.--_Antonio Barili at work, by himself._
+
+_To face page 104._]
+
+At the commencement of the Renaissance the fancy of the intarsiatori
+overflowed in the most graceful arabesques, which are perfectly suited
+to the material and are often executed with absolute perfection, and
+these may perhaps be held to be the most entirely satisfactory of their
+works, though not the most marvellous. The ambition of the craftsman led
+him to emulate the achievements of the painter, and we find, after the
+invention of perspective drawing, views of streets and other
+architectural subjects, which are not always very successful, and the
+representation of cupboards, the doors of which are partly open, showing
+objects of different kinds on the shelves, which are often rendered with
+the most extraordinary realism, when the means adopted are
+considered.[3] This realism was much assisted by Fra Giovanni da
+Verona's discovery of acid solutions and stains for treating the wood,
+so as to get more variety of colour, and by the practice of scorching
+portions of the pieces of which the subject was composed, thus
+suggesting roundness by means of shading. It was a common practice to
+increase the decorative effect by means of gilding and paint, thus
+obtaining a brilliancy of colour at the expense of unity of effect
+sometimes, one may think, 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 times. At the best period it was used almost entirely
+for church furniture and the furnishings of public edifices, in Italy at
+least, and many of the ranges of stalls still occupy their original
+positions.
+
+[Illustration: Plate 52.--_Panel from the Victoria and Albert Museum._
+
+_To face page 106._]
+
+The principal woods used in the work of the best period were pear,
+walnut, and maple, though pine and cypress also appear. Ebony was
+imitated with a tincture of gall apples, green was obtained with
+verdigris, and red with cochineal. Sublimate of mercury, arsenical acid,
+and sulphuric acid were also used to affect the colour of the wood. This
+treatment lessened its lasting power, and often caused its decay through
+the attacks of worms. The scorching was done with molten lead, or in
+very dark places with a soldering-iron. It is now done with hot sand.
+The following technical description is taken from a German book of
+1669--"Wood-workers paint with quite thin little bits of wood, which
+are coloured in different ways, and the same are put together after
+the form of the design in hollowed-out panels, fastened with glue and
+polished with an iron on the surface so that they may become quite
+smooth. They paint at the present time in this manner tables and jewel
+chests or trays, and all in the highest artistic manner. Also separate
+pictures are put together, which copy the works of the most celebrated
+masters. First, they take small, very thin pieces of pear or lime dyed
+through with different colour-stuffs, which are prepared by certain
+processes, so that the wood is the same colour within and without. Then
+they give them their several shapes as the kind of picture requires,
+cutting them according to the size and shape, and stick them with glue
+on the board. In the place of wood they sometimes use bone, horn, and
+tortoiseshell cut into fine strips, also ivory and silver. The whole
+work is called by the Germans 'Einlegen' or 'Furnieren,' because
+although each piece is separate from the others no part is taken out
+from the surface in which such figures are inlaid, but the whole is
+covered." With the use of the fret-saw for cutting the patterns, and the
+consequent discovery of the possibility of counterchanging the ground
+and the design (that which was black becoming white, and _vice versâ_),
+called male and female forms, the manufacture of tarsia, or marquetry
+rather, commenced to take a more commercial aspect, the cost being
+considerably reduced by the making of several copies by one sawing. This
+is the process used at the present day.
+
+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 wood, and also on the level grounding
+out of the matrix. In Spanish and Portuguese work ivory or ebony pins or
+pegs were used also. Marquetry is a form of veneering, and the operation
+is thus conducted:--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 clean, newly-worked surface; the ground is then well wetted with
+glue, at a high temperature, and the two surfaces pressed tightly
+together so as to squeeze as much out as possible. The parts are screwed
+down on heated metal beds, or between wooden frames, made so as to
+exactly fit the surfaces in every part, called "cauls," until the glue
+is hard. In cutting the patterns of Boulle work two or three slices of
+material, such as brass and tortoiseshell or ebony, are glued together
+with paper between, so that they may be easily separated when the
+cutting is done. Another piece of paper is glued outside, upon which the
+pattern is indicated. A fine watch spring saw is then introduced
+through a hole in an unimportant part of the design, and the patterns
+sawn out as in ordinary fretwork. The slices are then separated, 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
+pattern. When there are only two slices of material the technical term
+for them is Boulle and Counter. When the various parts have been
+arranged in their places, face downwards, paper is glued over them to
+keep the whole in place, and filings of the material rubbed in to fill
+up any interstices. The whole is then toothed over and laid down in the
+same manner as ordinary veneer, the ground being first rubbed over with
+garlic, or some acid, to remove any traces of grease. Marquetry of wood
+is made in the same way, but more thicknesses of wood are put together
+to be sawn through, as many as four not being an unusual number, while
+for common work even eight may be sawn at one time, and the various
+sheets are pinned together only with a stiff backing of common veneer of
+good thickness to steady the work. Dye woods are used as far as
+possible, and holly stained to the required colour serves for greens and
+blues and a few other tints. Pearl is always cut in one thickness, and
+is glued down on a backing of wood at least 1/8-inch thick.
+
+Another mode of cutting the design approximates more nearly to the
+ancient practice. The whole design is drawn on paper attached to the
+ground, or counter, and cut out entirely. The various portions of inlay
+are then cut from different veneers of the desired colour and fitted
+into their places. Another method is to paste the paper with the whole
+design on the ground, and on it to paste the various ornaments cut from
+suitable veneers, then to cut through the ground, the saw grazing the
+edges of the ornamental forms. The parts so cut out are then pushed
+through the ornaments, separated from the paper, and laid down in the
+vacant places. A variation on this method is to cut out the forms to be
+inlaid in different veneers, and glue them in their proper positions on
+a sheet of paper. A sheet of white paper is pasted on the veneer, which
+is to serve as the ground. A sheet of blackened paper is laid over it,
+and over this the sheet with the forms to be inlaid, which are then
+struck with a light mallet, so as to print an impression of their edges
+upon the paper. The printed shapes are then cut out one at a time, care
+being taken to make the saw exactly follow the outline. The object of
+all these processes is, of course, to ensure the ground and the inlaid
+forms exactly fitting. After cleaning the surface from paper and glue it
+is smoothed with plane and scraper, and the markings on leaves or other
+figures made by a graver, if not already made by saw cuts, and they and
+the lines between the male and female forms are filled with shellac or
+wood-dust and glue.
+
+In Germany the veneers used are one to two millimetres thick, _i.e._,
+one-twenty-fifth or two-twenty-fifths of an inch. The principal woods
+used are walnut, pear, ash, bird maple, holly, olive, amboyna, rose
+wood, violet wood, thuya, and palisander, which name is also used on the
+Continent for rose wood and violet, though it is really a sort of cedar.
+Tortoiseshell, ivory, and metal plates are also used, principally of
+pewter, brass, and zinc. Seeman's Kunstgewerbliche Handbücher advise
+thus:--"When ivory or hard precious metals are used it is better to
+divide the design into smaller parts. To avoid damage to the effect by
+time and change of colour in the woods such combinations as the
+following are to be preferred:--Mahogany and black walnut, pear and
+black walnut, Hungarian ash and black thuya, pear and palisander, brass
+and black, etc. For fine, small ornament smooth, even-textured woods
+should be used such as pear, mahogany, maple, or holly; for broad
+patches and backgrounds, which are not required to be dark, you should
+use patterned or streaked woods, like bird maple, amboyna, thuya, or
+olive. Ivory, mother-of-pearl, and metals in large pieces look hard and
+loud, so it is better to use them in quite small pieces. If engraved,
+larger pieces may be employed and used for inscription tablets, coats of
+arms, and cartouches, or for bits of figures, birds, and butterflies.
+Shading may be done in various ways. Lines may be engraved and filled up
+with a glue cement, or hatchings may be drawn with a scorching solution,
+or the wood may be burnt with hot sand. The sand is made hot in an iron
+pot, and the piece to be darkened inserted. Or it may be scorched with a
+hot iron or spirit or gas flame. The simplest way is with the poker used
+in poker work." In England the sand is heaped upon a metal plate which
+is heated underneath. The veneer is held with tweezers and pushed into
+the sand, the gradation of heat giving gradation of tone. The hot sand
+shrinks the wood, and allowance must be made for this.
+
+Veneers are both saw and knife cut; the saw wastes about as much as the
+thickness cut in sawdust. They range from 8 to 15 to the inch. The
+French saw-cut their veneers thinner than the English do.
+
+The woods in every-day use at the present day are white holly, box, pear
+(in various shades), and holly (dyed all colours); while the veneer
+merchants sometimes supply also planetree, sycamore, chestnut,
+Brazilwood, yellow fustic, barwood, tulipwood, kingwood, East and West
+India satinwood, rosewood, ebony, ash, harewood, Indian purplewood,
+hornbeam, and snakewood. Bird's-eye maple and partridgewood may also be
+bought.
+
+Dye woods used for marquetry--Braziletto, cam wood, logwood, Nicaragua,
+red sanders, sapan, ebony, fustic (a species of mulberry), Zante (a
+species of sumach). "Ebony is the black pear tree of Madagascar, at
+least they make cider of its fruit." So says M. Luchet in an interesting
+excursus on furniture manufacture in his book on the Paris Exhibition of
+1867, in which he gives further details of ancient manufacture and its
+modern imitation. "I know a factory," he says, "where the tortoiseshell
+is false, the mother-of-pearl false, the ivory holly wood; the brass is
+the only real thing, because science applied to industry has not yet
+found out how to imitate it. When Boulle employed wood in his work it
+was ebony--they have abandoned that for blackened pear wood, under the
+pretext that ebony is a hard, close wood which twists, splits, and
+cracks, takes glue badly, and refuses varnish. So that they call a man
+who never uses ebony 'ébéniste.' They did not trouble about these things
+in the time of Louis XIV. They never varnished their furniture, so it
+did not matter that ebony would not take varnish.... There are two sorts
+of tortoiseshell, that of the Antilles, often bad and scaly, but good
+enough for common work, because it is thin and equal in thickness, and a
+little carmine vermilion gives it a not unpleasant red tint. The Indian
+tortoiseshell is thick and opaque and unequal, demanding preparation and
+welding. It can only be used for expensive work, and takes easily a
+black preparation which makes it magnificently austere." One ought to
+mention here that good shell was often treated with carmine vermilion or
+with gold, and that without a colour background it loses half its beauty
+and value.
+
+"In modern times six or eight couples of shell and metal are sawn
+together, whereas two was the number in the fine period. This saves
+money. A new Boulle bed, secretary, or chest of drawers should cost 15
+to 20,000 francs. You may easily get one for 2000 made of rubbish. An
+honest chest of drawers with tolerable mountings is worth 1500 francs.
+In gelatine tortoiseshell and brass or zinc of the future 100 is the
+price.... The mode still practised in Paris of making a good 'placage'
+in preparation for marquetry or Boulle work is as follows:--A thicker or
+thinner sheet of Italian poplar is placed between two sheets of oak with
+the grain the other way, then on the external sheet of oak is placed the
+wood intended to be seen, also with the grain the other way, the whole
+of convenient thickness, and glued with the best glue. Good glue is the
+nurse of the wood, say the masters. These four or five thicknesses of
+wood pulling against each other neutralise all bad effects, and the
+result is very good. The external covering is usually either mahogany,
+American walnut, or violet wood (a sort of cedar). Sometimes it is
+ebony, or perhaps a collection of small pieces of wood, such as acacia,
+which are called by all sorts of pretty names. It is of this fine and
+good 'plaqué' that they still make cupboards at 1000 francs, beds at 600
+francs, and bureaus at 800 francs, which are the success and the pride
+of Parisian joinery." The marqueteurs of Nice made use of olive for
+veined grey backgrounds, orange and lemon for pale yellow, carob for
+dark red, jujube tree for rose colour, holly for white, and charred fig
+for black; arbutus served for dark flesh, and sumach for light.
+
+It is advisable after the marquetry has been put together to reduce the
+surface to a level and do something in the way of polishing, though it
+is not necessary to carry the process as far as is often done by the
+cheap furniture manufacturers. If nothing but wood has been used, the
+surface should be reduced to a level with a toothing plane and scraped
+with a joiner's scraper, taking care to apply it obliquely to the joints
+as far as possible, so as to avoid digging down and so failing in the
+object aimed at. If done very well and carefully it sometimes only
+requires to be rubbed down with its own shavings, but it is more usually
+necessary to follow with a worn piece of glass-paper on a flat piece of
+cork, but the dust must not be allowed to collect into hard lumps upon
+it, as these lumps would scratch the surface. Holtzapffel says that when
+metal, ivory, pearl, shell, or tortoiseshell are mixed with the wood the
+surface must be carefully levelled with flat files, ending with a very
+smooth one, after which the scraper should be used if possible and
+followed by glass or emery paper very sparingly. When metal
+preponderates emery paper is best, and really good _sand_ paper may also
+be used, but all paper should have very little "cut," should be applied
+dry, and allowed to become clogged, so as to act principally as a hard
+dry rubber or burnisher. If the polishing is at all in excess the wood
+will get rubbed or worn down below the metal. 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 powder, much
+like polishing marble, using oil instead of water. Wet polishing should
+not be used for inlaid works; the water may soften the glue. A
+superficial wetting is likely to warp the woods and make them curl up at
+the edges, and the grain of the wood is almost certain to rise. Oil is
+better than water, but light woods are almost certain to become stained
+by polishing powders and fluid. To avoid this modern marquetry is often
+covered with varnish applied with friction like French polish, or laid
+on in several coats with a brush and polished off with pumice and rotten
+stone, like the Vernis Martin, being first levelled with a file or
+scraper and smoothed with glass-paper.
+
+FOOTNOTES:
+
+[3] The panel illustrated from the Albert and Victoria Museum is a good
+average specimen of this kind, but not quite a masterpiece.
+
+
+
+
+THE LIMITATIONS AND CAPABILITIES OF THE ART
+
+
+The process described, by which the early works in intarsia were
+produced, was slow and tedious; and, as may be supposed, though fame
+might be won by its exercise, the winning of fortune was a very
+different thing. Domenico di Nicolò, who made the stalls in the chapel
+of the Palazzo Pubblico, Siena, and was thence called "del Coro," or
+"dei Cori," a name which descended to his children in place of their
+proper name of Spinelli, is an example in point. The petitions to the
+priors already referred to, printed in Milanesi's Documenti per la
+Storia dell' Arte Senese, show how little a man of talent, who was
+constantly employed for many years and gained great reputation in his
+art, could do to provide for his old age; and many returns of both
+painters, sculptors, and woodworkers, made for the purposes of taxation
+and printed in the same book, show that even in a great and flourishing
+town like Siena, which prided itself on its artistic reputation, it was
+often most difficult for the craftsmen, on whose work that reputation
+was based, to make a living.[4] It is true that there were thirty-four
+workshops for wood carving and intarsia in Florence at one time (1478,
+as Fabroni says in his life of Lorenzo the Magnificent), from which one
+may conclude that work of a certain sort was plentiful and lucrative,
+and panels of intarsia were certainly sometimes exported, but it may be
+observed that all the most celebrated intarsiatori practised some other
+form of art also, and generally abandoned intarsia sooner or later; the
+exceptions being those who belonged to the Olivetan and Dominican
+orders, and therefore had no anxiety about their living. Of these
+craftsmen the most celebrated were Fra Giovanni da Verona and Fra
+Damiano of Bergamo, whose works were so elaborate and so finely executed
+as to excite the suspicion that they were painted with the brush, though
+supposed to be executed with wood and the chisel. The anecdote of the
+Emperor Charles V.'s trial of Fra Damiano's tarsia panel in S. Domenico,
+Bologna, attests the wonderful quality of the work, and its success in
+attaining a doubtful aim, 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 brush. The designs from which the
+intarsia was executed were often furnished by painters of repute, and
+pictures or portions of pictures were copied, a proceeding which Fra
+Giovanni's discovery of stains and washes of different kinds made
+easier, until the proper limits of the art were far overpassed, and its
+decorative quality quite lost sight of in the attempt to rival a form of
+art the requirements of which were quite different. The beautiful
+arabesques, which the designers of the early Renaissance poured forth
+with exhaustless fertility, show the capabilities of the process for
+decorating flat surfaces, and the perspectives of cupboards and
+buildings were often most successful without passing the limits imposed
+by the material.
+
+The question of the limits within which the craftsman's effort should be
+confined in any form of art craftsmanship is a thorny one, for the
+attempt to overstep those limits has always had attractions for the
+craftsman who is master of his craft, and who sighs for fresh fields to
+conquer, knowing better than the outsider what are the difficulties
+which he has overcome successfully in any piece of work from the side of
+craftsmanship, though often with disastrous results when the matter is
+regarded from the point of view of excellence in design and purity of
+taste. 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
+illegitimate; and if this be so, it is equally illegitimate to stain any
+of them; but it is undeniable that a great addition to the resources of
+the inlayer was made by the discoveries of Fra Giovanni, and it seems
+unreasonable to refuse to make any use of them because later
+intarsiatori abused these means of gaining effect. The earliest work, it
+is true, depends mainly upon silhouette for its beauty, but does not
+altogether disdain lines within the main outline, and the abandonment of
+these inner lines, whether made by graver or saw, so reduces the
+possibilities of choice of subject as to restrict the designer to a
+simplicity which is apt to become bald. A great deal may be done by
+choice of pieces of wood and arrangement of the direction of the
+lines of the grain; some of Fra Giovanni's perspectives show very
+suggestive skies made in this manner, and Fra Damiano was very
+successful in thus suggesting the texture of much veined and coloured
+marble and of rocks, but directly the human figure enters into the
+design these expedients are felt to be insufficient and inexpressive,
+and inner lines have perforce to be introduced. The opposite extreme is
+such work as the panels by the brothers Caniana in the Colleoni Chapel
+at Bergamo, in which the composition and drawing of the figures recall
+the designs of the Caracci, and the technique of the shading reminds one
+of a copper plate, while the tinting and gradation of the colours take
+away all impression of a work in wood, substituting that of a coloured
+engraving. Here it is quite evident that the desire to imitate pictorial
+qualities has led the craftsman far away from what should have been his
+aim, viz., to display the qualities of the material which he was using
+to the best advantage, consistently with the position and purpose of his
+work in it. Not that perfection of workmanship is to be decried, though
+it is only occasionally that one is able to make use of, or indeed
+produce it. But the æsthetic 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
+giving. Notwithstanding the beauty of much of the marquetry of the
+periods of Louis XIV. and Louis XV., one often feels that design has
+been put to one side in the endeavour to gain a realistic effect, and
+the same defect may be traced more clearly in the clumsier Dutch and
+German productions. Even in the Italian work of an earlier date every
+now and then the same fault peeps out, though the excellent taste of the
+nation at that period prevented the Italians from falling into such
+excesses, and one generally feels the wood even in their most elaborate
+perspectives. It may be asserted in a general way that the more colours
+are used the less likelihood is there of the effect being quite
+satisfactory, and that any light and shade introduced should be of the
+simplest kind. A slight darkening of parts of the wood to gain a certain
+suggestion of roundness is quite admissible, but the expedient should be
+used with discretion, lavish employment of it leading to heaviness of
+effect and a monotony of tone which are most unpleasing. If ivory or
+metals are introduced the greatest care is necessary to prevent them
+from giving a spotty and uneven effect to the design, for neither these
+two materials nor mother-of-pearl marry quite with the tone of the wood;
+and this inequality is likely to increase with age, as the wood becomes
+richer and mellower in colour. Such materials should be so used that
+the points where they occur may form a pattern in themselves
+independently of the rest of the design, so that the effect may be
+pleasing at first sight, before the general meaning of the less
+prominent details is realised. Any other way of using them courts
+failure, since the effect of the whole design is ruined by the
+uncalculated prominence and inequality of these materials here and
+there. The Dutch sometimes made use of mother-of-pearl, in pieces upon
+which engraving broke up the hard glitter of the material, mingled with
+brass wire and nails or studs driven into the surface of the wood. The
+two materials appear to be quite harmonious, and small articles
+decorated in this manner are effective and satisfactory. The Italian use
+of ivory for the decoration of musical instruments, chess and backgammon
+boards, and other small objects is almost always successful, the
+proportion between wood and ivory being well judged, and the forms of
+the ornament pleasing.
+
+[Illustration: _To face page 122._
+
+Plate 53.--_Panel from S. Maria in Organo, Verona._]
+
+The modern French marquetry, though exceedingly clever and beautiful in
+its use of various woods, errs by want of consideration of the surface
+to be decorated, the subjects flowing over the surfaces and overflowing
+the proper boundaries very often; and also sins in using many woods of
+very slightly different tones and textures, which will almost certainly
+lose their reciprocal relation in the course of time, and thereby their
+decorative effect. The ancient intarsias were made of a small number of
+different woods, and the effect was kept simple; pear, white poplar,
+oak, walnut, and holly almost exhaust the list; while even Roentgen's
+work, in which he used a larger number of woods, including some of those
+foreign trees which Dutch commerce made available for him, has suffered
+from their changing and fading. I would advise the marqueteur to
+disregard most of the many foreign woods now in the market, and content
+himself with simple and well-proved effects for the most part, trusting
+rather to beauty of design to give distinction to his work than to
+variety of colour and startling effects of contrast.
+
+[Illustration: Plate 54.--_Panel from S. Maria in Organo, Verona._
+
+_To face page 126._]
+
+It is the fashion at the present day to exhort the designer to found his
+design upon the study of nature, which is right enough if accompanied by
+discretion and a feeling for style. In many mouths, however, the
+exhortation means that the copying of natural forms is advised, and
+often, if one may judge from the examples which one sees around one,
+without selection either of subject or form. Now it is obvious that it
+is sometimes the beauty of form in natural objects which attracts the
+eye, and sometimes the beauty or strangeness of colours, either in their
+combination or from the unusual tint. And while the former quality
+fits the object for translation into ornament, by means of
+simplification and repetition, 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 composition. Certain forms
+of flowers and leaves are also suitable for ornament expressed in a
+certain way, and when this harmony occurs the representation of nature
+is satisfactory as ornament; but the reverse is very often shown to be
+the case in work of a more modern type, in which the design is based on
+the dictum that the copying of natural forms will produce ornament. It
+is not the copying of natural forms, but the ordering of the spaces, the
+arranging and balancing of line and mass, and the adaptation of means to
+ends which produce satisfactory decoration, and in the best Italian
+intarsias founded upon freely-growing, natural plants this is well
+shown. The observation of natural growth shown in illustrations Nos. 53,
+54, and 55 is considerable, but the panels are not so beautiful because
+the bay, the pink, or the lily are so well rendered, but because the
+pattern of waving lines is so well fitted to the space it has to fill,
+and the shapes of the silhouettes are so expressive. In the later French
+marquetry we often find an equal or almost equal dexterity in expressing
+the natural form, and an almost greater cleverness in adapting the
+design to the material; 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 unsurpassable.
+
+Certain remarks made by Mr. Stephen Webb, in a paper read to the Society
+of Arts on April 28, 1899, as to the qualities which the designer or
+craftsman must possess for successfully producing intarsia, are worth
+reproducing here as the sayings of a man who himself has done much
+beautiful work of the kind. "Tone harmony, and in a limited degree, the
+sense of values, he must certainly cultivate. He must be able to draw a
+line or combination of lines which _may_ be ingenious if you like, but
+_must_ be delicate and graceful, vigorous withal, and in proper relation
+to any masses which he may introduce into his design. He must thoroughly
+understand the value of contrast in line and surface form, but these
+matters, though a stumbling block to the amateur, are the opportunities
+of the competent designer and craftsman. The most charming possibilities
+of broken colour lie ready to his hand, to be merely selected by him and
+introduced into his design. If the wood be properly selected shading is
+rarely necessary, and if it is done at all should be done by an artist.
+In the hands of an artist very beautiful effects may be obtained, the
+same kind of wood being made to yield quite a number of varying shades
+of colour of a low but rich tone. Over-staining and the abuse of shading
+are destructive. Ivory has always been a favourite material with workers
+in tarsia, and in the hands of an experienced designer very charming
+things may be done with it. There is, however, no material suitable for
+tarsia which requires so much care and experience in its use. It is
+ineffective in light-coloured woods, and in the darker ordinary woods,
+such as ebony, stained mahogany, or rosewood, under polish, the contrast
+of colour is so great that the ivory must be used very sparingly. The
+ivory is sometimes stained in order to bring its colour more into
+harmony with a dark wood-ground, but it is never quite satisfactory. The
+use of inlay makes the direction from which the light enters the room a
+matter of no moment, so long as the light reaches the object decorated."
+
+The effect of intarsia has been sought by various imitative processes,
+some of which are indistinguishable from it except by close inspection.
+In one of these wax, either in its natural state or tinted with an
+addition of powder colour, was used; in another glue mixed with whiting
+or plaster, also sometimes tinged, or red lead. On April 7, 1902, a
+paper was read at the Royal Institute of British Architects on wax
+stoppings of this kind by Mr. Heywood Sumner, in the course of which he
+said that the process he himself had used was as follows:--"First trace
+the design on the panel of wood to be incised; cut it, either with a V
+tool or knife blade fixed in a tool-handle; clear out the larger spaces
+with a small gouge, leaving tool-mark roughness in the bottoms for key;
+when cut, stop the suction of the wood by several coats of white, hard
+polish. For coloured stoppings, resin (as white as can be got), beeswax,
+and powdered distemper are the three things needful. The melted wax may
+be run into the incisions by means of a small funnel with handle and gas
+jet affixed; it is attachable to the nearest gas burner by india-rubber
+tubing, so that a regulated heat can be applied to the funnel. When thus
+attached and heated, pieces of wax of the required inlay colour are
+dropped into the funnel, and soon there will be a run of melted wax
+dropping from the end of the funnel-spout, which is easily guided by
+means of the wooden handle, and thus the entire panel may be inlaid with
+the melted wax. Superfluous surface wax is cleared off with a broad
+chisel, so as to make the whole surface flush. The suction of the wood
+is stopped by means of white, hard polish, otherwise the hot wax will
+enter the grain of the wood and stain it. Incised panels may be filled
+successfully with japanner's gold size and powdered distemper colour,
+using a palette knife to distribute the slab mixture. A close grain is
+the one thing needful in the wood. As to design, that which is best
+suited may be compared to a broad sort of engraving." Red lead was also
+used sometimes, 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 whiting, glue, and linseed oil.
+
+[Illustration: Plate 55.--_Panel from S. Pietro in Casinense, Perugia._
+
+_To face page 130._]
+
+At Hardwick some of the door panels are painted with arabesques in
+Indian ink, and varnished (a process also employed on several pieces of
+furniture in the South Kensington collection), and even in certain
+cases, no doubt under the direction of Bess of Hardwick, engravings have
+been stuck on the panels, tinted, surrounded with similar painting, and
+then similarly varnished over. The sacristy cupboards at S. Maria delle
+Grazie, Milan, called "Lo Scaffale," show paintings of no less an artist
+than Luini, the ornamental part of which is intended to simulate tarsia.
+
+For small objects, such as trinket boxes, a marquetry of straw tinted to
+different colours was sometimes employed, which, though not very
+lasting, in the hands of a worker who possessed taste in colour
+sometimes produced pleasing results, a form of work practised both in
+Holland and England, and lasting well into the 19th century. The writer
+possesses one or two objects decorated by this process which were bought
+from the French prisoners taken in the Peninsular War, who provided
+themselves with little luxuries by making and selling them. In all these
+imitative processes the question of design becomes of the very highest
+importance, since the material has neither beauty nor intrinsic value in
+itself; and here, even more than in many other forms of manufacture, the
+presence and influence of the intelligent designer is most desirable,
+and should be paramount.
+
+FOOTNOTES:
+
+[4] In 1453 Matteo di Giovanni Bartoli, painter, says that he possesses
+the half of certain tools and appliances of his art, which are not worth
+20 florins, and that the other half belongs to Giovanni di Pietro,
+painter, his partner. That they are in a house or dwelling that they
+hire from Guicciardo Forteguerri in the Palazzo Forteguerri, which they
+have as a house and not a shop, and that he has nothing else in the
+world but a few debts (!). He says that he makes no profit, but is
+learning as well as he can, and that his uncle, Ser Francescho di
+Bartolo, the notary, keeps him. This is a young and promising artist who
+cannot get on. Priamo della Quercia, brother of the celebrated sculptor
+Jacopo della Fonte, painter, says that he is poor and without anything
+to live on; that he has a girl of marriageable age and a young boy; that
+he owes money to several people. He had a dower of 200 florins which
+came from a possession which the nuns of Ogni Santi held, because they
+said that they were heirs to his daughter-in-law, a nun in that convent
+(!) and they had kept possession for six years and he could not sue
+these nuns at law on account of his poverty. There are several documents
+referring to money and property which his brother left to this man, but
+which he seems to have difficulty in obtaining possession of, and he
+gives one the impression of being unfortunate through life. In the same
+year Antonio di Ser Naddo, painter, says he has a house with an oven
+within the walls of Siena, "male in ponto," in which he lives in the
+Contrada of Camporegi. That he has three useless mouths in the house
+which gain nothing, two children, one a boy, and the other a girl of
+marriageable age, but if he dowered her, so that she could be married,
+he would have nothing to live on. Also that he owes 20 florins to
+various people. In the same year others, both painters and woodworkers,
+complain that they have nothing to live on and owe money, some saying
+that they have become old and poor in the art. In 1478 Ventura di Ser
+Giuliano, architect and woodcarver, says that he has a little house in
+the city division in the place called of S. Salvador, and that he is
+away at Naples because of his debts, for he is afraid to return. That he
+owes Ser Biagio, the priest, 80 florins and other persons 402. In 1488
+Giovanni di Cristofano Ghini, painter, says that he has a vineyard at
+Terraia in the commune of S. Giorgio a Papaino from which he receives in
+dues about 24 florins. That he has a wife and three sons and nothing to
+keep them on. That five years ago he had sold all that he had in the
+house, for times were very bad. 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 years. 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 hunger, and that they
+have a girl of marriageable age in the house, his sister, "Che è il
+fiorimento d'ognichosa." In the same year Benvenuto di Giovanni says
+that he is obliged to work away from Siena because his gains are so
+small; and finally in 1521, Ventura di Ser Giuliano di Tura petitions
+the Balia as follows:--He was a master joiner and says that he passed
+his youth and almost all his age in gathering ancient objects and
+carvings, which the craftsmen of the city have copied, so that one may
+say that the antique in the city has been re-discovered by his labours.
+But that he has not by this benefit to the craftsmen provided for his
+old age, since both he and his wife have been very unwell for years
+past, and that he finds himself old, with four little daughters, "one no
+heavier than the other," so he asks for a little pension of eight lire a
+month (which has been suspended apparently), so that he may not have to
+go to the hospital for bread with his wife and the four little ones.
+
+
+
+
+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
+Verona, to whom Vasari ascribes the invention, but is most distinctive
+of the work of the later Dutch and French marqueteurs. Receipts for the
+purpose were handed down from master to pupil, and while sometimes held
+as traditional secrets to be jealously guarded, were sometimes committed
+to writing; and several of these manuscripts have come down to us. The
+following have been collected from French, German, and Italian sources,
+and though not all of equal value, show the way in which the ancient
+workers produced the effects, most of which we admire in the present
+day:--
+
+To stain wood yellow (No. 1).--Put saffron in water, and when it is well
+steeped place the jar over hot coals. Then spread the stuff over boxwood
+with a brush. To make it brilliant let it dry, and put it with oil on
+the wood to be coloured. (No. 2.)--Take the plant turmeric (curcuma
+longa), grind it to powder; put an ounce into a pint of spirit (12
+oz.), and leave it for a day. If the tone is required reddish, add some
+dragon's blood. (No. 3.)--A cheaper but duller colour is to be obtained
+from steeped French berries, then dried, with weak alum water brushed
+over it. Thin pieces are dipped in it. The solution of French berries
+may be made thus--Take 1 lb. of French berries, and a gallon of water
+with 1/2 oz. of alum; boil for an hour in a pewter vessel, and filter
+through paper. Evaporate till the colour appears strong enough. Another
+receipt says 4 oz. of French berries put to steep in a pint of water is
+to have added to it 1 oz. of hazel nuts and as much alum. Wood may also
+be stained yellow with _aqua fortis_, used warm, and then immediately
+placed near the fire. The _aqua fortis_ must not be too strong, or the
+wood will go brown or black. This is apparently the same thing as Vasari
+calls "oil of sulphur," used in his time for colouring wood. A Nuremberg
+receipt book says that the plant Tournesol (croton tinctorium) may be
+steeped in water, and this solution mixed with yellow colour and glue
+may be spread over the wood warm, and finally polished with a burnisher.
+Holtzapffel gives the following:--A bright yellow stain may be obtained
+from 2 oz. of turmeric allowed to simmer for some hours in 1 quart of
+water in an earthen vessel, water being added from time to time to
+replace evaporation. Sparingly applied cold, it stains white woods the
+colour of satin wood. A canary yellow results from immersing the wood in
+the liquid, which can be rendered permanent without polishing by a
+strong solution of common salt. Washing the stained surface with
+nitro-muriate of tin for about a minute changes the colour to orange.
+The work should then be well rinsed in plain water to check the further
+action of the acid. Treating the canary yellow with 2 oz. of sulphate of
+iron dissolved in 3 quarts of water, after it has been allowed to dry,
+dyes a delicate olive brown. A tincture of 1/4 oz. of turmeric to 3 oz.
+of spirits of wine, allowed to stand for some days and well shaken
+daily, gives a rather higher colour.
+
+Red may be produced by (No. 1) taking a pound of Brazil wood, with some
+rain water, a handful of unslaked lime, and two handsful of ashes; soak
+all for half an hour in water, "cook" it, and pour it out into another
+pot, in which is a measure of gum arabic. The wood to be coloured must
+be cooked in alum water, and then brushed over with the warm colour; the
+result is a splendid scarlet red. If the wood was first grounded with
+saffron water and then had the Brazil decoction applied, the result was
+orange; a spoonful of lye made a browner colour, with a little alum. If
+whiter wood was taken the colour was correspondingly brighter. (No.
+2.)--Orcanda or Akanna root powdered, with nut oil, gives a fine red.
+(No. 3.)--Put lime in rain water, strain it, scrape Brazil twigs in it,
+then proceed as in No. 1. You can also soak the Brazil in tartar. The
+same colour with Tournesol steeped in water gives a fine purple when
+spread on the wood. Lebrun gives the same receipt, adding that the
+beauty of the colour is increased by rubbing with oil, and that pear
+wood is the best to use. Another receipt says:--Make a strong infusion
+of Brazil wood in stale urine or water impregnated with pearl ash, 1 oz.
+to a gallon; to a gallon of either of which put 1 lb. of Brazil wood.
+Let it stand for two or three days, often stirring it. Strain the
+infusion, and brush over the wood boiling hot; then, while still wet,
+brush over with alum water, 2 oz. to a quart of water. A less bright red
+may be made with 1 oz. of dragon's blood in a pint of spirits of wine,
+brushed over the wood.
+
+Holtzapffel gives for red stains the following:--Dragon's blood, an East
+Indian resin, gives a crimson with a purple tinge. Put a small quantity
+in an open vessel, and add sufficient linseed oil to rather more than
+cover it; it will be fit for use in a few days, when the oil may be
+poured off and more added. This dissolves more readily in oil than
+spirit. The colouring matter of Alkanet root, from which another red
+may be obtained, is contained in the rind, so that small pieces are the
+most useful. A deep red of a crimson character may be made with 1/2 oz.
+of raspings of Brazil wood macerated in 3 oz. of alcohol. A wash of
+logwood (see below) given with the brush, and when dry followed with a
+wash of Brazil, produces a deep, full colour, and when the two are
+applied in the reverse order a more brilliant colour of the same kind. A
+decoction of Brazil (4 oz.) allowed to simmer for some hours in 1 quart
+of water yields a rather brown-red stain. Treating light woods so
+stained with nitro-muriate of tin gives a brilliant crimson of a purple
+tinge.
+
+A brown red is made from a decoction of 2 oz. of logwood dust in 1 quart
+of water, or 1/2 oz. of logwood in 3 oz. of alcohol. Nitro-muriate of
+tin used on it gives a deep, dusky crimson purple. The same treated with
+alum solution yields a medium purple, darker and bluer than that from
+Brazil.
+
+White wood stained with Brazil and then treated with alum (4 oz.
+dissolved in a quart of water) acquires a light pink tinge. Another
+receipt for pink or rose red says:--1 gallon of infusion of Brazil wood,
+with 2 oz. additional of pearl ash; but it is necessary to brush the
+wood often with alum water. By increasing the proportion of pearl ash
+the red may be made still paler, in which case make the alum water
+stronger.
+
+For purple one brushes the wood over several times with a strong
+decoction of logwood and Brazil, 1 lb. of logwood and 1/4 lb. of Brazil
+to a gallon of water boiled for an hour or more. When the wood is dark
+enough let it dry, and then lightly pass over with a solution of 1
+drachm of pearl ash to a quart of water. Use this carefully, as the
+colour changes quickly from brown red to dark purple.
+
+Jet black may be made by using the logwood stain, followed by a solution
+of iron, 1 oz. sulphate of iron to 1 quart of water, and a less intense
+black by the same mixture about three times diluted. The Italian receipt
+books are well provided with receipts for producing black, which
+suggests that most of the ebony used in inlay was factitious. A 15th
+century MS. says:--"Take boxwood, and lay in oil with sulphur for a
+night, then let it stew for an hour, and it will become as black as
+coal." Evidently this means what Vasari calls oil of sulphur, _aqua
+fortis_. Others are founded upon the application of a solution of
+logwood, followed by one of iron. "Stew logwood till the liquid is
+reduced to one-third of its bulk, mix with stone alum, and leave for
+three days. Mix iron filings with very strong wine, and let it stand for
+twenty-four hours. On the quantity of iron filings the depth of the tone
+depends. Lastly, ox-gall is dissolved in this mixture, and the whole is
+three times worked over." An English receipt says:--"Brush the wood over
+several times with a hot decoction of logwood; take 1/4 lb. of powdered
+galls, and set in the sun or other gentle heat in 2 quarts of water for
+three or four days; brush the wood over with it three or four times,
+and, while wet, with a solution of green vitriol in water, 2 oz. to a
+quart; or use a solution of copper in _aqua fortis_, then the solution
+of logwood, and repeat until black enough." A German receipt
+says:--"Take half a measure of iron filings and a pennyweight of sal
+ammoniac, and put into a pot of vinegar; let it stand for twelve days at
+least. In another pot put blue Brazil and 3 measures of bruised gall
+apples in strong lime lye, and let it stand for the same time. The wood
+must be first washed over with lye, and then with hot vinegar, and
+finally polished with wax." "Pear wood may be grounded with Brazil
+steeped in alum water, then coloured with the black which the
+leather-stainers use, twenty times." Another says:--"Take a pennyweight
+of fine silver, with a pound of _aqua fortis_; add a measure of water,
+and soak the wood with it." The best wood for imitating ebony is holly;
+also, box cooked in olive oil is good for it, or well-planed pear soaked
+with _aqua fortis_, and then coloured with ink several times; or stew
+the wood in lamp-black, and soak with oil.
+
+Blue may be obtained by the use of a solution of copper brushed hot over
+the wood several times; then brush hot a solution of pearl ash, 2 oz. to
+a pint of water, until the wood becomes perfectly blue. The copper
+solution is prepared in this way:--"Take of the refiner's solution of
+copper made in the precipitation of silver from the spirit of nitre; or
+dissolve copper in spirit of nitre, or _aqua fortis_, by throwing in
+filings or putting in strips of copper gradually till all effervescence
+ceases. Add to it starch finely powdered, one-fifth or one-sixth of the
+weight of copper dissolved. Make a solution of pearl ash and filter it;
+put gradually to the solution of copper as much as will precipitate the
+whole of the copper. The fluid becomes colourless. Wash the powder, and
+when so well drained of water by means of a filter as to be of the
+proper consistence, grind well together, and lay out to dry. This makes
+dark verditer." Indigo may also be used, prepared with soap lees as when
+used by dyers; brush it over the wood boiling hot. With a solution of
+cream of tartar, 3 oz. to a quart of water, and boiled, brush over the
+wood copiously before the moisture is quite dried out. A German receipt
+says:--Put 4 oz. of Tournesol in three parts of lime water to cook for
+an hour and spread it on the wood. "Wood coloured green with verdigris
+can be made blue by using pearl ash." This is the process described
+first.
+
+For green verdigris dissolved in vinegar may be used; or crystals of
+verdigris in water, brushed hot over the wood. A 15th century MS. gives
+a traditional mode thus:--"Wood, bone, small leaves, and knife handles
+can be made green by strong, red vinegar and brass filings mixed
+together with a little Roman vitriol and stone alum in a glass vessel.
+When it has stood for a day the object is dipped in it, and steeps
+itself in the liquid. The colour will be very permanent." A German
+receipt says:--"Take walnut shells from the green fruit, and put in very
+strong lye with some copper vitriol and alum to stew for two or three
+hours. The wood must be put in strong wine vinegar for several days,
+then it is put in the above-mentioned mixture, to which ground verdigris
+mixed with vinegar is added. Or you can mix this ground verdigris with
+vinegar with some winestone, let it clarify, and spread the wood with
+the filtered stuff. The addition of saffron makes a grass green."
+
+A silver grey may be given to white wood by immersion in a decoction of
+4 oz. of sumach in 1 quart of water, and afterwards in a very dilute
+solution of sulphate of iron. A dilute solution of bichromate of potash
+is frequently employed to darken oak, mahogany, and coloured woods. This
+should be used carefully, since its effects are not altogether stopped
+by thoroughly washing the wood with water when dark enough. To bleach
+woods, immerse them in a strong, hot solution of oxalic acid.
+
+Since ivory is often used in inlaying and is sometimes stained, a few
+receipts for its staining will not be out of place. These come from
+Holtzapffel's book:--A pale yellow will be given by immersing the ivory
+for one minute in the tepid stain given by 60 grains of saffron boiled
+for some hours in half-a-pint of water. Immersion for from five to
+fifteen minutes produces a canary yellow brighter or deeper according to
+the time given, but all somewhat fugitive. A stain from 4 oz. of fustic
+dust and chips boiled in 1 quart of water produces similar but somewhat
+darker and more permanent results. Ivory subjected to either of these
+stains for fifteen minutes, and then placed for one to three minutes in
+Brazil water stain acquires an orange colour. If then treated with
+nitro-muriate of tin, an orange of a brighter, redder tone is produced;
+transfer to a clean water bath directly the required colour appears, as
+the nitro-muriate of tin acts very rapidly upon the ivory.
+
+Fine scarlet cloth is used for dyeing various tones of red. A piece
+about a foot square may be cut into shreds and boiled, with the addition
+of 10 grains of pearl ash, in half-a-pint of water from 5 to 6 hours.
+Immersion in the liquid for from three to ten minutes gives tones of
+pink; for one hour and subsequently for half-an-hour in an alum mordant
+gives a pink of a bright crimson character. When the ivory is from two
+to three hours in the tepid stain a crimson red results, and the
+addition of 1 part of sulphuric acid to 60 of stain gives billiard ball
+colour. Pinks of a different and duller full tone may be obtained by
+immersion for three minutes in Brazil water stain, followed by treatment
+with nitro-muriate of tin; when the Brazil is used for six minutes a
+deeper colour results. Fifteen minutes in Brazil, then treatment with
+nitro-muriate of tin and immediate washing gives a duller and deeper red
+than the first red-cloth stain. The depth of colour may be increased by
+longer immersion _or_ a higher temperature. A dull scarlet or brick red
+is made by the Brazil bath, followed by thirty to sixty minutes in an
+alum mordant.
+
+The cloth stain for one hour, followed by pearl ash for half-an-hour,
+gives a bright purple; if iron is used instead of pearl ash a sombre
+purple results; if you add alkalies to the stain instead of sulphuric
+acid you obtain purple reds. Fifteen minutes in Brazil, and then three
+or four in pearl ash gives full red purples deepening to maroon. Five
+minutes in logwood water stain gives a good warm brown; half-an-hour, a
+chocolate brown. Ten minutes in logwood stain, washing, and one or two
+seconds in pearl ash, and instantly washing again gives a deep red
+brown, and if one minute in alum instead of pearl ash a deep purple
+brown.
+
+Blue stains may be made from sulphate of indigo, 1/2 drachm to 1 pint of
+previously boiled water, with 10 grains of carbonate of potash added.
+One to two minutes' immersion and immediate washing yields a delicate
+turquoise, five minutes a bright full blue; and ten to fifteen a
+considerable depth of colour. Blues are rather fugitive. Staining with
+saffron or fustic for five minutes, and then with indigo for the same
+time, produces a clear pea green; with indigo for ten minutes, a deep
+grass green. The greens from fustic are more permanent and yellower. The
+sequence of the stains also affects the green, the last used having most
+effect. Blue stain first for fifteen minutes, followed by fustic for
+thirty, 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 water.
+
+Before applying these stains the ivory must be prepared by first
+polishing with whiting and water and washing quite clean. Next immerse
+it for three to five minutes in acid cold water (1 part muriatic acid to
+40 or 50 of water, or the same proportion of nitric). This extracts the
+gelatine from the surface of the ivory. Extreme cleanliness and absence
+of grease or soiling is most important; the ivory is not to be touched
+by the fingers, but removed from one vessel to another by wooden tongs,
+one pair to each colour. After treating with the acid, place the ivory
+in clean, cold, boiled water for some minutes. Water stains are used,
+but strained or filtered and warm or only tepid, for fear of injuring
+the surface of the ivory. Increasing the temperature also sometimes
+deepens or changes the colour. The best temperature is 100 deg. Fahr.
+When sufficiently stained the ivory is well rinsed in water, and if
+there are two colours on top of each other always well rinsed before
+going into the second bath. After thoroughly drying, repolish by
+friction, first with a few drops of oil on a soft clean rag; continue
+with a dry clean rag till the oil disappears.
+
+An old Italian receipt for polishing wood blackened to imitate ebony
+runs thus:--"Is the wood to be polished with burnt pumice stone? Rub the
+work carefully with canvas and this powder, then wash the piece with
+Dutch lime water so that it may be more beautifully polished. Then it is
+to be cleaned with another cloth. Then the rind of a pomegranate must be
+steeped, and the wood smeared over with it and set to dry, but in the
+shade."
+
+
+
+
+INDEX
+
+
+  A
+
+  Angelo di Lazzero, of Arezzo, 19
+
+  Anselmo de' Fornari, 77-78
+
+  Antique inlaid furniture, 2, 3, 6 (note)
+
+  Antonio da Melaria, 35
+
+  Antonio di Minella, of Siena, 10
+
+  Antonio Manetti, 19
+
+  Antonio Paolo Martini, 13
+
+  Assisi, 10, 46
+  ---- Stalls of the Upper church of S. Francesco, 46
+
+  Arezzo, S. Agostino and S. Michele, 41
+
+  Augsburg work, 85, 90
+
+
+  B
+
+  Baccio Albini, 40
+
+  Baccio d'Agnolo, 42-43
+
+  Barck, Klaus, 88
+
+  Barili, Antonio, of Siena, 37, 38, 39
+  ---- ---- Panel in K.K. Museum at Vienna, 37, 38
+  ---- ---- description of Chapel of S. Giovanni, Siena, 39, 40, 41
+  ---- Giovanni, 39
+
+  Bartolommeo Poli, surnamed dalla Polla, 35, 36
+
+  Beck, Sebald, 84
+
+  Belli, Giovanni and Alessandro, 73
+
+  Bencivieni da Mercatello da Massa, Antonio di, 46-51
+
+  Benedetto da Majano, Vasari's story of the reason of his giving up
+    working in tarsia, 20
+
+  Bergamo, Choir of S. Maria Maggiore, 79, 80
+  ---- Tassi's account of, 80
+  ---- Stalls in church of S. Stefano, 76
+
+  Bernardo di Tommaso di Ghigo, 19
+
+  Bernardino da Lendinara, 32
+
+  Brescia, Lectern from Rodengo in
+
+  Galleria Tosi, 64
+
+  Bologna, S. Domenico tarsie, by Fra Damiano, 70, 73, 75
+  ---- Sabba Castiglione's account, 74, 75
+  ---- Stalls in S. Giovanni in Monte, 66
+  ---- S. Michele in Bosco, stalls now in S. Petronio, 65, 66
+  ---- S. Petronio, 36
+
+  Boulle, André Charles, 96, 97
+  ---- Works by him, 97, 98, 99
+
+  Boulle, Pierre, 75-96
+
+
+  C
+
+  Canozio, of Lendinara, Lorenzo Genesino, 29
+
+  Capo di Ferro of Lodi, Zinino and Pietro, 80
+
+  Capo di Ferro of Lovere, Giovanni Francesco, 73, 79
+
+  Capra, Gabriel and Domenico, 54
+
+  Chapel of Palace, Siena, 13
+
+  Cecca, Il (Francesco d'Agnolo), 23, 24
+
+  Certosa, Pavia, 35
+
+  Cervelliera, Giovanni Battista, 22
+
+  Character of German inlays of late 16th Century, 85
+
+  Coburg, Hornzimmer, 86
+
+  Cornier, Conrad, 88
+
+  Cost of choir of S. Domenico, Bologna, 73
+
+  Cost of the stalls in Ferrara Cathedral, 34
+
+  Cost of stalls, Cathedral Orvieto, 10
+
+  Cremona, church of S. Sigismond, outside, 54
+
+  Cypress chest of 1350 in Victoria and Albert Museum, 104
+
+
+  D
+
+  Daniello di Neri Martini, 13
+
+  Danzig Sommerrathstube, 86
+
+  David of Pistoia, 41
+
+  Del Tasso, arms of the family, 24
+  ---- Chimenti di Domenico, 26
+  ---- Chimenti di Francesco, 25
+  ---- Domenico, 19, 25, 26
+  ---- Francesco, 27
+  ---- Francesco di Domenico, 24
+  ---- Giambattista called Maestro Tasso, 27, 28
+  ---- Lionardo, 25
+  ---- Marco, 26
+  ---- Zanobi, 25
+
+  Della Rocca, Andrea and Elia, 77, 78
+
+  Designs for intarsia made by Painters, 121
+
+  De' Marchi, Pantaleone, stalls in Museum at Berlin, 36
+
+  Domenico da Gajuolo, 42
+
+  Domenico di Mariotto, 21
+
+  Domenico di Nicolò of Siena, 10, 11
+
+  Domenico Tassi of Florence, 17
+
+  Dreyer, Hans and Jürgen, of Schleswig, 87
+
+  Dutch work, characteristics of, 92
+
+
+  E
+
+  Eck, Adam, 85
+
+  Elfen, brothers, of S. Michael, Hildesheim, 84
+
+  Escurial, rooms in, decorated with inlays, 86
+
+  Evers, Antonia, master of joiners' guild at Lübeck, 86
+
+
+  F
+
+  Ferrara, stalls in Cathedral, 33
+
+  Fischer, N., and Johann Georg of Munich, 85
+
+  Florence, 16, 18
+  ---- stalls at S. Maria Novella, 42
+  ---- stalls at S. Miniato, 42
+  ---- tarsia in sacristy of the Cathedral, 18, 19
+
+  Flotner, Peter, 89
+
+  Folding seat of 14th century, 84
+
+  Fra Antonio Asinelis, 73
+
+  Fra Antonio da Lunigiano, Dominican, 73
+
+  Fra Antonio da Viterbo, Dominican, 76
+
+  Fra Bernardino, Dominican, 73
+
+  Fra Damiano of Bergamo, 69-76, 79
+
+  Fra Damiano of Bergamo, the Emperor Charles V., and the Duke of
+    Ferrara, 70, 71, 72
+
+  Fra Giovanni da Verona, 17, 57, 63
+
+  Fra Raffaello da Brescia, 63, 64
+
+  Fra Sebastian da Rovigno, 56, 57
+
+  Fra Vincenzo da Verona, called dalla Vacche, 67
+
+  Francesco di Lorenzo, Zambelli, 73, 77
+
+  Francesco Manciatto, 42
+
+  Francione, Il (Giovanni di Matteo di Firenze), 21
+
+  French Cabinets of 17th Century, 95, 96
+
+
+  G
+
+  Genoa, stalls in Cathedral, 77, 78
+
+  Geri of Arezzo, 41
+
+  German intarsiatori of 16th and 17th Century, 84, 85
+
+  Gilling Castle, near Wakefield, inlays, 93
+
+  Giovanni di Filippo da Fiesole, 45
+
+  Giovanni de Grassi (Giovanni de Melano), 14
+
+  Giovanni di Lodovico di Magno of Siena, 10
+
+  Giovanni Michele de Pantaleone, 77
+
+  Giovanni del Mulinella of Florence, 17
+
+  Giovanni Piccardo, 77
+
+  Giovanni di Ponteranica and his four sons, 80
+
+  Giovanni di Ser Giovanni detto Scheggione, 19
+
+  Giovanni Talini of Siena, 10
+
+  Girolamo della Cecca, 40
+
+  Giuliano di Salvatore, 21
+
+  Giusto di Francesco of Incisa, 45
+
+  Glastonbury Hall, Staircase, 94
+
+  Gole, Pierre, 92
+
+  Gottlieb, Conrad, 86
+
+  Gottorp, Castle of, Prince's prayer chamber in, 87
+
+  Gubbio, tarsia in study of Duke Guidobaldo, 52, 53
+
+  Guido da Seravallino, 21
+
+  Guido di Torino, 13
+
+  Guild of Painters, Siena, 16
+
+
+  H
+
+  Hans Schieferstein's Cabinet at Dresden, 90
+
+  Hardwick Hall, furniture at, 93
+
+  Herle, Simon, 86
+
+  Heywood Sumner, paper at Royal Institute of British Architects, 129, 130
+
+
+  I
+
+  Imitative processes, straw, wax, painting in Indian ink, &c., 129,
+    130, 131
+
+  Inlaid work, Greek and Latin names for, 3
+  ---- woods used for, by the ancients, 3, 5, 6 (note)
+  ---- wood, cost of, in ancient times, 4
+
+  Inlaying, antiquity of, 2
+
+  Innsbruck, Hofkirche, 86
+
+  Intarsia, derivation of, 1
+
+  Invention of stains for wood, by Fra Giovanni da Verona, 18
+
+  Ivory or metals in intarsia, 124, 125
+
+
+  J
+
+  Jacopo da Villa, 21
+
+  Joiners' tools, priced list of Perugian of 1496, 47, 48
+
+
+  K
+
+  Kellerthaler, Hans, of Dresden, 85
+
+  Kiening, Isaac, of Frissen, 91
+
+  Kraus, Hans, marqueteur du roi, 94
+
+
+  L
+
+  Lavoro alla Certosa, or tarsia alla Certosina, 9
+
+  Leipzig Museum, Cabinet in, 91
+
+  Lendinara, Cristophano d' Andrea da, 21
+
+  Limitations of the art of intarsia, 122, 123
+
+  Loblein, Sixtus, of Landshut, 91
+
+  Lodi, Stalls in S. Bernardino, by Fra Giovanni da Verona, 63
+
+  Louvre, 4 panels from S. Benedetto Novella, Padua, of Fra Vincenzo
+    dalla Vacche, 68
+
+  Lübeck, Kriegs Stube, 86
+
+  Lucca, panels in sacristy of Cathedral, by Christoforo da Lendinara, 32
+  ---- Stalls from Cathedral in Pinacotheca, 32
+
+  Luchet, M., Excursus on furniture in France, 1867, 113, 114
+
+  Lüneburg, Rathsaal, 86
+
+
+  M
+
+  Macé, Jean, of Blois, 92-95
+
+  Majano, Benedetto da, 19, 20
+
+  Majano, Giuliano di Nardo da, 18, 22
+  ---- Leonardo d' Antonio da, 19
+
+  Manuello, of Siena, 9
+
+  Marchi, of Crema, Family of, 6, 36
+
+  Mariotto di Mariotto, of Pesaro, 45
+
+  Marquetry, Derivation of, 1
+
+  Marti, Leonardo, 32
+
+  Masi, Antonio di Antonio, The Fleming, 46
+
+  Massari, Andrea, of Siena, 54
+
+  Mastei, Antonio, of Gubbio, 53
+
+  Mastro Crespolto, of Perugia, 26
+
+  Mastro Vanni di Tura dell' Ammanato, Sienese, 10
+
+  Matteo di Bernardino, of Florence, 17
+
+  Meo di Nuti, of Siena, 10
+
+  Michele Spagnuolo, 21
+
+  Milan, Cathedral, 15
+
+  Minelli, Giovanni and Cristoforo de, 45
+
+  Miniatures at Villanova, by Fra Giovanni da Verona, 59
+
+  Minnesinger's harp, of 14th Century, 8
+
+  Modern French marquetry, 125
+
+  Monte Oliveto, 55, 59, 60
+
+  Musée Cluny, wire-drawing bench made for Augustus, Elector of Saxony, 91
+
+
+  N
+
+  Naples, tarsia by Fra Giovanni da Verona in S. Anna dei Lombardi, 61, 62
+
+  Nicolò di Nicoluccio, 10
+
+  Nuremberg work in ebony and ivory, 90
+
+
+  O
+
+  [OE]ben, J. F., ébeniste du roi, 99
+
+  Orvieto, 10, 13
+
+
+  P
+
+  Padua, stalls in Church of S. Antonio, account by Matteo Colaccio, 30, 31
+
+  Paint and gilding added to intarsia work, 106
+
+  Paolo da Pesaro, 80
+
+  Parti of Siena, 9
+
+  Perugia, 10, 19, 26
+  ---- choir of the Cathedral, 19
+  ---- choir of S. Domenico, 26
+  ---- door in choir of S. Pietro in Casinense by Fra Damiano, 74
+  ---- Sala del Cambio, 26, 46
+  ---- stalls of S. Agostino, 44
+
+  Pier Antonio dell 'Abate of Modena, 29
+
+  Pietro Antonio of Florence, 17
+
+  Pietro di Maffeis, 73
+
+  Pietro di Miaella of Siena, 10
+
+  Pietro di Rizzardi, 33
+
+  Pisa Cathedral, 21, 22, 23
+
+  Polimante da Nicola, 26
+
+  Pontelli, Baccio, 21
+
+  Portuguese decorations with pierced metal plates, 83
+
+  Poverty of craftsmen, Domenico del Coro, 10, 12
+
+  Preuszen, Hans, carver, 87
+
+
+  R
+
+  Realism in intarsia panels, 105
+
+  Reasons for beauty in designs, 127
+
+  Reggio in Emilia, 35
+
+  Relief intarsia or Präger arbeit, 85
+
+  Returns made by Sienese craftsman for taxation, 119, 120
+
+  Riesener, J. Henry, 99, 100
+
+  Roentgen, David, 102, 103
+
+  Rome, doors of St. Peter's, by Fra Antonio da Viterbo, 76, 77
+
+  Rosenfeldt, Jochim, 87
+
+
+  S
+
+  S. Mary Overie, Southwark, parish chest, 93
+
+  Sallig, Andreas, 87
+
+  San Sevrino, Domenico di, 46
+
+  Savona, choir of, Cathedral, 78
+
+  Schieferstein, Hans, 85, 90
+
+  Scraping and polishing marquetry, operation of, 115, 116
+
+  Shading of subjects in marquetry, 112
+
+  Siena, 9, 10, 13, 16, 37, 60
+
+  Simone d'Antonio of Siena, 13
+
+  Sizergh Castle, panelling from, 93
+
+  South German Bride chests, 89
+
+  South German inlaid Musical Instruments, 88
+
+  Spanish inlaid work in Victoria and Albert Museum, 81, 82
+
+
+  T
+
+  Taddeo Bartoli's designs for chapel of Palazzo Pubblico, Siena, 11
+
+  Tassi, Domenico of Florence, 17
+
+  Tasso, Maestro, his practical joke on the Benedictine Abbot, 28
+
+  Technical description from German book of 17th century, 106
+
+  Thickness of veneers in the market, 112
+
+  Tommaso di Ceccolo, 10
+
+  Tonbridge ware, 9
+
+  To stain ivory blue, 144
+
+  To stain ivory green, 144
+
+  To stain ivory orange, 142
+
+  To stain ivory purple, 143
+
+  To stain ivory various kinds of red, 142, 143
+
+  To stain ivory yellow, 142
+
+  To stain wood black, 138, 139
+
+  To stain wood blue, 140
+
+  To stain wood green, 141
+
+  To stain wood pink, 137
+
+  To stain wood purple, 137, 138
+
+  To stain wood red, 135, 136, 137
+
+  To stain wood silver grey, 141
+
+  To stain wood yellow, 133, 134
+
+
+  U
+
+  Uhr, Herman, 87, 88
+
+  Ulriksdal Castle, doors of drinking room, 92
+
+  Union of the crafts in one guild, 14
+
+  Urbino, tarsia in palace of Frederic of Montefeltro, 49, 50, 51
+
+  Use of mother-of-pearl, ivory, tortoiseshell, silver, &c., 54
+
+
+  V
+
+  Vasari's opinion of tarsia, 17
+
+  Veneering, operation of, 108
+
+  Veneers for marquetry, thickness of, 109, 110
+
+  Venice, Sacristy of S. Elena, 57, 58
+
+  Venice, tarsia in Sacristy of S. Mark's, 67, 68, 69
+
+  Verona, Sacristy of S. Anastasia, 10
+
+  Volthurn Castle, near Brixen, 90
+
+  Von Soest, Albert, 86
+
+  Vordt, 92
+
+  Vriese, Vriedemann, 86
+
+
+  W
+
+  Wallace Collection, Cabinet by Claude Charles Saunier, 95
+
+  Wallace Collection, Cabinets by Oeben and Riesener, 99, 100
+
+  Wallace Collection, jewel box by Conrad Cornier, 88
+
+  Webb, Stephen, paper at the Society of Arts, 128
+
+  Wegener, Adam, figure cutter, 87
+
+  Weiskopf, Wolf, 84
+
+  Winkler, Simon, 85
+
+  Wood, exceptional scantlings used by the ancients, 6, 7
+
+  Woods, combinations of, for marquetry, 111
+
+  Woods in use in England for marquetry, 112
+  ---- used by the marqueteurs of Nice, 115
+  ---- used by Riesener, 101
+  ---- used in Barili's panel, 38
+  ---- used in the best period, 106
+  ---- used in stalls, Cathedral, Orvieto, 10
+  ---- used on the Continent for veneers, 111
+
+
+  Z
+
+  Zambelli, of Bergamo, Stefano di Antoniuolo de, 46, 73
+
+  Zampiero da Padova, 73
+
+  Zanetto da Bergamo, 72, 73
+
+
+_Willam Hodge & Co., Glasgow and Edinburgh_
+
+
+
+
+
+
+End of Project Gutenberg's Intarsia and Marquetry, by F. Hamilton Jackson
+
+*** END OF THE PROJECT GUTENBERG EBOOK 30215 ***
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+The Project Gutenberg EBook of Intarsia and Marquetry, by F. Hamilton Jackson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Intarsia and Marquetry
+
+Author: F. Hamilton Jackson
+
+Release Date: October 8, 2009 [EBook #30215]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK INTARSIA AND MARQUETRY ***
+
+
+
+
+Produced by Chris Curnow, Lindy Walsh and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+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 Floor, Wall, and Vault
+
+
+
+
+  HANDBOOKS FOR THE DESIGNER AND
+  CRAFTSMAN
+
+  INTARSIA AND MARQUETRY
+
+  BY
+
+  F. 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
+  1903
+
+
+
+
+  PRINTED BY
+  WILLIAM HODGE AND COMPANY
+  GLASGOW AND EDINBURGH
+
+
+
+
+CONTENTS
+
+
+                                                                   PAGE
+
+  HISTORICAL NOTES--ANTIQUITY,                                         1
+
+  ITALY IN MEDIÆVAL AND RENAISSANCE TIMES,                             8
+
+  THE CLOISTERED INTARSIATORI AND THEIR PUPILS,                       55
+
+  IN GERMANY AND HOLLAND, ENGLAND AND FRANCE,                         84
+
+  THE PROCESS OF MANUFACTURE,                                        104
+
+  THE LIMITATIONS AND CAPABILITIES OF THE ART,                       118
+
+  WORKSHOP RECEIPTS,                                                 133
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  PLATE
+
+  1. Patterns used in Borders,                          _facing page_ 8
+
+  2. Various Patterns of Borders,                              "      9
+
+  3. Chair Back from S. Ambrogio, Milan,                       "     10
+
+  4. Door of the Sala del Papa, Palazzo Comunale, Siena,       "     13
+
+  5. The Prophet Amos. Figure intarsia from the  }
+     Sacristy of the Cathedral, Florence,        }
+  6. The Annunciation. Figure intarsia from the  } _between pages
+     Sacristy of the Cathedral, Florence,        } 18 and 19_
+  7. The Prophet Hosea. Figure intarsia from the }
+     Sacristy of the Cathedral, Florence,        }
+
+  8. The Nativity. Figure intarsia from the Sacristy
+     of the Cathedral, Florence,                        _facing page 20_
+
+  9. The Presentation in the Temple. Figure Intarsia
+     from the Sacristy of the Cathedral, Florence,             "      21
+
+  10. Panel from Sacristy of S. Croce, Florence,               "      23
+
+  11. Detail of Frieze from the Sacristy of S. Croce,
+      Florence,                                                "      24
+
+  12. Lower Seats of Choir, Cathedral, Perugia,                "      25
+
+  13. Upper Seats of Choir, Cathedral, Perugia,                "      26
+
+  14. One Panel, from Upper Series, Cathedral, Perugia,        "      27
+
+  15. Two Panels from the Sala del Cambio, Perugia,            "      28
+
+  16. Frieze from S. Mark's, Venice,                           "      30
+
+  17. Frieze from S. Mark's, Venice,                           "      32
+
+  18. Stalls from the Cathedral, Lucca,                        "      33
+
+  19. Lectern in Pinacoteca, Lucca,                            "      34
+
+  20. Two-leaved Door in the Pinacoteca, Lucca,                "      35
+
+  21. Stalls at the Certosa, Pavia,                            "      36
+
+  22. Detail of Arabesques, lower Seats, Certosa, Pavia,       "      37
+
+  23. Panel from S. Petronio, Bologna,                         "      38
+
+  24. Panel from S. Petronio, Bologna,                         "      39
+
+  25. Panel from S. Miniato, Florence,                         "      40
+
+  26. Panel from S. Maria Novella, Florence,                   "      42
+
+  27. Panel from S. Maria Novella, Florence,                   "      44
+
+  28. Panel in Sacristy of S. Pietro in Casinense, Perugia,    "      46
+
+  29. Panel from Door of Sala del Cambio, Perugia,             "      48
+
+  30. Panel from lower row of Stalls, S. Maria in
+  Organo, Verona,                                              "      59
+
+  31. Panels from Monte Oliveto Maggiore, now in
+  the Cathedral, Siena,                                        "      60
+
+  32. Frieze from Monte Oliveto Maggiore,                      "      62
+
+  33. Panel from S. Mark's, Venice,                            "      68
+
+  34. Panel from Door in Choir of S. Pietro in
+  Casinense, Perugia,                                          "      74
+
+  35. Lunette from Stalls in Cathedral, Genoa,                 "      77
+
+  36. Panel from lower row of Stalls, Cathedral, Savona,       "      78
+
+  37. Panel from the Ducal Palace, Mantua,                     "      80
+
+  38. Panel from the Rathaus, Breslau, 1563,                   "      84
+
+  39. Panel from Church of S. Mary Magdalene, Breslau,         "      86
+
+  40. Pilaster Strip from the Magdalene Church, Breslau,       "      87
+
+  41. Panel from S. Elizabeth's Church, Breslau,               "      88
+
+  42. Lower Panel of Door, 1564--Tyrolese,                     "      90
+
+  43. Top of Card Table in the Drawing-room, Roehampton
+  House; Dutch, 18th Century,                                  "      92
+
+  44. Panelling from Sizergh Castle, now in Victoria
+  and Albert Museum,                                           "      93
+
+  45. Cabinet with falling front, in the Drawingroom,
+  Roehampton House,                                            "      94
+
+  46. Cabinet belonging to Earl Granville. Boulle
+  work of about 1740,                                          "      96
+
+  47. Top of Writing Table in the Saloon, Roehampton
+  House. Period of Louis XV.,                                  "      97
+
+  48. Encoignure, signed J. F. Oeben, in the Jones
+  Bequest. Victoria and Albert Museum,                         "      98
+
+  49. Panel from back of Riesener's bureau, made
+  for Stanislas Leczinski, with figure of Secrecy,             "     100
+
+  50. Roundel from bureau, made for Stanislas
+  Leczinski, King of Poland, now in the
+  Wallace Collection,                                          "     102
+
+  51. Antonio Barili at work, by himself,                      "     104
+
+  52. Panel from the Victoria and Albert Museum,               "     106
+
+  53. Panel from S. Maria in Organo, Verona,                   "     122
+
+  54. Panel from S. Maria in Organo, Verona,                   "     126
+
+  55. Panel from S. Pietro in Casinense, Perugia,              "     130
+
+
+
+
+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 novelty. In every direction the
+question which is asked is not, "Is this fresh thing good? Is it
+appropriate to, and well-fitted for, its intended uses?" but "Is it
+novel?" 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 change. While there are directions in which this
+desire is not altogether harmful, since at least many monstrosities
+offend our eyes but for a short time, a full compliance with it by the
+designer is likely to prove disastrous to his reputation, 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 centuries, and to
+produce something entirely fresh and individual, have shown how
+impossible it is at this period of the world's history to dispense with
+tradition, and, escaping from the accumulated experience of the race,
+set forth with childlike _naïveté_. 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 generations, and that
+the undigested use of natural _motifs_ results not in nourishment but in
+nightmare.
+
+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 times, 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
+present. Since both design and craftsmanship as known until the end of
+the 18th century were the outcome of centuries of experience of the use
+of material and of the endeavour to meet daily requirements, it may be
+justly called folly to cast all this aside as the fripperies of bygone
+fashion which cramp the efforts of the designer, and attempt to start
+afresh without a rag of clothing, even if it were possible. At the same
+time it is not intended to advocate the direct copyism of any style,
+whether regarded as good, bad, or indifferent. Some minds find
+inspiration in the contemplation of natural objects, while others find
+the same stimulus in the works of man. The fashion of present opinion
+lays great stress upon the former source of inspiration, and considers
+the latter heretical, while, with a strange inconsistency, acclaiming a
+form of design based upon unnatural contortions of growth, and a
+treatment which is often alien to the material. It is the hope of the
+author to assist the second class of mind to the rivalling of the
+ancient glories of design and craftsmanship, 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 individuality. 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 unsuitable, and a greater acquaintance with their
+triumphs is likely, one would hope, to lead students, whether designers
+or craftsmen, to view with disgust undigested designs indifferently
+executed which have little but a fancied novelty to recommend them.
+
+It is intended that each volume shall contain an historical sketch of
+the phase of design and craft treated of, with examples of the
+successful overcoming of the difficulties to be encountered in its
+practice, workshop recipes, and the modes of producing the effects
+required, 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 them.
+
+
+
+
+PREFACE
+
+
+The subject treated of in this handbook has, until lately, received
+scant attention in England; and except for short notices of a general
+nature contained in such books as Waring's "Arts Connected with
+Architecture," technical descriptions, such as those in Holtzapffel's
+"Turning and Mechanical Manipulation," and a few fugitive papers, has
+not been treated in the English language. On the Continent it has,
+however, been the subject of considerable research, and in Italy,
+Germany, and France books have been published which either include it as
+part of the larger subject of furniture, or treat in considerable detail
+instances of specially-important undertakings. From these various
+sources I have endeavoured to gather as much information as possible
+without too wearying an insistence upon unimportant details, 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
+art, and especially for the designer and craftsman, whose business it
+is or may be to produce such works in harmonious co-operation in the
+present day, as they often did in days gone by, and, it may be hoped,
+with a success akin to that attained in those periods to which we look
+back as the golden age of art.
+
+The books from which I have drawn my information are principally the
+following:--
+
+In Italian--Borghese and Banchi's "Nuovi documenti per la storia dell'
+Arte Senese"; Brandolese's "Pitture, sculture, &c., di Padova"; Caffi's
+"Dei lavori d'intaglio in legname e d'intarsia nel Cattedrale di
+Ferrara"; Calvi's "Dei professori de belle arti che fiorirono in Milano
+ai tempi dei Visconti, &c."; Saba Castiglione's "Ricordi"; Erculei's
+paper in his "Catalogue of the Exhibition of works of carving and inlay
+held at Rome in 1885"; Finocchietti's "Report on carving and inlaid work
+in the Jurors' report on the Exhibition of 1867 in Paris"; Lanzi's
+"History of Painting in Italy"; Locatelli's "Iconografia Italiana";
+Marchese's "Lives of Dominican Artists"; Milanesi's "Documenti per la
+Storia dell' Arte Senese"; Morelli's "Notizie d'opere di disegno nella
+prima metà dell' Secolo XVI."; Tassi's "Vite di pittori, architetti,
+&c., Bergamaschi"; Temanza's "Vite dei piu celebri architetti, &c.,
+Dominicani"; Tiraboschi's "Biblioteca Modenese"; Della Valle's "Lettere
+Senesi sopra le belle Arti"; Vasari's "Lives," with Milanesi's notes and
+corrections, and papers in the "Bullettino di Arti, Industrie e
+Curiosità Veneziane," the "Atti e memorie della Società Savonese," the
+"Archivio Storico dell' Arte and its continuation as L'Arte," and the
+"Archivio Storico Lombardo," by such men as Michele Caffi, G. M. Urb,
+Ottavio Varaldo, Francesco Malaguzzi Valeri and L. T. Belgrano.
+
+In German--Becker and Hefner Alteneck's "Kunstwerke and Geräths Schaften
+des Mittelalters und der Renaissance"; Bucher's "Geschichte der
+Technischen Kunst"; Burckhardt's "Additions to Kugler's Geschichte der
+Baukunst, and Geschichte der Renaissance in Italien"; Demmin's "Studien
+über die Stofflich-bildenden Künste"; Von Falke's "Geschichte des
+deutsches Kunstgewerbes"; Scherer's "Technik und Geschichte der
+Intarsia"; Schmidt's "Schloss Gottorp"; Seeman's "Kunstgewerbliche
+Handbücher"; Teirich's "Ornamente aus der Blüthezeit italienischer
+Renaissance," and articles in "Blätter für Kunstgewerbe," and the
+"Kunstgewerbeblatt of the Zeitschrift für bildende Kunst," by such men
+as Teirich, Issel and Ilg.
+
+In French--Asselineau's "A. Boulle, ébéniste de Louis 14"; Burckhardt's
+"Le Cicerone"; Champeaux's "Le bois appliquée au mobilier," and "Le
+meuble"; Demmin's "Encyclopédie historique, archeologique, &c.";
+Luchet's "L'Arte industriel à l'Exposition Universelle de 1867," and
+other encyclopædias.
+
+In English--"The handmaid to the arts"; Holtzapffel's "Turning and
+mechanical manipulation"; Pollen's paper on "Furniture in the Kensington
+Catalogue of Ancient and Modern furniture"; Leader Scott's "The
+Cathedral builders"; Tomlinson's "Cyclopædia of Useful Arts"; Waring's
+"The Arts connected with architecture"; and Digby Wyatt's "Industrial
+Arts of the 19th Century," together with detached articles found in
+various publications.
+
+Those who desire further examples of arabesque patterns may find them in
+Issel's "Wandtäfelungen und Holzdecken"; Lacher's "Mustergültige
+holzintarsien der Deutschen Renaissance aus dem 16 und 17 Jahrhundert";
+Lachner's "Geschichte der Holzbaukunst in Deutschland"; Lichtwark's "Der
+ornamentstich der deutschen Frührenaissance"; Meurer's "Italienische
+Flachornamente aus der Zeit der Renaissance"; Teirich's "Ornamente aus
+der Blüthezeit italienischer Renaissance," and Rhenius "Eingelegte
+Holzornamente der Renaissance in Schlesien von 1550-1650."
+
+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 known,
+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
+question.
+
+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 ways, the facilities
+afforded me, and their unfailing kindness and courtesy; and to the
+Director of the Victoria and Albert Museum for similar kindness and
+assistance.
+
+I have also to thank my friend Mr. C. Bessant, whose experience in all
+kinds of cabinet work is so great, for very kindly looking over the
+section dealing with the processes of manufacture.
+
+  F. HAMILTON JACKSON.
+
+
+
+
+INTARSIA AND MARQUETRY
+
+HISTORICAL NOTES--ANTIQUITY
+
+
+The word "intarsia" is derived from the Latin "interserere," to insert,
+according to the best Italian authorities, though Scherer says there was
+a similar word, "Tausia," which was applied to the inlaying of gold and
+silver in some other metal, an art practised in Damascus, and thence
+called damascening; and that at first the two words meant the same
+thing, but after a time one was applied to work in wood and the other to
+metal work. In the "Museo Borbonico," xii., p. 4, xv., p. 6, the word
+"Tausia" is said to be of Arabic origin, and there is no doubt that the
+art is Oriental. It perhaps reached Europe either by way of Sicily or
+through the Spanish Moors. "Marquetry," on the other hand, is a word of
+much later origin, and comes from the French "marqueter," to spot, to
+mark; it seems, therefore, 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 (or sometimes some other
+material) cut to fit it, and to use the latter for the more modern
+practice of cutting several sheets of differently-coloured thin wood
+placed together to the same design, so that by one cutting eight or ten
+copies of different colours may be produced which will fit into each
+other, and only require subsequent arranging and glueing, as well as for
+the more artistic effects of the marquetry of the 17th and 18th
+centuries, which were produced with similar veneers. The process of
+inlaying is of the most remote antiquity, and the student may see in the
+cases of the British Museum, at the Louvre, and in other museums,
+examples of both Assyrian and Egyptian inlaid patterns of metal and
+ivory, or ebony or vitreous pastes, upon both wood and ivory, dating
+from the 8th and 10th centuries before the Christian Era, or earlier.
+The Greeks and Romans also made use of it for costly furniture and
+ornamental sculpture; in Book 23 of the "Odyssey," Ulysses, describing
+to Penelope the bride-bed which he had made, says--"Beginning from this
+head-post, I wrought at the bedstead till I had finished it, and made it
+fair with inlaid work of gold, and of silver, and of ivory"; the statue
+and throne of Jupiter at Olympia had ivory, ebony, and many other
+materials used in its construction, and the chests in which clothes
+were kept, mentioned by Homer, were some of them ornamented with inlaid
+work in the precious metals and ivory. Pausanias describes the box of
+Kypselos, in the opisthodomos of the Temple of Hera, at Olympia, as
+elliptical in shape, made of cedar wood and adorned with mythological
+representations, partly carved in wood and partly inlaid with gold and
+ivory, in five strips which encircled the whole box, one above another.
+The Greek words for inlaying used by Homer and Pindar are "[Greek:
+daidallô]" and "[Greek: kollaô]," and their derivatives, the first being
+also used for embroidering; Homer and Hesiod also use "[Greek:
+poikilos]" for "inlaid," which shows how closely at that time the arts
+were interwoven. These words have left no trace in the later terms,
+though [Greek: kollaô] means to fix together, or to glue, and it is
+tempting to connect the French word "coller" with it. Vitruvius and
+Pliny use the words "cerostrata" or "celostrata," which means, strictly
+speaking, "inlaid with horn," and "xilostraton." The woods used by the
+Greeks were ebony, cypress, cedar, oak, "sinila," yew, willow, lotus
+(celtis australis), and citron (thuyia cypressoides), a tree which grew
+on the slopes of the Atlas mountains. The value of large slabs of this
+last was enormous. Pliny says that Cicero, who was not very wealthy
+according to Roman notions, spent 500,000 sesterces (about £5400) for
+one table. Asinius Pollio spent £10,800, King Juba £13,050, and the
+family of the Cethegi £15,150 for a single slab. The value of this wood
+consisted chiefly in the beautiful lines of the veins and fibres; when
+they ran in wavy lines they were called "tigrinæ," tiger tables; when
+they formed spirals like so many little whirlpools they were called
+"pantherinæ," or panther tables, and when they had undulating, wavy
+marks like the filaments of a feather, especially if resembling the eyes
+on a peacock's tail, they were very highly esteemed. Next in value were
+those covered with dense masses of grain, called "apiatæ," parsley wood.
+But the colour of the wood was also a great factor in the value, that of
+wine mixed with honey being most highly prized. The defect in that kind
+of table was called "lignum," which denoted a dull, log colour, with
+stains and flaws and an indistinctly patterned grain. Pliny says the
+barbarous tribes buried the wood in the ground when green, giving it
+first a coating of wax. When it came into the workmen's hands they put
+it for a certain number of days under a heap of corn, by which it lost
+weight. Sea water was supposed to harden it and act as a preservative,
+and after bathing it, it was carefully polished by rubbing by hand. The
+use of such valuable wood naturally led to the use of veneers, and the
+practice was universal in costly furniture. The word "xilotarsia" was
+used by the Romans to designate a kind of mosaic of wood used for
+furniture decoration. Its etymology suggests that the Greeks were then
+masters in the art. They divided works in tarsia into two
+classes--"sectile," in which fragments of wood or other material were
+inserted in a surface of wood, and "pictorial," in which the various
+pieces of wood covered the ground entirely. The slices of wood,
+"sectiles laminæ," were laid down with glue, as in modern work. Wild and
+cultivated olive, box, ebony (Corsican especially), ilex, and beech were
+used for veneering boxes, desks, and small work. Besides these the
+Romans used the citrus, Syrian terebinth, maple, palm (cut
+transversely), holly, root of the elder, and poplar; the centres of the
+trees being most prized for colour and markings. [See note giving
+extracts from Pliny.[1]]
+
+A few notes on the exceptional scantlings of timber in antiquity may be
+interesting, though not strictly belonging to our subject. 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 curiosity. It measured
+120 feet by 2 feet the entire length. The mast of the vessel which
+brought the large obelisk from Egypt, afterwards set up in the Circus
+Maximus, and now in front of S. John Lateran, was 100 feet by 1-1/2
+feet, and the tree out of which it was cut required four men, holding
+hands, to surround it. A stick of cedar, cut in Cyprus and used as the
+mast of an undecireme, or 11 banked galley of Demetrius, took three men
+to span the tree out of which it was cut. It was the exceptional sizes
+of such pieces of timber, and veneers cut from them, which made the
+value of tables in Rome.
+
+FOOTNOTES:
+
+[1] Pliny, Book 16, Chap. 83--"Glue, too, plays one of the principal
+parts in all veneering and works of marquetry. For this purpose the
+workmen usually employ wood with a threaded vein, to which they give the
+name of 'ferulea,' from its resemblance to the grain of the giant
+fennel, this part of the wood being preferred from its being dotted and
+wavy." Chap. 84--"The wood, too, of the beech is easily worked, although
+it is brittle and soft. Cut into thin layers of veneer it is very
+flexible, but is only used for the construction of boxes and desks. The
+wood, too, of the holm oak is cut into veneers of remarkable thinness,
+the colour of which is far from unsightly; but it is more particularly
+where it is exposed to friction that this wood is valued, as being one
+to be depended upon; in the axle trees of wheels, for instance, for
+which the ash is also employed, on account of its pliancy, the holm oak
+for its hardness, and the elm for the union in it of both these
+qualities.... The best woods for cutting into layers and employing as a
+veneer for covering others are the citrus, the terebinth, the different
+varieties of the maple, the box, the palm, the holly, the holm oak, the
+root of the elder, and the poplar. The alder furnishes, also, a kind of
+tuberosity, which is cut into layers like those of the citrus and the
+maple. In all the other trees, the tuberosities are of no value
+whatever. It is the central part of trees that is most variegated, and
+the nearer we approach to the root the smaller are the spots and the
+more wavy. It was in this appearance that originated that requirement of
+luxury which displays itself in covering one tree with another, and
+bestowing upon the more common woods a bark of higher price. In order to
+make a single tree sell many times over laminæ of veneer have been
+devised; but that was not thought sufficient--the horns of animals must
+next be stained of different colours, and their teeth cut into sections,
+in order to decorate wood with ivory, and, at a later period, to veneer
+it all over. Then, after all this, man must go and seek his materials in
+the sea as well! For this purpose he has learned to cut tortoise shell
+into sections; and of late, in the reign of Nero, there was a monstrous
+invention devised of destroying its natural appearance by paint, and
+making it sell at a still higher price by a successful imitation of
+wood.
+
+"It is in this way that the value of our couches is so greatly enhanced;
+it is in this way, too, that they bid the rich lustre of the terebinth
+to be outdone, a mock citrus to be made that shall be more valuable than
+the real one, and the grain of the maple to be feigned. At one time
+luxury was not content with wood; at the present day it sets us on
+buying tortoise shells in the guise of wood."--Pliny's Natural History,
+Bohn's Translation.
+
+
+
+
+ITALY IN MEDIÆVAL AND RENAISSANCE TIMES
+
+
+The mediæval craft seems, however, to have been derived from the East,
+though Theophilus mentions the Germans as clever practitioners in
+woodwork. A minnesinger's harp of the 14th century, figured by Hefner
+Alteneck, appears to bear out his remark, though later in date, with its
+powdering of geometrical inlays and curiously-designed sprigs, which
+might almost have been produced by the latest art craze, which apes
+archaic simplicity. It belonged to the knightly poet Oswald von
+Wolkenstein, who died in 1445; the colours used are two browns, black,
+white, and green. The oriental inlays of ivory upon wood, elaborate and
+beautiful geometrical designs, are still produced in India in much the
+same fashion as in the middle ages, for the possibilities of geometric
+design were exhausted by the Arabs in Egypt and the Moors in Spain; and
+in Venice there was a quarter inhabited by workmen of the latter race
+who made both metal work and objects in wood. Except for the inlaid
+ivory casket in the Capella Palatina, at Palermo, which seems to be a
+work of Norman times, 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 Certosa," or "tarsia alla Certosina"; but since
+inlaying with small pieces of marble and vitreous pastes was practised
+in central and southern Italy certainly from the 12th century, there is
+little difficulty in imagining how its use arose. This work has its
+derivative still existing in England in the so-called "Tonbridge ware,"
+which is made by arranging rods of wood in a pattern and glueing them
+together, after which sections are sliced off--the same proceeding, in
+effect, as that which the Egyptians made use of with rods or threads of
+glass. One must allow, however, that the wooden border inlays, which are
+also placed under this heading, show greater craft mastery, as the
+examples appended show, which are typical instances. The chair-back from
+S. Ambrogio, Milan, is a characteristic example of the simpler form on a
+tolerably large scale.
+
+[Illustration: Plate 1.--_Patterns used in Borders._
+
+_To face page 8._]
+
+[Illustration: Plate 2.--_Various Patterns of Borders._]
+
+Historians are agreed that the cradle of Italian carving and inlaying
+was Siena, where there is mention of a certain Manuello, who, with his
+son Parti, worked in the ancient choir of the Cathedral in 1259.
+Orvieto was another place where tarsia work was made at an early date,
+but the craftsmen were all Sienese. Mastro Vanni di Tura dell' Ammanato,
+the Sienese, made the design of the stalls for the Cathedral in 1331,
+and commenced the work, some remains of which are still preserved in the
+Museum of the Opera del Duomo. Twenty-eight artists were employed on
+these stalls; Giovanni Talini, Meo di Nuti, and others, all Sienese,
+assisted him, but he died before they were finished, and they remained
+incomplete till 1414, when Domenico di Nicolò is recorded as undertaking
+the work; but neither did he finish it, for in 1431 the overseers gave
+it to Pietro di Minella, and then to his brother Antonio, and to
+Giovanni di Lodovico di Magno. The woods used were ebony, box, walnut,
+and white poplar, and the cost was 3152 lire. In the 14th century tarsia
+was executed at Siena, Assisi, where in 1349 Nicolo di Nicoluccio and
+Tommaso di Ceccolo worked at the Cathedral stalls, which no longer
+remain; Verona, in the sacristy of S. Anastasia, in which city are some
+inlays resembling those at Orvieto, and Perugia, where some inlays
+remain in the Collegio della Mercanzia, but remains of the period are
+few, as may be expected.
+
+[Illustration: _To face page 10._ Plate 3.--_Chair Back from S.
+Ambrogio, Milan._]
+
+Domenico di Nicolò worked for 13 years at the chapel in the Palazzo
+Pubblico at Siena, using some of Taddeo Bartoli's designs, and also
+did the doors of the Sala di Balia, or of the Pope. This man, who was
+one of the best Sienese masters of intarsia and carving, and was head of
+the Opera del Duomo in 1400, and whose work brought him so much
+reputation that his family name of Spinelli was changed for himself and
+his descendants to Del Coro, or Dei Cori, is an example and a proof of
+the small profit which was to be made even then by conscientious and
+careful work. He was not only a worker in wood, in 1424 he also did the
+panels of the Cathedral floor, representing David and Goliath, the
+Amorite Kings, and Samson, ascribed by Vasari to Duccio; in 1415 he was
+paid 42 lire for a tabernacle made of gesso, while as early as February
+28, 1397-8, he was paid 32 lire 10 soldi for 32-1/2 days' work on a
+window above the pulpit; yet on May 13, 1421, he petitions the priors
+and captain of the people to this effect. He says that he is poor, and
+cannot meet the requirements of his family and apprentices, each of
+whom, he says, costs 30 or 40 florins a year, and therefore suggests
+that he should have two or three boys to teach, and that the priors
+should subsidize him for that purpose, and binds himself to teach them
+all he can without reserve. The priors and captains recommended to the
+council that he should be paid by the chamberlain of Bicherna 200 lire,
+free of tax, by the year, "nomine provisionis libr: ducentos den:
+nitidas de gabella," and should have two or three Sienese youths to
+teach, and the council passed the recommendation the same day.
+Twenty-six years later, January 14, 1446-7, he appears again in the
+records with a petition to the Signory. He says that he has always, from
+his youth up, done his best to provide for his family, and that by his
+craft he has always tried to bring honour on the city and spread the
+fame of his works. That as they know he was granted money to teach his
+art to any young man who wanted to learn it, but "because this art was,
+and is, little profitable, there was no one who wished to go on with it
+except Master Mactio di Bernacchino, who followed the art thoroughly,
+and became an excellent master." That, as he thought he was fairly
+prosperous, he gave up the grant (like an honest man!), but the expenses
+of marrying and dowering his daughters had been so great, and added to
+the losses caused by the small profits on his work, had reduced him to
+such poverty that he did not see how he could go on, being 84 years of
+age, or thereabouts, and having a sick wife. He therefore asked to have
+a small pension settled on him for the few years he and his wife had to
+live. He was granted two florins a month, but three years later all
+mention of him ceases.
+
+[Illustration: Plate 4.--_Door of the Sala del Papa, Palazzo Comunale,
+Siena._
+
+_To face page 13._]
+
+The choir of the Chapel of the Palace had been given in 1414 to Simone
+d'Antonio and Antonio Paolo Martini, but they did not satisfy the
+public, so it was taken from them and given to Domenico di Nicolò,
+August 26, 1415. The tarsie are 21 in number, and represent the clauses
+of the apostles' creed and the symbols of the apostles. The unsuccessful
+work was given to the prior of the Servites. In the Communal records
+occur the following, March 31, 1428:--"Domenico di Nicolò, called
+Domenico del Coro, is to have 45 florins at 4 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 Palace, which salary was declared
+by Guido of Turin and Daniello di Neri Martini, two of the three workmen
+upon the contract of the said door, at 180 lire. And is to have 3152
+lire for his salary and workmanship of 21 seats made in the Palace of
+the Magnificent Signors, with all both '_fornamenti et facti_,' in full
+according to his contract"--accepted by Guido di Torino and Daniello di
+Neri Martini. He was called to Orvieto in 1416 to refix the roof of the
+Cathedral; he was not to have more than 200 florins a year, but if he
+came himself all expenses were to be paid. This suggests an appointment
+like that of a consulting engineer.
+
+From Siena masters were continually sent to the other great towns to
+design and carry out works of architecture, sculpture, and woodwork, as
+entries in Sienese documents show. In early times the various arts
+connected with building were in close union, and it appears tolerably
+certain that one guild sheltered them all, proficiency being required in
+several crafts and mastery in one. We find the same man acting in one
+place as master builder or architect, and sometimes only giving advice,
+while elsewhere he is sculptor or woodworker. The painter, the
+mosaicist, and the designer for intarsia are confused in a similar
+manner. Borsieri calls Giovanni de' Grassi, the Milanese painter (known
+as Giovanni de Melano at first, a pupil of Giotto and Taddeo Gaddi;
+pictures of his are in the Academy, Florence, and in the cloister of S.
+Caterina Milan), "an excellent architect"; and he also worked in relief,
+besides conducting very important architectural works. He says that
+about 1385 Giovanni Galeazzo opened an academy of fine art in his
+palace, which was conducted by Giovanni de' Grassi and Michelino da
+Besozzo. On June 19, 1391, he was paid five florins for models executed
+by him, and something for the expense of execution in marble by another
+hand. In 1391 he was called upon by the Council of the Duomo, and after
+four months of uncertainty was assigned the position and pay of first
+engineer, with a servant who was paid by the Council. He did the door of
+the S. Sacristy; it was finished in July, 1395, when he was ordered to
+decorate it with gilding and blue. He also made designs for capitals and
+window traceries, and carved a God the Father for a centre boss of the
+vault of the N. Sacristy. He illuminated the initials, &c., of a copy of
+the Ambrosian ritual of Berold for the "Fabbriceria," and this was his
+last work, as he died July 5, 1398, and the price was paid to his son
+Solomon, the officials declaring that it was most moderate. His pupils
+were nearly all both painters and sculptors, and some of them became
+stained-glass painters. It is well known that Taddeo Gaddi was painter,
+architect, and mosaicist, and Giotto, painter, sculptor, and architect,
+and these details are an example of what was then continually going on.
+Both in mediæval times and at the beginning of the Renaissance the most
+celebrated architects often called themselves by the most humble
+titles--"Magister lignaminio," "maestro di legname," "faber lignarius,"
+"carpentarius." Minerva, the worker, was the patron of all workmen from
+Pheidias to the lowest pottery thrower, and in Christian times the
+Quattro Coronati, the four workmen-saints, were the patrons of all who
+worked with their hands.
+
+The oldest of the differentiated guilds appears to be that of the
+painters, at least in Siena, where one was established in 1355, while in
+Florence they were obliged to enrol themselves in the "Art" of the
+"medici e speziali," unless they preferred, as many of them did, to be
+reckoned with the goldsmiths. In Siena the Goldsmiths' Guild followed
+the Painters' Guild in 1361, while the workers in stone formed their
+guild still later. Among the painters were included designers of every
+sort--moulders, and workers in plaster, stucco, and papier maché, gold
+beaters, tin beaters, &c., and masters and apprentices in stained glass,
+also makers of playing cards--a most comprehensive guild. Vasari, in his
+life of Jacopo Casentino, architect and painter, says, however, "Towards
+1349 the painters of the old Greek style, and those of the new,
+disciples of Cimabue, finding themselves in great number, united and
+formed at Florence a company under the name and protection of S. Luke
+the Evangelist"; and Baldinucci, in his "Notizie dei professori di
+disegno," prints the articles of association at length. Others hold that
+the Confraternità dei Pittori was not founded till 1386.
+
+[Illustration: Plate 5.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PROPHET AMOS.
+
+_This and the two succeeding are part of the same composition._
+
+_To face page 18._]
+
+
+[Illustration: Plate 6.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE ANNUNCIATION.]
+
+[Illustration: Plate 7.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PROPHET HOSEA.]
+
+The rapid rise of the last-named city in wealth and importance was the
+reason that so much of the best later 15th century inlaid work was done
+there, or at least by Florentines, though the art was not new to
+Florence, the names of Matteo di Bernardino, Pietro Antonio, Giovanni
+del Mulinella, and Domenico Tassi being recorded as working there in the
+14th century. Vasari, as usual, is somewhat inaccurate; he says that
+tarsia was first introduced in the time of Brunelleschi and Paolo
+Uccello, "that, namely, of conjoining woods, tinted of different
+colours, and representing with these buildings in perspective, foliage,
+and various fantasies of different kinds." Both he and Lanzi say that
+Brunelleschi gave lessons in perspective and "tarsia" to architects and
+others, of which Masaccio in painting and Benedetto da Majano in his
+inlaid works availed themselves. Vasari held but a poor opinion of
+tarsia, which, he said, "was practised chiefly by those persons who
+possessed more patience than skill in design," and goes on to say that
+the subjects most suitable to the process are "perspective
+representations of buildings full of windows and angular lines, to which
+force and relief are given by means of lights and shades"; that although
+he had seen some good representations of figures, fruit, and animals,
+"yet the work soon becomes dark, and is always in danger of perishing
+from the worms or by fires." He adds that it was first practised in
+black and white alone, 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 colours, making the lights with the whitest pieces of
+the spindle tree; to shade, some singed the wood by firing, others used
+oil of sulphur, or a solution of corrosive sublimate and arsenic. The
+"most solemn" masters of tarsia in Florence were the Majani, La Cecca,
+Il Francione, and the da San Gallo. The first name which he gives is
+that of Giuliano da Majano (1432-90), architect and sculptor, who
+executed as his first work the seats and presses of the sacristy of S.
+S. Annunziata at Florence, with Giusto and Minore, two masters in
+tarsia. He also did other things for S. Marco. In the archives of the
+Duomo, Giuliano di Nardo da Maiano is named in a contract for ornamental
+wood-work in the sacristy, to be finished in 1465. There is still
+existing in the Opera del Duomo a panel of S. Zenobio standing between
+two deacons, executed by him from cartoons by Maso Finiguerra, who
+designed five figures for the panels of the sacristy. The heads were
+painted by Alessio Baldovinetti. There are also several subjects in the
+sacristy, a Nativity, resembling Lippino Lippi's picture in the
+Accademia; a Presentation in the Temple, not without a reminiscence of
+Ghirlandajo's manner; and an Annunciation. The whole scheme of the
+decoration of this wall was Giuliano's, but it was the completion of
+work begun in 1439 by Angelo di Lazzero of Arezzo, Bernardo di Tommaso
+di Ghigo, Giovanni di Ser Giovanni detto Scheggione, painter and brother
+of Masaccio, and Antonio Manetti. Milanesi says his father was Leonardo
+d'Antonio da Majano, master of wood and stone work. He entered the Arte
+del legnajuolo in company with his younger brother Benedetto, and the
+first mention of his work in connection with the "Arte" is in 1455, when
+he made for the Compagnia di S. Agnese delle Laudi, which met in the
+Carmine, a chest with a bookcase of some sort. Five years later he
+carved some candlesticks for the Monastery of S. Monaca, and constructed
+some cupboards ornamented with inlaid work and perspectives for the
+Badia of Fiesole. Among his architectural work may be mentioned the
+Chapel of S. Fina at S. Gemignano, which Ghirlandajo embellished with
+frescoes. He commenced a choir for the Duomo at Perugia, decorated with
+both carving and tarsia, but since he went to Naples shortly after 1481,
+and died there in 1490, the greater part of the credit of this work must
+be given to Domenico del Tasso, who completed it in 1491. His brother
+Benedetto, to whom he turned over most of his commissions for tarsia,
+when he became much occupied with architectural work, was born in 1442.
+He assisted his brother in many of his works, such as the doors of the
+hall of audience in the Palazzo Vecchio, made between 1475 and 1480,
+representing Dante and Petrarch, with ornamental borders and other
+panels, in which Il Francione also had a hand. He gave up tarsia in
+disgust for the following reason, according to the story told by
+Vasari:--"He made two chests, with difficult and most splendid mastery,
+of wood mosaic, which he wished to show to Matthew Corvinus, then King
+of Hungary, who had many Florentines at his Court, and had summoned him
+with much favour; so he packed his chests up and sailed for Hungary,
+where, when he had made obeisance to the King, and had been kindly
+received, he brought forward the said cases and had them unpacked in his
+presence, who much wished to see them; 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 ground, at
+which every one may understand how astonished and speechless Benedetto
+was in the presence of so many lords. However, he put the work together
+again as he best might, and satisfied the King; still he was disgusted
+with that kind of work, not being able to forget the vexation which
+he had suffered, and gave it up, taking to carving instead." He finished
+his brother's presses in the sacristy of S. Maria dei Fiori, and, in the
+opinion of Vasari, surpassed him and became the best master of his
+period. He died in 1497. Vasari ascribes the celebrant's seat in Pisa
+Cathedral to Giuliano, together with another of spindlewood, "to be
+placed in the nave where the women sit," finished and sent home in 1477,
+and put up by Baccio Pontelli. Milanesi says, however, that the choir of
+this Cathedral was done by Francesco di Giovanni di Matteo da Firenze,
+called Il Francione. Guido da Seravallino, between 1490 and 1495, made
+for the choir of the sacristy of this Cathedral more than 15
+perspectives; the usual price appears to have been 11 lire. He was a
+Pisan, and his father's name was Filippo. Domenico di Mariotto first
+appears in the accounts in 1489, when he began the choir and seats for
+the Campo Santo; he went on with various works of tarsia and carving
+till 1513. He was a Florentine, but lived in Pisa for many years, dying
+there in 1519. Other names which appear in the accounts are Giuliano di
+Salvatore and Michele Spagnuolo. In 1486 Cristophano d'Andrea da
+Lendinara and Jacopo da Villa came to make a seat for the choir, but
+this does not seem to have been a success, and Il Francione, who had
+been at Pisa as long before as 1462, and Baccio di Fino Pontelli, who
+appears in 1471, were put in charge of the work. Giovanni Battista
+Cervelliera is mentioned first in 1522. He was son of Pietro d'Altro
+Pietra, a native of Corsica, who began the singing gallery of the organ
+in S. Martino, Pietra Santa, finished by his son, who died in about
+1570. In 1596 a great fire took place. After this the best pieces saved
+were used in the decoration of the new choir, in 1606, by Pietro Giolli,
+who also had some fresh ones made; others were mended by Girolamo
+Innocenti, and placed round the walls and round the nave piers in 1613.
+The pieces of Giuliano da Majano's work now remaining are in the side
+aisles, two at the right, one at the left; one represents King David
+with his harp and with a label in the other hand, "Laudate Pueri
+Dominum." The other two figures are prophets, and have scrolls,
+"Benedicam, benedicam," and "Ve qui condunt legem." Pontelli's Faith,
+Hope, and Charity are on the pier near the Chapel of S. Ranier, three
+half-length figures of women. The seated figures of the liberal arts on
+the side panelling of the church are Il Francione's, women with symbols,
+arithmetic, grammar, geometry, astrology, logic, and music. The great
+seat in the nave is the work of Giovanni Battista del Cervelliera. In
+the centre is a large round-headed panel with the Adoration of the
+Magi; at each side are three lower seats with architectural subjects in
+the centre and objects in the side panels and below the seats. It is
+signed and dated 1536. The whole collection of panels is well worth a
+stay at Pisa to see, even if there were not other attractions in that
+pleasant little town. In the registers of the "Opera" is an annual
+charge for two "sbirri," or two servants of the captain of the people,
+to watch the seats of the Cathedral "so that children may not damage
+them in the obscurity," which shows that even Italian children could not
+always be trusted not to be mischievous.
+
+[Illustration: Plate 8.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE NATIVITY.
+
+_To face page 20._]
+
+[Illustration: Plate 9.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PRESENTATION IN THE TEMPLE.
+
+_To face page 21._]
+
+[Illustration: Plate 10.--_Panel from Sacristy of S. Croce, Florence._
+
+_To face page 23._]
+
+[Illustration: _To face page 24._
+
+Plate 11.--_Detail of frieze from the Sacristy of S. Croce, Florence._]
+
+[Illustration: Plate 12.--_Lower Seats of Choir, Cathedral, Perugia._]
+
+
+[Illustration: Plate 13.--_Upper Seats of Choir, Cathedral, Perugia._
+
+_To face page 26._]
+
+[Illustration: Plate 14.--_One panel from upper series, Cathedral,
+Perugia._]
+
+Il Francione had a pupil called Il Cecca. His name was really Francesco
+d'Agnolo, but like most men at that time he went by a nick-name. Cecca
+is a corruption of Francesco into Cecco, Cecca, from being Francione's
+companion and disciple. He was born in 1447; his father was Angelo di
+Giovanni, a mender of leather or "galigajo." He came to Florence from
+Tonda, a little place near S. Miniato al Tedesco. His father died in
+1460; he and three older sisters were left to his mother, Monna Pasqua.
+So the 13 year-old boy went bravely to work to keep his mother and
+sisters, and entered Il Francione's workshop. When he was 25 he left him
+and set up for himself, taking a shop in the Borgo de' Greci, where he
+lived and slept as well as worked. In 1481 he had a commission from the
+magistrates, called "degli ufficiali di Palazzo," for all the wood-work
+of the Hall of the Seventy, Bernardo di Marco Renzi helping him.
+Afterwards he did other work for different parts of the Palace and for
+other places, all of which has perished. Finally, he spent most of his
+time as architect and engineer, 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 engagements. He died in 1488.
+
+The del Tasso lived in the village of S. Gervasio, and moved to a place
+near the walls of Florence, a few steps from the Porta a Pinti. Then
+they went into the city and had a house in the parish of S. Ambrogio, in
+which church Francesco di Domenico made a tomb for himself and his
+family in 1470. They had arms; at first they were a goldsmith's anvil
+(tasso or tassetto), and above a ball or heap of silver. Afterwards the
+field of the shield was divided, and they added in the upper part two
+little badgers (tassi) at the side of the anvil, and put below the keys
+of S. Peter, crossed, and interspersed with four roses. "And this they
+did, not only to point out the parish of S. Pier Maggiore in the
+gonfalon 'Chiavi' of the quarter of S. Giovanni, where the del Tasso
+lived, but also to differentiate their arms from those almost similar of
+another Florentine family of the same name." Evidently there was no
+College of Heralds in Florence in those days! The first of the family
+recorded is Chimenti di Francesco, who, in 1483-4 made a grating or
+gridiron of wood in the Chapel of S. Lorenzo in the Monastery of S.
+Ambrogio, and the dossal of the altar called "del Miracolo." In 1488 he
+carved a choir of walnut, outlined with tarsia, for the Chapel
+Minerbetti in S. Pancrazio, for which he was paid 100 florins of gold.
+He had, among others, two sons, Lionardo and Zanobi, who became
+sculptors under Benedetto da Majano and Andrea Sansovino. They also
+worked in S. Ambrogio, and the figure of S. Sebastian is by Lionardo.
+The two brothers in 1499 made nine antique heads of marble and bronze,
+which the republic sent as a gift to the Maréchal de Guise in France.
+Chimenti had two brothers, also carvers and joiners, Cervagio and
+Domenico, who brought up their sons to follow the same calling, who did
+many things for triumphal arches, cars, &c., for "feste." Domenico did
+the tarsia and rosettes in the seat backs of the refectory of S. Pietro,
+Perugia, and a credence of walnut, ordered on October 20, 1490, for the
+table of the priors, on which were festoons, griffins, and other inlaid
+work. The year after he finished the choir of the Cathedral left by
+Giuliano da Majano, and was paid 1404 florins, according to the estimate
+of Crispolto and Polimante, Perugian joiners. For the same choir he made
+the panelling of wood, for which he was paid 60 florins. There were 34
+seats with ornaments at 36 florins each, and three with figures, which
+were estimated at 60 florins apiece. Payments were also made to him for
+work in the Sala del Cambio, sometimes for wood, sometimes on account of
+salary, so that it seems certain that he made the benches there on
+finishing the choir of the Cathedral, since they were being made between
+1491 and 1494. The first cost 130 florins and 6 soldi in 1491, but it
+was not finished till the next year. Polimante da Nicola was made
+citizen of Perugia in 1473. Three years after he began the choir of S.
+Domenico, which cost 11 florins per seat. Four years later it was still
+unfinished. "Mastro Crespolto and Mastro Giovagne" were his assistants.
+Domenico had three sons, Chimenti, Francesco, and Marco, who followed
+the paternal calling. Chimenti was one of those who were judges in 1490
+in the competition for the façade of S. Maria del Fiore, and in 1504 was
+one of those chosen to decide the position in the piazza to be occupied
+by Michael Angelo's David. Marco was an enthusiastic follower of
+Savonarola; in 1491 he was, with his brother Francesco, at Perugia
+helping his father, and six years later he undertook work there on his
+own account. They did half of the choir of La Badia in 1501-2, and the
+very elaborate lectern. The son of Mark was Giambattista, called Maestro
+Tasso, who was a fine carver in wood, and, in the opinion of Cellini,
+the best in his profession. He did many things both for ephemeral and
+lasting purposes, and became an architect, designing the door of the
+Church of S. Romolo and the Loggia of Mercato Nuovo, Florence, and
+superintending the construction of the latter between 1549 and 1551. In
+1548 he designed an addition to the Palazzo Vecchio, then the ducal
+residence, and also undertook to execute all the joinery. At the same
+time he made a model of the Palace which he intended to build in Pisa,
+which, however, was not carried out. He died in 1555. He was said by
+Vasari to spend his time in playing the wag, in enjoyment rather than
+work, and in criticising the works of others. But Cellini calls him
+pleasant and gay; Bronzino, good, lovable, and honest; and so does Luca
+Martini, who was a great friend of his. The following story of him,
+related by Il Lasca, shows that he was not above playing a practical
+joke of a rough character, and that he took great pride in the
+achievements of his fellow-artists:--"A Lombard Benedictine abbot on
+the way to Rome stayed in Florence, and wished one day to see the
+figures on the Medicean tombs in the sacristy of San Lorenzo carved by
+Michael Angelo, and having therefore gone thither with his two attendant
+monks, the prior of the church asked Tasso, who was then working at the
+floor of the library together with his son-in-law Crocini Antonio di
+Romolo, under the direction of Michael Angelo, to show the abbot the
+sacristy and the said library. Which abbot, after having seen the
+figures in the sacristy, and thought very little of them, set off to see
+the library, and while he was gently ascending a stair which conducted
+to it, talking with Tasso, happened to turn his eyes on the cupola of
+Brunellesco, and stopping to look at it commenced to say that, although
+it was considered by all the world as a marvel, he had heard a person
+worthy of credence say that the dome of Norcia was much more beautiful,
+and made with greater art. Which words so much exasperated Tasso that,
+pulling the abbot backwards with force, he made him tumble down the
+staircase, and he took care to let himself fall on him (!) and calling
+out that the frater was mad, he got two cords, with which he bound his
+arms, his legs, and all his person, so that he could not move, and then
+taking him, hanging over his shoulders, carried him to a room near,
+and, stretching him on the ground, left him there in the dark, locking
+the door and taking away the key." What happened to the unfortunate
+abbot after, and whether he was much damaged or not one does not know,
+for the anecdote stops here. Another instance of a family which devoted
+itself for many years to the production of tarsia and wood-work,
+displaying hereditary aptitude in the craft and gaining great repute, is
+given by the Canozii of Lendinara. The first member who took up tarsia,
+abandoning his craft of painting for that purpose, was Lorenzo Genesino
+da Lendinara, surnamed Canozio, to give him his full description. From
+him descended many excellent workers in wood. He studied in Padua, where
+he had Mantegna as fellow-student, and worked in company with his
+brother, his son, and a relation called Pier Antonio dell' Abate di
+Modena, who did the intarsia in the choir of S. Francesco at Treviso in
+1486. He died in 1477, and is buried in the first cloister of S. Antonio
+at Padua, for which he made the stalls, as his epitaph states. They were
+commenced in 1462, were worked at continuously for three years, and
+after an interval finished in 1468. They were then coloured and gilded
+in places by "Maestro Ugozon de Padoa, depentor." Burnt in 1749, only
+two stalls remain, made into confessional boxes, in the Chapel of the
+Beato Belludi. The designs for the tarsia of the sacristy were made by
+Squarcione, master of Mantegna and Lorenzo, who was paid for them in
+1462. There were 90 seats in this choir, so that it was a very important
+piece of work. A contemporary account by Matteo Colaccio (1486) shows
+what were the aims of the intarsiatori of the period as understood and
+admired by the more or less cultivated populace. "In past days in
+visiting those intarsiad figures, I was so much taken with the
+exquisiteness of the work that I could not withhold myself from praising
+the authors to heaven! And to commence with the objects that one sees
+around every day, here are books expressed in tarsia that seem real.
+Some are one on the other, and arranged carelessly, or by chance, some
+closed, some newly bound and difficult to close; candles of wax with the
+ends of wicks, now in well-turned wooden candlesticks, one straight, one
+crooked, less or more, with another crossing it. Elsewhere one sees
+clouds of smoke which spread out from new chimneys, fish which turn
+round from a full basket, a cithern which hangs from the centre of a
+narrow niche. Close by is a cage of bars expressed with wonderful
+spirit. Palaces, towers, and churches, through the half-closed doors of
+which one can see in the interior arches and windows, cupolas and
+steps. Most natural, then, is it not to be able to decide which tower
+to approach; these mountains appear to one covered with grass and with
+stones; and where earth of various colours appears there all green is
+taken away. But what shall I say of the images of the saints. Of their
+uncut and curled beards, of their hands, the joints of their fingers,
+their nails? Of their clothes, their sinuous folds, and the shadows? Nor
+less pleased me the little collar of rich pearls under the chin of S.
+Prosdocimus. 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 true. And this is specially admirable, that through the dull
+colour of their leaves they seem to have been taken from the tree
+scarcely a day ago." And then he praises in a pompous fashion the folds
+of the Virgin's and the Angel's drapery, the silk veil over a chalice,
+and the perspective of a flight of steps which support the feet of the
+Madonna, &c. One of his first works was done for S. Mark's, Venice, in
+1450. His reputation was much increased by the stalls of the Cathedral
+of Modena, made in 1472 by Lorenzo and Cristoforo, and restored in 1540
+by Mastro Angelo de Piacenza, one of their pupils. He also worked at
+Parma in 1473. Fra Luca Pacioli (1509) makes an enthusiastic eulogium
+upon Lorenzo, "who, in the said art (perspective), was in his time
+supreme, as he showed in all his famous works, as in tarsia in the
+worthy choir of the Santo and its sacristy, and in Venice in the Cha
+Grande, as well as in painting in the same places and elsewhere. And at
+the present time his son, Giovan Marco, my dear comrade, who is worthy
+of his paternity, as his work at Rovigo shows, and that in the choir of
+our convent in Venice, and in Mirandola, the architecture of which
+fortress is well understood." In the sacristy of the Cathedral at Lucca
+are five panels from the seats which once surrounded it, signed
+"Cristopharus de Canociis de Lendinaria fecit opus, MCCCCLXXXVIII." One
+shows S. Martin, the bishop, full length, the others perspectives,
+perhaps of various streets of the city as then existing. He did these in
+conjunction with Matteo Civitale, and they were his last works. He died
+in 1491. Bernardino da Lendinara, who worked at Parma in 1494, and
+later, and was a citizen of that town and of Modena, was son of
+Cristoforo, who was also citizen of those cities from 1463.
+
+[Illustration: Plate 15.--_Two panels from the Sala del Cambio,
+Perugia._
+
+_To face page 28._]
+
+[Illustration: Plate 16.--_Frieze from S. Mark's, Venice._
+
+_To face page 30._]
+
+[Illustration: _To face page 32._ Plate 17.--_Frieze from S. Mark's,
+Venice._]
+
+[Illustration: Plate 18.--_Stalls from the Cathedral, Lucca._]
+
+The stalls from the Cathedral at Lucca, which are illustrated, are now
+in the Picture Gallery. They were made by Leonardo Marti, of Lucca. When
+in 1620 the choir was spoilt (they thought that they were making grand
+improvements) they were moved to the church of the Riformati of S.
+Cerbone, being badly mutilated to adapt them to their new position.
+There, in two centuries of neglect they became in such a state that the
+brothers thought them no longer decent, and wished to sell them and make
+a new choir. The Opera of the Cathedral and the Commission of Art paid
+them something for them, and thus preserved them as they now are, having
+executed some restorations here and there.
+
+At Ferrara are some remains of stalls in the apse of the Cathedral which
+were commissioned from Bernardino da Lendinara in 1501, though not made
+by him owing to the defalcations of a dishonest steward. In 1519 the
+Chapter of the Cathedral renewed the contract with Pietro de' Rizzardi
+and Bernardino, but as he died in 1520, M. Angelo Discaccia, of Cremona,
+son of M. Cristoforo (da Lendinara?), was substituted, and assisted
+Rizzardi till the work was finished in 1525. The gilding was done by
+Baldassare dalla Viola and Albertino dalla Mirandola. A note in the
+books of the Fabbrica, June 30, 1525, states that "Mro. Piero di
+Richardo dale Lanze" owes for work not yet completed 58 lire 20 soldi.
+There are three rows of seats, 132 in all, and the Episcopal throne in
+the middle. The upper row is of 56 seats, without the throne, the middle
+one 42, the lowest 34. Originally there were 150, but in the
+alterations of 1715 nine from each side were taken away, as the high
+altar was placed further within the apse. The upper stalls are divided
+by a chancelled column with Corinthian capital, and terminated in a
+shell hood. The intarsia on the back showed ornament of fine style,
+drawings of sacred objects and perspectives of fine buildings drawn from
+various parts of the city. Two of the best preserved show the ducal
+castle and the ancient ducal courtyard with the still-existing staircase
+constructed by Ercole I. in 1481. The usual bird in a cage appears, the
+symbol of human passions conquered by religious abnegation. The lower
+rows of seats are also worked in tarsia, but with ornaments of
+geometrical form, books, and joint-stools, the diamond, the cognisance
+of Ercole I. (who gave the original commission), and the pomegranate,
+that of Alfonso, and this last figure, which only occurs in the third
+stall to the right in the lower order, makes one think that only that
+part was finished under him. The frames surrounding are carved with
+restraint. The work cost altogether 2771 lire 8 soldi 2 denari besides
+the expense of making the lower seats, which cost 3984 lire marchesane
+16 soldi 10 denari. The lira marchesana in 1523-25 corresponded to 43
+Roman bajocchi 9 denari, about 2 francs 35 centimes of modern Italian
+money.
+
+[Illustration: Plate 19.--_Lectern in Pinacoteca, Lucca._]
+
+[Illustration: Plate 20.--_Two-leaved door in the Pinacoteca, Lucca._
+
+_To face page 35._]
+
+The Canozii were also at Reggio, in the Emilia, in 1474 and in 1485, but
+the work of the stalls in the Cathedral seems rather more archaic than
+their period, and the lectern is dated 1459. It is probably the work of
+Antonio da Melaria, who three years later made one exactly like it, with
+other things, for the Church of S. Domenico. This was done for Antonia
+di Fiordibelli, and the contract shows what were the conditions under
+which such work was done. He was given 50 lire at once to buy material
+with, 50 when he began working, 50 when he had finished a third of the
+work, 50 when it was half done, 50 more when three-quarters was
+finished, and the rest of the whole price of 336 lire when it was
+completed. He was to use wood of Piella, and give 48 planks to the
+lady--a very curious clause in the contract.
+
+At Città di Castello there are tarsie designed by Raffaello da Colle in
+the Cathedral.
+
+The choir stalls at the Certosa, Pavia, were made by Bartolommeo Poli,
+surnamed dalla Polla, from designs by Borgognone, as is said, and the
+style certainly seems to bear out the assertion, though no document has
+yet been found directly connecting him with them. They were restored in
+1847 by Count Nava with wax and stucco coloured to imitate the missing
+pieces of wood. The upper row contains a series of figures of saints
+and prophets, and below are exceedingly graceful and flowing arabesques.
+A document in the Brera Library notes that in 1490 "Mro. Bartolommeo de
+Polli da Mantoa, who made the inlaid choir and the doors of the chapels,
+has a right to 8 ducats per door, and also for the wooden pulpits 30
+ducats a pulpit." He was the son of Andrea da Mantova, who was born at
+Modena, but lived and worked at Mantua, and also with his brother Paolo
+in S. Mark's, Venice. The stalls were made between 1486 and 1501, and
+are the only work which he is recorded to have executed. A Cremonese,
+Pantaleone de' Marchi also worked on these stalls--a relation of the
+large family of the Marchi of Crema, perhaps, who worked in S. Petronio,
+Bologna, in 1495. The father was named Agostino, and he had six sons,
+Giacomo, Nicolo, Taddeo, Biagio, Agostino, and a second Giacomo. The
+stalls in the Chapel of S. Sebastian are signed Jacopo de Marchis. Some
+stalls by Pantaleone de' Marchi are in the Museum at Berlin, acquired in
+1883. They probably came from Bramante's Church, the Madonna of Tirano,
+in the Valtelline, which was built in 1505, and where there are still
+some remains of seats similar in style. The upper range of panels has a
+few half-lengths of saints, landscapes, and the usual open cupboard
+doors revealing objects on the shelves within. On the backs of the seats
+below are arabesques, and the pilaster panels and divisions between are
+also inlaid, as is the cornice. He also worked at Savona.
+
+[Illustration: Plate 21.--_Stalls at the Certosa, Pavia._]
+
+[Illustration: Plate 22.--_Detail of Arabesques, lower seats, Certosa,
+Pavia._
+
+_To face page 37._]
+
+One of the best Sienese masters has not yet been mentioned, Antonio
+Barili, much of whose work has perished, like that of many other
+intarsiatori, an example of which the collectors for the Austrian K.K.
+Museum at Vienna have picked up, however, where it may now be seen. He
+was born in Siena, August 12, 1453. His first work on his own account
+was the choir of the Chapel of S. Giovanni, in the Cathedral, Siena, of
+which a few poor remains have escaped the carelessness of the last
+century, and are in the Collegiate Church of S. Quirico in Osenna, 26
+miles from Siena, on the old Roman road. The contract is dated January
+16, 1483, and in it he engages to finish it in about two years. He was
+to be paid 50 florins of 4 lire beyond what he expended, and was to go
+on working at the rate of 10 florins a month. If he did not finish it in
+the given time he was to forfeit 100 florins, except for cause of
+infirmity, plague, &c. It was to be valued in the usual manner, and 100
+florins was the penalty for the breaking of the contract on either side.
+As a matter of fact it took him nearly 20 years to complete. On one of
+the panels Barili made a portrait of himself at work, the one referred
+to above, now in the K.K. Austrian Museum at Vienna, which shows the
+very simple means used by the great intarsiatori. His tools consist of a
+folding pocket-knife, a square-handled gouge, and a short-bladed,
+long-handled knife, which he holds with the left hand and presses his
+shoulder against, so as to use the push of the shoulder in cutting,
+while in the right he holds a small pencil, with which he appears to
+direct the knife edge. The panel upon which he is at work bears the
+inscription, "Hoc ego Antonius Barilis opus c[oe]lo non penicello
+excussi. Anno. D., 1502." He works in a window opening with panelled
+framing, and behind him a tree spreads across a courtyard against the
+sky, upon a branch of which a parrot is seated. Von Tschudi says that
+the panel is about 2 feet 10 inches long by 1 foot 9-1/2 inches broad,
+and that the woods employed are pear and walnut, oak, maple, box,
+mahogany, palisander, and one as hard as birch in texture. A full
+description of it as it originally was is appended in a note taken from
+Della Valle's "Lettere Senese." It was valued by Fra Giovanni of Verona
+at 3990 lire. 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 2000 lire, and did other work for private persons. Another
+great work was the choir of the Certosa of Maggiano, which has entirely
+disappeared. He was not only intarsiatore, but was much employed by the
+commune on architectural works. In 1484 he was sent to rebuild the
+bridge of Buonconvento, broken by a flood of the Ombrone, and in the
+same year, with Francesco di Giorgio, and on equal terms with him,
+restored the bridge of Macereto. In 1495 he was asked to make designs
+and models for a bastion to be erected over against the bridge of
+Valiano, taken by the Florentines. Owing to a bad guard being kept this
+was taken, and between 1498 and 1500 Barili was sent again to rebuild it
+larger and stronger. Finally, in 1503, he was sent to make designs and
+models of the new walls for the fortifications of Talamone, an important
+coast town. In his intarsias he was helped by his nephew, Giovanni,
+whose salary, when working for Leo X. at Rome, was five ducats a month.
+He died in 1516.[2]
+
+[Illustration: Plate 23.--_Panel from S. Petronio, Bologna._]
+
+[Illustration: Plate 24.--_Panel from S. Petronio, Bologna._
+
+_To face page 39._]
+
+[Illustration: _To face page 40._
+
+Plate 25.--_Panel from S. Miniato, Florence._]
+
+[Illustration: Plate 26.--_Panel from S. Maria Novella, Florence._
+
+_To face page 42._]
+
+Other names mentioned by Vasari are Baccio Albini and his pupil Girolamo
+della Cecca, _pipers to the signoria_, as good intarsiatori who worked
+also in ivory when Benedetto da Majano was yet a young man, and
+David of Pistoia and Geri of Arezzo, who decorated the choir and pulpit
+of S. Agostino in the latter town. Geri also made intarsie for S.
+Michele, Arezzo. Milanesi says Girolamo della Cecca was of Volterra,
+and calls Baccio, di Andrea Cellini; he was in Hungary in 1480 with his
+brother Francesco; they were brothers of Giovanni, who was father of
+Benvenuto and piper also. The stalls in S. Miniato, Florence, were made
+in 1466 by Francesco Manciatto and Domenico da Gajuolo; but perhaps the
+highest point reached by Florentine intarsia is shown by the stalls of
+S. Maria Novella, made by Baccio d'Agnolo from Filippino Lippi's
+designs. There are 40 stalls and 30 different ornamental fillings; the
+capitals, pilasters, and frieze are inlaid, the rest carved; the
+execution of figures, scrolls, leaves, and ornamental forms is as near
+perfection as may be.
+
+Baccio, or Bartolommeo d'Agnolo Baglioni, was born May 19, 1462. "In his
+youth he did very fine intarsia in the choir of S. Maria Novella, in
+which are a very fine S. John Baptist and S. Laurence, and also carved
+the ornaments in the same place and the organ case"--so says Vasari. The
+organ case is no longer there, having been sold in England, but the
+stalls still remain. After carving the surroundings of the altar at S.
+S. Annunziata, which no longer exist, he went to Rome and studied
+architecture, of which Vasari remarks, "the science of which has not
+been exercised, for several years back, except by carvers and deceitful
+persons, who made profession of understanding perspective without
+knowing even the terminology and the first principles" (!) When he
+returned to Florence he made triumphal arches of carpentry for the entry
+of Leo X. But he still stuck to his shop, in which, especially in the
+winter, fine discourses and discussions on art matters were held,
+attended at different times by Raffaello, then quite young; by Andrea
+Sansovino, il Maiano, il Cronaca, Antonio and Giuliano San Gallo, il
+Granaccio, and sometimes, by chance, by Michel Agnolo, and many young
+men, both Florentines and strangers. He did a great deal of work for the
+great hall of the Palazzo Vecchio in conjunction with others, and the
+staircase of the Sala del Dugento. After this he did many architectural
+works, palaces and additions to churches, some of which are still
+existing. The design of Brunelleschi for the gallery to surround the
+dome of the Cathedral having been lost, Baccio was commissioned to make
+a fresh one, and a piece of it was put up; but when Michael Angelo came
+back from Rome he said it was not large enough in style for the dome; in
+fact, he called it a cage for grasshoppers (grilli), and made a design
+to replace it himself; as, however, the authorities could not make up
+their minds to accept it, and Baccio's work was much blamed, it went no
+farther, and was never finished. He died on May 6, 1543, at the age of
+83, being still in full possession of his faculties, and leaving three
+sons, of whom the second, Giuliano, did a good deal of carving both in
+stone and wood, and architectural design, working in conjunction with
+Baccio Bandinelli, among which was the choir of the Cathedral of
+Florence. Another son, Domenico, showed great promise, but died young.
+
+[Illustration: Plate 27.--_Panel from S. Maria Novella, Florence._
+
+_To face page 44._]
+
+The seats near the high altar at S. Maria Novella, and other things
+there were made between 1491 and 1496. The floor of the hall of the
+Great Council in the Palazzo Vecchio was begun in 1496, and with other
+works there went on till 1503. On October 1, 1502, he engaged to do the
+choir of S. Agostino Perugia from Perugino's designs at 1120 florins of
+40 bolognini each, but he did not work at it much at that time, since on
+June 20, 1532, he made a fresh contract with the monks to continue and
+complete the choir of their church. Adamo Rossi gives other curious
+details about this work drawn from Perugian records, which are worth
+noting. He says that in 1501 Bacciolo d'Agnolo, not having a good design
+to show, agreed with the prior Federico di Giuliano in three months'
+time to submit two different seats for the choir of S. Agostino, and
+confessed to having received 50 broad ducats of gold as part of the
+price of the choir and the two stalls mentioned. He also agreed to
+return the money if he did not undertake the choir or did not finish it
+according to contract. He presented them accordingly, and in 1502 the
+contract was signed at 30 florins for each upper seat. Rossi also says
+that he finds trace of another Baccio d'Agnolo in the collection of
+wills of Pietro Paolo di Lodovico, under date June 11, 1529, and thinks
+that the work was done by him. One Baccio was elected capo-maestro of
+the Duomo in 1507 together with Giuliano and Antonio da San Gallo and il
+Cronaca (Simone del Pollajuolo), and continued in that office until
+1529.
+
+Rossi also gives other interesting details about the making of various
+pieces of joinery in Perugia and their makers, from which I extract the
+following:--"In the refectory of S. Agostino two Sienese, Giovanni and
+Cristoforo de'Minelli, worked in 1477. The cupboards in the sacristy of
+S. Pietro in Casinense were made by Giusto di Francesco of Incisa and
+Giovanni di Filippo da Fiesole in 1472. They were bought in Florence,
+and are particularly fine and large in their treatment of flowers, &c.
+The work was finished with the assistance of Mariotto di Mariotto of
+Pesaro, three workmen coming from places at considerable distances from
+each other, proving that they wandered about the country a good deal.
+The lectern in the same church, which is well inlaid and finely carved,
+was made by Battista the Bolognese, Ambrose the Frenchman, and Lorenzo.
+The contract was between the abbot and Fra Damiano's brother, Maestro
+Stefano di Antoniuolo de' Zambelli da Bergamo, and was for the whole
+choir at 30 scudi for each seat, wood being provided. The lectern itself
+cost 176 florins, and was finished in 1535. In the Sala del Cambio,
+besides Domenico del Tasso's seats, there is a fine door which was made
+by Antonio di Benciviene da Mercatello da Massa, for which he was paid
+10 florins 93 soldi 6 denari. The orator's desk, the 'ringhiera,' was
+made by Antonio di Antonio Masi, the Fleming, though often ascribed to
+Mercatello. It was estimated by Eusebio del Bastone as worth 68 florins.
+At Assisi the choir of the upper church, which is the most important in
+all Italy for the number of its stalls, the mastery of its figure
+intarsia, and the elegance of its form, was made by Domenico da S.
+Severino, who agreed with the superiors on July 8, 1491, to make it for
+770 ducats of gold. It was not finished till 1501, but no payments are
+noted in the archives after November 18, 1498. In the lower church two
+Sienese worked in 1420, and a Florentine from 1448 to 1471. The choir
+of the Cathedral in the same city was made by Giovanni di Piergiacomo,
+also of S. Severino, and there is sometimes confusion between the two
+artists. The price was 57 florins. On one of the backs is carved the
+date 1520. The most ancient piece of joinery in Perugia is that executed
+for the Arte della Mercanzia in the 14th century."
+
+[Illustration: Plate 28.--_Panel in Sacristy of S. Pietro in Casinense,
+Perugia._
+
+_To face page 46._]
+
+Rossi prints a priced list of joiners' tools, dated November 8, 1496,
+which is interesting as showing the small amount of tools and furniture
+required in a joiner and intarsiatore's workshop at that period. It runs
+thus:--
+
+     Bernardino di Lazzaro buys from Angelo di Maestro Jacopo, called
+     Boldrino, joiner, the underwritten tools and apparatus at the price
+     at which they were valued by Master Giovanni da Siena and Ercolano
+     di Gabriele of Perugia.
+
+                                                  Florins.   Soldi.
+
+  Two benches,                                       2          0
+  Four planes,                                       1          0
+  Two screw profiles, one broad and one narrow,      0         40
+  Two rules,                                         0         16
+  Four straight edges, one large and three small,    0         28
+  One outliner for tarsia,                           0          8
+  Rods for making cornices,                          0         12
+  A cross beam,                                      0          6
+  Two compasses, one large and one small,            0         12
+  Two rulers,                                        0          5
+  Four one-handed little planes,                     0         16
+  One two-handed little plane,                       0          8
+  Two broad planes,                                  0         12
+  Two hollow moulding planes,                        0         12
+  Three pieces of unfinished tarsia, and one
+    with a wire drawing iron,                        1         30
+  Two large squares and one "grafonetto" and
+    one little square,                               0          8
+  Two old irons for making cornices,                 0          8
+  Nine files, large and small, round and
+    straight,                                        0         30
+  Fifteen "gulfie," large and small,                 0         24
+  Three chisels, one glued and one all of iron
+    and one "a tiro colla manacha de legusa
+    saietta,"                                        0          7
+  One small hammer,                                  0         16
+  Two arm chairs,                                    0          8
+  A big "tenevello,"                                 0         25
+  A little anvil,                                    0         20
+  A pair of big pincers,                             0         32
+  Two little axes,                                   0         20
+  A two-handed axe,                                  0         25
+  A two-handed saw with a file,                      0         60
+  A cutting saw,                                     0         25
+  Two stools,                                        0         16
+  Nine presses (clamps),                             0         60
+  Two cupboards,                                     0         90
+  Five pieces of panels, two on the benches
+    and three outside,                               0         20
+  Three pieces of tarsia frieze and two
+    pictures with a box without a lid,               1          0
+  A bench to put the tarsia on,                      0         40
+
+
+The words untranslated are, I suppose, Perugian words. At all events,
+they do not appear in the large Italian dictionary edited by Tommaseo
+and Bellini.
+
+This Bernardino six years earlier worked as apprentice with Maestro
+Mattia da Reggio, and was paid 6 florins 22 soldi for four months. His
+name appears in the list of masters of stone and wood.
+
+[Illustration: Plate 29.--_Panel from door of Sala del Cambio, Perugia._
+
+_To face page 48._]
+
+Frederic of Montefeltro, Duke of Urbino, built himself a splendid palace
+in that city between the years of 1468 and 1480, which cost 200,000
+golden scudi. At that time a sack of corn cost rather less than five
+modern Italian lire in the duchy, and a hectolitre of wine only one
+franc sixty centimes, 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 figures. Among the decorations, which
+include much stone carving of the most extraordinary finish, which in
+the interior of the palace appears as fresh as the day it was completed,
+were some splendidly inlaid doors, eight or nine of which still remain.
+The palace was constructed upon the foundations of an older palace of
+1350, much enlarged, and here he lived magnificently, and collected that
+fine library which was subsequently removed to Rome, of which Vespasiano
+da Bisticci, the Florentine bookseller, who had a good deal to do with
+it, says that it was the most perfect that he knew, for in others there
+were either gaps or duplicates, from which defects it was free.
+Castiglione's "Cortigiano," the ideal of a courtier in those days,
+describes the Court of Urbino as it was under Guidobaldo, his son and
+successor. Among the decorations of the palace which still remain is the
+panelling of a small studio on the _piano nobile_, close to the tiny
+chapel, which is entirely surrounded by intarsia of the finest
+description, which represents in the lower part a seat something like
+the misereres of choir stalls surrounding the apartment, some parts of
+which are raised and some lowered. In the spaces rest some portions of
+the duke's arms, a sword, a mace, &c., leaning in the corners, and on
+the lower parts of the seat are musical instruments, fruits and
+sweetmeats in dishes, cushions, books, &c. The upper panels show
+cupboards with doors partly open, showing all sorts of things within in
+the usual fashion, and there are four figure panels inserted at
+intervals containing the portrait of the duke and the Christian virtues
+of Faith, Hope, and Charity which he strove to exemplify in his life. At
+one end of the room are two recesses divided by a projecting pier; in
+the one to the left the armour of the duke is represented as hanging
+piece by piece on the wall, in that on the right is shown his reading
+desk, made to turn on a pivot, with books upon it and around, and on the
+pier between, a landscape, seen through an arcade with a terrace in
+front, upon which are a squirrel and a basket of fruit. Close to the
+reading desk is a representation of an organ with a seat in front of it,
+upon which is a cushion covered with brocade or cut velvet, which is
+most realistic, and on the organ is the name Johan Castellano, which is
+supposed to be the name of the intarsiatore, though this name does not
+appear in the accounts. The custodian called him a Bergamase, I do not
+know on what authority. The designs of the figures are ascribed to
+Botticelli, and some of them look as if the ascription might possibly be
+correct. The only names of intarsiatori found in the ducal accounts are
+Beneivegni da Mercatello, who worked in the Sala del Cambio at Perugia,
+and no doubt had to do with the making of the doors, which resemble that
+work, and perhaps a Taddeo da Rovigno, the town from which the Olivetan
+Fra Sebastian came. Pungileone, however, found a payment of seven
+florins in 1473 to "Maestro Giacomo, from Florence, on account of
+intarsia for the audience hall." Dennistoun says that this study
+contained "arm-chairs encircling a table all mosaicked with tarsia, and
+carved by Maestro Giacomo of Florence," but it is now quite bare,
+though, fortunately, the tarsie are well preserved. He goes on to say
+that "on each compartment of the panelling was the portrait of some
+famous author and an appropriate distich," which leads one to suppose
+either that his information was inaccurate or that he was referring to
+the similar small study on the lower floor, in which Timoteto delle Vite
+did some painting.
+
+The duke and his son Guidobaldo were both great builders, and Urbino was
+not the only town in which they raised palaces, though the others were
+not of so much importance. The names by which they were denominated show
+this. It is always the _corte_ at Urbino, at Pesaro it is the _palazzo_,
+and at Gubbio the modest _casa_. Nevertheless, at this last place the
+intarsias were of almost as great importance, though now the palace is
+ruinous and the intarsias dispersed, some of them being at South
+Kensington. Dennistoun quotes descriptions from Sig. Luigi Bonfatti and
+Mr. F. C. Brooke, which are worth reproducing, as showing the care some
+times expended on the decoration of quite small apartments. This study,
+which was commissioned by Duke Guidobaldo, is only 13 by 6-1/2 feet in
+plan, though it is 19 feet high. The inlaid work only went half-way up,
+as at Urbino, the upper part of the walls having been covered with
+tapestries. The tarsie showed "emblematic representations of music,
+literature, physical science, geography, and war; bookcases, or rather
+cupboards, with their contents, among which were a ship, a tambourine,
+military weapons, a cage with a parrot in it, and as if for the sake of
+variety only, a few volumes of books, over one of which, containing
+music, with the word 'Rosabella' inscribed on its pages, was suspended
+a crucifix. On the central case opposite the window, and occupying as it
+were the place of honour, was the garter, with its motto, 'Honi soit q.
+mal i pense,' a device which was sculptured on the exterior of the stone
+architrave of the door of this apartment. It appeared again in tarsia in
+the recess of the window, where might also be seen, within circles, 'G.
+Ubaldo Dx. and Fe Dux.' Amongst the devices was the crane standing on
+one leg, and holding, with the foot of the other, which is raised, the
+stone he is to drop as a signal of alarm to his companions. Among other
+feigned contents of a bookcase were an hour-glass, guitar, and pair of
+compasses; in another were seen a dagger, dried fruits in a small basket
+made of thin wood, and a tankard, while in a third was represented an
+open book surmounted with the name of Guidobaldo, who probably made the
+selection inscribed on the two pages of the volume, comprising verses
+457-491 of the tenth Æneid." On the cornice was an inscription. It was
+thought to be the work of Antonio Mastei of Gubbio, a famous artist in
+wood, who executed the choir of S. Fortunato at Todi, and who is known
+to have been much in favour with Dukes Guidobaldo and Francesco Maria
+I., the latter of whom gave him an exemption from imposts.
+
+In the 17th century tarsia was more used for domestic furniture than
+for stationary decoration. The character of the design changed in
+consequence, and mother-of-pearl, ivory, tortoiseshell, silver, and
+other materials were used. The first Tuscan, or one of the first who did
+so was Andrea Massari of Siena. A few works in tarsia were still
+executed, but none of much importance. The choir of S. Sigismondo,
+outside Cremona, commenced by Gabriel Capra and finished by his son
+Domenico in 1605, is one of the principal, and the choir of S.
+Francesco, Perugia, where Fortebraccio was buried, but this latter no
+longer exists. Marquetry was produced in Florence, Venice, Milan, and
+Genoa down to a still later date, but the fashion for ivory and ebony
+carried all before it. The Italian work of this kind is often most
+beautifully engraved, but less accurate than that produced in France.
+The later Italian marquetry does not lose decorative effect though the
+figure drawing becomes very conventional, and the curves of ornament are
+often cut with a mechanical sweep. A good deal of it is in only two
+colours, a return to the simplicity of earlier days.
+
+FOOTNOTES:
+
+[2] There were nineteen subjects, divided by channelled pilasters with a
+carved frieze, above a bench which ran round the circular wall from one
+doorpost to the other, the whole work crowned with a cornice also carved
+with foliated ornament. The first subject on the right was an open
+cupboard with architects' and joiners' tools. The second was the
+portrait described above. The third showed a cupboard half open, worked
+with a grille of pierced almond shapes and divided. "In the upper part
+is a naked boy, standing with a ball in his left hand, below is a large
+circle with a bridge within and without in the form of a diamond. Within
+the closed part of the grille one sees a ewer above and a basin below.
+The fourth is a figure of S. Ansano, half-length, below whom is the head
+of a man who receives baptism with joined hands, and the saint with a
+vase in his hand pours water on his head, holding in his right hand a
+standard. The fifth shows a cupboard open and shelved in the
+middle--above is a chalice and paten, below is a salver with fruit
+within and falling from it. The sixth contains an organ case with a man
+who, with raised head, enjoys the sweetness of the sounds, on the side
+of the organ are the arms of the Opera and below are the arms of the
+rector Arringhieri. The seventh is a cupboard half open with pierced
+doors, in the upper half a censer, and an incense boat, with a label
+above with these words, 'Dirigatur Domine oratio mea sicut incensum in
+conspectu tuo.' Below is the holy water pot with the sprinkler within,
+and with a pair of sacrament cruets. The eighth shows the figure of a
+man with a glory and a diadem on his head, with face and right arm
+raised to heaven, representing whom I do not understand; above him is a
+garden full of different flowers and trees. The ninth is a cupboard cut
+across and half open; in the upper part a label with these words 'Qui
+post me venit, ante me factus est. Cujus non sum dignus calceamente
+solvere;' below are different musical instruments, the words above are
+set to plain song. The tenth, that is the centre one, is a half-length
+of S. John Baptist with the cross in his left hand, and in the right a
+label with the words, 'Ecce Agnus Dei,' while with his finger he points
+to Christ in a figure which represents him. The eleventh shows another
+cupboard half open and shelved, above is a label on which are some lines
+of the hymn of S. John Baptist, with notes in plain song and with the
+name of the author above, which was Alessandro Agricola, and below is a
+flute and a violin with its bow. The twelfth is the figure of a young
+man with a label below which says, 'Johannis Baptistæ discipulus.' This
+is generally thought to represent S. Andrew the apostle. The thirteenth
+is another open cupboard with a shelf. In the upper part is a chalice
+and more fruit, and in the lower a hollow dish with a foot also full of
+fruit. The fourteenth shows the half-length of a man who plays a lute,
+above him appears a garden with different trees. The fifteenth is a
+cupboard with open division, with a little gate and grating with almond
+shaped openings, above is a candlestick with a candle half burnt, and
+below is a box full of yellow tapers. The sixteenth represents S.
+Catherine with her wheel, half-length, disputing with the tyrant, before
+her is an open book on which are cut these words, 'Catharina
+disputationis virginitatis ac martirii palmam reportat.' The seventeenth
+shows a cupboard divided and half closed, with a grating like the
+others, above is a missal laid down, with a chalice upright, and a paten
+on the missal, and there are also a pair of spectacles and another paten
+leaning against the wall, below there is a closed book which seems to be
+a breviary, upon which is an open book with these words, 'Ecce mitto
+angelum meum ante faciem tuam, qui preparabit viam tuam ante te. Vox
+clamantis in deserto; parate viam Domini: rectas facite semitas ejus.'
+The eighteenth shows a fine gate through which one sees a garden, within
+which appear different trees with fruit on them, 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 words, 'Alberto
+Aringherio operaio fabre factum.' The last panel shows an open cupboard
+with shelf and grating, above is a harp and below is a violin and other
+musical instruments. The rector Arringhieri paid 4090 scudi for the work
+as a matter of compromise on the valuing of Fra Giovanni da Verona. It
+was in so dark a place that it could not be seen except with lighted
+torches, and it was also damaged because it was put in a newly built
+place, the walls of which were not sufficiently dry to receive such
+delicate work." This account was written in 1786.
+
+
+
+
+THE CLOISTERED INTARSIATORI AND THEIR PUPILS
+
+
+The Order of the Olivetans took its rise from the piety and liberality
+of a Sienese noble, Bernardo Tolomei, who, with two companions, Ambrogio
+Piccolomini and Patricio Patrizzi, established himself as a hermit on a
+barren point of land at Chiusuri, some miles from Siena, in the same
+manner as did S. Benedict at Subiaco. This was in 1312, but the Papal
+charter by which the Order was founded dates from 1319. It was called
+"Monte Oliveto," from a vision seen by Guido Tarlati, Bishop of Arezzo,
+the Papal commissary, in which the Virgin ordered that the monks should
+have a white habit, and that the badge of the Order should be three
+hills surmounted by a branch of olive. It was a branch of the
+Benedictines, and, like them, the monks devoted their lives to useful
+labours. As Michele Caffi says, "The Olivetans did not strive in
+political or party struggles, but spent their simple lives in works of
+charity and industry, and showing great talent for working in wood
+succeeded to the heirship of the art of tarsia in coloured woods, which
+they got from Tuscany."
+
+The first master of intarsia mentioned among the Olivetan monks is a
+certain lay brother, "laico Olivetano," who came from Tuscany in the
+first half of the fifteenth century, and taught the art to the monks of
+S. Elena, the island which lies just beyond the Public Gardens at
+Venice, and was so beautiful before the iron foundry was established
+upon it. His principal pupil was Fra Sebastiano of Rovigno, known as the
+"Zoppo Schiavone," the lame Slavonian, who taught Fra Giovanni da Verona
+and Domenico Zambello of Bergamo, Fra Damiano. Fra Giovanni, again, was
+master to Vincenzo dalle Vacche and Raffaello da Brescia, and perhaps to
+the oblate of S. Elena, Antonio Preposito, in 1493.
+
+Fra Sebastiano da Rovigno was probably born in 1420. The register of
+professions and deaths at Monte Oliveto Maggiore says--"In conventu
+Paduæ professus est sub die 15 Augusti, an 1461, fr: Sebastianus de
+Rovinio"; his death is shown by another extract--"Venetiis, obiit in
+Mon. S. Helenæ, anno Domini, 1505, fr: Sebastianus de Histria,
+conversus" (lay brother). He was at S. Maria in Organo, in 1464-5 and
+1468-9, and at S. Elena in 1479-80-81, and again from 1484 to 1494. He
+was also at Monte Oliveto 1466-7, 1474-5, and 1482-3, and at S. Michele
+in Bosco, Bologna, from 1494 till shortly before his death, in all of
+which places were important works in tarsia. The inscription in the
+corner of the sacristy at S. Elena runs thus:--"Extremus hic mortalium
+operum fr: Sebastianus de Ruigno Montis Oliveti, qui III. id: Sept: diem
+obiit, 1505." Some of his work is in the stalls and sacristy cupboards
+of S. Marco, signed C.S.S., or S.S.C., that is, "Converso Sebastiano
+Schiavone," or "Seb: Sch: converso." His pupil Fra Giovanni da Verona
+was one of the most celebrated of the carvers and intarsiatori, and left
+works in many places in Italy. He was born in Verona in 1457, and no one
+has been able to discover either his family name nor who his father was.
+When still a boy he left his native town and went into Tuscany to Monte
+Oliveto di Chiusuri of Siena, the principal monastery of the Olivetan
+order. He may perhaps have gone with Liberale of Verona, who was of
+about the same age, the first time he went to Monte Oliveto, in 1467, or
+more probably on the second occasion, in 1474, his business being to
+illuminate the choir books. In the administration books of that convent
+it is recorded that in 1467 Liberale had as assistant a certain
+Bernardino, and in 1474 another whose name is not mentioned. This may
+have been Fra Giovanni, who might then have learnt to illuminate, which
+was his first profession, and in which he succeeded excellently. He
+resolved to "profess religion" about this time, and was received as
+novice in the beginning of 1475. The year of noviciate being passed he
+made his solemn profession on March 25, 1476, and remained for about
+four years more in the monastery, during which time he finished his
+studies and became priest. In 1480 he was sent for a short time to the
+monastery of S. Elena, near Venice. Here he found the lay brother Fra
+Sebastiano da Rovigno, whom he may perhaps have known before, since they
+were both at Monte Oliveto in 1475. At all events he spoke to him about
+learning his art, and finding him willing to teach him, "set about it
+with so much diligence and assiduity that he was soon able to give him
+valuable assistance." The work was on the cupboards of the sacristy and
+on the backs of the choir stalls, which were 34 in number. On these the
+principal cities of the world, as they then were, were drawn in
+perspective "with great beauty and cleverness." About 1485 he went to an
+abbey of Olivetan monks at Villanova, a small village in lower Lombardy,
+where he illuminated 20 choral books with heads of saints and prophets,
+with very beautiful borders of flowers, fruits, and animals. These were
+sold by an ignorant and greedy priest for 17 zecchins, and only a few
+of the miniatures have been recovered, which are now kept in the
+sacristy. Of them, Vincenzo Sabbia, the Olivetan abbot, who was
+"confratello di religione" and nearly contemporary, says, when
+describing the abbey and its treasures in 1594, that there are there
+"stupendous and wonderful choral books to the number of twenty, made
+about the year 1485, and rare and wonderful miniatures are among the
+letters, like lovely flowers in a delicious garden, and many most
+beautiful imaginings, heads of saints and of all the ancient prophets,
+and other wonderful things of like kind, made and illuminated by that
+celebrated Fra Giovanni da Verona, around the text."
+
+[Illustration: Plate 30.--_Panel from lower row of Stalls, S. Maria in
+Organo, Verona._
+
+_To face page 59._]
+
+[Illustration: Plate 31.--_Panels from Monte Oliveto Maggiore, now in
+the Cathedral, Siena._
+
+_To face page 60._]
+
+In 1490 he was summoned to the Certosa at Pavia to estimate the value of
+the stalls made by Bartolommeo dei Polli, in company with Giacomo dei
+Crocefissi and Cristoforo de' Rocchi. Except for these there are no
+notices of the work which he must have done till 1502, when the abbot
+and monks of Monte Oliveto Maggiore, having determined to renew the
+choir of their church, confided the work to Fra Giovanni, and
+necessarily recalled him. 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 monks." "The whole comprised 52 stalls, with
+their backs, seats and arm rests, kneelers and all things appertaining"
+(it now consists of 48 stalls and 47 pictures), and the panels of the
+backs were worked in tarsia with perspective views "beautiful to a
+marvel," where were figured houses, views of the country, cupboards,
+grilles, sacred utensils, and other fancies. In the early years of the
+19th century 38 of these perspectives were moved to Siena and placed in
+the Cathedral, where they now are. Another choir, smaller but not less
+beautiful, was made for the church of the Olivetan monastery of S.
+Benedetto fuori della Porta at Tufi, near Siena. This church is in
+ruins; 31 perspectives from the choir were sent to fill the gaps in
+Monte Oliveto Maggiore, the monks who returned after the revocation of
+the suppression in 1813 having appealed to the Archbishop to allow them
+to take them. Four of the ancient backs were found in a corner of the
+sacristy, and eight carried to Siena and found superfluous were
+returned, as well as one which a neighbouring villager had taken. Some
+of them show the conventual buildings as they were at the beginning of
+the 16th century. The frames resemble friezes, and are decorated with
+flowers, fruit, birds, musical instruments, arms, and ornament. Each
+back is separated from the next by a colonnette carved with delicate
+arabesques. In this choir is also an Easter candlestick much like that
+at S. Maria in Organo, Verona, and there are two doors which belonged
+to the library. Pope Julius II. called him to Rome in 1571, and
+commissioned the ornamentation of the Camera della Segnatura in the
+Vatican, the designs for which are ascribed to Raffaelle, not only the
+seat backs with their seats, but also the doors, all worked with
+perspectives, "in which he succeeded so well that he gained great favour
+with the pontiff." 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
+Tolosa, in the church of Monte Oliveto in that city, works not less
+successful and lauded than those of Siena and Rome. This church is now
+called that of S. Anna dei Lombardi. The tarsie in the sacristy are in a
+later setting, and include nine panels of perspectives of landscapes,
+buildings, &c., nine others showing cupboards with objects on the
+shelves, and one with a figure of an abbot around which the following
+inscription runs:--
+
+
+  ·T·EPRE·R·P·F·DOMI·DE·LEV·GNK·ABBATIS·ET
+         R·P·ALOISII·DE·SALER·NO·PRIOR.
+
+The work is exceedingly delicate, pieces of wood no thicker than a thick
+pencil line being often used. In one panel is a well-executed lily, in
+another a hare is a foreground figure, in another are an owl and a
+bullfinch, while a hoopoe appears in another, with mountains behind
+him. The objects on the shelves of the cupboards are turned at queer
+angles to show his skill in perspective, but, since they lack tone, do
+not appear quite accurate. Among the architectural subjects are the
+choir of a church, a harbour, and a castle on a hill, seen from a
+balustraded terrace, and a circular building a little like that in the
+background of Raffaelle's "Sposalizio." They were well restored in 1860
+by C. G. Minchiotti. In the monks' choir in the church are other
+intarsie said to be by Angelo da Verona, Giovanni's brother. They are
+principally arabesques, somewhat resembling the panels in the Cathedral
+at Genoa, but include four figure panels of little angels and an
+Annunciation in two panels, which are not without charm, though rather
+overstiff.
+
+[Illustration: Plate 32.--_Frieze from Monte Oliveto Maggiore._
+
+_To face page 62._]
+
+In his last years he returned to Verona, where he had made the monks'
+choir in S. Maria in Organo, and the cupboards of the sacristy. These
+have the reputation of being not only the finest of the period but also
+the best which came from his hand. The Adige was in this church for two
+months during one of the inundations, but the tarsie did not suffer so
+much as might have been expected. He accepted a commission in 1523 for
+some stalls for the Olivetan church at Lodi, S. Cristopher, eleven of
+which are now in the suburban church of S. Bernardino in that city,
+but died before they were completed. Vincenzo Sabbia writes of
+these:--"In the year 1523 the reverend father Fra Filippo Villani of
+Lodi, prior of the convent of S. Cristoforo in that city, agreed with
+Fra Giovanni Veronese, an excellent master of perspective, to make him
+35 pictures of perspective at the rate of 30 or 40 broad ducats of gold
+for each--which are worth 5 lire 4 soldi each--which were to be finished
+in two or three years, and 300 broad ducats of gold were counted out to
+him. The said brother was not able to finish more than 23, because he
+died on February 10, 1525. They were sent from Verona and taken to Lodi,
+and in 1586 the new church of S. Cristoforo being finished, Don
+Agostino, the prior, who had charge of the fabric, had the aforesaid 23
+pictures with their ornaments set in the choir by the hand of Paolo
+Sasono." He died in the 68th year of his age, and was buried in S. Maria
+in Organo. He is called "prior" in a chronicle of the monastery under
+date 1511, and in the list of dead. In his portrait in the sacristy, by
+Caroto, he is represented with the tonsure and with the hood and cowl of
+the form which was proper to monks who were constituted "in sacris."
+
+Fra Raffaello da Brescia, whose name was Roberto Marone, was born in
+1477. His father's name was Pietro Marone, and his mother was a
+Venetian, named Cecilia Tiepolo. When twenty-two years old he took the
+monastic habit as a lay brother in the convent of S. Nicolò di Rodengo,
+near Brescia, and a little later (in 1502) was sent to Monte Oliveto
+Maggiore. Fra Giovanni being then established there as "conventual
+brother," took young Marone and taught him, seeing that he had both
+liking and talent for the work, so that he soon became a clever workman.
+Between 1504 and 1507 he worked with him at the choir of Monte Oliveto,
+from 1506 to 1510 he was with him at Naples, when the famous sacristy
+panels were being executed, and in 1511 and 1512 he was at S. Nicolò di
+Rodengo, where he worked at the choir of that church. The lectern from
+Rodengo is now in the Galleria Tosi at Brescia; the inlays are in the
+lower portion, and show architectural compositions in perspective and
+the usual objects, such as a censer, an open book, &c. It is signed
+F.R.B. In 1513 Raffaello commenced the magnificent choir of S. Michaele
+in Bosco, Bologna, and here he also made the design for the campanile,
+which was built by Maestro Pedrino di Como, showing that like so many of
+the intarsiatori he was no mere worker in wood. While this work was in
+progress he executed a lectern for Monte Oliveto, ordered by the abbot
+Barnaba Cevenini, who was a Bolognese. It is signed and dated 1520, and
+shows on each side a choir book open, with notes of music and words. In
+one of the lower panels a black cat symbolises fidelity.
+
+S. Michele in Bosco was among the largest of the Olivetan convents. The
+Benedictines entered into possession in 1364, but these buildings were
+destroyed by the Bolognese in 1430, "so that they might not give shelter
+and a base for hostilities to the soldiers of Martin V." The
+re-construction began in 1437. The choir was raised on several steps,
+and called "Il Paradiso," ten years later, but subsequent alterations
+have left very little of the original work visible. Raffaello's stalls
+were probably finished in 1521, that being the date on a panel which was
+formerly in the centre of the choir. Of these splendid works only two
+confessionals still remain in the church. At the time of the suppression
+of the convents at the end of the 18th century the populace, drunk with
+rapine and devastation, tore down these stalls, and they were sold for a
+few pence to the Bolognese marine store dealers and rag merchants. Only
+18 of the principal row were saved from destruction, the Marquis Antonio
+Malvezzi buying them in 1812, and having them restored and placed in the
+chapel of his family in S. Petronio (now the chapel of the Holy
+Sacrament), where they now are. He was not able to save the hoods and
+shell canopies, which were sold for firewood for 4 baiocchi each! (about
+two pence.) The designs are of the usual style, cupboards and various
+objects in perspective; one of the finest is the first on the left,
+which includes a fine sphere and sundial, and several books written in
+German letters, black and red, a chalice in a cupboard, two books, and a
+cross. In the seventh is the figure of Pope Gregory in the act of
+blessing, and the last on the right shows loggias and porticoes of good
+style, well put in perspective. With part of the tarsie from S. Michele
+pianoforte cases were made, other portions were used for the floor of
+the Casino, near the theatre of the Corso, and were worn to pieces by
+the feet of the dancers! In 1525 Fra Raffaello went to Rome, and no
+further notices of him or of his work occur till his death there in
+1537; he was buried in S. Maria in Campo Santo.
+
+Another somewhat similar set of stalls, though rather later in date,
+also at Bologna, are the upper row in the choir of S. Giovanni in Monte,
+which have on their backs intarsie representing monuments, fantastic
+battlemented buildings, musical instruments, and geometrical motives,
+all executed with a mastery which reveals an artist old at the work.
+They recall in their general effect those in S. Prospero at Reggio, in
+the Emilia, which were executed by the brothers Mantelli in 1546. They
+are set in a carved framing of arches divided by pilasters which
+terminate above in brackets which support the cornice. The pilasters
+rest on the arms which divide the seats. Champeaux says they were made
+by Paolo del Sacha.
+
+The tarsie in S. Mark's, Venice, were worked by Fra Vincenzo da Verona,
+another Olivetan, under whom was Fra Pietro da Padova, Jesuit, with two
+youths to assist them. The commission was given in 1523. Three rooms in
+the hospital of "Messer Jesu Cristo" were assigned him as workshops, and
+100 ducats for food and clothing, as stated in the registers of the
+procurators of S. Mark's. On January 15, 1524, they inspected the work
+done, and were not satisfied, and so suspended it, "praising,
+nevertheless, the manners and the life of Fra Vincenzo." According to
+Cicogna, the registers contained, under date April 7, 1526, a note of
+money paid to "Fra Vincenzio, of the order of the Jesuits, for the
+finishing of the works of inlay" in the choir of S. Marco. On February
+25, 1537, certain moneys were given to more workmen for the construction
+of the doge's seat, which is said to have been "a great thing full of
+artistic pangs" (!), and rather hindered the genuflections to the
+altar. This was made for Andrea Gritti, who was doge that year. This Fra
+Vincenzo da Verona, or Vincenzo dalla Vacche, is mentioned by Morello in
+his "Notizie" as excellent, especially in his work at S. Benedetto
+Novello at Padua, four panels from which are now in the Louvre. He
+became novice in 1492, "Conventuale" of Monte Oliveto in 1498, was a
+priest like Fra Giovanni, and lived almost all his life in his native
+city. He died in 1531. The tarsie in the presbytery at S. Marco consist
+of seven great compartments, five lesser, and thirteen which are small.
+The eighteen smaller compartments are panels of ornament. The others are
+figure subjects, but by more than one hand. First comes a figure of S.
+Mark with a lion at his feet, which is not very good (it was restored in
+1848-50 by Antonio Camusso); next, a figure of Charity side by side with
+one of Justice, a woman with a baby, and one holding the balances. Next
+comes a figure of Strength or Courage, older and rougher in character,
+then four ornamental panels, a door, and five others, also of ornament.
+The next panel in the corner bears date 1535, to which year the figures
+of Justice and Charity may be assigned. The other figures are Prudence
+and Temperance, the latter of which resembles Strength in character. The
+remaining subject, a Pietà, is like Charity and Justice, and is
+masterly. Three spaces are empty. The doge's seat, until the fall of the
+Republic, was on the right of the principal entrance to the choir, as
+Sansovino says. It had on its back a figure of Justice, now in the Museo
+Civico. He also says that Sebastiano Schiavone did these tarsie, but he
+died in 1505. Various initials appear here and there through the work;
+on each side of the figure of S. Mark are U.F.Q. and M.S.R. in
+cartouches, Charity and Justice have N. and P. at the sides, and
+Prudence has P.S.S. and S.S.C. attached to her. The panels of ornament
+seem to be of the same period as the figure of Charity.
+
+[Illustration: Plate 33.--_Panel from S. Mark's, Venice._
+
+_To face page 68._]
+
+Fra Damiano of Bergamo, Fra Giovanni's fellow-pupil, attained, if
+possible, even greater reputation. He was considered the finest artist
+in tarsia of his time, he having, "with his woods, coloured to a marvel,
+raised the art to the rank of real painting." His family name was
+Zambello, he is thought to have been born about 1490, and he became a
+Dominican monk. An anonymous MS. of the 16th century, published by
+Morelli, calls him a pupil of a Slavonian, that is, Illyrian, brother of
+Venice, Fra Sebastiano da Rovigno. He passed the greater part of his
+life at Bologna, in the Dominican cloister there, into which he was
+admitted in 1528. In the records of the convent for that year occurs the
+note, "Frater Damianus de Bergomo, homo peritissimus, singularissimus,
+et unicus in l'arte della tarsia, conversus, receptatus fuit in filium
+conventus." At S. Domenico the choir stalls were his first work; he did
+seven, containing fourteen subjects and seven heads of saints. These
+were finished in 1530, and in consequence of their success he was
+commissioned to complete the choir. He carried the tinting of the wood
+farther than Fra Giovanni did, using solutions of sublimate of mercury,
+of arsenic, and what they called oil of sulphur. He is said to have had
+Vignola's designs for the architectural parts.
+
+Charles the Fifth was in Bologna with Clement VII., and was crowned
+Emperor in S. Petronio on December 5, 1529. One day he was in S.
+Domenico admiring the works of art, and, doubting that the tarsie were
+made of tinted wood, as he was told, drew his rapier and cut a bit out
+of one of the panels, which has always remained in the state in which he
+left it in memory of his act. Desiring to see how the work was done he
+determined to visit Fra Damiano's studio. Accordingly, on March 7, 1530,
+he took with him Alfonso d'Este, Duke of Ferrara, and several princes of
+his escort, and went to the convent, when, being conducted to Fra
+Damiano's poor cell, he knocked at the door. The friar, having opened
+and allowed the Emperor to enter, shut it quickly. "Stay," said the
+Emperor, "that is the Duke of Ferrara, who follows me." "I know him,"
+answered Fra Damiano, "and that is why I will never let him enter my
+cell." "And why?" said Charles V.; "have you anything of his doing to
+complain of then?" "Listen, your majesty," answered the lay brother. "I
+had to come from Bergamo to Bologna to undertake the work of this choir.
+I had with me these tools which you see, few in number, but necessary
+for the work in which it is my study to worthily spend my life, and to
+delight in the art. I had scarcely touched the frontiers of Ferrara when
+they not only obliged me, a poor friar, to pay a heavy and unjust tax,
+but the manner of doing it was most offensive. Now, while that duke
+allows such roguery in his State, it is right that he should not see
+this work which you see." Charles smiled, and promised to obtain from
+Duke Alfonso the amplest satisfaction. Going out of the cell he told the
+duke the reason of Fra Damiano's anger, and he not only promised to
+repay the loss which he had suffered, but conceded a patent to him, by
+which he and his pupils were for ever free from any tax or duty when
+crossing the duchy of Ferrara. Then they all came laughing and joking
+into the cell, and Fra Damiano, to show them that his tarsie were not
+painted with a brush took a little plane and passed it over a panel with
+some force, showing how the colours, after that treatment, still
+retained their integrity and beauty. And then he gave the Emperor a most
+beautiful piece of the Crucifixion, and another to the Duke of Ferrara,
+who valued it greatly. Locatelli gives some conversations between Fra
+Damiano and his assistant Zanetto, which must have preceded this visit,
+which are worth recording for their racy expression, according well with
+his reported action. "If it were in my power I would nail up this door
+for Charles and for all the dukes of the world. This art which I
+exercise is exceeding dear to me, and I hate to have to do with these
+signori who manage things after their own fashion; and sad it is for
+those who have to endure it. I respect His Majesty the Emperor, and hold
+him to be a great man, but the fate of Rome sticks in my throat. That
+other, too, who accompanies him--" "Who?" interrupted Zanetto, "the
+Pope?" "Oh, rubbish; the Pope! The Duke of Ferrara. With him I have a
+special account, and he must not come here." He also adds the detail
+that Fra Damiano had no money with him, and had to go about begging for
+wherewithal to pay the duke's dues till he blushed.
+
+From 1530 to 1534 he worked at a great piece of panelling to be placed
+in the chapel of the "arca," the tomb of S. Dominic, which is now in the
+sacristy, and thought by some to be his masterpiece. There are eight
+cupboards in this, and on each are eight subjects. In 1534 the Order was
+so poor that such expenses were stopped. Seven years later the work was
+recommenced and finished in 1550 by Fra Bernardino and Fra Antonio da
+Lunigiano a few months after Fra Damiano's death, which occurred on
+August 30, 1549. The choir consists of a double row of 28 stalls on each
+side, making 112 in all, showing on the right subjects from the New, and
+on the left from the Old Testament. Those on the right are the best, and
+are probably Fra Damiano's own work. He had as assistants at one time
+Zanetto da Bergamo, Francesco di Lorenzo Zambelli, and a lay brother,
+Fra Bernardino, who afterwards did the sacristy door. At another time
+his brother Stefano helped him, together with Zampiero da Padova, Fra
+Antonio Asinelis, the brothers Capo di Ferro of Lovere, Pietro di
+Maffeis, Giovanni and Alessandro Belli. The choir of S. Domenico cost
+2809 scudi. Henry II. of France commissioned a little chapel from him
+with an altar-piece, for his reputation had crossed the Alps, and
+Cardinal Salviati and Paul III., the Farnese Pope, also wished for his
+work, as did the Benedictine monks of S. Pietro in Casinense, at
+Perugia. He did for them a two-leaved door, which cost 120 scudi, now
+placed at the back of the choir, and opening on to a balcony, from which
+one sees, in fine weather, as far as the Castle of Spoleto. There are
+four subjects, two on each leaf; the Annunciation illustrated is one of
+them. Sabba Castiglione uses the most enthusiastic language about him
+and his work. "But, above all, those who can obtain them decorate their
+mansions with the works, rather divine than human, of Fra Damiano, who
+excelled not only in perspectives, like those other worthy masters, but
+in landscapes, in backgrounds, and what is yet more, in figures; and who
+effected in wood as much as the great Apelles did with his pencil. I
+even think that the colours of these woods are more vivid, brilliant,
+and beautiful than those used by painters, so that these most excellent
+works may be considered as a new style of painting without colours, a
+thing much to be wondered at. And what adds to the marvel is, that
+though these works are executed with inlaid pieces the eye cannot even
+by the greatest exertion detect the joints." He then goes on in the same
+grandiloquent strain--"This good father in dyeing woods in any colour
+that you may wish, and in imitation of spotted and marbled stones, as
+he has been unique in our century, so I think that he will be without
+equal in the future; it is certain that our Lord God has lent him grace,
+as I believe, because he wished so much that things might be well ended,
+to put his final work on the work of S. Domenico of Bologna. I think,
+indeed I am certain, that it will be called the eighth wonder of the
+world; and as the Babylonians, the Assyrians, the Egyptians, and the
+Greeks boasted of their temples, pyramids, colossi, and sepulchres, thus
+happy Bologna will be able to glory in and to boast of the choir of S.
+Domenico. 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 (!), a thing far from me, and especially with friends about
+whom I always speak the truth, I say no more; yet all that which I could
+say would be little enough on the merit of his rare and singular virtue,
+and on the goodness of his religious and holy life." Fra Leandro
+Alberti, in his description of Italy, speaks in something the same
+manner--"Frate Damiano, lay brother of the Order of Preachers, has
+become a man of as much genius as is to be found in the whole world at
+present, in putting together woods with so much art that they appear
+pictures made with a brush."
+
+[Illustration: Plate 34.--_Panel from door in Choir of S. Pietro in
+Casinense, Perugia._
+
+_To face page 74._]
+
+A few stalls made by him are now in the church of S. Bartolommeo,
+Bergamo, which were brought from the Dominican church of S. Stefano,
+destroyed for the fortifications in 1561. The designs were made by Trozo
+da Monza, Bernardo da Trevi (? Treviglio), and Bramantino. As Locatelli
+says, they preceded the famous choir at Bologna, and show the master
+trying his wings. Some think that his best works are those in which he
+did not employ colour, but only shading, but general opinion considers
+his highest point was reached in the doors of S. Pietro in Casinense.
+
+Another Dominican intarsiatore was Fra Antonio da Viterbo, who, in 1437,
+made the doors of S. Peter's at Rome by order of Eugenius IV., which
+were subsequently destroyed by Paul V. He was paid 800 ducats of gold
+before the Pope died, when they were nearly finished. They were both
+inlaid and carved in the most elaborate fashion, as the list of subjects
+shows:--The Saviour, the Blessed Virgin, SS. Peter and Paul, and
+Eugenius on his knees, the martyrdom of SS. Peter and Paul, S.
+Plautilla, who received the borrowed veil from S. Paul; the Coronation
+of the Emperor Sigismund in S. Peter's in 1433 by Eugenius, "and there
+you see the Prefect of Rome holding the sword before him, their march
+through Rome, the union of the Greek Church with the Latin, the entry
+of the ambassador from the King of Ethiopia, and other histories of the
+time." He had two assistants, Valentine and Leonardo.
+
+[Illustration: _To face page 77._ Plate 35.--_Lunette from Stalls in
+Cathedral, Genoa._]
+
+The choir stalls in the Cathedral at Genoa are attributed to Francesco
+Zambelli of Bergamo, a relative of Fra Damiano. He was helped by Anselmo
+de' Fornari, Andrea and Elia della Rocca, Giovanni Michele de
+Pantaleone, and Giovanni Piccardo, who had already worked in the choir
+of the Cathedral of Savona. 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 Lorenzo, dated
+April 12, 1540. He agrees to get to work not later than the first of
+September next, and to stay in the city till the work is done. Nor must
+he undertake other work under a penalty of 100 scudi, which he is to pay
+in such case without demur or defence. The procurators agree to pay for
+every picture, with its frame, according to the design furnished to him,
+and they also promise to provide lodgings for himself and his family
+without any expense to him, and to give him a present when the work is
+finished. On the same day his relative, Fra Damiano, promises to make
+two pictures, one for the seat of the archbishop and one for the doge,
+to be ready by Christmas Day next, to be paid for at the rate of 27
+scudi each, measure and design to be given by the signory. The same day
+the aforesaid "Magnifici" had it explained to them that they would have
+to pay the expenses of making sketches. In the panel with the history of
+Moses Zambelli signs his name and domicile. Fra Damiano's subjects
+appear to be the large ones in the panelling before the stalls commence,
+"The Massacre of the Innocents" and "The Martyrdom of S. Laurence." The
+figure subjects are not very successful, the arabesques are better; but
+the panels with open cupboard doors and objects within are not so well
+done as Fra Giovanni's. The stalls were restored in 1868, and a good
+deal of new work put in. The choir of the Cathedral of Savona was made
+in 1500 by Anselmo de' Fornari, a native of Castelnuovo da Scrivia; Pope
+Julius II. (della Rovere), who was born in the city, commissioned it.
+The intarsias are on the elbows of the stalls, half-figures of saints
+nearly life size, singly or in pairs, among which is a portrait of the
+donor, with perspectives of palaces, temples, or interiors on the backs.
+The lower stalls have less important subjects, such as censers,
+chalices, vases of flowers, animals, armillary spheres, musical
+instruments, etc. The cost of these stalls was 1132 scudi d'oro larghi
+(10 francs each and a little more) half of which was paid by Julius
+II. and half by the Commune of Savona. In the same Cathedral are a fine
+lectern, an episcopal throne, two doors of the chapel of our Lady of the
+Column, and a fine seat, the "banco dell' opera," commonly called
+"Massaria." Upon such a seat sat anciently the four citizens elected by
+the Commune to attend to the interests of the Church governed by them.
+Within this bench were preserved the diplomas, statutes, and arguments
+held to be most important to the greatness of the country. Anselmo de'
+Fornari was helped by Elia de' Rocchi, and the commission was given to
+them jointly on January 30, 1500, on which date Cardinal della Rovere
+promised to pay 570 ducats towards the expenses.
+
+[Illustration: _To face page 78._
+
+Plate 36.--_Panel from lower row of Stalls, Cathedral, Savona._]
+
+Another intarsiatore who worked with Fra Damiano was Giovanni Francesco
+Capo di ferro of Lovere, on Lake Iseo. His masterpiece is the choir of
+S. Maria Maggiore, Bergamo. When it was determined to commence it in
+1521 the presidents of the church fabric sent to various cities of
+Italy, especially to Milan, to consult over the model to be selected for
+so important a work with the excellent painter and architect M. Bernardo
+Zenale da Treviglio. In the archives of the Misericordia is a book
+entitled "Fabbrica Chori," in which is noted the great expense of the
+designs only, among which were some made by Lorenzo Lotto, by
+Alessandro Bonvicini, called Il Moretto; Andrea Previtali, Giacomo de'
+Scipioni, Filippo Zanchi, Giuseppe Belli, Domenico di Albano, Niccolino
+Cabrini, Pietro da Nembro, Francesco Boneri, and other painters, as well
+as the making of models and other similar operations. Those who worked
+at carving and tarsia under the direction of Giovanni Francesco were his
+son Zinino and Pietro his brother, who lived in Lodi; Paolo da Pesaro,
+and many others, including a whole family, Giovanni di Ponteranica and
+his four sons. The part towards the sacristy was designed by Lorenzo
+Lotto, the rest by Alessandro Belli. The sedilia on the Gospel side bear
+a signature hung from a tree, "Opus Jo: Franc: D. Cap. Ferr. Bergomi."
+The four panels outside the screen are Noah entering the ark, the
+passage of the Red Sea, the triumph of Judith by the death of
+Holofernes, and the victory of David over Goliath. Thus Tassi speaks of
+them--"These, to speak the truth, for their admirable workmanship,
+singular art, and beautiful colouring, do not appear to be pieces of
+wood put together, but rather pictures formed by an excellent brush, the
+pieces placed with such mastery, 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 designs, and as he was a celebrated and
+finished painter and a powerful one, thus certainly these pieces of wood
+put together could stand in face of paintings by the most celebrated
+brushes, which, beyond the exactness of drawing, gave to their works
+singular force and finish; for in them all the possible excellences of
+drawing and of art are displayed, and whoever has had the opportunity of
+well considering them has remained surprised and delighted, never
+believing that human art could reach so high a pitch of perfection." His
+last work is mentioned in 1533, two pictures of Samson, at 60 lire each.
+In 1547 his son Zinino and his brother Giovanni Pietro went on with the
+choir, and finished it nine years later. The total cost for labour alone
+was 7000 lire Imperiali.
+
+[Illustration: _To face page 80._
+
+Plate 37.--_Panel from the Ducal Palace, Mantua._]
+
+In Spain there must have been a good deal of intarsia done, seeing how
+long the Moors held the southern part of the country, but very little
+has come down to us. In the Mosque at Cordova was a finely inlaid mihrab
+of the 10th century, which was unfortunately destroyed in the 16th
+century and its material used to make an altar. In the Museum at South
+Kensington are some panels with Hispano-Moresque geometric inlays of
+bone of the 15th century, which are very pleasing; the ground is of
+chestnut, the bone is often stained green, and metal triangles and
+light wood are also used. This use of bone, which is frequently tinted,
+in conjunction with black and pale wood, is characteristic of Spanish
+work of the 16th century. The design is often exceedingly naive,
+employing birds, animals, plants, and trees, with scrolls and monsters.
+There is one cabinet at South Kensington with the animals entering the
+ark, which is most entertaining. The Portuguese carried this work on
+later, especially at Goa, in the 17th century, but neither here nor in
+Spain is the later work tasteful, except occasionally. Cabinets were
+then made at Toledo of ebony and ivory, and at Seville and Salamanca the
+same materials were used for chests and sideboards.
+
+At Burgos is a pulpit decorated with inlay as well as carving, and one
+of the most elaborate works of marquetry of comparatively modern times
+is Spanish. This consists of the decoration of four small rooms in the
+Escurial, upon which 28,000,000 reals (£300,000) was spent in 1831. They
+are called "piezas de maderas finas," rooms of perfect or delicate
+woods, and are entirely covered with landscapes, still-life subjects,
+flowers, etc., made of the finest and most costly woods, and almost like
+paintings; floor, frieze, panels, window recesses, and doors.
+
+There was a mode of decorating furniture much used in Spain and
+Portugal, especially the latter, in which metal plates, cut and pierced
+into elaborate and fanciful patterns, were fastened on to the surface of
+objects made of black wood by means of small pins. From this to the
+decoration of the same surfaces by sinking the metal in the wood is a
+short step, and some think that this was the origin of the metal inlay
+so well known a little later under the name of Boulle work.
+
+
+
+
+IN GERMANY AND HOLLAND, ENGLAND AND FRANCE
+
+
+[Illustration: Plate 38.--_Panel from the Rathaus, Breslau, 1563._
+
+_To face page 84._]
+
+In Germany there can be little doubt that the art first struck root in
+the southern part of the country, the towns which produced the earliest
+furniture and other objects decorated in this manner being Augsburg and
+Nuremberg. The first names of workers recorded, however, are those of
+the two brothers Elfen, monks of S. Michael at Hildesheim, who made
+altars, pulpits, mass-desks, and other church furniture for their
+monastery, ornamented with inlays, at the beginning of the 16th century,
+and Hans Stengel, of Nuremberg, but none of the inlaid work of either
+has come down to us. Two earlier pieces are figured by Hefner Alteneck,
+the harp already referred to on p. 8, and a folding seat of brown wood
+inlaid with ivory, stained yellow or light green, and black or dark
+brown wood, in oriental patterns, both of the latter part of the 14th or
+beginning of the 15th century. Two other names are mentioned as capable
+craftsmen in Nuremberg, Wolf Weiskopf and Sebald Beck; the latter died
+in 1546. The Augsburg work was much sought after, the "so-called
+mosaic work of coloured woods." The designs for the panels were
+generally made by painters, architectural and perspective subjects being
+most common, but flower pieces, views of towns, and historical
+compositions were also made. A German work thus characterises the later
+16th century productions of this type--"A certain kind of intarsia
+becomes common in the German panelling and architectural woodwork; also
+in cabinets, vases, and arabesques, with tasteless ruins and
+architectural subjects with arabesque growths clinging all over them, of
+which examples may be seen in the museums at Vienna and Berlin, where
+one may also see works in ebony with engraved ivory inlays, which are
+generally more satisfactory. In German work, however, inlay was never of
+so much importance as carving, and the Baroque influence almost
+immediately affected the character of the design for the worse." At
+Dresden and Munich there were several celebrated inlayers in the 17th
+century, among whom may be named Hans Schieferstein, Hans Kellerthaler,
+of Dresden, and Simon Winkler, N. Fischer, and his son Johann Georg, of
+Munich, the last of whom, with his contemporary Adam Eck, practised
+relief intarsia, of which the latter is said to have been the inventor.
+It was known in the art trade as "Präger arbeit," which was not a name
+which accurately described its origin. Panellings of walls and doors
+were often decorated with inlays, most frequently of arabesques, of
+which the town halls of Lübeck and Danzig furnish fine examples. The
+"Kriegsstube" at Lübeck was done by Antonius Evers, who in 1598-9 was
+master of the joiners' guild, with his companions. The Rathsaal at
+Lüneburg was made in 1566-78, and the name of Albert von Soest is
+connected with it. Danzig, in the "Sommerrathstube," shows intarsias and
+decorations of 1596 in which the painter Vriedeman Vriese and a certain
+Simon Herle, probably a local man, collaborated. Other similar works may
+be seen at Brunswick and Breslau, at Ulm, in the Michel Hofkirche at
+Munich, and in the Cathedral at Mainz. At Coburg, in the so-called
+"Hornzimmer," are intarsias worked from the designs of Lucas Cranach and
+others, at Rothenburgh, at Geminden, at Landshut, and in many places in
+Tyrol and Steiermark, most of them much mixed with carving, too numerous
+to describe. The intarsias at the Hofkirche at Innsbruck, begun in 1560
+by Conrad Gottlieb, may, however, be mentioned as being remarkably fine.
+Schleswig Holstein is full of intarsias of the end of the 16th and
+beginning of the 17th century, of which perhaps the finest are in the
+chapel of the Castle of Gottorp. The princes' prayer chamber or pew
+is elaborately panelled, and the panels are all filled with inlays,
+mostly arabesques. The door and wall panels have elaborate architectural
+forms in relief with base, frieze, and pilasters; and are also fully
+inlaid with arabesques, counterchanged bay by bay. The ceiling is
+coffered, and the male and female patterns are counterchanged
+diagonally. Bosses of lions' heads and rosettes project from the
+surfaces of the beams, between which the intarsia panels are flat. The
+central features in the several divisions are sunk, a central oblong
+with an oval in centre bearing the subject of the Resurrection and two
+side diamonds. The panels surrounding these have raised mouldings, so
+that there is considerable variety of level, and the whole is raised on
+a bracketed cornice, the flat surface of which has small panels inlaid
+in the same fashion. It was put up in 1612 by Duke Johann Adolf of
+Schleswig Holstein and his wife, Augusta of Denmark.
+
+[Illustration: Plate 39.--_Panel from Church of S. Mary Magdalene,
+Breslau._
+
+_To face page 86._]
+
+[Illustration: Plate 40.--_Pilaster strip from the Magdalen Church,
+Breslau._]
+
+In the State archives of Schleswig, in 1608, the names of Andreas
+Sallig, court joiner; Jochim Rosenfeldt, carver; and others are noted.
+Also in 1609, with the addition of the painter Herman Uhr and Hans and
+Jürgen Dreyer, of Schleswig; also the carver Hans Preuszen, and Adam
+Wegener, the figure-cutter. In 1610 the names of Jürgen Koningh,
+joiner's workman, several carvers, and Herman Uhr, the painter, occur.
+In 1611 Herman Uhr and Klaus Barck work in the chapel, the first for 115
+days, and the second for 178 days, and in 1612 several carvers and
+turners work for a long time at the rate of five "schillings" a day, as
+well as Herman Uhr and his assistant. These records distinctly suggest
+that the painter Herman Uhr was the designer, since his name is the only
+one which appears for four years consecutively, though the long period
+during which he worked in 1612 may be explained by the number of
+paintings which cover a portion of the exterior of the pew.
+
+[Illustration: Plate 41.--_Panel from S. Elizabeth's Church, Breslau._
+
+_To face page 88._]
+
+In South Germany one often meets with musical instruments which are
+inlaid with conventionalised floral forms. They were produced in the
+17th century in considerable quantities in Wurtemburg, Bavaria, and on
+the Southern Shores of Lake Constance. Nor must one forget the
+extraordinarily elaborate ivory inlays on the stocks of arquebuses. In
+the Wallace collection are many examples, and attention may be drawn to
+a jewel box made in 1630 by Conrad Cornier, arquebus mounter, which is
+decorated with most elaborate scrolls, leaves, and birds of ivory and
+mother-of-pearl, stained green in parts. It is made of walnut, and has
+metal scrolls at the corners of the panel framing. The German inlays
+on the whole rather run to arabesques and strapwork, or naturalistic
+vases of flowers, with butterflies and birds; one meets occasional
+perspectives and even figures, but the work is generally harder and less
+successful than the Italian technique, with a larger and less
+intelligent use of scorched tints.
+
+In the latter part of the 17th 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 another, or even of two others;
+the effect is not quite happy. Tortoiseshell also appears, and metal and
+coloured stones; the striving after what they thought to be greater
+artistry soon caused them to outstep more and more the proper limits of
+the art, and brought about decadence. The South German bride chests of
+the century before are decorated a good deal with inlays, Peter
+Flotner's designs often serving as patterns; a little green and red
+appear mixed with the commoner colours. The architectural forms project,
+and would form a tolerable design by themselves, though scarcely
+suitable to the object to which they are applied. In German work the
+cabinets are often of the most elaborate architectural design, like the
+façade of a palace, made of ebony, or occasionally even of ivory, and
+inlaid with ivory, silver, gold and enamels or precious stones.
+Augsburg was the most celebrated place for such work. The joiner, the
+woodcarver, the lapidary, and the goldsmith all worked together on such
+things. In the North of Germany tarsia was principally used on chests,
+cabinets, seats, and smaller objects of furniture; in South Germany,
+where the Italian influence was stronger, it was much used in
+wall-panelling and the panels of doors. The little castle of Völthurn,
+near Brixen, built by the bishop of that town in 1580-85 and decorated
+by Brixener artists and joiners (now belonging to Prince Lichtenstein),
+shows "panelled walls with architectural features, columns, cornices,
+and friezes, with gabled doorways with columns and pediments, decorated
+with very delicate intarsias, foliage ornaments, flowers, and fruit, a
+work which modern Brixener joiners could with difficulty understand"; so
+says Von Falke. Ebony and ivory work came to Germany in the latter half
+of the 16th century, when Augsburg and Nuremberg soon exported their
+productions of this sort to all the world, and with this commercial
+production the use of male and female designs begins, black on white and
+white on black. The latter is the better and more valued. Hans
+Schieferstein's cabinet, now at Dresden, a work of this period, has an
+ingenious use of this mode of inlay. It is made of ebony or veneered
+with that wood, and has inlays of brown cypress and of ivory. The
+panel on the inside of the door is of the same design as that on the
+outside, but what was white becomes brown, what was brown is black, and
+the black becomes white.
+
+[Illustration: Plate 42.--_Lower panel of door, 1564--Tyrolese._
+
+_To face page 90._]
+
+In the Musée Cluny is a wire drawing bench made in 1565 for Augustus I.,
+Elector of Saxony, who was an amateur craftsman. The two longitudinal
+surfaces are covered with a double frieze of marquetry, one side
+representing a satirical tournament between the Papacy and Lutheranism,
+and the other a carousal of wild men. In front one sees the marqueteur
+with his tools doing his work, below which he has placed his monogram,
+L--D., accompanied by a cup.
+
+In the Museum at Leipzig is a very fine cabinet, with many drawers
+within, elaborately inlaid with arabesques on a light ground, with a few
+architectural forms in ebony projecting. It is Tyrolese work of the
+beginning of the 17th century, and is a typical example. To the few
+names of German intarsiatori may be added those of Isaac Kiening, of
+Frissen, and Sixtus Loblein, of Landshut.
+
+In the lower Rhine and in Holland tarsia was used for great and small
+chests, sideboards and doors with rich gable crownings, with good
+drawing of flowers, and sprigs of leaves with birds and beasts among
+them, the ground being generally light. The doors ordered by the Swedish
+Chamberlain, Axel Oxenstiern, now in the drinking-room of the King's
+Castle of Ulriksdal, near Stockholm, are said by Von Falke to be the
+finest examples extant of this kind of work, and to have been made in
+the 17th century by a Dutch craftsman. The best period in Holland was
+the second half of the 16th and the first half of the 17th century. In
+the work of this period the handling is broad, and the composition often
+a little over-full, but the many different woods which Dutch commerce
+made available seduced the marqueteurs into too pictorial a treatment in
+point of colour. Their reputation was so great that Colbert engaged two
+Dutch marqueteurs, Pierre Gole and Vordt, for the Gobelins at the
+beginning of the 17th century, and Jean Macé also learnt the craft by a
+long stay in Holland. Here, as well as in France and Italy, rich chairs
+were commonly decorated with marquetry, and in William and Mary's reign
+such things became the fashion in England. The design employed tulips
+and other flowers, foliage, birds, etc., all in gay colours; ivory and
+mother-of-pearl were used occasionally for salient points, such as eyes.
+Examples of the use and misuse of these materials may be seen in the
+Victoria and Albert Museum at South Kensington.
+
+[Illustration: Plate 43.--_Top of card table in the Drawing-room,
+Roehampton House. Dutch, 18th Century._
+
+_To face page 92._]
+
+[Illustration: Plate 44.--_Panelling from Sizergh Castle, now in
+Victoria and Albert Museum._]
+
+Although not much work of importance is known in England which is
+certainly the production of native craftsmen, a few notable examples may
+be called to mind, such as the room from Sizergh Castle, now at South
+Kensington, with inlays of holly and bog-oak, and the fine suite of
+furniture at Hardwick Hall, made for Bess of Hardwick by English workmen
+who had been to Italy for some years. Correspondence passed between her
+and Sir John Thynne on the subject of the craftsmen employed by both,
+and there seems no doubt that Longleat and Hardwick were the work of the
+same men. The inlays upon the long table are particularly fine, and
+except for a certain clumsiness almost recall the glories of the great
+period of Italian marquetry. The cradle of James I. (1566) is enriched
+with inlays.
+
+At Gilling Castle, near Wakefield, are some panels inlaid with flowers,
+etc., which local tradition says were executed by some of the ladies of
+the family, which probably points to their having been done under their
+superintendence by local workmen, and small panels of rough inlay are
+not uncommon in chest and bedstead, overmantel and cabinet from the
+Jacobean period onward. S. Mary Overie, Southwark, possesses a fine
+parish chest decorated with a good deal of Dutch-looking inlay in
+conjunction with carving, and a rather unusual piece of work may be
+seen at Glastonbury Hall, 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 1726. The use of satin wood
+came into fashion towards the end of the eighteenth century, and was
+accompanied by a delicate inlay of other woods, which, however, scarcely
+went beyond the simplest ornament, since the decoration of furniture by
+means of painting became fashionable at nearly the same period.
+
+[Illustration: Plate 45.--_Cabinet with falling front, in the
+drawing-room, Roehampton House._
+
+_To face page 94._]
+
+It was in France that the most wonderful achievements of the later
+marqueteurs were produced, which have made French furniture recognised
+by the public as well as by connoisseurs as an art manufacture, in
+conjunction with the wonderfully chiselled ormolu mountings. Mention is
+made of intarsia in France as early as the end of the fifteenth century,
+however. In the inventory of Anne of Brittanny's effects (1498) may be
+read "ung coffret faict de musayeque de bois et d'ivoire," and in a
+still earlier one of the Duke de Berry's, dated 1416, is mentioned a
+"grant tableau, où est la passion de Nostre Seigneur, fait de poins de
+marqueterie." This is as early as the intarsias of Domenico di Nicolò at
+Siena, and was probably of foreign manufacture. In 1576 a certain Hans
+Kraus was called "marqueteur du roi," but the first Frenchman known to
+have practised the art is Jean Macé of Blois, who was at work in
+Paris from 1644 or earlier to 1672 as sculptor and painter. He is said
+to have been the first who brought intarsia into France, under the name
+of "marqueterie," having been for some time in the Netherlands. His
+title was "menuisier et faiseur de Cabinets et tableaux en marqueterie
+de bois." He was lodged in the Louvre in 1644 (when Louis XIV. was six
+years old), "en honneur de la longue et belle pratique de son art dans
+les Pays Bas." His daughter married Pierre Boulle, who in 1619 was
+turner and joiner to the King, probably both to Louis XIII. and Henry
+IV. In 1621 Paul Boulle was born, and five years later Jacques. The
+family was settled at Charenton-le-Pont, near Paris, the principal town
+of the Huguenots for eighty years. Here, in 1649, Pierre Boulle was
+buried, the father of seven children. The earlier seventeenth century
+designs show picturesque landscapes or broken ruins or figures, _motifs_
+which recur a century later, as in the beautiful panel signed "Follet"
+in the Cabinet by Claude Charles Saunier in the Wallace collection. The
+colours are occasionally stained, and ebony and ivory are favourite
+materials. It is impossible to fix the exact time when copper and
+tortoiseshell came into use in France. Some of the cabinets in which
+they appear are certainly of the period of Louis XIII. It was probably
+imported either from Spain or Flanders; it became very fashionable
+about the middle of the seventeenth century, and ended by entirely
+absorbing the official orders of the Court of Louis XIV. With this work
+the name of Boulle is indissolubly associated. Pierre Boulle was lodged
+in the Louvre about 1642. In 1636 he is on the list for 400 livres
+annually. Jean Boulle died in the Louvre in 1680. He was the father of
+André Charles probably, who was born in November, 1642, and the nephew
+of Pierre. André Charles Boulle in 1672 succeeded to the lodging of Jean
+Macé in the same building, and seven years later by a second brévet to
+the "demilogement," formerly occupied by Guillaume Petit "to allow him
+to finish the works executed for His Majesty's service." It is told of
+him by a contemporary that the talented boy wanted to be a painter, but
+his father would not allow it, and insisted upon his keeping to
+handicraft. He was a man of most varied talent; when he was first
+granted apartments in the Louvre it was as "joiner, marqueteur, gilder,
+and chiseller," and in the decree of Louis XIV., by which he was
+appointed the first art-joiner to the King, he is called "architect,
+sculptor, and engraver." He had a passion for collecting drawings,
+paintings, and other works of art, and when his workshops were burnt his
+collection was valued at 60,000 livres. This taste brought him into
+money difficulties, and in 1704 his creditors obtained a decree
+against him, 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 them. He was a member of the Academy of
+S. Luke as sculptor and brass engraver. The Cabinet of the Dauphin was
+considered his masterpiece, in which the walls and ceiling were covered
+with mirrors in ebony frames, with inlays of rich gilding, and the floor
+laid with wood mosaic, in which the initials of the Dauphin and his wife
+were intertwined. The drawing made for it is now in the Musée des Arts
+Décoratifs, but the work itself no longer exists. On August 30th, 1720,
+his works were burnt, it was thought by a thief whom the workmen of
+Marteau, his neighbour at the Louvre, had surprised some months before
+and punished summarily, who, by way of vengeance on the "menuisiers,"
+set fire to the "ébénistes." Nearly everything he possessed was either
+burnt, lost, or stolen; models of the value of 37,000 livres, wood and
+tools worth 25,000, many pieces of furniture finished or in course of
+construction; works in metal, as well as in wood, and his whole
+collection of drawings, paintings, and objects of art. His total loss
+was estimated by experts at 383,780 livres, more than 1,000,000 of
+francs in the money of to-day, from which an income of 50,000 francs
+might be expected. This valuation was on an inventory drawn up shortly
+after, perhaps for the purpose of getting the King's help. The number of
+undeniable productions of his hand is small, but objects which came from
+the studio after his death are tolerably plentiful since his four sons
+carried on the business, though not the inspiration; contemporaries
+characterised them as "apes." Two commodes which were in Louis XVI.'s
+bedroom at Versailles are now in the Bibliothêque Mazarin, and a chest
+which was forgotten in the Custom House at Havre now belongs to the
+museum of that city. A cabinet is in the Mobilier National, and a
+pedestal is in the Grünes Gewölbe at Dresden. Other genuine Boulles are
+in the Wallace collection, in the Rothschild collection, and at the
+Hotel Cluny. A writing table, for which the millionaire Samuel Bernard
+(who died in 1739), a great collector of art treasures, had given 50,000
+livres, appears to be lost. M. Luchet asks, with some truth, "Can you
+imagine a financier, Jew or Christian, paying 100,000 francs for a new
+bureau? Old, it would be another thing--an object of art to sell."
+Boulle was most careful over his materials. He had 12,000 livres worth
+of wood in his stores, fir, oak, walnut, battens, Norwegian wood, all
+collected and kept long and carefully for the benefit of the work. He
+also used real tortoiseshell, which, is replaced in the economical art
+industry of the day with gelatine. The mountings were always chiselled,
+cast quite roughly, so that the artist did nearly everything. He was
+helped in this part of the work by Domenico Cucci and others. The inlay,
+instead of being tortoiseshell, may have been horn, mother-of-pearl,
+ivory, or wood; the motive, instead of brass, may be pewter, silver,
+aluminium, or gold; it is still known by the name of Boulle work. Boulle
+himself worked intarsia of wood also at intervals all through his life.
+He died February 29th, 1732.
+
+[Illustration: Plate 46.--_Cabinet belonging to Earl Granville. Boulle
+work of about 1740._
+
+_To face page 96._] [Illustration: Plate 47.--_Top of writing table in
+the Saloon, Roehampton House. Period of Louis XV._]
+
+[Illustration: Plate 48.--_Encoignure, signed J. F. Oeben, in the Jones
+bequest, Victoria and Albert Museum._
+
+_To face page 98._]
+
+His pupil, J. F. Oëben, became "ébéniste du roi," with a lodging in the
+_dépendances_ of the Arsenal in 1754. He was marqueteur especially.
+Examples of his work are both at South Kensington and in the Wallace
+collection, and in the Gallerie d'Apollon at the Louvre is the great
+secretary bureau, which he was making for Louis XV. at the time of his
+death, in or about 1765. His widow carried on the establishment; her
+foreman, J. Henry Riesener, completed the unfinished work. He was also a
+German, born in 1735 at Gladbach, near Cologne, and coming to Paris
+quite young entered Oëben's atelier. On his death he was made foreman,
+and two years after, when he was thirty-two years of age, married his
+master's widow. The year following 1768 he was received as master
+_menuisier ébéniste_. In 1776 his wife died, and six years after he
+married again, but was divorced as soon as the new legislation allowed
+it. When he was married the first time he had no fortune, but fifteen
+years after he declared in his marriage contract that there was then
+owing to him by the King, the royal family, and other debtors 504,571
+livres, without counting the finished objects in his warehouses, his
+models of bronze, his jewels, and personal effects, and several
+important life annuities. Between 1775 and 1785 he received from the
+Garde Meuble 500,000 livres, so profitable had the production of
+furniture of the highest class become. He was in full work at the time
+of the Revolution, and two of his finest pieces bear the dates 1790 and
+1791 in their marquetry. When the furniture of the royal residences was
+sold, Riesener bought back several pieces, being aided by Charles
+Delacroix, the husband of his first wife's daughter, who directed the
+sale at Versailles. He tried to sell these again, but with poor success,
+and when he died, on January 8th, 1806, at the age of 71, he was again
+almost without fortune. His beautiful bureau secretary in the Wallace
+collection, made for Stanislas Leczinski, King of Poland, and dated
+1769, shows him at his best. The workmanship is superb, and the design
+most pleasing, almost the only point to which exception may be taken
+being the crude green, obtained by staining, here and there. The
+half-length of Secrecy in the oval cartouche at the back is as good as
+the best Italian figure work, and was often reproduced by him. The
+flower panels are particularly delicate and beautiful. There is an
+upright secretary, also by him, in the same collection almost equally
+delicate and beautiful in its marquetry decorations. The diaper patterns
+so characteristic of this period are most beautifully executed, but are
+not very interesting, and the mountings take the interest rather from
+the marquetry, becoming more and more delicately designed and
+elaborately worked. The principal woods used by Riesener were tulip and
+rose wood, holly, maple, laburnum, purple wood, and sometimes snake
+wood. His contemporary, David Roentgen, used principally pear, lime, and
+light-coloured woods, burnt for the shades.
+
+[Illustration: Plate 49.--_Panel from back of Riesener's bureau, made
+for Stanislas Leczinski, with figure of Secrecy._
+
+_To face page 100._]
+
+[Illustration: Plate 50.--_Roundel from bureau, made for Stanislas
+Leczinski, King of Poland, now in the Wallace Collection._
+
+_To face page 102._]
+
+Paris has endured a regular invasion of German craftsmen from the middle
+of the eighteenth century, and the Faubourg S. Antoine still has a
+number of German-born joiners among its workmen. Among the most
+celebrated of them was David Roentgen, born either at Neuwied or
+Herrenhagen in 1743. In 1772 he succeeded his father, Abraham Roentgen,
+in his business at Neuwied am Rhein, which he had founded in 1753, and
+from which he retired into the house of the Moravian brethren, where he
+lived for twenty years longer. The engraver Wille relates that he came
+to his house in Paris in 1774 with letters of recommendation, and that
+he put him in touch with designers and sculptors. When Marie Antoinette
+became Queen he was appointed "Ébéniste méchanicien" to the Queen. He
+was in such good odour with her as to be charged on several occasions to
+carry presents to her mother and sisters. Her favour excited the
+jealousy of the other joiners, and they contested his right to sell
+foreign-made furniture. He got out of this difficulty by being admitted
+a member of their corporation on May 24th, 1780. He was so entirely
+master of his craft, and increased its resources so much by using exotic
+woods, that contemporary opinion thought it difficult to imagine greater
+success in the particular direction in which he worked. In 1779 he
+showed a table of marquetry, made in a new fashion, which he described
+as a mosaic, "in which the shades are neither burnt, nor engraved, nor
+darkened with smoke, as one has been obliged to express them until now,"
+a return in fact to the earlier Italian method. His designs were many of
+them made by Johann Zick of Coblenz, others by Jean Baptiste Le Prince,
+chinoiseries, and shepherd games. Under him the later German marqueterie
+reached its highest point. His works went all over Europe, from St.
+Petersburg to Paris, and replicas were ordered by those who were obliged
+to forego the originals. He sold to Catherine of Russia a series of
+articles of furniture for 20,000 roubles, and the Empress added a
+present of 5000 roubles and a gold snuff-box. The King of Prussia was
+his constant protector, and in February, 1792, gave him the title of
+Secret Councillor, and in November of the same year named him Royal
+Agent on the Lower Rhine. The Revolution ruined him, and he was obliged
+in 1796 to close his factory. He abandoned France at this period, and
+the Government, considering him as an "Emigré," seized all his effects
+in 1793, including the furniture made at Neuwied, then in his stores. He
+died at Wiesbaden in 1807. With him these incomplete historical notes
+may terminate. Many of the names mentioned are but names, while in many
+cases names and works cannot be connected, for the carver and
+intarsiatori were often, like other craftsmen, content to do the work
+without caring about the reputation of doing it; 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 rarity, and certainly do not show them
+to any disadvantage compared with other artists, or those among whom
+their lives were passed.
+
+
+
+
+THE PROCESS OF MANUFACTURE
+
+
+The early mode of working intarsia in Italy, where it is more than 100
+years more ancient than in any other country, was by sinking forms in
+the wood, according to a prearranged design, and then filling the
+hollows with pieces of different coloured woods. At first the number of
+colours used was very small--indeed, Vasari says that the only tints
+employed were black and white, but this must be interpreted freely,
+since the colour of wood is not generally uniform, and there would
+consequently often be a difference in tint in portions cut from
+different parts of the same plank. A cypress chest of 1350, now in the
+Victoria and Albert Museum, shows another mode of decoration standing
+between tarsia proper and the mediæval German and French fashion of
+sinking the ground round the ornament and colouring it. In this example
+the design is incised, the ground cleared out to a slight depth, and the
+internal lines of the drawing and the background spaces filled in with a
+black mastic, the result much resembling niello. 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 Siena, which, though
+an early work of Domenico di Nicolò, are well considered in design, well
+executed, and quite satisfactory in point of harmony between material
+and design.
+
+[Illustration: Plate 51.--_Antonio Barili at work, by himself._
+
+_To face page 104._]
+
+At the commencement of the Renaissance the fancy of the intarsiatori
+overflowed in the most graceful arabesques, which are perfectly suited
+to the material and are often executed with absolute perfection, and
+these may perhaps be held to be the most entirely satisfactory of their
+works, though not the most marvellous. The ambition of the craftsman led
+him to emulate the achievements of the painter, and we find, after the
+invention of perspective drawing, views of streets and other
+architectural subjects, which are not always very successful, and the
+representation of cupboards, the doors of which are partly open, showing
+objects of different kinds on the shelves, which are often rendered with
+the most extraordinary realism, when the means adopted are
+considered.[3] This realism was much assisted by Fra Giovanni da
+Verona's discovery of acid solutions and stains for treating the wood,
+so as to get more variety of colour, and by the practice of scorching
+portions of the pieces of which the subject was composed, thus
+suggesting roundness by means of shading. It was a common practice to
+increase the decorative effect by means of gilding and paint, thus
+obtaining a brilliancy of colour at the expense of unity of effect
+sometimes, one may think, 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 times. At the best period it was used almost entirely
+for church furniture and the furnishings of public edifices, in Italy at
+least, and many of the ranges of stalls still occupy their original
+positions.
+
+[Illustration: Plate 52.--_Panel from the Victoria and Albert Museum._
+
+_To face page 106._]
+
+The principal woods used in the work of the best period were pear,
+walnut, and maple, though pine and cypress also appear. Ebony was
+imitated with a tincture of gall apples, green was obtained with
+verdigris, and red with cochineal. Sublimate of mercury, arsenical acid,
+and sulphuric acid were also used to affect the colour of the wood. This
+treatment lessened its lasting power, and often caused its decay through
+the attacks of worms. The scorching was done with molten lead, or in
+very dark places with a soldering-iron. It is now done with hot sand.
+The following technical description is taken from a German book of
+1669--"Wood-workers paint with quite thin little bits of wood, which
+are coloured in different ways, and the same are put together after
+the form of the design in hollowed-out panels, fastened with glue and
+polished with an iron on the surface so that they may become quite
+smooth. They paint at the present time in this manner tables and jewel
+chests or trays, and all in the highest artistic manner. Also separate
+pictures are put together, which copy the works of the most celebrated
+masters. First, they take small, very thin pieces of pear or lime dyed
+through with different colour-stuffs, which are prepared by certain
+processes, so that the wood is the same colour within and without. Then
+they give them their several shapes as the kind of picture requires,
+cutting them according to the size and shape, and stick them with glue
+on the board. In the place of wood they sometimes use bone, horn, and
+tortoiseshell cut into fine strips, also ivory and silver. The whole
+work is called by the Germans 'Einlegen' or 'Furnieren,' because
+although each piece is separate from the others no part is taken out
+from the surface in which such figures are inlaid, but the whole is
+covered." With the use of the fret-saw for cutting the patterns, and the
+consequent discovery of the possibility of counterchanging the ground
+and the design (that which was black becoming white, and _vice versâ_),
+called male and female forms, the manufacture of tarsia, or marquetry
+rather, commenced to take a more commercial aspect, the cost being
+considerably reduced by the making of several copies by one sawing. This
+is the process used at the present day.
+
+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 wood, and also on the level grounding
+out of the matrix. In Spanish and Portuguese work ivory or ebony pins or
+pegs were used also. Marquetry is a form of veneering, and the operation
+is thus conducted:--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 clean, newly-worked surface; the ground is then well wetted with
+glue, at a high temperature, and the two surfaces pressed tightly
+together so as to squeeze as much out as possible. The parts are screwed
+down on heated metal beds, or between wooden frames, made so as to
+exactly fit the surfaces in every part, called "cauls," until the glue
+is hard. In cutting the patterns of Boulle work two or three slices of
+material, such as brass and tortoiseshell or ebony, are glued together
+with paper between, so that they may be easily separated when the
+cutting is done. Another piece of paper is glued outside, upon which the
+pattern is indicated. A fine watch spring saw is then introduced
+through a hole in an unimportant part of the design, and the patterns
+sawn out as in ordinary fretwork. The slices are then separated, 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
+pattern. When there are only two slices of material the technical term
+for them is Boulle and Counter. When the various parts have been
+arranged in their places, face downwards, paper is glued over them to
+keep the whole in place, and filings of the material rubbed in to fill
+up any interstices. The whole is then toothed over and laid down in the
+same manner as ordinary veneer, the ground being first rubbed over with
+garlic, or some acid, to remove any traces of grease. Marquetry of wood
+is made in the same way, but more thicknesses of wood are put together
+to be sawn through, as many as four not being an unusual number, while
+for common work even eight may be sawn at one time, and the various
+sheets are pinned together only with a stiff backing of common veneer of
+good thickness to steady the work. Dye woods are used as far as
+possible, and holly stained to the required colour serves for greens and
+blues and a few other tints. Pearl is always cut in one thickness, and
+is glued down on a backing of wood at least 1/8-inch thick.
+
+Another mode of cutting the design approximates more nearly to the
+ancient practice. The whole design is drawn on paper attached to the
+ground, or counter, and cut out entirely. The various portions of inlay
+are then cut from different veneers of the desired colour and fitted
+into their places. Another method is to paste the paper with the whole
+design on the ground, and on it to paste the various ornaments cut from
+suitable veneers, then to cut through the ground, the saw grazing the
+edges of the ornamental forms. The parts so cut out are then pushed
+through the ornaments, separated from the paper, and laid down in the
+vacant places. A variation on this method is to cut out the forms to be
+inlaid in different veneers, and glue them in their proper positions on
+a sheet of paper. A sheet of white paper is pasted on the veneer, which
+is to serve as the ground. A sheet of blackened paper is laid over it,
+and over this the sheet with the forms to be inlaid, which are then
+struck with a light mallet, so as to print an impression of their edges
+upon the paper. The printed shapes are then cut out one at a time, care
+being taken to make the saw exactly follow the outline. The object of
+all these processes is, of course, to ensure the ground and the inlaid
+forms exactly fitting. After cleaning the surface from paper and glue it
+is smoothed with plane and scraper, and the markings on leaves or other
+figures made by a graver, if not already made by saw cuts, and they and
+the lines between the male and female forms are filled with shellac or
+wood-dust and glue.
+
+In Germany the veneers used are one to two millimetres thick, _i.e._,
+one-twenty-fifth or two-twenty-fifths of an inch. The principal woods
+used are walnut, pear, ash, bird maple, holly, olive, amboyna, rose
+wood, violet wood, thuya, and palisander, which name is also used on the
+Continent for rose wood and violet, though it is really a sort of cedar.
+Tortoiseshell, ivory, and metal plates are also used, principally of
+pewter, brass, and zinc. Seeman's Kunstgewerbliche Handbücher advise
+thus:--"When ivory or hard precious metals are used it is better to
+divide the design into smaller parts. To avoid damage to the effect by
+time and change of colour in the woods such combinations as the
+following are to be preferred:--Mahogany and black walnut, pear and
+black walnut, Hungarian ash and black thuya, pear and palisander, brass
+and black, etc. For fine, small ornament smooth, even-textured woods
+should be used such as pear, mahogany, maple, or holly; for broad
+patches and backgrounds, which are not required to be dark, you should
+use patterned or streaked woods, like bird maple, amboyna, thuya, or
+olive. Ivory, mother-of-pearl, and metals in large pieces look hard and
+loud, so it is better to use them in quite small pieces. If engraved,
+larger pieces may be employed and used for inscription tablets, coats of
+arms, and cartouches, or for bits of figures, birds, and butterflies.
+Shading may be done in various ways. Lines may be engraved and filled up
+with a glue cement, or hatchings may be drawn with a scorching solution,
+or the wood may be burnt with hot sand. The sand is made hot in an iron
+pot, and the piece to be darkened inserted. Or it may be scorched with a
+hot iron or spirit or gas flame. The simplest way is with the poker used
+in poker work." In England the sand is heaped upon a metal plate which
+is heated underneath. The veneer is held with tweezers and pushed into
+the sand, the gradation of heat giving gradation of tone. The hot sand
+shrinks the wood, and allowance must be made for this.
+
+Veneers are both saw and knife cut; the saw wastes about as much as the
+thickness cut in sawdust. They range from 8 to 15 to the inch. The
+French saw-cut their veneers thinner than the English do.
+
+The woods in every-day use at the present day are white holly, box, pear
+(in various shades), and holly (dyed all colours); while the veneer
+merchants sometimes supply also planetree, sycamore, chestnut,
+Brazilwood, yellow fustic, barwood, tulipwood, kingwood, East and West
+India satinwood, rosewood, ebony, ash, harewood, Indian purplewood,
+hornbeam, and snakewood. Bird's-eye maple and partridgewood may also be
+bought.
+
+Dye woods used for marquetry--Braziletto, cam wood, logwood, Nicaragua,
+red sanders, sapan, ebony, fustic (a species of mulberry), Zante (a
+species of sumach). "Ebony is the black pear tree of Madagascar, at
+least they make cider of its fruit." So says M. Luchet in an interesting
+excursus on furniture manufacture in his book on the Paris Exhibition of
+1867, in which he gives further details of ancient manufacture and its
+modern imitation. "I know a factory," he says, "where the tortoiseshell
+is false, the mother-of-pearl false, the ivory holly wood; the brass is
+the only real thing, because science applied to industry has not yet
+found out how to imitate it. When Boulle employed wood in his work it
+was ebony--they have abandoned that for blackened pear wood, under the
+pretext that ebony is a hard, close wood which twists, splits, and
+cracks, takes glue badly, and refuses varnish. So that they call a man
+who never uses ebony 'ébéniste.' They did not trouble about these things
+in the time of Louis XIV. They never varnished their furniture, so it
+did not matter that ebony would not take varnish.... There are two sorts
+of tortoiseshell, that of the Antilles, often bad and scaly, but good
+enough for common work, because it is thin and equal in thickness, and a
+little carmine vermilion gives it a not unpleasant red tint. The Indian
+tortoiseshell is thick and opaque and unequal, demanding preparation and
+welding. It can only be used for expensive work, and takes easily a
+black preparation which makes it magnificently austere." One ought to
+mention here that good shell was often treated with carmine vermilion or
+with gold, and that without a colour background it loses half its beauty
+and value.
+
+"In modern times six or eight couples of shell and metal are sawn
+together, whereas two was the number in the fine period. This saves
+money. A new Boulle bed, secretary, or chest of drawers should cost 15
+to 20,000 francs. You may easily get one for 2000 made of rubbish. An
+honest chest of drawers with tolerable mountings is worth 1500 francs.
+In gelatine tortoiseshell and brass or zinc of the future 100 is the
+price.... The mode still practised in Paris of making a good 'placage'
+in preparation for marquetry or Boulle work is as follows:--A thicker or
+thinner sheet of Italian poplar is placed between two sheets of oak with
+the grain the other way, then on the external sheet of oak is placed the
+wood intended to be seen, also with the grain the other way, the whole
+of convenient thickness, and glued with the best glue. Good glue is the
+nurse of the wood, say the masters. These four or five thicknesses of
+wood pulling against each other neutralise all bad effects, and the
+result is very good. The external covering is usually either mahogany,
+American walnut, or violet wood (a sort of cedar). Sometimes it is
+ebony, or perhaps a collection of small pieces of wood, such as acacia,
+which are called by all sorts of pretty names. It is of this fine and
+good 'plaqué' that they still make cupboards at 1000 francs, beds at 600
+francs, and bureaus at 800 francs, which are the success and the pride
+of Parisian joinery." The marqueteurs of Nice made use of olive for
+veined grey backgrounds, orange and lemon for pale yellow, carob for
+dark red, jujube tree for rose colour, holly for white, and charred fig
+for black; arbutus served for dark flesh, and sumach for light.
+
+It is advisable after the marquetry has been put together to reduce the
+surface to a level and do something in the way of polishing, though it
+is not necessary to carry the process as far as is often done by the
+cheap furniture manufacturers. If nothing but wood has been used, the
+surface should be reduced to a level with a toothing plane and scraped
+with a joiner's scraper, taking care to apply it obliquely to the joints
+as far as possible, so as to avoid digging down and so failing in the
+object aimed at. If done very well and carefully it sometimes only
+requires to be rubbed down with its own shavings, but it is more usually
+necessary to follow with a worn piece of glass-paper on a flat piece of
+cork, but the dust must not be allowed to collect into hard lumps upon
+it, as these lumps would scratch the surface. Holtzapffel says that when
+metal, ivory, pearl, shell, or tortoiseshell are mixed with the wood the
+surface must be carefully levelled with flat files, ending with a very
+smooth one, after which the scraper should be used if possible and
+followed by glass or emery paper very sparingly. When metal
+preponderates emery paper is best, and really good _sand_ paper may also
+be used, but all paper should have very little "cut," should be applied
+dry, and allowed to become clogged, so as to act principally as a hard
+dry rubber or burnisher. If the polishing is at all in excess the wood
+will get rubbed or worn down below the metal. 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 powder, much
+like polishing marble, using oil instead of water. Wet polishing should
+not be used for inlaid works; the water may soften the glue. A
+superficial wetting is likely to warp the woods and make them curl up at
+the edges, and the grain of the wood is almost certain to rise. Oil is
+better than water, but light woods are almost certain to become stained
+by polishing powders and fluid. To avoid this modern marquetry is often
+covered with varnish applied with friction like French polish, or laid
+on in several coats with a brush and polished off with pumice and rotten
+stone, like the Vernis Martin, being first levelled with a file or
+scraper and smoothed with glass-paper.
+
+FOOTNOTES:
+
+[3] The panel illustrated from the Albert and Victoria Museum is a good
+average specimen of this kind, but not quite a masterpiece.
+
+
+
+
+THE LIMITATIONS AND CAPABILITIES OF THE ART
+
+
+The process described, by which the early works in intarsia were
+produced, was slow and tedious; and, as may be supposed, though fame
+might be won by its exercise, the winning of fortune was a very
+different thing. Domenico di Nicolò, who made the stalls in the chapel
+of the Palazzo Pubblico, Siena, and was thence called "del Coro," or
+"dei Cori," a name which descended to his children in place of their
+proper name of Spinelli, is an example in point. The petitions to the
+priors already referred to, printed in Milanesi's Documenti per la
+Storia dell' Arte Senese, show how little a man of talent, who was
+constantly employed for many years and gained great reputation in his
+art, could do to provide for his old age; and many returns of both
+painters, sculptors, and woodworkers, made for the purposes of taxation
+and printed in the same book, show that even in a great and flourishing
+town like Siena, which prided itself on its artistic reputation, it was
+often most difficult for the craftsmen, on whose work that reputation
+was based, to make a living.[4] It is true that there were thirty-four
+workshops for wood carving and intarsia in Florence at one time (1478,
+as Fabroni says in his life of Lorenzo the Magnificent), from which one
+may conclude that work of a certain sort was plentiful and lucrative,
+and panels of intarsia were certainly sometimes exported, but it may be
+observed that all the most celebrated intarsiatori practised some other
+form of art also, and generally abandoned intarsia sooner or later; the
+exceptions being those who belonged to the Olivetan and Dominican
+orders, and therefore had no anxiety about their living. Of these
+craftsmen the most celebrated were Fra Giovanni da Verona and Fra
+Damiano of Bergamo, whose works were so elaborate and so finely executed
+as to excite the suspicion that they were painted with the brush, though
+supposed to be executed with wood and the chisel. The anecdote of the
+Emperor Charles V.'s trial of Fra Damiano's tarsia panel in S. Domenico,
+Bologna, attests the wonderful quality of the work, and its success in
+attaining a doubtful aim, 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 brush. The designs from which the
+intarsia was executed were often furnished by painters of repute, and
+pictures or portions of pictures were copied, a proceeding which Fra
+Giovanni's discovery of stains and washes of different kinds made
+easier, until the proper limits of the art were far overpassed, and its
+decorative quality quite lost sight of in the attempt to rival a form of
+art the requirements of which were quite different. The beautiful
+arabesques, which the designers of the early Renaissance poured forth
+with exhaustless fertility, show the capabilities of the process for
+decorating flat surfaces, and the perspectives of cupboards and
+buildings were often most successful without passing the limits imposed
+by the material.
+
+The question of the limits within which the craftsman's effort should be
+confined in any form of art craftsmanship is a thorny one, for the
+attempt to overstep those limits has always had attractions for the
+craftsman who is master of his craft, and who sighs for fresh fields to
+conquer, knowing better than the outsider what are the difficulties
+which he has overcome successfully in any piece of work from the side of
+craftsmanship, though often with disastrous results when the matter is
+regarded from the point of view of excellence in design and purity of
+taste. 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
+illegitimate; and if this be so, it is equally illegitimate to stain any
+of them; but it is undeniable that a great addition to the resources of
+the inlayer was made by the discoveries of Fra Giovanni, and it seems
+unreasonable to refuse to make any use of them because later
+intarsiatori abused these means of gaining effect. The earliest work, it
+is true, depends mainly upon silhouette for its beauty, but does not
+altogether disdain lines within the main outline, and the abandonment of
+these inner lines, whether made by graver or saw, so reduces the
+possibilities of choice of subject as to restrict the designer to a
+simplicity which is apt to become bald. A great deal may be done by
+choice of pieces of wood and arrangement of the direction of the
+lines of the grain; some of Fra Giovanni's perspectives show very
+suggestive skies made in this manner, and Fra Damiano was very
+successful in thus suggesting the texture of much veined and coloured
+marble and of rocks, but directly the human figure enters into the
+design these expedients are felt to be insufficient and inexpressive,
+and inner lines have perforce to be introduced. The opposite extreme is
+such work as the panels by the brothers Caniana in the Colleoni Chapel
+at Bergamo, in which the composition and drawing of the figures recall
+the designs of the Caracci, and the technique of the shading reminds one
+of a copper plate, while the tinting and gradation of the colours take
+away all impression of a work in wood, substituting that of a coloured
+engraving. Here it is quite evident that the desire to imitate pictorial
+qualities has led the craftsman far away from what should have been his
+aim, viz., to display the qualities of the material which he was using
+to the best advantage, consistently with the position and purpose of his
+work in it. Not that perfection of workmanship is to be decried, though
+it is only occasionally that one is able to make use of, or indeed
+produce it. But the æsthetic 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
+giving. Notwithstanding the beauty of much of the marquetry of the
+periods of Louis XIV. and Louis XV., one often feels that design has
+been put to one side in the endeavour to gain a realistic effect, and
+the same defect may be traced more clearly in the clumsier Dutch and
+German productions. Even in the Italian work of an earlier date every
+now and then the same fault peeps out, though the excellent taste of the
+nation at that period prevented the Italians from falling into such
+excesses, and one generally feels the wood even in their most elaborate
+perspectives. It may be asserted in a general way that the more colours
+are used the less likelihood is there of the effect being quite
+satisfactory, and that any light and shade introduced should be of the
+simplest kind. A slight darkening of parts of the wood to gain a certain
+suggestion of roundness is quite admissible, but the expedient should be
+used with discretion, lavish employment of it leading to heaviness of
+effect and a monotony of tone which are most unpleasing. If ivory or
+metals are introduced the greatest care is necessary to prevent them
+from giving a spotty and uneven effect to the design, for neither these
+two materials nor mother-of-pearl marry quite with the tone of the wood;
+and this inequality is likely to increase with age, as the wood becomes
+richer and mellower in colour. Such materials should be so used that
+the points where they occur may form a pattern in themselves
+independently of the rest of the design, so that the effect may be
+pleasing at first sight, before the general meaning of the less
+prominent details is realised. Any other way of using them courts
+failure, since the effect of the whole design is ruined by the
+uncalculated prominence and inequality of these materials here and
+there. The Dutch sometimes made use of mother-of-pearl, in pieces upon
+which engraving broke up the hard glitter of the material, mingled with
+brass wire and nails or studs driven into the surface of the wood. The
+two materials appear to be quite harmonious, and small articles
+decorated in this manner are effective and satisfactory. The Italian use
+of ivory for the decoration of musical instruments, chess and backgammon
+boards, and other small objects is almost always successful, the
+proportion between wood and ivory being well judged, and the forms of
+the ornament pleasing.
+
+[Illustration: _To face page 122._
+
+Plate 53.--_Panel from S. Maria in Organo, Verona._]
+
+The modern French marquetry, though exceedingly clever and beautiful in
+its use of various woods, errs by want of consideration of the surface
+to be decorated, the subjects flowing over the surfaces and overflowing
+the proper boundaries very often; and also sins in using many woods of
+very slightly different tones and textures, which will almost certainly
+lose their reciprocal relation in the course of time, and thereby their
+decorative effect. The ancient intarsias were made of a small number of
+different woods, and the effect was kept simple; pear, white poplar,
+oak, walnut, and holly almost exhaust the list; while even Roentgen's
+work, in which he used a larger number of woods, including some of those
+foreign trees which Dutch commerce made available for him, has suffered
+from their changing and fading. I would advise the marqueteur to
+disregard most of the many foreign woods now in the market, and content
+himself with simple and well-proved effects for the most part, trusting
+rather to beauty of design to give distinction to his work than to
+variety of colour and startling effects of contrast.
+
+[Illustration: Plate 54.--_Panel from S. Maria in Organo, Verona._
+
+_To face page 126._]
+
+It is the fashion at the present day to exhort the designer to found his
+design upon the study of nature, which is right enough if accompanied by
+discretion and a feeling for style. In many mouths, however, the
+exhortation means that the copying of natural forms is advised, and
+often, if one may judge from the examples which one sees around one,
+without selection either of subject or form. Now it is obvious that it
+is sometimes the beauty of form in natural objects which attracts the
+eye, and sometimes the beauty or strangeness of colours, either in their
+combination or from the unusual tint. And while the former quality
+fits the object for translation into ornament, by means of
+simplification and repetition, 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 composition. Certain forms
+of flowers and leaves are also suitable for ornament expressed in a
+certain way, and when this harmony occurs the representation of nature
+is satisfactory as ornament; but the reverse is very often shown to be
+the case in work of a more modern type, in which the design is based on
+the dictum that the copying of natural forms will produce ornament. It
+is not the copying of natural forms, but the ordering of the spaces, the
+arranging and balancing of line and mass, and the adaptation of means to
+ends which produce satisfactory decoration, and in the best Italian
+intarsias founded upon freely-growing, natural plants this is well
+shown. The observation of natural growth shown in illustrations Nos. 53,
+54, and 55 is considerable, but the panels are not so beautiful because
+the bay, the pink, or the lily are so well rendered, but because the
+pattern of waving lines is so well fitted to the space it has to fill,
+and the shapes of the silhouettes are so expressive. In the later French
+marquetry we often find an equal or almost equal dexterity in expressing
+the natural form, and an almost greater cleverness in adapting the
+design to the material; 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 unsurpassable.
+
+Certain remarks made by Mr. Stephen Webb, in a paper read to the Society
+of Arts on April 28, 1899, as to the qualities which the designer or
+craftsman must possess for successfully producing intarsia, are worth
+reproducing here as the sayings of a man who himself has done much
+beautiful work of the kind. "Tone harmony, and in a limited degree, the
+sense of values, he must certainly cultivate. He must be able to draw a
+line or combination of lines which _may_ be ingenious if you like, but
+_must_ be delicate and graceful, vigorous withal, and in proper relation
+to any masses which he may introduce into his design. He must thoroughly
+understand the value of contrast in line and surface form, but these
+matters, though a stumbling block to the amateur, are the opportunities
+of the competent designer and craftsman. The most charming possibilities
+of broken colour lie ready to his hand, to be merely selected by him and
+introduced into his design. If the wood be properly selected shading is
+rarely necessary, and if it is done at all should be done by an artist.
+In the hands of an artist very beautiful effects may be obtained, the
+same kind of wood being made to yield quite a number of varying shades
+of colour of a low but rich tone. Over-staining and the abuse of shading
+are destructive. Ivory has always been a favourite material with workers
+in tarsia, and in the hands of an experienced designer very charming
+things may be done with it. There is, however, no material suitable for
+tarsia which requires so much care and experience in its use. It is
+ineffective in light-coloured woods, and in the darker ordinary woods,
+such as ebony, stained mahogany, or rosewood, under polish, the contrast
+of colour is so great that the ivory must be used very sparingly. The
+ivory is sometimes stained in order to bring its colour more into
+harmony with a dark wood-ground, but it is never quite satisfactory. The
+use of inlay makes the direction from which the light enters the room a
+matter of no moment, so long as the light reaches the object decorated."
+
+The effect of intarsia has been sought by various imitative processes,
+some of which are indistinguishable from it except by close inspection.
+In one of these wax, either in its natural state or tinted with an
+addition of powder colour, was used; in another glue mixed with whiting
+or plaster, also sometimes tinged, or red lead. On April 7, 1902, a
+paper was read at the Royal Institute of British Architects on wax
+stoppings of this kind by Mr. Heywood Sumner, in the course of which he
+said that the process he himself had used was as follows:--"First trace
+the design on the panel of wood to be incised; cut it, either with a V
+tool or knife blade fixed in a tool-handle; clear out the larger spaces
+with a small gouge, leaving tool-mark roughness in the bottoms for key;
+when cut, stop the suction of the wood by several coats of white, hard
+polish. For coloured stoppings, resin (as white as can be got), beeswax,
+and powdered distemper are the three things needful. The melted wax may
+be run into the incisions by means of a small funnel with handle and gas
+jet affixed; it is attachable to the nearest gas burner by india-rubber
+tubing, so that a regulated heat can be applied to the funnel. When thus
+attached and heated, pieces of wax of the required inlay colour are
+dropped into the funnel, and soon there will be a run of melted wax
+dropping from the end of the funnel-spout, which is easily guided by
+means of the wooden handle, and thus the entire panel may be inlaid with
+the melted wax. Superfluous surface wax is cleared off with a broad
+chisel, so as to make the whole surface flush. The suction of the wood
+is stopped by means of white, hard polish, otherwise the hot wax will
+enter the grain of the wood and stain it. Incised panels may be filled
+successfully with japanner's gold size and powdered distemper colour,
+using a palette knife to distribute the slab mixture. A close grain is
+the one thing needful in the wood. As to design, that which is best
+suited may be compared to a broad sort of engraving." Red lead was also
+used sometimes, 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 whiting, glue, and linseed oil.
+
+[Illustration: Plate 55.--_Panel from S. Pietro in Casinense, Perugia._
+
+_To face page 130._]
+
+At Hardwick some of the door panels are painted with arabesques in
+Indian ink, and varnished (a process also employed on several pieces of
+furniture in the South Kensington collection), and even in certain
+cases, no doubt under the direction of Bess of Hardwick, engravings have
+been stuck on the panels, tinted, surrounded with similar painting, and
+then similarly varnished over. The sacristy cupboards at S. Maria delle
+Grazie, Milan, called "Lo Scaffale," show paintings of no less an artist
+than Luini, the ornamental part of which is intended to simulate tarsia.
+
+For small objects, such as trinket boxes, a marquetry of straw tinted to
+different colours was sometimes employed, which, though not very
+lasting, in the hands of a worker who possessed taste in colour
+sometimes produced pleasing results, a form of work practised both in
+Holland and England, and lasting well into the 19th century. The writer
+possesses one or two objects decorated by this process which were bought
+from the French prisoners taken in the Peninsular War, who provided
+themselves with little luxuries by making and selling them. In all these
+imitative processes the question of design becomes of the very highest
+importance, since the material has neither beauty nor intrinsic value in
+itself; and here, even more than in many other forms of manufacture, the
+presence and influence of the intelligent designer is most desirable,
+and should be paramount.
+
+FOOTNOTES:
+
+[4] In 1453 Matteo di Giovanni Bartoli, painter, says that he possesses
+the half of certain tools and appliances of his art, which are not worth
+20 florins, and that the other half belongs to Giovanni di Pietro,
+painter, his partner. That they are in a house or dwelling that they
+hire from Guicciardo Forteguerri in the Palazzo Forteguerri, which they
+have as a house and not a shop, and that he has nothing else in the
+world but a few debts (!). He says that he makes no profit, but is
+learning as well as he can, and that his uncle, Ser Francescho di
+Bartolo, the notary, keeps him. This is a young and promising artist who
+cannot get on. Priamo della Quercia, brother of the celebrated sculptor
+Jacopo della Fonte, painter, says that he is poor and without anything
+to live on; that he has a girl of marriageable age and a young boy; that
+he owes money to several people. He had a dower of 200 florins which
+came from a possession which the nuns of Ogni Santi held, because they
+said that they were heirs to his daughter-in-law, a nun in that convent
+(!) and they had kept possession for six years and he could not sue
+these nuns at law on account of his poverty. There are several documents
+referring to money and property which his brother left to this man, but
+which he seems to have difficulty in obtaining possession of, and he
+gives one the impression of being unfortunate through life. In the same
+year Antonio di Ser Naddo, painter, says he has a house with an oven
+within the walls of Siena, "male in ponto," in which he lives in the
+Contrada of Camporegi. That he has three useless mouths in the house
+which gain nothing, two children, one a boy, and the other a girl of
+marriageable age, but if he dowered her, so that she could be married,
+he would have nothing to live on. Also that he owes 20 florins to
+various people. In the same year others, both painters and woodworkers,
+complain that they have nothing to live on and owe money, some saying
+that they have become old and poor in the art. In 1478 Ventura di Ser
+Giuliano, architect and woodcarver, says that he has a little house in
+the city division in the place called of S. Salvador, and that he is
+away at Naples because of his debts, for he is afraid to return. That he
+owes Ser Biagio, the priest, 80 florins and other persons 402. In 1488
+Giovanni di Cristofano Ghini, painter, says that he has a vineyard at
+Terraia in the commune of S. Giorgio a Papaino from which he receives in
+dues about 24 florins. That he has a wife and three sons and nothing to
+keep them on. That five years ago he had sold all that he had in the
+house, for times were very bad. 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 years. 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 hunger, and that they
+have a girl of marriageable age in the house, his sister, "Che è il
+fiorimento d'ognichosa." In the same year Benvenuto di Giovanni says
+that he is obliged to work away from Siena because his gains are so
+small; and finally in 1521, Ventura di Ser Giuliano di Tura petitions
+the Balia as follows:--He was a master joiner and says that he passed
+his youth and almost all his age in gathering ancient objects and
+carvings, which the craftsmen of the city have copied, so that one may
+say that the antique in the city has been re-discovered by his labours.
+But that he has not by this benefit to the craftsmen provided for his
+old age, since both he and his wife have been very unwell for years
+past, and that he finds himself old, with four little daughters, "one no
+heavier than the other," so he asks for a little pension of eight lire a
+month (which has been suspended apparently), so that he may not have to
+go to the hospital for bread with his wife and the four little ones.
+
+
+
+
+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
+Verona, to whom Vasari ascribes the invention, but is most distinctive
+of the work of the later Dutch and French marqueteurs. Receipts for the
+purpose were handed down from master to pupil, and while sometimes held
+as traditional secrets to be jealously guarded, were sometimes committed
+to writing; and several of these manuscripts have come down to us. The
+following have been collected from French, German, and Italian sources,
+and though not all of equal value, show the way in which the ancient
+workers produced the effects, most of which we admire in the present
+day:--
+
+To stain wood yellow (No. 1).--Put saffron in water, and when it is well
+steeped place the jar over hot coals. Then spread the stuff over boxwood
+with a brush. To make it brilliant let it dry, and put it with oil on
+the wood to be coloured. (No. 2.)--Take the plant turmeric (curcuma
+longa), grind it to powder; put an ounce into a pint of spirit (12
+oz.), and leave it for a day. If the tone is required reddish, add some
+dragon's blood. (No. 3.)--A cheaper but duller colour is to be obtained
+from steeped French berries, then dried, with weak alum water brushed
+over it. Thin pieces are dipped in it. The solution of French berries
+may be made thus--Take 1 lb. of French berries, and a gallon of water
+with 1/2 oz. of alum; boil for an hour in a pewter vessel, and filter
+through paper. Evaporate till the colour appears strong enough. Another
+receipt says 4 oz. of French berries put to steep in a pint of water is
+to have added to it 1 oz. of hazel nuts and as much alum. Wood may also
+be stained yellow with _aqua fortis_, used warm, and then immediately
+placed near the fire. The _aqua fortis_ must not be too strong, or the
+wood will go brown or black. This is apparently the same thing as Vasari
+calls "oil of sulphur," used in his time for colouring wood. A Nuremberg
+receipt book says that the plant Tournesol (croton tinctorium) may be
+steeped in water, and this solution mixed with yellow colour and glue
+may be spread over the wood warm, and finally polished with a burnisher.
+Holtzapffel gives the following:--A bright yellow stain may be obtained
+from 2 oz. of turmeric allowed to simmer for some hours in 1 quart of
+water in an earthen vessel, water being added from time to time to
+replace evaporation. Sparingly applied cold, it stains white woods the
+colour of satin wood. A canary yellow results from immersing the wood in
+the liquid, which can be rendered permanent without polishing by a
+strong solution of common salt. Washing the stained surface with
+nitro-muriate of tin for about a minute changes the colour to orange.
+The work should then be well rinsed in plain water to check the further
+action of the acid. Treating the canary yellow with 2 oz. of sulphate of
+iron dissolved in 3 quarts of water, after it has been allowed to dry,
+dyes a delicate olive brown. A tincture of 1/4 oz. of turmeric to 3 oz.
+of spirits of wine, allowed to stand for some days and well shaken
+daily, gives a rather higher colour.
+
+Red may be produced by (No. 1) taking a pound of Brazil wood, with some
+rain water, a handful of unslaked lime, and two handsful of ashes; soak
+all for half an hour in water, "cook" it, and pour it out into another
+pot, in which is a measure of gum arabic. The wood to be coloured must
+be cooked in alum water, and then brushed over with the warm colour; the
+result is a splendid scarlet red. If the wood was first grounded with
+saffron water and then had the Brazil decoction applied, the result was
+orange; a spoonful of lye made a browner colour, with a little alum. If
+whiter wood was taken the colour was correspondingly brighter. (No.
+2.)--Orcanda or Akanna root powdered, with nut oil, gives a fine red.
+(No. 3.)--Put lime in rain water, strain it, scrape Brazil twigs in it,
+then proceed as in No. 1. You can also soak the Brazil in tartar. The
+same colour with Tournesol steeped in water gives a fine purple when
+spread on the wood. Lebrun gives the same receipt, adding that the
+beauty of the colour is increased by rubbing with oil, and that pear
+wood is the best to use. Another receipt says:--Make a strong infusion
+of Brazil wood in stale urine or water impregnated with pearl ash, 1 oz.
+to a gallon; to a gallon of either of which put 1 lb. of Brazil wood.
+Let it stand for two or three days, often stirring it. Strain the
+infusion, and brush over the wood boiling hot; then, while still wet,
+brush over with alum water, 2 oz. to a quart of water. A less bright red
+may be made with 1 oz. of dragon's blood in a pint of spirits of wine,
+brushed over the wood.
+
+Holtzapffel gives for red stains the following:--Dragon's blood, an East
+Indian resin, gives a crimson with a purple tinge. Put a small quantity
+in an open vessel, and add sufficient linseed oil to rather more than
+cover it; it will be fit for use in a few days, when the oil may be
+poured off and more added. This dissolves more readily in oil than
+spirit. The colouring matter of Alkanet root, from which another red
+may be obtained, is contained in the rind, so that small pieces are the
+most useful. A deep red of a crimson character may be made with 1/2 oz.
+of raspings of Brazil wood macerated in 3 oz. of alcohol. A wash of
+logwood (see below) given with the brush, and when dry followed with a
+wash of Brazil, produces a deep, full colour, and when the two are
+applied in the reverse order a more brilliant colour of the same kind. A
+decoction of Brazil (4 oz.) allowed to simmer for some hours in 1 quart
+of water yields a rather brown-red stain. Treating light woods so
+stained with nitro-muriate of tin gives a brilliant crimson of a purple
+tinge.
+
+A brown red is made from a decoction of 2 oz. of logwood dust in 1 quart
+of water, or 1/2 oz. of logwood in 3 oz. of alcohol. Nitro-muriate of
+tin used on it gives a deep, dusky crimson purple. The same treated with
+alum solution yields a medium purple, darker and bluer than that from
+Brazil.
+
+White wood stained with Brazil and then treated with alum (4 oz.
+dissolved in a quart of water) acquires a light pink tinge. Another
+receipt for pink or rose red says:--1 gallon of infusion of Brazil wood,
+with 2 oz. additional of pearl ash; but it is necessary to brush the
+wood often with alum water. By increasing the proportion of pearl ash
+the red may be made still paler, in which case make the alum water
+stronger.
+
+For purple one brushes the wood over several times with a strong
+decoction of logwood and Brazil, 1 lb. of logwood and 1/4 lb. of Brazil
+to a gallon of water boiled for an hour or more. When the wood is dark
+enough let it dry, and then lightly pass over with a solution of 1
+drachm of pearl ash to a quart of water. Use this carefully, as the
+colour changes quickly from brown red to dark purple.
+
+Jet black may be made by using the logwood stain, followed by a solution
+of iron, 1 oz. sulphate of iron to 1 quart of water, and a less intense
+black by the same mixture about three times diluted. The Italian receipt
+books are well provided with receipts for producing black, which
+suggests that most of the ebony used in inlay was factitious. A 15th
+century MS. says:--"Take boxwood, and lay in oil with sulphur for a
+night, then let it stew for an hour, and it will become as black as
+coal." Evidently this means what Vasari calls oil of sulphur, _aqua
+fortis_. Others are founded upon the application of a solution of
+logwood, followed by one of iron. "Stew logwood till the liquid is
+reduced to one-third of its bulk, mix with stone alum, and leave for
+three days. Mix iron filings with very strong wine, and let it stand for
+twenty-four hours. On the quantity of iron filings the depth of the tone
+depends. Lastly, ox-gall is dissolved in this mixture, and the whole is
+three times worked over." An English receipt says:--"Brush the wood over
+several times with a hot decoction of logwood; take 1/4 lb. of powdered
+galls, and set in the sun or other gentle heat in 2 quarts of water for
+three or four days; brush the wood over with it three or four times,
+and, while wet, with a solution of green vitriol in water, 2 oz. to a
+quart; or use a solution of copper in _aqua fortis_, then the solution
+of logwood, and repeat until black enough." A German receipt
+says:--"Take half a measure of iron filings and a pennyweight of sal
+ammoniac, and put into a pot of vinegar; let it stand for twelve days at
+least. In another pot put blue Brazil and 3 measures of bruised gall
+apples in strong lime lye, and let it stand for the same time. The wood
+must be first washed over with lye, and then with hot vinegar, and
+finally polished with wax." "Pear wood may be grounded with Brazil
+steeped in alum water, then coloured with the black which the
+leather-stainers use, twenty times." Another says:--"Take a pennyweight
+of fine silver, with a pound of _aqua fortis_; add a measure of water,
+and soak the wood with it." The best wood for imitating ebony is holly;
+also, box cooked in olive oil is good for it, or well-planed pear soaked
+with _aqua fortis_, and then coloured with ink several times; or stew
+the wood in lamp-black, and soak with oil.
+
+Blue may be obtained by the use of a solution of copper brushed hot over
+the wood several times; then brush hot a solution of pearl ash, 2 oz. to
+a pint of water, until the wood becomes perfectly blue. The copper
+solution is prepared in this way:--"Take of the refiner's solution of
+copper made in the precipitation of silver from the spirit of nitre; or
+dissolve copper in spirit of nitre, or _aqua fortis_, by throwing in
+filings or putting in strips of copper gradually till all effervescence
+ceases. Add to it starch finely powdered, one-fifth or one-sixth of the
+weight of copper dissolved. Make a solution of pearl ash and filter it;
+put gradually to the solution of copper as much as will precipitate the
+whole of the copper. The fluid becomes colourless. Wash the powder, and
+when so well drained of water by means of a filter as to be of the
+proper consistence, grind well together, and lay out to dry. This makes
+dark verditer." Indigo may also be used, prepared with soap lees as when
+used by dyers; brush it over the wood boiling hot. With a solution of
+cream of tartar, 3 oz. to a quart of water, and boiled, brush over the
+wood copiously before the moisture is quite dried out. A German receipt
+says:--Put 4 oz. of Tournesol in three parts of lime water to cook for
+an hour and spread it on the wood. "Wood coloured green with verdigris
+can be made blue by using pearl ash." This is the process described
+first.
+
+For green verdigris dissolved in vinegar may be used; or crystals of
+verdigris in water, brushed hot over the wood. A 15th century MS. gives
+a traditional mode thus:--"Wood, bone, small leaves, and knife handles
+can be made green by strong, red vinegar and brass filings mixed
+together with a little Roman vitriol and stone alum in a glass vessel.
+When it has stood for a day the object is dipped in it, and steeps
+itself in the liquid. The colour will be very permanent." A German
+receipt says:--"Take walnut shells from the green fruit, and put in very
+strong lye with some copper vitriol and alum to stew for two or three
+hours. The wood must be put in strong wine vinegar for several days,
+then it is put in the above-mentioned mixture, to which ground verdigris
+mixed with vinegar is added. Or you can mix this ground verdigris with
+vinegar with some winestone, let it clarify, and spread the wood with
+the filtered stuff. The addition of saffron makes a grass green."
+
+A silver grey may be given to white wood by immersion in a decoction of
+4 oz. of sumach in 1 quart of water, and afterwards in a very dilute
+solution of sulphate of iron. A dilute solution of bichromate of potash
+is frequently employed to darken oak, mahogany, and coloured woods. This
+should be used carefully, since its effects are not altogether stopped
+by thoroughly washing the wood with water when dark enough. To bleach
+woods, immerse them in a strong, hot solution of oxalic acid.
+
+Since ivory is often used in inlaying and is sometimes stained, a few
+receipts for its staining will not be out of place. These come from
+Holtzapffel's book:--A pale yellow will be given by immersing the ivory
+for one minute in the tepid stain given by 60 grains of saffron boiled
+for some hours in half-a-pint of water. Immersion for from five to
+fifteen minutes produces a canary yellow brighter or deeper according to
+the time given, but all somewhat fugitive. A stain from 4 oz. of fustic
+dust and chips boiled in 1 quart of water produces similar but somewhat
+darker and more permanent results. Ivory subjected to either of these
+stains for fifteen minutes, and then placed for one to three minutes in
+Brazil water stain acquires an orange colour. If then treated with
+nitro-muriate of tin, an orange of a brighter, redder tone is produced;
+transfer to a clean water bath directly the required colour appears, as
+the nitro-muriate of tin acts very rapidly upon the ivory.
+
+Fine scarlet cloth is used for dyeing various tones of red. A piece
+about a foot square may be cut into shreds and boiled, with the addition
+of 10 grains of pearl ash, in half-a-pint of water from 5 to 6 hours.
+Immersion in the liquid for from three to ten minutes gives tones of
+pink; for one hour and subsequently for half-an-hour in an alum mordant
+gives a pink of a bright crimson character. When the ivory is from two
+to three hours in the tepid stain a crimson red results, and the
+addition of 1 part of sulphuric acid to 60 of stain gives billiard ball
+colour. Pinks of a different and duller full tone may be obtained by
+immersion for three minutes in Brazil water stain, followed by treatment
+with nitro-muriate of tin; when the Brazil is used for six minutes a
+deeper colour results. Fifteen minutes in Brazil, then treatment with
+nitro-muriate of tin and immediate washing gives a duller and deeper red
+than the first red-cloth stain. The depth of colour may be increased by
+longer immersion _or_ a higher temperature. A dull scarlet or brick red
+is made by the Brazil bath, followed by thirty to sixty minutes in an
+alum mordant.
+
+The cloth stain for one hour, followed by pearl ash for half-an-hour,
+gives a bright purple; if iron is used instead of pearl ash a sombre
+purple results; if you add alkalies to the stain instead of sulphuric
+acid you obtain purple reds. Fifteen minutes in Brazil, and then three
+or four in pearl ash gives full red purples deepening to maroon. Five
+minutes in logwood water stain gives a good warm brown; half-an-hour, a
+chocolate brown. Ten minutes in logwood stain, washing, and one or two
+seconds in pearl ash, and instantly washing again gives a deep red
+brown, and if one minute in alum instead of pearl ash a deep purple
+brown.
+
+Blue stains may be made from sulphate of indigo, 1/2 drachm to 1 pint of
+previously boiled water, with 10 grains of carbonate of potash added.
+One to two minutes' immersion and immediate washing yields a delicate
+turquoise, five minutes a bright full blue; and ten to fifteen a
+considerable depth of colour. Blues are rather fugitive. Staining with
+saffron or fustic for five minutes, and then with indigo for the same
+time, produces a clear pea green; with indigo for ten minutes, a deep
+grass green. The greens from fustic are more permanent and yellower. The
+sequence of the stains also affects the green, the last used having most
+effect. Blue stain first for fifteen minutes, followed by fustic for
+thirty, 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 water.
+
+Before applying these stains the ivory must be prepared by first
+polishing with whiting and water and washing quite clean. Next immerse
+it for three to five minutes in acid cold water (1 part muriatic acid to
+40 or 50 of water, or the same proportion of nitric). This extracts the
+gelatine from the surface of the ivory. Extreme cleanliness and absence
+of grease or soiling is most important; the ivory is not to be touched
+by the fingers, but removed from one vessel to another by wooden tongs,
+one pair to each colour. After treating with the acid, place the ivory
+in clean, cold, boiled water for some minutes. Water stains are used,
+but strained or filtered and warm or only tepid, for fear of injuring
+the surface of the ivory. Increasing the temperature also sometimes
+deepens or changes the colour. The best temperature is 100 deg. Fahr.
+When sufficiently stained the ivory is well rinsed in water, and if
+there are two colours on top of each other always well rinsed before
+going into the second bath. After thoroughly drying, repolish by
+friction, first with a few drops of oil on a soft clean rag; continue
+with a dry clean rag till the oil disappears.
+
+An old Italian receipt for polishing wood blackened to imitate ebony
+runs thus:--"Is the wood to be polished with burnt pumice stone? Rub the
+work carefully with canvas and this powder, then wash the piece with
+Dutch lime water so that it may be more beautifully polished. Then it is
+to be cleaned with another cloth. Then the rind of a pomegranate must be
+steeped, and the wood smeared over with it and set to dry, but in the
+shade."
+
+
+
+
+INDEX
+
+
+  A
+
+  Angelo di Lazzero, of Arezzo, 19
+
+  Anselmo de' Fornari, 77-78
+
+  Antique inlaid furniture, 2, 3, 6 (note)
+
+  Antonio da Melaria, 35
+
+  Antonio di Minella, of Siena, 10
+
+  Antonio Manetti, 19
+
+  Antonio Paolo Martini, 13
+
+  Assisi, 10, 46
+  ---- Stalls of the Upper church of S. Francesco, 46
+
+  Arezzo, S. Agostino and S. Michele, 41
+
+  Augsburg work, 85, 90
+
+
+  B
+
+  Baccio Albini, 40
+
+  Baccio d'Agnolo, 42-43
+
+  Barck, Klaus, 88
+
+  Barili, Antonio, of Siena, 37, 38, 39
+  ---- ---- Panel in K.K. Museum at Vienna, 37, 38
+  ---- ---- description of Chapel of S. Giovanni, Siena, 39, 40, 41
+  ---- Giovanni, 39
+
+  Bartolommeo Poli, surnamed dalla Polla, 35, 36
+
+  Beck, Sebald, 84
+
+  Belli, Giovanni and Alessandro, 73
+
+  Bencivieni da Mercatello da Massa, Antonio di, 46-51
+
+  Benedetto da Majano, Vasari's story of the reason of his giving up
+    working in tarsia, 20
+
+  Bergamo, Choir of S. Maria Maggiore, 79, 80
+  ---- Tassi's account of, 80
+  ---- Stalls in church of S. Stefano, 76
+
+  Bernardo di Tommaso di Ghigo, 19
+
+  Bernardino da Lendinara, 32
+
+  Brescia, Lectern from Rodengo in
+
+  Galleria Tosi, 64
+
+  Bologna, S. Domenico tarsie, by Fra Damiano, 70, 73, 75
+  ---- Sabba Castiglione's account, 74, 75
+  ---- Stalls in S. Giovanni in Monte, 66
+  ---- S. Michele in Bosco, stalls now in S. Petronio, 65, 66
+  ---- S. Petronio, 36
+
+  Boulle, André Charles, 96, 97
+  ---- Works by him, 97, 98, 99
+
+  Boulle, Pierre, 75-96
+
+
+  C
+
+  Canozio, of Lendinara, Lorenzo Genesino, 29
+
+  Capo di Ferro of Lodi, Zinino and Pietro, 80
+
+  Capo di Ferro of Lovere, Giovanni Francesco, 73, 79
+
+  Capra, Gabriel and Domenico, 54
+
+  Chapel of Palace, Siena, 13
+
+  Cecca, Il (Francesco d'Agnolo), 23, 24
+
+  Certosa, Pavia, 35
+
+  Cervelliera, Giovanni Battista, 22
+
+  Character of German inlays of late 16th Century, 85
+
+  Coburg, Hornzimmer, 86
+
+  Cornier, Conrad, 88
+
+  Cost of choir of S. Domenico, Bologna, 73
+
+  Cost of the stalls in Ferrara Cathedral, 34
+
+  Cost of stalls, Cathedral Orvieto, 10
+
+  Cremona, church of S. Sigismond, outside, 54
+
+  Cypress chest of 1350 in Victoria and Albert Museum, 104
+
+
+  D
+
+  Daniello di Neri Martini, 13
+
+  Danzig Sommerrathstube, 86
+
+  David of Pistoia, 41
+
+  Del Tasso, arms of the family, 24
+  ---- Chimenti di Domenico, 26
+  ---- Chimenti di Francesco, 25
+  ---- Domenico, 19, 25, 26
+  ---- Francesco, 27
+  ---- Francesco di Domenico, 24
+  ---- Giambattista called Maestro Tasso, 27, 28
+  ---- Lionardo, 25
+  ---- Marco, 26
+  ---- Zanobi, 25
+
+  Della Rocca, Andrea and Elia, 77, 78
+
+  Designs for intarsia made by Painters, 121
+
+  De' Marchi, Pantaleone, stalls in Museum at Berlin, 36
+
+  Domenico da Gajuolo, 42
+
+  Domenico di Mariotto, 21
+
+  Domenico di Nicolò of Siena, 10, 11
+
+  Domenico Tassi of Florence, 17
+
+  Dreyer, Hans and Jürgen, of Schleswig, 87
+
+  Dutch work, characteristics of, 92
+
+
+  E
+
+  Eck, Adam, 85
+
+  Elfen, brothers, of S. Michael, Hildesheim, 84
+
+  Escurial, rooms in, decorated with inlays, 86
+
+  Evers, Antonia, master of joiners' guild at Lübeck, 86
+
+
+  F
+
+  Ferrara, stalls in Cathedral, 33
+
+  Fischer, N., and Johann Georg of Munich, 85
+
+  Florence, 16, 18
+  ---- stalls at S. Maria Novella, 42
+  ---- stalls at S. Miniato, 42
+  ---- tarsia in sacristy of the Cathedral, 18, 19
+
+  Flotner, Peter, 89
+
+  Folding seat of 14th century, 84
+
+  Fra Antonio Asinelis, 73
+
+  Fra Antonio da Lunigiano, Dominican, 73
+
+  Fra Antonio da Viterbo, Dominican, 76
+
+  Fra Bernardino, Dominican, 73
+
+  Fra Damiano of Bergamo, 69-76, 79
+
+  Fra Damiano of Bergamo, the Emperor Charles V., and the Duke of
+    Ferrara, 70, 71, 72
+
+  Fra Giovanni da Verona, 17, 57, 63
+
+  Fra Raffaello da Brescia, 63, 64
+
+  Fra Sebastian da Rovigno, 56, 57
+
+  Fra Vincenzo da Verona, called dalla Vacche, 67
+
+  Francesco di Lorenzo, Zambelli, 73, 77
+
+  Francesco Manciatto, 42
+
+  Francione, Il (Giovanni di Matteo di Firenze), 21
+
+  French Cabinets of 17th Century, 95, 96
+
+
+  G
+
+  Genoa, stalls in Cathedral, 77, 78
+
+  Geri of Arezzo, 41
+
+  German intarsiatori of 16th and 17th Century, 84, 85
+
+  Gilling Castle, near Wakefield, inlays, 93
+
+  Giovanni di Filippo da Fiesole, 45
+
+  Giovanni de Grassi (Giovanni de Melano), 14
+
+  Giovanni di Lodovico di Magno of Siena, 10
+
+  Giovanni Michele de Pantaleone, 77
+
+  Giovanni del Mulinella of Florence, 17
+
+  Giovanni Piccardo, 77
+
+  Giovanni di Ponteranica and his four sons, 80
+
+  Giovanni di Ser Giovanni detto Scheggione, 19
+
+  Giovanni Talini of Siena, 10
+
+  Girolamo della Cecca, 40
+
+  Giuliano di Salvatore, 21
+
+  Giusto di Francesco of Incisa, 45
+
+  Glastonbury Hall, Staircase, 94
+
+  Gole, Pierre, 92
+
+  Gottlieb, Conrad, 86
+
+  Gottorp, Castle of, Prince's prayer chamber in, 87
+
+  Gubbio, tarsia in study of Duke Guidobaldo, 52, 53
+
+  Guido da Seravallino, 21
+
+  Guido di Torino, 13
+
+  Guild of Painters, Siena, 16
+
+
+  H
+
+  Hans Schieferstein's Cabinet at Dresden, 90
+
+  Hardwick Hall, furniture at, 93
+
+  Herle, Simon, 86
+
+  Heywood Sumner, paper at Royal Institute of British Architects, 129, 130
+
+
+  I
+
+  Imitative processes, straw, wax, painting in Indian ink, &c., 129,
+    130, 131
+
+  Inlaid work, Greek and Latin names for, 3
+  ---- woods used for, by the ancients, 3, 5, 6 (note)
+  ---- wood, cost of, in ancient times, 4
+
+  Inlaying, antiquity of, 2
+
+  Innsbruck, Hofkirche, 86
+
+  Intarsia, derivation of, 1
+
+  Invention of stains for wood, by Fra Giovanni da Verona, 18
+
+  Ivory or metals in intarsia, 124, 125
+
+
+  J
+
+  Jacopo da Villa, 21
+
+  Joiners' tools, priced list of Perugian of 1496, 47, 48
+
+
+  K
+
+  Kellerthaler, Hans, of Dresden, 85
+
+  Kiening, Isaac, of Frissen, 91
+
+  Kraus, Hans, marqueteur du roi, 94
+
+
+  L
+
+  Lavoro alla Certosa, or tarsia alla Certosina, 9
+
+  Leipzig Museum, Cabinet in, 91
+
+  Lendinara, Cristophano d' Andrea da, 21
+
+  Limitations of the art of intarsia, 122, 123
+
+  Loblein, Sixtus, of Landshut, 91
+
+  Lodi, Stalls in S. Bernardino, by Fra Giovanni da Verona, 63
+
+  Louvre, 4 panels from S. Benedetto Novella, Padua, of Fra Vincenzo
+    dalla Vacche, 68
+
+  Lübeck, Kriegs Stube, 86
+
+  Lucca, panels in sacristy of Cathedral, by Christoforo da Lendinara, 32
+  ---- Stalls from Cathedral in Pinacotheca, 32
+
+  Luchet, M., Excursus on furniture in France, 1867, 113, 114
+
+  Lüneburg, Rathsaal, 86
+
+
+  M
+
+  Macé, Jean, of Blois, 92-95
+
+  Majano, Benedetto da, 19, 20
+
+  Majano, Giuliano di Nardo da, 18, 22
+  ---- Leonardo d' Antonio da, 19
+
+  Manuello, of Siena, 9
+
+  Marchi, of Crema, Family of, 6, 36
+
+  Mariotto di Mariotto, of Pesaro, 45
+
+  Marquetry, Derivation of, 1
+
+  Marti, Leonardo, 32
+
+  Masi, Antonio di Antonio, The Fleming, 46
+
+  Massari, Andrea, of Siena, 54
+
+  Mastei, Antonio, of Gubbio, 53
+
+  Mastro Crespolto, of Perugia, 26
+
+  Mastro Vanni di Tura dell' Ammanato, Sienese, 10
+
+  Matteo di Bernardino, of Florence, 17
+
+  Meo di Nuti, of Siena, 10
+
+  Michele Spagnuolo, 21
+
+  Milan, Cathedral, 15
+
+  Minelli, Giovanni and Cristoforo de, 45
+
+  Miniatures at Villanova, by Fra Giovanni da Verona, 59
+
+  Minnesinger's harp, of 14th Century, 8
+
+  Modern French marquetry, 125
+
+  Monte Oliveto, 55, 59, 60
+
+  Musée Cluny, wire-drawing bench made for Augustus, Elector of Saxony, 91
+
+
+  N
+
+  Naples, tarsia by Fra Giovanni da Verona in S. Anna dei Lombardi, 61, 62
+
+  Nicolò di Nicoluccio, 10
+
+  Nuremberg work in ebony and ivory, 90
+
+
+  O
+
+  [OE]ben, J. F., ébeniste du roi, 99
+
+  Orvieto, 10, 13
+
+
+  P
+
+  Padua, stalls in Church of S. Antonio, account by Matteo Colaccio, 30, 31
+
+  Paint and gilding added to intarsia work, 106
+
+  Paolo da Pesaro, 80
+
+  Parti of Siena, 9
+
+  Perugia, 10, 19, 26
+  ---- choir of the Cathedral, 19
+  ---- choir of S. Domenico, 26
+  ---- door in choir of S. Pietro in Casinense by Fra Damiano, 74
+  ---- Sala del Cambio, 26, 46
+  ---- stalls of S. Agostino, 44
+
+  Pier Antonio dell 'Abate of Modena, 29
+
+  Pietro Antonio of Florence, 17
+
+  Pietro di Maffeis, 73
+
+  Pietro di Miaella of Siena, 10
+
+  Pietro di Rizzardi, 33
+
+  Pisa Cathedral, 21, 22, 23
+
+  Polimante da Nicola, 26
+
+  Pontelli, Baccio, 21
+
+  Portuguese decorations with pierced metal plates, 83
+
+  Poverty of craftsmen, Domenico del Coro, 10, 12
+
+  Preuszen, Hans, carver, 87
+
+
+  R
+
+  Realism in intarsia panels, 105
+
+  Reasons for beauty in designs, 127
+
+  Reggio in Emilia, 35
+
+  Relief intarsia or Präger arbeit, 85
+
+  Returns made by Sienese craftsman for taxation, 119, 120
+
+  Riesener, J. Henry, 99, 100
+
+  Roentgen, David, 102, 103
+
+  Rome, doors of St. Peter's, by Fra Antonio da Viterbo, 76, 77
+
+  Rosenfeldt, Jochim, 87
+
+
+  S
+
+  S. Mary Overie, Southwark, parish chest, 93
+
+  Sallig, Andreas, 87
+
+  San Sevrino, Domenico di, 46
+
+  Savona, choir of, Cathedral, 78
+
+  Schieferstein, Hans, 85, 90
+
+  Scraping and polishing marquetry, operation of, 115, 116
+
+  Shading of subjects in marquetry, 112
+
+  Siena, 9, 10, 13, 16, 37, 60
+
+  Simone d'Antonio of Siena, 13
+
+  Sizergh Castle, panelling from, 93
+
+  South German Bride chests, 89
+
+  South German inlaid Musical Instruments, 88
+
+  Spanish inlaid work in Victoria and Albert Museum, 81, 82
+
+
+  T
+
+  Taddeo Bartoli's designs for chapel of Palazzo Pubblico, Siena, 11
+
+  Tassi, Domenico of Florence, 17
+
+  Tasso, Maestro, his practical joke on the Benedictine Abbot, 28
+
+  Technical description from German book of 17th century, 106
+
+  Thickness of veneers in the market, 112
+
+  Tommaso di Ceccolo, 10
+
+  Tonbridge ware, 9
+
+  To stain ivory blue, 144
+
+  To stain ivory green, 144
+
+  To stain ivory orange, 142
+
+  To stain ivory purple, 143
+
+  To stain ivory various kinds of red, 142, 143
+
+  To stain ivory yellow, 142
+
+  To stain wood black, 138, 139
+
+  To stain wood blue, 140
+
+  To stain wood green, 141
+
+  To stain wood pink, 137
+
+  To stain wood purple, 137, 138
+
+  To stain wood red, 135, 136, 137
+
+  To stain wood silver grey, 141
+
+  To stain wood yellow, 133, 134
+
+
+  U
+
+  Uhr, Herman, 87, 88
+
+  Ulriksdal Castle, doors of drinking room, 92
+
+  Union of the crafts in one guild, 14
+
+  Urbino, tarsia in palace of Frederic of Montefeltro, 49, 50, 51
+
+  Use of mother-of-pearl, ivory, tortoiseshell, silver, &c., 54
+
+
+  V
+
+  Vasari's opinion of tarsia, 17
+
+  Veneering, operation of, 108
+
+  Veneers for marquetry, thickness of, 109, 110
+
+  Venice, Sacristy of S. Elena, 57, 58
+
+  Venice, tarsia in Sacristy of S. Mark's, 67, 68, 69
+
+  Verona, Sacristy of S. Anastasia, 10
+
+  Volthurn Castle, near Brixen, 90
+
+  Von Soest, Albert, 86
+
+  Vordt, 92
+
+  Vriese, Vriedemann, 86
+
+
+  W
+
+  Wallace Collection, Cabinet by Claude Charles Saunier, 95
+
+  Wallace Collection, Cabinets by Oeben and Riesener, 99, 100
+
+  Wallace Collection, jewel box by Conrad Cornier, 88
+
+  Webb, Stephen, paper at the Society of Arts, 128
+
+  Wegener, Adam, figure cutter, 87
+
+  Weiskopf, Wolf, 84
+
+  Winkler, Simon, 85
+
+  Wood, exceptional scantlings used by the ancients, 6, 7
+
+  Woods, combinations of, for marquetry, 111
+
+  Woods in use in England for marquetry, 112
+  ---- used by the marqueteurs of Nice, 115
+  ---- used by Riesener, 101
+  ---- used in Barili's panel, 38
+  ---- used in the best period, 106
+  ---- used in stalls, Cathedral, Orvieto, 10
+  ---- used on the Continent for veneers, 111
+
+
+  Z
+
+  Zambelli, of Bergamo, Stefano di Antoniuolo de, 46, 73
+
+  Zampiero da Padova, 73
+
+  Zanetto da Bergamo, 72, 73
+
+
+_Willam Hodge & Co., Glasgow and Edinburgh_
+
+
+
+
+
+
+End of Project Gutenberg's Intarsia and Marquetry, by F. Hamilton Jackson
+
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+    <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" />
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+      The Project Gutenberg eBook of Intarsia and Marquetry, by F Hamilton Jackson.
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+<div>*** START OF THE PROJECT GUTENBERG EBOOK 30215 ***</div>
+
+<div class="figcenter" style="width: 380px;">
+<img src="images/icover.jpg" width="380" height="600" alt="" title="cover" />
+</div>
+
+<p><span class="pagenum"><a name="Page_i" id="Page_i">[Pg i]</a></span></p>
+
+
+
+
+<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></span></p>
+<h1>INTARSIA AND MARQUETRY</h1>
+
+<div class="centerbox bbox">
+<h3>OTHER VOLUMES OF THE SERIES</h3>
+
+<h4>By the same Author</h4>
+
+<p>Mural Painting&mdash;the Decoration of the Wall Surface by means of
+Paint</p>
+
+<p>Mosaic and Marble Inlay for Floor, Wall, and Vault </p></div>
+
+<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg iii]</a></span></p>
+
+<hr style="width: 45%;" />
+
+
+
+  <h3>HANDBOOKS FOR THE DESIGNER AND<br />
+  CRAFTSMAN</h3>
+
+<h1><span class="smcap">Intarsia and Marquetry</span></h1>
+  <h4>BY</h4>
+
+  <h2>F. HAMILTON JACKSON</h2>
+<p class="center"><span class="smcap">Examiner to the Board of Education in Principles<br />
+of Ornament</span></p>
+
+
+  <p class="center"><i>With Illustrations from Photographs and from Drawings
+  and Tracings by the Author</i></p>
+
+
+  <p class="center">LONDON<br />
+  SANDS &amp; COMPANY<br />
+  1903</p>
+
+<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[Pg iv]</a></span></p>
+
+
+
+
+<p class="center">
+PRINTED BY<br />
+WILLIAM HODGE AND COMPANY<br />
+GLASGOW AND EDINBURGH
+<span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+
+
+
+<div class="centered">
+<table border="0" cellpadding="2" width="65%" cellspacing="0" summary="CONTENTS">
+<tr><td align="left">&nbsp;</td><td align="right">PAGE</td></tr>
+<tr><td align="left"><span class="smcap">Historical Notes&mdash;Antiquity,</span></td><td align="right"><a href='#Page_1'><b>1</b></a></td></tr>
+<tr><td align="left"><span class="smcap">Italy in Mediæval and Renaissance Times,</span></td><td align="right"><a href='#Page_8'><b>8</b></a></td></tr>
+<tr><td align="left"><span class="smcap">The Cloistered Intarsiatori and their Pupils,</span></td><td align="right"><a href='#Page_55'><b>55</b></a></td></tr>
+<tr><td align="left"><span class="smcap">In Germany and Holland, England and France,</span></td><td align="right"><a href='#Page_84'><b>84</b></a></td></tr>
+<tr><td align="left"><span class="smcap">The Process of Manufacture,</span></td><td align="right"><a href='#Page_104'><b>104</b></a></td></tr>
+<tr><td align="left"><span class="smcap">The Limitations and Capabilities of the Art,</span></td><td align="right"><a href='#Page_118'><b>118</b></a></td></tr>
+<tr><td align="left"><span class="smcap">Workshop Receipts,</span></td><td align="right"><a href='#Page_133'><b>133</b></a></td></tr>
+</table></div>
+
+<p><span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span><br /><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+
+
+
+<div class="centered">
+<table border="0" cellpadding="2" width="90%" cellspacing="0" summary="">
+<tr><td align="left" style="width: 70%;">1. Patterns used in Borders,</td><td align="right" style="width: 20%;"><i>facing page</i></td><td align="right" style="width: 10%;"><a href='#i030'><b>8</b></a></td></tr>
+<tr><td align="left">2. Various Patterns of Borders,</td><td align="right">&nbsp;</td><td align="right"><a href='#i031'><b>9</b></a></td></tr>
+<tr><td align="left">3. Chair Back from S. Ambrogio, Milan,</td><td align="right">&nbsp;</td><td align="right"><a href='#i034'><b>10</b></a></td></tr>
+<tr><td align="left">4. Door of the Sala del Papa, Palazzo Comunale, Siena,</td><td align="right">&nbsp;</td><td align="right"><a href='#i039'><b>13</b></a></td></tr>
+</table></div>
+
+<div class="centered">
+<table border="0" cellpadding="2" width="90%" cellspacing="0" summary="">
+
+<tr><td>5. The Prophet Amos. Figure intarsia from the Sacristy of the Cathedral, Florence,</td><td align="right" rowspan="3"><span class="bracket3">}</span></td></tr>
+<tr><td>6. The Annunciation. Figure intarsia from the Sacristy of the Cathedral, Florence,</td><td align="right"><i>between pages <a href='#i046'><b>18</b></a> and 19</i></td></tr>
+<tr><td>7. The Prophet Hosea. Figure intarsia from the Sacristy of the Cathedral, Florence,</td><td>&nbsp;</td></tr>
+
+</table></div>
+
+
+
+<div class="centered">
+<table border="0" cellpadding="2" width="90%" cellspacing="0" summary="">
+<tr><td align="left" style="width: 70%;">8. The Nativity. Figure intarsia from the Sacristy of the Cathedral, Florence,</td><td align="right" style="width: 20%;"><i>facing page</i></td><td align="right" style="width: 10%;"><a href='#i052'><b>20</b></a></td></tr>
+<tr><td align="left">9. The Presentation in the Temple. Figure Intarsia from the Sacristy of the Cathedral, Florence,</td><td align="left">&nbsp;</td><td align="right"><a href='#i053'><b>21</b></a></td></tr>
+<tr><td align="left">10. Panel from Sacristy of S. Croce, Florence,</td><td align="left">&nbsp;</td><td align="right"><a href='#i057'><b>23</b></a></td></tr>
+<tr><td align="left">11. Detail of Frieze from the Sacristy of S. Croce, Florence,</td><td align="left">&nbsp;</td><td align="right"><a href='#i060'><b>24</b></a></td></tr>
+<tr><td align="left">12. Lower Seats of Choir, Cathedral, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i061'><b>25</b></a></td></tr>
+<tr><td align="left">13. Upper Seats of Choir, Cathedral, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i064'><b>26</b></a></td></tr>
+<tr><td align="left">14. One Panel, from Upper Series, Cathedral, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i065'><b>27</b></a></td></tr>
+<tr><td align="left">15. Two Panels from the Sala del Cambio, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i068'><b>28</b></a></td></tr>
+<tr><td align="left">16. Frieze from S. Mark's, Venice,</td><td align="left">&nbsp;</td><td align="right"><a href='#i072'><b>30</b></a></td></tr>
+<tr><td align="left">17. Frieze from S. Mark's, Venice,</td><td align="left">&nbsp;</td><td align="right"><a href='#i076'><b>32</b></a></td></tr>
+<tr><td align="left"><span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> 18. Stalls from the Cathedral, Lucca,</td><td align="left">&nbsp;</td><td align="right"><a href='#i077'><b>33</b></a></td></tr>
+<tr><td align="left">19. Lectern in Pinacoteca, Lucca,</td><td align="left">&nbsp;</td><td align="right"><a href='#i080'><b>34</b></a></td></tr>
+<tr><td align="left">20. Two-leaved Door in the Pinacoteca, Lucca,</td><td align="left">&nbsp;</td><td align="right"><a href='#i081'><b>35</b></a></td></tr>
+<tr><td align="left">21. Stalls at the Certosa, Pavia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i084'><b>36</b></a></td></tr>
+<tr><td align="left">22. Detail of Arabesques, lower Seats, Certosa, Pavia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i085'><b>37</b></a></td></tr>
+<tr><td align="left">23. Panel from S. Petronio, Bologna,</td><td align="left">&nbsp;</td><td align="right"><a href='#i088'><b>38</b></a></td></tr>
+<tr><td align="left">24. Panel from S. Petronio, Bologna,</td><td align="left">&nbsp;</td><td align="right"><a href='#i089'><b>39</b></a></td></tr>
+<tr><td align="left">25. Panel from S. Miniato, Florence,</td><td align="left">&nbsp;</td><td align="right"><a href='#i093'><b>40</b></a></td></tr>
+<tr><td align="left">26. Panel from S. Maria Novella, Florence,</td><td align="left">&nbsp;</td><td align="right"><a href='#i098'><b>42</b></a></td></tr>
+<tr><td align="left">27. Panel from S. Maria Novella, Florence,</td><td align="left">&nbsp;</td><td align="right"><a href='#i103'><b>44</b></a></td></tr>
+<tr><td align="left">28. Panel in Sacristy of S. Pietro in Casinense, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i107'><b>46</b></a></td></tr>
+<tr><td align="left">29. Panel from Door of Sala del Cambio, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i111'><b>48</b></a></td></tr>
+<tr><td align="left">30. Panel from lower row of Stalls, S. Maria in Organo, Verona,</td><td align="left">&nbsp;</td><td align="right"><a href='#i124'><b>59</b></a></td></tr>
+<tr><td align="left">31. Panels from Monte Oliveto Maggiore, now in the Cathedral, Siena,</td><td align="left">&nbsp;</td><td align="right"><a href='#i127'><b>60</b></a></td></tr>
+<tr><td align="left">32. Frieze from Monte Oliveto Maggiore,</td><td align="left">&nbsp;</td><td align="right"><a href='#i131'><b>62</b></a></td></tr>
+<tr><td align="left">33. Panel from S. Mark's, Venice,</td><td align="left">&nbsp;</td><td align="right"><a href='#i140'><b>68</b></a></td></tr>
+<tr><td align="left">34. Panel from Door in Choir of S. Pietro in Casinense, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i148'><b>74</b></a></td></tr>
+<tr><td align="left">35. Lunette from Stalls in Cathedral, Genoa,</td><td align="left">&nbsp;</td><td align="right"><a href='#i153'><b>77</b></a></td></tr>
+<tr><td align="left">36. Panel from lower row of Stalls, Cathedral, Savona,</td><td align="left">&nbsp;</td><td align="right"><a href='#i156'><b>78</b></a></td></tr>
+<tr><td align="left">37. Panel from the Ducal Palace, Mantua,</td><td align="left">&nbsp;</td><td align="right"><a href='#i160'><b>80</b></a></td></tr>
+<tr><td align="left">38. Panel from the Rathaus, Breslau, 1563,</td><td align="left">&nbsp;</td><td align="right"><a href='#i166'><b>84</b></a></td></tr>
+<tr><td align="left">39. Panel from Church of S. Mary Magdalene, Breslau,</td><td align="left">&nbsp;</td><td align="right"><a href='#i170'><b>86</b></a></td></tr>
+<tr><td align="left">40. Pilaster Strip from the Magdalene Church, Breslau,</td><td align="left">&nbsp;</td><td align="right"><a href='#i171'><b>87</b></a></td></tr>
+<tr><td align="left">41. Panel from S. Elizabeth's Church, Breslau,</td><td align="left">&nbsp;</td><td align="right"><a href='#i174'><b>88</b></a></td></tr>
+<tr><td align="left">42. Lower Panel of Door, 1564&mdash;Tyrolese,</td><td align="left">&nbsp;</td><td align="right"><a href='#i178'><b>90</b></a></td></tr>
+<tr><td align="left">43. Top of Card Table in the Drawing-room, Roehampton House; Dutch, 18th Century,</td><td align="left">&nbsp;</td><td align="right"><a href='#i182'><b>92</b></a></td></tr>
+<tr><td align="left">44. Panelling from Sizergh Castle, now in Victoria and Albert Museum<span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></td><td align="left">&nbsp;</td><td align="right"><a href='#i183'><b>93</b></a></td></tr>
+<tr><td align="left">45. Cabinet with falling front, in the Drawingroom, Roehampton House,</td><td align="left">&nbsp;</td><td align="right"><a href='#i186'><b>94</b></a></td></tr>
+<tr><td align="left">46. Cabinet belonging to Earl Granville. Boulle work of about 1740,</td><td align="left">&nbsp;</td><td align="right"><a href='#i190'><b>96</b></a></td></tr>
+<tr><td align="left">47. Top of Writing Table in the Saloon, Roehampton House. Period of Louis XV.,</td><td align="left">&nbsp;</td><td align="right"><a href='#i191'><b>97</b></a></td></tr>
+<tr><td align="left">48. Encoignure, signed J. F. Oeben, in the Jones Bequest. Victoria and Albert Museum,</td><td align="left">&nbsp;</td><td align="right"><a href='#i194'><b>98</b></a></td></tr>
+<tr><td align="left">49. Panel from back of Riesener's bureau, made for Stanislas Leczinski, with figure of Secrecy,</td><td align="left">&nbsp;</td><td align="right"><a href='#i198'><b>100</b></a></td></tr>
+<tr><td align="left">50. Roundel from bureau, made for Stanislas Leczinski, King of Poland, now in the Wallace Collection,</td><td align="left">&nbsp;</td><td align="right"><a href='#i202'><b>102</b></a></td></tr>
+<tr><td align="left">51. Antonio Barili at work, by himself,</td><td align="left">&nbsp;</td><td align="right"><a href='#i206'><b>104</b></a></td></tr>
+<tr><td align="left">52. Panel from the Victoria and Albert Museum,</td><td align="left">&nbsp;</td><td align="right"><a href='#i210'><b>106</b></a></td></tr>
+<tr><td align="left">53. Panel from S. Maria in Organo, Verona,</td><td align="left">&nbsp;</td><td align="right"><a href='#i228'><b>122</b></a></td></tr>
+<tr><td align="left">54. Panel from S. Maria in Organo, Verona,</td><td align="left">&nbsp;</td><td align="right"><a href='#i234'><b>126</b></a></td></tr>
+<tr><td align="left">55. Panel from S. Pietro in Casinense, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i240'><b>130</b></a></td></tr>
+</table></div>
+
+<p><span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span><br /><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="GENERAL_PREFACE_TO_THE_SERIES" id="GENERAL_PREFACE_TO_THE_SERIES"></a>GENERAL PREFACE TO THE SERIES</h2>
+
+
+<p>If there is one quality which more than another marks the demand of the
+present day it is the requirement of novelty. In every direction the
+question which is asked is not, "Is this fresh thing good? Is it
+appropriate to, and well-fitted for, its intended uses?" but "Is it
+novel?" 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 change. While there are directions in which this
+desire is not altogether harmful, since at least many monstrosities
+offend our eyes but for a short time, a full compliance with it by the
+designer is likely to prove disastrous to his reputation, 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 centuries, and to
+produce something entirely fresh and individual, have<span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span> shown how
+impossible it is at this period of the world's history to dispense with
+tradition, and, escaping from the accumulated experience of the race,
+set forth with childlike <i>naïveté</i>. 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 generations, and that
+the undigested use of natural <i>motifs</i> results not in nourishment but in
+nightmare.</p>
+
+<p>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 times, 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
+present. Since both design and craftsmanship as known until the end of
+the 18th century were the outcome of centuries of experience of the use
+of material and of the endeavour to meet daily requirements, it may be
+justly called folly to cast all this aside as the fripperies of bygone
+fashion which cramp the efforts of the designer, and attempt to start
+afresh without a rag of clothing, even if it were possible. At the same
+time it is not intended to advocate the direct copyism of any style,
+whether regarded as good, bad, or indifferent. Some minds<span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span> find
+inspiration in the contemplation of natural objects, while others find
+the same stimulus in the works of man. The fashion of present opinion
+lays great stress upon the former source of inspiration, and considers
+the latter heretical, while, with a strange inconsistency, acclaiming a
+form of design based upon unnatural contortions of growth, and a
+treatment which is often alien to the material. It is the hope of the
+author to assist the second class of mind to the rivalling of the
+ancient glories of design and craftsmanship, 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 individuality. Much of what
+appears to the uneducated and ill-informed talent as new is really but
+the re-discovery of <i>motifs</i> which have been tried and abandoned by
+bygone masters as unsuitable, and a greater acquaintance with their
+triumphs is likely, one would hope, to lead students, whether designers
+or craftsmen, to view with disgust undigested designs indifferently
+executed which have little but a fancied novelty to recommend them.</p>
+
+<p>It is intended that each volume shall contain an historical sketch of
+the phase of design and craft treated of, with examples of the
+successful overcoming of the difficulties to be encountered in its<span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span>
+practice, workshop recipes, and the modes of producing the effects
+required, 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 them.<span class="pagenum"><a name="Page_xv" id="Page_xv">[Pg xv]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+
+<p>The subject treated of in this handbook has, until lately, received
+scant attention in England; and except for short notices of a general
+nature contained in such books as Waring's "Arts Connected with
+Architecture," technical descriptions, such as those in Holtzapffel's
+"Turning and Mechanical Manipulation," and a few fugitive papers, has
+not been treated in the English language. On the Continent it has,
+however, been the subject of considerable research, and in Italy,
+Germany, and France books have been published which either include it as
+part of the larger subject of furniture, or treat in considerable detail
+instances of specially-important undertakings. From these various
+sources I have endeavoured to gather as much information as possible
+without too wearying an insistence upon unimportant details, 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
+art, and<span class="pagenum"><a name="Page_xvi" id="Page_xvi">[Pg xvi]</a></span> especially for the designer and craftsman, whose business it
+is or may be to produce such works in harmonious co-operation in the
+present day, as they often did in days gone by, and, it may be hoped,
+with a success akin to that attained in those periods to which we look
+back as the golden age of art.</p>
+
+<p>The books from which I have drawn my information are principally the
+following:&mdash;</p>
+
+<p>In Italian&mdash;Borghese and Banchi's "Nuovi documenti per la storia dell'
+Arte Senese"; Brandolese's "Pitture, sculture, &amp;c., di Padova"; Caffi's
+"Dei lavori d'intaglio in legname e d'intarsia nel Cattedrale di
+Ferrara"; Calvi's "Dei professori de belle arti che fiorirono in Milano
+ai tempi dei Visconti, &amp;c."; Saba Castiglione's "Ricordi"; Erculei's
+paper in his "Catalogue of the Exhibition of works of carving and inlay
+held at Rome in 1885"; Finocchietti's "Report on carving and inlaid work
+in the Jurors' report on the Exhibition of 1867 in Paris"; Lanzi's
+"History of Painting in Italy"; Locatelli's "Iconografia Italiana";
+Marchese's "Lives of Dominican Artists"; Milanesi's "Documenti per la
+Storia dell' Arte Senese"; Morelli's "Notizie d'opere di disegno nella
+prima metà dell' Secolo XVI."; Tassi's "Vite di pittori, architetti,
+&amp;c., Bergamaschi"; Temanza's "Vite dei piu celebri architetti, &amp;c.,
+Dominicani"; Tiraboschi's "Biblioteca<span class="pagenum"><a name="Page_xvii" id="Page_xvii">[Pg xvii]</a></span> Modenese"; Della Valle's "Lettere
+Senesi sopra le belle Arti"; Vasari's "Lives," with Milanesi's notes and
+corrections, and papers in the "Bullettino di Arti, Industrie e
+Curiosità Veneziane," the "Atti e memorie della Società Savonese," the
+"Archivio Storico dell' Arte and its continuation as L'Arte," and the
+"Archivio Storico Lombardo," by such men as Michele Caffi, G. M. Urb,
+Ottavio Varaldo, Francesco Malaguzzi Valeri and L. T. Belgrano.</p>
+
+<p>In German&mdash;Becker and Hefner Alteneck's "Kunstwerke and Geräths Schaften
+des Mittelalters und der Renaissance"; Bucher's "Geschichte der
+Technischen Kunst"; Burckhardt's "Additions to Kugler's Geschichte der
+Baukunst, and Geschichte der Renaissance in Italien"; Demmin's "Studien
+über die Stofflich-bildenden Künste"; Von Falke's "Geschichte des
+deutsches Kunstgewerbes"; Scherer's "Technik und Geschichte der
+Intarsia"; Schmidt's "Schloss Gottorp"; Seeman's "Kunstgewerbliche
+Handbücher"; Teirich's "Ornamente aus der Blüthezeit italienischer
+Renaissance," and articles in "Blätter für Kunstgewerbe," and the
+"Kunstgewerbeblatt of the Zeitschrift für bildende Kunst," by such men
+as Teirich, Issel and Ilg.</p>
+
+<p>In French&mdash;Asselineau's "A. Boulle, ébéniste de Louis 14"; Burckhardt's
+"Le Cicerone"; Champeaux's "Le bois appliquée au mobilier," and "Le
+meuble";<span class="pagenum"><a name="Page_xviii" id="Page_xviii">[Pg xviii]</a></span> Demmin's "Encyclopédie historique, archeologique, &amp;c.";
+Luchet's "L'Arte industriel à l'Exposition Universelle de 1867," and
+other encyclopædias.</p>
+
+<p>In English&mdash;"The handmaid to the arts"; Holtzapffel's "Turning and
+mechanical manipulation"; Pollen's paper on "Furniture in the Kensington
+Catalogue of Ancient and Modern furniture"; Leader Scott's "The
+Cathedral builders"; Tomlinson's "Cyclopædia of Useful Arts"; Waring's
+"The Arts connected with architecture"; and Digby Wyatt's "Industrial
+Arts of the 19th Century," together with detached articles found in
+various publications.</p>
+
+<p>Those who desire further examples of arabesque patterns may find them in
+Issel's "Wandtäfelungen und Holzdecken"; Lacher's "Mustergültige
+holzintarsien der Deutschen Renaissance aus dem 16 und 17 Jahrhundert";
+Lachner's "Geschichte der Holzbaukunst in Deutschland"; Lichtwark's "Der
+ornamentstich der deutschen Frührenaissance"; Meurer's "Italienische
+Flachornamente aus der Zeit der Renaissance"; Teirich's "Ornamente aus
+der Blüthezeit italienischer Renaissance," and Rhenius "Eingelegte
+Holzornamente der Renaissance in Schlesien von 1550-1650."</p>
+
+<p>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<span class="pagenum"><a name="Page_xix" id="Page_xix">[Pg xix]</a></span> whom and whose work scarcely anything is known,
+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
+question.</p>
+
+<p>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 ways, the facilities
+afforded me, and their unfailing kindness and courtesy; and to the
+Director of the Victoria and Albert Museum for similar kindness and
+assistance.</p>
+
+<p>I have also to thank my friend Mr. C. Bessant, whose experience in all
+kinds of cabinet work is so great, for very kindly looking over the
+section dealing with the processes of manufacture.</p>
+
+<p class="author">
+<span class="smcap">F. Hamilton Jackson.</span>
+<span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="INTARSIA_AND_MARQUETRY" id="INTARSIA_AND_MARQUETRY"></a>INTARSIA AND MARQUETRY</h2>
+
+<h3>HISTORICAL NOTES&mdash;ANTIQUITY</h3>
+
+
+<p>The word "intarsia" is derived from the Latin "interserere," to insert,
+according to the best Italian authorities, though Scherer says there was
+a similar word, "Tausia," which was applied to the inlaying of gold and
+silver in some other metal, an art practised in Damascus, and thence
+called damascening; and that at first the two words meant the same
+thing, but after a time one was applied to work in wood and the other to
+metal work. In the "Museo Borbonico," xii., p. 4, xv., p. 6, the word
+"Tausia" is said to be of Arabic origin, and there is no doubt that the
+art is Oriental. It perhaps reached Europe either by way of Sicily or
+through the Spanish Moors. "Marquetry," on the other hand, is a word of
+much later origin, and comes from the French "marqueter," to spot, to
+mark; it seems, therefore, 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<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> of wood (or sometimes some other
+material) cut to fit it, and to use the latter for the more modern
+practice of cutting several sheets of differently-coloured thin wood
+placed together to the same design, so that by one cutting eight or ten
+copies of different colours may be produced which will fit into each
+other, and only require subsequent arranging and glueing, as well as for
+the more artistic effects of the marquetry of the 17th and 18th
+centuries, which were produced with similar veneers. The process of
+inlaying is of the most remote antiquity, and the student may see in the
+cases of the British Museum, at the Louvre, and in other museums,
+examples of both Assyrian and Egyptian inlaid patterns of metal and
+ivory, or ebony or vitreous pastes, upon both wood and ivory, dating
+from the 8th and 10th centuries before the Christian Era, or earlier.
+The Greeks and Romans also made use of it for costly furniture and
+ornamental sculpture; in Book 23 of the "Odyssey," Ulysses, describing
+to Penelope the bride-bed which he had made, says&mdash;"Beginning from this
+head-post, I wrought at the bedstead till I had finished it, and made it
+fair with inlaid work of gold, and of silver, and of ivory"; the statue
+and throne of Jupiter at Olympia had ivory, ebony, and many other
+materials used in its construction, and the chests in which clothes
+were<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> kept, mentioned by Homer, were some of them ornamented with inlaid
+work in the precious metals and ivory. Pausanias describes the box of
+Kypselos, in the opisthodomos of the Temple of Hera, at Olympia, as
+elliptical in shape, made of cedar wood and adorned with mythological
+representations, partly carved in wood and partly inlaid with gold and
+ivory, in five strips which encircled the whole box, one above another.
+The Greek words for inlaying used by Homer and Pindar are "&#948;&#945;&#953;&#948;&#7937;&#955;&#955;&#969;" and "&#954;&#959;&#955;&#955;&#7937;&#969;," and their derivatives, the first being
+also used for embroidering; Homer and Hesiod also use "&#960;&#959;&#953;&#954;&#7985;&#955;&#959;&#962;" for "inlaid," which shows how closely at that time the arts
+were interwoven. These words have left no trace in the later terms,
+though &#954;&#959;&#955;&#955;&#7937;&#969; means to fix together, or to glue, and it is
+tempting to connect the French word "coller" with it. Vitruvius and
+Pliny use the words "cerostrata" or "celostrata," which means, strictly
+speaking, "inlaid with horn," and "xilostraton." The woods used by the
+Greeks were ebony, cypress, cedar, oak, "sinila," yew, willow, lotus
+(celtis australis), and citron (thuyia cypressoides), a tree which grew
+on the slopes of the Atlas mountains. The value of large slabs of this
+last was enormous. Pliny says that Cicero, who was not very wealthy
+according to Roman notions, spent 500,000 sesterces<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> (about £5400) for
+one table. Asinius Pollio spent £10,800, King Juba £13,050, and the
+family of the Cethegi £15,150 for a single slab. The value of this wood
+consisted chiefly in the beautiful lines of the veins and fibres; when
+they ran in wavy lines they were called "tigrinæ," tiger tables; when
+they formed spirals like so many little whirlpools they were called
+"pantherinæ," or panther tables, and when they had undulating, wavy
+marks like the filaments of a feather, especially if resembling the eyes
+on a peacock's tail, they were very highly esteemed. Next in value were
+those covered with dense masses of grain, called "apiatæ," parsley wood.
+But the colour of the wood was also a great factor in the value, that of
+wine mixed with honey being most highly prized. The defect in that kind
+of table was called "lignum," which denoted a dull, log colour, with
+stains and flaws and an indistinctly patterned grain. Pliny says the
+barbarous tribes buried the wood in the ground when green, giving it
+first a coating of wax. When it came into the workmen's hands they put
+it for a certain number of days under a heap of corn, by which it lost
+weight. Sea water was supposed to harden it and act as a preservative,
+and after bathing it, it was carefully polished by rubbing by hand. The
+use of such valuable wood naturally led to the use of veneers,<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> and the
+practice was universal in costly furniture. The word "xilotarsia" was
+used by the Romans to designate a kind of mosaic of wood used for
+furniture decoration. Its etymology suggests that the Greeks were then
+masters in the art. They divided works in tarsia into two
+classes&mdash;"sectile," in which fragments of wood or other material were
+inserted in a surface of wood, and "pictorial," in which the various
+pieces of wood covered the ground entirely. The slices of wood,
+"sectiles laminæ," were laid down with glue, as in modern work. Wild and
+cultivated olive, box, ebony (Corsican especially), ilex, and beech were
+used for veneering boxes, desks, and small work. Besides these the
+Romans used the citrus, Syrian terebinth, maple, palm (cut
+transversely), holly, root of the elder, and poplar; the centres of the
+trees being most prized for colour and markings. [See note giving
+extracts from Pliny.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a>]<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>
+
+<p>A few notes on the exceptional scantlings of timber in antiquity may be
+interesting, though not strictly belonging to our subject. A stick of
+fir prepared to repair a bridge over the Naumachia in<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> the time of Nero
+was left unused for some time to satisfy public curiosity. It measured
+120 feet by 2 feet the entire length. The mast of the vessel which
+brought the large obelisk from Egypt, afterwards set up in the Circus
+Maximus, and now in front of S. John Lateran, was 100 feet by 1&frac12;
+feet, and the tree out of which it was cut required four men, holding
+hands, to surround it. A stick of cedar, cut in Cyprus and used as the
+mast of an undecireme, or 11 banked galley of Demetrius, took three men
+to span the tree out of which it was cut. It was the exceptional sizes
+of such pieces of timber, and veneers cut from them, which made the
+value of tables in Rome.<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="ITALY_IN_MEDIAEVAL_AND_RENAISSANCE_TIMES" id="ITALY_IN_MEDIAEVAL_AND_RENAISSANCE_TIMES"></a>ITALY IN MEDIÆVAL AND RENAISSANCE TIMES</h2>
+
+
+<p>The mediæval craft seems, however, to have been derived from the East,
+though Theophilus mentions the Germans as clever practitioners in
+woodwork. A minnesinger's harp of the 14th century, figured by Hefner
+Alteneck, appears to bear out his remark, though later in date, with its
+powdering of geometrical inlays and curiously-designed sprigs, which
+might almost have been produced by the latest art craze, which apes
+archaic simplicity. It belonged to the knightly poet Oswald von
+Wolkenstein, who died in 1445; the colours used are two browns, black,
+white, and green. The oriental inlays of ivory upon wood, elaborate and
+beautiful geometrical designs, are still produced in India in much the
+same fashion as in the middle ages, for the possibilities of geometric
+design were exhausted by the Arabs in Egypt and the Moors in Spain; and
+in Venice there was a quarter inhabited by workmen of the latter race
+who made both metal work and objects in wood.<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> Except for the inlaid
+ivory casket in the Capella Palatina, at Palermo, which seems to be a
+work of Norman times, 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 Certosa," or "tarsia alla Certosina"; but since
+inlaying with small pieces of marble and vitreous pastes was practised
+in central and southern Italy certainly from the 12th century, there is
+little difficulty in imagining how its use arose. This work has its
+derivative still existing in England in the so-called "Tonbridge ware,"
+which is made by arranging rods of wood in a pattern and glueing them
+together, after which sections are sliced off&mdash;the same proceeding, in
+effect, as that which the Egyptians made use of with rods or threads of
+glass. One must allow, however, that the wooden border inlays, which are
+also placed under this heading, show greater craft mastery, as the
+examples appended show, which are typical instances. The chair-back from
+S. Ambrogio, Milan, is a characteristic example of the simpler form on a
+tolerably large scale.</p>
+
+<div class='centered'>
+<a name="i030" id="i030"></a><a name="i031" id="i031"></a>
+<table border="0" cellpadding="0" width="100%" cellspacing="0" summary="Fig 148/149">
+<tr>
+<td align='center'><img src="images/i030.jpg-tb.jpg" width="406" height="600"
+             alt="Plate 1" /><br />
+         </td>
+
+<td align='center'><img src="images/i031.jpg-tb.jpg" width="369" height="400"
+             alt="Plate 2" /><br />
+         </td>
+</tr>
+<tr><td align='center'><span class="caption">Plate 1.&mdash;<i>Patterns used in Borders</i>.</span></td><td align='center'><span class="caption">Plate 2.&mdash;<i>Various Patterns of Borders.</i></span></td></tr>
+</table></div>
+
+
+<p>Historians are agreed that the cradle of Italian carving and inlaying
+was Siena, where there is mention of a certain Manuello, who, with his
+son Parti, worked in the ancient choir of the Cathedral<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> in 1259.
+Orvieto was another place where tarsia work was made at an early date,
+but the craftsmen were all Sienese. Mastro Vanni di Tura dell' Ammanato,
+the Sienese, made the design of the stalls for the Cathedral in 1331,
+and commenced the work, some remains of which are still preserved in the
+Museum of the Opera del Duomo. Twenty-eight artists were employed on
+these stalls; Giovanni Talini, Meo di Nuti, and others, all Sienese,
+assisted him, but he died before they were finished, and they remained
+incomplete till 1414, when Domenico di Nicolò is recorded as undertaking
+the work; but neither did he finish it, for in 1431 the overseers gave
+it to Pietro di Minella, and then to his brother Antonio, and to
+Giovanni di Lodovico di Magno. The woods used were ebony, box, walnut,
+and white poplar, and the cost was 3152 lire. In the 14th century tarsia
+was executed at Siena, Assisi, where in 1349 Nicolo di Nicoluccio and
+Tommaso di Ceccolo worked at the Cathedral stalls, which no longer
+remain; Verona, in the sacristy of S. Anastasia, in which city are some
+inlays resembling those at Orvieto, and Perugia, where some inlays
+remain in the Collegio della Mercanzia, but remains of the period are
+few, as may be expected.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i034" id="i034"></a>
+<img src="images/i034.jpg-tb.jpg" width="600" height="452" alt="Plate 3.&mdash;Chair Back from S.
+Ambrogio, Milan." title="" />
+<span class="caption">Plate 3.&mdash;<i>Chair Back from S.
+Ambrogio, Milan.</i></span>
+</div>
+
+<p>Domenico di Nicolò worked for 13 years at the chapel in the Palazzo
+Pubblico at Siena, using some<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> of Taddeo Bartoli's designs, and also
+did the doors of the Sala di Balia, or of the Pope. This man, who was
+one of the best Sienese masters of intarsia and carving, and was head of
+the Opera del Duomo in 1400, and whose work brought him so much
+reputation that his family name of Spinelli was changed for himself and
+his descendants to Del Coro, or Dei Cori, is an example and a proof of
+the small profit which was to be made even then by conscientious and
+careful work. He was not only a worker in wood, in 1424 he also did the
+panels of the Cathedral floor, representing David and Goliath, the
+Amorite Kings, and Samson, ascribed by Vasari to Duccio; in 1415 he was
+paid 42 lire for a tabernacle made of gesso, while as early as February
+28, 1397-8, he was paid 32 lire 10 soldi for 32&frac12; days' work on a
+window above the pulpit; yet on May 13, 1421, he petitions the priors
+and captain of the people to this effect. He says that he is poor, and
+cannot meet the requirements of his family and apprentices, each of
+whom, he says, costs 30 or 40 florins a year, and therefore suggests
+that he should have two or three boys to teach, and that the priors
+should subsidize him for that purpose, and binds himself to teach them
+all he can without reserve. The priors and captains recommended to the
+council that he should be paid by the chamberlain of Bicherna 200<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> lire,
+free of tax, by the year, "nomine provisionis libr: ducentos den:
+nitidas de gabella," and should have two or three Sienese youths to
+teach, and the council passed the recommendation the same day.
+Twenty-six years later, January 14, 1446-7, he appears again in the
+records with a petition to the Signory. He says that he has always, from
+his youth up, done his best to provide for his family, and that by his
+craft he has always tried to bring honour on the city and spread the
+fame of his works. That as they know he was granted money to teach his
+art to any young man who wanted to learn it, but "because this art was,
+and is, little profitable, there was no one who wished to go on with it
+except Master Mactio di Bernacchino, who followed the art thoroughly,
+and became an excellent master." That, as he thought he was fairly
+prosperous, he gave up the grant (like an honest man!), but the expenses
+of marrying and dowering his daughters had been so great, and added to
+the losses caused by the small profits on his work, had reduced him to
+such poverty that he did not see how he could go on, being 84 years of
+age, or thereabouts, and having a sick wife. He therefore asked to have
+a small pension settled on him for the few years he and his wife had to
+live. He was granted two florins a month, but three years later all
+mention of him ceases.</p>
+
+<div class="figcenter" style="width: 449px;">
+<a name="i039" id="i039"></a>
+<img src="images/i039.jpg" width="449" height="600" alt="Plate 4.&mdash;Door of the Sala del Papa, Palazzo Comunale,
+Siena.
+
+" title="" />
+<span class="caption">Plate 4.&mdash;<i>Door of the Sala del Papa, Palazzo Comunale,
+Siena.</i></span>
+</div><p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+
+<p>The choir of the Chapel of the Palace had been given in 1414 to Simone
+d'Antonio and Antonio Paolo Martini, but they did not satisfy the
+public, so it was taken from them and given to Domenico di Nicolò,
+August 26, 1415. The tarsie are 21 in number, and represent the clauses
+of the apostles' creed and the symbols of the apostles. The unsuccessful
+work was given to the prior of the Servites. In the Communal records
+occur the following, March 31, 1428:&mdash;"Domenico di Nicolò, called
+Domenico del Coro, is to have 45 florins at 4 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 Palace, which salary was declared
+by Guido of Turin and Daniello di Neri Martini, two of the three workmen
+upon the contract of the said door, at 180 lire. And is to have 3152
+lire for his salary and workmanship of 21 seats made in the Palace of
+the Magnificent Signors, with all both '<i>fornamenti et facti</i>,' in full
+according to his contract"&mdash;accepted by Guido di Torino and Daniello di
+Neri Martini. He was called to Orvieto in 1416 to refix the roof of the
+Cathedral; he was not to have more than 200 florins a year, but if he
+came himself all expenses were to be paid. This suggests an appointment
+like that of a consulting engineer.<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p>
+
+<p>From Siena masters were continually sent to the other great towns to
+design and carry out works of architecture, sculpture, and woodwork, as
+entries in Sienese documents show. In early times the various arts
+connected with building were in close union, and it appears tolerably
+certain that one guild sheltered them all, proficiency being required in
+several crafts and mastery in one. We find the same man acting in one
+place as master builder or architect, and sometimes only giving advice,
+while elsewhere he is sculptor or woodworker. The painter, the
+mosaicist, and the designer for intarsia are confused in a similar
+manner. Borsieri calls Giovanni de' Grassi, the Milanese painter (known
+as Giovanni de Melano at first, a pupil of Giotto and Taddeo Gaddi;
+pictures of his are in the Academy, Florence, and in the cloister of S.
+Caterina Milan), "an excellent architect"; and he also worked in relief,
+besides conducting very important architectural works. He says that
+about 1385 Giovanni Galeazzo opened an academy of fine art in his
+palace, which was conducted by Giovanni de' Grassi and Michelino da
+Besozzo. On June 19, 1391, he was paid five florins for models executed
+by him, and something for the expense of execution in marble by another
+hand. In 1391 he was called upon by the Council of the Duomo, and after
+four months of<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> uncertainty was assigned the position and pay of first
+engineer, with a servant who was paid by the Council. He did the door of
+the S. Sacristy; it was finished in July, 1395, when he was ordered to
+decorate it with gilding and blue. He also made designs for capitals and
+window traceries, and carved a God the Father for a centre boss of the
+vault of the N. Sacristy. He illuminated the initials, &amp;c., of a copy of
+the Ambrosian ritual of Berold for the "Fabbriceria," and this was his
+last work, as he died July 5, 1398, and the price was paid to his son
+Solomon, the officials declaring that it was most moderate. His pupils
+were nearly all both painters and sculptors, and some of them became
+stained-glass painters. It is well known that Taddeo Gaddi was painter,
+architect, and mosaicist, and Giotto, painter, sculptor, and architect,
+and these details are an example of what was then continually going on.
+Both in mediæval times and at the beginning of the Renaissance the most
+celebrated architects often called themselves by the most humble
+titles&mdash;"Magister lignaminio," "maestro di legname," "faber lignarius,"
+"carpentarius." Minerva, the worker, was the patron of all workmen from
+Pheidias to the lowest pottery thrower, and in Christian times the
+Quattro Coronati, the four workmen-saints, were the patrons of all who
+worked with their hands.<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+
+<p>The oldest of the differentiated guilds appears to be that of the
+painters, at least in Siena, where one was established in 1355, while in
+Florence they were obliged to enrol themselves in the "Art" of the
+"medici e speziali," unless they preferred, as many of them did, to be
+reckoned with the goldsmiths. In Siena the Goldsmiths' Guild followed
+the Painters' Guild in 1361, while the workers in stone formed their
+guild still later. Among the painters were included designers of every
+sort&mdash;moulders, and workers in plaster, stucco, and papier maché, gold
+beaters, tin beaters, &amp;c., and masters and apprentices in stained glass,
+also makers of playing cards&mdash;a most comprehensive guild. Vasari, in his
+life of Jacopo Casentino, architect and painter, says, however, "Towards
+1349 the painters of the old Greek style, and those of the new,
+disciples of Cimabue, finding themselves in great number, united and
+formed at Florence a company under the name and protection of S. Luke
+the Evangelist"; and Baldinucci, in his "Notizie dei professori di
+disegno," prints the articles of association at length. Others hold that
+the Confraternità dei Pittori was not founded till 1386.</p>
+
+<div class="figcenter" style="width: 374px;">
+
+<a name="i046" id="i046"></a>
+<img src="images/i046.jpg" width="374" height="500" alt="Plate 5.&mdash;Figure intarsia from the Sacristy of the
+Cathedral, Florence." title="" />
+<span class="caption">Plate 5.&mdash;<i>Figure intarsia from the Sacristy of the
+Cathedral, Florence</i>.<br />
+
+THE PROPHET AMOS.<br />
+
+<i>This and the two succeeding are part of the same composition.</i>
+
+</span>
+</div>
+
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i047.jpg" width="600" height="451" alt="Plate 6.&mdash;Figure intarsia from the Sacristy of the
+Cathedral, Florence." title="" />
+<span class="caption">Plate 6.&mdash;<i>Figure intarsia from the Sacristy of the
+Cathedral, Florence.</i><br />
+
+THE ANNUNCIATION.</span>
+</div>
+
+<div class="figcenter" style="width: 458px;">
+<img src="images/i048.jpg" width="458" height="600" alt="Plate 7.&mdash;Figure intarsia from the Sacristy of the
+Cathedral, Florence." title="" />
+<span class="caption">Plate 7.&mdash;<i>Figure intarsia from the Sacristy of the
+Cathedral, Florence.</i><br />
+
+THE PROPHET HOSEA.</span>
+</div>
+
+<p>The rapid rise of the last-named city in wealth and importance was the
+reason that so much of the best later 15th century inlaid work was done
+there,<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> or at least by Florentines, though the art was not new to
+Florence, the names of Matteo di Bernardino, Pietro Antonio, Giovanni
+del Mulinella, and Domenico Tassi being recorded as working there in the
+14th century. Vasari, as usual, is somewhat inaccurate; he says that
+tarsia was first introduced in the time of Brunelleschi and Paolo
+Uccello, "that, namely, of conjoining woods, tinted of different
+colours, and representing with these buildings in perspective, foliage,
+and various fantasies of different kinds." Both he and Lanzi say that
+Brunelleschi gave lessons in perspective and "tarsia" to architects and
+others, of which Masaccio in painting and Benedetto da Majano in his
+inlaid works availed themselves. Vasari held but a poor opinion of
+tarsia, which, he said, "was practised chiefly by those persons who
+possessed more patience than skill in design," and goes on to say that
+the subjects most suitable to the process are "perspective
+representations of buildings full of windows and angular lines, to which
+force and relief are given by means of lights and shades"; that although
+he had seen some good representations of figures, fruit, and animals,
+"yet the work soon becomes dark, and is always in danger of perishing
+from the worms or by fires." He adds that it was first practised in
+black and white alone, but Fra Giovanni da Verona<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> 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 colours, making the lights with the whitest pieces of
+the spindle tree; to shade, some singed the wood by firing, others used
+oil of sulphur, or a solution of corrosive sublimate and arsenic. The
+"most solemn" masters of tarsia in Florence were the Majani, La Cecca,
+Il Francione, and the da San Gallo. The first name which he gives is
+that of Giuliano da Majano (1432-90), architect and sculptor, who
+executed as his first work the seats and presses of the sacristy of S.
+S. Annunziata at Florence, with Giusto and Minore, two masters in
+tarsia. He also did other things for S. Marco. In the archives of the
+Duomo, Giuliano di Nardo da Maiano is named in a contract for ornamental
+wood-work in the sacristy, to be finished in 1465. There is still
+existing in the Opera del Duomo a panel of S. Zenobio standing between
+two deacons, executed by him from cartoons by Maso Finiguerra, who
+designed five figures for the panels of the sacristy. The heads were
+painted by Alessio Baldovinetti. There are also several subjects in the
+sacristy, a Nativity, resembling Lippino Lippi's picture in the
+Accademia; a Presentation in the Temple, not without a reminiscence of
+Ghirlandajo's<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> manner; and an Annunciation. The whole scheme of the
+decoration of this wall was Giuliano's, but it was the completion of
+work begun in 1439 by Angelo di Lazzero of Arezzo, Bernardo di Tommaso
+di Ghigo, Giovanni di Ser Giovanni detto Scheggione, painter and brother
+of Masaccio, and Antonio Manetti. Milanesi says his father was Leonardo
+d'Antonio da Majano, master of wood and stone work. He entered the Arte
+del legnajuolo in company with his younger brother Benedetto, and the
+first mention of his work in connection with the "Arte" is in 1455, when
+he made for the Compagnia di S. Agnese delle Laudi, which met in the
+Carmine, a chest with a bookcase of some sort. Five years later he
+carved some candlesticks for the Monastery of S. Monaca, and constructed
+some cupboards ornamented with inlaid work and perspectives for the
+Badia of Fiesole. Among his architectural work may be mentioned the
+Chapel of S. Fina at S. Gemignano, which Ghirlandajo embellished with
+frescoes. He commenced a choir for the Duomo at Perugia, decorated with
+both carving and tarsia, but since he went to Naples shortly after 1481,
+and died there in 1490, the greater part of the credit of this work must
+be given to Domenico del Tasso, who completed it in 1491. His brother
+Benedetto, to whom he turned over most of his commissions for<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> tarsia,
+when he became much occupied with architectural work, was born in 1442.
+He assisted his brother in many of his works, such as the doors of the
+hall of audience in the Palazzo Vecchio, made between 1475 and 1480,
+representing Dante and Petrarch, with ornamental borders and other
+panels, in which Il Francione also had a hand. He gave up tarsia in
+disgust for the following reason, according to the story told by
+Vasari:&mdash;"He made two chests, with difficult and most splendid mastery,
+of wood mosaic, which he wished to show to Matthew Corvinus, then King
+of Hungary, who had many Florentines at his Court, and had summoned him
+with much favour; so he packed his chests up and sailed for Hungary,
+where, when he had made obeisance to the King, and had been kindly
+received, he brought forward the said cases and had them unpacked in his
+presence, who much wished to see them; 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 ground, at
+which every one may understand how astonished and speechless Benedetto
+was in the presence of so many lords. However, he put the work together
+again as he best might, and satisfied the King; still he was disgusted
+with that kind of work, not being able to forget the vexation<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> which
+he had suffered, and gave it up, taking to carving instead." He finished
+his brother's presses in the sacristy of S. Maria dei Fiori, and, in the
+opinion of Vasari, surpassed him and became the best master of his
+period. He died in 1497. Vasari ascribes the celebrant's seat in Pisa
+Cathedral to Giuliano, together with another of spindlewood, "to be
+placed in the nave where the women sit," finished and sent home in 1477,
+and put up by Baccio Pontelli. Milanesi says, however, that the choir of
+this Cathedral was done by Francesco di Giovanni di Matteo da Firenze,
+called Il Francione. Guido da Seravallino, between 1490 and 1495, made
+for the choir of the sacristy of this Cathedral more than 15
+perspectives; the usual price appears to have been 11 lire. He was a
+Pisan, and his father's name was Filippo. Domenico di Mariotto first
+appears in the accounts in 1489, when he began the choir and seats for
+the Campo Santo; he went on with various works of tarsia and carving
+till 1513. He was a Florentine, but lived in Pisa for many years, dying
+there in 1519. Other names which appear in the accounts are Giuliano di
+Salvatore and Michele Spagnuolo. In 1486 Cristophano d'Andrea da
+Lendinara and Jacopo da Villa came to make a seat for the choir, but
+this does not seem to have been a success, and Il Francione, who had<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>
+been at Pisa as long before as 1462, and Baccio di Fino Pontelli, who
+appears in 1471, were put in charge of the work. Giovanni Battista
+Cervelliera is mentioned first in 1522. He was son of Pietro d'Altro
+Pietra, a native of Corsica, who began the singing gallery of the organ
+in S. Martino, Pietra Santa, finished by his son, who died in about
+1570. In 1596 a great fire took place. After this the best pieces saved
+were used in the decoration of the new choir, in 1606, by Pietro Giolli,
+who also had some fresh ones made; others were mended by Girolamo
+Innocenti, and placed round the walls and round the nave piers in 1613.
+The pieces of Giuliano da Majano's work now remaining are in the side
+aisles, two at the right, one at the left; one represents King David
+with his harp and with a label in the other hand, "Laudate Pueri
+Dominum." The other two figures are prophets, and have scrolls,
+"Benedicam, benedicam," and "Ve qui condunt legem." Pontelli's Faith,
+Hope, and Charity are on the pier near the Chapel of S. Ranier, three
+half-length figures of women. The seated figures of the liberal arts on
+the side panelling of the church are Il Francione's, women with symbols,
+arithmetic, grammar, geometry, astrology, logic, and music. The great
+seat in the nave is the work of Giovanni Battista del Cervelliera. In
+the centre is a large<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> round-headed panel with the Adoration of the
+Magi; at each side are three lower seats with architectural subjects in
+the centre and objects in the side panels and below the seats. It is
+signed and dated 1536. The whole collection of panels is well worth a
+stay at Pisa to see, even if there were not other attractions in that
+pleasant little town. In the registers of the "Opera" is an annual
+charge for two "sbirri," or two servants of the captain of the people,
+to watch the seats of the Cathedral "so that children may not damage
+them in the obscurity," which shows that even Italian children could not
+always be trusted not to be mischievous.</p>
+
+<div class="figcenter" style="width: 460px;">
+<a name="i052" id="i052"></a>
+<img src="images/i052.jpg" width="460" height="600" alt="Plate 8.&mdash;Figure intarsia from the Sacristy of the
+Cathedral, Florence." title="" />
+<span class="caption">Plate 8.&mdash;<i>Figure intarsia from the Sacristy of the
+Cathedral, Florence</i>.<br />
+
+THE NATIVITY.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 454px;">
+<a name="i053" id="i053"></a>
+<img src="images/i053.jpg" width="454" height="600" alt="Plate 9.&mdash;Figure intarsia from the Sacristy of the
+Cathedral, Florence." title="" />
+<span class="caption">Plate 9.&mdash;<i>Figure intarsia from the Sacristy of the
+Cathedral, Florence</i>.<br />
+
+THE PRESENTATION IN THE TEMPLE.</span>
+</div>
+
+<div class="figcenter" style="width: 384px;">
+<a name="i057" id="i057"></a>
+<img src="images/i057.jpg" width="384" height="500" alt="Plate 10.&mdash;Panel from Sacristy of S. Croce, Florence.
+
+" title="" />
+<span class="caption">Plate 10.&mdash;<i>Panel from Sacristy of S. Croce, Florence.</i>
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="i060" id="i060"></a>
+<img src="images/i060.jpg" width="650" height="176" alt="Plate 11.&mdash;Detail of frieze from the Sacristy of S. Croce, Florence." title="" />
+<span class="caption">
+
+Plate 11.&mdash;<i>Detail of frieze from the Sacristy of S. Croce, Florence.</i></span>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="i061" id="i061"></a>
+<img src="images/i061.jpg" width="650" height="473" alt="Plate 12.&mdash;Lower Seats of Choir, Cathedral, Perugia." title="" />
+<span class="caption">Plate 12.&mdash;<i>Lower Seats of Choir, Cathedral, Perugia</i>.</span>
+</div>
+
+
+<div class="figcenter" style="width: 455px;">
+<a name="i064" id="i064"></a>
+<img src="images/i064.jpg" width="455" height="600" alt="Plate 13.&mdash;Upper Seats of Choir, Cathedral, Perugia.
+
+" title="" />
+<span class="caption">Plate 13.&mdash;<i>Upper Seats of Choir, Cathedral, Perugia</i>.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 250px;">
+<a name="i065" id="i065"></a>
+<img src="images/i065.jpg" width="250" height="500" alt="Plate 14.&mdash;One panel from upper series, Cathedral,
+Perugia." title="" />
+<span class="caption">Plate 14.&mdash;<i>One panel from upper series, Cathedral,
+Perugia</i>.</span>
+</div>
+
+<p>Il Francione had a pupil called Il Cecca. His name was really Francesco
+d'Agnolo, but like most men at that time he went by a nick-name. Cecca
+is a corruption of Francesco into Cecco, Cecca, from being Francione's
+companion and disciple. He was born in 1447; his father was Angelo di
+Giovanni, a mender of leather or "galigajo." He came to Florence from
+Tonda, a little place near S. Miniato al Tedesco. His father died in
+1460; he and three older sisters were left to his mother, Monna Pasqua.
+So the 13 year-old boy went bravely to work to keep his mother and
+sisters, and entered Il Francione's workshop. When he was 25 he left him
+and set up for himself, taking a shop in<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> the Borgo de' Greci, where he
+lived and slept as well as worked. In 1481 he had a commission from the
+magistrates, called "degli ufficiali di Palazzo," for all the wood-work
+of the Hall of the Seventy, Bernardo di Marco Renzi helping him.
+Afterwards he did other work for different parts of the Palace and for
+other places, all of which has perished. Finally, he spent most of his
+time as architect and engineer, and had a great deal to do with the
+fortification of various places and with the great cars for the
+"feste"&mdash;a not uncommon juxtaposition of engagements. He died in 1488.</p>
+
+<p>The del Tasso lived in the village of S. Gervasio, and moved to a place
+near the walls of Florence, a few steps from the Porta a Pinti. Then
+they went into the city and had a house in the parish of S. Ambrogio, in
+which church Francesco di Domenico made a tomb for himself and his
+family in 1470. They had arms; at first they were a goldsmith's anvil
+(tasso or tassetto), and above a ball or heap of silver. Afterwards the
+field of the shield was divided, and they added in the upper part two
+little badgers (tassi) at the side of the anvil, and put below the keys
+of S. Peter, crossed, and interspersed with four roses. "And this they
+did, not only to point out the parish of S. Pier Maggiore in the
+gonfalon 'Chiavi' of the quarter of S. Giovanni, where the<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> del Tasso
+lived, but also to differentiate their arms from those almost similar of
+another Florentine family of the same name." Evidently there was no
+College of Heralds in Florence in those days! The first of the family
+recorded is Chimenti di Francesco, who, in 1483-4 made a grating or
+gridiron of wood in the Chapel of S. Lorenzo in the Monastery of S.
+Ambrogio, and the dossal of the altar called "del Miracolo." In 1488 he
+carved a choir of walnut, outlined with tarsia, for the Chapel
+Minerbetti in S. Pancrazio, for which he was paid 100 florins of gold.
+He had, among others, two sons, Lionardo and Zanobi, who became
+sculptors under Benedetto da Majano and Andrea Sansovino. They also
+worked in S. Ambrogio, and the figure of S. Sebastian is by Lionardo.
+The two brothers in 1499 made nine antique heads of marble and bronze,
+which the republic sent as a gift to the Maréchal de Guise in France.
+Chimenti had two brothers, also carvers and joiners, Cervagio and
+Domenico, who brought up their sons to follow the same calling, who did
+many things for triumphal arches, cars, &amp;c., for "feste." Domenico did
+the tarsia and rosettes in the seat backs of the refectory of S. Pietro,
+Perugia, and a credence of walnut, ordered on October 20, 1490, for the
+table of the priors, on which were festoons, griffins, and other inlaid
+work. The year<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> after he finished the choir of the Cathedral left by
+Giuliano da Majano, and was paid 1404 florins, according to the estimate
+of Crispolto and Polimante, Perugian joiners. For the same choir he made
+the panelling of wood, for which he was paid 60 florins. There were 34
+seats with ornaments at 36 florins each, and three with figures, which
+were estimated at 60 florins apiece. Payments were also made to him for
+work in the Sala del Cambio, sometimes for wood, sometimes on account of
+salary, so that it seems certain that he made the benches there on
+finishing the choir of the Cathedral, since they were being made between
+1491 and 1494. The first cost 130 florins and 6 soldi in 1491, but it
+was not finished till the next year. Polimante da Nicola was made
+citizen of Perugia in 1473. Three years after he began the choir of S.
+Domenico, which cost 11 florins per seat. Four years later it was still
+unfinished. "Mastro Crespolto and Mastro Giovagne" were his assistants.
+Domenico had three sons, Chimenti, Francesco, and Marco, who followed
+the paternal calling. Chimenti was one of those who were judges in 1490
+in the competition for the façade of S. Maria del Fiore, and in 1504 was
+one of those chosen to decide the position in the piazza to be occupied
+by Michael Angelo's David. Marco was an enthusiastic follower of
+Savonarola; in 1491<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> he was, with his brother Francesco, at Perugia
+helping his father, and six years later he undertook work there on his
+own account. They did half of the choir of La Badia in 1501-2, and the
+very elaborate lectern. The son of Mark was Giambattista, called Maestro
+Tasso, who was a fine carver in wood, and, in the opinion of Cellini,
+the best in his profession. He did many things both for ephemeral and
+lasting purposes, and became an architect, designing the door of the
+Church of S. Romolo and the Loggia of Mercato Nuovo, Florence, and
+superintending the construction of the latter between 1549 and 1551. In
+1548 he designed an addition to the Palazzo Vecchio, then the ducal
+residence, and also under-*took to execute all the joinery. At the same
+time he made a model of the Palace which he intended to build in Pisa,
+which, however, was not carried out. He died in 1555. He was said by
+Vasari to spend his time in playing the wag, in enjoyment rather than
+work, and in criticising the works of others. But Cellini calls him
+pleasant and gay; Bronzino, good, lovable, and honest; and so does Luca
+Martini, who was a great friend of his. The following story of him,
+related by Il Lasca, shows that he was not above playing a practical
+joke of a rough character, and that he took great pride in the
+achievements of his fellow-artists:&mdash;"A<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> Lombard Benedictine abbot on
+the way to Rome stayed in Florence, and wished one day to see the
+figures on the Medicean tombs in the sacristy of San Lorenzo carved by
+Michael Angelo, and having therefore gone thither with his two attendant
+monks, the prior of the church asked Tasso, who was then working at the
+floor of the library together with his son-in-law Crocini Antonio di
+Romolo, under the direction of Michael Angelo, to show the abbot the
+sacristy and the said library. Which abbot, after having seen the
+figures in the sacristy, and thought very little of them, set off to see
+the library, and while he was gently ascending a stair which conducted
+to it, talking with Tasso, happened to turn his eyes on the cupola of
+Brunellesco, and stopping to look at it commenced to say that, although
+it was considered by all the world as a marvel, he had heard a person
+worthy of credence say that the dome of Norcia was much more beautiful,
+and made with greater art. Which words so much exasperated Tasso that,
+pulling the abbot backwards with force, he made him tumble down the
+staircase, and he took care to let himself fall on him (!) and calling
+out that the frater was mad, he got two cords, with which he bound his
+arms, his legs, and all his person, so that he could not move, and then
+taking him, hanging over his shoulders, carried him to a<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> room near,
+and, stretching him on the ground, left him there in the dark, locking
+the door and taking away the key." What happened to the unfortunate
+abbot after, and whether he was much damaged or not one does not know,
+for the anecdote stops here. Another instance of a family which devoted
+itself for many years to the production of tarsia and wood-work,
+displaying hereditary aptitude in the craft and gaining great repute, is
+given by the Canozii of Lendinara. The first member who took up tarsia,
+abandoning his craft of painting for that purpose, was Lorenzo Genesino
+da Lendinara, surnamed Canozio, to give him his full description. From
+him descended many excellent workers in wood. He studied in Padua, where
+he had Mantegna as fellow-student, and worked in company with his
+brother, his son, and a relation called Pier Antonio dell' Abate di
+Modena, who did the intarsia in the choir of S. Francesco at Treviso in
+1486. He died in 1477, and is buried in the first cloister of S. Antonio
+at Padua, for which he made the stalls, as his epitaph states. They were
+commenced in 1462, were worked at continuously for three years, and
+after an interval finished in 1468. They were then coloured and gilded
+in places by "Maestro Ugozon de Padoa, depentor." Burnt in 1749, only
+two stalls remain, made into confessional boxes, in the Chapel<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> of the
+Beato Belludi. The designs for the tarsia of the sacristy were made by
+Squarcione, master of Mantegna and Lorenzo, who was paid for them in
+1462. There were 90 seats in this choir, so that it was a very important
+piece of work. A contemporary account by Matteo Colaccio (1486) shows
+what were the aims of the intarsiatori of the period as understood and
+admired by the more or less cultivated populace. "In past days in
+visiting those intarsiad figures, I was so much taken with the
+exquisiteness of the work that I could not withhold myself from praising
+the authors to heaven! And to commence with the objects that one sees
+around every day, here are books expressed in tarsia that seem real.
+Some are one on the other, and arranged carelessly, or by chance, some
+closed, some newly bound and difficult to close; candles of wax with the
+ends of wicks, now in well-turned wooden candlesticks, one straight, one
+crooked, less or more, with another crossing it. Elsewhere one sees
+clouds of smoke which spread out from new chimneys, fish which turn
+round from a full basket, a cithern which hangs from the centre of a
+narrow niche. Close by is a cage of bars expressed with wonderful
+spirit. Palaces, towers, and churches, through the half-closed doors of
+which one can see in the interior arches and windows, cupolas and
+steps.<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> Most natural, then, is it not to be able to decide which tower
+to approach; these mountains appear to one covered with grass and with
+stones; and where earth of various colours appears there all green is
+taken away. But what shall I say of the images of the saints. Of their
+uncut and curled beards, of their hands, the joints of their fingers,
+their nails? Of their clothes, their sinuous folds, and the shadows? Nor
+less pleased me the little collar of rich pearls under the chin of S.
+Prosdocimus. 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 true. And this is specially admirable, that through the dull
+colour of their leaves they seem to have been taken from the tree
+scarcely a day ago." And then he praises in a pompous fashion the folds
+of the Virgin's and the Angel's drapery, the silk veil over a chalice,
+and the perspective of a flight of steps which support the feet of the
+Madonna, &amp;c. One of his first works was done for S. Mark's, Venice, in
+1450. His reputation was much increased by the stalls of the Cathedral
+of Modena, made in 1472 by Lorenzo and Cristoforo, and restored in 1540
+by Mastro Angelo de Piacenza, one of their pupils. He also worked at
+Parma in 1473. Fra Luca Pacioli (1509) makes an enthusiastic eulogium
+upon<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> Lorenzo, "who, in the said art (perspective), was in his time
+supreme, as he showed in all his famous works, as in tarsia in the
+worthy choir of the Santo and its sacristy, and in Venice in the Cha
+Grande, as well as in painting in the same places and elsewhere. And at
+the present time his son, Giovan Marco, my dear comrade, who is worthy
+of his paternity, as his work at Rovigo shows, and that in the choir of
+our convent in Venice, and in Mirandola, the architecture of which
+fortress is well understood." In the sacristy of the Cathedral at Lucca
+are five panels from the seats which once surrounded it, signed
+"Cristopharus de Canociis de Lendinaria fecit opus, <span class="smcap">MCCCCLXXXVIII</span>." One
+shows S. Martin, the bishop, full length, the others perspectives,
+perhaps of various streets of the city as then existing. He did these in
+conjunction with Matteo Civitale, and they were his last works. He died
+in 1491. Bernardino da Lendinara, who worked at Parma in 1494, and
+later, and was a citizen of that town and of Modena, was son of
+Cristoforo, who was also citizen of those cities from 1463.</p>
+
+<div class="figcenter" style="width: 487px;">
+<a name="i068" id="i068"></a>
+<img src="images/i068.jpg" width="487" height="550" alt="Plate 15.&mdash;Two panels from the Sala del Cambio,
+Perugia." title="" />
+<span class="caption">Plate 15.&mdash;<i>Two panels from the Sala del Cambio,
+Perugia</i>.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="i072" id="i072"></a>
+<img src="images/i072.jpg" width="650" height="255" alt="Plate 16.&mdash;Frieze from S. Mark&#39;s, Venice.
+" title="" />
+<span class="caption">Plate 16.&mdash;<i>Frieze from S. Mark&#39;s, Venice</i>.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="i076" id="i076"></a>
+<img src="images/i076.jpg" width="650" height="195" alt="Plate 17.&mdash;Frieze from S. Mark&#39;s,
+Venice." title="" />
+<span class="caption">Plate 17.&mdash;<i>Frieze from S. Mark&#39;s,
+Venice.</i></span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i077" id="i077"></a>
+<img src="images/i077.jpg" width="600" height="439" alt="Plate 18.&mdash;Stalls from the Cathedral, Lucca." title="" />
+<span class="caption">Plate 18.&mdash;<i>Stalls from the Cathedral, Lucca</i>.</span>
+</div>
+
+<p>The stalls from the Cathedral at Lucca, which are illustrated, are now
+in the Picture Gallery. They were made by Leonardo Marti, of Lucca. When
+in 1620 the choir was spoilt (they thought that they were making grand
+improvements) they were moved<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> to the church of the Riformati of S.
+Cerbone, being badly mutilated to adapt them to their new position.
+There, in two centuries of neglect they became in such a state that the
+brothers thought them no longer decent, and wished to sell them and make
+a new choir. The Opera of the Cathedral and the Commission of Art paid
+them something for them, and thus preserved them as they now are, having
+executed some restorations here and there.</p>
+
+<p>At Ferrara are some remains of stalls in the apse of the Cathedral which
+were commissioned from Bernardino da Lendinara in 1501, though not made
+by him owing to the defalcations of a dishonest steward. In 1519 the
+Chapter of the Cathedral renewed the contract with Pietro de' Rizzardi
+and Bernardino, but as he died in 1520, M. Angelo Discaccia, of Cremona,
+son of M. Cristoforo (da Lendinara?), was substituted, and assisted
+Rizzardi till the work was finished in 1525. The gilding was done by
+Baldassare dalla Viola and Albertino dalla Mirandola. A note in the
+books of the Fabbrica, June 30, 1525, states that "Mro. Piero di
+Richardo dale Lanze" owes for work not yet completed 58 lire 20 soldi.
+There are three rows of seats, 132 in all, and the Episcopal throne in
+the middle. The upper row is of 56 seats, without the throne, the middle
+one 42, the lowest 34. Originally there were 150,<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> but in the
+alterations of 1715 nine from each side were taken away, as the high
+altar was placed further within the apse. The upper stalls are divided
+by a chancelled column with Corinthian capital, and terminated in a
+shell hood. The intarsia on the back showed ornament of fine style,
+drawings of sacred objects and perspectives of fine buildings drawn from
+various parts of the city. Two of the best preserved show the ducal
+castle and the ancient ducal courtyard with the still-existing staircase
+constructed by Ercole I. in 1481. The usual bird in a cage appears, the
+symbol of human passions conquered by religious abnegation. The lower
+rows of seats are also worked in tarsia, but with ornaments of
+geometrical form, books, and joint-stools, the diamond, the cognisance
+of Ercole I. (who gave the original commission), and the pomegranate,
+that of Alfonso, and this last figure, which only occurs in the third
+stall to the right in the lower order, makes one think that only that
+part was finished under him. The frames surrounding are carved with
+restraint. The work cost altogether 2771 lire 8 soldi 2 denari besides
+the expense of making the lower seats, which cost 3984 lire marchesane
+16 soldi 10 denari. The lira marchesana in 1523-25 corresponded to 43
+Roman bajocchi 9 denari, about 2 francs 35 centimes of modern Italian
+money.</p>
+
+<div class="figcenter" style="width: 459px;">
+<a name="i080" id="i080"></a>
+<img src="images/i080.jpg" width="459" height="600" alt="Plate 19.&mdash;Lectern in Pinacoteca, Lucca." title="" />
+<span class="caption">Plate 19.&mdash;<i>Lectern in Pinacoteca, Lucca</i>.</span>
+</div>
+
+<div class="figcenter" style="width: 344px;">
+<a name="i081" id="i081"></a>
+<img src="images/i081.jpg" width="344" height="650" alt="Plate 20.&mdash;Two-leaved door in the Pinacoteca, Lucca.
+
+" title="" />
+<span class="caption">Plate 20.&mdash;<i>Two-leaved door in the Pinacoteca, Lucca.</i>
+
+</span>
+</div><p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p>
+
+<p>The Canozii were also at Reggio, in the Emilia, in 1474 and in 1485, but
+the work of the stalls in the Cathedral seems rather more archaic than
+their period, and the lectern is dated 1459. It is probably the work of
+Antonio da Melaria, who three years later made one exactly like it, with
+other things, for the Church of S. Domenico. This was done for Antonia
+di Fiordibelli, and the contract shows what were the conditions under
+which such work was done. He was given 50 lire at once to buy material
+with, 50 when he began working, 50 when he had finished a third of the
+work, 50 when it was half done, 50 more when three-quarters was
+finished, and the rest of the whole price of 336 lire when it was
+completed. He was to use wood of Piella, and give 48 planks to the
+lady&mdash;a very curious clause in the contract.</p>
+
+<p>At Città di Castello there are tarsie designed by Raffaello da Colle in
+the Cathedral.</p>
+
+<p>The choir stalls at the Certosa, Pavia, were made by Bartolommeo Poli,
+surnamed dalla Polla, from designs by Borgognone, as is said, and the
+style certainly seems to bear out the assertion, though no document has
+yet been found directly connecting him with them. They were restored in
+1847 by Count Nava with wax and stucco coloured to imitate the missing
+pieces of wood. The upper row<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> contains a series of figures of saints
+and prophets, and below are exceedingly graceful and flowing arabesques.
+A document in the Brera Library notes that in 1490 "Mro. Bartolommeo de
+Polli da Mantoa, who made the inlaid choir and the doors of the chapels,
+has a right to 8 ducats per door, and also for the wooden pulpits 30
+ducats a pulpit." He was the son of Andrea da Mantova, who was born at
+Modena, but lived and worked at Mantua, and also with his brother Paolo
+in S. Mark's, Venice. The stalls were made between 1486 and 1501, and
+are the only work which he is recorded to have executed. A Cremonese,
+Pantaleone de' Marchi also worked on these stalls&mdash;a relation of the
+large family of the Marchi of Crema, perhaps, who worked in S. Petronio,
+Bologna, in 1495. The father was named Agostino, and he had six sons,
+Giacomo, Nicolo, Taddeo, Biagio, Agostino, and a second Giacomo. The
+stalls in the Chapel of S. Sebastian are signed Jacopo de Marchis. Some
+stalls by Pantaleone de' Marchi are in the Museum at Berlin, acquired in
+1883. They probably came from Bramante's Church, the Madonna of Tirano,
+in the Valtelline, which was built in 1505, and where there are still
+some remains of seats similar in style. The upper range of panels has a
+few half-lengths of saints, landscapes, and the usual open cupboard<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span>
+doors revealing objects on the shelves within. On the backs of the seats
+below are arabesques, and the pilaster panels and divisions between are
+also inlaid, as is the cornice. He also worked at Savona.</p>
+
+<div class="figcenter" style="width: 506px;">
+<a name="i084" id="i084"></a>
+<img src="images/i084.jpg" width="506" height="650" alt="Plate 21.&mdash;Stalls at the Certosa, Pavia." title="" />
+<span class="caption">Plate 21.&mdash;<i>Stalls at the Certosa, Pavia</i>.</span>
+</div>
+
+<div class="figcenter" style="width: 569px;">
+<a name="i085" id="i085"></a>
+<img src="images/i085.jpg" width="569" height="600" alt="Plate 22.&mdash;Detail of Arabesques, lower seats, Certosa,
+Pavia." title="" />
+<span class="caption">Plate 22.&mdash;<i>Detail of Arabesques, lower seats, Certosa,
+Pavia</i>.
+
+</span>
+</div>
+
+<p><a name="i088" id="i088"></a></p>
+<div class="figleft" style="width: 173px;">
+<img src="images/i088.jpg" width="173" height="600" alt="Plate 23.&mdash;Panel from S. Petronio, Bologna." title="" />
+<span class="caption">Plate 23.&mdash;<br /><i>Panel from S. Petronio, Bologna.</i></span>
+</div>
+
+<p><br /><br /><br />One of the best Sienese masters has not yet been mentioned, Antonio
+Barili, much of whose work has perished, like that of many other
+intarsiatori, an example of which the collectors for the Austrian K.K.
+Museum at Vienna have picked up, however, where it may now be seen. He
+was born in Siena, August 12, 1453. His first work on his own account
+was the choir of the Chapel of S. Giovanni, in the Cathedral, Siena, of
+which a few poor remains have escaped the carelessness of the last
+century, and are in the Collegiate Church of S. Quirico in Osenna, 26
+miles from Siena, on the old Roman road. The contract is dated January
+16, 1483, and in it he engages to finish it in about two years. He was
+to be paid 50 florins of 4 lire beyond what he expended, and was to go
+on working at the rate of 10 florins a month. If he did not finish it in
+the given time he was to forfeit 100 florins, except for cause of
+infirmity, plague, &amp;c. It was to be valued in the usual manner, and 100
+florins was the penalty for the breaking of the contract on either side.
+As a matter of fact it took him nearly 20 years to complete. On one of
+the panels Barili made<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> a portrait of himself at work, the one referred
+to above, now in the K.K. Austrian Museum at Vienna, which shows the
+very simple means used by the great intarsiatori. His tools consist of a
+folding pocket-knife, a square-handled gouge, and a short-bladed,
+long-handled knife, which he holds with the left hand and presses his
+shoulder against, so as to use the push of the shoulder in cutting,
+while in the right he holds a small pencil, with which he appears to
+direct the knife edge. The panel upon which he is at work bears the
+inscription, "Hoc ego Antonius Barilis opus c&oelig;lo non penicello
+excussi. Anno. D., 1502." He works in a window opening with panelled
+framing, and behind him a tree spreads across a courtyard against the
+sky, upon a branch of which a parrot is seated. Von Tschudi says that
+the panel is about 2 feet 10 inches long by 1 foot 9&frac12; inches broad,
+and that the woods employed are pear and walnut, oak, maple, box,
+mahogany, palisander, and one as hard as birch in texture. A full
+description of it as it originally was is appended in a note taken from
+Della Valle's "Lettere Senese." It was valued by Fra Giovanni of Verona
+at 3990 lire. 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 2000 lire, and did other work for private<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> persons. Another
+great work was the choir of the Certosa of Maggiano, which has entirely
+disappeared. He was not only intarsiatore, but was much employed by the
+commune on architectural works. In 1484 he was sent to rebuild the
+bridge of Buonconvento, broken by a flood of the Ombrone, and in the
+same year, with Francesco di Giorgio, and on equal terms with him,
+restored the bridge of Macereto. In 1495 he was asked to make designs
+and models for a bastion to be erected over against the bridge of
+Valiano, taken by the Florentines. Owing to a bad guard being kept this
+was taken, and between 1498 and 1500 Barili was sent again to rebuild it
+larger and stronger. Finally, in 1503, he was sent to make designs and
+models of the new walls for the fortifications of Talamone, an important
+coast town. In his intarsias he was helped by his nephew, Giovanni,
+whose salary, when working for Leo X. at Rome, was five ducats a month.
+He died in 1516.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p>
+
+<p style="clear: both;">&nbsp;</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i089" id="i089"></a>
+<img src="images/i089.jpg" width="600" height="461" alt="Plate 24.&mdash;Panel from S. Petronio, Bologna.
+
+" title="" />
+<span class="caption">Plate 24.&mdash;<i>Panel from S. Petronio, Bologna.</i>
+</span>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="i093" id="i093"></a>
+<img src="images/i093.jpg" width="650" height="396" alt="
+
+Plate 25.&mdash;Panel from S. Miniato, Florence." title="" />
+<span class="caption">
+Plate 25.&mdash;<i>Panel from S. Miniato, Florence.</i></span>
+</div>
+
+<div class="figcenter" style="width: 279px;">
+<a name="i098" id="i098"></a>
+<img src="images/i098.jpg" width="279" height="600" alt="Plate 26.&mdash;Panel from S. Maria Novella, Florence.
+" title="" />
+<span class="caption">Plate 26.&mdash;<i>Panel from S. Maria Novella, Florence</i>.
+</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span><br /><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>
+
+<p>Other names mentioned by Vasari are Baccio Albini and his pupil Girolamo
+della Cecca, <i>pipers to the signoria</i>, as good intarsiatori who worked
+also in ivory when Benedetto da Majano was yet a young<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> man, and
+David of Pistoia and Geri of Arezzo, who decorated the choir and pulpit
+of S. Agostino in the latter town. Geri also made intarsie for S.
+Michele, Arezzo. Milanesi says Girolamo della Cecca was of Volterra,
+and calls Baccio, di Andrea Cellini; he was in Hungary in 1480 with his
+brother Francesco; they were brothers of Giovanni, who was father of
+Benvenuto and piper also. The stalls in S. Miniato, Florence, were made
+in 1466 by Francesco Manciatto and Domenico da Gajuolo; but perhaps the
+highest point reached by Florentine intarsia is shown by the stalls of
+S. Maria Novella, made by Baccio d'Agnolo from Filippino Lippi's
+designs. There are 40 stalls and 30 different ornamental fillings; the
+capitals, pilasters, and frieze are inlaid, the rest carved; the
+execution of figures, scrolls, leaves, and ornamental forms is as near
+perfection as may be.</p>
+
+<p>Baccio, or Bartolommeo d'Agnolo Baglioni, was born May 19, 1462. "In his
+youth he did very fine intarsia in the choir of S. Maria Novella, in
+which are a very fine S. John Baptist and S. Laurence, and also carved
+the ornaments in the same place and the organ case"&mdash;so says Vasari. The
+organ case is no longer there, having been sold in England, but the
+stalls still remain. After carving the surroundings of the altar at S.
+S. Annunziata, which no longer exist, he went to Rome and studied
+architecture, of which Vasari remarks, "the science of which has not
+been exercised, for several years back, except by carvers and deceitful
+persons, who made<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> profession of understanding perspective without
+knowing even the terminology and the first principles" (!) When he
+returned to Florence he made triumphal arches of carpentry for the entry
+of Leo X. But he still stuck to his shop, in which, especially in the
+winter, fine discourses and discussions on art matters were held,
+attended at different times by Raffaello, then quite young; by Andrea
+Sansovino, il Maiano, il Cronaca, Antonio and Giuliano San Gallo, il
+Granaccio, and sometimes, by chance, by Michel Agnolo, and many young
+men, both Florentines and strangers. He did a great deal of work for the
+great hall of the Palazzo Vecchio in conjunction with others, and the
+staircase of the Sala del Dugento. After this he did many architectural
+works, palaces and additions to churches, some of which are still
+existing. The design of Brunelleschi for the gallery to surround the
+dome of the Cathedral having been lost, Baccio was commissioned to make
+a fresh one, and a piece of it was put up; but when Michael Angelo came
+back from Rome he said it was not large enough in style for the dome; in
+fact, he called it a cage for grasshoppers (grilli), and made a design
+to replace it himself; as, however, the authorities could not make up
+their minds to accept it, and Baccio's work was much blamed, it went no
+farther,<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> and was never finished. He died on May 6, 1543, at the age of
+83, being still in full possession of his faculties, and leaving three
+sons, of whom the second, Giuliano, did a good deal of carving both in
+stone and wood, and architectural design, working in conjunction with
+Baccio Bandinelli, among which was the choir of the Cathedral of
+Florence. Another son, Domenico, showed great promise, but died young.</p>
+
+<div class="figcenter" style="width: 280px;">
+<a name="i103" id="i103"></a>
+<img src="images/i103.jpg" width="280" height="600" alt="Plate 27.&mdash;Panel from S. Maria Novella, Florence.
+" title="" />
+<span class="caption">Plate 27.&mdash;<i>Panel from S. Maria Novella, Florence</i>.
+</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>The seats near the high altar at S. Maria Novella, and other things
+there were made between 1491 and 1496. The floor of the hall of the
+Great Council in the Palazzo Vecchio was begun in 1496, and with other
+works there went on till 1503. On October 1, 1502, he engaged to do the
+choir of S. Agostino Perugia from Perugino's designs at 1120 florins of
+40 bolognini each, but he did not work at it much at that time, since on
+June 20, 1532, he made a fresh contract with the monks to continue and
+complete the choir of their church. Adamo Rossi gives other curious
+details about this work drawn from Perugian records, which are worth
+noting. He says that in 1501 Bacciolo d'Agnolo, not having a good design
+to show, agreed with the prior Federico di Giuliano in three months'
+time to submit two different seats for the choir of S. Agostino, and
+confessed to having received 50 broad ducats of<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> gold as part of the
+price of the choir and the two stalls mentioned. He also agreed to
+return the money if he did not undertake the choir or did not finish it
+according to contract. He presented them accordingly, and in 1502 the
+contract was signed at 30 florins for each upper seat. Rossi also says
+that he finds trace of another Baccio d'Agnolo in the collection of
+wills of Pietro Paolo di Lodovico, under date June 11, 1529, and thinks
+that the work was done by him. One Baccio was elected capo-maestro of
+the Duomo in 1507 together with Giuliano and Antonio da San Gallo and il
+Cronaca (Simone del Pollajuolo), and continued in that office until
+1529.</p>
+
+<p>Rossi also gives other interesting details about the making of various
+pieces of joinery in Perugia and their makers, from which I extract the
+following:&mdash;"In the refectory of S. Agostino two Sienese, Giovanni and
+Cristoforo de'Minelli, worked in 1477. The cupboards in the sacristy of
+S. Pietro in Casinense were made by Giusto di Francesco of Incisa and
+Giovanni di Filippo da Fiesole in 1472. They were bought in Florence,
+and are particularly fine and large in their treatment of flowers, &amp;c.
+The work was finished with the assistance of Mariotto di Mariotto of
+Pesaro, three workmen coming from places at considerable distances from
+each other, proving that they wandered about the country a good deal.
+The lectern in the same church, which is well inlaid and finely carved,
+was made by Battista the Bolognese, Ambrose the Frenchman, and Lorenzo.
+The contract was between the abbot and Fra Damiano's brother, Maestro
+Stefano di Antoniuolo de' Zambelli da Bergamo, and was for the whole
+choir at 30 scudi for each seat, wood being provided. The lectern itself
+cost 176 florins, and was finished in 1535. In the Sala del Cambio,
+besides Domenico del Tasso's seats, there is a fine door which was made
+by Antonio di Benciviene da Mercatello da Massa, for which he was paid
+10 florins 93 soldi 6 denari. The orator's desk, the 'ringhiera,' was
+made by Antonio di Antonio Masi, the Fleming, though often ascribed to
+Mercatello. It was estimated by Eusebio del Bastone as worth 68 florins.
+At Assisi the choir of the upper church, which is the most important in
+all Italy for the number of its stalls, the mastery of its figure
+intarsia, and the elegance of its form, was made by Domenico da S.
+Severino, who agreed with the superiors on July 8, 1491, to make it for
+770 ducats of gold. It was not finished till 1501, but no payments are
+noted in the archives after November 18, 1498. In the lower church two
+Sienese worked in 1420, and a Florentine<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> from 1448 to 1471. The choir
+of the Cathedral in the same city was made by Giovanni di Piergiacomo,
+also of S. Severino, and there is sometimes confusion between the two
+artists. The price was 57 florins. On one of the backs is carved the
+date 1520. The most ancient piece of joinery in Perugia is that executed
+for the Arte della Mercanzia in the 14th century."</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i107" id="i107"></a>
+<img src="images/i107.jpg" width="600" height="600" alt="Plate 28.&mdash;Panel in Sacristy of S. Pietro in Casinense,
+Perugia." title="" />
+<span class="caption">Plate 28.&mdash;<i>Panel in Sacristy of S. Pietro in Casinense,
+Perugia</i>.</span>
+</div>
+
+<p>Rossi prints a priced list of joiners' tools, dated November 8, 1496,
+which is interesting as showing the small amount of tools and furniture
+required in a joiner and intarsiatore's workshop at that period. It runs
+thus:&mdash;</p>
+
+<blockquote><p>Bernardino di Lazzaro buys from Angelo di Maestro Jacopo, called
+Boldrino, joiner, the underwritten tools and apparatus at the price
+at which they were valued by Master Giovanni da Siena and Ercolano
+di Gabriele of Perugia. </p></blockquote>
+
+
+<p><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p>
+<div class="centered">
+<table border="0" cellpadding="2" width="70%" cellspacing="0" summary="the underwritten tools and apparatus at the price
+at which they were valued">
+<tr><td align="left">&nbsp;</td><td align="right">Florins.</td><td align="right">Soldi.</td></tr>
+<tr><td align="left">Two benches,</td><td align="right">2</td><td align="right">0</td></tr>
+<tr><td align="left">Four planes,</td><td align="right">1</td><td align="right">0</td></tr>
+<tr><td align="left">Two screw profiles, one broad and one narrow,</td><td align="right">0</td><td align="right">40</td></tr>
+<tr><td align="left">Two rules,</td><td align="right">0</td><td align="right">16</td></tr>
+<tr><td align="left">Four straight edges, one large and three small,</td><td align="right">0</td><td align="right">28</td></tr>
+<tr><td align="left">One outliner for tarsia,</td><td align="right">0</td><td align="right">8</td></tr>
+<tr><td align="left">Rods for making cornices,</td><td align="right">0</td><td align="right">12</td></tr>
+<tr><td align="left">A cross beam,</td><td align="right">0</td><td align="right">6</td></tr>
+<tr><td align="left">Two compasses, one large and one small,</td><td align="right">0</td><td align="right">12</td></tr>
+<tr><td align="left">Two rulers,</td><td align="right">0</td><td align="right">5</td></tr>
+<tr><td align="left">Four one-handed little planes,</td><td align="right">0</td><td align="right">16</td></tr>
+<tr><td align="left">One two-handed little plane,</td><td align="right">0</td><td align="right">8</td></tr>
+<tr><td align="left">Two broad planes,</td><td align="right">0</td><td align="right">12</td></tr>
+<tr><td align="left">Two hollow moulding planes,</td><td align="right">0</td><td align="right">12</td></tr>
+<tr><td align="left">Three pieces of unfinished tarsia, and one with a wire drawing iron,</td><td align="right">1</td><td align="right">30</td></tr>
+<tr><td align="left">Two large squares and one "grafonetto" and one little square,</td><td align="right">0</td><td align="right">8</td></tr>
+<tr><td align="left">Two old irons for making cornices,</td><td align="right">0</td><td align="right">8</td></tr>
+<tr><td align="left">Nine files, large and small, round and straight,</td><td align="right">0</td><td align="right">30</td></tr>
+<tr><td align="left">Fifteen "gulfie," large and small,</td><td align="right">0</td><td align="right">24</td></tr>
+<tr><td align="left">Three chisels, one glued and one all of iron and one "a tiro colla manacha de legusa saietta,"</td><td align="right">0</td><td align="right">7</td></tr>
+<tr><td align="left">One small hammer,</td><td align="right">0</td><td align="right">16</td></tr>
+<tr><td align="left">Two arm chairs,</td><td align="right">0</td><td align="right">8</td></tr>
+<tr><td align="left">A big "tenevello,"</td><td align="right">0</td><td align="right">25</td></tr>
+<tr><td align="left">A little anvil,</td><td align="right">0</td><td align="right">20</td></tr>
+<tr><td align="left">A pair of big pincers,</td><td align="right">0</td><td align="right">32</td></tr>
+<tr><td align="left">Two little axes,</td><td align="right">0</td><td align="right">20</td></tr>
+<tr><td align="left">A two-handed axe,</td><td align="right">0</td><td align="right">25</td></tr>
+<tr><td align="left">A two-handed saw with a file,</td><td align="right">0</td><td align="right">60</td></tr>
+<tr><td align="left">A cutting saw,</td><td align="right">0</td><td align="right">25</td></tr>
+<tr><td align="left">Two stools,</td><td align="right">0</td><td align="right">16</td></tr>
+<tr><td align="left">Nine presses (clamps),</td><td align="right">0</td><td align="right">60</td></tr>
+<tr><td align="left">Two cupboards,</td><td align="right">0</td><td align="right">90</td></tr>
+<tr><td align="left">Five pieces of panels, two on the benches and three outside,</td><td align="right">0</td><td align="right">20</td></tr>
+<tr><td align="left">Three pieces of tarsia frieze and two pictures with a box without a lid,</td><td align="right">1</td><td align="right">0</td></tr>
+<tr><td align="left">A bench to put the tarsia on,</td><td align="right">0</td><td align="right">40</td></tr>
+</table></div>
+
+<p>The words untranslated are, I suppose, Perugian words. At all events,
+they do not appear in the large Italian dictionary edited by Tommaseo
+and Bellini.</p>
+
+<p>This Bernardino six years earlier worked as apprentice with Maestro
+Mattia da Reggio, and was paid 6 florins 22 soldi for four months. His
+name appears in the list of masters of stone and wood.</p>
+
+<div class="figcenter" style="width: 595px;">
+<a name="i111" id="i111"></a>
+<img src="images/i111.jpg" width="595" height="600" alt="Plate 29.&mdash;Panel from door of Sala del Cambio, Perugia.
+" title="" />
+<span class="caption">Plate 29.&mdash;<i>Panel from door of Sala del Cambio, Perugia</i>.
+</span>
+</div><p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></p>
+
+<p>Frederic of Montefeltro, Duke of Urbino, built himself a splendid palace
+in that city between the years of 1468 and 1480, which cost 200,000
+golden scudi. At that time a sack of corn cost rather less than five
+modern Italian lire in the duchy, and a hectolitre of wine only one
+franc sixty centimes, 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 figures. Among the decorations, which
+include much stone carving of the most extraordinary finish, which in
+the interior of the palace appears as fresh as the day it was completed,
+were some splendidly inlaid doors, eight or nine of which still remain.
+The palace was constructed upon the foundations of an older palace of
+1350, much enlarged, and here he lived magnificently, and collected that
+fine library which was subsequently removed to Rome, of which Vespasiano
+da Bisticci, the Florentine bookseller, who had a good deal to do with
+it, says that it was the most perfect that he knew, for in others there
+were either gaps or duplicates, from which defects it was free.
+Castiglione's "Cortigiano," the ideal of a courtier in those days,
+describes the Court of Urbino as it was under Guidobaldo, his son and
+successor. Among the decorations of the palace which still remain is the
+panelling of a small studio<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> on the <i>piano nobile</i>, close to the tiny
+chapel, which is entirely surrounded by intarsia of the finest
+description, which represents in the lower part a seat something like
+the misereres of choir stalls surrounding the apartment, some parts of
+which are raised and some lowered. In the spaces rest some portions of
+the duke's arms, a sword, a mace, &amp;c., leaning in the corners, and on
+the lower parts of the seat are musical instruments, fruits and
+sweet-*meats in dishes, cushions, books, &amp;c. The upper panels show
+cupboards with doors partly open, showing all sorts of things within in
+the usual fashion, and there are four figure panels inserted at
+intervals containing the portrait of the duke and the Christian virtues
+of Faith, Hope, and Charity which he strove to exemplify in his life. At
+one end of the room are two recesses divided by a projecting pier; in
+the one to the left the armour of the duke is represented as hanging
+piece by piece on the wall, in that on the right is shown his reading
+desk, made to turn on a pivot, with books upon it and around, and on the
+pier between, a landscape, seen through an arcade with a terrace in
+front, upon which are a squirrel and a basket of fruit. Close to the
+reading desk is a representation of an organ with a seat in front of it,
+upon which is a cushion covered with brocade or cut velvet, which is
+most<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span> realistic, and on the organ is the name Johan Castellano, which is
+supposed to be the name of the intarsiatore, though this name does not
+appear in the accounts. The custodian called him a Bergamase, I do not
+know on what authority. The designs of the figures are ascribed to
+Botticelli, and some of them look as if the ascription might possibly be
+correct. The only names of intarsiatori found in the ducal accounts are
+Beneivegni da Mercatello, who worked in the Sala del Cambio at Perugia,
+and no doubt had to do with the making of the doors, which resemble that
+work, and perhaps a Taddeo da Rovigno, the town from which the Olivetan
+Fra Sebastian came. Pungileone, however, found a payment of seven
+florins in 1473 to "Maestro Giacomo, from Florence, on account of
+intarsia for the audience hall." Dennistoun says that this study
+contained "arm-chairs encircling a table all mosaicked with tarsia, and
+carved by Maestro Giacomo of Florence," but it is now quite bare,
+though, fortunately, the tarsie are well preserved. He goes on to say
+that "on each compartment of the panelling was the portrait of some
+famous author and an appropriate distich," which leads one to suppose
+either that his information was inaccurate or that he was referring to
+the similar small study on the lower floor, in which Timoteto delle Vite
+did some painting.<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span></p>
+
+<p>The duke and his son Guidobaldo were both great builders, and Urbino was
+not the only town in which they raised palaces, though the others were
+not of so much importance. The names by which they were denominated show
+this. It is always the <i>corte</i> at Urbino, at Pesaro it is the <i>palazzo</i>,
+and at Gubbio the modest <i>casa</i>. Nevertheless, at this last place the
+intarsias were of almost as great importance, though now the palace is
+ruinous and the intarsias dispersed, some of them being at South
+Kensington. Dennistoun quotes descriptions from Sig. Luigi Bonfatti and
+Mr. F. C. Brooke, which are worth reproducing, as showing the care some
+times expended on the decoration of quite small apartments. This study,
+which was commissioned by Duke Guidobaldo, is only 13 by 6&frac12; feet in
+plan, though it is 19 feet high. The inlaid work only went half-way up,
+as at Urbino, the upper part of the walls having been covered with
+tapestries. The tarsie showed "emblematic representations of music,
+literature, physical science, geography, and war; bookcases, or rather
+cupboards, with their contents, among which were a ship, a tambourine,
+military weapons, a cage with a parrot in it, and as if for the sake of
+variety only, a few volumes of books, over one of which, containing
+music, with the word 'Rosabella' inscribed on its pages, was<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> suspended
+a crucifix. On the central case opposite the window, and occupying as it
+were the place of honour, was the garter, with its motto, 'Honi soit q.
+mal i pense,' a device which was sculptured on the exterior of the stone
+architrave of the door of this apartment. It appeared again in tarsia in
+the recess of the window, where might also be seen, within circles, 'G.
+Ubaldo Dx. and Fe Dux.' Amongst the devices was the crane standing on
+one leg, and holding, with the foot of the other, which is raised, the
+stone he is to drop as a signal of alarm to his companions. Among other
+feigned contents of a bookcase were an hour-glass, guitar, and pair of
+compasses; in another were seen a dagger, dried fruits in a small basket
+made of thin wood, and a tankard, while in a third was represented an
+open book surmounted with the name of Guidobaldo, who probably made the
+selection inscribed on the two pages of the volume, comprising verses
+457-491 of the tenth Æneid." On the cornice was an inscription. It was
+thought to be the work of Antonio Mastei of Gubbio, a famous artist in
+wood, who executed the choir of S. Fortunato at Todi, and who is known
+to have been much in favour with Dukes Guidobaldo and Francesco Maria
+I., the latter of whom gave him an exemption from imposts.</p>
+
+<p>In the 17th century tarsia was more used for<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> domestic furniture than
+for stationary decoration. The character of the design changed in
+consequence, and mother-of-pearl, ivory, tortoiseshell, silver, and
+other materials were used. The first Tuscan, or one of the first who did
+so was Andrea Massari of Siena. A few works in tarsia were still
+executed, but none of much importance. The choir of S. Sigismondo,
+outside Cremona, commenced by Gabriel Capra and finished by his son
+Domenico in 1605, is one of the principal, and the choir of S.
+Francesco, Perugia, where Fortebraccio was buried, but this latter no
+longer exists. Marquetry was produced in Florence, Venice, Milan, and
+Genoa down to a still later date, but the fashion for ivory and ebony
+carried all before it. The Italian work of this kind is often most
+beautifully engraved, but less accurate than that produced in France.
+The later Italian marquetry does not lose decorative effect though the
+figure drawing becomes very conventional, and the curves of ornament are
+often cut with a mechanical sweep. A good deal of it is in only two
+colours, a return to the simplicity of earlier days.<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p>
+
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THE_CLOISTERED_INTARSIATORI_AND_THEIR_PUPILS" id="THE_CLOISTERED_INTARSIATORI_AND_THEIR_PUPILS"></a>THE CLOISTERED INTARSIATORI AND THEIR PUPILS</h2>
+
+
+<p>The Order of the Olivetans took its rise from the piety and liberality
+of a Sienese noble, Bernardo Tolomei, who, with two companions, Ambrogio
+Piccolomini and Patricio Patrizzi, established himself as a hermit on a
+barren point of land at Chiusuri, some miles from Siena, in the same
+manner as did S. Benedict at Subiaco. This was in 1312, but the Papal
+charter by which the Order was founded dates from 1319. It was called
+"Monte Oliveto," from a vision seen by Guido Tarlati, Bishop of Arezzo,
+the Papal commissary, in which the Virgin ordered that the monks should
+have a white habit, and that the badge of the Order should be three
+hills surmounted by a branch of olive. It was a branch of the
+Benedictines, and, like them, the monks devoted their lives to useful
+labours. As Michele Caffi says, "The Olivetans did not strive in
+political or party struggles, but spent their simple lives in works of
+charity and industry, and showing great talent for working in wood
+succeeded to the heirship of the<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> art of tarsia in coloured woods, which
+they got from Tuscany."</p>
+
+<p>The first master of intarsia mentioned among the Olivetan monks is a
+certain lay brother, "laico Olivetano," who came from Tuscany in the
+first half of the fifteenth century, and taught the art to the monks of
+S. Elena, the island which lies just beyond the Public Gardens at
+Venice, and was so beautiful before the iron foundry was established
+upon it. His principal pupil was Fra Sebastiano of Rovigno, known as the
+"Zoppo Schiavone," the lame Slavonian, who taught Fra Giovanni da Verona
+and Domenico Zambello of Bergamo, Fra Damiano. Fra Giovanni, again, was
+master to Vincenzo dalle Vacche and Raffaello da Brescia, and perhaps to
+the oblate of S. Elena, Antonio Preposito, in 1493.</p>
+
+<p>Fra Sebastiano da Rovigno was probably born in 1420. The register of
+professions and deaths at Monte Oliveto Maggiore says&mdash;"In conventu
+Paduæ professus est sub die 15 Augusti, an 1461, fr: Sebastianus de
+Rovinio"; his death is shown by another extract&mdash;"Venetiis, obiit in
+Mon. S. Helenæ, anno Domini, 1505, fr: Sebastianus de Histria,
+conversus" (lay brother). He was at S. Maria in Organo, in 1464-5 and
+1468-9, and at S. Elena in 1479-80-81, and again from 1484 to 1494.<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span> He
+was also at Monte Oliveto 1466-7, 1474-5, and 1482-3, and at S. Michele
+in Bosco, Bologna, from 1494 till shortly before his death, in all of
+which places were important works in tarsia. The inscription in the
+corner of the sacristy at S. Elena runs thus:&mdash;"Extremus hic mortalium
+operum fr: Sebastianus de Ruigno Montis Oliveti, qui III. id: Sept: diem
+obiit, 1505." Some of his work is in the stalls and sacristy cupboards
+of S. Marco, signed C.S.S., or S.S.C., that is, "Converso Sebastiano
+Schiavone," or "Seb: Sch: converso." His pupil Fra Giovanni da Verona
+was one of the most celebrated of the carvers and intarsiatori, and left
+works in many places in Italy. He was born in Verona in 1457, and no one
+has been able to discover either his family name nor who his father was.
+When still a boy he left his native town and went into Tuscany to Monte
+Oliveto di Chiusuri of Siena, the principal monastery of the Olivetan
+order. He may perhaps have gone with Liberale of Verona, who was of
+about the same age, the first time he went to Monte Oliveto, in 1467, or
+more probably on the second occasion, in 1474, his business being to
+illuminate the choir books. In the administration books of that convent
+it is recorded that in 1467 Liberale had as assistant a certain
+Bernardino, and in 1474 another whose name is not mentioned. This<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> may
+have been Fra Giovanni, who might then have learnt to illuminate, which
+was his first profession, and in which he succeeded excellently. He
+resolved to "profess religion" about this time, and was received as
+novice in the beginning of 1475. The year of noviciate being passed he
+made his solemn profession on March 25, 1476, and remained for about
+four years more in the monastery, during which time he finished his
+studies and became priest. In 1480 he was sent for a short time to the
+monastery of S. Elena, near Venice. Here he found the lay brother Fra
+Sebastiano da Rovigno, whom he may perhaps have known before, since they
+were both at Monte Oliveto in 1475. At all events he spoke to him about
+learning his art, and finding him willing to teach him, "set about it
+with so much diligence and assiduity that he was soon able to give him
+valuable assistance." The work was on the cupboards of the sacristy and
+on the backs of the choir stalls, which were 34 in number. On these the
+principal cities of the world, as they then were, were drawn in
+perspective "with great beauty and cleverness." About 1485 he went to an
+abbey of Olivetan monks at Villanova, a small village in lower Lombardy,
+where he illuminated 20 choral books with heads of saints and prophets,
+with very beautiful borders of flowers, fruits, and animals. These were
+sold by an ignorant and greedy priest<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span> for 17 zecchins, and only a few
+of the miniatures have been recovered, which are now kept in the
+sacristy. Of them, Vincenzo Sabbia, the Olivetan abbot, who was
+"confratello di religione" and nearly contemporary, says, when
+describing the abbey and its treasures in 1594, that there are there
+"stupendous and wonderful choral books to the number of twenty, made
+about the year 1485, and rare and wonderful miniatures are among the
+letters, like lovely flowers in a delicious garden, and many most
+beautiful imaginings, heads of saints and of all the ancient prophets,
+and other wonderful things of like kind, made and illuminated by that
+celebrated Fra Giovanni da Verona, around the text."</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i124" id="i124"></a>
+<img src="images/i124.jpg" width="600" height="459" alt="Plate 30.&mdash;Panel from lower row of Stalls, S. Maria in
+Organo, Verona.
+" title="" />
+<span class="caption">Plate 30.&mdash;<i>Panel from lower row of Stalls, S. Maria in
+Organo, Verona</i>.
+</span>
+</div>
+
+<div class="figcenter" style="width: 445px;">
+<a name="i127" id="i127"></a>
+<img src="images/i127.jpg" width="445" height="600" alt="Plate 31.&mdash;Panels from Monte Oliveto Maggiore, now in
+the Cathedral, Siena." title="" />
+<span class="caption">Plate 31.&mdash;<i>Panels from Monte Oliveto Maggiore, now in
+the Cathedral, Siena</i>.</span>
+</div>
+
+<p>In 1490 he was summoned to the Certosa at Pavia to estimate the value of
+the stalls made by Bartolommeo dei Polli, in company with Giacomo dei
+Crocefissi and Cristoforo de' Rocchi. Except for these there are no
+notices of the work which he must have done till 1502, when the abbot
+and monks of Monte Oliveto Maggiore, having determined to renew the
+choir of their church, confided the work to Fra Giovanni, and
+necessarily recalled him. 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 monks." "The whole comprised 52 stalls, with
+their backs, seats and arm rests, kneelers and all things appertaining"<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>
+(it now consists of 48 stalls and 47 pictures), and the panels of the
+backs were worked in tarsia with perspective views "beautiful to a
+marvel," where were figured houses, views of the country, cupboards,
+grilles, sacred utensils, and other fancies. In the early years of the
+19th century 38 of these perspectives were moved to Siena and placed in
+the Cathedral, where they now are. Another choir, smaller but not less
+beautiful, was made for the church of the Olivetan monastery of S.
+Benedetto fuori della Porta at Tufi, near Siena. This church is in
+ruins; 31 perspectives from the choir were sent to fill the gaps in
+Monte Oliveto Maggiore, the monks who returned after the revocation of
+the suppression in 1813 having appealed to the Archbishop to allow them
+to take them. Four of the ancient backs were found in a corner of the
+sacristy, and eight carried to Siena and found superfluous were
+returned, as well as one which a neighbouring villager had taken. Some
+of them show the conventual buildings as they were at the beginning of
+the 16th century. The frames resemble friezes, and are decorated with
+flowers, fruit, birds, musical instruments, arms, and ornament. Each
+back is separated from the next by a colonnette carved with delicate
+arabesques. In this choir is also an Easter candlestick much like that
+at S. Maria in Organo,<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> Verona, and there are two doors which belonged
+to the library. Pope Julius II. called him to Rome in 1571, and
+commissioned the ornamentation of the Camera della Segnatura in the
+Vatican, the designs for which are ascribed to Raffaelle, not only the
+seat backs with their seats, but also the doors, all worked with
+perspectives, "in which he succeeded so well that he gained great favour
+with the pontiff." 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
+Tolosa, in the church of Monte Oliveto in that city, works not less
+successful and lauded than those of Siena and Rome. This church is now
+called that of S. Anna dei Lombardi. The tarsie in the sacristy are in a
+later setting, and include nine panels of perspectives of landscapes,
+buildings, &amp;c., nine others showing cupboards with objects on the
+shelves, and one with a figure of an abbot around which the following
+inscription runs:&mdash;</p>
+
+<p class="center">
+
+·T·EPRE·R·P·F·DOMI·DE·LEV·GNK·ABBATIS·ET<br />
+R·P·ALOISII·DE·SALER·NO·PRIOR.
+</p>
+
+<p>The work is exceedingly delicate, pieces of wood no thicker than a thick
+pencil line being often used. In one panel is a well-executed lily, in
+another a hare is a foreground figure, in another are an owl and a
+bullfinch, while a hoopoe appears<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> in another, with mountains behind
+him. The objects on the shelves of the cupboards are turned at queer
+angles to show his skill in perspective, but, since they lack tone, do
+not appear quite accurate. Among the architectural subjects are the
+choir of a church, a harbour, and a castle on a hill, seen from a
+balustraded terrace, and a circular building a little like that in the
+background of Raffaelle's "Sposalizio." They were well restored in 1860
+by C. G. Minchiotti. In the monks' choir in the church are other
+intarsie said to be by Angelo da Verona, Giovanni's brother. They are
+principally arabesques, somewhat resembling the panels in the Cathedral
+at Genoa, but include four figure panels of little angels and an
+Annunciation in two panels, which are not without charm, though rather
+overstiff.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="i131" id="i131"></a>
+<img src="images/i131.jpg" width="650" height="238" alt="Plate 32.&mdash;Frieze from Monte Oliveto Maggiore." />
+<span class="caption">Plate 32.&mdash;<i>Frieze from Monte Oliveto Maggiore</i>.
+</span>
+</div>
+
+<p>In his last years he returned to Verona, where he had made the monks'
+choir in S. Maria in Organo, and the cupboards of the sacristy. These
+have the reputation of being not only the finest of the period but also
+the best which came from his hand. The Adige was in this church for two
+months during one of the inundations, but the tarsie did not suffer so
+much as might have been expected. He accepted a commission in 1523 for
+some stalls for the Olivetan church at Lodi, S. Cristopher, eleven of
+which are<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> now in the suburban church of S. Bernardino in that city,
+but died before they were completed. Vincenzo Sabbia writes of
+these:&mdash;"In the year 1523 the reverend father Fra Filippo Villani of
+Lodi, prior of the convent of S. Cristoforo in that city, agreed with
+Fra Giovanni Veronese, an excellent master of perspective, to make him
+35 pictures of perspective at the rate of 30 or 40 broad ducats of gold
+for each&mdash;which are worth 5 lire 4 soldi each&mdash;which were to be finished
+in two or three years, and 300 broad ducats of gold were counted out to
+him. The said brother was not able to finish more than 23, because he
+died on February 10, 1525. They were sent from Verona and taken to Lodi,
+and in 1586 the new church of S. Cristoforo being finished, Don
+Agostino, the prior, who had charge of the fabric, had the aforesaid 23
+pictures with their ornaments set in the choir by the hand of Paolo
+Sasono." He died in the 68th year of his age, and was buried in S. Maria
+in Organo. He is called "prior" in a chronicle of the monastery under
+date 1511, and in the list of dead. In his portrait in the sacristy, by
+Caroto, he is represented with the tonsure and with the hood and cowl of
+the form which was proper to monks who were constituted "in sacris."</p>
+
+<p>Fra Raffaello da Brescia, whose name was Roberto<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> Marone, was born in
+1477. His father's name was Pietro Marone, and his mother was a
+Venetian, named Cecilia Tiepolo. When twenty-two years old he took the
+monastic habit as a lay brother in the convent of S. Nicolò di Rodengo,
+near Brescia, and a little later (in 1502) was sent to Monte Oliveto
+Maggiore. Fra Giovanni being then established there as "conventual
+brother," took young Marone and taught him, seeing that he had both
+liking and talent for the work, so that he soon became a clever workman.
+Between 1504 and 1507 he worked with him at the choir of Monte Oliveto,
+from 1506 to 1510 he was with him at Naples, when the famous sacristy
+panels were being executed, and in 1511 and 1512 he was at S. Nicolò di
+Rodengo, where he worked at the choir of that church. The lectern from
+Rodengo is now in the Galleria Tosi at Brescia; the inlays are in the
+lower portion, and show architectural compositions in perspective and
+the usual objects, such as a censer, an open book, &amp;c. It is signed
+F.R.B. In 1513 Raffaello commenced the magnificent choir of S. Michaele
+in Bosco, Bologna, and here he also made the design for the campanile,
+which was built by Maestro Pedrino di Como, showing that like so many of
+the intarsiatori he was no mere worker in wood. While this work was in
+progress he executed a lectern for<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> Monte Oliveto, ordered by the abbot
+Barnaba Cevenini, who was a Bolognese. It is signed and dated 1520, and
+shows on each side a choir book open, with notes of music and words. In
+one of the lower panels a black cat symbolises fidelity.</p>
+
+<p>S. Michele in Bosco was among the largest of the Olivetan convents. The
+Benedictines entered into possession in 1364, but these buildings were
+destroyed by the Bolognese in 1430, "so that they might not give shelter
+and a base for hostilities to the soldiers of Martin V." The
+re-construction began in 1437. The choir was raised on several steps,
+and called "Il Paradiso," ten years later, but subsequent alterations
+have left very little of the original work visible. Raffaello's stalls
+were probably finished in 1521, that being the date on a panel which was
+formerly in the centre of the choir. Of these splendid works only two
+confessionals still remain in the church. At the time of the suppression
+of the convents at the end of the 18th century the populace, drunk with
+rapine and devastation, tore down these stalls, and they were sold for a
+few pence to the Bolognese marine store dealers and rag merchants. Only
+18 of the principal row were saved from destruction, the Marquis Antonio
+Malvezzi buying them in 1812, and having them restored and placed in the
+chapel of his family<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> in S. Petronio (now the chapel of the Holy
+Sacrament), where they now are. He was not able to save the hoods and
+shell canopies, which were sold for firewood for 4 baiocchi each! (about
+two pence.) The designs are of the usual style, cupboards and various
+objects in perspective; one of the finest is the first on the left,
+which includes a fine sphere and sundial, and several books written in
+German letters, black and red, a chalice in a cupboard, two books, and a
+cross. In the seventh is the figure of Pope Gregory in the act of
+blessing, and the last on the right shows loggias and porticoes of good
+style, well put in perspective. With part of the tarsie from S. Michele
+pianoforte cases were made, other portions were used for the floor of
+the Casino, near the theatre of the Corso, and were worn to pieces by
+the feet of the dancers! In 1525 Fra Raffaello went to Rome, and no
+further notices of him or of his work occur till his death there in
+1537; he was buried in S. Maria in Campo Santo.</p>
+
+<p>Another somewhat similar set of stalls, though rather later in date,
+also at Bologna, are the upper row in the choir of S. Giovanni in Monte,
+which have on their backs intarsie representing monuments, fantastic
+battlemented buildings, musical instruments, and geometrical motives,
+all executed with a mastery which reveals an artist old at the<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> work.
+They recall in their general effect those in S. Prospero at Reggio, in
+the Emilia, which were executed by the brothers Mantelli in 1546. They
+are set in a carved framing of arches divided by pilasters which
+terminate above in brackets which support the cornice. The pilasters
+rest on the arms which divide the seats. Champeaux says they were made
+by Paolo del Sacha.</p>
+
+<p>The tarsie in S. Mark's, Venice, were worked by Fra Vincenzo da Verona,
+another Olivetan, under whom was Fra Pietro da Padova, Jesuit, with two
+youths to assist them. The commission was given in 1523. Three rooms in
+the hospital of "Messer Jesu Cristo" were assigned him as workshops, and
+100 ducats for food and clothing, as stated in the registers of the
+procurators of S. Mark's. On January 15, 1524, they inspected the work
+done, and were not satisfied, and so suspended it, "praising,
+nevertheless, the manners and the life of Fra Vincenzo." According to
+Cicogna, the registers contained, under date April 7, 1526, a note of
+money paid to "Fra Vincenzio, of the order of the Jesuits, for the
+finishing of the works of inlay" in the choir of S. Marco. On February
+25, 1537, certain moneys were given to more workmen for the construction
+of the doge's seat, which is said to have been "a great thing full of
+artistic pangs" (!), and<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> rather hindered the genuflections to the
+altar. This was made for Andrea Gritti, who was doge that year. This Fra
+Vincenzo da Verona, or Vincenzo dalla Vacche, is mentioned by Morello in
+his "Notizie" as excellent, especially in his work at S. Benedetto
+Novello at Padua, four panels from which are now in the Louvre. He
+became novice in 1492, "Conventuale" of Monte Oliveto in 1498, was a
+priest like Fra Giovanni, and lived almost all his life in his native
+city. He died in 1531. The tarsie in the presbytery at S. Marco consist
+of seven great compartments, five lesser, and thirteen which are small.
+The eighteen smaller compartments are panels of ornament. The others are
+<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>figure subjects, but by more than one hand. First comes a figure of S.
+Mark with a lion at his feet, which is not very good (it was restored in
+1848-50 by Antonio Camusso); next, a figure of Charity side by side with
+one of Justice, a woman with a baby, and one holding the balances. Next
+comes a figure of Strength or Courage, older and rougher in character,
+then four ornamental panels, a door, and five others, also of ornament.
+The next panel in the corner bears date 1535, to which year the figures
+of Justice and Charity may be assigned. The other figures are Prudence
+and Temperance, the latter of which resembles Strength in character. The
+remaining<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> subject, a Pietà, is like Charity and Justice, and is
+masterly. Three spaces are empty. The doge's seat, until the fall of the
+Republic, was on the right of the principal entrance to the choir, as
+Sansovino says. It had on its back a figure of Justice, now in the Museo
+Civico. He also says that Sebastiano Schiavone did these tarsie, but he
+died in 1505. Various initials appear here and there through the work;
+on each side of the figure of S. Mark are U.F.Q. and M.S.R. in
+cartouches, Charity and Justice have N. and P. at the sides, and
+Prudence has P.S.S. and S.S.C. attached to her. The panels of ornament
+seem to be of the same period as the figure of Charity.</p>
+
+<p><a name="i140" id="i140"></a></p>
+<div class="figleft" style="width: 244px;">
+<img src="images/i140.jpg" width="244" height="650" alt="Plate 33.&mdash;Panel from S. Mark&#39;s, Venice.
+" title="" />
+<span class="caption">Plate 33.&mdash;<i>Panel from S. Mark&#39;s, Venice.</i>
+</span>
+</div>
+
+<p>Fra Damiano of Bergamo, Fra Giovanni's fellow-pupil, attained, if
+possible, even greater reputation. He was considered the finest artist
+in tarsia of his time, he having, "with his woods, coloured to a marvel,
+raised the art to the rank of real painting." His family name was
+Zambello, he is thought to have been born about 1490, and he became a
+Dominican monk. An anonymous MS. of the 16th century, published by
+Morelli, calls him a pupil of a Slavonian, that is, Illyrian, brother of
+Venice, Fra Sebastiano da Rovigno. He passed the greater part of his
+life at Bologna, in the Dominican cloister there, into which he was<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span>
+admitted in 1528. In the records of the convent for that year occurs the
+note, "Frater Damianus de Bergomo, homo peritissimus, singularissimus,
+et unicus in l'arte della tarsia, conversus, receptatus fuit in filium
+conventus." At S. Domenico the choir stalls were his first work; he did
+seven, containing fourteen subjects and seven heads of saints. These
+were finished in 1530, and in consequence of their success he was
+commissioned to complete the choir. He carried the tinting of the wood
+farther than Fra Giovanni did, using solutions of sublimate of mercury,
+of arsenic, and what they called oil of sulphur. He is said to have had
+Vignola's designs for the architectural parts.</p>
+
+<p>Charles the Fifth was in Bologna with Clement VII., and was crowned
+Emperor in S. Petronio on December 5, 1529. One day he was in S.
+Domenico admiring the works of art, and, doubting that the tarsie were
+made of tinted wood, as he was told, drew his rapier and cut a bit out
+of one of the panels, which has always remained in the state in which he
+left it in memory of his act. Desiring to see how the work was done he
+determined to visit Fra Damiano's studio. Accordingly, on March 7, 1530,
+he took with him Alfonso d'Este, Duke of Ferrara, and several princes of
+his escort, and went to the convent, when, being conducted to Fra<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>
+Damiano's poor cell, he knocked at the door. The friar, having opened
+and allowed the Emperor to enter, shut it quickly. "Stay," said the
+Emperor, "that is the Duke of Ferrara, who follows me." "I know him,"
+answered Fra Damiano, "and that is why I will never let him enter my
+cell." "And why?" said Charles V.; "have you anything of his doing to
+complain of then?" "Listen, your majesty," answered the lay brother. "I
+had to come from Bergamo to Bologna to undertake the work of this choir.
+I had with me these tools which you see, few in number, but necessary
+for the work in which it is my study to worthily spend my life, and to
+delight in the art. I had scarcely touched the frontiers of Ferrara when
+they not only obliged me, a poor friar, to pay a heavy and unjust tax,
+but the manner of doing it was most offensive. Now, while that duke
+allows such roguery in his State, it is right that he should not see
+this work which you see." Charles smiled, and promised to obtain from
+Duke Alfonso the amplest satisfaction. Going out of the cell he told the
+duke the reason of Fra Damiano's anger, and he not only promised to
+repay the loss which he had suffered, but conceded a patent to him, by
+which he and his pupils were for ever free from any tax or duty when
+crossing the duchy of Ferrara. Then they all came laughing<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> and joking
+into the cell, and Fra Damiano, to show them that his tarsie were not
+painted with a brush took a little plane and passed it over a panel with
+some force, showing how the colours, after that treatment, still
+retained their integrity and beauty. And then he gave the Emperor a most
+beautiful piece of the Crucifixion, and another to the Duke of Ferrara,
+who valued it greatly. Locatelli gives some conversations between Fra
+Damiano and his assistant Zanetto, which must have preceded this visit,
+which are worth recording for their racy expression, according well with
+his reported action. "If it were in my power I would nail up this door
+for Charles and for all the dukes of the world. This art which I
+exercise is exceeding dear to me, and I hate to have to do with these
+signori who manage things after their own fashion; and sad it is for
+those who have to endure it. I respect His Majesty the Emperor, and hold
+him to be a great man, but the fate of Rome sticks in my throat. That
+other, too, who accompanies him&mdash;" "Who?" interrupted Zanetto, "the
+Pope?" "Oh, rubbish; the Pope! The Duke of Ferrara. With him I have a
+special account, and he must not come here." He also adds the detail
+that Fra Damiano had no money with him, and had to go about begging for
+wherewithal to pay the duke's dues till he blushed.<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span></p>
+
+<p>From 1530 to 1534 he worked at a great piece of panelling to be placed
+in the chapel of the "arca," the tomb of S. Dominic, which is now in the
+sacristy, and thought by some to be his masterpiece. There are eight
+cupboards in this, and on each are eight subjects. In 1534 the Order was
+so poor that such expenses were stopped. Seven years later the work was
+recommenced and finished in 1550 by Fra Bernardino and Fra Antonio da
+Lunigiano a few months after Fra Damiano's death, which occurred on
+August 30, 1549. The choir consists of a double row of 28 stalls on each
+side, making 112 in all, showing on the right subjects from the New, and
+on the left from the Old Testament. Those on the right are the best, and
+are probably Fra Damiano's own work. He had as assistants at one time
+Zanetto da Bergamo, Francesco di Lorenzo Zambelli, and a lay brother,
+Fra Bernardino, who afterwards did the sacristy door. At another time
+his brother Stefano helped him, together with Zampiero da Padova, Fra
+Antonio Asinelis, the brothers Capo di Ferro of Lovere, Pietro di
+Maffeis, Giovanni and Alessandro Belli. The choir of S. Domenico cost
+2809 scudi. Henry II. of France commissioned a little chapel from him
+with an altar-piece, for his reputation had crossed the Alps, and
+Cardinal Salviati and Paul III., the Farnese Pope, also wished for his
+work, as did the Benedictine monks of S. Pietro in Casinense, at
+Perugia. He did for them a two-leaved door, which cost 120 scudi, now
+placed at the back of the choir, and opening on to a balcony, from which
+one sees, in fine weather, as far as the Castle of Spoleto. There are
+four subjects, two on each leaf; the Annunciation illustrated is one of
+them. Sabba Castiglione uses the most enthusiastic language about him
+and his work. "But, above all, those who can obtain them decorate their
+mansions with the works, rather divine than human, of Fra Damiano, who
+excelled not only in perspectives, like those other worthy masters, but
+in landscapes, in backgrounds, and what is yet more, in figures; and who
+effected in wood as much as the great Apelles did with his pencil. I
+even think that the colours of these woods are more vivid, brilliant,
+and beautiful than those used by painters, so that these most excellent
+works may be considered as a new style of painting without colours, a
+thing much to be wondered at. And what adds to the marvel is, that
+though these works are executed with inlaid pieces the eye cannot even
+by the greatest exertion detect the joints." He then goes on in the same
+grandiloquent strain&mdash;"This good father in dyeing woods in any colour
+that you may wish, and in<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> imitation of spotted and marbled stones, as
+he has been unique in our century, so I think that he will be without
+equal in the future; it is certain that our Lord God has lent him grace,
+as I believe, because he wished so much that things might be well ended,
+to put his final work on the work of S. Domenico of Bologna. I think,
+indeed I am certain, that it will be called the eighth wonder of the
+world; and as the Babylonians, the Assyrians, the Egyptians, and the
+Greeks boasted of their temples, pyramids, colossi, and sepulchres, thus
+happy Bologna will be able to glory in and to boast of the choir of S.
+Domenico. 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 (!), a thing far from me, and especially with friends about
+whom I always speak the truth, I say no more; yet all that which I could
+say would be little enough on the merit of his rare and singular virtue,
+and on the goodness of his religious and holy life." Fra Leandro
+Alberti, in his description of Italy, speaks in something the same
+manner&mdash;"Frate Damiano, lay brother of the Order of Preachers, has
+become a man of as much genius as is to be found in the whole world at
+present, in putting together woods with so much art that they appear
+pictures made with a brush."<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
+
+<div class="figcenter" style="width: 482px;">
+<a name="i148" id="i148"></a>
+<img src="images/i148.jpg" width="482" height="650" alt="Plate 34.&mdash;Panel from door in Choir of S. Pietro in
+Casinense, Perugia.
+" title="" />
+<span class="caption">Plate 34.&mdash;<i>Panel from door in Choir of S. Pietro in
+Casinense, Perugia</i>.
+
+</span>
+</div>
+
+<p>A few stalls made by him are now in the church of S. Bartolommeo,
+Bergamo, which were brought from the Dominican church of S. Stefano,
+destroyed for the fortifications in 1561. The designs were made by Trozo
+da Monza, Bernardo da Trevi (? Treviglio), and Bramantino. As Locatelli
+says, they preceded the famous choir at Bologna, and show the master
+trying his wings. Some think that his best works are those in which he
+did not employ colour, but only shading, but general opinion considers
+his highest point was reached in the doors of S. Pietro in Casinense.</p>
+
+<p>Another Dominican intarsiatore was Fra Antonio da Viterbo, who, in 1437,
+made the doors of S. Peter's at Rome by order of Eugenius IV., which
+were subsequently destroyed by Paul V. He was paid 800 ducats of gold
+before the Pope died, when they were nearly finished. They were both
+inlaid and carved in the most elaborate fashion, as the list of subjects
+shows:&mdash;The Saviour, the Blessed Virgin, SS. Peter and Paul, and
+Eugenius on his knees, the martyrdom of SS. Peter and Paul, S.
+Plautilla, who received the borrowed veil from S. Paul; the Coronation
+of the Emperor Sigismund in S. Peter's in 1433 by Eugenius, "and there
+you see the Prefect of Rome holding the sword before him, their march
+through Rome, the union of the Greek Church with<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> the Latin, the entry
+of the ambassador from the King of Ethiopia, and other histories of the
+time." He had two assistants, Valentine and Leonardo.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="i153" id="i153"></a>
+<img src="images/i153.jpg" width="550" height="206" alt="Plate 35.&mdash;Lunette from Stalls in
+Cathedral, Genoa." title="" />
+<span class="caption">Plate 35.&mdash;<i>Lunette from Stalls in
+Cathedral, Genoa</i>.</span>
+</div>
+
+<p>The choir stalls in the Cathedral at Genoa are attributed to Francesco
+Zambelli of Bergamo, a relative of Fra Damiano. He was helped by Anselmo
+de' Fornari, Andrea and Elia della Rocca, Giovanni Michele de
+Pantaleone, and Giovanni Piccardo, who had already worked in the choir
+of the Cathedral of Savona. 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 Lorenzo, dated
+April 12, 1540. He agrees to get to work not later than the first of
+September next, and to stay in the city till the work is done. Nor must
+he undertake other work under a penalty of 100 scudi, which he is to pay
+in such case without demur or defence. The procurators agree to pay for
+every picture, with its frame, according to the design furnished to him,
+and they also promise to provide lodgings for himself and his family
+without any expense to him, and to give him a present when the work is
+finished. On the same day his relative, Fra Damiano, promises to make
+two pictures, one for the seat of the archbishop and one for the doge,
+to be ready by Christmas Day next, to be paid for at the rate of<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span> 27
+scudi each, measure and design to be given by the signory. The same day
+the aforesaid "Magnifici" had it explained to them that they would have
+to pay the expenses of making sketches. In the panel with the history of
+Moses Zambelli signs his name and domicile. Fra Damiano's subjects
+appear to be the large ones in the panelling before the stalls commence,
+"The Massacre of the Innocents" and "The Martyrdom of S. Laurence." The
+figure subjects are not very successful, the arabesques are better; but
+the panels with open cupboard doors and objects within are not so well
+done as Fra Giovanni's. The stalls were restored in 1868, and a good
+deal of new work put in. The choir of the Cathedral of Savona was made
+in 1500 by Anselmo de' Fornari, a native of Castelnuovo da Scrivia; Pope
+Julius II. (della Rovere), who was born in the city, commissioned it.
+The intarsias are on the elbows of the stalls, half-figures of saints
+nearly life size, singly or in pairs, among which is a portrait of the
+donor, with perspectives of palaces, temples, or interiors on the backs.
+The lower stalls have less important subjects, such as censers,
+chalices, vases of flowers, animals, armillary spheres, musical
+instruments, etc. The cost of these stalls was 1132 scudi d'oro larghi
+(10 francs each and a little more) half of which was paid by Julius<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span>
+II. and half by the Commune of Savona. In the same Cathedral are a fine
+lectern, an episcopal throne, two doors of the chapel of our Lady of the
+Column, and a fine seat, the "banco dell' opera," commonly called
+"Massaria." Upon such a seat sat anciently the four citizens elected by
+the Commune to attend to the interests of the Church governed by them.
+Within this bench were preserved the diplomas, statutes, and arguments
+held to be most important to the greatness of the country. Anselmo de'
+Fornari was helped by Elia de' Rocchi, and the commission was given to
+them jointly on January 30, 1500, on which date Cardinal della Rovere
+promised to pay 570 ducats towards the expenses.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i156" id="i156"></a>
+<img src="images/i156.jpg" width="600" height="382" alt="
+Plate 36.&mdash;Panel from lower row of Stalls, Cathedral, Savona." title="" />
+<span class="caption">
+
+Plate 36.&mdash;<i>Panel from lower row of Stalls, Cathedral, Savona.</i></span>
+</div>
+
+<p>Another intarsiatore who worked with Fra Damiano was Giovanni Francesco
+Capo di ferro of Lovere, on Lake Iseo. His masterpiece is the choir of
+S. Maria Maggiore, Bergamo. When it was determined to commence it in
+1521 the presidents of the church fabric sent to various cities of
+Italy, especially to Milan, to consult over the model to be selected for
+so important a work with the excellent painter and architect M. Bernardo
+Zenale da Treviglio. In the archives of the Misericordia is a book
+entitled "Fabbrica Chori," in which is noted the great expense of the
+designs only, among which were some made by Lorenzo Lotto, by
+Alessandro<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> Bonvicini, called Il Moretto; Andrea Previtali, Giacomo de'
+Scipioni, Filippo Zanchi, Giuseppe Belli, Domenico di Albano, Niccolino
+Cabrini, Pietro da Nembro, Francesco Boneri, and other painters, as well
+as the making of models and other similar operations. Those who worked
+at carving and tarsia under the direction of Giovanni Francesco were his
+son Zinino and Pietro his brother, who lived in Lodi; Paolo da Pesaro,
+and many others, including a whole family, Giovanni di Ponteranica and
+his four sons. The part towards the sacristy was designed by Lorenzo
+Lotto, the rest by Alessandro Belli. The sedilia on the Gospel side bear
+a signature hung from a tree, "Opus Jo: Franc: D. Cap. Ferr. Bergomi."
+The four panels outside the screen are Noah entering the ark, the
+passage of the Red Sea, the triumph of Judith by the death of
+Holofernes, and the victory of David over Goliath. Thus Tassi speaks of
+them&mdash;"These, to speak the truth, for their admirable workmanship,
+singular art, and beautiful colouring, do not appear to be pieces of
+wood put together, but rather pictures formed by an excellent brush, the
+pieces placed with such mastery, 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<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> made the coloured designs, and as he was a celebrated and
+finished painter and a powerful one, thus certainly these pieces of wood
+put together could stand in face of paintings by the most celebrated
+brushes, which, beyond the exactness of drawing, gave to their works
+singular force and finish; for in them all the possible excellences of
+drawing and of art are displayed, and whoever has had the opportunity of
+well considering them has remained surprised and delighted, never
+believing that human art could reach so high a pitch of perfection." His
+last work is mentioned in 1533, two pictures of Samson, at 60 lire each.
+In 1547 his son Zinino and his brother Giovanni Pietro went on with the
+choir, and finished it nine years later. The total cost for labour alone
+was 7000 lire Imperiali.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i160" id="i160"></a>
+<img src="images/i160.jpg" width="600" height="402" alt="
+
+Plate 37.&mdash;Panel from the Ducal Palace, Mantua." title="" />
+<span class="caption">
+
+Plate 37.&mdash;<i>Panel from the Ducal Palace, Mantua</i>.</span>
+</div>
+
+<p>In Spain there must have been a good deal of intarsia done, seeing how
+long the Moors held the southern part of the country, but very little
+has come down to us. In the Mosque at Cordova was a finely inlaid mihrab
+of the 10th century, which was unfortunately destroyed in the 16th
+century and its material used to make an altar. In the Museum at South
+Kensington are some panels with Hispano-Moresque geometric inlays of
+bone of the 15th century, which are very pleasing; the ground is of
+chestnut, the bone is often stained green, and<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> metal triangles and
+light wood are also used. This use of bone, which is frequently tinted,
+in conjunction with black and pale wood, is characteristic of Spanish
+work of the 16th century. The design is often exceedingly naive,
+employing birds, animals, plants, and trees, with scrolls and monsters.
+There is one cabinet at South Kensington with the animals entering the
+ark, which is most entertaining. The Portuguese carried this work on
+later, especially at Goa, in the 17th century, but neither here nor in
+Spain is the later work tasteful, except occasionally. Cabinets were
+then made at Toledo of ebony and ivory, and at Seville and Salamanca the
+same materials were used for chests and sideboards.</p>
+
+<p>At Burgos is a pulpit decorated with inlay as well as carving, and one
+of the most elaborate works of marquetry of comparatively modern times
+is Spanish. This consists of the decoration of four small rooms in the
+Escurial, upon which 28,000,000 reals (£300,000) was spent in 1831. They
+are called "piezas de maderas finas," rooms of perfect or delicate
+woods, and are entirely covered with landscapes, still-life subjects,
+flowers, etc., made of the finest and most costly woods, and almost like
+paintings; floor, frieze, panels, window recesses, and doors.</p>
+
+<p>There was a mode of decorating furniture much<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> used in Spain and
+Portugal, especially the latter, in which metal plates, cut and pierced
+into elaborate and fanciful patterns, were fastened on to the surface of
+objects made of black wood by means of small pins. From this to the
+decoration of the same surfaces by sinking the metal in the wood is a
+short step, and some think that this was the origin of the metal inlay
+so well known a little later under the name of Boulle work.<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="IN_GERMANY_AND_HOLLAND_ENGLAND_AND_FRANCE" id="IN_GERMANY_AND_HOLLAND_ENGLAND_AND_FRANCE"></a>IN GERMANY AND HOLLAND, ENGLAND AND FRANCE</h2>
+
+
+<div class="figcenter" style="width: 364px;">
+<a name="i166" id="i166"></a>
+<img src="images/i166.jpg" width="364" height="600" alt="Plate 38.&mdash;Panel from the Rathaus, Breslau, 1563.
+
+" title="" />
+<span class="caption">Plate 38.&mdash;<i>Panel from the Rathaus, Breslau, 1563.</i>
+
+</span>
+</div>
+
+<p><a name="i170" id="i170"></a></p>
+<div class="figleft" style="width: 330px;">
+<img src="images/i170.jpg" width="330" height="600" alt="Plate 39.&mdash;Panel from Church of S. Mary Magdalene,
+Breslau.
+
+" title="" />
+<span class="caption">Plate 39.&mdash;<i>Panel from Church of S. Mary Magdalene,
+Breslau.</i>
+
+</span>
+</div>
+
+<p>In Germany there can be little doubt that the art first struck root in
+the southern part of the country, the towns which produced the earliest
+furniture and other objects decorated in this manner being Augsburg and
+Nuremberg. The first names of workers recorded, however, are those of
+the two brothers Elfen, monks of S. Michael at Hildesheim, who made
+altars, pulpits, mass-desks, and other church furniture for their
+monastery, ornamented with inlays, at the beginning of the 16th century,
+and Hans Stengel, of Nuremberg, but none of the inlaid work of either
+has come down to us. Two earlier pieces are figured by Hefner Alteneck,
+the harp already referred to on p. 8, and a folding seat of brown wood
+inlaid with ivory, stained yellow or light green, and black or dark
+brown wood, in oriental patterns, both of the latter part of the 14th or
+beginning of the 15th century. Two other names are mentioned as capable
+craftsmen in Nuremberg, Wolf Weiskopf and Sebald Beck; the latter died
+in 1546.<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> The Augsburg work was much sought after, the "so-called
+mosaic work of coloured woods." The designs for the panels were
+generally made by painters, architectural and perspective subjects being
+most common, but flower pieces, views of towns, and historical
+compositions were also made. A German work thus characterises the later
+16th century productions of this type&mdash;"A certain kind of intarsia
+becomes common in the German panelling and architectural woodwork; also
+in cabinets, vases, and arabesques, with tasteless ruins and
+architectural subjects with arabesque growths clinging all over them, of
+which examples may be seen in the museums at Vienna and Berlin, where
+one may also see works in ebony with engraved ivory inlays, which are
+generally more satisfactory. In German work, however, inlay was never of
+so much importance as carving, and the Baroque influence almost
+immediately affected the character of the design for the worse." At
+Dresden and Munich there were several celebrated inlayers in the 17th
+century, among whom may be named Hans Schieferstein, Hans Kellerthaler,
+of Dresden, and Simon Winkler, N. Fischer, and his son Johann Georg, of
+Munich, the last of whom, with his contemporary Adam Eck, practised
+relief intarsia, of which the latter is said to have been the inventor.
+It was known in the art trade as<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> "Präger arbeit," which was not a name
+which accurately described its origin. Panellings of walls and doors
+were often decorated with inlays, most frequently of arabesques, of
+which the town halls of Lübeck and Danzig furnish fine examples. The
+"Kriegsstube" at Lübeck was done by Antonius Evers, who in 1598-9 was
+master of the joiners' guild, with his companions. The Rathsaal at
+Lüneburg was made in 1566-78, and the name of Albert von Soest is
+connected with it. Danzig, in the "Sommerrathstube," shows intarsias and
+decorations of 1596 in which the painter Vriedeman Vriese and a certain
+Simon Herle, probably a local man, collaborated. Other similar works may
+be seen at Brunswick and Breslau, at Ulm, in the Michel Hofkirche at
+Munich, and in the Cathedral at Mainz. At Coburg, in the so-called
+"Hornzimmer," are intarsias worked from the designs of Lucas Cranach and
+others, at Rothenburgh, at Geminden, at Landshut, and in many places in
+Tyrol and Steiermark, most of them much mixed with carving, too numerous
+to describe. The intarsias at the Hofkirche at Innsbruck, begun in 1560
+by Conrad Gottlieb, may, however, be mentioned as being remarkably fine.
+Schleswig Holstein is full of intarsias of the end of the 16th and
+beginning of the 17th century, of which perhaps the finest are in the
+chapel of the Castle of<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> Gottorp. The princes' prayer chamber or pew
+is elaborately panelled, and the panels are all filled with inlays,
+mostly arabesques. The door and wall panels have elaborate architectural
+forms in relief with base, frieze, and pilasters; and are also fully
+inlaid with arabesques, counterchanged bay by bay. The ceiling is
+coffered, and the male and female patterns are counterchanged
+diagonally. Bosses of lions' heads and rosettes project from the
+surfaces of the beams, between which the intarsia panels are flat. The
+central features in the several divisions are sunk, a central oblong
+with an oval in centre bearing the subject of the Resurrection and two
+side diamonds. The panels surrounding these have raised mouldings, so
+that there is considerable variety of level, and the whole is raised on
+a bracketed cornice, the flat surface of which has small panels inlaid
+in the same fashion. It was put up in 1612 by Duke Johann Adolf of
+Schleswig Holstein and his wife, Augusta of Denmark.</p>
+
+
+<div class="figcenter" style="width: 650px;">
+<a name="i171" id="i171"></a>
+<img src="images/i171.jpg" width="650" height="88" alt="Plate 40.&mdash;Pilaster strip from the Magdalen Church,
+Breslau." title="" />
+<span class="caption">Plate 40.&mdash;<i>Pilaster strip from the Magdalen Church,
+Breslau</i>.</span>
+</div>
+
+<p>In the State archives of Schleswig, in 1608, the names of Andreas
+Sallig, court joiner; Jochim Rosenfeldt, carver; and others are noted.
+Also in 1609, with the addition of the painter Herman Uhr and Hans and
+Jürgen Dreyer, of Schleswig; also the carver Hans Preuszen, and Adam
+Wegener, the figure-cutter. In 1610 the names of Jürgen<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> Koningh,
+joiner's workman, several carvers, and Herman Uhr, the painter, occur.
+In 1611 Herman Uhr and Klaus Barck work in the chapel, the first for 115
+days, and the second for 178 days, and in 1612 several carvers and
+turners work for a long time at the rate of five "schillings" a day, as
+well as Herman Uhr and his assistant. These records distinctly suggest
+that the painter Herman Uhr was the designer, since his name is the only
+one which appears for four years consecutively, though the long period
+during which he worked in 1612 may be explained by the number of
+paintings which cover a portion of the exterior of the pew.</p>
+
+<div class="figcenter" style="width: 372px;">
+<a name="i174" id="i174"></a>
+<img src="images/i174.jpg" width="372" height="600" alt="Plate 41.&mdash;Panel from S. Elizabeth&#39;s Church, Breslau.
+
+" title="" />
+<span class="caption">Plate 41.&mdash;<i>Panel from S. Elizabeth&#39;s Church, Breslau</i>.
+
+</span>
+</div>
+
+<p>In South Germany one often meets with musical instruments which are
+inlaid with conventionalised floral forms. They were produced in the
+17th century in considerable quantities in Wurtemburg, Bavaria, and on
+the Southern Shores of Lake Constance. Nor must one forget the
+extraordinarily elaborate ivory inlays on the stocks of arquebuses. In
+the Wallace collection are many examples, and attention may be drawn to
+a jewel box made in 1630 by Conrad Cornier, arquebus mounter, which is
+decorated with most elaborate scrolls, leaves, and birds of ivory and
+mother-of-pearl, stained green in parts. It is made of walnut, and has
+metal scrolls at the corners of the panel framing. The German<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> inlays
+on the whole rather run to arabesques and strapwork, or naturalistic
+vases of flowers, with butterflies and birds; one meets occasional
+perspectives and even figures, but the work is generally harder and less
+successful than the Italian technique, with a larger and less
+intelligent use of scorched tints.</p>
+
+<p>In the latter part of the 17th 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 another, or even of two others;
+the effect is not quite happy. Tortoiseshell also appears, and metal and
+coloured stones; the striving after what they thought to be greater
+artistry soon caused them to outstep more and more the proper limits of
+the art, and brought about decadence. The South German bride chests of
+the century before are decorated a good deal with inlays, Peter
+Flotner's designs often serving as patterns; a little green and red
+appear mixed with the commoner colours. The architectural forms project,
+and would form a tolerable design by themselves, though scarcely
+suitable to the object to which they are applied. In German work the
+cabinets are often of the most elaborate architectural design, like the
+façade of a palace, made of ebony, or occasionally even of ivory, and
+inlaid with ivory, silver, gold and<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> enamels or precious stones.
+Augsburg was the most celebrated place for such work. The joiner, the
+woodcarver, the lapidary, and the goldsmith all worked together on such
+things. In the North of Germany tarsia was principally used on chests,
+cabinets, seats, and smaller objects of furniture; in South Germany,
+where the Italian influence was stronger, it was much used in
+wall-panelling and the panels of doors. The little castle of Völthurn,
+near Brixen, built by the bishop of that town in 1580-85 and decorated
+by Brixener artists and joiners (now belonging to Prince Lichtenstein),
+shows "panelled walls with architectural features, columns, cornices,
+and friezes, with gabled doorways with columns and pediments, decorated
+with very delicate intarsias, foliage ornaments, flowers, and fruit, a
+work which modern Brixener joiners could with difficulty understand"; so
+says Von Falke. Ebony and ivory work came to Germany in the latter half
+of the 16th century, when Augsburg and Nuremberg soon exported their
+productions of this sort to all the world, and with this commercial
+production the use of male and female designs begins, black on white and
+white on black. The latter is the better and more valued. Hans
+Schieferstein's cabinet, now at Dresden, a work of this period, has an
+ingenious use of this mode of inlay. It is made of ebony or veneered
+with that wood, and<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> has inlays of brown cypress and of ivory. The
+panel on the inside of the door is of the same design as that on the
+outside, but what was white becomes brown, what was brown is black, and
+the black becomes white.</p>
+
+<div class="figcenter" style="width: 324px;">
+<a name="i178" id="i178"></a>
+<img src="images/i178.jpg" width="324" height="600" alt="Plate 42.&mdash;Lower panel of door, 1564&mdash;Tyrolese.
+
+" title="" />
+<span class="caption">Plate 42.&mdash;<i>Lower panel of door, 1564&mdash;Tyrolese</i>.
+
+</span>
+</div>
+
+<p>In the Musée Cluny is a wire drawing bench made in 1565 for Augustus I.,
+Elector of Saxony, who was an amateur craftsman. The two longitudinal
+surfaces are covered with a double frieze of marquetry, one side
+representing a satirical tournament between the Papacy and Lutheranism,
+and the other a carousal of wild men. In front one sees the marqueteur
+with his tools doing his work, below which he has placed his monogram,
+L&mdash;D., accompanied by a cup.</p>
+
+<p>In the Museum at Leipzig is a very fine cabinet, with many drawers
+within, elaborately inlaid with arabesques on a light ground, with a few
+architectural forms in ebony projecting. It is Tyrolese work of the
+beginning of the 17th century, and is a typical example. To the few
+names of German intarsiatori may be added those of Isaac Kiening, of
+Frissen, and Sixtus Loblein, of Landshut.</p>
+
+<p>In the lower Rhine and in Holland tarsia was used for great and small
+chests, sideboards and doors with rich gable crownings, with good
+drawing of flowers, and sprigs of leaves with birds and beasts among<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span>
+them, the ground being generally light. The doors ordered by the Swedish
+Chamberlain, Axel Oxenstiern, now in the drinking-room of the King's
+Castle of Ulriksdal, near Stockholm, are said by Von Falke to be the
+finest examples extant of this kind of work, and to have been made in
+the 17th century by a Dutch craftsman. The best period in Holland was
+the second half of the 16th and the first half of the 17th century. In
+the work of this period the handling is broad, and the composition often
+a little over-full, but the many different woods which Dutch commerce
+made available seduced the marqueteurs into too pictorial a treatment in
+point of colour. Their reputation was so great that Colbert engaged two
+Dutch marqueteurs, Pierre Gole and Vordt, for the Gobelins at the
+beginning of the 17th century, and Jean Macé also learnt the craft by a
+long stay in Holland. Here, as well as in France and Italy, rich chairs
+were commonly decorated with marquetry, and in William and Mary's reign
+such things became the fashion in England. The design employed tulips
+and other flowers, foliage, birds, etc., all in gay colours; ivory and
+mother-of-pearl were used occasionally for salient points, such as eyes.
+Examples of the use and misuse of these materials may be seen in the
+Victoria and Albert Museum at South Kensington.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="i182" id="i182"></a>
+<img src="images/i182.jpg" width="550" height="339" alt="Plate 43.&mdash;Top of card table in the Drawing-room,
+Roehampton House. Dutch, 18th Century.
+
+" title="" />
+<span class="caption">Plate 43.&mdash;<i>Top of card table in the Drawing-room,
+Roehampton House. Dutch, 18th Century</i>.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 304px;">
+<a name="i183" id="i183"></a>
+<img src="images/i183.jpg" width="304" height="600" alt="Plate 44.&mdash;Panelling from Sizergh Castle, now in
+Victoria and Albert Museum." title="" />
+<span class="caption">Plate 44.&mdash;<i>Panelling from Sizergh Castle, now in
+Victoria and Albert Museum</i>.</span>
+</div><p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span></p>
+
+<p>Although not much work of importance is known in England which is
+certainly the production of native craftsmen, a few notable examples may
+be called to mind, such as the room from Sizergh Castle, now at South
+Kensington, with inlays of holly and bog-oak, and the fine suite of
+furniture at Hardwick Hall, made for Bess of Hardwick by English workmen
+who had been to Italy for some years. Correspondence passed between her
+and Sir John Thynne on the subject of the craftsmen employed by both,
+and there seems no doubt that Longleat and Hardwick were the work of the
+same men. The inlays upon the long table are particularly fine, and
+except for a certain clumsiness almost recall the glories of the great
+period of Italian marquetry. The cradle of James I. (1566) is enriched
+with inlays.</p>
+
+<p>At Gilling Castle, near Wakefield, are some panels inlaid with flowers,
+etc., which local tradition says were executed by some of the ladies of
+the family, which probably points to their having been done under their
+superintendence by local workmen, and small panels of rough inlay are
+not uncommon in chest and bedstead, overmantel and cabinet from the
+Jacobean period onward. S. Mary Overie, Southwark, possesses a fine
+parish chest decorated with a good deal of Dutch-looking inlay in
+conjunction with carving, and a rather unusual piece of work may be<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span>
+seen at Glastonbury Hall, 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 1726. The use of satin wood
+came into fashion towards the end of the eighteenth century, and was
+accompanied by a delicate inlay of other woods, which, however, scarcely
+went beyond the simplest ornament, since the decoration of furniture by
+means of painting became fashionable at nearly the same period.</p>
+
+<div class="figcenter" style="width: 406px;">
+<a name="i186" id="i186"></a>
+<img src="images/i186.jpg" width="406" height="600" alt="Plate 45.&mdash;Cabinet with falling front, in the
+drawing-room, Roehampton House.
+
+" title="" />
+<span class="caption">Plate 45.&mdash;<i>Cabinet with falling front, in the
+drawing-room, Roehampton House</i>.
+
+</span>
+</div>
+
+<p>It was in France that the most wonderful achievements of the later
+marqueteurs were produced, which have made French furniture recognised
+by the public as well as by connoisseurs as an art manufacture, in
+conjunction with the wonderfully chiselled ormolu mountings. Mention is
+made of intarsia in France as early as the end of the fifteenth century,
+however. In the inventory of Anne of Brittanny's effects (1498) may be
+read "ung coffret faict de musayeque de bois et d'ivoire," and in a
+still earlier one of the Duke de Berry's, dated 1416, is mentioned a
+"grant tableau, où est la passion de Nostre Seigneur, fait de poins de
+marqueterie." This is as early as the intarsias of Domenico di Nicolò at
+Siena, and was probably of foreign manufacture. In 1576 a certain Hans
+Kraus was called "marqueteur du roi," but the first Frenchman known to
+have practised the art is Jean Macé of<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span> Blois, who was at work in
+Paris from 1644 or earlier to 1672 as sculptor and painter. He is said
+to have been the first who brought intarsia into France, under the name
+of "marqueterie," having been for some time in the Netherlands. His
+title was "menuisier et faiseur de Cabinets et tableaux en marqueterie
+de bois." He was lodged in the Louvre in 1644 (when Louis XIV. was six
+years old), "en honneur de la longue et belle pratique de son art dans
+les Pays Bas." His daughter married Pierre Boulle, who in 1619 was
+turner and joiner to the King, probably both to Louis XIII. and Henry
+IV. In 1621 Paul Boulle was born, and five years later Jacques. The
+family was settled at Charenton-le-Pont, near Paris, the principal town
+of the Huguenots for eighty years. Here, in 1649, Pierre Boulle was
+buried, the father of seven children. The earlier seventeenth century
+designs show picturesque landscapes or broken ruins or figures, <i>motifs</i>
+which recur a century later, as in the beautiful panel signed "Follet"
+in the Cabinet by Claude Charles Saunier in the Wallace collection. The
+colours are occasionally stained, and ebony and ivory are favourite
+materials. It is impossible to fix the exact time when copper and
+tortoiseshell came into use in France. Some of the cabinets in which
+they appear are certainly of the period of Louis XIII. It was probably
+imported either from Spain or Flanders; it<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> became very fashionable
+about the middle of the seventeenth century, and ended by entirely
+absorbing the official orders of the Court of Louis XIV. With this work
+the name of Boulle is indissolubly associated. Pierre Boulle was lodged
+in the Louvre about 1642. In 1636 he is on the list for 400 livres
+annually. Jean Boulle died in the Louvre in 1680. He was the father of
+André Charles probably, who was born in November, 1642, and the nephew
+of Pierre. André Charles Boulle in 1672 succeeded to the lodging of Jean
+Macé in the same building, and seven years later by a second brévet to
+the "demilogement," formerly occupied by Guillaume Petit "to allow him
+to finish the works executed for His Majesty's service." It is told of
+him by a contemporary that the talented boy wanted to be a painter, but
+his father would not allow it, and insisted upon his keeping to
+handicraft. He was a man of most varied talent; when he was first
+granted apartments in the Louvre it was as "joiner, marqueteur, gilder,
+and chiseller," and in the decree of Louis XIV., by which he was
+appointed the first art-joiner to the King, he is called "architect,
+sculptor, and engraver." He had a passion for collecting drawings,
+paintings, and other works of art, and when his workshops were burnt his
+collection was valued at 60,000 livres. This taste brought him into
+money difficulties, and in<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span> 1704 his creditors obtained a decree
+against him, 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 them. He was a member of the Academy of
+S. Luke as sculptor and brass engraver. The Cabinet of the Dauphin was
+considered his masterpiece, in which the walls and ceiling were covered
+with mirrors in ebony frames, with inlays of rich gilding, and the floor
+laid with wood mosaic, in which the initials of the Dauphin and his wife
+were intertwined. The drawing made for it is now in the Musée des Arts
+Décoratifs, but the work itself no longer exists. On August 30th, 1720,
+his works were burnt, it was thought by a thief whom the workmen of
+Marteau, his neighbour at the Louvre, had surprised some months before
+and punished summarily, who, by way of vengeance on the "menuisiers,"
+set fire to the "ébénistes." Nearly everything he possessed was either
+burnt, lost, or stolen; models of the value of 37,000 livres, wood and
+tools worth 25,000, many pieces of furniture finished or in course of
+construction; works in metal, as well as in wood, and his whole
+collection of drawings, paintings, and objects of art. His total loss
+was estimated by experts at 383,780 livres, more than 1,000,000 of
+francs in the money of<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> to-day, from which an income of 50,000 francs
+might be expected. This valuation was on an inventory drawn up shortly
+after, perhaps for the purpose of getting the King's help. The number of
+undeniable productions of his hand is small, but objects which came from
+the studio after his death are tolerably plentiful since his four sons
+carried on the business, though not the inspiration; contemporaries
+characterised them as "apes." Two commodes which were in Louis XVI.'s
+bedroom at Versailles are now in the Bibliothêque Mazarin, and a chest
+which was forgotten in the Custom House at Havre now belongs to the
+museum of that city. A cabinet is in the Mobilier National, and a
+pedestal is in the Grünes Gewölbe at Dresden. Other genuine Boulles are
+in the Wallace collection, in the Rothschild collection, and at the
+Hotel Cluny. A writing table, for which the millionaire Samuel Bernard
+(who died in 1739), a great collector of art treasures, had given 50,000
+livres, appears to be lost. M. Luchet asks, with some truth, "Can you
+imagine a financier, Jew or Christian, paying 100,000 francs for a new
+bureau? Old, it would be another thing&mdash;an object of art to sell."
+Boulle was most careful over his materials. He had 12,000 livres worth
+of wood in his stores, fir, oak, walnut, battens, Norwegian wood, all
+collected and kept long and carefully for the benefit of the work.<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span> He
+also used real tortoiseshell, which, is replaced in the economical art
+industry of the day with gelatine. The mountings were always chiselled,
+cast quite roughly, so that the artist did nearly everything. He was
+helped in this part of the work by Domenico Cucci and others. The inlay,
+instead of being tortoiseshell, may have been horn, mother-of-pearl,
+ivory, or wood; the motive, instead of brass, may be pewter, silver,
+aluminium, or gold; it is still known by the name of Boulle work. Boulle
+himself worked intarsia of wood also at intervals all through his life.
+He died February 29th, 1732.</p>
+
+<div class="figcenter" style="width: 530px;">
+<a name="i190" id="i190"></a>
+<img src="images/i190.jpg" width="530" height="600" alt="Plate 46.&mdash;Cabinet belonging to Earl Granville. Boulle
+work of about 1740.
+
+" title="" />
+<span class="caption">Plate 46.&mdash;<i>Cabinet belonging to Earl Granville. Boulle
+work of about 1740</i>.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 411px;">
+<a name="i191" id="i191"></a>
+<img src="images/i191.jpg" width="411" height="600" alt="Plate 47.&mdash;Top of writing table in
+the Saloon, Roehampton House. Period of Louis XV." title="" />
+<span class="caption">Plate 47.&mdash;<i>Top of writing table in
+the Saloon, Roehampton House. Period of Louis XV</i>.</span>
+</div>
+
+<div class="figcenter" style="width: 439px;">
+<a name="i194" id="i194"></a>
+<img src="images/i194.jpg" width="439" height="600" alt="Plate 48.&mdash;Encoignure, signed J. F. Oeben, in the Jones
+bequest, Victoria and Albert Museum.
+
+" title="" />
+<span class="caption">Plate 48.&mdash;<i>Encoignure, signed J. F. Oeben, in the Jones
+bequest, Victoria and Albert Museum</i>.
+
+</span>
+</div>
+
+<p>His pupil, J. F. Oëben, became "ébéniste du roi," with a lodging in the
+<i>dépendances</i> of the Arsenal in 1754. He was marqueteur especially.
+Examples of his work are both at South Kensington and in the Wallace
+collection, and in the Gallerie d'Apollon at the Louvre is the great
+secretary bureau, which he was making for Louis XV. at the time of his
+death, in or about 1765. His widow carried on the establishment; her
+foreman, J. Henry Riesener, completed the unfinished work. He was also a
+German, born in 1735 at Gladbach, near Cologne, and coming to Paris
+quite young entered Oëben's atelier. On his death he was made foreman,
+and two years after, when he was thirty-two years of age, married his
+master's widow. The year following<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> 1768 he was received as master
+<i>menuisier ébéniste</i>. In 1776 his wife died, and six years after he
+married again, but was divorced as soon as the new legislation allowed
+it. When he was married the first time he had no fortune, but fifteen
+years after he declared in his marriage contract that there was then
+owing to him by the King, the royal family, and other debtors 504,571
+livres, without counting the finished objects in his warehouses, his
+models of bronze, his jewels, and personal effects, and several
+important life annuities. Between 1775 and 1785 he received from the
+Garde Meuble 500,000 livres, so profitable had the production of
+furniture of the highest class become. He was in full work at the time
+of the Revolution, and two of his finest pieces bear the dates 1790 and
+1791 in their marquetry. When the furniture of the royal residences was
+sold, Riesener bought back several pieces, being aided by Charles
+Delacroix, the husband of his first wife's daughter, who directed the
+sale at Versailles. He tried to sell these again, but with poor success,
+and when he died, on January 8th, 1806, at the age of 71, he was again
+almost without fortune. His beautiful bureau secretary in the Wallace
+collection, made for Stanislas Leczinski, King of Poland, and dated
+1769, shows him at his best. The workmanship is superb, and the design
+most pleasing, almost the only point to which<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> exception may be taken
+being the crude green, obtained by staining, here and there. The
+half-length of Secrecy in the oval cartouche at the back is as good as
+the best Italian figure work, and was often reproduced by him. The
+flower panels are particularly delicate and beautiful. There is an
+upright secretary, also by him, in the same collection almost equally
+delicate and beautiful in its marquetry decorations. The diaper patterns
+so characteristic of this period are most beautifully executed, but are
+not very interesting, and the mountings take the interest rather from
+the marquetry, becoming more and more delicately designed and
+elaborately worked. The principal woods used by Riesener were tulip and
+rose wood, holly, maple, laburnum, purple wood, and sometimes snake
+wood. His contemporary, David Roentgen, used principally pear, lime, and
+light-coloured woods, burnt for the shades.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i198" id="i198"></a>
+<img src="images/i198.jpg" width="600" height="213" alt="Plate 49.&mdash;Panel from back of Riesener&#39;s bureau, made
+for Stanislas Leczinski, with figure of Secrecy.
+
+" title="" />
+<span class="caption">Plate 49.&mdash;<i>Panel from back of Riesener&#39;s bureau, made
+for Stanislas Leczinski, with figure of Secrecy</i>.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<a name="i202" id="i202"></a>
+<img src="images/i202.jpg" width="500" height="496" alt="Plate 50.&mdash;Roundel from bureau, made for Stanislas
+Leczinski, King of Poland, now in the Wallace Collection.
+
+" title="" />
+<span class="caption">Plate 50.&mdash;<i>Roundel from bureau, made for Stanislas
+Leczinski, King of Poland, now in the Wallace Collection</i>.
+
+</span>
+</div>
+
+<p>Paris has endured a regular invasion of German craftsmen from the middle
+of the eighteenth century, and the Faubourg S. Antoine still has a
+number of German-born joiners among its workmen. Among the most
+celebrated of them was David Roentgen, born either at Neuwied or
+Herrenhagen in 1743. In 1772 he succeeded his father, Abraham Roentgen,
+in his business at Neuwied am Rhein, which he had founded in 1753, and
+from which he retired into the<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span> house of the Moravian brethren, where he
+lived for twenty years longer. The engraver Wille relates that he came
+to his house in Paris in 1774 with letters of recommendation, and that
+he put him in touch with designers and sculptors. When Marie Antoinette
+became Queen he was appointed "Ébéniste méchanicien" to the Queen. He
+was in such good odour with her as to be charged on several occasions to
+carry presents to her mother and sisters. Her favour excited the
+jealousy of the other joiners, and they contested his right to sell
+foreign-made furniture. He got out of this difficulty by being admitted
+a member of their corporation on May 24th, 1780. He was so entirely
+master of his craft, and increased its resources so much by using exotic
+woods, that contemporary opinion thought it difficult to imagine greater
+success in the particular direction in which he worked. In 1779 he
+showed a table of marquetry, made in a new fashion, which he described
+as a mosaic, "in which the shades are neither burnt, nor engraved, nor
+darkened with smoke, as one has been obliged to express them until now,"
+a return in fact to the earlier Italian method. His designs were many of
+them made by Johann Zick of Coblenz, others by Jean Baptiste Le Prince,
+chinoiseries, and shepherd games. Under him the later German marqueterie
+reached its highest point. His works went all over Europe, from<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span> St.
+Petersburg to Paris, and replicas were ordered by those who were obliged
+to forego the originals. He sold to Catherine of Russia a series of
+articles of furniture for 20,000 roubles, and the Empress added a
+present of 5000 roubles and a gold snuff-box. The King of Prussia was
+his constant protector, and in February, 1792, gave him the title of
+Secret Councillor, and in November of the same year named him Royal
+Agent on the Lower Rhine. The Revolution ruined him, and he was obliged
+in 1796 to close his factory. He abandoned France at this period, and
+the Government, considering him as an "Emigré," seized all his effects
+in 1793, including the furniture made at Neuwied, then in his stores. He
+died at Wiesbaden in 1807. With him these incomplete historical notes
+may terminate. Many of the names mentioned are but names, while in many
+cases names and works cannot be connected, for the carver and
+intarsiatori were often, like other craftsmen, content to do the work
+without caring about the reputation of doing it; 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 rarity, and certainly do not show them
+to any disadvantage compared with other artists, or those among whom
+their lives were passed.<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THE_PROCESS_OF_MANUFACTURE" id="THE_PROCESS_OF_MANUFACTURE"></a>THE PROCESS OF MANUFACTURE</h2>
+
+
+<p>The early mode of working intarsia in Italy, where it is more than 100
+years more ancient than in any other country, was by sinking forms in
+the wood, according to a prearranged design, and then filling the
+hollows with pieces of different coloured woods. At first the number of
+colours used was very small&mdash;indeed, Vasari says that the only tints
+employed were black and white, but this must be interpreted freely,
+since the colour of wood is not generally uniform, and there would
+consequently often be a difference in tint in portions cut from
+different parts of the same plank. A cypress chest of 1350, now in the
+Victoria and Albert Museum, shows another mode of decoration standing
+between tarsia proper and the mediæval German and French fashion of
+sinking the ground round the ornament and colouring it. In this example
+the design is incised, the ground cleared out to a slight depth, and the
+internal lines of the drawing and the background spaces filled in with a
+black mastic, the result much resembling niello. If dark wood be
+substituted for the mastic background we<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span> have almost the effect of
+the stalls of the chapel of the Palazzo Pubblico at Siena, which, though
+an early work of Domenico di Nicolò, are well considered in design, well
+executed, and quite satisfactory in point of harmony between material
+and design.</p>
+
+<div class="figcenter" style="width: 437px;">
+<a name="i206" id="i206"></a>
+<img src="images/206.jpg" width="437" height="450" alt="Plate 51.&mdash;Antonio Barili at work, by himself.
+
+" title="" />
+<span class="caption">Plate 51.&mdash;<i>Antonio Barili at work, by himself.</i>
+
+</span>
+</div>
+
+<p>At the commencement of the Renaissance the fancy of the intarsiatori
+overflowed in the most graceful arabesques, which are perfectly suited
+to the material and are often executed with absolute perfection, and
+these may perhaps be held to be the most entirely satisfactory of their
+works, though not the most marvellous. The ambition of the craftsman led
+him to emulate the achievements of the painter, and we find, after the
+invention of perspective drawing, views of streets and other
+architectural subjects, which are not always very successful, and the
+representation of cupboards, the doors of which are partly open, showing
+objects of different kinds on the shelves, which are often rendered with
+the most extraordinary realism, when the means adopted are
+considered.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> This realism was much assisted by Fra Giovanni da
+Verona's discovery of acid solutions and stains for treating the wood,
+so as to get more variety of colour, and by the practice of scorching
+portions of the pieces of which the subject was composed, thus
+suggesting<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span> roundness by means of shading. It was a common practice to
+increase the decorative effect by means of gilding and paint, thus
+obtaining a brilliancy of colour at the expense of unity of effect
+sometimes, one may think, if one may judge from the panels in the stalls
+at the Certosa of Pavia&mdash;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 times. At the best period it was used almost entirely
+for church furniture and the furnishings of public edifices, in Italy at
+least, and many of the ranges of stalls still occupy their original
+positions.</p>
+
+<div class="figcenter" style="width: 408px;">
+<a name="i210" id="i210"></a>
+<img src="images/i210.jpg" width="408" height="600" alt="Plate 52.&mdash;Panel from the Victoria and Albert Museum.
+
+" title="" />
+<span class="caption">Plate 52.&mdash;<i>Panel from the Victoria and Albert Museum</i>.
+
+</span>
+</div>
+
+<p>The principal woods used in the work of the best period were pear,
+walnut, and maple, though pine and cypress also appear. Ebony was
+imitated with a tincture of gall apples, green was obtained with
+verdigris, and red with cochineal. Sublimate of mercury, arsenical acid,
+and sulphuric acid were also used to affect the colour of the wood. This
+treatment lessened its lasting power, and often caused its decay through
+the attacks of worms. The scorching was done with molten lead, or in
+very dark places with a soldering-iron. It is now done with hot sand.
+The following technical description is taken from a German book of
+1669&mdash;"Wood-workers paint with quite thin little bits of wood, which
+are<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span> coloured in different ways, and the same are put together after
+the form of the design in hollowed-out panels, fastened with glue and
+polished with an iron on the surface so that they may become quite
+smooth. They paint at the present time in this manner tables and jewel
+chests or trays, and all in the highest artistic manner. Also separate
+pictures are put together, which copy the works of the most celebrated
+masters. First, they take small, very thin pieces of pear or lime dyed
+through with different colour-stuffs, which are prepared by certain
+processes, so that the wood is the same colour within and without. Then
+they give them their several shapes as the kind of picture requires,
+cutting them according to the size and shape, and stick them with glue
+on the board. In the place of wood they sometimes use bone, horn, and
+tortoiseshell cut into fine strips, also ivory and silver. The whole
+work is called by the Germans 'Einlegen' or 'Furnieren,' because
+although each piece is separate from the others no part is taken out
+from the surface in which such figures are inlaid, but the whole is
+covered." With the use of the fret-saw for cutting the patterns, and the
+consequent discovery of the possibility of counterchanging the ground
+and the design (that which was black becoming white, and <i>vice versâ</i>),
+called male and female forms, the manufacture of tarsia, or marquetry
+rather, commenced to<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span> take a more commercial aspect, the cost being
+considerably reduced by the making of several copies by one sawing. This
+is the process used at the present day.</p>
+
+<p>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 wood, and also on the level grounding
+out of the matrix. In Spanish and Portuguese work ivory or ebony pins or
+pegs were used also. Marquetry is a form of veneering, and the operation
+is thus conducted:&mdash;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 clean, newly-worked surface; the ground is then well wetted with
+glue, at a high temperature, and the two surfaces pressed tightly
+together so as to squeeze as much out as possible. The parts are screwed
+down on heated metal beds, or between wooden frames, made so as to
+exactly fit the surfaces in every part, called "cauls," until the glue
+is hard. In cutting the patterns of Boulle work two or three slices of
+material, such as brass and tortoiseshell or ebony, are glued together
+with paper between, so that they may be easily separated when the
+cutting is done. Another piece of paper is glued outside, upon which the
+pattern is indicated. A fine watch spring<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span> saw is then introduced
+through a hole in an unimportant part of the design, and the patterns
+sawn out as in ordinary fretwork. The slices are then separated, 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
+pattern. When there are only two slices of material the technical term
+for them is Boulle and Counter. When the various parts have been
+arranged in their places, face downwards, paper is glued over them to
+keep the whole in place, and filings of the material rubbed in to fill
+up any interstices. The whole is then toothed over and laid down in the
+same manner as ordinary veneer, the ground being first rubbed over with
+garlic, or some acid, to remove any traces of grease. Marquetry of wood
+is made in the same way, but more thicknesses of wood are put together
+to be sawn through, as many as four not being an unusual number, while
+for common work even eight may be sawn at one time, and the various
+sheets are pinned together only with a stiff backing of common veneer of
+good thickness to steady the work. Dye woods are used as far as
+possible, and holly stained to the required colour serves for greens and
+blues and a few other tints. Pearl is always cut in one thickness, and
+is glued down on a backing of wood at least &#8539;inch thick.<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span></p>
+
+<p>Another mode of cutting the design approximates more nearly to the
+ancient practice. The whole design is drawn on paper attached to the
+ground, or counter, and cut out entirely. The various portions of inlay
+are then cut from different veneers of the desired colour and fitted
+into their places. Another method is to paste the paper with the whole
+design on the ground, and on it to paste the various ornaments cut from
+suitable veneers, then to cut through the ground, the saw grazing the
+edges of the ornamental forms. The parts so cut out are then pushed
+through the ornaments, separated from the paper, and laid down in the
+vacant places. A variation on this method is to cut out the forms to be
+inlaid in different veneers, and glue them in their proper positions on
+a sheet of paper. A sheet of white paper is pasted on the veneer, which
+is to serve as the ground. A sheet of blackened paper is laid over it,
+and over this the sheet with the forms to be inlaid, which are then
+struck with a light mallet, so as to print an impression of their edges
+upon the paper. The printed shapes are then cut out one at a time, care
+being taken to make the saw exactly follow the outline. The object of
+all these processes is, of course, to ensure the ground and the inlaid
+forms exactly fitting. After cleaning the surface from paper and glue it
+is smoothed with plane and scraper, and the<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span> markings on leaves or other
+figures made by a graver, if not already made by saw cuts, and they and
+the lines between the male and female forms are filled with shellac or
+wood-dust and glue.</p>
+
+<p>In Germany the veneers used are one to two millimetres thick, <i>i.e.</i>,
+one-twenty-fifth or two-twenty-fifths of an inch. The principal woods
+used are walnut, pear, ash, bird maple, holly, olive, amboyna, rose
+wood, violet wood, thuya, and palisander, which name is also used on the
+Continent for rose wood and violet, though it is really a sort of cedar.
+Tortoiseshell, ivory, and metal plates are also used, principally of
+pewter, brass, and zinc. Seeman's Kunstgewerbliche Handbücher advise
+thus:&mdash;"When ivory or hard precious metals are used it is better to
+divide the design into smaller parts. To avoid damage to the effect by
+time and change of colour in the woods such combinations as the
+following are to be preferred:&mdash;Mahogany and black walnut, pear and
+black walnut, Hungarian ash and black thuya, pear and palisander, brass
+and black, etc. For fine, small ornament smooth, even-textured woods
+should be used such as pear, mahogany, maple, or holly; for broad
+patches and backgrounds, which are not required to be dark, you should
+use patterned or streaked woods, like bird maple, amboyna, thuya, or
+olive. Ivory, mother-of-pearl, and metals in large pieces look hard<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span> and
+loud, so it is better to use them in quite small pieces. If engraved,
+larger pieces may be employed and used for inscription tablets, coats of
+arms, and cartouches, or for bits of figures, birds, and butterflies.
+Shading may be done in various ways. Lines may be engraved and filled up
+with a glue cement, or hatchings may be drawn with a scorching solution,
+or the wood may be burnt with hot sand. The sand is made hot in an iron
+pot, and the piece to be darkened inserted. Or it may be scorched with a
+hot iron or spirit or gas flame. The simplest way is with the poker used
+in poker work." In England the sand is heaped upon a metal plate which
+is heated underneath. The veneer is held with tweezers and pushed into
+the sand, the gradation of heat giving gradation of tone. The hot sand
+shrinks the wood, and allowance must be made for this.</p>
+
+<p>Veneers are both saw and knife cut; the saw wastes about as much as the
+thickness cut in sawdust. They range from 8 to 15 to the inch. The
+French saw-cut their veneers thinner than the English do.</p>
+
+<p>The woods in every-day use at the present day are white holly, box, pear
+(in various shades), and holly (dyed all colours); while the veneer
+merchants sometimes supply also planetree, sycamore, chestnut,
+Brazilwood, yellow fustic, barwood, tulipwood,<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span> kingwood, East and West
+India satinwood, rosewood, ebony, ash, harewood, Indian purplewood,
+hornbeam, and snakewood. Bird's-eye maple and partridgewood may also be
+bought.</p>
+
+<p>Dye woods used for marquetry&mdash;Braziletto, cam wood, logwood, Nicaragua,
+red sanders, sapan, ebony, fustic (a species of mulberry), Zante (a
+species of sumach). "Ebony is the black pear tree of Madagascar, at
+least they make cider of its fruit." So says M. Luchet in an interesting
+excursus on furniture manufacture in his book on the Paris Exhibition of
+1867, in which he gives further details of ancient manufacture and its
+modern imitation. "I know a factory," he says, "where the tortoiseshell
+is false, the mother-of-pearl false, the ivory holly wood; the brass is
+the only real thing, because science applied to industry has not yet
+found out how to imitate it. When Boulle employed wood in his work it
+was ebony&mdash;they have abandoned that for blackened pear wood, under the
+pretext that ebony is a hard, close wood which twists, splits, and
+cracks, takes glue badly, and refuses varnish. So that they call a man
+who never uses ebony 'ébéniste.' They did not trouble about these things
+in the time of Louis XIV. They never varnished their furniture, so it
+did not matter that ebony would not take varnish.... There are two sorts
+of tortoiseshell, that of the Antilles, often bad<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span> and scaly, but good
+enough for common work, because it is thin and equal in thickness, and a
+little carmine vermilion gives it a not unpleasant red tint. The Indian
+tortoiseshell is thick and opaque and unequal, demanding preparation and
+welding. It can only be used for expensive work, and takes easily a
+black preparation which makes it magnificently austere." One ought to
+mention here that good shell was often treated with carmine vermilion or
+with gold, and that without a colour background it loses half its beauty
+and value.</p>
+
+<p>"In modern times six or eight couples of shell and metal are sawn
+together, whereas two was the number in the fine period. This saves
+money. A new Boulle bed, secretary, or chest of drawers should cost 15
+to 20,000 francs. You may easily get one for 2000 made of rubbish. An
+honest chest of drawers with tolerable mountings is worth 1500 francs.
+In gelatine tortoiseshell and brass or zinc of the future 100 is the
+price.... The mode still practised in Paris of making a good 'placage'
+in preparation for marquetry or Boulle work is as follows:&mdash;A thicker or
+thinner sheet of Italian poplar is placed between two sheets of oak with
+the grain the other way, then on the external sheet of oak is placed the
+wood intended to be seen, also with the grain the other way, the whole
+of convenient thickness, and glued with the best glue.<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span> Good glue is the
+nurse of the wood, say the masters. These four or five thicknesses of
+wood pulling against each other neutralise all bad effects, and the
+result is very good. The external covering is usually either mahogany,
+American walnut, or violet wood (a sort of cedar). Sometimes it is
+ebony, or perhaps a collection of small pieces of wood, such as acacia,
+which are called by all sorts of pretty names. It is of this fine and
+good 'plaqué' that they still make cupboards at 1000 francs, beds at 600
+francs, and bureaus at 800 francs, which are the success and the pride
+of Parisian joinery." The marqueteurs of Nice made use of olive for
+veined grey backgrounds, orange and lemon for pale yellow, carob for
+dark red, jujube tree for rose colour, holly for white, and charred fig
+for black; arbutus served for dark flesh, and sumach for light.</p>
+
+<p>It is advisable after the marquetry has been put together to reduce the
+surface to a level and do something in the way of polishing, though it
+is not necessary to carry the process as far as is often done by the
+cheap furniture manufacturers. If nothing but wood has been used, the
+surface should be reduced to a level with a toothing plane and scraped
+with a joiner's scraper, taking care to apply it obliquely to the joints
+as far as possible, so as to avoid digging down and so<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span> failing in the
+object aimed at. If done very well and carefully it sometimes only
+requires to be rubbed down with its own shavings, but it is more usually
+necessary to follow with a worn piece of glass-paper on a flat piece of
+cork, but the dust must not be allowed to collect into hard lumps upon
+it, as these lumps would scratch the surface. Holtzapffel says that when
+metal, ivory, pearl, shell, or tortoiseshell are mixed with the wood the
+surface must be carefully levelled with flat files, ending with a very
+smooth one, after which the scraper should be used if possible and
+followed by glass or emery paper very sparingly. When metal
+preponderates emery paper is best, and really good <i>sand</i> paper may also
+be used, but all paper should have very little "cut," should be applied
+dry, and allowed to become clogged, so as to act principally as a hard
+dry rubber or burnisher. If the polishing is at all in excess the wood
+will get rubbed or worn down below the metal. 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 powder, much
+like polishing marble, using oil instead of water. Wet polishing should
+not be used for inlaid works; the water may soften the glue. A
+superficial wetting is likely to warp the woods and make them curl up at
+the edges, and the grain of the<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span> wood is almost certain to rise. Oil is
+better than water, but light woods are almost certain to become stained
+by polishing powders and fluid. To avoid this modern marquetry is often
+covered with varnish applied with friction like French polish, or laid
+on in several coats with a brush and polished off with pumice and rotten
+stone, like the Vernis Martin, being first levelled with a file or
+scraper and smoothed with glass-paper.<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span></p>
+
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THE_LIMITATIONS_AND_CAPABILITIES_OF_THE_ART" id="THE_LIMITATIONS_AND_CAPABILITIES_OF_THE_ART"></a>THE LIMITATIONS AND CAPABILITIES OF THE ART</h2>
+
+
+<p>The process described, by which the early works in intarsia were
+produced, was slow and tedious; and, as may be supposed, though fame
+might be won by its exercise, the winning of fortune was a very
+different thing. Domenico di Nicolò, who made the stalls in the chapel
+of the Palazzo Pubblico, Siena, and was thence called "del Coro," or
+"dei Cori," a name which descended to his children in place of their
+proper name of Spinelli, is an example in point. The petitions to the
+priors already referred to, printed in Milanesi's Documenti per la
+Storia dell' Arte Senese, show how little a man of talent, who was
+constantly employed for many years and gained great reputation in his
+art, could do to provide for his old age; and many returns of both<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>
+painters, sculptors, and woodworkers, made for the purposes of taxation
+and printed in the same book, show that even in a great and flourishing
+town like Siena, which prided itself on its artistic reputation, it was
+often most difficult for the craftsmen, on whose work that reputation
+was based, to make a living.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> It is true that there were thirty-four
+workshops for wood carving and intarsia in<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span> Florence at one time (1478,
+as Fabroni says in his life of Lorenzo the Magnificent), from which one
+may conclude that work of a certain sort was plentiful and lucrative,
+and panels of intarsia were certainly sometimes exported, but it may be
+observed that all the most celebrated intarsiatori practised some other
+form of art also, and generally abandoned intarsia sooner or later; the
+exceptions being those who belonged to the Olivetan and Dominican
+orders, and therefore had no<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> anxiety about their living. Of these
+craftsmen the most celebrated were Fra Giovanni da Verona and Fra
+Damiano of Bergamo, whose works were so elaborate and so finely executed
+as to excite the suspicion that they were painted with the brush, though
+supposed to be executed with wood and the chisel. The anecdote of the
+Emperor Charles V.'s trial of Fra Damiano's tarsia panel in S. Domenico,
+Bologna, attests the wonderful quality of the work, and its success in
+attaining a doubtful aim, 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 brush. The designs from which the
+intarsia was executed were often furnished by painters of repute, and
+pictures or portions of pictures were copied, a proceeding which Fra
+Giovanni's discovery of stains and washes of different kinds made
+easier, until the proper limits of the art were far overpassed, and its
+decorative quality quite lost sight of in the attempt to rival a form of
+art the requirements of which were quite different. The beautiful
+arabesques, which the designers of the early Renaissance poured forth
+with exhaustless fertility, show the capabilities of the process for
+decorating flat surfaces, and the perspectives of cupboards and
+buildings were often most successful without passing the limits imposed
+by the material.<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span></p>
+
+<p>The question of the limits within which the craftsman's effort should be
+confined in any form of art craftsmanship is a thorny one, for the
+attempt to overstep those limits has always had attractions for the
+craftsman who is master of his craft, and who sighs for fresh fields to
+conquer, knowing better than the outsider what are the difficulties
+which he has overcome successfully in any piece of work from the side of
+craftsmanship, though often with disastrous results when the matter is
+regarded from the point of view of excellence in design and purity of
+taste. 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
+illegitimate; and if this be so, it is equally illegitimate to stain any
+of them; but it is undeniable that a great addition to the resources of
+the inlayer was made by the discoveries of Fra Giovanni, and it seems
+unreasonable to refuse to make any use of them because later
+intarsiatori abused these means of gaining effect. The earliest work, it
+is true, depends mainly upon silhouette for its beauty, but does not
+altogether disdain lines within the main outline, and the abandonment of
+these inner lines, whether made by graver or saw, so reduces the
+possibilities of choice of subject as to restrict the designer to a
+simplicity which is apt to become bald. A great deal may be done by
+choice of pieces of wood and arrangement of<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span> the direction of the
+lines of the grain; some of Fra Giovanni's perspectives show very
+suggestive skies made in this manner, and Fra Damiano was very
+successful in thus suggesting the texture of much veined and coloured
+marble and of rocks, but directly the human figure enters into the
+design these expedients are felt to be insufficient and inexpressive,
+and inner lines have perforce to be introduced. The opposite extreme is
+such work as the panels by the brothers Caniana in the Colleoni Chapel
+at Bergamo, in which the composition and drawing of the figures recall
+the designs of the Caracci, and the technique of the shading reminds one
+of a copper plate, while the tinting and gradation of the colours take
+away all impression of a work in wood, substituting that of a coloured
+engraving. Here it is quite evident that the desire to imitate pictorial
+qualities has led the craftsman far away from what should have been his
+aim, viz., to display the qualities of the material which he was using
+to the best advantage, consistently with the position and purpose of his
+work in it. Not that perfection of workmanship is to be decried, though
+it is only occasionally that one is able to make use of, or indeed
+produce it. But the æsthetic sense demands that consideration for
+material and purpose in every production which the joy and pride of the
+craftsman in overcoming difficulties sometimes pre<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>vents him from
+giving. Notwithstanding the beauty of much of the marquetry of the
+periods of Louis XIV. and Louis XV., one often feels that design has
+been put to one side in the endeavour to gain a realistic effect, and
+the same defect may be traced more clearly in the clumsier Dutch and
+German productions. Even in the Italian work of an earlier date every
+now and then the same fault peeps out, though the excellent taste of the
+nation at that period prevented the Italians from falling into such
+excesses, and one generally feels the wood even in their most elaborate
+perspectives. It may be asserted in a general way that the more colours
+are used the less likelihood is there of the effect being quite
+satisfactory, and that any light and shade introduced should be of the
+simplest kind. A slight darkening of parts of the wood to gain a certain
+suggestion of roundness is quite admissible, but the expedient should be
+used with discretion, lavish employment of it leading to heaviness of
+effect and a monotony of tone which are most unpleasing. If ivory or
+metals are introduced the greatest care is necessary to prevent them
+from giving a spotty and uneven effect to the design, for neither these
+two materials nor mother-of-pearl marry quite with the tone of the wood;
+and this inequality is likely to increase with age, as the wood becomes
+richer and mellower in colour. Such<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span> materials should be so used that
+the points where they occur may form a pattern in themselves
+independently of the rest of the design, so that the effect may be
+pleasing at first sight, before the general meaning of the less
+prominent details is realised. Any other way of using them courts
+failure, since the effect of the whole design is ruined by the
+uncalculated prominence and inequality of these materials here and
+there. The Dutch sometimes made use of mother-of-pearl, in pieces upon
+which engraving broke up the hard glitter of the material, mingled with
+brass wire and nails or studs driven into the surface of the wood. The
+two materials appear to be quite harmonious, and small articles
+decorated in this manner are effective and satisfactory. The Italian use
+of ivory for the decoration of musical instruments, chess and backgammon
+boards, and other small objects is almost always successful, the
+proportion between wood and ivory being well judged, and the forms of
+the ornament pleasing.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i228" id="i228"></a>
+<img src="images/i228.jpg" width="600" height="429" alt="
+
+Plate 53.&mdash;Panel from S. Maria in Organo, Verona." title="" />
+<span class="caption">
+
+Plate 53.&mdash;<i>Panel from S. Maria in Organo, Verona</i>.</span>
+</div>
+
+<p>The modern French marquetry, though exceedingly clever and beautiful in
+its use of various woods, errs by want of consideration of the surface
+to be decorated, the subjects flowing over the surfaces and overflowing
+the proper boundaries very often; and also sins in using many woods of
+very slightly different tones and textures, which will almost certainly<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span>
+lose their reciprocal relation in the course of time, and thereby their
+decorative effect. The ancient intarsias were made of a small number of
+different woods, and the effect was kept simple; pear, white poplar,
+oak, walnut, and holly almost exhaust the list; while even Roentgen's
+work, in which he used a larger number of woods, including some of those
+foreign trees which Dutch commerce made available for him, has suffered
+from their changing and fading. I would advise the marqueteur to
+disregard most of the many foreign woods now in the market, and content
+himself with simple and well-proved effects for the most part, trusting
+rather to beauty of design to give distinction to his work than to
+variety of colour and startling effects of contrast.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i234" id="i234"></a>
+<img src="images/i234.jpg" width="600" height="414" alt="Plate 54.&mdash;Panel from S. Maria in Organo, Verona.
+
+" title="" />
+<span class="caption">Plate 54.&mdash;<i>Panel from S. Maria in Organo, Verona.</i>
+
+</span>
+</div>
+
+<p>It is the fashion at the present day to exhort the designer to found his
+design upon the study of nature, which is right enough if accompanied by
+discretion and a feeling for style. In many mouths, however, the
+exhortation means that the copying of natural forms is advised, and
+often, if one may judge from the examples which one sees around one,
+without selection either of subject or form. Now it is obvious that it
+is sometimes the beauty of form in natural objects which attracts the
+eye, and sometimes the beauty or strangeness of colours, either in their
+combination or from the unusual tint. And while<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span> the former quality
+fits the object for translation into ornament, by means of
+simplification and repetition, 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 composition. Certain forms
+of flowers and leaves are also suitable for ornament expressed in a
+certain way, and when this harmony occurs the representation of nature
+is satisfactory as ornament; but the reverse is very often shown to be
+the case in work of a more modern type, in which the design is based on
+the dictum that the copying of natural forms will produce ornament. It
+is not the copying of natural forms, but the ordering of the spaces, the
+arranging and balancing of line and mass, and the adaptation of means to
+ends which produce satisfactory decoration, and in the best Italian
+intarsias founded upon freely-growing, natural plants this is well
+shown. The observation of natural growth shown in illustrations Nos. 53,
+54, and 55 is considerable, but the panels are not so beautiful because
+the bay, the pink, or the lily are so well rendered, but because the
+pattern of waving lines is so well fitted to the space it has to fill,
+and the shapes of the silhouettes are so expressive. In the later French
+marquetry we often find an equal or almost equal dexterity in expressing
+the natural form, and an almost greater cleverness in adapting<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span> the
+design to the material; 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 unsurpassable.</p>
+
+<p>Certain remarks made by Mr. Stephen Webb, in a paper read to the Society
+of Arts on April 28, 1899, as to the qualities which the designer or
+craftsman must possess for successfully producing intarsia, are worth
+reproducing here as the sayings of a man who himself has done much
+beautiful work of the kind. "Tone harmony, and in a limited degree, the
+sense of values, he must certainly cultivate. He must be able to draw a
+line or combination of lines which <i>may</i> be ingenious if you like, but
+<i>must</i> be delicate and graceful, vigorous withal, and in proper relation
+to any masses which he may introduce into his design. He must thoroughly
+understand the value of contrast in line and surface form, but these
+matters, though a stumbling block to the amateur, are the opportunities
+of the competent designer and craftsman. The most charming possibilities
+of broken colour lie ready to his hand, to be merely selected by him and
+introduced into his design. If the wood be properly selected shading is
+rarely necessary, and if it is done at all should be done by an artist.
+In the hands of an artist very beautiful effects may be obtained, the
+same kind of wood being made to yield quite a<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span> number of varying shades
+of colour of a low but rich tone. Over-staining and the abuse of shading
+are destructive. Ivory has always been a favourite material with workers
+in tarsia, and in the hands of an experienced designer very charming
+things may be done with it. There is, however, no material suitable for
+tarsia which requires so much care and experience in its use. It is
+ineffective in light-coloured woods, and in the darker ordinary woods,
+such as ebony, stained mahogany, or rosewood, under polish, the contrast
+of colour is so great that the ivory must be used very sparingly. The
+ivory is sometimes stained in order to bring its colour more into
+harmony with a dark wood-ground, but it is never quite satisfactory. The
+use of inlay makes the direction from which the light enters the room a
+matter of no moment, so long as the light reaches the object decorated."</p>
+
+<p>The effect of intarsia has been sought by various imitative processes,
+some of which are indistinguishable from it except by close inspection.
+In one of these wax, either in its natural state or tinted with an
+addition of powder colour, was used; in another glue mixed with whiting
+or plaster, also sometimes tinged, or red lead. On April 7, 1902, a
+paper was read at the Royal Institute of British Architects on wax
+stoppings of this kind by Mr. Heywood Sumner,<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span> in the course of which he
+said that the process he himself had used was as follows:&mdash;"First trace
+the design on the panel of wood to be incised; cut it, either with a V
+tool or knife blade fixed in a tool-handle; clear out the larger spaces
+with a small gouge, leaving tool-mark roughness in the bottoms for key;
+when cut, stop the suction of the wood by several coats of white, hard
+polish. For coloured stoppings, resin (as white as can be got), beeswax,
+and powdered distemper are the three things needful. The melted wax may
+be run into the incisions by means of a small funnel with handle and gas
+jet affixed; it is attachable to the nearest gas burner by india-rubber
+tubing, so that a regulated heat can be applied to the funnel. When thus
+attached and heated, pieces of wax of the required inlay colour are
+dropped into the funnel, and soon there will be a run of melted wax
+dropping from the end of the funnel-spout, which is easily guided by
+means of the wooden handle, and thus the entire panel may be inlaid with
+the melted wax. Superfluous surface wax is cleared off with a broad
+chisel, so as to make the whole surface flush. The suction of the wood
+is stopped by means of white, hard polish, otherwise the hot wax will
+enter the grain of the wood and stain it. Incised panels may be filled
+successfully with japanner's gold size and powdered distemper<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span> colour,
+using a palette knife to distribute the slab mixture. A close grain is
+the one thing needful in the wood. As to design, that which is best
+suited may be compared to a broad sort of engraving." Red lead was also
+used sometimes, 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 whiting, glue, and linseed oil.</p>
+
+<div class="figcenter" style="width: 593px;">
+<a name="i240" id="i240"></a>
+<img src="images/i240.jpg" width="593" height="600" alt="Plate 55.&mdash;Panel from S. Pietro in Casinense, Perugia.
+
+" title="" />
+<span class="caption">Plate 55.&mdash;<i>Panel from S. Pietro in Casinense, Perugia.</i>
+
+</span>
+</div>
+
+<p>At Hardwick some of the door panels are painted with arabesques in
+Indian ink, and varnished (a process also employed on several pieces of
+furniture in the South Kensington collection), and even in certain
+cases, no doubt under the direction of Bess of Hardwick, engravings have
+been stuck on the panels, tinted, surrounded with similar painting, and
+then similarly varnished over. The sacristy cupboards at S. Maria delle
+Grazie, Milan, called "Lo Scaffale," show paintings of no less an artist
+than Luini, the ornamental part of which is intended to simulate tarsia.</p>
+
+<p>For small objects, such as trinket boxes, a marquetry of straw tinted to
+different colours was sometimes employed, which, though not very
+lasting, in the hands of a worker who possessed taste in colour
+sometimes produced pleasing results, a form of work practised both in
+Holland and England, and lasting<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span> well into the 19th century. The writer
+possesses one or two objects decorated by this process which were bought
+from the French prisoners taken in the Peninsular War, who provided
+themselves with little luxuries by making and selling them. In all these
+imitative processes the question of design becomes of the very highest
+importance, since the material has neither beauty nor intrinsic value in
+itself; and here, even more than in many other forms of manufacture, the
+presence and influence of the intelligent designer is most desirable,
+and should be paramount.<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span></p>
+
+
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="WORKSHOP_RECEIPTS" id="WORKSHOP_RECEIPTS"></a>WORKSHOP RECEIPTS</h2>
+
+
+<p>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
+Verona, to whom Vasari ascribes the invention, but is most distinctive
+of the work of the later Dutch and French marqueteurs. Receipts for the
+purpose were handed down from master to pupil, and while sometimes held
+as traditional secrets to be jealously guarded, were sometimes committed
+to writing; and several of these manuscripts have come down to us. The
+following have been collected from French, German, and Italian sources,
+and though not all of equal value, show the way in which the ancient
+workers produced the effects, most of which we admire in the present
+day:&mdash;</p>
+
+<p>To stain wood yellow (No. 1).&mdash;Put saffron in water, and when it is well
+steeped place the jar over hot coals. Then spread the stuff over boxwood
+with a brush. To make it brilliant let it dry, and put it with oil on
+the wood to be coloured. (No. 2.)&mdash;Take the plant turmeric (curcuma
+longa), grind it<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span> to powder; put an ounce into a pint of spirit (12
+oz.), and leave it for a day. If the tone is required reddish, add some
+dragon's blood. (No. 3.)&mdash;A cheaper but duller colour is to be obtained
+from steeped French berries, then dried, with weak alum water brushed
+over it. Thin pieces are dipped in it. The solution of French berries
+may be made thus&mdash;Take 1 lb. of French berries, and a gallon of water
+with &frac12; oz. of alum; boil for an hour in a pewter vessel, and filter
+through paper. Evaporate till the colour appears strong enough. Another
+receipt says 4 oz. of French berries put to steep in a pint of water is
+to have added to it 1 oz. of hazel nuts and as much alum. Wood may also
+be stained yellow with <i>aqua fortis</i>, used warm, and then immediately
+placed near the fire. The <i>aqua fortis</i> must not be too strong, or the
+wood will go brown or black. This is apparently the same thing as Vasari
+calls "oil of sulphur," used in his time for colouring wood. A Nuremberg
+receipt book says that the plant Tournesol (croton tinctorium) may be
+steeped in water, and this solution mixed with yellow colour and glue
+may be spread over the wood warm, and finally polished with a burnisher.
+Holtzapffel gives the following:&mdash;A bright yellow stain may be obtained
+from 2 oz. of turmeric allowed to simmer for some hours in 1<span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span> quart of
+water in an earthen vessel, water being added from time to time to
+replace evaporation. Sparingly applied cold, it stains white woods the
+colour of satin wood. A canary yellow results from immersing the wood in
+the liquid, which can be rendered permanent without polishing by a
+strong solution of common salt. Washing the stained surface with
+nitro-muriate of tin for about a minute changes the colour to orange.
+The work should then be well rinsed in plain water to check the further
+action of the acid. Treating the canary yellow with 2 oz. of sulphate of
+iron dissolved in 3 quarts of water, after it has been allowed to dry,
+dyes a delicate olive brown. A tincture of &frac14; oz. of turmeric to 3 oz.
+of spirits of wine, allowed to stand for some days and well shaken
+daily, gives a rather higher colour.</p>
+
+<p>Red may be produced by (No. 1) taking a pound of Brazil wood, with some
+rain water, a handful of unslaked lime, and two handsful of ashes; soak
+all for half an hour in water, "cook" it, and pour it out into another
+pot, in which is a measure of gum arabic. The wood to be coloured must
+be cooked in alum water, and then brushed over with the warm colour; the
+result is a splendid scarlet red. If the wood was first grounded with
+saffron water and then had the Brazil decoction applied, the result was
+orange; a spoonful of lye made a browner colour,<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span> with a little alum. If
+whiter wood was taken the colour was correspondingly brighter. (No.
+2.)&mdash;Orcanda or Akanna root powdered, with nut oil, gives a fine red.
+(No. 3.)&mdash;Put lime in rain water, strain it, scrape Brazil twigs in it,
+then proceed as in No. 1. You can also soak the Brazil in tartar. The
+same colour with Tournesol steeped in water gives a fine purple when
+spread on the wood. Lebrun gives the same receipt, adding that the
+beauty of the colour is increased by rubbing with oil, and that pear
+wood is the best to use. Another receipt says:&mdash;Make a strong infusion
+of Brazil wood in stale urine or water impregnated with pearl ash, 1 oz.
+to a gallon; to a gallon of either of which put 1 lb. of Brazil wood.
+Let it stand for two or three days, often stirring it. Strain the
+infusion, and brush over the wood boiling hot; then, while still wet,
+brush over with alum water, 2 oz. to a quart of water. A less bright red
+may be made with 1 oz. of dragon's blood in a pint of spirits of wine,
+brushed over the wood.</p>
+
+<p>Holtzapffel gives for red stains the following:&mdash;Dragon's blood, an East
+Indian resin, gives a crimson with a purple tinge. Put a small quantity
+in an open vessel, and add sufficient linseed oil to rather more than
+cover it; it will be fit for use in a few days, when the oil may be
+poured off and more added. This dissolves more readily in oil than
+spirit. The<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span> colouring matter of Alkanet root, from which another red
+may be obtained, is contained in the rind, so that small pieces are the
+most useful. A deep red of a crimson character may be made with &frac12; oz.
+of raspings of Brazil wood macerated in 3 oz. of alcohol. A wash of
+logwood (see below) given with the brush, and when dry followed with a
+wash of Brazil, produces a deep, full colour, and when the two are
+applied in the reverse order a more brilliant colour of the same kind. A
+decoction of Brazil (4 oz.) allowed to simmer for some hours in 1 quart
+of water yields a rather brown-red stain. Treating light woods so
+stained with nitro-muriate of tin gives a brilliant crimson of a purple
+tinge.</p>
+
+<p>A brown red is made from a decoction of 2 oz. of logwood dust in 1 quart
+of water, or &frac12; oz. of logwood in 3 oz. of alcohol. Nitro-muriate of
+tin used on it gives a deep, dusky crimson purple. The same treated with
+alum solution yields a medium purple, darker and bluer than that from
+Brazil.</p>
+
+<p>White wood stained with Brazil and then treated with alum (4 oz.
+dissolved in a quart of water) acquires a light pink tinge. Another
+receipt for pink or rose red says:&mdash;1 gallon of infusion of Brazil wood,
+with 2 oz. additional of pearl ash; but it is necessary to brush the
+wood often with alum water. By increasing the proportion of pearl ash
+the red<span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span> may be made still paler, in which case make the alum water
+stronger.</p>
+
+<p>For purple one brushes the wood over several times with a strong
+decoction of logwood and Brazil, 1 lb. of logwood and &frac14; lb. of Brazil
+to a gallon of water boiled for an hour or more. When the wood is dark
+enough let it dry, and then lightly pass over with a solution of 1
+drachm of pearl ash to a quart of water. Use this carefully, as the
+colour changes quickly from brown red to dark purple.</p>
+
+<p>Jet black may be made by using the logwood stain, followed by a solution
+of iron, 1 oz. sulphate of iron to 1 quart of water, and a less intense
+black by the same mixture about three times diluted. The Italian receipt
+books are well provided with receipts for producing black, which
+suggests that most of the ebony used in inlay was factitious. A 15th
+century MS. says:&mdash;"Take boxwood, and lay in oil with sulphur for a
+night, then let it stew for an hour, and it will become as black as
+coal." Evidently this means what Vasari calls oil of sulphur, <i>aqua
+fortis</i>. Others are founded upon the application of a solution of
+logwood, followed by one of iron. "Stew logwood till the liquid is
+reduced to one-third of its bulk, mix with stone alum, and leave for
+three days. Mix iron filings with very strong wine, and let it stand for
+twenty-four hours. On the quantity of iron filings the depth of the tone
+depends. Lastly, ox-<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span>gall is dissolved in this mixture, and the whole is
+three times worked over." An English receipt says:&mdash;"Brush the wood over
+several times with a hot decoction of logwood; take &frac14; lb. of powdered
+galls, and set in the sun or other gentle heat in 2 quarts of water for
+three or four days; brush the wood over with it three or four times,
+and, while wet, with a solution of green vitriol in water, 2 oz. to a
+quart; or use a solution of copper in <i>aqua fortis</i>, then the solution
+of logwood, and repeat until black enough." A German receipt
+says:&mdash;"Take half a measure of iron filings and a pennyweight of sal
+ammoniac, and put into a pot of vinegar; let it stand for twelve days at
+least. In another pot put blue Brazil and 3 measures of bruised gall
+apples in strong lime lye, and let it stand for the same time. The wood
+must be first washed over with lye, and then with hot vinegar, and
+finally polished with wax." "Pear wood may be grounded with Brazil
+steeped in alum water, then coloured with the black which the
+leather-stainers use, twenty times." Another says:&mdash;"Take a pennyweight
+of fine silver, with a pound of <i>aqua fortis</i>; add a measure of water,
+and soak the wood with it." The best wood for imitating ebony is holly;
+also, box cooked in olive oil is good for it, or well-planed pear soaked
+with <i>aqua fortis</i>, and then coloured with ink several times; or stew
+the wood in lamp-black, and soak with oil.<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span></p>
+
+<p>Blue may be obtained by the use of a solution of copper brushed hot over
+the wood several times; then brush hot a solution of pearl ash, 2 oz. to
+a pint of water, until the wood becomes perfectly blue. The copper
+solution is prepared in this way:&mdash;"Take of the refiner's solution of
+copper made in the precipitation of silver from the spirit of nitre; or
+dissolve copper in spirit of nitre, or <i>aqua fortis</i>, by throwing in
+filings or putting in strips of copper gradually till all effervescence
+ceases. Add to it starch finely powdered, one-fifth or one-sixth of the
+weight of copper dissolved. Make a solution of pearl ash and filter it;
+put gradually to the solution of copper as much as will precipitate the
+whole of the copper. The fluid becomes colourless. Wash the powder, and
+when so well drained of water by means of a filter as to be of the
+proper consistence, grind well together, and lay out to dry. This makes
+dark verditer." Indigo may also be used, prepared with soap lees as when
+used by dyers; brush it over the wood boiling hot. With a solution of
+cream of tartar, 3 oz. to a quart of water, and boiled, brush over the
+wood copiously before the moisture is quite dried out. A German receipt
+says:&mdash;Put 4 oz. of Tournesol in three parts of lime water to cook for
+an hour and spread it on the wood. "Wood coloured green with verdigris
+can be made blue by using pearl ash." This is the process described
+first.<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span></p>
+
+<p>For green verdigris dissolved in vinegar may be used; or crystals of
+verdigris in water, brushed hot over the wood. A 15th century MS. gives
+a traditional mode thus:&mdash;"Wood, bone, small leaves, and knife handles
+can be made green by strong, red vinegar and brass filings mixed
+together with a little Roman vitriol and stone alum in a glass vessel.
+When it has stood for a day the object is dipped in it, and steeps
+itself in the liquid. The colour will be very permanent." A German
+receipt says:&mdash;"Take walnut shells from the green fruit, and put in very
+strong lye with some copper vitriol and alum to stew for two or three
+hours. The wood must be put in strong wine vinegar for several days,
+then it is put in the above-mentioned mixture, to which ground verdigris
+mixed with vinegar is added. Or you can mix this ground verdigris with
+vinegar with some winestone, let it clarify, and spread the wood with
+the filtered stuff. The addition of saffron makes a grass green."</p>
+
+<p>A silver grey may be given to white wood by immersion in a decoction of
+4 oz. of sumach in 1 quart of water, and afterwards in a very dilute
+solution of sulphate of iron. A dilute solution of bichromate of potash
+is frequently employed to darken oak, mahogany, and coloured woods. This
+should be used carefully, since its effects are not altogether stopped
+by thoroughly washing the wood with water when<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span> dark enough. To bleach
+woods, immerse them in a strong, hot solution of oxalic acid.</p>
+
+<p>Since ivory is often used in inlaying and is sometimes stained, a few
+receipts for its staining will not be out of place. These come from
+Holtzapffel's book:&mdash;A pale yellow will be given by immersing the ivory
+for one minute in the tepid stain given by 60 grains of saffron boiled
+for some hours in half-a-pint of water. Immersion for from five to
+fifteen minutes produces a canary yellow brighter or deeper according to
+the time given, but all somewhat fugitive. A stain from 4 oz. of fustic
+dust and chips boiled in 1 quart of water produces similar but somewhat
+darker and more permanent results. Ivory subjected to either of these
+stains for fifteen minutes, and then placed for one to three minutes in
+Brazil water stain acquires an orange colour. If then treated with
+nitro-muriate of tin, an orange of a brighter, redder tone is produced;
+transfer to a clean water bath directly the required colour appears, as
+the nitro-muriate of tin acts very rapidly upon the ivory.</p>
+
+<p>Fine scarlet cloth is used for dyeing various tones of red. A piece
+about a foot square may be cut into shreds and boiled, with the addition
+of 10 grains of pearl ash, in half-a-pint of water from 5 to 6 hours.
+Immersion in the liquid for from three to ten minutes gives tones of
+pink; for one hour and subsequently<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span> for half-an-hour in an alum mordant
+gives a pink of a bright crimson character. When the ivory is from two
+to three hours in the tepid stain a crimson red results, and the
+addition of 1 part of sulphuric acid to 60 of stain gives billiard ball
+colour. Pinks of a different and duller full tone may be obtained by
+immersion for three minutes in Brazil water stain, followed by treatment
+with nitro-muriate of tin; when the Brazil is used for six minutes a
+deeper colour results. Fifteen minutes in Brazil, then treatment with
+nitro-muriate of tin and immediate washing gives a duller and deeper red
+than the first red-cloth stain. The depth of colour may be increased by
+longer immersion <i>or</i> a higher temperature. A dull scarlet or brick red
+is made by the Brazil bath, followed by thirty to sixty minutes in an
+alum mordant.</p>
+
+<p>The cloth stain for one hour, followed by pearl ash for half-an-hour,
+gives a bright purple; if iron is used instead of pearl ash a sombre
+purple results; if you add alkalies to the stain instead of sulphuric
+acid you obtain purple reds. Fifteen minutes in Brazil, and then three
+or four in pearl ash gives full red purples deepening to maroon. Five
+minutes in logwood water stain gives a good warm brown; half-an-hour, a
+chocolate brown. Ten minutes in logwood stain, washing, and one or two
+seconds in pearl ash, and instantly washing again gives a<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span> deep red
+brown, and if one minute in alum instead of pearl ash a deep purple
+brown.</p>
+
+<p>Blue stains may be made from sulphate of indigo, &frac12; drachm to 1 pint of
+previously boiled water, with 10 grains of carbonate of potash added.
+One to two minutes' immersion and immediate washing yields a delicate
+turquoise, five minutes a bright full blue; and ten to fifteen a
+considerable depth of colour. Blues are rather fugitive. Staining with
+saffron or fustic for five minutes, and then with indigo for the same
+time, produces a clear pea green; with indigo for ten minutes, a deep
+grass green. The greens from fustic are more permanent and yellower. The
+sequence of the stains also affects the green, the last used having most
+effect. Blue stain first for fifteen minutes, followed by fustic for
+thirty, stains ivory the green used for table knife handles&mdash;a colour
+which may also be obtained by immersion for some weeks in a clear
+solution of verdigris in dilute vinegar and water.</p>
+
+<p>Before applying these stains the ivory must be prepared by first
+polishing with whiting and water and washing quite clean. Next immerse
+it for three to five minutes in acid cold water (1 part muriatic acid to
+40 or 50 of water, or the same proportion of nitric). This extracts the
+gelatine from the surface of the ivory. Extreme cleanliness and absence
+of grease or soiling is most important; the ivory is not<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span> to be touched
+by the fingers, but removed from one vessel to another by wooden tongs,
+one pair to each colour. After treating with the acid, place the ivory
+in clean, cold, boiled water for some minutes. Water stains are used,
+but strained or filtered and warm or only tepid, for fear of injuring
+the surface of the ivory. Increasing the temperature also sometimes
+deepens or changes the colour. The best temperature is 100 deg. Fahr.
+When sufficiently stained the ivory is well rinsed in water, and if
+there are two colours on top of each other always well rinsed before
+going into the second bath. After thoroughly drying, repolish by
+friction, first with a few drops of oil on a soft clean rag; continue
+with a dry clean rag till the oil disappears.</p>
+
+<p>An old Italian receipt for polishing wood blackened to imitate ebony
+runs thus:&mdash;"Is the wood to be polished with burnt pumice stone? Rub the
+work carefully with canvas and this powder, then wash the piece with
+Dutch lime water so that it may be more beautifully polished. Then it is
+to be cleaned with another cloth. Then the rind of a pomegranate must be
+steeped, and the wood smeared over with it and set to dry, but in the
+shade."</p>
+
+<p><span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span><br /><span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+<ul class="none"><li><span style="margin-left: 1em;">A</span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">Angelo di Lazzero, of Arezzo, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Anselmo de' Fornari, <a href='#Page_77'><b>77</b></a>-<a href='#Page_78'><b>78</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Antique inlaid furniture, <a href='#Page_2'><b>2</b></a>, <a href='#Page_3'><b>3</b></a>, <a href='#Page_6'><b>6</b></a> (note)</span></li>
+
+<li><span style="margin-left: 1em;">Antonio da Melaria, <a href='#Page_35'><b>35</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Antonio di Minella, of Siena, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Antonio Manetti, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Antonio Paolo Martini, <a href='#Page_13'><b>13</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Assisi, <a href='#Page_10'><b>10</b></a>, <a href='#Page_46'><b>46</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Stalls of the Upper church of S. Francesco, <a href='#Page_46'><b>46</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Arezzo, S. Agostino and S. Michele, <a href='#Page_41'><b>41</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Augsburg work, <a href='#Page_85'><b>85</b></a>, <a href='#Page_90'><b>90</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">B</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Baccio Albini, <a href='#Page_40'><b>40</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Baccio d'Agnolo, <a href='#Page_42'><b>42</b></a>-<a href='#Page_43'><b>43</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Barck, Klaus, <a href='#Page_88'><b>88</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Barili, Antonio, of Siena, <a href='#Page_37'><b>37</b></a>, <a href='#Page_38'><b>38</b></a>, <a href='#Page_39'><b>39</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; Panel in K.K. Museum at Vienna, <a href='#Page_37'><b>37</b></a>, <a href='#Page_38'><b>38</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; description of Chapel of S. Giovanni, Siena, <a href='#Page_39'><b>39</b></a>, <a href='#Page_40'><b>40</b></a>, <a href='#Page_41'><b>41</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Giovanni, <a href='#Page_39'><b>39</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Bartolommeo Poli, surnamed dalla Polla, <a href='#Page_35'><b>35</b></a>, <a href='#Page_36'><b>36</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Beck, Sebald, <a href='#Page_84'><b>84</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Belli, Giovanni and Alessandro, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Bencivieni da Mercatello da Massa, Antonio di, <a href='#Page_46'><b>46</b></a>-<a href='#Page_51'><b>51</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Benedetto da Majano, Vasari's story of the reason of his giving up working in tarsia, <a href='#Page_20'><b>20</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Bergamo, Choir of S. Maria Maggiore, <a href='#Page_79'><b>79</b></a>, <a href='#Page_80'><b>80</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Tassi's account of, <a href='#Page_80'><b>80</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Stalls in church of S. Stefano, <a href='#Page_76'><b>76</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Bernardo di Tommaso di Ghigo, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Bernardino da Lendinara, <a href='#Page_32'><b>32</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Brescia, Lectern from Rodengo in</span></li>
+
+<li><span style="margin-left: 1em;">Galleria Tosi, <a href='#Page_64'><b>64</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Bologna, S. Domenico tarsie, by Fra Damiano, <a href='#Page_70'><b>70</b></a>, <a href='#Page_73'><b>73</b></a>, <a href='#Page_75'><b>75</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Sabba Castiglione's account, <a href='#Page_74'><b>74</b></a>, <a href='#Page_75'><b>75</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Stalls in S. Giovanni in Monte, <a href='#Page_66'><b>66</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; S. Michele in Bosco, stalls now in S. Petronio, <a href='#Page_65'><b>65</b></a>, <a href='#Page_66'><b>66</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; S. Petronio, <a href='#Page_36'><b>36</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Boulle, André Charles, <a href='#Page_96'><b>96</b></a>, <a href='#Page_97'><b>97</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Works by him, <a href='#Page_97'><b>97</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_99'><b>99</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Boulle, Pierre, <a href='#Page_75'><b>75</b></a>-<a href='#Page_96'><b>96</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">C</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Canozio, of Lendinara, Lorenzo Genesino, <a href='#Page_29'><b>29</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Capo di Ferro of Lodi, Zinino and Pietro, <a href='#Page_80'><b>80</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Capo di Ferro of Lovere, Giovanni Francesco, <a href='#Page_73'><b>73</b></a>, <a href='#Page_79'><b>79</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Capra, Gabriel and Domenico, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Chapel of Palace, Siena, <a href='#Page_13'><b>13</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cecca, Il (Francesco d'Agnolo), <a href='#Page_23'><b>23</b></a>, <a href='#Page_24'><b>24</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Certosa, Pavia, <a href='#Page_35'><b>35</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cervelliera, Giovanni Battista, <a href='#Page_22'><b>22</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Character of German inlays of late <a href='#Page_16'><b>16</b></a>th Century, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Coburg, Hornzimmer, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cornier, Conrad, <a href='#Page_88'><b>88</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cost of choir of S. Domenico, Bologna, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cost of the stalls in Ferrara Cathedral, <a href='#Page_34'><b>34</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cost of stalls, Cathedral Orvieto, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cremona, church of S. Sigismond, outside, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cypress chest of 1350 in Victoria and Albert Museum, <a href='#Page_104'><b>104</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">D</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Daniello di Neri Martini, <a href='#Page_13'><b>13</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Danzig Sommerrathstube, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">David of Pistoia, <a href='#Page_41'><b>41</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Del Tasso, arms of the family, <a href='#Page_24'><b>24</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Chimenti di Domenico, <a href='#Page_26'><b>26</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Chimenti di Francesco, <a href='#Page_25'><b>25</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Domenico, <a href='#Page_19'><b>19</b></a>, <a href='#Page_25'><b>25</b></a>, <a href='#Page_26'><b>26</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Francesco, <a href='#Page_27'><b>27</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Francesco di Domenico, <a href='#Page_24'><b>24</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Giambattista called Maestro Tasso, <a href='#Page_27'><b>27</b></a>, <a href='#Page_28'><b>28</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Lionardo, <a href='#Page_25'><b>25</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Marco, <a href='#Page_26'><b>26</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Zanobi, <a href='#Page_25'><b>25</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Della Rocca, Andrea and Elia, <a href='#Page_77'><b>77</b></a>, <a href='#Page_78'><b>78</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Designs for intarsia made by Painters, <a href='#Page_121'><b>121</b></a></span></li>
+
+<li><span style="margin-left: 1em;">De' Marchi, Pantaleone, stalls in Museum at Berlin, <a href='#Page_36'><b>36</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Domenico da Gajuolo, <a href='#Page_42'><b>42</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Domenico di Mariotto, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Domenico di Nicolò of Siena, <a href='#Page_10'><b>10</b></a>, <a href='#Page_11'><b>11</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Domenico Tassi of Florence, <a href='#Page_17'><b>17</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Dreyer, Hans and Jürgen, of Schleswig, <a href='#Page_87'><b>87</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Dutch work, characteristics of, <a href='#Page_92'><b>92</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">E</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Eck, Adam, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Elfen, brothers, of S. Michael, Hildesheim, <a href='#Page_84'><b>84</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Escurial, rooms in, decorated with inlays, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Evers, Antonia, master of joiners' guild at Lübeck, <a href='#Page_86'><b>86</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">F</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Ferrara, stalls in Cathedral, <a href='#Page_33'><b>33</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fischer, N., and Johann Georg of Munich, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Florence, <a href='#Page_16'><b>16</b></a>, <a href='#Page_18'><b>18</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; stalls at S. Maria Novella, <a href='#Page_42'><b>42</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; stalls at S. Miniato, <a href='#Page_42'><b>42</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; tarsia in sacristy of the Cathedral, <a href='#Page_18'><b>18</b></a>, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Flotner, Peter, <a href='#Page_89'><b>89</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Folding seat of <a href='#Page_14'><b>14</b></a>th century, <a href='#Page_84'><b>84</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Antonio Asinelis, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Antonio da Lunigiano, Dominican, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Antonio da Viterbo, Dominican, <a href='#Page_76'><b>76</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Bernardino, Dominican, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Damiano of Bergamo, <a href='#Page_69'><b>69</b></a>-<a href='#Page_76'><b>76</b></a>, <a href='#Page_79'><b>79</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Damiano of Bergamo, the Emperor Charles V., and the Duke of Ferrara, <a href='#Page_70'><b>70</b></a>, <a href='#Page_71'><b>71</b></a>, <a href='#Page_72'><b>72</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Giovanni da Verona, <a href='#Page_17'><b>17</b></a>, <a href='#Page_57'><b>57</b></a>, <a href='#Page_63'><b>63</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Raffaello da Brescia, <a href='#Page_63'><b>63</b></a>, <a href='#Page_64'><b>64</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Sebastian da Rovigno, <a href='#Page_56'><b>56</b></a>, <a href='#Page_57'><b>57</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Vincenzo da Verona, called dalla Vacche, <a href='#Page_67'><b>67</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Francesco di Lorenzo, Zambelli, <a href='#Page_73'><b>73</b></a>, <a href='#Page_77'><b>77</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Francesco Manciatto, <a href='#Page_42'><b>42</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Francione, Il (Giovanni di Matteo di Firenze), <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">French Cabinets of <a href='#Page_17'><b>17</b></a>th Century, <a href='#Page_95'><b>95</b></a>, <a href='#Page_96'><b>96</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">G</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Genoa, stalls in Cathedral, <a href='#Page_77'><b>77</b></a>, <a href='#Page_78'><b>78</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Geri of Arezzo, <a href='#Page_41'><b>41</b></a></span></li>
+
+<li><span style="margin-left: 1em;">German intarsiatori of <a href='#Page_16'><b>16</b></a>th and <a href='#Page_17'><b>17</b></a>th Century, <a href='#Page_84'><b>84</b></a>, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Gilling Castle, near Wakefield, inlays, <a href='#Page_93'><b>93</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni di Filippo da Fiesole, <a href='#Page_45'><b>45</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni de Grassi (Giovanni de Melano), <a href='#Page_14'><b>14</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni di Lodovico di Magno of Siena, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni Michele de Pantaleone, <a href='#Page_77'><b>77</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni del Mulinella of Florence, <a href='#Page_17'><b>17</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni Piccardo, <a href='#Page_77'><b>77</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni di Ponteranica and his four sons, <a href='#Page_80'><b>80</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni di Ser Giovanni detto Scheggione, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni Talini of Siena, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Girolamo della Cecca, <a href='#Page_40'><b>40</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giuliano di Salvatore, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giusto di Francesco of Incisa, <a href='#Page_45'><b>45</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Glastonbury Hall, Staircase, <a href='#Page_94'><b>94</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Gole, Pierre, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Gottlieb, Conrad, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Gottorp, Castle of, Prince's prayer chamber in, <a href='#Page_87'><b>87</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Gubbio, tarsia in study of Duke Guidobaldo, <a href='#Page_52'><b>52</b></a>, <a href='#Page_53'><b>53</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Guido da Seravallino, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Guido di Torino, <a href='#Page_13'><b>13</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Guild of Painters, Siena, <a href='#Page_16'><b>16</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">H</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Hans Schieferstein's Cabinet at Dresden, <a href='#Page_90'><b>90</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Hardwick Hall, furniture at, <a href='#Page_93'><b>93</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Herle, Simon, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Heywood Sumner, paper at Royal Institute of British Architects, <a href='#Page_129'><b>129</b></a>, <a href='#Page_130'><b>130</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">I</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Imitative processes, straw, wax, painting in Indian ink, &amp;c., <a href='#Page_129'><b>129</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_131'><b>131</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Inlaid work, Greek and Latin names for, <a href='#Page_3'><b>3</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; woods used for, by the ancients, <a href='#Page_3'><b>3</b></a>, <a href='#Page_5'><b>5</b></a>, <a href='#Page_6'><b>6</b></a> (note)</span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; wood, cost of, in ancient times, <a href='#Page_4'><b>4</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Inlaying, antiquity of, <a href='#Page_2'><b>2</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Innsbruck, Hofkirche, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Intarsia, derivation of, <a href='#Page_1'><b>1</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Invention of stains for wood, by Fra Giovanni da Verona, <a href='#Page_18'><b>18</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Ivory or metals in intarsia, <a href='#Page_124'><b>124</b></a>, <a href='#Page_125'><b>125</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">J</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Jacopo da Villa, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Joiners' tools, priced list of Perugian of 1496, <a href='#Page_47'><b>47</b></a>, <a href='#Page_48'><b>48</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">K</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Kellerthaler, Hans, of Dresden, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Kiening, Isaac, of Frissen, <a href='#Page_91'><b>91</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Kraus, Hans, marqueteur du roi, <a href='#Page_94'><b>94</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">L</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Lavoro alla Certosa, or tarsia alla Certosina, <a href='#Page_9'><b>9</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Leipzig Museum, Cabinet in, <a href='#Page_91'><b>91</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Lendinara, Cristophano d' Andrea da, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Limitations of the art of intarsia, <a href='#Page_122'><b>122</b></a>, <a href='#Page_123'><b>123</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Loblein, Sixtus, of Landshut, <a href='#Page_91'><b>91</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Lodi, Stalls in S. Bernardino, by Fra Giovanni da Verona, <a href='#Page_63'><b>63</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Louvre, <a href='#Page_4'><b>4</b></a> panels from S. Benedetto Novella, Padua, of Fra Vincenzo dalla Vacche, <a href='#Page_68'><b>68</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Lübeck, Kriegs Stube, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Lucca, panels in sacristy of Cathedral, by Christoforo da Lendinara, <a href='#Page_32'><b>32</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Stalls from Cathedral in Pinacotheca, <a href='#Page_32'><b>32</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Luchet, M., Excursus on furniture in France, 1867, <a href='#Page_113'><b>113</b></a>, <a href='#Page_114'><b>114</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Lüneburg, Rathsaal, <a href='#Page_86'><b>86</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">M</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Macé, Jean, of Blois, <a href='#Page_92'><b>92</b></a>-<a href='#Page_95'><b>95</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Majano, Benedetto da, <a href='#Page_19'><b>19</b></a>, <a href='#Page_20'><b>20</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Majano, Giuliano di Nardo da, <a href='#Page_18'><b>18</b></a>, <a href='#Page_22'><b>22</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Leonardo d' Antonio da, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Manuello, of Siena, <a href='#Page_9'><b>9</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Marchi, of Crema, Family of, <a href='#Page_6'><b>6</b></a>, <a href='#Page_36'><b>36</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Mariotto di Mariotto, of Pesaro, <a href='#Page_45'><b>45</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Marquetry, Derivation of, <a href='#Page_1'><b>1</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Marti, Leonardo, <a href='#Page_32'><b>32</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Masi, Antonio di Antonio, The Fleming, <a href='#Page_46'><b>46</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Massari, Andrea, of Siena, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Mastei, Antonio, of Gubbio, <a href='#Page_53'><b>53</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Mastro Crespolto, of Perugia, <a href='#Page_26'><b>26</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Mastro Vanni di Tura dell' Ammanato, Sienese, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Matteo di Bernardino, of Florence, <a href='#Page_17'><b>17</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Meo di Nuti, of Siena, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Michele Spagnuolo, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Milan, Cathedral, <a href='#Page_15'><b>15</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Minelli, Giovanni and Cristoforo de, <a href='#Page_45'><b>45</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Miniatures at Villanova, by Fra Giovanni da Verona, <a href='#Page_59'><b>59</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Minnesinger's harp, of <a href='#Page_14'><b>14</b></a>th Century, <a href='#Page_8'><b>8</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Modern French marquetry, <a href='#Page_125'><b>125</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Monte Oliveto, <a href='#Page_55'><b>55</b></a>, <a href='#Page_59'><b>59</b></a>, <a href='#Page_60'><b>60</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Musée Cluny, wire-drawing bench made for Augustus, Elector of Saxony, <a href='#Page_91'><b>91</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">N</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Naples, tarsia by Fra Giovanni da Verona in S. Anna dei Lombardi, <a href='#Page_61'><b>61</b></a>, <a href='#Page_62'><b>62</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Nicolò di Nicoluccio, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Nuremberg work in ebony and ivory, <a href='#Page_90'><b>90</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">O</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">&OElig;ben, J. F., ébeniste du roi, <a href='#Page_99'><b>99</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Orvieto, <a href='#Page_10'><b>10</b></a>, <a href='#Page_13'><b>13</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">P</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Padua, stalls in Church of S. Antonio, account by Matteo Colaccio, <a href='#Page_30'><b>30</b></a>, <a href='#Page_31'><b>31</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Paint and gilding added to intarsia work, <a href='#Page_106'><b>106</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Paolo da Pesaro, <a href='#Page_80'><b>80</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Parti of Siena, <a href='#Page_9'><b>9</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Perugia, <a href='#Page_10'><b>10</b></a>, <a href='#Page_19'><b>19</b></a>, <a href='#Page_26'><b>26</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; choir of the Cathedral, <a href='#Page_19'><b>19</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; choir of S. Domenico, <a href='#Page_26'><b>26</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; door in choir of S. Pietro in Casinense by Fra Damiano, <a href='#Page_74'><b>74</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Sala del Cambio, <a href='#Page_26'><b>26</b></a>, <a href='#Page_46'><b>46</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; stalls of S. Agostino, <a href='#Page_44'><b>44</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pier Antonio dell 'Abate of Modena, <a href='#Page_29'><b>29</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pietro Antonio of Florence, <a href='#Page_17'><b>17</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pietro di Maffeis, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pietro di Miaella of Siena, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pietro di Rizzardi, <a href='#Page_33'><b>33</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pisa Cathedral, <a href='#Page_21'><b>21</b></a>, <a href='#Page_22'><b>22</b></a>, <a href='#Page_23'><b>23</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Polimante da Nicola, <a href='#Page_26'><b>26</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pontelli, Baccio, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Portuguese decorations with pierced metal plates, <a href='#Page_83'><b>83</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Poverty of craftsmen, Domenico del Coro, <a href='#Page_10'><b>10</b></a>, <a href='#Page_12'><b>12</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Preuszen, Hans, carver, <a href='#Page_87'><b>87</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">R</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Realism in intarsia panels, <a href='#Page_105'><b>105</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Reasons for beauty in designs, <a href='#Page_127'><b>127</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Reggio in Emilia, <a href='#Page_35'><b>35</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Relief intarsia or Präger arbeit, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Returns made by Sienese craftsman for taxation, <a href='#Page_119'><b>119</b></a>, <a href='#Page_120'><b>120</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Riesener, J. Henry, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Roentgen, David, <a href='#Page_102'><b>102</b></a>, <a href='#Page_103'><b>103</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Rome, doors of St. Peter's, by Fra Antonio da Viterbo, <a href='#Page_76'><b>76</b></a>, <a href='#Page_77'><b>77</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Rosenfeldt, Jochim, <a href='#Page_87'><b>87</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">S</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">S. Mary Overie, Southwark, parish chest, <a href='#Page_93'><b>93</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Sallig, Andreas, <a href='#Page_87'><b>87</b></a></span></li>
+
+<li><span style="margin-left: 1em;">San Sevrino, Domenico di, <a href='#Page_46'><b>46</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Savona, choir of, Cathedral, <a href='#Page_78'><b>78</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Schieferstein, Hans, <a href='#Page_85'><b>85</b></a>, <a href='#Page_90'><b>90</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Scraping and polishing marquetry, operation of, <a href='#Page_115'><b>115</b></a>, <a href='#Page_116'><b>116</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Shading of subjects in marquetry, <a href='#Page_112'><b>112</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Siena, <a href='#Page_9'><b>9</b></a>, <a href='#Page_10'><b>10</b></a>, <a href='#Page_13'><b>13</b></a>, <a href='#Page_16'><b>16</b></a>, <a href='#Page_37'><b>37</b></a>, <a href='#Page_60'><b>60</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Simone d'Antonio of Siena, <a href='#Page_13'><b>13</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Sizergh Castle, panelling from, <a href='#Page_93'><b>93</b></a></span></li>
+
+<li><span style="margin-left: 1em;">South German Bride chests, <a href='#Page_89'><b>89</b></a></span></li>
+
+<li><span style="margin-left: 1em;">South German inlaid Musical Instruments, <a href='#Page_88'><b>88</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Spanish inlaid work in Victoria and Albert Museum, <a href='#Page_81'><b>81</b></a>, <a href='#Page_82'><b>82</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">T</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Taddeo Bartoli's designs for chapel of Palazzo Pubblico, Siena, <a href='#Page_11'><b>11</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Tassi, Domenico of Florence, <a href='#Page_17'><b>17</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Tasso, Maestro, his practical joke on the Benedictine Abbot, <a href='#Page_28'><b>28</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Technical description from German book of <a href='#Page_17'><b>17</b></a>th century, <a href='#Page_106'><b>106</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Thickness of veneers in the market, <a href='#Page_112'><b>112</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Tommaso di Ceccolo, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Tonbridge ware, <a href='#Page_9'><b>9</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain ivory blue, <a href='#Page_144'><b>144</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain ivory green, <a href='#Page_144'><b>144</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain ivory orange, <a href='#Page_142'><b>142</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain ivory purple, <a href='#Page_143'><b>143</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain ivory various kinds of red, <a href='#Page_142'><b>142</b></a>, <a href='#Page_143'><b>143</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain ivory yellow, <a href='#Page_142'><b>142</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood black, <a href='#Page_138'><b>138</b></a>, <a href='#Page_139'><b>139</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood blue, <a href='#Page_140'><b>140</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood green, <a href='#Page_141'><b>141</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood pink, <a href='#Page_137'><b>137</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood purple, <a href='#Page_137'><b>137</b></a>, <a href='#Page_138'><b>138</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood red, <a href='#Page_135'><b>135</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_137'><b>137</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood silver grey, <a href='#Page_141'><b>141</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood yellow, <a href='#Page_133'><b>133</b></a>, <a href='#Page_134'><b>134</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">U</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Uhr, Herman, <a href='#Page_87'><b>87</b></a>, <a href='#Page_88'><b>88</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Ulriksdal Castle, doors of drinking room, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Union of the crafts in one guild, <a href='#Page_14'><b>14</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Urbino, tarsia in palace of Frederic of Montefeltro, <a href='#Page_49'><b>49</b></a>, <a href='#Page_50'><b>50</b></a>, <a href='#Page_51'><b>51</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Use of mother-of-pearl, ivory, tortoiseshell, silver, &amp;c., <a href='#Page_54'><b>54</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">V</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Vasari's opinion of tarsia, <a href='#Page_17'><b>17</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Veneering, operation of, <a href='#Page_108'><b>108</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Veneers for marquetry, thickness of, <a href='#Page_109'><b>109</b></a>, <a href='#Page_110'><b>110</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Venice, Sacristy of S. Elena, <a href='#Page_57'><b>57</b></a>, <a href='#Page_58'><b>58</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Venice, tarsia in Sacristy of S. Mark's, <a href='#Page_67'><b>67</b></a>, <a href='#Page_68'><b>68</b></a>, <a href='#Page_69'><b>69</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Verona, Sacristy of S. Anastasia, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Volthurn Castle, near Brixen, <a href='#Page_90'><b>90</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Von Soest, Albert, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Vordt, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Vriese, Vriedemann, <a href='#Page_86'><b>86</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">W</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Wallace Collection, Cabinet by Claude Charles Saunier, <a href='#Page_95'><b>95</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Wallace Collection, Cabinets by Oeben and Riesener, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Wallace Collection, jewel box by Conrad Cornier, <a href='#Page_88'><b>88</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Webb, Stephen, paper at the Society of Arts, <a href='#Page_128'><b>128</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Wegener, Adam, figure cutter, <a href='#Page_87'><b>87</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Weiskopf, Wolf, <a href='#Page_84'><b>84</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Winkler, Simon, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Wood, exceptional scantlings used by the ancients, <a href='#Page_6'><b>6</b></a>, <a href='#Page_7'><b>7</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Woods, combinations of, for marquetry, <a href='#Page_111'><b>111</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Woods in use in England for marquetry, <a href='#Page_112'><b>112</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; used by the marqueteurs of Nice, <a href='#Page_115'><b>115</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; used by Riesener, <a href='#Page_101'><b>101</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; used in Barili's panel, <a href='#Page_38'><b>38</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; used in the best period, <a href='#Page_106'><b>106</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; used in stalls, Cathedral, Orvieto, <a href='#Page_10'><b>10</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; used on the Continent for veneers, <a href='#Page_111'><b>111</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Z</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Zambelli, of Bergamo, Stefano di Antoniuolo de, <a href='#Page_46'><b>46</b></a>, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Zampiero da Padova, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Zanetto da Bergamo, <a href='#Page_72'><b>72</b></a>, <a href='#Page_73'><b>73</b></a></span></li>
+<li><span style="margin-left: 1em;">Zanetto da Bergamo, <a href='#Page_72'><b>72</b></a>, <a href='#Page_73'><b>73</b></a></span></li></ul>
+
+<hr style="width: 65%;" />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Pliny, Book 16, Chap. 83&mdash;"Glue, too, plays one of the
+principal parts in all veneering and works of marquetry. For this
+purpose the workmen usually employ wood with a threaded vein, to which
+they give the name of 'ferulea,' from its resemblance to the grain of
+the giant fennel, this part of the wood being preferred from its being
+dotted and wavy." Chap. 84&mdash;"The wood, too, of the beech is easily
+worked, although it is brittle and soft. Cut into thin layers of veneer
+it is very flexible, but is only used for the construction of boxes and
+desks. The wood, too, of the holm oak is cut into veneers of remarkable
+thinness, the colour of which is far from unsightly; but it is more
+particularly where it is exposed to friction that this wood is valued,
+as being one to be depended upon; in the axle trees of wheels, for
+instance, for which the ash is also employed, on account of its pliancy,
+the holm oak for its hardness, and the elm for the union in it of both
+these qualities.... The best woods for cutting into layers and employing
+as a veneer for covering others are the citrus, the terebinth, the
+different varieties of the maple, the box, the palm, the holly, the holm
+oak, the root of the elder, and the poplar. The alder furnishes, also, a
+kind of tuberosity, which is cut into layers like those of the citrus
+and the maple. In all the other trees, the tuberosities are of no value
+whatever. It is the central part of trees that is most variegated, and
+the nearer we approach to the root the smaller are the spots and the
+more wavy. It was in this appearance that originated that requirement of
+luxury which displays itself in covering one tree with another, and
+bestowing upon the more common woods a bark of higher price. In order to
+make a single tree sell many times over laminæ of veneer have been
+devised; but that was not thought sufficient&mdash;the horns of animals must
+next be stained of different colours, and their teeth cut into sections,
+in order to decorate wood with ivory, and, at a later period, to veneer
+it all over. Then, after all this, man must go and seek his materials in
+the sea as well! For this purpose he has learned to cut tortoise shell
+into sections; and of late, in the reign of Nero, there was a monstrous
+invention devised of destroying its natural appearance by paint, and
+making it sell at a still higher price by a successful imitation of
+wood.
+</p><p>
+"It is in this way that the value of our couches is so greatly enhanced;
+it is in this way, too, that they bid the rich lustre of the terebinth
+to be outdone, a mock citrus to be made that shall be more valuable than
+the real one, and the grain of the maple to be feigned. At one time
+luxury was not content with wood; at the present day it sets us on
+buying tortoise shells in the guise of wood."&mdash;Pliny's Natural History,
+Bohn's Translation.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> There were nineteen subjects, divided by channelled
+pilasters with a carved frieze, above a bench which ran round the
+circular wall from one doorpost to the other, the whole work crowned
+with a cornice also carved with foliated ornament. The first subject on
+the right was an open cupboard with architects' and joiners' tools. The
+second was the portrait described above. The third showed a cupboard
+half open, worked with a grille of pierced almond shapes and divided.
+"In the upper part is a naked boy, standing with a ball in his left
+hand, below is a large circle with a bridge within and without in the
+form of a diamond. Within the closed part of the grille one sees a ewer
+above and a basin below. The fourth is a figure of S. Ansano,
+half-length, below whom is the head of a man who receives baptism with
+joined hands, and the saint with a vase in his hand pours water on his
+head, holding in his right hand a standard. The fifth shows a cupboard
+open and shelved in the middle&mdash;above is a chalice and paten, below is a
+salver with fruit within and falling from it. The sixth contains an
+organ case with a man who, with raised head, enjoys the sweetness of the
+sounds, on the side of the organ are the arms of the Opera and below are
+the arms of the rector Arringhieri. The seventh is a cupboard half open
+with pierced doors, in the upper half a censer, and an incense boat,
+with a label above with these words, 'Dirigatur Domine oratio mea sicut
+incensum in conspectu tuo.' Below is the holy water pot with the
+sprinkler within, and with a pair of sacrament cruets. The eighth shows
+the figure of a man with a glory and a diadem on his head, with face and
+right arm raised to heaven, representing whom I do not understand; above
+him is a garden full of different flowers and trees. The ninth is a
+cupboard cut across and half open; in the upper part a label with these
+words 'Qui post me venit, ante me factus est. Cujus non sum dignus
+calceamente solvere;' below are different musical instruments, the words
+above are set to plain song. The tenth, that is the centre one, is a
+half-length of S. John Baptist with the cross in his left hand, and in
+the right a label with the words, 'Ecce Agnus Dei,' while with his
+finger he points to Christ in a figure which represents him. The
+eleventh shows another cupboard half open and shelved, above is a label
+on which are some lines of the hymn of S. John Baptist, with notes in
+plain song and with the name of the author above, which was Alessandro
+Agricola, and below is a flute and a violin with its bow. The twelfth is
+the figure of a young man with a label below which says, 'Johannis
+Baptistæ discipulus.' This is generally thought to represent S. Andrew
+the apostle. The thirteenth is another open cupboard with a shelf. In
+the upper part is a chalice and more fruit, and in the lower a hollow
+dish with a foot also full of fruit. The fourteenth shows the
+half-length of a man who plays a lute, above him appears a garden with
+different trees. The fifteenth is a cupboard with open division, with a
+little gate and grating with almond shaped openings, above is a
+candlestick with a candle half burnt, and below is a box full of yellow
+tapers. The sixteenth represents S. Catherine with her wheel,
+half-length, disputing with the tyrant, before her is an open book on
+which are cut these words, 'Catharina disputationis virginitatis ac
+martirii palmam reportat.' The seventeenth shows a cupboard divided and
+half closed, with a grating like the others, above is a missal laid
+down, with a chalice upright, and a paten on the missal, and there are
+also a pair of spectacles and another paten leaning against the wall,
+below there is a closed book which seems to be a breviary, upon which is
+an open book with these words, 'Ecce mitto angelum meum ante faciem
+tuam, qui preparabit viam tuam ante te. Vox clamantis in deserto; parate
+viam Domini: rectas facite semitas ejus.' The eighteenth shows a fine
+gate through which one sees a garden, within which appear different
+trees with fruit on them, 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 words, 'Alberto Aringherio operaio fabre
+factum.' The last panel shows an open cupboard with shelf and grating,
+above is a harp and below is a violin and other musical instruments. The
+rector Arringhieri paid 4090 scudi for the work as a matter of
+compromise on the valuing of Fra Giovanni da Verona. It was in so dark a
+place that it could not be seen except with lighted torches, and it was
+also damaged because it was put in a newly built place, the walls of
+which were not sufficiently dry to receive such delicate work." This
+account was written in 1786.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> The panel illustrated from the Albert and Victoria Museum
+is a good average specimen of this kind, but not quite a masterpiece.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> In 1453 Matteo di Giovanni Bartoli, painter, says that he
+possesses the half of certain tools and appliances of his art, which are
+not worth 20 florins, and that the other half belongs to Giovanni di
+Pietro, painter, his partner. That they are in a house or dwelling that
+they hire from Guicciardo Forteguerri in the Palazzo Forteguerri, which
+they have as a house and not a shop, and that he has nothing else in the
+world but a few debts (!). He says that he makes no profit, but is
+learning as well as he can, and that his uncle, Ser Francescho di
+Bartolo, the notary, keeps him. This is a young and promising artist who
+cannot get on. Priamo della Quercia, brother of the celebrated sculptor
+Jacopo della Fonte, painter, says that he is poor and without anything
+to live on; that he has a girl of marriageable age and a young boy; that
+he owes money to several people. He had a dower of 200 florins which
+came from a possession which the nuns of Ogni Santi held, because they
+said that they were heirs to his daughter-in-law, a nun in that convent
+(!) and they had kept possession for six years and he could not sue
+these nuns at law on account of his poverty. There are several documents
+referring to money and property which his brother left to this man, but
+which he seems to have difficulty in obtaining possession of, and he
+gives one the impression of being unfortunate through life. In the same
+year Antonio di Ser Naddo, painter, says he has a house with an oven
+within the walls of Siena, "male in ponto," in which he lives in the
+Contrada of Camporegi. That he has three useless mouths in the house
+which gain nothing, two children, one a boy, and the other a girl of
+marriageable age, but if he dowered her, so that she could be married,
+he would have nothing to live on. Also that he owes 20 florins to
+various people. In the same year others, both painters and woodworkers,
+complain that they have nothing to live on and owe money, some saying
+that they have become old and poor in the art. In 1478 Ventura di Ser
+Giuliano, architect and woodcarver, says that he has a little house in
+the city division in the place called of S. Salvador, and that he is
+away at Naples because of his debts, for he is afraid to return. That he
+owes Ser Biagio, the priest, 80 florins and other persons 402. In 1488
+Giovanni di Cristofano Ghini, painter, says that he has a vineyard at
+Terraia in the commune of S. Giorgio a Papaino from which he receives in
+dues about 24 florins. That he has a wife and three sons and nothing to
+keep them on. That five years ago he had sold all that he had in the
+house, for times were very bad. 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 years. 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 hunger, and that they
+have a girl of marriageable age in the house, his sister, "Che è il
+fiorimento d'ognichosa." In the same year Benvenuto di Giovanni says
+that he is obliged to work away from Siena because his gains are so
+small; and finally in 1521, Ventura di Ser Giuliano di Tura petitions
+the Balia as follows:&mdash;He was a master joiner and says that he passed
+his youth and almost all his age in gathering ancient objects and
+carvings, which the craftsmen of the city have copied, so that one may
+say that the antique in the city has been re-discovered by his labours.
+But that he has not by this benefit to the craftsmen provided for his
+old age, since both he and his wife have been very unwell for years
+past, and that he finds himself old, with four little daughters, "one no
+heavier than the other," so he asks for a little pension of eight lire a
+month (which has been suspended apparently), so that he may not have to
+go to the hospital for bread with his wife and the four little ones.</p></div>
+
+
+</div>
+
+
+<p class="center"><i>Willam Hodge &amp; Co., Glasgow and Edinburgh</i></p>
+
+<div class="centerbox1 bbox">
+<p class="ceter">Transcriber's note:</p>
+
+<p>Many of the illustrations had a caption stating 'facing page 1' etc. These were dropped from the captions in this etext.
+
+It was also seen as beneficial to avoid splitting the very long paragraphs, so some illustrations
+are not quite in the same place as in the
+original book.</p></div>
+
+<div>*** END OF THE PROJECT GUTENBERG EBOOK 30215 ***</div>
+</body>
+</html>
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+The Project Gutenberg EBook of Intarsia and Marquetry, by F. Hamilton Jackson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Intarsia and Marquetry
+
+Author: F. Hamilton Jackson
+
+Release Date: October 8, 2009 [EBook #30215]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK INTARSIA AND MARQUETRY ***
+
+
+
+
+Produced by Chris Curnow, Lindy Walsh and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+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 Floor, Wall, and Vault
+
+
+
+
+  HANDBOOKS FOR THE DESIGNER AND
+  CRAFTSMAN
+
+  INTARSIA AND MARQUETRY
+
+  BY
+
+  F. 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
+  1903
+
+
+
+
+  PRINTED BY
+  WILLIAM HODGE AND COMPANY
+  GLASGOW AND EDINBURGH
+
+
+
+
+CONTENTS
+
+
+                                                                   PAGE
+
+  HISTORICAL NOTES--ANTIQUITY,                                         1
+
+  ITALY IN MEDIAEVAL AND RENAISSANCE TIMES,                             8
+
+  THE CLOISTERED INTARSIATORI AND THEIR PUPILS,                       55
+
+  IN GERMANY AND HOLLAND, ENGLAND AND FRANCE,                         84
+
+  THE PROCESS OF MANUFACTURE,                                        104
+
+  THE LIMITATIONS AND CAPABILITIES OF THE ART,                       118
+
+  WORKSHOP RECEIPTS,                                                 133
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  PLATE
+
+  1. Patterns used in Borders,                          _facing page_ 8
+
+  2. Various Patterns of Borders,                              "      9
+
+  3. Chair Back from S. Ambrogio, Milan,                       "     10
+
+  4. Door of the Sala del Papa, Palazzo Comunale, Siena,       "     13
+
+  5. The Prophet Amos. Figure intarsia from the  }
+     Sacristy of the Cathedral, Florence,        }
+  6. The Annunciation. Figure intarsia from the  } _between pages
+     Sacristy of the Cathedral, Florence,        } 18 and 19_
+  7. The Prophet Hosea. Figure intarsia from the }
+     Sacristy of the Cathedral, Florence,        }
+
+  8. The Nativity. Figure intarsia from the Sacristy
+     of the Cathedral, Florence,                        _facing page 20_
+
+  9. The Presentation in the Temple. Figure Intarsia
+     from the Sacristy of the Cathedral, Florence,             "      21
+
+  10. Panel from Sacristy of S. Croce, Florence,               "      23
+
+  11. Detail of Frieze from the Sacristy of S. Croce,
+      Florence,                                                "      24
+
+  12. Lower Seats of Choir, Cathedral, Perugia,                "      25
+
+  13. Upper Seats of Choir, Cathedral, Perugia,                "      26
+
+  14. One Panel, from Upper Series, Cathedral, Perugia,        "      27
+
+  15. Two Panels from the Sala del Cambio, Perugia,            "      28
+
+  16. Frieze from S. Mark's, Venice,                           "      30
+
+  17. Frieze from S. Mark's, Venice,                           "      32
+
+  18. Stalls from the Cathedral, Lucca,                        "      33
+
+  19. Lectern in Pinacoteca, Lucca,                            "      34
+
+  20. Two-leaved Door in the Pinacoteca, Lucca,                "      35
+
+  21. Stalls at the Certosa, Pavia,                            "      36
+
+  22. Detail of Arabesques, lower Seats, Certosa, Pavia,       "      37
+
+  23. Panel from S. Petronio, Bologna,                         "      38
+
+  24. Panel from S. Petronio, Bologna,                         "      39
+
+  25. Panel from S. Miniato, Florence,                         "      40
+
+  26. Panel from S. Maria Novella, Florence,                   "      42
+
+  27. Panel from S. Maria Novella, Florence,                   "      44
+
+  28. Panel in Sacristy of S. Pietro in Casinense, Perugia,    "      46
+
+  29. Panel from Door of Sala del Cambio, Perugia,             "      48
+
+  30. Panel from lower row of Stalls, S. Maria in
+  Organo, Verona,                                              "      59
+
+  31. Panels from Monte Oliveto Maggiore, now in
+  the Cathedral, Siena,                                        "      60
+
+  32. Frieze from Monte Oliveto Maggiore,                      "      62
+
+  33. Panel from S. Mark's, Venice,                            "      68
+
+  34. Panel from Door in Choir of S. Pietro in
+  Casinense, Perugia,                                          "      74
+
+  35. Lunette from Stalls in Cathedral, Genoa,                 "      77
+
+  36. Panel from lower row of Stalls, Cathedral, Savona,       "      78
+
+  37. Panel from the Ducal Palace, Mantua,                     "      80
+
+  38. Panel from the Rathaus, Breslau, 1563,                   "      84
+
+  39. Panel from Church of S. Mary Magdalene, Breslau,         "      86
+
+  40. Pilaster Strip from the Magdalene Church, Breslau,       "      87
+
+  41. Panel from S. Elizabeth's Church, Breslau,               "      88
+
+  42. Lower Panel of Door, 1564--Tyrolese,                     "      90
+
+  43. Top of Card Table in the Drawing-room, Roehampton
+  House; Dutch, 18th Century,                                  "      92
+
+  44. Panelling from Sizergh Castle, now in Victoria
+  and Albert Museum,                                           "      93
+
+  45. Cabinet with falling front, in the Drawingroom,
+  Roehampton House,                                            "      94
+
+  46. Cabinet belonging to Earl Granville. Boulle
+  work of about 1740,                                          "      96
+
+  47. Top of Writing Table in the Saloon, Roehampton
+  House. Period of Louis XV.,                                  "      97
+
+  48. Encoignure, signed J. F. Oeben, in the Jones
+  Bequest. Victoria and Albert Museum,                         "      98
+
+  49. Panel from back of Riesener's bureau, made
+  for Stanislas Leczinski, with figure of Secrecy,             "     100
+
+  50. Roundel from bureau, made for Stanislas
+  Leczinski, King of Poland, now in the
+  Wallace Collection,                                          "     102
+
+  51. Antonio Barili at work, by himself,                      "     104
+
+  52. Panel from the Victoria and Albert Museum,               "     106
+
+  53. Panel from S. Maria in Organo, Verona,                   "     122
+
+  54. Panel from S. Maria in Organo, Verona,                   "     126
+
+  55. Panel from S. Pietro in Casinense, Perugia,              "     130
+
+
+
+
+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 novelty. In every direction the
+question which is asked is not, "Is this fresh thing good? Is it
+appropriate to, and well-fitted for, its intended uses?" but "Is it
+novel?" 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 change. While there are directions in which this
+desire is not altogether harmful, since at least many monstrosities
+offend our eyes but for a short time, a full compliance with it by the
+designer is likely to prove disastrous to his reputation, 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 centuries, and to
+produce something entirely fresh and individual, have shown how
+impossible it is at this period of the world's history to dispense with
+tradition, and, escaping from the accumulated experience of the race,
+set forth with childlike _naivete_. 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 generations, and that
+the undigested use of natural _motifs_ results not in nourishment but in
+nightmare.
+
+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 times, 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
+present. Since both design and craftsmanship as known until the end of
+the 18th century were the outcome of centuries of experience of the use
+of material and of the endeavour to meet daily requirements, it may be
+justly called folly to cast all this aside as the fripperies of bygone
+fashion which cramp the efforts of the designer, and attempt to start
+afresh without a rag of clothing, even if it were possible. At the same
+time it is not intended to advocate the direct copyism of any style,
+whether regarded as good, bad, or indifferent. Some minds find
+inspiration in the contemplation of natural objects, while others find
+the same stimulus in the works of man. The fashion of present opinion
+lays great stress upon the former source of inspiration, and considers
+the latter heretical, while, with a strange inconsistency, acclaiming a
+form of design based upon unnatural contortions of growth, and a
+treatment which is often alien to the material. It is the hope of the
+author to assist the second class of mind to the rivalling of the
+ancient glories of design and craftsmanship, 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 individuality. 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 unsuitable, and a greater acquaintance with their
+triumphs is likely, one would hope, to lead students, whether designers
+or craftsmen, to view with disgust undigested designs indifferently
+executed which have little but a fancied novelty to recommend them.
+
+It is intended that each volume shall contain an historical sketch of
+the phase of design and craft treated of, with examples of the
+successful overcoming of the difficulties to be encountered in its
+practice, workshop recipes, and the modes of producing the effects
+required, 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 them.
+
+
+
+
+PREFACE
+
+
+The subject treated of in this handbook has, until lately, received
+scant attention in England; and except for short notices of a general
+nature contained in such books as Waring's "Arts Connected with
+Architecture," technical descriptions, such as those in Holtzapffel's
+"Turning and Mechanical Manipulation," and a few fugitive papers, has
+not been treated in the English language. On the Continent it has,
+however, been the subject of considerable research, and in Italy,
+Germany, and France books have been published which either include it as
+part of the larger subject of furniture, or treat in considerable detail
+instances of specially-important undertakings. From these various
+sources I have endeavoured to gather as much information as possible
+without too wearying an insistence upon unimportant details, 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
+art, and especially for the designer and craftsman, whose business it
+is or may be to produce such works in harmonious co-operation in the
+present day, as they often did in days gone by, and, it may be hoped,
+with a success akin to that attained in those periods to which we look
+back as the golden age of art.
+
+The books from which I have drawn my information are principally the
+following:--
+
+In Italian--Borghese and Banchi's "Nuovi documenti per la storia dell'
+Arte Senese"; Brandolese's "Pitture, sculture, &c., di Padova"; Caffi's
+"Dei lavori d'intaglio in legname e d'intarsia nel Cattedrale di
+Ferrara"; Calvi's "Dei professori de belle arti che fiorirono in Milano
+ai tempi dei Visconti, &c."; Saba Castiglione's "Ricordi"; Erculei's
+paper in his "Catalogue of the Exhibition of works of carving and inlay
+held at Rome in 1885"; Finocchietti's "Report on carving and inlaid work
+in the Jurors' report on the Exhibition of 1867 in Paris"; Lanzi's
+"History of Painting in Italy"; Locatelli's "Iconografia Italiana";
+Marchese's "Lives of Dominican Artists"; Milanesi's "Documenti per la
+Storia dell' Arte Senese"; Morelli's "Notizie d'opere di disegno nella
+prima meta dell' Secolo XVI."; Tassi's "Vite di pittori, architetti,
+&c., Bergamaschi"; Temanza's "Vite dei piu celebri architetti, &c.,
+Dominicani"; Tiraboschi's "Biblioteca Modenese"; Della Valle's "Lettere
+Senesi sopra le belle Arti"; Vasari's "Lives," with Milanesi's notes and
+corrections, and papers in the "Bullettino di Arti, Industrie e
+Curiosita Veneziane," the "Atti e memorie della Societa Savonese," the
+"Archivio Storico dell' Arte and its continuation as L'Arte," and the
+"Archivio Storico Lombardo," by such men as Michele Caffi, G. M. Urb,
+Ottavio Varaldo, Francesco Malaguzzi Valeri and L. T. Belgrano.
+
+In German--Becker and Hefner Alteneck's "Kunstwerke and Geraeths Schaften
+des Mittelalters und der Renaissance"; Bucher's "Geschichte der
+Technischen Kunst"; Burckhardt's "Additions to Kugler's Geschichte der
+Baukunst, and Geschichte der Renaissance in Italien"; Demmin's "Studien
+ueber die Stofflich-bildenden Kuenste"; Von Falke's "Geschichte des
+deutsches Kunstgewerbes"; Scherer's "Technik und Geschichte der
+Intarsia"; Schmidt's "Schloss Gottorp"; Seeman's "Kunstgewerbliche
+Handbuecher"; Teirich's "Ornamente aus der Bluethezeit italienischer
+Renaissance," and articles in "Blaetter fuer Kunstgewerbe," and the
+"Kunstgewerbeblatt of the Zeitschrift fuer bildende Kunst," by such men
+as Teirich, Issel and Ilg.
+
+In French--Asselineau's "A. Boulle, ebeniste de Louis 14"; Burckhardt's
+"Le Cicerone"; Champeaux's "Le bois appliquee au mobilier," and "Le
+meuble"; Demmin's "Encyclopedie historique, archeologique, &c.";
+Luchet's "L'Arte industriel a l'Exposition Universelle de 1867," and
+other encyclopaedias.
+
+In English--"The handmaid to the arts"; Holtzapffel's "Turning and
+mechanical manipulation"; Pollen's paper on "Furniture in the Kensington
+Catalogue of Ancient and Modern furniture"; Leader Scott's "The
+Cathedral builders"; Tomlinson's "Cyclopaedia of Useful Arts"; Waring's
+"The Arts connected with architecture"; and Digby Wyatt's "Industrial
+Arts of the 19th Century," together with detached articles found in
+various publications.
+
+Those who desire further examples of arabesque patterns may find them in
+Issel's "Wandtaefelungen und Holzdecken"; Lacher's "Mustergueltige
+holzintarsien der Deutschen Renaissance aus dem 16 und 17 Jahrhundert";
+Lachner's "Geschichte der Holzbaukunst in Deutschland"; Lichtwark's "Der
+ornamentstich der deutschen Fruehrenaissance"; Meurer's "Italienische
+Flachornamente aus der Zeit der Renaissance"; Teirich's "Ornamente aus
+der Bluethezeit italienischer Renaissance," and Rhenius "Eingelegte
+Holzornamente der Renaissance in Schlesien von 1550-1650."
+
+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 known,
+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
+question.
+
+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 ways, the facilities
+afforded me, and their unfailing kindness and courtesy; and to the
+Director of the Victoria and Albert Museum for similar kindness and
+assistance.
+
+I have also to thank my friend Mr. C. Bessant, whose experience in all
+kinds of cabinet work is so great, for very kindly looking over the
+section dealing with the processes of manufacture.
+
+  F. HAMILTON JACKSON.
+
+
+
+
+INTARSIA AND MARQUETRY
+
+HISTORICAL NOTES--ANTIQUITY
+
+
+The word "intarsia" is derived from the Latin "interserere," to insert,
+according to the best Italian authorities, though Scherer says there was
+a similar word, "Tausia," which was applied to the inlaying of gold and
+silver in some other metal, an art practised in Damascus, and thence
+called damascening; and that at first the two words meant the same
+thing, but after a time one was applied to work in wood and the other to
+metal work. In the "Museo Borbonico," xii., p. 4, xv., p. 6, the word
+"Tausia" is said to be of Arabic origin, and there is no doubt that the
+art is Oriental. It perhaps reached Europe either by way of Sicily or
+through the Spanish Moors. "Marquetry," on the other hand, is a word of
+much later origin, and comes from the French "marqueter," to spot, to
+mark; it seems, therefore, 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 (or sometimes some other
+material) cut to fit it, and to use the latter for the more modern
+practice of cutting several sheets of differently-coloured thin wood
+placed together to the same design, so that by one cutting eight or ten
+copies of different colours may be produced which will fit into each
+other, and only require subsequent arranging and glueing, as well as for
+the more artistic effects of the marquetry of the 17th and 18th
+centuries, which were produced with similar veneers. The process of
+inlaying is of the most remote antiquity, and the student may see in the
+cases of the British Museum, at the Louvre, and in other museums,
+examples of both Assyrian and Egyptian inlaid patterns of metal and
+ivory, or ebony or vitreous pastes, upon both wood and ivory, dating
+from the 8th and 10th centuries before the Christian Era, or earlier.
+The Greeks and Romans also made use of it for costly furniture and
+ornamental sculpture; in Book 23 of the "Odyssey," Ulysses, describing
+to Penelope the bride-bed which he had made, says--"Beginning from this
+head-post, I wrought at the bedstead till I had finished it, and made it
+fair with inlaid work of gold, and of silver, and of ivory"; the statue
+and throne of Jupiter at Olympia had ivory, ebony, and many other
+materials used in its construction, and the chests in which clothes
+were kept, mentioned by Homer, were some of them ornamented with inlaid
+work in the precious metals and ivory. Pausanias describes the box of
+Kypselos, in the opisthodomos of the Temple of Hera, at Olympia, as
+elliptical in shape, made of cedar wood and adorned with mythological
+representations, partly carved in wood and partly inlaid with gold and
+ivory, in five strips which encircled the whole box, one above another.
+The Greek words for inlaying used by Homer and Pindar are "[Greek:
+daidallo]" and "[Greek: kollao]," and their derivatives, the first being
+also used for embroidering; Homer and Hesiod also use "[Greek:
+poikilos]" for "inlaid," which shows how closely at that time the arts
+were interwoven. These words have left no trace in the later terms,
+though [Greek: kollao] means to fix together, or to glue, and it is
+tempting to connect the French word "coller" with it. Vitruvius and
+Pliny use the words "cerostrata" or "celostrata," which means, strictly
+speaking, "inlaid with horn," and "xilostraton." The woods used by the
+Greeks were ebony, cypress, cedar, oak, "sinila," yew, willow, lotus
+(celtis australis), and citron (thuyia cypressoides), a tree which grew
+on the slopes of the Atlas mountains. The value of large slabs of this
+last was enormous. Pliny says that Cicero, who was not very wealthy
+according to Roman notions, spent 500,000 sesterces (about L5400) for
+one table. Asinius Pollio spent L10,800, King Juba L13,050, and the
+family of the Cethegi L15,150 for a single slab. The value of this wood
+consisted chiefly in the beautiful lines of the veins and fibres; when
+they ran in wavy lines they were called "tigrinae," tiger tables; when
+they formed spirals like so many little whirlpools they were called
+"pantherinae," or panther tables, and when they had undulating, wavy
+marks like the filaments of a feather, especially if resembling the eyes
+on a peacock's tail, they were very highly esteemed. Next in value were
+those covered with dense masses of grain, called "apiatae," parsley wood.
+But the colour of the wood was also a great factor in the value, that of
+wine mixed with honey being most highly prized. The defect in that kind
+of table was called "lignum," which denoted a dull, log colour, with
+stains and flaws and an indistinctly patterned grain. Pliny says the
+barbarous tribes buried the wood in the ground when green, giving it
+first a coating of wax. When it came into the workmen's hands they put
+it for a certain number of days under a heap of corn, by which it lost
+weight. Sea water was supposed to harden it and act as a preservative,
+and after bathing it, it was carefully polished by rubbing by hand. The
+use of such valuable wood naturally led to the use of veneers, and the
+practice was universal in costly furniture. The word "xilotarsia" was
+used by the Romans to designate a kind of mosaic of wood used for
+furniture decoration. Its etymology suggests that the Greeks were then
+masters in the art. They divided works in tarsia into two
+classes--"sectile," in which fragments of wood or other material were
+inserted in a surface of wood, and "pictorial," in which the various
+pieces of wood covered the ground entirely. The slices of wood,
+"sectiles laminae," were laid down with glue, as in modern work. Wild and
+cultivated olive, box, ebony (Corsican especially), ilex, and beech were
+used for veneering boxes, desks, and small work. Besides these the
+Romans used the citrus, Syrian terebinth, maple, palm (cut
+transversely), holly, root of the elder, and poplar; the centres of the
+trees being most prized for colour and markings. [See note giving
+extracts from Pliny.[1]]
+
+A few notes on the exceptional scantlings of timber in antiquity may be
+interesting, though not strictly belonging to our subject. 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 curiosity. It measured
+120 feet by 2 feet the entire length. The mast of the vessel which
+brought the large obelisk from Egypt, afterwards set up in the Circus
+Maximus, and now in front of S. John Lateran, was 100 feet by 1-1/2
+feet, and the tree out of which it was cut required four men, holding
+hands, to surround it. A stick of cedar, cut in Cyprus and used as the
+mast of an undecireme, or 11 banked galley of Demetrius, took three men
+to span the tree out of which it was cut. It was the exceptional sizes
+of such pieces of timber, and veneers cut from them, which made the
+value of tables in Rome.
+
+FOOTNOTES:
+
+[1] Pliny, Book 16, Chap. 83--"Glue, too, plays one of the principal
+parts in all veneering and works of marquetry. For this purpose the
+workmen usually employ wood with a threaded vein, to which they give the
+name of 'ferulea,' from its resemblance to the grain of the giant
+fennel, this part of the wood being preferred from its being dotted and
+wavy." Chap. 84--"The wood, too, of the beech is easily worked, although
+it is brittle and soft. Cut into thin layers of veneer it is very
+flexible, but is only used for the construction of boxes and desks. The
+wood, too, of the holm oak is cut into veneers of remarkable thinness,
+the colour of which is far from unsightly; but it is more particularly
+where it is exposed to friction that this wood is valued, as being one
+to be depended upon; in the axle trees of wheels, for instance, for
+which the ash is also employed, on account of its pliancy, the holm oak
+for its hardness, and the elm for the union in it of both these
+qualities.... The best woods for cutting into layers and employing as a
+veneer for covering others are the citrus, the terebinth, the different
+varieties of the maple, the box, the palm, the holly, the holm oak, the
+root of the elder, and the poplar. The alder furnishes, also, a kind of
+tuberosity, which is cut into layers like those of the citrus and the
+maple. In all the other trees, the tuberosities are of no value
+whatever. It is the central part of trees that is most variegated, and
+the nearer we approach to the root the smaller are the spots and the
+more wavy. It was in this appearance that originated that requirement of
+luxury which displays itself in covering one tree with another, and
+bestowing upon the more common woods a bark of higher price. In order to
+make a single tree sell many times over laminae of veneer have been
+devised; but that was not thought sufficient--the horns of animals must
+next be stained of different colours, and their teeth cut into sections,
+in order to decorate wood with ivory, and, at a later period, to veneer
+it all over. Then, after all this, man must go and seek his materials in
+the sea as well! For this purpose he has learned to cut tortoise shell
+into sections; and of late, in the reign of Nero, there was a monstrous
+invention devised of destroying its natural appearance by paint, and
+making it sell at a still higher price by a successful imitation of
+wood.
+
+"It is in this way that the value of our couches is so greatly enhanced;
+it is in this way, too, that they bid the rich lustre of the terebinth
+to be outdone, a mock citrus to be made that shall be more valuable than
+the real one, and the grain of the maple to be feigned. At one time
+luxury was not content with wood; at the present day it sets us on
+buying tortoise shells in the guise of wood."--Pliny's Natural History,
+Bohn's Translation.
+
+
+
+
+ITALY IN MEDIAEVAL AND RENAISSANCE TIMES
+
+
+The mediaeval craft seems, however, to have been derived from the East,
+though Theophilus mentions the Germans as clever practitioners in
+woodwork. A minnesinger's harp of the 14th century, figured by Hefner
+Alteneck, appears to bear out his remark, though later in date, with its
+powdering of geometrical inlays and curiously-designed sprigs, which
+might almost have been produced by the latest art craze, which apes
+archaic simplicity. It belonged to the knightly poet Oswald von
+Wolkenstein, who died in 1445; the colours used are two browns, black,
+white, and green. The oriental inlays of ivory upon wood, elaborate and
+beautiful geometrical designs, are still produced in India in much the
+same fashion as in the middle ages, for the possibilities of geometric
+design were exhausted by the Arabs in Egypt and the Moors in Spain; and
+in Venice there was a quarter inhabited by workmen of the latter race
+who made both metal work and objects in wood. Except for the inlaid
+ivory casket in the Capella Palatina, at Palermo, which seems to be a
+work of Norman times, 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 Certosa," or "tarsia alla Certosina"; but since
+inlaying with small pieces of marble and vitreous pastes was practised
+in central and southern Italy certainly from the 12th century, there is
+little difficulty in imagining how its use arose. This work has its
+derivative still existing in England in the so-called "Tonbridge ware,"
+which is made by arranging rods of wood in a pattern and glueing them
+together, after which sections are sliced off--the same proceeding, in
+effect, as that which the Egyptians made use of with rods or threads of
+glass. One must allow, however, that the wooden border inlays, which are
+also placed under this heading, show greater craft mastery, as the
+examples appended show, which are typical instances. The chair-back from
+S. Ambrogio, Milan, is a characteristic example of the simpler form on a
+tolerably large scale.
+
+[Illustration: Plate 1.--_Patterns used in Borders._
+
+_To face page 8._]
+
+[Illustration: Plate 2.--_Various Patterns of Borders._]
+
+Historians are agreed that the cradle of Italian carving and inlaying
+was Siena, where there is mention of a certain Manuello, who, with his
+son Parti, worked in the ancient choir of the Cathedral in 1259.
+Orvieto was another place where tarsia work was made at an early date,
+but the craftsmen were all Sienese. Mastro Vanni di Tura dell' Ammanato,
+the Sienese, made the design of the stalls for the Cathedral in 1331,
+and commenced the work, some remains of which are still preserved in the
+Museum of the Opera del Duomo. Twenty-eight artists were employed on
+these stalls; Giovanni Talini, Meo di Nuti, and others, all Sienese,
+assisted him, but he died before they were finished, and they remained
+incomplete till 1414, when Domenico di Nicolo is recorded as undertaking
+the work; but neither did he finish it, for in 1431 the overseers gave
+it to Pietro di Minella, and then to his brother Antonio, and to
+Giovanni di Lodovico di Magno. The woods used were ebony, box, walnut,
+and white poplar, and the cost was 3152 lire. In the 14th century tarsia
+was executed at Siena, Assisi, where in 1349 Nicolo di Nicoluccio and
+Tommaso di Ceccolo worked at the Cathedral stalls, which no longer
+remain; Verona, in the sacristy of S. Anastasia, in which city are some
+inlays resembling those at Orvieto, and Perugia, where some inlays
+remain in the Collegio della Mercanzia, but remains of the period are
+few, as may be expected.
+
+[Illustration: _To face page 10._ Plate 3.--_Chair Back from S.
+Ambrogio, Milan._]
+
+Domenico di Nicolo worked for 13 years at the chapel in the Palazzo
+Pubblico at Siena, using some of Taddeo Bartoli's designs, and also
+did the doors of the Sala di Balia, or of the Pope. This man, who was
+one of the best Sienese masters of intarsia and carving, and was head of
+the Opera del Duomo in 1400, and whose work brought him so much
+reputation that his family name of Spinelli was changed for himself and
+his descendants to Del Coro, or Dei Cori, is an example and a proof of
+the small profit which was to be made even then by conscientious and
+careful work. He was not only a worker in wood, in 1424 he also did the
+panels of the Cathedral floor, representing David and Goliath, the
+Amorite Kings, and Samson, ascribed by Vasari to Duccio; in 1415 he was
+paid 42 lire for a tabernacle made of gesso, while as early as February
+28, 1397-8, he was paid 32 lire 10 soldi for 32-1/2 days' work on a
+window above the pulpit; yet on May 13, 1421, he petitions the priors
+and captain of the people to this effect. He says that he is poor, and
+cannot meet the requirements of his family and apprentices, each of
+whom, he says, costs 30 or 40 florins a year, and therefore suggests
+that he should have two or three boys to teach, and that the priors
+should subsidize him for that purpose, and binds himself to teach them
+all he can without reserve. The priors and captains recommended to the
+council that he should be paid by the chamberlain of Bicherna 200 lire,
+free of tax, by the year, "nomine provisionis libr: ducentos den:
+nitidas de gabella," and should have two or three Sienese youths to
+teach, and the council passed the recommendation the same day.
+Twenty-six years later, January 14, 1446-7, he appears again in the
+records with a petition to the Signory. He says that he has always, from
+his youth up, done his best to provide for his family, and that by his
+craft he has always tried to bring honour on the city and spread the
+fame of his works. That as they know he was granted money to teach his
+art to any young man who wanted to learn it, but "because this art was,
+and is, little profitable, there was no one who wished to go on with it
+except Master Mactio di Bernacchino, who followed the art thoroughly,
+and became an excellent master." That, as he thought he was fairly
+prosperous, he gave up the grant (like an honest man!), but the expenses
+of marrying and dowering his daughters had been so great, and added to
+the losses caused by the small profits on his work, had reduced him to
+such poverty that he did not see how he could go on, being 84 years of
+age, or thereabouts, and having a sick wife. He therefore asked to have
+a small pension settled on him for the few years he and his wife had to
+live. He was granted two florins a month, but three years later all
+mention of him ceases.
+
+[Illustration: Plate 4.--_Door of the Sala del Papa, Palazzo Comunale,
+Siena._
+
+_To face page 13._]
+
+The choir of the Chapel of the Palace had been given in 1414 to Simone
+d'Antonio and Antonio Paolo Martini, but they did not satisfy the
+public, so it was taken from them and given to Domenico di Nicolo,
+August 26, 1415. The tarsie are 21 in number, and represent the clauses
+of the apostles' creed and the symbols of the apostles. The unsuccessful
+work was given to the prior of the Servites. In the Communal records
+occur the following, March 31, 1428:--"Domenico di Nicolo, called
+Domenico del Coro, is to have 45 florins at 4 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 Palace, which salary was declared
+by Guido of Turin and Daniello di Neri Martini, two of the three workmen
+upon the contract of the said door, at 180 lire. And is to have 3152
+lire for his salary and workmanship of 21 seats made in the Palace of
+the Magnificent Signors, with all both '_fornamenti et facti_,' in full
+according to his contract"--accepted by Guido di Torino and Daniello di
+Neri Martini. He was called to Orvieto in 1416 to refix the roof of the
+Cathedral; he was not to have more than 200 florins a year, but if he
+came himself all expenses were to be paid. This suggests an appointment
+like that of a consulting engineer.
+
+From Siena masters were continually sent to the other great towns to
+design and carry out works of architecture, sculpture, and woodwork, as
+entries in Sienese documents show. In early times the various arts
+connected with building were in close union, and it appears tolerably
+certain that one guild sheltered them all, proficiency being required in
+several crafts and mastery in one. We find the same man acting in one
+place as master builder or architect, and sometimes only giving advice,
+while elsewhere he is sculptor or woodworker. The painter, the
+mosaicist, and the designer for intarsia are confused in a similar
+manner. Borsieri calls Giovanni de' Grassi, the Milanese painter (known
+as Giovanni de Melano at first, a pupil of Giotto and Taddeo Gaddi;
+pictures of his are in the Academy, Florence, and in the cloister of S.
+Caterina Milan), "an excellent architect"; and he also worked in relief,
+besides conducting very important architectural works. He says that
+about 1385 Giovanni Galeazzo opened an academy of fine art in his
+palace, which was conducted by Giovanni de' Grassi and Michelino da
+Besozzo. On June 19, 1391, he was paid five florins for models executed
+by him, and something for the expense of execution in marble by another
+hand. In 1391 he was called upon by the Council of the Duomo, and after
+four months of uncertainty was assigned the position and pay of first
+engineer, with a servant who was paid by the Council. He did the door of
+the S. Sacristy; it was finished in July, 1395, when he was ordered to
+decorate it with gilding and blue. He also made designs for capitals and
+window traceries, and carved a God the Father for a centre boss of the
+vault of the N. Sacristy. He illuminated the initials, &c., of a copy of
+the Ambrosian ritual of Berold for the "Fabbriceria," and this was his
+last work, as he died July 5, 1398, and the price was paid to his son
+Solomon, the officials declaring that it was most moderate. His pupils
+were nearly all both painters and sculptors, and some of them became
+stained-glass painters. It is well known that Taddeo Gaddi was painter,
+architect, and mosaicist, and Giotto, painter, sculptor, and architect,
+and these details are an example of what was then continually going on.
+Both in mediaeval times and at the beginning of the Renaissance the most
+celebrated architects often called themselves by the most humble
+titles--"Magister lignaminio," "maestro di legname," "faber lignarius,"
+"carpentarius." Minerva, the worker, was the patron of all workmen from
+Pheidias to the lowest pottery thrower, and in Christian times the
+Quattro Coronati, the four workmen-saints, were the patrons of all who
+worked with their hands.
+
+The oldest of the differentiated guilds appears to be that of the
+painters, at least in Siena, where one was established in 1355, while in
+Florence they were obliged to enrol themselves in the "Art" of the
+"medici e speziali," unless they preferred, as many of them did, to be
+reckoned with the goldsmiths. In Siena the Goldsmiths' Guild followed
+the Painters' Guild in 1361, while the workers in stone formed their
+guild still later. Among the painters were included designers of every
+sort--moulders, and workers in plaster, stucco, and papier mache, gold
+beaters, tin beaters, &c., and masters and apprentices in stained glass,
+also makers of playing cards--a most comprehensive guild. Vasari, in his
+life of Jacopo Casentino, architect and painter, says, however, "Towards
+1349 the painters of the old Greek style, and those of the new,
+disciples of Cimabue, finding themselves in great number, united and
+formed at Florence a company under the name and protection of S. Luke
+the Evangelist"; and Baldinucci, in his "Notizie dei professori di
+disegno," prints the articles of association at length. Others hold that
+the Confraternita dei Pittori was not founded till 1386.
+
+[Illustration: Plate 5.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PROPHET AMOS.
+
+_This and the two succeeding are part of the same composition._
+
+_To face page 18._]
+
+
+[Illustration: Plate 6.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE ANNUNCIATION.]
+
+[Illustration: Plate 7.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PROPHET HOSEA.]
+
+The rapid rise of the last-named city in wealth and importance was the
+reason that so much of the best later 15th century inlaid work was done
+there, or at least by Florentines, though the art was not new to
+Florence, the names of Matteo di Bernardino, Pietro Antonio, Giovanni
+del Mulinella, and Domenico Tassi being recorded as working there in the
+14th century. Vasari, as usual, is somewhat inaccurate; he says that
+tarsia was first introduced in the time of Brunelleschi and Paolo
+Uccello, "that, namely, of conjoining woods, tinted of different
+colours, and representing with these buildings in perspective, foliage,
+and various fantasies of different kinds." Both he and Lanzi say that
+Brunelleschi gave lessons in perspective and "tarsia" to architects and
+others, of which Masaccio in painting and Benedetto da Majano in his
+inlaid works availed themselves. Vasari held but a poor opinion of
+tarsia, which, he said, "was practised chiefly by those persons who
+possessed more patience than skill in design," and goes on to say that
+the subjects most suitable to the process are "perspective
+representations of buildings full of windows and angular lines, to which
+force and relief are given by means of lights and shades"; that although
+he had seen some good representations of figures, fruit, and animals,
+"yet the work soon becomes dark, and is always in danger of perishing
+from the worms or by fires." He adds that it was first practised in
+black and white alone, 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 colours, making the lights with the whitest pieces of
+the spindle tree; to shade, some singed the wood by firing, others used
+oil of sulphur, or a solution of corrosive sublimate and arsenic. The
+"most solemn" masters of tarsia in Florence were the Majani, La Cecca,
+Il Francione, and the da San Gallo. The first name which he gives is
+that of Giuliano da Majano (1432-90), architect and sculptor, who
+executed as his first work the seats and presses of the sacristy of S.
+S. Annunziata at Florence, with Giusto and Minore, two masters in
+tarsia. He also did other things for S. Marco. In the archives of the
+Duomo, Giuliano di Nardo da Maiano is named in a contract for ornamental
+wood-work in the sacristy, to be finished in 1465. There is still
+existing in the Opera del Duomo a panel of S. Zenobio standing between
+two deacons, executed by him from cartoons by Maso Finiguerra, who
+designed five figures for the panels of the sacristy. The heads were
+painted by Alessio Baldovinetti. There are also several subjects in the
+sacristy, a Nativity, resembling Lippino Lippi's picture in the
+Accademia; a Presentation in the Temple, not without a reminiscence of
+Ghirlandajo's manner; and an Annunciation. The whole scheme of the
+decoration of this wall was Giuliano's, but it was the completion of
+work begun in 1439 by Angelo di Lazzero of Arezzo, Bernardo di Tommaso
+di Ghigo, Giovanni di Ser Giovanni detto Scheggione, painter and brother
+of Masaccio, and Antonio Manetti. Milanesi says his father was Leonardo
+d'Antonio da Majano, master of wood and stone work. He entered the Arte
+del legnajuolo in company with his younger brother Benedetto, and the
+first mention of his work in connection with the "Arte" is in 1455, when
+he made for the Compagnia di S. Agnese delle Laudi, which met in the
+Carmine, a chest with a bookcase of some sort. Five years later he
+carved some candlesticks for the Monastery of S. Monaca, and constructed
+some cupboards ornamented with inlaid work and perspectives for the
+Badia of Fiesole. Among his architectural work may be mentioned the
+Chapel of S. Fina at S. Gemignano, which Ghirlandajo embellished with
+frescoes. He commenced a choir for the Duomo at Perugia, decorated with
+both carving and tarsia, but since he went to Naples shortly after 1481,
+and died there in 1490, the greater part of the credit of this work must
+be given to Domenico del Tasso, who completed it in 1491. His brother
+Benedetto, to whom he turned over most of his commissions for tarsia,
+when he became much occupied with architectural work, was born in 1442.
+He assisted his brother in many of his works, such as the doors of the
+hall of audience in the Palazzo Vecchio, made between 1475 and 1480,
+representing Dante and Petrarch, with ornamental borders and other
+panels, in which Il Francione also had a hand. He gave up tarsia in
+disgust for the following reason, according to the story told by
+Vasari:--"He made two chests, with difficult and most splendid mastery,
+of wood mosaic, which he wished to show to Matthew Corvinus, then King
+of Hungary, who had many Florentines at his Court, and had summoned him
+with much favour; so he packed his chests up and sailed for Hungary,
+where, when he had made obeisance to the King, and had been kindly
+received, he brought forward the said cases and had them unpacked in his
+presence, who much wished to see them; 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 ground, at
+which every one may understand how astonished and speechless Benedetto
+was in the presence of so many lords. However, he put the work together
+again as he best might, and satisfied the King; still he was disgusted
+with that kind of work, not being able to forget the vexation which
+he had suffered, and gave it up, taking to carving instead." He finished
+his brother's presses in the sacristy of S. Maria dei Fiori, and, in the
+opinion of Vasari, surpassed him and became the best master of his
+period. He died in 1497. Vasari ascribes the celebrant's seat in Pisa
+Cathedral to Giuliano, together with another of spindlewood, "to be
+placed in the nave where the women sit," finished and sent home in 1477,
+and put up by Baccio Pontelli. Milanesi says, however, that the choir of
+this Cathedral was done by Francesco di Giovanni di Matteo da Firenze,
+called Il Francione. Guido da Seravallino, between 1490 and 1495, made
+for the choir of the sacristy of this Cathedral more than 15
+perspectives; the usual price appears to have been 11 lire. He was a
+Pisan, and his father's name was Filippo. Domenico di Mariotto first
+appears in the accounts in 1489, when he began the choir and seats for
+the Campo Santo; he went on with various works of tarsia and carving
+till 1513. He was a Florentine, but lived in Pisa for many years, dying
+there in 1519. Other names which appear in the accounts are Giuliano di
+Salvatore and Michele Spagnuolo. In 1486 Cristophano d'Andrea da
+Lendinara and Jacopo da Villa came to make a seat for the choir, but
+this does not seem to have been a success, and Il Francione, who had
+been at Pisa as long before as 1462, and Baccio di Fino Pontelli, who
+appears in 1471, were put in charge of the work. Giovanni Battista
+Cervelliera is mentioned first in 1522. He was son of Pietro d'Altro
+Pietra, a native of Corsica, who began the singing gallery of the organ
+in S. Martino, Pietra Santa, finished by his son, who died in about
+1570. In 1596 a great fire took place. After this the best pieces saved
+were used in the decoration of the new choir, in 1606, by Pietro Giolli,
+who also had some fresh ones made; others were mended by Girolamo
+Innocenti, and placed round the walls and round the nave piers in 1613.
+The pieces of Giuliano da Majano's work now remaining are in the side
+aisles, two at the right, one at the left; one represents King David
+with his harp and with a label in the other hand, "Laudate Pueri
+Dominum." The other two figures are prophets, and have scrolls,
+"Benedicam, benedicam," and "Ve qui condunt legem." Pontelli's Faith,
+Hope, and Charity are on the pier near the Chapel of S. Ranier, three
+half-length figures of women. The seated figures of the liberal arts on
+the side panelling of the church are Il Francione's, women with symbols,
+arithmetic, grammar, geometry, astrology, logic, and music. The great
+seat in the nave is the work of Giovanni Battista del Cervelliera. In
+the centre is a large round-headed panel with the Adoration of the
+Magi; at each side are three lower seats with architectural subjects in
+the centre and objects in the side panels and below the seats. It is
+signed and dated 1536. The whole collection of panels is well worth a
+stay at Pisa to see, even if there were not other attractions in that
+pleasant little town. In the registers of the "Opera" is an annual
+charge for two "sbirri," or two servants of the captain of the people,
+to watch the seats of the Cathedral "so that children may not damage
+them in the obscurity," which shows that even Italian children could not
+always be trusted not to be mischievous.
+
+[Illustration: Plate 8.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE NATIVITY.
+
+_To face page 20._]
+
+[Illustration: Plate 9.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PRESENTATION IN THE TEMPLE.
+
+_To face page 21._]
+
+[Illustration: Plate 10.--_Panel from Sacristy of S. Croce, Florence._
+
+_To face page 23._]
+
+[Illustration: _To face page 24._
+
+Plate 11.--_Detail of frieze from the Sacristy of S. Croce, Florence._]
+
+[Illustration: Plate 12.--_Lower Seats of Choir, Cathedral, Perugia._]
+
+
+[Illustration: Plate 13.--_Upper Seats of Choir, Cathedral, Perugia._
+
+_To face page 26._]
+
+[Illustration: Plate 14.--_One panel from upper series, Cathedral,
+Perugia._]
+
+Il Francione had a pupil called Il Cecca. His name was really Francesco
+d'Agnolo, but like most men at that time he went by a nick-name. Cecca
+is a corruption of Francesco into Cecco, Cecca, from being Francione's
+companion and disciple. He was born in 1447; his father was Angelo di
+Giovanni, a mender of leather or "galigajo." He came to Florence from
+Tonda, a little place near S. Miniato al Tedesco. His father died in
+1460; he and three older sisters were left to his mother, Monna Pasqua.
+So the 13 year-old boy went bravely to work to keep his mother and
+sisters, and entered Il Francione's workshop. When he was 25 he left him
+and set up for himself, taking a shop in the Borgo de' Greci, where he
+lived and slept as well as worked. In 1481 he had a commission from the
+magistrates, called "degli ufficiali di Palazzo," for all the wood-work
+of the Hall of the Seventy, Bernardo di Marco Renzi helping him.
+Afterwards he did other work for different parts of the Palace and for
+other places, all of which has perished. Finally, he spent most of his
+time as architect and engineer, 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 engagements. He died in 1488.
+
+The del Tasso lived in the village of S. Gervasio, and moved to a place
+near the walls of Florence, a few steps from the Porta a Pinti. Then
+they went into the city and had a house in the parish of S. Ambrogio, in
+which church Francesco di Domenico made a tomb for himself and his
+family in 1470. They had arms; at first they were a goldsmith's anvil
+(tasso or tassetto), and above a ball or heap of silver. Afterwards the
+field of the shield was divided, and they added in the upper part two
+little badgers (tassi) at the side of the anvil, and put below the keys
+of S. Peter, crossed, and interspersed with four roses. "And this they
+did, not only to point out the parish of S. Pier Maggiore in the
+gonfalon 'Chiavi' of the quarter of S. Giovanni, where the del Tasso
+lived, but also to differentiate their arms from those almost similar of
+another Florentine family of the same name." Evidently there was no
+College of Heralds in Florence in those days! The first of the family
+recorded is Chimenti di Francesco, who, in 1483-4 made a grating or
+gridiron of wood in the Chapel of S. Lorenzo in the Monastery of S.
+Ambrogio, and the dossal of the altar called "del Miracolo." In 1488 he
+carved a choir of walnut, outlined with tarsia, for the Chapel
+Minerbetti in S. Pancrazio, for which he was paid 100 florins of gold.
+He had, among others, two sons, Lionardo and Zanobi, who became
+sculptors under Benedetto da Majano and Andrea Sansovino. They also
+worked in S. Ambrogio, and the figure of S. Sebastian is by Lionardo.
+The two brothers in 1499 made nine antique heads of marble and bronze,
+which the republic sent as a gift to the Marechal de Guise in France.
+Chimenti had two brothers, also carvers and joiners, Cervagio and
+Domenico, who brought up their sons to follow the same calling, who did
+many things for triumphal arches, cars, &c., for "feste." Domenico did
+the tarsia and rosettes in the seat backs of the refectory of S. Pietro,
+Perugia, and a credence of walnut, ordered on October 20, 1490, for the
+table of the priors, on which were festoons, griffins, and other inlaid
+work. The year after he finished the choir of the Cathedral left by
+Giuliano da Majano, and was paid 1404 florins, according to the estimate
+of Crispolto and Polimante, Perugian joiners. For the same choir he made
+the panelling of wood, for which he was paid 60 florins. There were 34
+seats with ornaments at 36 florins each, and three with figures, which
+were estimated at 60 florins apiece. Payments were also made to him for
+work in the Sala del Cambio, sometimes for wood, sometimes on account of
+salary, so that it seems certain that he made the benches there on
+finishing the choir of the Cathedral, since they were being made between
+1491 and 1494. The first cost 130 florins and 6 soldi in 1491, but it
+was not finished till the next year. Polimante da Nicola was made
+citizen of Perugia in 1473. Three years after he began the choir of S.
+Domenico, which cost 11 florins per seat. Four years later it was still
+unfinished. "Mastro Crespolto and Mastro Giovagne" were his assistants.
+Domenico had three sons, Chimenti, Francesco, and Marco, who followed
+the paternal calling. Chimenti was one of those who were judges in 1490
+in the competition for the facade of S. Maria del Fiore, and in 1504 was
+one of those chosen to decide the position in the piazza to be occupied
+by Michael Angelo's David. Marco was an enthusiastic follower of
+Savonarola; in 1491 he was, with his brother Francesco, at Perugia
+helping his father, and six years later he undertook work there on his
+own account. They did half of the choir of La Badia in 1501-2, and the
+very elaborate lectern. The son of Mark was Giambattista, called Maestro
+Tasso, who was a fine carver in wood, and, in the opinion of Cellini,
+the best in his profession. He did many things both for ephemeral and
+lasting purposes, and became an architect, designing the door of the
+Church of S. Romolo and the Loggia of Mercato Nuovo, Florence, and
+superintending the construction of the latter between 1549 and 1551. In
+1548 he designed an addition to the Palazzo Vecchio, then the ducal
+residence, and also undertook to execute all the joinery. At the same
+time he made a model of the Palace which he intended to build in Pisa,
+which, however, was not carried out. He died in 1555. He was said by
+Vasari to spend his time in playing the wag, in enjoyment rather than
+work, and in criticising the works of others. But Cellini calls him
+pleasant and gay; Bronzino, good, lovable, and honest; and so does Luca
+Martini, who was a great friend of his. The following story of him,
+related by Il Lasca, shows that he was not above playing a practical
+joke of a rough character, and that he took great pride in the
+achievements of his fellow-artists:--"A Lombard Benedictine abbot on
+the way to Rome stayed in Florence, and wished one day to see the
+figures on the Medicean tombs in the sacristy of San Lorenzo carved by
+Michael Angelo, and having therefore gone thither with his two attendant
+monks, the prior of the church asked Tasso, who was then working at the
+floor of the library together with his son-in-law Crocini Antonio di
+Romolo, under the direction of Michael Angelo, to show the abbot the
+sacristy and the said library. Which abbot, after having seen the
+figures in the sacristy, and thought very little of them, set off to see
+the library, and while he was gently ascending a stair which conducted
+to it, talking with Tasso, happened to turn his eyes on the cupola of
+Brunellesco, and stopping to look at it commenced to say that, although
+it was considered by all the world as a marvel, he had heard a person
+worthy of credence say that the dome of Norcia was much more beautiful,
+and made with greater art. Which words so much exasperated Tasso that,
+pulling the abbot backwards with force, he made him tumble down the
+staircase, and he took care to let himself fall on him (!) and calling
+out that the frater was mad, he got two cords, with which he bound his
+arms, his legs, and all his person, so that he could not move, and then
+taking him, hanging over his shoulders, carried him to a room near,
+and, stretching him on the ground, left him there in the dark, locking
+the door and taking away the key." What happened to the unfortunate
+abbot after, and whether he was much damaged or not one does not know,
+for the anecdote stops here. Another instance of a family which devoted
+itself for many years to the production of tarsia and wood-work,
+displaying hereditary aptitude in the craft and gaining great repute, is
+given by the Canozii of Lendinara. The first member who took up tarsia,
+abandoning his craft of painting for that purpose, was Lorenzo Genesino
+da Lendinara, surnamed Canozio, to give him his full description. From
+him descended many excellent workers in wood. He studied in Padua, where
+he had Mantegna as fellow-student, and worked in company with his
+brother, his son, and a relation called Pier Antonio dell' Abate di
+Modena, who did the intarsia in the choir of S. Francesco at Treviso in
+1486. He died in 1477, and is buried in the first cloister of S. Antonio
+at Padua, for which he made the stalls, as his epitaph states. They were
+commenced in 1462, were worked at continuously for three years, and
+after an interval finished in 1468. They were then coloured and gilded
+in places by "Maestro Ugozon de Padoa, depentor." Burnt in 1749, only
+two stalls remain, made into confessional boxes, in the Chapel of the
+Beato Belludi. The designs for the tarsia of the sacristy were made by
+Squarcione, master of Mantegna and Lorenzo, who was paid for them in
+1462. There were 90 seats in this choir, so that it was a very important
+piece of work. A contemporary account by Matteo Colaccio (1486) shows
+what were the aims of the intarsiatori of the period as understood and
+admired by the more or less cultivated populace. "In past days in
+visiting those intarsiad figures, I was so much taken with the
+exquisiteness of the work that I could not withhold myself from praising
+the authors to heaven! And to commence with the objects that one sees
+around every day, here are books expressed in tarsia that seem real.
+Some are one on the other, and arranged carelessly, or by chance, some
+closed, some newly bound and difficult to close; candles of wax with the
+ends of wicks, now in well-turned wooden candlesticks, one straight, one
+crooked, less or more, with another crossing it. Elsewhere one sees
+clouds of smoke which spread out from new chimneys, fish which turn
+round from a full basket, a cithern which hangs from the centre of a
+narrow niche. Close by is a cage of bars expressed with wonderful
+spirit. Palaces, towers, and churches, through the half-closed doors of
+which one can see in the interior arches and windows, cupolas and
+steps. Most natural, then, is it not to be able to decide which tower
+to approach; these mountains appear to one covered with grass and with
+stones; and where earth of various colours appears there all green is
+taken away. But what shall I say of the images of the saints. Of their
+uncut and curled beards, of their hands, the joints of their fingers,
+their nails? Of their clothes, their sinuous folds, and the shadows? Nor
+less pleased me the little collar of rich pearls under the chin of S.
+Prosdocimus. 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 true. And this is specially admirable, that through the dull
+colour of their leaves they seem to have been taken from the tree
+scarcely a day ago." And then he praises in a pompous fashion the folds
+of the Virgin's and the Angel's drapery, the silk veil over a chalice,
+and the perspective of a flight of steps which support the feet of the
+Madonna, &c. One of his first works was done for S. Mark's, Venice, in
+1450. His reputation was much increased by the stalls of the Cathedral
+of Modena, made in 1472 by Lorenzo and Cristoforo, and restored in 1540
+by Mastro Angelo de Piacenza, one of their pupils. He also worked at
+Parma in 1473. Fra Luca Pacioli (1509) makes an enthusiastic eulogium
+upon Lorenzo, "who, in the said art (perspective), was in his time
+supreme, as he showed in all his famous works, as in tarsia in the
+worthy choir of the Santo and its sacristy, and in Venice in the Cha
+Grande, as well as in painting in the same places and elsewhere. And at
+the present time his son, Giovan Marco, my dear comrade, who is worthy
+of his paternity, as his work at Rovigo shows, and that in the choir of
+our convent in Venice, and in Mirandola, the architecture of which
+fortress is well understood." In the sacristy of the Cathedral at Lucca
+are five panels from the seats which once surrounded it, signed
+"Cristopharus de Canociis de Lendinaria fecit opus, MCCCCLXXXVIII." One
+shows S. Martin, the bishop, full length, the others perspectives,
+perhaps of various streets of the city as then existing. He did these in
+conjunction with Matteo Civitale, and they were his last works. He died
+in 1491. Bernardino da Lendinara, who worked at Parma in 1494, and
+later, and was a citizen of that town and of Modena, was son of
+Cristoforo, who was also citizen of those cities from 1463.
+
+[Illustration: Plate 15.--_Two panels from the Sala del Cambio,
+Perugia._
+
+_To face page 28._]
+
+[Illustration: Plate 16.--_Frieze from S. Mark's, Venice._
+
+_To face page 30._]
+
+[Illustration: _To face page 32._ Plate 17.--_Frieze from S. Mark's,
+Venice._]
+
+[Illustration: Plate 18.--_Stalls from the Cathedral, Lucca._]
+
+The stalls from the Cathedral at Lucca, which are illustrated, are now
+in the Picture Gallery. They were made by Leonardo Marti, of Lucca. When
+in 1620 the choir was spoilt (they thought that they were making grand
+improvements) they were moved to the church of the Riformati of S.
+Cerbone, being badly mutilated to adapt them to their new position.
+There, in two centuries of neglect they became in such a state that the
+brothers thought them no longer decent, and wished to sell them and make
+a new choir. The Opera of the Cathedral and the Commission of Art paid
+them something for them, and thus preserved them as they now are, having
+executed some restorations here and there.
+
+At Ferrara are some remains of stalls in the apse of the Cathedral which
+were commissioned from Bernardino da Lendinara in 1501, though not made
+by him owing to the defalcations of a dishonest steward. In 1519 the
+Chapter of the Cathedral renewed the contract with Pietro de' Rizzardi
+and Bernardino, but as he died in 1520, M. Angelo Discaccia, of Cremona,
+son of M. Cristoforo (da Lendinara?), was substituted, and assisted
+Rizzardi till the work was finished in 1525. The gilding was done by
+Baldassare dalla Viola and Albertino dalla Mirandola. A note in the
+books of the Fabbrica, June 30, 1525, states that "Mro. Piero di
+Richardo dale Lanze" owes for work not yet completed 58 lire 20 soldi.
+There are three rows of seats, 132 in all, and the Episcopal throne in
+the middle. The upper row is of 56 seats, without the throne, the middle
+one 42, the lowest 34. Originally there were 150, but in the
+alterations of 1715 nine from each side were taken away, as the high
+altar was placed further within the apse. The upper stalls are divided
+by a chancelled column with Corinthian capital, and terminated in a
+shell hood. The intarsia on the back showed ornament of fine style,
+drawings of sacred objects and perspectives of fine buildings drawn from
+various parts of the city. Two of the best preserved show the ducal
+castle and the ancient ducal courtyard with the still-existing staircase
+constructed by Ercole I. in 1481. The usual bird in a cage appears, the
+symbol of human passions conquered by religious abnegation. The lower
+rows of seats are also worked in tarsia, but with ornaments of
+geometrical form, books, and joint-stools, the diamond, the cognisance
+of Ercole I. (who gave the original commission), and the pomegranate,
+that of Alfonso, and this last figure, which only occurs in the third
+stall to the right in the lower order, makes one think that only that
+part was finished under him. The frames surrounding are carved with
+restraint. The work cost altogether 2771 lire 8 soldi 2 denari besides
+the expense of making the lower seats, which cost 3984 lire marchesane
+16 soldi 10 denari. The lira marchesana in 1523-25 corresponded to 43
+Roman bajocchi 9 denari, about 2 francs 35 centimes of modern Italian
+money.
+
+[Illustration: Plate 19.--_Lectern in Pinacoteca, Lucca._]
+
+[Illustration: Plate 20.--_Two-leaved door in the Pinacoteca, Lucca._
+
+_To face page 35._]
+
+The Canozii were also at Reggio, in the Emilia, in 1474 and in 1485, but
+the work of the stalls in the Cathedral seems rather more archaic than
+their period, and the lectern is dated 1459. It is probably the work of
+Antonio da Melaria, who three years later made one exactly like it, with
+other things, for the Church of S. Domenico. This was done for Antonia
+di Fiordibelli, and the contract shows what were the conditions under
+which such work was done. He was given 50 lire at once to buy material
+with, 50 when he began working, 50 when he had finished a third of the
+work, 50 when it was half done, 50 more when three-quarters was
+finished, and the rest of the whole price of 336 lire when it was
+completed. He was to use wood of Piella, and give 48 planks to the
+lady--a very curious clause in the contract.
+
+At Citta di Castello there are tarsie designed by Raffaello da Colle in
+the Cathedral.
+
+The choir stalls at the Certosa, Pavia, were made by Bartolommeo Poli,
+surnamed dalla Polla, from designs by Borgognone, as is said, and the
+style certainly seems to bear out the assertion, though no document has
+yet been found directly connecting him with them. They were restored in
+1847 by Count Nava with wax and stucco coloured to imitate the missing
+pieces of wood. The upper row contains a series of figures of saints
+and prophets, and below are exceedingly graceful and flowing arabesques.
+A document in the Brera Library notes that in 1490 "Mro. Bartolommeo de
+Polli da Mantoa, who made the inlaid choir and the doors of the chapels,
+has a right to 8 ducats per door, and also for the wooden pulpits 30
+ducats a pulpit." He was the son of Andrea da Mantova, who was born at
+Modena, but lived and worked at Mantua, and also with his brother Paolo
+in S. Mark's, Venice. The stalls were made between 1486 and 1501, and
+are the only work which he is recorded to have executed. A Cremonese,
+Pantaleone de' Marchi also worked on these stalls--a relation of the
+large family of the Marchi of Crema, perhaps, who worked in S. Petronio,
+Bologna, in 1495. The father was named Agostino, and he had six sons,
+Giacomo, Nicolo, Taddeo, Biagio, Agostino, and a second Giacomo. The
+stalls in the Chapel of S. Sebastian are signed Jacopo de Marchis. Some
+stalls by Pantaleone de' Marchi are in the Museum at Berlin, acquired in
+1883. They probably came from Bramante's Church, the Madonna of Tirano,
+in the Valtelline, which was built in 1505, and where there are still
+some remains of seats similar in style. The upper range of panels has a
+few half-lengths of saints, landscapes, and the usual open cupboard
+doors revealing objects on the shelves within. On the backs of the seats
+below are arabesques, and the pilaster panels and divisions between are
+also inlaid, as is the cornice. He also worked at Savona.
+
+[Illustration: Plate 21.--_Stalls at the Certosa, Pavia._]
+
+[Illustration: Plate 22.--_Detail of Arabesques, lower seats, Certosa,
+Pavia._
+
+_To face page 37._]
+
+One of the best Sienese masters has not yet been mentioned, Antonio
+Barili, much of whose work has perished, like that of many other
+intarsiatori, an example of which the collectors for the Austrian K.K.
+Museum at Vienna have picked up, however, where it may now be seen. He
+was born in Siena, August 12, 1453. His first work on his own account
+was the choir of the Chapel of S. Giovanni, in the Cathedral, Siena, of
+which a few poor remains have escaped the carelessness of the last
+century, and are in the Collegiate Church of S. Quirico in Osenna, 26
+miles from Siena, on the old Roman road. The contract is dated January
+16, 1483, and in it he engages to finish it in about two years. He was
+to be paid 50 florins of 4 lire beyond what he expended, and was to go
+on working at the rate of 10 florins a month. If he did not finish it in
+the given time he was to forfeit 100 florins, except for cause of
+infirmity, plague, &c. It was to be valued in the usual manner, and 100
+florins was the penalty for the breaking of the contract on either side.
+As a matter of fact it took him nearly 20 years to complete. On one of
+the panels Barili made a portrait of himself at work, the one referred
+to above, now in the K.K. Austrian Museum at Vienna, which shows the
+very simple means used by the great intarsiatori. His tools consist of a
+folding pocket-knife, a square-handled gouge, and a short-bladed,
+long-handled knife, which he holds with the left hand and presses his
+shoulder against, so as to use the push of the shoulder in cutting,
+while in the right he holds a small pencil, with which he appears to
+direct the knife edge. The panel upon which he is at work bears the
+inscription, "Hoc ego Antonius Barilis opus c[oe]lo non penicello
+excussi. Anno. D., 1502." He works in a window opening with panelled
+framing, and behind him a tree spreads across a courtyard against the
+sky, upon a branch of which a parrot is seated. Von Tschudi says that
+the panel is about 2 feet 10 inches long by 1 foot 9-1/2 inches broad,
+and that the woods employed are pear and walnut, oak, maple, box,
+mahogany, palisander, and one as hard as birch in texture. A full
+description of it as it originally was is appended in a note taken from
+Della Valle's "Lettere Senese." It was valued by Fra Giovanni of Verona
+at 3990 lire. 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 2000 lire, and did other work for private persons. Another
+great work was the choir of the Certosa of Maggiano, which has entirely
+disappeared. He was not only intarsiatore, but was much employed by the
+commune on architectural works. In 1484 he was sent to rebuild the
+bridge of Buonconvento, broken by a flood of the Ombrone, and in the
+same year, with Francesco di Giorgio, and on equal terms with him,
+restored the bridge of Macereto. In 1495 he was asked to make designs
+and models for a bastion to be erected over against the bridge of
+Valiano, taken by the Florentines. Owing to a bad guard being kept this
+was taken, and between 1498 and 1500 Barili was sent again to rebuild it
+larger and stronger. Finally, in 1503, he was sent to make designs and
+models of the new walls for the fortifications of Talamone, an important
+coast town. In his intarsias he was helped by his nephew, Giovanni,
+whose salary, when working for Leo X. at Rome, was five ducats a month.
+He died in 1516.[2]
+
+[Illustration: Plate 23.--_Panel from S. Petronio, Bologna._]
+
+[Illustration: Plate 24.--_Panel from S. Petronio, Bologna._
+
+_To face page 39._]
+
+[Illustration: _To face page 40._
+
+Plate 25.--_Panel from S. Miniato, Florence._]
+
+[Illustration: Plate 26.--_Panel from S. Maria Novella, Florence._
+
+_To face page 42._]
+
+Other names mentioned by Vasari are Baccio Albini and his pupil Girolamo
+della Cecca, _pipers to the signoria_, as good intarsiatori who worked
+also in ivory when Benedetto da Majano was yet a young man, and
+David of Pistoia and Geri of Arezzo, who decorated the choir and pulpit
+of S. Agostino in the latter town. Geri also made intarsie for S.
+Michele, Arezzo. Milanesi says Girolamo della Cecca was of Volterra,
+and calls Baccio, di Andrea Cellini; he was in Hungary in 1480 with his
+brother Francesco; they were brothers of Giovanni, who was father of
+Benvenuto and piper also. The stalls in S. Miniato, Florence, were made
+in 1466 by Francesco Manciatto and Domenico da Gajuolo; but perhaps the
+highest point reached by Florentine intarsia is shown by the stalls of
+S. Maria Novella, made by Baccio d'Agnolo from Filippino Lippi's
+designs. There are 40 stalls and 30 different ornamental fillings; the
+capitals, pilasters, and frieze are inlaid, the rest carved; the
+execution of figures, scrolls, leaves, and ornamental forms is as near
+perfection as may be.
+
+Baccio, or Bartolommeo d'Agnolo Baglioni, was born May 19, 1462. "In his
+youth he did very fine intarsia in the choir of S. Maria Novella, in
+which are a very fine S. John Baptist and S. Laurence, and also carved
+the ornaments in the same place and the organ case"--so says Vasari. The
+organ case is no longer there, having been sold in England, but the
+stalls still remain. After carving the surroundings of the altar at S.
+S. Annunziata, which no longer exist, he went to Rome and studied
+architecture, of which Vasari remarks, "the science of which has not
+been exercised, for several years back, except by carvers and deceitful
+persons, who made profession of understanding perspective without
+knowing even the terminology and the first principles" (!) When he
+returned to Florence he made triumphal arches of carpentry for the entry
+of Leo X. But he still stuck to his shop, in which, especially in the
+winter, fine discourses and discussions on art matters were held,
+attended at different times by Raffaello, then quite young; by Andrea
+Sansovino, il Maiano, il Cronaca, Antonio and Giuliano San Gallo, il
+Granaccio, and sometimes, by chance, by Michel Agnolo, and many young
+men, both Florentines and strangers. He did a great deal of work for the
+great hall of the Palazzo Vecchio in conjunction with others, and the
+staircase of the Sala del Dugento. After this he did many architectural
+works, palaces and additions to churches, some of which are still
+existing. The design of Brunelleschi for the gallery to surround the
+dome of the Cathedral having been lost, Baccio was commissioned to make
+a fresh one, and a piece of it was put up; but when Michael Angelo came
+back from Rome he said it was not large enough in style for the dome; in
+fact, he called it a cage for grasshoppers (grilli), and made a design
+to replace it himself; as, however, the authorities could not make up
+their minds to accept it, and Baccio's work was much blamed, it went no
+farther, and was never finished. He died on May 6, 1543, at the age of
+83, being still in full possession of his faculties, and leaving three
+sons, of whom the second, Giuliano, did a good deal of carving both in
+stone and wood, and architectural design, working in conjunction with
+Baccio Bandinelli, among which was the choir of the Cathedral of
+Florence. Another son, Domenico, showed great promise, but died young.
+
+[Illustration: Plate 27.--_Panel from S. Maria Novella, Florence._
+
+_To face page 44._]
+
+The seats near the high altar at S. Maria Novella, and other things
+there were made between 1491 and 1496. The floor of the hall of the
+Great Council in the Palazzo Vecchio was begun in 1496, and with other
+works there went on till 1503. On October 1, 1502, he engaged to do the
+choir of S. Agostino Perugia from Perugino's designs at 1120 florins of
+40 bolognini each, but he did not work at it much at that time, since on
+June 20, 1532, he made a fresh contract with the monks to continue and
+complete the choir of their church. Adamo Rossi gives other curious
+details about this work drawn from Perugian records, which are worth
+noting. He says that in 1501 Bacciolo d'Agnolo, not having a good design
+to show, agreed with the prior Federico di Giuliano in three months'
+time to submit two different seats for the choir of S. Agostino, and
+confessed to having received 50 broad ducats of gold as part of the
+price of the choir and the two stalls mentioned. He also agreed to
+return the money if he did not undertake the choir or did not finish it
+according to contract. He presented them accordingly, and in 1502 the
+contract was signed at 30 florins for each upper seat. Rossi also says
+that he finds trace of another Baccio d'Agnolo in the collection of
+wills of Pietro Paolo di Lodovico, under date June 11, 1529, and thinks
+that the work was done by him. One Baccio was elected capo-maestro of
+the Duomo in 1507 together with Giuliano and Antonio da San Gallo and il
+Cronaca (Simone del Pollajuolo), and continued in that office until
+1529.
+
+Rossi also gives other interesting details about the making of various
+pieces of joinery in Perugia and their makers, from which I extract the
+following:--"In the refectory of S. Agostino two Sienese, Giovanni and
+Cristoforo de'Minelli, worked in 1477. The cupboards in the sacristy of
+S. Pietro in Casinense were made by Giusto di Francesco of Incisa and
+Giovanni di Filippo da Fiesole in 1472. They were bought in Florence,
+and are particularly fine and large in their treatment of flowers, &c.
+The work was finished with the assistance of Mariotto di Mariotto of
+Pesaro, three workmen coming from places at considerable distances from
+each other, proving that they wandered about the country a good deal.
+The lectern in the same church, which is well inlaid and finely carved,
+was made by Battista the Bolognese, Ambrose the Frenchman, and Lorenzo.
+The contract was between the abbot and Fra Damiano's brother, Maestro
+Stefano di Antoniuolo de' Zambelli da Bergamo, and was for the whole
+choir at 30 scudi for each seat, wood being provided. The lectern itself
+cost 176 florins, and was finished in 1535. In the Sala del Cambio,
+besides Domenico del Tasso's seats, there is a fine door which was made
+by Antonio di Benciviene da Mercatello da Massa, for which he was paid
+10 florins 93 soldi 6 denari. The orator's desk, the 'ringhiera,' was
+made by Antonio di Antonio Masi, the Fleming, though often ascribed to
+Mercatello. It was estimated by Eusebio del Bastone as worth 68 florins.
+At Assisi the choir of the upper church, which is the most important in
+all Italy for the number of its stalls, the mastery of its figure
+intarsia, and the elegance of its form, was made by Domenico da S.
+Severino, who agreed with the superiors on July 8, 1491, to make it for
+770 ducats of gold. It was not finished till 1501, but no payments are
+noted in the archives after November 18, 1498. In the lower church two
+Sienese worked in 1420, and a Florentine from 1448 to 1471. The choir
+of the Cathedral in the same city was made by Giovanni di Piergiacomo,
+also of S. Severino, and there is sometimes confusion between the two
+artists. The price was 57 florins. On one of the backs is carved the
+date 1520. The most ancient piece of joinery in Perugia is that executed
+for the Arte della Mercanzia in the 14th century."
+
+[Illustration: Plate 28.--_Panel in Sacristy of S. Pietro in Casinense,
+Perugia._
+
+_To face page 46._]
+
+Rossi prints a priced list of joiners' tools, dated November 8, 1496,
+which is interesting as showing the small amount of tools and furniture
+required in a joiner and intarsiatore's workshop at that period. It runs
+thus:--
+
+     Bernardino di Lazzaro buys from Angelo di Maestro Jacopo, called
+     Boldrino, joiner, the underwritten tools and apparatus at the price
+     at which they were valued by Master Giovanni da Siena and Ercolano
+     di Gabriele of Perugia.
+
+                                                  Florins.   Soldi.
+
+  Two benches,                                       2          0
+  Four planes,                                       1          0
+  Two screw profiles, one broad and one narrow,      0         40
+  Two rules,                                         0         16
+  Four straight edges, one large and three small,    0         28
+  One outliner for tarsia,                           0          8
+  Rods for making cornices,                          0         12
+  A cross beam,                                      0          6
+  Two compasses, one large and one small,            0         12
+  Two rulers,                                        0          5
+  Four one-handed little planes,                     0         16
+  One two-handed little plane,                       0          8
+  Two broad planes,                                  0         12
+  Two hollow moulding planes,                        0         12
+  Three pieces of unfinished tarsia, and one
+    with a wire drawing iron,                        1         30
+  Two large squares and one "grafonetto" and
+    one little square,                               0          8
+  Two old irons for making cornices,                 0          8
+  Nine files, large and small, round and
+    straight,                                        0         30
+  Fifteen "gulfie," large and small,                 0         24
+  Three chisels, one glued and one all of iron
+    and one "a tiro colla manacha de legusa
+    saietta,"                                        0          7
+  One small hammer,                                  0         16
+  Two arm chairs,                                    0          8
+  A big "tenevello,"                                 0         25
+  A little anvil,                                    0         20
+  A pair of big pincers,                             0         32
+  Two little axes,                                   0         20
+  A two-handed axe,                                  0         25
+  A two-handed saw with a file,                      0         60
+  A cutting saw,                                     0         25
+  Two stools,                                        0         16
+  Nine presses (clamps),                             0         60
+  Two cupboards,                                     0         90
+  Five pieces of panels, two on the benches
+    and three outside,                               0         20
+  Three pieces of tarsia frieze and two
+    pictures with a box without a lid,               1          0
+  A bench to put the tarsia on,                      0         40
+
+
+The words untranslated are, I suppose, Perugian words. At all events,
+they do not appear in the large Italian dictionary edited by Tommaseo
+and Bellini.
+
+This Bernardino six years earlier worked as apprentice with Maestro
+Mattia da Reggio, and was paid 6 florins 22 soldi for four months. His
+name appears in the list of masters of stone and wood.
+
+[Illustration: Plate 29.--_Panel from door of Sala del Cambio, Perugia._
+
+_To face page 48._]
+
+Frederic of Montefeltro, Duke of Urbino, built himself a splendid palace
+in that city between the years of 1468 and 1480, which cost 200,000
+golden scudi. At that time a sack of corn cost rather less than five
+modern Italian lire in the duchy, and a hectolitre of wine only one
+franc sixty centimes, 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 figures. Among the decorations, which
+include much stone carving of the most extraordinary finish, which in
+the interior of the palace appears as fresh as the day it was completed,
+were some splendidly inlaid doors, eight or nine of which still remain.
+The palace was constructed upon the foundations of an older palace of
+1350, much enlarged, and here he lived magnificently, and collected that
+fine library which was subsequently removed to Rome, of which Vespasiano
+da Bisticci, the Florentine bookseller, who had a good deal to do with
+it, says that it was the most perfect that he knew, for in others there
+were either gaps or duplicates, from which defects it was free.
+Castiglione's "Cortigiano," the ideal of a courtier in those days,
+describes the Court of Urbino as it was under Guidobaldo, his son and
+successor. Among the decorations of the palace which still remain is the
+panelling of a small studio on the _piano nobile_, close to the tiny
+chapel, which is entirely surrounded by intarsia of the finest
+description, which represents in the lower part a seat something like
+the misereres of choir stalls surrounding the apartment, some parts of
+which are raised and some lowered. In the spaces rest some portions of
+the duke's arms, a sword, a mace, &c., leaning in the corners, and on
+the lower parts of the seat are musical instruments, fruits and
+sweetmeats in dishes, cushions, books, &c. The upper panels show
+cupboards with doors partly open, showing all sorts of things within in
+the usual fashion, and there are four figure panels inserted at
+intervals containing the portrait of the duke and the Christian virtues
+of Faith, Hope, and Charity which he strove to exemplify in his life. At
+one end of the room are two recesses divided by a projecting pier; in
+the one to the left the armour of the duke is represented as hanging
+piece by piece on the wall, in that on the right is shown his reading
+desk, made to turn on a pivot, with books upon it and around, and on the
+pier between, a landscape, seen through an arcade with a terrace in
+front, upon which are a squirrel and a basket of fruit. Close to the
+reading desk is a representation of an organ with a seat in front of it,
+upon which is a cushion covered with brocade or cut velvet, which is
+most realistic, and on the organ is the name Johan Castellano, which is
+supposed to be the name of the intarsiatore, though this name does not
+appear in the accounts. The custodian called him a Bergamase, I do not
+know on what authority. The designs of the figures are ascribed to
+Botticelli, and some of them look as if the ascription might possibly be
+correct. The only names of intarsiatori found in the ducal accounts are
+Beneivegni da Mercatello, who worked in the Sala del Cambio at Perugia,
+and no doubt had to do with the making of the doors, which resemble that
+work, and perhaps a Taddeo da Rovigno, the town from which the Olivetan
+Fra Sebastian came. Pungileone, however, found a payment of seven
+florins in 1473 to "Maestro Giacomo, from Florence, on account of
+intarsia for the audience hall." Dennistoun says that this study
+contained "arm-chairs encircling a table all mosaicked with tarsia, and
+carved by Maestro Giacomo of Florence," but it is now quite bare,
+though, fortunately, the tarsie are well preserved. He goes on to say
+that "on each compartment of the panelling was the portrait of some
+famous author and an appropriate distich," which leads one to suppose
+either that his information was inaccurate or that he was referring to
+the similar small study on the lower floor, in which Timoteto delle Vite
+did some painting.
+
+The duke and his son Guidobaldo were both great builders, and Urbino was
+not the only town in which they raised palaces, though the others were
+not of so much importance. The names by which they were denominated show
+this. It is always the _corte_ at Urbino, at Pesaro it is the _palazzo_,
+and at Gubbio the modest _casa_. Nevertheless, at this last place the
+intarsias were of almost as great importance, though now the palace is
+ruinous and the intarsias dispersed, some of them being at South
+Kensington. Dennistoun quotes descriptions from Sig. Luigi Bonfatti and
+Mr. F. C. Brooke, which are worth reproducing, as showing the care some
+times expended on the decoration of quite small apartments. This study,
+which was commissioned by Duke Guidobaldo, is only 13 by 6-1/2 feet in
+plan, though it is 19 feet high. The inlaid work only went half-way up,
+as at Urbino, the upper part of the walls having been covered with
+tapestries. The tarsie showed "emblematic representations of music,
+literature, physical science, geography, and war; bookcases, or rather
+cupboards, with their contents, among which were a ship, a tambourine,
+military weapons, a cage with a parrot in it, and as if for the sake of
+variety only, a few volumes of books, over one of which, containing
+music, with the word 'Rosabella' inscribed on its pages, was suspended
+a crucifix. On the central case opposite the window, and occupying as it
+were the place of honour, was the garter, with its motto, 'Honi soit q.
+mal i pense,' a device which was sculptured on the exterior of the stone
+architrave of the door of this apartment. It appeared again in tarsia in
+the recess of the window, where might also be seen, within circles, 'G.
+Ubaldo Dx. and Fe Dux.' Amongst the devices was the crane standing on
+one leg, and holding, with the foot of the other, which is raised, the
+stone he is to drop as a signal of alarm to his companions. Among other
+feigned contents of a bookcase were an hour-glass, guitar, and pair of
+compasses; in another were seen a dagger, dried fruits in a small basket
+made of thin wood, and a tankard, while in a third was represented an
+open book surmounted with the name of Guidobaldo, who probably made the
+selection inscribed on the two pages of the volume, comprising verses
+457-491 of the tenth AEneid." On the cornice was an inscription. It was
+thought to be the work of Antonio Mastei of Gubbio, a famous artist in
+wood, who executed the choir of S. Fortunato at Todi, and who is known
+to have been much in favour with Dukes Guidobaldo and Francesco Maria
+I., the latter of whom gave him an exemption from imposts.
+
+In the 17th century tarsia was more used for domestic furniture than
+for stationary decoration. The character of the design changed in
+consequence, and mother-of-pearl, ivory, tortoiseshell, silver, and
+other materials were used. The first Tuscan, or one of the first who did
+so was Andrea Massari of Siena. A few works in tarsia were still
+executed, but none of much importance. The choir of S. Sigismondo,
+outside Cremona, commenced by Gabriel Capra and finished by his son
+Domenico in 1605, is one of the principal, and the choir of S.
+Francesco, Perugia, where Fortebraccio was buried, but this latter no
+longer exists. Marquetry was produced in Florence, Venice, Milan, and
+Genoa down to a still later date, but the fashion for ivory and ebony
+carried all before it. The Italian work of this kind is often most
+beautifully engraved, but less accurate than that produced in France.
+The later Italian marquetry does not lose decorative effect though the
+figure drawing becomes very conventional, and the curves of ornament are
+often cut with a mechanical sweep. A good deal of it is in only two
+colours, a return to the simplicity of earlier days.
+
+FOOTNOTES:
+
+[2] There were nineteen subjects, divided by channelled pilasters with a
+carved frieze, above a bench which ran round the circular wall from one
+doorpost to the other, the whole work crowned with a cornice also carved
+with foliated ornament. The first subject on the right was an open
+cupboard with architects' and joiners' tools. The second was the
+portrait described above. The third showed a cupboard half open, worked
+with a grille of pierced almond shapes and divided. "In the upper part
+is a naked boy, standing with a ball in his left hand, below is a large
+circle with a bridge within and without in the form of a diamond. Within
+the closed part of the grille one sees a ewer above and a basin below.
+The fourth is a figure of S. Ansano, half-length, below whom is the head
+of a man who receives baptism with joined hands, and the saint with a
+vase in his hand pours water on his head, holding in his right hand a
+standard. The fifth shows a cupboard open and shelved in the
+middle--above is a chalice and paten, below is a salver with fruit
+within and falling from it. The sixth contains an organ case with a man
+who, with raised head, enjoys the sweetness of the sounds, on the side
+of the organ are the arms of the Opera and below are the arms of the
+rector Arringhieri. The seventh is a cupboard half open with pierced
+doors, in the upper half a censer, and an incense boat, with a label
+above with these words, 'Dirigatur Domine oratio mea sicut incensum in
+conspectu tuo.' Below is the holy water pot with the sprinkler within,
+and with a pair of sacrament cruets. The eighth shows the figure of a
+man with a glory and a diadem on his head, with face and right arm
+raised to heaven, representing whom I do not understand; above him is a
+garden full of different flowers and trees. The ninth is a cupboard cut
+across and half open; in the upper part a label with these words 'Qui
+post me venit, ante me factus est. Cujus non sum dignus calceamente
+solvere;' below are different musical instruments, the words above are
+set to plain song. The tenth, that is the centre one, is a half-length
+of S. John Baptist with the cross in his left hand, and in the right a
+label with the words, 'Ecce Agnus Dei,' while with his finger he points
+to Christ in a figure which represents him. The eleventh shows another
+cupboard half open and shelved, above is a label on which are some lines
+of the hymn of S. John Baptist, with notes in plain song and with the
+name of the author above, which was Alessandro Agricola, and below is a
+flute and a violin with its bow. The twelfth is the figure of a young
+man with a label below which says, 'Johannis Baptistae discipulus.' This
+is generally thought to represent S. Andrew the apostle. The thirteenth
+is another open cupboard with a shelf. In the upper part is a chalice
+and more fruit, and in the lower a hollow dish with a foot also full of
+fruit. The fourteenth shows the half-length of a man who plays a lute,
+above him appears a garden with different trees. The fifteenth is a
+cupboard with open division, with a little gate and grating with almond
+shaped openings, above is a candlestick with a candle half burnt, and
+below is a box full of yellow tapers. The sixteenth represents S.
+Catherine with her wheel, half-length, disputing with the tyrant, before
+her is an open book on which are cut these words, 'Catharina
+disputationis virginitatis ac martirii palmam reportat.' The seventeenth
+shows a cupboard divided and half closed, with a grating like the
+others, above is a missal laid down, with a chalice upright, and a paten
+on the missal, and there are also a pair of spectacles and another paten
+leaning against the wall, below there is a closed book which seems to be
+a breviary, upon which is an open book with these words, 'Ecce mitto
+angelum meum ante faciem tuam, qui preparabit viam tuam ante te. Vox
+clamantis in deserto; parate viam Domini: rectas facite semitas ejus.'
+The eighteenth shows a fine gate through which one sees a garden, within
+which appear different trees with fruit on them, 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 words, 'Alberto
+Aringherio operaio fabre factum.' The last panel shows an open cupboard
+with shelf and grating, above is a harp and below is a violin and other
+musical instruments. The rector Arringhieri paid 4090 scudi for the work
+as a matter of compromise on the valuing of Fra Giovanni da Verona. It
+was in so dark a place that it could not be seen except with lighted
+torches, and it was also damaged because it was put in a newly built
+place, the walls of which were not sufficiently dry to receive such
+delicate work." This account was written in 1786.
+
+
+
+
+THE CLOISTERED INTARSIATORI AND THEIR PUPILS
+
+
+The Order of the Olivetans took its rise from the piety and liberality
+of a Sienese noble, Bernardo Tolomei, who, with two companions, Ambrogio
+Piccolomini and Patricio Patrizzi, established himself as a hermit on a
+barren point of land at Chiusuri, some miles from Siena, in the same
+manner as did S. Benedict at Subiaco. This was in 1312, but the Papal
+charter by which the Order was founded dates from 1319. It was called
+"Monte Oliveto," from a vision seen by Guido Tarlati, Bishop of Arezzo,
+the Papal commissary, in which the Virgin ordered that the monks should
+have a white habit, and that the badge of the Order should be three
+hills surmounted by a branch of olive. It was a branch of the
+Benedictines, and, like them, the monks devoted their lives to useful
+labours. As Michele Caffi says, "The Olivetans did not strive in
+political or party struggles, but spent their simple lives in works of
+charity and industry, and showing great talent for working in wood
+succeeded to the heirship of the art of tarsia in coloured woods, which
+they got from Tuscany."
+
+The first master of intarsia mentioned among the Olivetan monks is a
+certain lay brother, "laico Olivetano," who came from Tuscany in the
+first half of the fifteenth century, and taught the art to the monks of
+S. Elena, the island which lies just beyond the Public Gardens at
+Venice, and was so beautiful before the iron foundry was established
+upon it. His principal pupil was Fra Sebastiano of Rovigno, known as the
+"Zoppo Schiavone," the lame Slavonian, who taught Fra Giovanni da Verona
+and Domenico Zambello of Bergamo, Fra Damiano. Fra Giovanni, again, was
+master to Vincenzo dalle Vacche and Raffaello da Brescia, and perhaps to
+the oblate of S. Elena, Antonio Preposito, in 1493.
+
+Fra Sebastiano da Rovigno was probably born in 1420. The register of
+professions and deaths at Monte Oliveto Maggiore says--"In conventu
+Paduae professus est sub die 15 Augusti, an 1461, fr: Sebastianus de
+Rovinio"; his death is shown by another extract--"Venetiis, obiit in
+Mon. S. Helenae, anno Domini, 1505, fr: Sebastianus de Histria,
+conversus" (lay brother). He was at S. Maria in Organo, in 1464-5 and
+1468-9, and at S. Elena in 1479-80-81, and again from 1484 to 1494. He
+was also at Monte Oliveto 1466-7, 1474-5, and 1482-3, and at S. Michele
+in Bosco, Bologna, from 1494 till shortly before his death, in all of
+which places were important works in tarsia. The inscription in the
+corner of the sacristy at S. Elena runs thus:--"Extremus hic mortalium
+operum fr: Sebastianus de Ruigno Montis Oliveti, qui III. id: Sept: diem
+obiit, 1505." Some of his work is in the stalls and sacristy cupboards
+of S. Marco, signed C.S.S., or S.S.C., that is, "Converso Sebastiano
+Schiavone," or "Seb: Sch: converso." His pupil Fra Giovanni da Verona
+was one of the most celebrated of the carvers and intarsiatori, and left
+works in many places in Italy. He was born in Verona in 1457, and no one
+has been able to discover either his family name nor who his father was.
+When still a boy he left his native town and went into Tuscany to Monte
+Oliveto di Chiusuri of Siena, the principal monastery of the Olivetan
+order. He may perhaps have gone with Liberale of Verona, who was of
+about the same age, the first time he went to Monte Oliveto, in 1467, or
+more probably on the second occasion, in 1474, his business being to
+illuminate the choir books. In the administration books of that convent
+it is recorded that in 1467 Liberale had as assistant a certain
+Bernardino, and in 1474 another whose name is not mentioned. This may
+have been Fra Giovanni, who might then have learnt to illuminate, which
+was his first profession, and in which he succeeded excellently. He
+resolved to "profess religion" about this time, and was received as
+novice in the beginning of 1475. The year of noviciate being passed he
+made his solemn profession on March 25, 1476, and remained for about
+four years more in the monastery, during which time he finished his
+studies and became priest. In 1480 he was sent for a short time to the
+monastery of S. Elena, near Venice. Here he found the lay brother Fra
+Sebastiano da Rovigno, whom he may perhaps have known before, since they
+were both at Monte Oliveto in 1475. At all events he spoke to him about
+learning his art, and finding him willing to teach him, "set about it
+with so much diligence and assiduity that he was soon able to give him
+valuable assistance." The work was on the cupboards of the sacristy and
+on the backs of the choir stalls, which were 34 in number. On these the
+principal cities of the world, as they then were, were drawn in
+perspective "with great beauty and cleverness." About 1485 he went to an
+abbey of Olivetan monks at Villanova, a small village in lower Lombardy,
+where he illuminated 20 choral books with heads of saints and prophets,
+with very beautiful borders of flowers, fruits, and animals. These were
+sold by an ignorant and greedy priest for 17 zecchins, and only a few
+of the miniatures have been recovered, which are now kept in the
+sacristy. Of them, Vincenzo Sabbia, the Olivetan abbot, who was
+"confratello di religione" and nearly contemporary, says, when
+describing the abbey and its treasures in 1594, that there are there
+"stupendous and wonderful choral books to the number of twenty, made
+about the year 1485, and rare and wonderful miniatures are among the
+letters, like lovely flowers in a delicious garden, and many most
+beautiful imaginings, heads of saints and of all the ancient prophets,
+and other wonderful things of like kind, made and illuminated by that
+celebrated Fra Giovanni da Verona, around the text."
+
+[Illustration: Plate 30.--_Panel from lower row of Stalls, S. Maria in
+Organo, Verona._
+
+_To face page 59._]
+
+[Illustration: Plate 31.--_Panels from Monte Oliveto Maggiore, now in
+the Cathedral, Siena._
+
+_To face page 60._]
+
+In 1490 he was summoned to the Certosa at Pavia to estimate the value of
+the stalls made by Bartolommeo dei Polli, in company with Giacomo dei
+Crocefissi and Cristoforo de' Rocchi. Except for these there are no
+notices of the work which he must have done till 1502, when the abbot
+and monks of Monte Oliveto Maggiore, having determined to renew the
+choir of their church, confided the work to Fra Giovanni, and
+necessarily recalled him. 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 monks." "The whole comprised 52 stalls, with
+their backs, seats and arm rests, kneelers and all things appertaining"
+(it now consists of 48 stalls and 47 pictures), and the panels of the
+backs were worked in tarsia with perspective views "beautiful to a
+marvel," where were figured houses, views of the country, cupboards,
+grilles, sacred utensils, and other fancies. In the early years of the
+19th century 38 of these perspectives were moved to Siena and placed in
+the Cathedral, where they now are. Another choir, smaller but not less
+beautiful, was made for the church of the Olivetan monastery of S.
+Benedetto fuori della Porta at Tufi, near Siena. This church is in
+ruins; 31 perspectives from the choir were sent to fill the gaps in
+Monte Oliveto Maggiore, the monks who returned after the revocation of
+the suppression in 1813 having appealed to the Archbishop to allow them
+to take them. Four of the ancient backs were found in a corner of the
+sacristy, and eight carried to Siena and found superfluous were
+returned, as well as one which a neighbouring villager had taken. Some
+of them show the conventual buildings as they were at the beginning of
+the 16th century. The frames resemble friezes, and are decorated with
+flowers, fruit, birds, musical instruments, arms, and ornament. Each
+back is separated from the next by a colonnette carved with delicate
+arabesques. In this choir is also an Easter candlestick much like that
+at S. Maria in Organo, Verona, and there are two doors which belonged
+to the library. Pope Julius II. called him to Rome in 1571, and
+commissioned the ornamentation of the Camera della Segnatura in the
+Vatican, the designs for which are ascribed to Raffaelle, not only the
+seat backs with their seats, but also the doors, all worked with
+perspectives, "in which he succeeded so well that he gained great favour
+with the pontiff." 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
+Tolosa, in the church of Monte Oliveto in that city, works not less
+successful and lauded than those of Siena and Rome. This church is now
+called that of S. Anna dei Lombardi. The tarsie in the sacristy are in a
+later setting, and include nine panels of perspectives of landscapes,
+buildings, &c., nine others showing cupboards with objects on the
+shelves, and one with a figure of an abbot around which the following
+inscription runs:--
+
+
+  .T.EPRE.R.P.F.DOMI.DE.LEV.GNK.ABBATIS.ET
+         R.P.ALOISII.DE.SALER.NO.PRIOR.
+
+The work is exceedingly delicate, pieces of wood no thicker than a thick
+pencil line being often used. In one panel is a well-executed lily, in
+another a hare is a foreground figure, in another are an owl and a
+bullfinch, while a hoopoe appears in another, with mountains behind
+him. The objects on the shelves of the cupboards are turned at queer
+angles to show his skill in perspective, but, since they lack tone, do
+not appear quite accurate. Among the architectural subjects are the
+choir of a church, a harbour, and a castle on a hill, seen from a
+balustraded terrace, and a circular building a little like that in the
+background of Raffaelle's "Sposalizio." They were well restored in 1860
+by C. G. Minchiotti. In the monks' choir in the church are other
+intarsie said to be by Angelo da Verona, Giovanni's brother. They are
+principally arabesques, somewhat resembling the panels in the Cathedral
+at Genoa, but include four figure panels of little angels and an
+Annunciation in two panels, which are not without charm, though rather
+overstiff.
+
+[Illustration: Plate 32.--_Frieze from Monte Oliveto Maggiore._
+
+_To face page 62._]
+
+In his last years he returned to Verona, where he had made the monks'
+choir in S. Maria in Organo, and the cupboards of the sacristy. These
+have the reputation of being not only the finest of the period but also
+the best which came from his hand. The Adige was in this church for two
+months during one of the inundations, but the tarsie did not suffer so
+much as might have been expected. He accepted a commission in 1523 for
+some stalls for the Olivetan church at Lodi, S. Cristopher, eleven of
+which are now in the suburban church of S. Bernardino in that city,
+but died before they were completed. Vincenzo Sabbia writes of
+these:--"In the year 1523 the reverend father Fra Filippo Villani of
+Lodi, prior of the convent of S. Cristoforo in that city, agreed with
+Fra Giovanni Veronese, an excellent master of perspective, to make him
+35 pictures of perspective at the rate of 30 or 40 broad ducats of gold
+for each--which are worth 5 lire 4 soldi each--which were to be finished
+in two or three years, and 300 broad ducats of gold were counted out to
+him. The said brother was not able to finish more than 23, because he
+died on February 10, 1525. They were sent from Verona and taken to Lodi,
+and in 1586 the new church of S. Cristoforo being finished, Don
+Agostino, the prior, who had charge of the fabric, had the aforesaid 23
+pictures with their ornaments set in the choir by the hand of Paolo
+Sasono." He died in the 68th year of his age, and was buried in S. Maria
+in Organo. He is called "prior" in a chronicle of the monastery under
+date 1511, and in the list of dead. In his portrait in the sacristy, by
+Caroto, he is represented with the tonsure and with the hood and cowl of
+the form which was proper to monks who were constituted "in sacris."
+
+Fra Raffaello da Brescia, whose name was Roberto Marone, was born in
+1477. His father's name was Pietro Marone, and his mother was a
+Venetian, named Cecilia Tiepolo. When twenty-two years old he took the
+monastic habit as a lay brother in the convent of S. Nicolo di Rodengo,
+near Brescia, and a little later (in 1502) was sent to Monte Oliveto
+Maggiore. Fra Giovanni being then established there as "conventual
+brother," took young Marone and taught him, seeing that he had both
+liking and talent for the work, so that he soon became a clever workman.
+Between 1504 and 1507 he worked with him at the choir of Monte Oliveto,
+from 1506 to 1510 he was with him at Naples, when the famous sacristy
+panels were being executed, and in 1511 and 1512 he was at S. Nicolo di
+Rodengo, where he worked at the choir of that church. The lectern from
+Rodengo is now in the Galleria Tosi at Brescia; the inlays are in the
+lower portion, and show architectural compositions in perspective and
+the usual objects, such as a censer, an open book, &c. It is signed
+F.R.B. In 1513 Raffaello commenced the magnificent choir of S. Michaele
+in Bosco, Bologna, and here he also made the design for the campanile,
+which was built by Maestro Pedrino di Como, showing that like so many of
+the intarsiatori he was no mere worker in wood. While this work was in
+progress he executed a lectern for Monte Oliveto, ordered by the abbot
+Barnaba Cevenini, who was a Bolognese. It is signed and dated 1520, and
+shows on each side a choir book open, with notes of music and words. In
+one of the lower panels a black cat symbolises fidelity.
+
+S. Michele in Bosco was among the largest of the Olivetan convents. The
+Benedictines entered into possession in 1364, but these buildings were
+destroyed by the Bolognese in 1430, "so that they might not give shelter
+and a base for hostilities to the soldiers of Martin V." The
+re-construction began in 1437. The choir was raised on several steps,
+and called "Il Paradiso," ten years later, but subsequent alterations
+have left very little of the original work visible. Raffaello's stalls
+were probably finished in 1521, that being the date on a panel which was
+formerly in the centre of the choir. Of these splendid works only two
+confessionals still remain in the church. At the time of the suppression
+of the convents at the end of the 18th century the populace, drunk with
+rapine and devastation, tore down these stalls, and they were sold for a
+few pence to the Bolognese marine store dealers and rag merchants. Only
+18 of the principal row were saved from destruction, the Marquis Antonio
+Malvezzi buying them in 1812, and having them restored and placed in the
+chapel of his family in S. Petronio (now the chapel of the Holy
+Sacrament), where they now are. He was not able to save the hoods and
+shell canopies, which were sold for firewood for 4 baiocchi each! (about
+two pence.) The designs are of the usual style, cupboards and various
+objects in perspective; one of the finest is the first on the left,
+which includes a fine sphere and sundial, and several books written in
+German letters, black and red, a chalice in a cupboard, two books, and a
+cross. In the seventh is the figure of Pope Gregory in the act of
+blessing, and the last on the right shows loggias and porticoes of good
+style, well put in perspective. With part of the tarsie from S. Michele
+pianoforte cases were made, other portions were used for the floor of
+the Casino, near the theatre of the Corso, and were worn to pieces by
+the feet of the dancers! In 1525 Fra Raffaello went to Rome, and no
+further notices of him or of his work occur till his death there in
+1537; he was buried in S. Maria in Campo Santo.
+
+Another somewhat similar set of stalls, though rather later in date,
+also at Bologna, are the upper row in the choir of S. Giovanni in Monte,
+which have on their backs intarsie representing monuments, fantastic
+battlemented buildings, musical instruments, and geometrical motives,
+all executed with a mastery which reveals an artist old at the work.
+They recall in their general effect those in S. Prospero at Reggio, in
+the Emilia, which were executed by the brothers Mantelli in 1546. They
+are set in a carved framing of arches divided by pilasters which
+terminate above in brackets which support the cornice. The pilasters
+rest on the arms which divide the seats. Champeaux says they were made
+by Paolo del Sacha.
+
+The tarsie in S. Mark's, Venice, were worked by Fra Vincenzo da Verona,
+another Olivetan, under whom was Fra Pietro da Padova, Jesuit, with two
+youths to assist them. The commission was given in 1523. Three rooms in
+the hospital of "Messer Jesu Cristo" were assigned him as workshops, and
+100 ducats for food and clothing, as stated in the registers of the
+procurators of S. Mark's. On January 15, 1524, they inspected the work
+done, and were not satisfied, and so suspended it, "praising,
+nevertheless, the manners and the life of Fra Vincenzo." According to
+Cicogna, the registers contained, under date April 7, 1526, a note of
+money paid to "Fra Vincenzio, of the order of the Jesuits, for the
+finishing of the works of inlay" in the choir of S. Marco. On February
+25, 1537, certain moneys were given to more workmen for the construction
+of the doge's seat, which is said to have been "a great thing full of
+artistic pangs" (!), and rather hindered the genuflections to the
+altar. This was made for Andrea Gritti, who was doge that year. This Fra
+Vincenzo da Verona, or Vincenzo dalla Vacche, is mentioned by Morello in
+his "Notizie" as excellent, especially in his work at S. Benedetto
+Novello at Padua, four panels from which are now in the Louvre. He
+became novice in 1492, "Conventuale" of Monte Oliveto in 1498, was a
+priest like Fra Giovanni, and lived almost all his life in his native
+city. He died in 1531. The tarsie in the presbytery at S. Marco consist
+of seven great compartments, five lesser, and thirteen which are small.
+The eighteen smaller compartments are panels of ornament. The others are
+figure subjects, but by more than one hand. First comes a figure of S.
+Mark with a lion at his feet, which is not very good (it was restored in
+1848-50 by Antonio Camusso); next, a figure of Charity side by side with
+one of Justice, a woman with a baby, and one holding the balances. Next
+comes a figure of Strength or Courage, older and rougher in character,
+then four ornamental panels, a door, and five others, also of ornament.
+The next panel in the corner bears date 1535, to which year the figures
+of Justice and Charity may be assigned. The other figures are Prudence
+and Temperance, the latter of which resembles Strength in character. The
+remaining subject, a Pieta, is like Charity and Justice, and is
+masterly. Three spaces are empty. The doge's seat, until the fall of the
+Republic, was on the right of the principal entrance to the choir, as
+Sansovino says. It had on its back a figure of Justice, now in the Museo
+Civico. He also says that Sebastiano Schiavone did these tarsie, but he
+died in 1505. Various initials appear here and there through the work;
+on each side of the figure of S. Mark are U.F.Q. and M.S.R. in
+cartouches, Charity and Justice have N. and P. at the sides, and
+Prudence has P.S.S. and S.S.C. attached to her. The panels of ornament
+seem to be of the same period as the figure of Charity.
+
+[Illustration: Plate 33.--_Panel from S. Mark's, Venice._
+
+_To face page 68._]
+
+Fra Damiano of Bergamo, Fra Giovanni's fellow-pupil, attained, if
+possible, even greater reputation. He was considered the finest artist
+in tarsia of his time, he having, "with his woods, coloured to a marvel,
+raised the art to the rank of real painting." His family name was
+Zambello, he is thought to have been born about 1490, and he became a
+Dominican monk. An anonymous MS. of the 16th century, published by
+Morelli, calls him a pupil of a Slavonian, that is, Illyrian, brother of
+Venice, Fra Sebastiano da Rovigno. He passed the greater part of his
+life at Bologna, in the Dominican cloister there, into which he was
+admitted in 1528. In the records of the convent for that year occurs the
+note, "Frater Damianus de Bergomo, homo peritissimus, singularissimus,
+et unicus in l'arte della tarsia, conversus, receptatus fuit in filium
+conventus." At S. Domenico the choir stalls were his first work; he did
+seven, containing fourteen subjects and seven heads of saints. These
+were finished in 1530, and in consequence of their success he was
+commissioned to complete the choir. He carried the tinting of the wood
+farther than Fra Giovanni did, using solutions of sublimate of mercury,
+of arsenic, and what they called oil of sulphur. He is said to have had
+Vignola's designs for the architectural parts.
+
+Charles the Fifth was in Bologna with Clement VII., and was crowned
+Emperor in S. Petronio on December 5, 1529. One day he was in S.
+Domenico admiring the works of art, and, doubting that the tarsie were
+made of tinted wood, as he was told, drew his rapier and cut a bit out
+of one of the panels, which has always remained in the state in which he
+left it in memory of his act. Desiring to see how the work was done he
+determined to visit Fra Damiano's studio. Accordingly, on March 7, 1530,
+he took with him Alfonso d'Este, Duke of Ferrara, and several princes of
+his escort, and went to the convent, when, being conducted to Fra
+Damiano's poor cell, he knocked at the door. The friar, having opened
+and allowed the Emperor to enter, shut it quickly. "Stay," said the
+Emperor, "that is the Duke of Ferrara, who follows me." "I know him,"
+answered Fra Damiano, "and that is why I will never let him enter my
+cell." "And why?" said Charles V.; "have you anything of his doing to
+complain of then?" "Listen, your majesty," answered the lay brother. "I
+had to come from Bergamo to Bologna to undertake the work of this choir.
+I had with me these tools which you see, few in number, but necessary
+for the work in which it is my study to worthily spend my life, and to
+delight in the art. I had scarcely touched the frontiers of Ferrara when
+they not only obliged me, a poor friar, to pay a heavy and unjust tax,
+but the manner of doing it was most offensive. Now, while that duke
+allows such roguery in his State, it is right that he should not see
+this work which you see." Charles smiled, and promised to obtain from
+Duke Alfonso the amplest satisfaction. Going out of the cell he told the
+duke the reason of Fra Damiano's anger, and he not only promised to
+repay the loss which he had suffered, but conceded a patent to him, by
+which he and his pupils were for ever free from any tax or duty when
+crossing the duchy of Ferrara. Then they all came laughing and joking
+into the cell, and Fra Damiano, to show them that his tarsie were not
+painted with a brush took a little plane and passed it over a panel with
+some force, showing how the colours, after that treatment, still
+retained their integrity and beauty. And then he gave the Emperor a most
+beautiful piece of the Crucifixion, and another to the Duke of Ferrara,
+who valued it greatly. Locatelli gives some conversations between Fra
+Damiano and his assistant Zanetto, which must have preceded this visit,
+which are worth recording for their racy expression, according well with
+his reported action. "If it were in my power I would nail up this door
+for Charles and for all the dukes of the world. This art which I
+exercise is exceeding dear to me, and I hate to have to do with these
+signori who manage things after their own fashion; and sad it is for
+those who have to endure it. I respect His Majesty the Emperor, and hold
+him to be a great man, but the fate of Rome sticks in my throat. That
+other, too, who accompanies him--" "Who?" interrupted Zanetto, "the
+Pope?" "Oh, rubbish; the Pope! The Duke of Ferrara. With him I have a
+special account, and he must not come here." He also adds the detail
+that Fra Damiano had no money with him, and had to go about begging for
+wherewithal to pay the duke's dues till he blushed.
+
+From 1530 to 1534 he worked at a great piece of panelling to be placed
+in the chapel of the "arca," the tomb of S. Dominic, which is now in the
+sacristy, and thought by some to be his masterpiece. There are eight
+cupboards in this, and on each are eight subjects. In 1534 the Order was
+so poor that such expenses were stopped. Seven years later the work was
+recommenced and finished in 1550 by Fra Bernardino and Fra Antonio da
+Lunigiano a few months after Fra Damiano's death, which occurred on
+August 30, 1549. The choir consists of a double row of 28 stalls on each
+side, making 112 in all, showing on the right subjects from the New, and
+on the left from the Old Testament. Those on the right are the best, and
+are probably Fra Damiano's own work. He had as assistants at one time
+Zanetto da Bergamo, Francesco di Lorenzo Zambelli, and a lay brother,
+Fra Bernardino, who afterwards did the sacristy door. At another time
+his brother Stefano helped him, together with Zampiero da Padova, Fra
+Antonio Asinelis, the brothers Capo di Ferro of Lovere, Pietro di
+Maffeis, Giovanni and Alessandro Belli. The choir of S. Domenico cost
+2809 scudi. Henry II. of France commissioned a little chapel from him
+with an altar-piece, for his reputation had crossed the Alps, and
+Cardinal Salviati and Paul III., the Farnese Pope, also wished for his
+work, as did the Benedictine monks of S. Pietro in Casinense, at
+Perugia. He did for them a two-leaved door, which cost 120 scudi, now
+placed at the back of the choir, and opening on to a balcony, from which
+one sees, in fine weather, as far as the Castle of Spoleto. There are
+four subjects, two on each leaf; the Annunciation illustrated is one of
+them. Sabba Castiglione uses the most enthusiastic language about him
+and his work. "But, above all, those who can obtain them decorate their
+mansions with the works, rather divine than human, of Fra Damiano, who
+excelled not only in perspectives, like those other worthy masters, but
+in landscapes, in backgrounds, and what is yet more, in figures; and who
+effected in wood as much as the great Apelles did with his pencil. I
+even think that the colours of these woods are more vivid, brilliant,
+and beautiful than those used by painters, so that these most excellent
+works may be considered as a new style of painting without colours, a
+thing much to be wondered at. And what adds to the marvel is, that
+though these works are executed with inlaid pieces the eye cannot even
+by the greatest exertion detect the joints." He then goes on in the same
+grandiloquent strain--"This good father in dyeing woods in any colour
+that you may wish, and in imitation of spotted and marbled stones, as
+he has been unique in our century, so I think that he will be without
+equal in the future; it is certain that our Lord God has lent him grace,
+as I believe, because he wished so much that things might be well ended,
+to put his final work on the work of S. Domenico of Bologna. I think,
+indeed I am certain, that it will be called the eighth wonder of the
+world; and as the Babylonians, the Assyrians, the Egyptians, and the
+Greeks boasted of their temples, pyramids, colossi, and sepulchres, thus
+happy Bologna will be able to glory in and to boast of the choir of S.
+Domenico. 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 (!), a thing far from me, and especially with friends about
+whom I always speak the truth, I say no more; yet all that which I could
+say would be little enough on the merit of his rare and singular virtue,
+and on the goodness of his religious and holy life." Fra Leandro
+Alberti, in his description of Italy, speaks in something the same
+manner--"Frate Damiano, lay brother of the Order of Preachers, has
+become a man of as much genius as is to be found in the whole world at
+present, in putting together woods with so much art that they appear
+pictures made with a brush."
+
+[Illustration: Plate 34.--_Panel from door in Choir of S. Pietro in
+Casinense, Perugia._
+
+_To face page 74._]
+
+A few stalls made by him are now in the church of S. Bartolommeo,
+Bergamo, which were brought from the Dominican church of S. Stefano,
+destroyed for the fortifications in 1561. The designs were made by Trozo
+da Monza, Bernardo da Trevi (? Treviglio), and Bramantino. As Locatelli
+says, they preceded the famous choir at Bologna, and show the master
+trying his wings. Some think that his best works are those in which he
+did not employ colour, but only shading, but general opinion considers
+his highest point was reached in the doors of S. Pietro in Casinense.
+
+Another Dominican intarsiatore was Fra Antonio da Viterbo, who, in 1437,
+made the doors of S. Peter's at Rome by order of Eugenius IV., which
+were subsequently destroyed by Paul V. He was paid 800 ducats of gold
+before the Pope died, when they were nearly finished. They were both
+inlaid and carved in the most elaborate fashion, as the list of subjects
+shows:--The Saviour, the Blessed Virgin, SS. Peter and Paul, and
+Eugenius on his knees, the martyrdom of SS. Peter and Paul, S.
+Plautilla, who received the borrowed veil from S. Paul; the Coronation
+of the Emperor Sigismund in S. Peter's in 1433 by Eugenius, "and there
+you see the Prefect of Rome holding the sword before him, their march
+through Rome, the union of the Greek Church with the Latin, the entry
+of the ambassador from the King of Ethiopia, and other histories of the
+time." He had two assistants, Valentine and Leonardo.
+
+[Illustration: _To face page 77._ Plate 35.--_Lunette from Stalls in
+Cathedral, Genoa._]
+
+The choir stalls in the Cathedral at Genoa are attributed to Francesco
+Zambelli of Bergamo, a relative of Fra Damiano. He was helped by Anselmo
+de' Fornari, Andrea and Elia della Rocca, Giovanni Michele de
+Pantaleone, and Giovanni Piccardo, who had already worked in the choir
+of the Cathedral of Savona. 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 Lorenzo, dated
+April 12, 1540. He agrees to get to work not later than the first of
+September next, and to stay in the city till the work is done. Nor must
+he undertake other work under a penalty of 100 scudi, which he is to pay
+in such case without demur or defence. The procurators agree to pay for
+every picture, with its frame, according to the design furnished to him,
+and they also promise to provide lodgings for himself and his family
+without any expense to him, and to give him a present when the work is
+finished. On the same day his relative, Fra Damiano, promises to make
+two pictures, one for the seat of the archbishop and one for the doge,
+to be ready by Christmas Day next, to be paid for at the rate of 27
+scudi each, measure and design to be given by the signory. The same day
+the aforesaid "Magnifici" had it explained to them that they would have
+to pay the expenses of making sketches. In the panel with the history of
+Moses Zambelli signs his name and domicile. Fra Damiano's subjects
+appear to be the large ones in the panelling before the stalls commence,
+"The Massacre of the Innocents" and "The Martyrdom of S. Laurence." The
+figure subjects are not very successful, the arabesques are better; but
+the panels with open cupboard doors and objects within are not so well
+done as Fra Giovanni's. The stalls were restored in 1868, and a good
+deal of new work put in. The choir of the Cathedral of Savona was made
+in 1500 by Anselmo de' Fornari, a native of Castelnuovo da Scrivia; Pope
+Julius II. (della Rovere), who was born in the city, commissioned it.
+The intarsias are on the elbows of the stalls, half-figures of saints
+nearly life size, singly or in pairs, among which is a portrait of the
+donor, with perspectives of palaces, temples, or interiors on the backs.
+The lower stalls have less important subjects, such as censers,
+chalices, vases of flowers, animals, armillary spheres, musical
+instruments, etc. The cost of these stalls was 1132 scudi d'oro larghi
+(10 francs each and a little more) half of which was paid by Julius
+II. and half by the Commune of Savona. In the same Cathedral are a fine
+lectern, an episcopal throne, two doors of the chapel of our Lady of the
+Column, and a fine seat, the "banco dell' opera," commonly called
+"Massaria." Upon such a seat sat anciently the four citizens elected by
+the Commune to attend to the interests of the Church governed by them.
+Within this bench were preserved the diplomas, statutes, and arguments
+held to be most important to the greatness of the country. Anselmo de'
+Fornari was helped by Elia de' Rocchi, and the commission was given to
+them jointly on January 30, 1500, on which date Cardinal della Rovere
+promised to pay 570 ducats towards the expenses.
+
+[Illustration: _To face page 78._
+
+Plate 36.--_Panel from lower row of Stalls, Cathedral, Savona._]
+
+Another intarsiatore who worked with Fra Damiano was Giovanni Francesco
+Capo di ferro of Lovere, on Lake Iseo. His masterpiece is the choir of
+S. Maria Maggiore, Bergamo. When it was determined to commence it in
+1521 the presidents of the church fabric sent to various cities of
+Italy, especially to Milan, to consult over the model to be selected for
+so important a work with the excellent painter and architect M. Bernardo
+Zenale da Treviglio. In the archives of the Misericordia is a book
+entitled "Fabbrica Chori," in which is noted the great expense of the
+designs only, among which were some made by Lorenzo Lotto, by
+Alessandro Bonvicini, called Il Moretto; Andrea Previtali, Giacomo de'
+Scipioni, Filippo Zanchi, Giuseppe Belli, Domenico di Albano, Niccolino
+Cabrini, Pietro da Nembro, Francesco Boneri, and other painters, as well
+as the making of models and other similar operations. Those who worked
+at carving and tarsia under the direction of Giovanni Francesco were his
+son Zinino and Pietro his brother, who lived in Lodi; Paolo da Pesaro,
+and many others, including a whole family, Giovanni di Ponteranica and
+his four sons. The part towards the sacristy was designed by Lorenzo
+Lotto, the rest by Alessandro Belli. The sedilia on the Gospel side bear
+a signature hung from a tree, "Opus Jo: Franc: D. Cap. Ferr. Bergomi."
+The four panels outside the screen are Noah entering the ark, the
+passage of the Red Sea, the triumph of Judith by the death of
+Holofernes, and the victory of David over Goliath. Thus Tassi speaks of
+them--"These, to speak the truth, for their admirable workmanship,
+singular art, and beautiful colouring, do not appear to be pieces of
+wood put together, but rather pictures formed by an excellent brush, the
+pieces placed with such mastery, 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 designs, and as he was a celebrated and
+finished painter and a powerful one, thus certainly these pieces of wood
+put together could stand in face of paintings by the most celebrated
+brushes, which, beyond the exactness of drawing, gave to their works
+singular force and finish; for in them all the possible excellences of
+drawing and of art are displayed, and whoever has had the opportunity of
+well considering them has remained surprised and delighted, never
+believing that human art could reach so high a pitch of perfection." His
+last work is mentioned in 1533, two pictures of Samson, at 60 lire each.
+In 1547 his son Zinino and his brother Giovanni Pietro went on with the
+choir, and finished it nine years later. The total cost for labour alone
+was 7000 lire Imperiali.
+
+[Illustration: _To face page 80._
+
+Plate 37.--_Panel from the Ducal Palace, Mantua._]
+
+In Spain there must have been a good deal of intarsia done, seeing how
+long the Moors held the southern part of the country, but very little
+has come down to us. In the Mosque at Cordova was a finely inlaid mihrab
+of the 10th century, which was unfortunately destroyed in the 16th
+century and its material used to make an altar. In the Museum at South
+Kensington are some panels with Hispano-Moresque geometric inlays of
+bone of the 15th century, which are very pleasing; the ground is of
+chestnut, the bone is often stained green, and metal triangles and
+light wood are also used. This use of bone, which is frequently tinted,
+in conjunction with black and pale wood, is characteristic of Spanish
+work of the 16th century. The design is often exceedingly naive,
+employing birds, animals, plants, and trees, with scrolls and monsters.
+There is one cabinet at South Kensington with the animals entering the
+ark, which is most entertaining. The Portuguese carried this work on
+later, especially at Goa, in the 17th century, but neither here nor in
+Spain is the later work tasteful, except occasionally. Cabinets were
+then made at Toledo of ebony and ivory, and at Seville and Salamanca the
+same materials were used for chests and sideboards.
+
+At Burgos is a pulpit decorated with inlay as well as carving, and one
+of the most elaborate works of marquetry of comparatively modern times
+is Spanish. This consists of the decoration of four small rooms in the
+Escurial, upon which 28,000,000 reals (L300,000) was spent in 1831. They
+are called "piezas de maderas finas," rooms of perfect or delicate
+woods, and are entirely covered with landscapes, still-life subjects,
+flowers, etc., made of the finest and most costly woods, and almost like
+paintings; floor, frieze, panels, window recesses, and doors.
+
+There was a mode of decorating furniture much used in Spain and
+Portugal, especially the latter, in which metal plates, cut and pierced
+into elaborate and fanciful patterns, were fastened on to the surface of
+objects made of black wood by means of small pins. From this to the
+decoration of the same surfaces by sinking the metal in the wood is a
+short step, and some think that this was the origin of the metal inlay
+so well known a little later under the name of Boulle work.
+
+
+
+
+IN GERMANY AND HOLLAND, ENGLAND AND FRANCE
+
+
+[Illustration: Plate 38.--_Panel from the Rathaus, Breslau, 1563._
+
+_To face page 84._]
+
+In Germany there can be little doubt that the art first struck root in
+the southern part of the country, the towns which produced the earliest
+furniture and other objects decorated in this manner being Augsburg and
+Nuremberg. The first names of workers recorded, however, are those of
+the two brothers Elfen, monks of S. Michael at Hildesheim, who made
+altars, pulpits, mass-desks, and other church furniture for their
+monastery, ornamented with inlays, at the beginning of the 16th century,
+and Hans Stengel, of Nuremberg, but none of the inlaid work of either
+has come down to us. Two earlier pieces are figured by Hefner Alteneck,
+the harp already referred to on p. 8, and a folding seat of brown wood
+inlaid with ivory, stained yellow or light green, and black or dark
+brown wood, in oriental patterns, both of the latter part of the 14th or
+beginning of the 15th century. Two other names are mentioned as capable
+craftsmen in Nuremberg, Wolf Weiskopf and Sebald Beck; the latter died
+in 1546. The Augsburg work was much sought after, the "so-called
+mosaic work of coloured woods." The designs for the panels were
+generally made by painters, architectural and perspective subjects being
+most common, but flower pieces, views of towns, and historical
+compositions were also made. A German work thus characterises the later
+16th century productions of this type--"A certain kind of intarsia
+becomes common in the German panelling and architectural woodwork; also
+in cabinets, vases, and arabesques, with tasteless ruins and
+architectural subjects with arabesque growths clinging all over them, of
+which examples may be seen in the museums at Vienna and Berlin, where
+one may also see works in ebony with engraved ivory inlays, which are
+generally more satisfactory. In German work, however, inlay was never of
+so much importance as carving, and the Baroque influence almost
+immediately affected the character of the design for the worse." At
+Dresden and Munich there were several celebrated inlayers in the 17th
+century, among whom may be named Hans Schieferstein, Hans Kellerthaler,
+of Dresden, and Simon Winkler, N. Fischer, and his son Johann Georg, of
+Munich, the last of whom, with his contemporary Adam Eck, practised
+relief intarsia, of which the latter is said to have been the inventor.
+It was known in the art trade as "Praeger arbeit," which was not a name
+which accurately described its origin. Panellings of walls and doors
+were often decorated with inlays, most frequently of arabesques, of
+which the town halls of Luebeck and Danzig furnish fine examples. The
+"Kriegsstube" at Luebeck was done by Antonius Evers, who in 1598-9 was
+master of the joiners' guild, with his companions. The Rathsaal at
+Lueneburg was made in 1566-78, and the name of Albert von Soest is
+connected with it. Danzig, in the "Sommerrathstube," shows intarsias and
+decorations of 1596 in which the painter Vriedeman Vriese and a certain
+Simon Herle, probably a local man, collaborated. Other similar works may
+be seen at Brunswick and Breslau, at Ulm, in the Michel Hofkirche at
+Munich, and in the Cathedral at Mainz. At Coburg, in the so-called
+"Hornzimmer," are intarsias worked from the designs of Lucas Cranach and
+others, at Rothenburgh, at Geminden, at Landshut, and in many places in
+Tyrol and Steiermark, most of them much mixed with carving, too numerous
+to describe. The intarsias at the Hofkirche at Innsbruck, begun in 1560
+by Conrad Gottlieb, may, however, be mentioned as being remarkably fine.
+Schleswig Holstein is full of intarsias of the end of the 16th and
+beginning of the 17th century, of which perhaps the finest are in the
+chapel of the Castle of Gottorp. The princes' prayer chamber or pew
+is elaborately panelled, and the panels are all filled with inlays,
+mostly arabesques. The door and wall panels have elaborate architectural
+forms in relief with base, frieze, and pilasters; and are also fully
+inlaid with arabesques, counterchanged bay by bay. The ceiling is
+coffered, and the male and female patterns are counterchanged
+diagonally. Bosses of lions' heads and rosettes project from the
+surfaces of the beams, between which the intarsia panels are flat. The
+central features in the several divisions are sunk, a central oblong
+with an oval in centre bearing the subject of the Resurrection and two
+side diamonds. The panels surrounding these have raised mouldings, so
+that there is considerable variety of level, and the whole is raised on
+a bracketed cornice, the flat surface of which has small panels inlaid
+in the same fashion. It was put up in 1612 by Duke Johann Adolf of
+Schleswig Holstein and his wife, Augusta of Denmark.
+
+[Illustration: Plate 39.--_Panel from Church of S. Mary Magdalene,
+Breslau._
+
+_To face page 86._]
+
+[Illustration: Plate 40.--_Pilaster strip from the Magdalen Church,
+Breslau._]
+
+In the State archives of Schleswig, in 1608, the names of Andreas
+Sallig, court joiner; Jochim Rosenfeldt, carver; and others are noted.
+Also in 1609, with the addition of the painter Herman Uhr and Hans and
+Juergen Dreyer, of Schleswig; also the carver Hans Preuszen, and Adam
+Wegener, the figure-cutter. In 1610 the names of Juergen Koningh,
+joiner's workman, several carvers, and Herman Uhr, the painter, occur.
+In 1611 Herman Uhr and Klaus Barck work in the chapel, the first for 115
+days, and the second for 178 days, and in 1612 several carvers and
+turners work for a long time at the rate of five "schillings" a day, as
+well as Herman Uhr and his assistant. These records distinctly suggest
+that the painter Herman Uhr was the designer, since his name is the only
+one which appears for four years consecutively, though the long period
+during which he worked in 1612 may be explained by the number of
+paintings which cover a portion of the exterior of the pew.
+
+[Illustration: Plate 41.--_Panel from S. Elizabeth's Church, Breslau._
+
+_To face page 88._]
+
+In South Germany one often meets with musical instruments which are
+inlaid with conventionalised floral forms. They were produced in the
+17th century in considerable quantities in Wurtemburg, Bavaria, and on
+the Southern Shores of Lake Constance. Nor must one forget the
+extraordinarily elaborate ivory inlays on the stocks of arquebuses. In
+the Wallace collection are many examples, and attention may be drawn to
+a jewel box made in 1630 by Conrad Cornier, arquebus mounter, which is
+decorated with most elaborate scrolls, leaves, and birds of ivory and
+mother-of-pearl, stained green in parts. It is made of walnut, and has
+metal scrolls at the corners of the panel framing. The German inlays
+on the whole rather run to arabesques and strapwork, or naturalistic
+vases of flowers, with butterflies and birds; one meets occasional
+perspectives and even figures, but the work is generally harder and less
+successful than the Italian technique, with a larger and less
+intelligent use of scorched tints.
+
+In the latter part of the 17th 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 another, or even of two others;
+the effect is not quite happy. Tortoiseshell also appears, and metal and
+coloured stones; the striving after what they thought to be greater
+artistry soon caused them to outstep more and more the proper limits of
+the art, and brought about decadence. The South German bride chests of
+the century before are decorated a good deal with inlays, Peter
+Flotner's designs often serving as patterns; a little green and red
+appear mixed with the commoner colours. The architectural forms project,
+and would form a tolerable design by themselves, though scarcely
+suitable to the object to which they are applied. In German work the
+cabinets are often of the most elaborate architectural design, like the
+facade of a palace, made of ebony, or occasionally even of ivory, and
+inlaid with ivory, silver, gold and enamels or precious stones.
+Augsburg was the most celebrated place for such work. The joiner, the
+woodcarver, the lapidary, and the goldsmith all worked together on such
+things. In the North of Germany tarsia was principally used on chests,
+cabinets, seats, and smaller objects of furniture; in South Germany,
+where the Italian influence was stronger, it was much used in
+wall-panelling and the panels of doors. The little castle of Voelthurn,
+near Brixen, built by the bishop of that town in 1580-85 and decorated
+by Brixener artists and joiners (now belonging to Prince Lichtenstein),
+shows "panelled walls with architectural features, columns, cornices,
+and friezes, with gabled doorways with columns and pediments, decorated
+with very delicate intarsias, foliage ornaments, flowers, and fruit, a
+work which modern Brixener joiners could with difficulty understand"; so
+says Von Falke. Ebony and ivory work came to Germany in the latter half
+of the 16th century, when Augsburg and Nuremberg soon exported their
+productions of this sort to all the world, and with this commercial
+production the use of male and female designs begins, black on white and
+white on black. The latter is the better and more valued. Hans
+Schieferstein's cabinet, now at Dresden, a work of this period, has an
+ingenious use of this mode of inlay. It is made of ebony or veneered
+with that wood, and has inlays of brown cypress and of ivory. The
+panel on the inside of the door is of the same design as that on the
+outside, but what was white becomes brown, what was brown is black, and
+the black becomes white.
+
+[Illustration: Plate 42.--_Lower panel of door, 1564--Tyrolese._
+
+_To face page 90._]
+
+In the Musee Cluny is a wire drawing bench made in 1565 for Augustus I.,
+Elector of Saxony, who was an amateur craftsman. The two longitudinal
+surfaces are covered with a double frieze of marquetry, one side
+representing a satirical tournament between the Papacy and Lutheranism,
+and the other a carousal of wild men. In front one sees the marqueteur
+with his tools doing his work, below which he has placed his monogram,
+L--D., accompanied by a cup.
+
+In the Museum at Leipzig is a very fine cabinet, with many drawers
+within, elaborately inlaid with arabesques on a light ground, with a few
+architectural forms in ebony projecting. It is Tyrolese work of the
+beginning of the 17th century, and is a typical example. To the few
+names of German intarsiatori may be added those of Isaac Kiening, of
+Frissen, and Sixtus Loblein, of Landshut.
+
+In the lower Rhine and in Holland tarsia was used for great and small
+chests, sideboards and doors with rich gable crownings, with good
+drawing of flowers, and sprigs of leaves with birds and beasts among
+them, the ground being generally light. The doors ordered by the Swedish
+Chamberlain, Axel Oxenstiern, now in the drinking-room of the King's
+Castle of Ulriksdal, near Stockholm, are said by Von Falke to be the
+finest examples extant of this kind of work, and to have been made in
+the 17th century by a Dutch craftsman. The best period in Holland was
+the second half of the 16th and the first half of the 17th century. In
+the work of this period the handling is broad, and the composition often
+a little over-full, but the many different woods which Dutch commerce
+made available seduced the marqueteurs into too pictorial a treatment in
+point of colour. Their reputation was so great that Colbert engaged two
+Dutch marqueteurs, Pierre Gole and Vordt, for the Gobelins at the
+beginning of the 17th century, and Jean Mace also learnt the craft by a
+long stay in Holland. Here, as well as in France and Italy, rich chairs
+were commonly decorated with marquetry, and in William and Mary's reign
+such things became the fashion in England. The design employed tulips
+and other flowers, foliage, birds, etc., all in gay colours; ivory and
+mother-of-pearl were used occasionally for salient points, such as eyes.
+Examples of the use and misuse of these materials may be seen in the
+Victoria and Albert Museum at South Kensington.
+
+[Illustration: Plate 43.--_Top of card table in the Drawing-room,
+Roehampton House. Dutch, 18th Century._
+
+_To face page 92._]
+
+[Illustration: Plate 44.--_Panelling from Sizergh Castle, now in
+Victoria and Albert Museum._]
+
+Although not much work of importance is known in England which is
+certainly the production of native craftsmen, a few notable examples may
+be called to mind, such as the room from Sizergh Castle, now at South
+Kensington, with inlays of holly and bog-oak, and the fine suite of
+furniture at Hardwick Hall, made for Bess of Hardwick by English workmen
+who had been to Italy for some years. Correspondence passed between her
+and Sir John Thynne on the subject of the craftsmen employed by both,
+and there seems no doubt that Longleat and Hardwick were the work of the
+same men. The inlays upon the long table are particularly fine, and
+except for a certain clumsiness almost recall the glories of the great
+period of Italian marquetry. The cradle of James I. (1566) is enriched
+with inlays.
+
+At Gilling Castle, near Wakefield, are some panels inlaid with flowers,
+etc., which local tradition says were executed by some of the ladies of
+the family, which probably points to their having been done under their
+superintendence by local workmen, and small panels of rough inlay are
+not uncommon in chest and bedstead, overmantel and cabinet from the
+Jacobean period onward. S. Mary Overie, Southwark, possesses a fine
+parish chest decorated with a good deal of Dutch-looking inlay in
+conjunction with carving, and a rather unusual piece of work may be
+seen at Glastonbury Hall, 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 1726. The use of satin wood
+came into fashion towards the end of the eighteenth century, and was
+accompanied by a delicate inlay of other woods, which, however, scarcely
+went beyond the simplest ornament, since the decoration of furniture by
+means of painting became fashionable at nearly the same period.
+
+[Illustration: Plate 45.--_Cabinet with falling front, in the
+drawing-room, Roehampton House._
+
+_To face page 94._]
+
+It was in France that the most wonderful achievements of the later
+marqueteurs were produced, which have made French furniture recognised
+by the public as well as by connoisseurs as an art manufacture, in
+conjunction with the wonderfully chiselled ormolu mountings. Mention is
+made of intarsia in France as early as the end of the fifteenth century,
+however. In the inventory of Anne of Brittanny's effects (1498) may be
+read "ung coffret faict de musayeque de bois et d'ivoire," and in a
+still earlier one of the Duke de Berry's, dated 1416, is mentioned a
+"grant tableau, ou est la passion de Nostre Seigneur, fait de poins de
+marqueterie." This is as early as the intarsias of Domenico di Nicolo at
+Siena, and was probably of foreign manufacture. In 1576 a certain Hans
+Kraus was called "marqueteur du roi," but the first Frenchman known to
+have practised the art is Jean Mace of Blois, who was at work in
+Paris from 1644 or earlier to 1672 as sculptor and painter. He is said
+to have been the first who brought intarsia into France, under the name
+of "marqueterie," having been for some time in the Netherlands. His
+title was "menuisier et faiseur de Cabinets et tableaux en marqueterie
+de bois." He was lodged in the Louvre in 1644 (when Louis XIV. was six
+years old), "en honneur de la longue et belle pratique de son art dans
+les Pays Bas." His daughter married Pierre Boulle, who in 1619 was
+turner and joiner to the King, probably both to Louis XIII. and Henry
+IV. In 1621 Paul Boulle was born, and five years later Jacques. The
+family was settled at Charenton-le-Pont, near Paris, the principal town
+of the Huguenots for eighty years. Here, in 1649, Pierre Boulle was
+buried, the father of seven children. The earlier seventeenth century
+designs show picturesque landscapes or broken ruins or figures, _motifs_
+which recur a century later, as in the beautiful panel signed "Follet"
+in the Cabinet by Claude Charles Saunier in the Wallace collection. The
+colours are occasionally stained, and ebony and ivory are favourite
+materials. It is impossible to fix the exact time when copper and
+tortoiseshell came into use in France. Some of the cabinets in which
+they appear are certainly of the period of Louis XIII. It was probably
+imported either from Spain or Flanders; it became very fashionable
+about the middle of the seventeenth century, and ended by entirely
+absorbing the official orders of the Court of Louis XIV. With this work
+the name of Boulle is indissolubly associated. Pierre Boulle was lodged
+in the Louvre about 1642. In 1636 he is on the list for 400 livres
+annually. Jean Boulle died in the Louvre in 1680. He was the father of
+Andre Charles probably, who was born in November, 1642, and the nephew
+of Pierre. Andre Charles Boulle in 1672 succeeded to the lodging of Jean
+Mace in the same building, and seven years later by a second brevet to
+the "demilogement," formerly occupied by Guillaume Petit "to allow him
+to finish the works executed for His Majesty's service." It is told of
+him by a contemporary that the talented boy wanted to be a painter, but
+his father would not allow it, and insisted upon his keeping to
+handicraft. He was a man of most varied talent; when he was first
+granted apartments in the Louvre it was as "joiner, marqueteur, gilder,
+and chiseller," and in the decree of Louis XIV., by which he was
+appointed the first art-joiner to the King, he is called "architect,
+sculptor, and engraver." He had a passion for collecting drawings,
+paintings, and other works of art, and when his workshops were burnt his
+collection was valued at 60,000 livres. This taste brought him into
+money difficulties, and in 1704 his creditors obtained a decree
+against him, 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 them. He was a member of the Academy of
+S. Luke as sculptor and brass engraver. The Cabinet of the Dauphin was
+considered his masterpiece, in which the walls and ceiling were covered
+with mirrors in ebony frames, with inlays of rich gilding, and the floor
+laid with wood mosaic, in which the initials of the Dauphin and his wife
+were intertwined. The drawing made for it is now in the Musee des Arts
+Decoratifs, but the work itself no longer exists. On August 30th, 1720,
+his works were burnt, it was thought by a thief whom the workmen of
+Marteau, his neighbour at the Louvre, had surprised some months before
+and punished summarily, who, by way of vengeance on the "menuisiers,"
+set fire to the "ebenistes." Nearly everything he possessed was either
+burnt, lost, or stolen; models of the value of 37,000 livres, wood and
+tools worth 25,000, many pieces of furniture finished or in course of
+construction; works in metal, as well as in wood, and his whole
+collection of drawings, paintings, and objects of art. His total loss
+was estimated by experts at 383,780 livres, more than 1,000,000 of
+francs in the money of to-day, from which an income of 50,000 francs
+might be expected. This valuation was on an inventory drawn up shortly
+after, perhaps for the purpose of getting the King's help. The number of
+undeniable productions of his hand is small, but objects which came from
+the studio after his death are tolerably plentiful since his four sons
+carried on the business, though not the inspiration; contemporaries
+characterised them as "apes." Two commodes which were in Louis XVI.'s
+bedroom at Versailles are now in the Bibliotheque Mazarin, and a chest
+which was forgotten in the Custom House at Havre now belongs to the
+museum of that city. A cabinet is in the Mobilier National, and a
+pedestal is in the Gruenes Gewoelbe at Dresden. Other genuine Boulles are
+in the Wallace collection, in the Rothschild collection, and at the
+Hotel Cluny. A writing table, for which the millionaire Samuel Bernard
+(who died in 1739), a great collector of art treasures, had given 50,000
+livres, appears to be lost. M. Luchet asks, with some truth, "Can you
+imagine a financier, Jew or Christian, paying 100,000 francs for a new
+bureau? Old, it would be another thing--an object of art to sell."
+Boulle was most careful over his materials. He had 12,000 livres worth
+of wood in his stores, fir, oak, walnut, battens, Norwegian wood, all
+collected and kept long and carefully for the benefit of the work. He
+also used real tortoiseshell, which, is replaced in the economical art
+industry of the day with gelatine. The mountings were always chiselled,
+cast quite roughly, so that the artist did nearly everything. He was
+helped in this part of the work by Domenico Cucci and others. The inlay,
+instead of being tortoiseshell, may have been horn, mother-of-pearl,
+ivory, or wood; the motive, instead of brass, may be pewter, silver,
+aluminium, or gold; it is still known by the name of Boulle work. Boulle
+himself worked intarsia of wood also at intervals all through his life.
+He died February 29th, 1732.
+
+[Illustration: Plate 46.--_Cabinet belonging to Earl Granville. Boulle
+work of about 1740._
+
+_To face page 96._] [Illustration: Plate 47.--_Top of writing table in
+the Saloon, Roehampton House. Period of Louis XV._]
+
+[Illustration: Plate 48.--_Encoignure, signed J. F. Oeben, in the Jones
+bequest, Victoria and Albert Museum._
+
+_To face page 98._]
+
+His pupil, J. F. Oeben, became "ebeniste du roi," with a lodging in the
+_dependances_ of the Arsenal in 1754. He was marqueteur especially.
+Examples of his work are both at South Kensington and in the Wallace
+collection, and in the Gallerie d'Apollon at the Louvre is the great
+secretary bureau, which he was making for Louis XV. at the time of his
+death, in or about 1765. His widow carried on the establishment; her
+foreman, J. Henry Riesener, completed the unfinished work. He was also a
+German, born in 1735 at Gladbach, near Cologne, and coming to Paris
+quite young entered Oeben's atelier. On his death he was made foreman,
+and two years after, when he was thirty-two years of age, married his
+master's widow. The year following 1768 he was received as master
+_menuisier ebeniste_. In 1776 his wife died, and six years after he
+married again, but was divorced as soon as the new legislation allowed
+it. When he was married the first time he had no fortune, but fifteen
+years after he declared in his marriage contract that there was then
+owing to him by the King, the royal family, and other debtors 504,571
+livres, without counting the finished objects in his warehouses, his
+models of bronze, his jewels, and personal effects, and several
+important life annuities. Between 1775 and 1785 he received from the
+Garde Meuble 500,000 livres, so profitable had the production of
+furniture of the highest class become. He was in full work at the time
+of the Revolution, and two of his finest pieces bear the dates 1790 and
+1791 in their marquetry. When the furniture of the royal residences was
+sold, Riesener bought back several pieces, being aided by Charles
+Delacroix, the husband of his first wife's daughter, who directed the
+sale at Versailles. He tried to sell these again, but with poor success,
+and when he died, on January 8th, 1806, at the age of 71, he was again
+almost without fortune. His beautiful bureau secretary in the Wallace
+collection, made for Stanislas Leczinski, King of Poland, and dated
+1769, shows him at his best. The workmanship is superb, and the design
+most pleasing, almost the only point to which exception may be taken
+being the crude green, obtained by staining, here and there. The
+half-length of Secrecy in the oval cartouche at the back is as good as
+the best Italian figure work, and was often reproduced by him. The
+flower panels are particularly delicate and beautiful. There is an
+upright secretary, also by him, in the same collection almost equally
+delicate and beautiful in its marquetry decorations. The diaper patterns
+so characteristic of this period are most beautifully executed, but are
+not very interesting, and the mountings take the interest rather from
+the marquetry, becoming more and more delicately designed and
+elaborately worked. The principal woods used by Riesener were tulip and
+rose wood, holly, maple, laburnum, purple wood, and sometimes snake
+wood. His contemporary, David Roentgen, used principally pear, lime, and
+light-coloured woods, burnt for the shades.
+
+[Illustration: Plate 49.--_Panel from back of Riesener's bureau, made
+for Stanislas Leczinski, with figure of Secrecy._
+
+_To face page 100._]
+
+[Illustration: Plate 50.--_Roundel from bureau, made for Stanislas
+Leczinski, King of Poland, now in the Wallace Collection._
+
+_To face page 102._]
+
+Paris has endured a regular invasion of German craftsmen from the middle
+of the eighteenth century, and the Faubourg S. Antoine still has a
+number of German-born joiners among its workmen. Among the most
+celebrated of them was David Roentgen, born either at Neuwied or
+Herrenhagen in 1743. In 1772 he succeeded his father, Abraham Roentgen,
+in his business at Neuwied am Rhein, which he had founded in 1753, and
+from which he retired into the house of the Moravian brethren, where he
+lived for twenty years longer. The engraver Wille relates that he came
+to his house in Paris in 1774 with letters of recommendation, and that
+he put him in touch with designers and sculptors. When Marie Antoinette
+became Queen he was appointed "Ebeniste mechanicien" to the Queen. He
+was in such good odour with her as to be charged on several occasions to
+carry presents to her mother and sisters. Her favour excited the
+jealousy of the other joiners, and they contested his right to sell
+foreign-made furniture. He got out of this difficulty by being admitted
+a member of their corporation on May 24th, 1780. He was so entirely
+master of his craft, and increased its resources so much by using exotic
+woods, that contemporary opinion thought it difficult to imagine greater
+success in the particular direction in which he worked. In 1779 he
+showed a table of marquetry, made in a new fashion, which he described
+as a mosaic, "in which the shades are neither burnt, nor engraved, nor
+darkened with smoke, as one has been obliged to express them until now,"
+a return in fact to the earlier Italian method. His designs were many of
+them made by Johann Zick of Coblenz, others by Jean Baptiste Le Prince,
+chinoiseries, and shepherd games. Under him the later German marqueterie
+reached its highest point. His works went all over Europe, from St.
+Petersburg to Paris, and replicas were ordered by those who were obliged
+to forego the originals. He sold to Catherine of Russia a series of
+articles of furniture for 20,000 roubles, and the Empress added a
+present of 5000 roubles and a gold snuff-box. The King of Prussia was
+his constant protector, and in February, 1792, gave him the title of
+Secret Councillor, and in November of the same year named him Royal
+Agent on the Lower Rhine. The Revolution ruined him, and he was obliged
+in 1796 to close his factory. He abandoned France at this period, and
+the Government, considering him as an "Emigre," seized all his effects
+in 1793, including the furniture made at Neuwied, then in his stores. He
+died at Wiesbaden in 1807. With him these incomplete historical notes
+may terminate. Many of the names mentioned are but names, while in many
+cases names and works cannot be connected, for the carver and
+intarsiatori were often, like other craftsmen, content to do the work
+without caring about the reputation of doing it; 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 rarity, and certainly do not show them
+to any disadvantage compared with other artists, or those among whom
+their lives were passed.
+
+
+
+
+THE PROCESS OF MANUFACTURE
+
+
+The early mode of working intarsia in Italy, where it is more than 100
+years more ancient than in any other country, was by sinking forms in
+the wood, according to a prearranged design, and then filling the
+hollows with pieces of different coloured woods. At first the number of
+colours used was very small--indeed, Vasari says that the only tints
+employed were black and white, but this must be interpreted freely,
+since the colour of wood is not generally uniform, and there would
+consequently often be a difference in tint in portions cut from
+different parts of the same plank. A cypress chest of 1350, now in the
+Victoria and Albert Museum, shows another mode of decoration standing
+between tarsia proper and the mediaeval German and French fashion of
+sinking the ground round the ornament and colouring it. In this example
+the design is incised, the ground cleared out to a slight depth, and the
+internal lines of the drawing and the background spaces filled in with a
+black mastic, the result much resembling niello. 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 Siena, which, though
+an early work of Domenico di Nicolo, are well considered in design, well
+executed, and quite satisfactory in point of harmony between material
+and design.
+
+[Illustration: Plate 51.--_Antonio Barili at work, by himself._
+
+_To face page 104._]
+
+At the commencement of the Renaissance the fancy of the intarsiatori
+overflowed in the most graceful arabesques, which are perfectly suited
+to the material and are often executed with absolute perfection, and
+these may perhaps be held to be the most entirely satisfactory of their
+works, though not the most marvellous. The ambition of the craftsman led
+him to emulate the achievements of the painter, and we find, after the
+invention of perspective drawing, views of streets and other
+architectural subjects, which are not always very successful, and the
+representation of cupboards, the doors of which are partly open, showing
+objects of different kinds on the shelves, which are often rendered with
+the most extraordinary realism, when the means adopted are
+considered.[3] This realism was much assisted by Fra Giovanni da
+Verona's discovery of acid solutions and stains for treating the wood,
+so as to get more variety of colour, and by the practice of scorching
+portions of the pieces of which the subject was composed, thus
+suggesting roundness by means of shading. It was a common practice to
+increase the decorative effect by means of gilding and paint, thus
+obtaining a brilliancy of colour at the expense of unity of effect
+sometimes, one may think, 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 times. At the best period it was used almost entirely
+for church furniture and the furnishings of public edifices, in Italy at
+least, and many of the ranges of stalls still occupy their original
+positions.
+
+[Illustration: Plate 52.--_Panel from the Victoria and Albert Museum._
+
+_To face page 106._]
+
+The principal woods used in the work of the best period were pear,
+walnut, and maple, though pine and cypress also appear. Ebony was
+imitated with a tincture of gall apples, green was obtained with
+verdigris, and red with cochineal. Sublimate of mercury, arsenical acid,
+and sulphuric acid were also used to affect the colour of the wood. This
+treatment lessened its lasting power, and often caused its decay through
+the attacks of worms. The scorching was done with molten lead, or in
+very dark places with a soldering-iron. It is now done with hot sand.
+The following technical description is taken from a German book of
+1669--"Wood-workers paint with quite thin little bits of wood, which
+are coloured in different ways, and the same are put together after
+the form of the design in hollowed-out panels, fastened with glue and
+polished with an iron on the surface so that they may become quite
+smooth. They paint at the present time in this manner tables and jewel
+chests or trays, and all in the highest artistic manner. Also separate
+pictures are put together, which copy the works of the most celebrated
+masters. First, they take small, very thin pieces of pear or lime dyed
+through with different colour-stuffs, which are prepared by certain
+processes, so that the wood is the same colour within and without. Then
+they give them their several shapes as the kind of picture requires,
+cutting them according to the size and shape, and stick them with glue
+on the board. In the place of wood they sometimes use bone, horn, and
+tortoiseshell cut into fine strips, also ivory and silver. The whole
+work is called by the Germans 'Einlegen' or 'Furnieren,' because
+although each piece is separate from the others no part is taken out
+from the surface in which such figures are inlaid, but the whole is
+covered." With the use of the fret-saw for cutting the patterns, and the
+consequent discovery of the possibility of counterchanging the ground
+and the design (that which was black becoming white, and _vice versa_),
+called male and female forms, the manufacture of tarsia, or marquetry
+rather, commenced to take a more commercial aspect, the cost being
+considerably reduced by the making of several copies by one sawing. This
+is the process used at the present day.
+
+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 wood, and also on the level grounding
+out of the matrix. In Spanish and Portuguese work ivory or ebony pins or
+pegs were used also. Marquetry is a form of veneering, and the operation
+is thus conducted:--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 clean, newly-worked surface; the ground is then well wetted with
+glue, at a high temperature, and the two surfaces pressed tightly
+together so as to squeeze as much out as possible. The parts are screwed
+down on heated metal beds, or between wooden frames, made so as to
+exactly fit the surfaces in every part, called "cauls," until the glue
+is hard. In cutting the patterns of Boulle work two or three slices of
+material, such as brass and tortoiseshell or ebony, are glued together
+with paper between, so that they may be easily separated when the
+cutting is done. Another piece of paper is glued outside, upon which the
+pattern is indicated. A fine watch spring saw is then introduced
+through a hole in an unimportant part of the design, and the patterns
+sawn out as in ordinary fretwork. The slices are then separated, 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
+pattern. When there are only two slices of material the technical term
+for them is Boulle and Counter. When the various parts have been
+arranged in their places, face downwards, paper is glued over them to
+keep the whole in place, and filings of the material rubbed in to fill
+up any interstices. The whole is then toothed over and laid down in the
+same manner as ordinary veneer, the ground being first rubbed over with
+garlic, or some acid, to remove any traces of grease. Marquetry of wood
+is made in the same way, but more thicknesses of wood are put together
+to be sawn through, as many as four not being an unusual number, while
+for common work even eight may be sawn at one time, and the various
+sheets are pinned together only with a stiff backing of common veneer of
+good thickness to steady the work. Dye woods are used as far as
+possible, and holly stained to the required colour serves for greens and
+blues and a few other tints. Pearl is always cut in one thickness, and
+is glued down on a backing of wood at least 1/8-inch thick.
+
+Another mode of cutting the design approximates more nearly to the
+ancient practice. The whole design is drawn on paper attached to the
+ground, or counter, and cut out entirely. The various portions of inlay
+are then cut from different veneers of the desired colour and fitted
+into their places. Another method is to paste the paper with the whole
+design on the ground, and on it to paste the various ornaments cut from
+suitable veneers, then to cut through the ground, the saw grazing the
+edges of the ornamental forms. The parts so cut out are then pushed
+through the ornaments, separated from the paper, and laid down in the
+vacant places. A variation on this method is to cut out the forms to be
+inlaid in different veneers, and glue them in their proper positions on
+a sheet of paper. A sheet of white paper is pasted on the veneer, which
+is to serve as the ground. A sheet of blackened paper is laid over it,
+and over this the sheet with the forms to be inlaid, which are then
+struck with a light mallet, so as to print an impression of their edges
+upon the paper. The printed shapes are then cut out one at a time, care
+being taken to make the saw exactly follow the outline. The object of
+all these processes is, of course, to ensure the ground and the inlaid
+forms exactly fitting. After cleaning the surface from paper and glue it
+is smoothed with plane and scraper, and the markings on leaves or other
+figures made by a graver, if not already made by saw cuts, and they and
+the lines between the male and female forms are filled with shellac or
+wood-dust and glue.
+
+In Germany the veneers used are one to two millimetres thick, _i.e._,
+one-twenty-fifth or two-twenty-fifths of an inch. The principal woods
+used are walnut, pear, ash, bird maple, holly, olive, amboyna, rose
+wood, violet wood, thuya, and palisander, which name is also used on the
+Continent for rose wood and violet, though it is really a sort of cedar.
+Tortoiseshell, ivory, and metal plates are also used, principally of
+pewter, brass, and zinc. Seeman's Kunstgewerbliche Handbuecher advise
+thus:--"When ivory or hard precious metals are used it is better to
+divide the design into smaller parts. To avoid damage to the effect by
+time and change of colour in the woods such combinations as the
+following are to be preferred:--Mahogany and black walnut, pear and
+black walnut, Hungarian ash and black thuya, pear and palisander, brass
+and black, etc. For fine, small ornament smooth, even-textured woods
+should be used such as pear, mahogany, maple, or holly; for broad
+patches and backgrounds, which are not required to be dark, you should
+use patterned or streaked woods, like bird maple, amboyna, thuya, or
+olive. Ivory, mother-of-pearl, and metals in large pieces look hard and
+loud, so it is better to use them in quite small pieces. If engraved,
+larger pieces may be employed and used for inscription tablets, coats of
+arms, and cartouches, or for bits of figures, birds, and butterflies.
+Shading may be done in various ways. Lines may be engraved and filled up
+with a glue cement, or hatchings may be drawn with a scorching solution,
+or the wood may be burnt with hot sand. The sand is made hot in an iron
+pot, and the piece to be darkened inserted. Or it may be scorched with a
+hot iron or spirit or gas flame. The simplest way is with the poker used
+in poker work." In England the sand is heaped upon a metal plate which
+is heated underneath. The veneer is held with tweezers and pushed into
+the sand, the gradation of heat giving gradation of tone. The hot sand
+shrinks the wood, and allowance must be made for this.
+
+Veneers are both saw and knife cut; the saw wastes about as much as the
+thickness cut in sawdust. They range from 8 to 15 to the inch. The
+French saw-cut their veneers thinner than the English do.
+
+The woods in every-day use at the present day are white holly, box, pear
+(in various shades), and holly (dyed all colours); while the veneer
+merchants sometimes supply also planetree, sycamore, chestnut,
+Brazilwood, yellow fustic, barwood, tulipwood, kingwood, East and West
+India satinwood, rosewood, ebony, ash, harewood, Indian purplewood,
+hornbeam, and snakewood. Bird's-eye maple and partridgewood may also be
+bought.
+
+Dye woods used for marquetry--Braziletto, cam wood, logwood, Nicaragua,
+red sanders, sapan, ebony, fustic (a species of mulberry), Zante (a
+species of sumach). "Ebony is the black pear tree of Madagascar, at
+least they make cider of its fruit." So says M. Luchet in an interesting
+excursus on furniture manufacture in his book on the Paris Exhibition of
+1867, in which he gives further details of ancient manufacture and its
+modern imitation. "I know a factory," he says, "where the tortoiseshell
+is false, the mother-of-pearl false, the ivory holly wood; the brass is
+the only real thing, because science applied to industry has not yet
+found out how to imitate it. When Boulle employed wood in his work it
+was ebony--they have abandoned that for blackened pear wood, under the
+pretext that ebony is a hard, close wood which twists, splits, and
+cracks, takes glue badly, and refuses varnish. So that they call a man
+who never uses ebony 'ebeniste.' They did not trouble about these things
+in the time of Louis XIV. They never varnished their furniture, so it
+did not matter that ebony would not take varnish.... There are two sorts
+of tortoiseshell, that of the Antilles, often bad and scaly, but good
+enough for common work, because it is thin and equal in thickness, and a
+little carmine vermilion gives it a not unpleasant red tint. The Indian
+tortoiseshell is thick and opaque and unequal, demanding preparation and
+welding. It can only be used for expensive work, and takes easily a
+black preparation which makes it magnificently austere." One ought to
+mention here that good shell was often treated with carmine vermilion or
+with gold, and that without a colour background it loses half its beauty
+and value.
+
+"In modern times six or eight couples of shell and metal are sawn
+together, whereas two was the number in the fine period. This saves
+money. A new Boulle bed, secretary, or chest of drawers should cost 15
+to 20,000 francs. You may easily get one for 2000 made of rubbish. An
+honest chest of drawers with tolerable mountings is worth 1500 francs.
+In gelatine tortoiseshell and brass or zinc of the future 100 is the
+price.... The mode still practised in Paris of making a good 'placage'
+in preparation for marquetry or Boulle work is as follows:--A thicker or
+thinner sheet of Italian poplar is placed between two sheets of oak with
+the grain the other way, then on the external sheet of oak is placed the
+wood intended to be seen, also with the grain the other way, the whole
+of convenient thickness, and glued with the best glue. Good glue is the
+nurse of the wood, say the masters. These four or five thicknesses of
+wood pulling against each other neutralise all bad effects, and the
+result is very good. The external covering is usually either mahogany,
+American walnut, or violet wood (a sort of cedar). Sometimes it is
+ebony, or perhaps a collection of small pieces of wood, such as acacia,
+which are called by all sorts of pretty names. It is of this fine and
+good 'plaque' that they still make cupboards at 1000 francs, beds at 600
+francs, and bureaus at 800 francs, which are the success and the pride
+of Parisian joinery." The marqueteurs of Nice made use of olive for
+veined grey backgrounds, orange and lemon for pale yellow, carob for
+dark red, jujube tree for rose colour, holly for white, and charred fig
+for black; arbutus served for dark flesh, and sumach for light.
+
+It is advisable after the marquetry has been put together to reduce the
+surface to a level and do something in the way of polishing, though it
+is not necessary to carry the process as far as is often done by the
+cheap furniture manufacturers. If nothing but wood has been used, the
+surface should be reduced to a level with a toothing plane and scraped
+with a joiner's scraper, taking care to apply it obliquely to the joints
+as far as possible, so as to avoid digging down and so failing in the
+object aimed at. If done very well and carefully it sometimes only
+requires to be rubbed down with its own shavings, but it is more usually
+necessary to follow with a worn piece of glass-paper on a flat piece of
+cork, but the dust must not be allowed to collect into hard lumps upon
+it, as these lumps would scratch the surface. Holtzapffel says that when
+metal, ivory, pearl, shell, or tortoiseshell are mixed with the wood the
+surface must be carefully levelled with flat files, ending with a very
+smooth one, after which the scraper should be used if possible and
+followed by glass or emery paper very sparingly. When metal
+preponderates emery paper is best, and really good _sand_ paper may also
+be used, but all paper should have very little "cut," should be applied
+dry, and allowed to become clogged, so as to act principally as a hard
+dry rubber or burnisher. If the polishing is at all in excess the wood
+will get rubbed or worn down below the metal. 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 powder, much
+like polishing marble, using oil instead of water. Wet polishing should
+not be used for inlaid works; the water may soften the glue. A
+superficial wetting is likely to warp the woods and make them curl up at
+the edges, and the grain of the wood is almost certain to rise. Oil is
+better than water, but light woods are almost certain to become stained
+by polishing powders and fluid. To avoid this modern marquetry is often
+covered with varnish applied with friction like French polish, or laid
+on in several coats with a brush and polished off with pumice and rotten
+stone, like the Vernis Martin, being first levelled with a file or
+scraper and smoothed with glass-paper.
+
+FOOTNOTES:
+
+[3] The panel illustrated from the Albert and Victoria Museum is a good
+average specimen of this kind, but not quite a masterpiece.
+
+
+
+
+THE LIMITATIONS AND CAPABILITIES OF THE ART
+
+
+The process described, by which the early works in intarsia were
+produced, was slow and tedious; and, as may be supposed, though fame
+might be won by its exercise, the winning of fortune was a very
+different thing. Domenico di Nicolo, who made the stalls in the chapel
+of the Palazzo Pubblico, Siena, and was thence called "del Coro," or
+"dei Cori," a name which descended to his children in place of their
+proper name of Spinelli, is an example in point. The petitions to the
+priors already referred to, printed in Milanesi's Documenti per la
+Storia dell' Arte Senese, show how little a man of talent, who was
+constantly employed for many years and gained great reputation in his
+art, could do to provide for his old age; and many returns of both
+painters, sculptors, and woodworkers, made for the purposes of taxation
+and printed in the same book, show that even in a great and flourishing
+town like Siena, which prided itself on its artistic reputation, it was
+often most difficult for the craftsmen, on whose work that reputation
+was based, to make a living.[4] It is true that there were thirty-four
+workshops for wood carving and intarsia in Florence at one time (1478,
+as Fabroni says in his life of Lorenzo the Magnificent), from which one
+may conclude that work of a certain sort was plentiful and lucrative,
+and panels of intarsia were certainly sometimes exported, but it may be
+observed that all the most celebrated intarsiatori practised some other
+form of art also, and generally abandoned intarsia sooner or later; the
+exceptions being those who belonged to the Olivetan and Dominican
+orders, and therefore had no anxiety about their living. Of these
+craftsmen the most celebrated were Fra Giovanni da Verona and Fra
+Damiano of Bergamo, whose works were so elaborate and so finely executed
+as to excite the suspicion that they were painted with the brush, though
+supposed to be executed with wood and the chisel. The anecdote of the
+Emperor Charles V.'s trial of Fra Damiano's tarsia panel in S. Domenico,
+Bologna, attests the wonderful quality of the work, and its success in
+attaining a doubtful aim, 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 brush. The designs from which the
+intarsia was executed were often furnished by painters of repute, and
+pictures or portions of pictures were copied, a proceeding which Fra
+Giovanni's discovery of stains and washes of different kinds made
+easier, until the proper limits of the art were far overpassed, and its
+decorative quality quite lost sight of in the attempt to rival a form of
+art the requirements of which were quite different. The beautiful
+arabesques, which the designers of the early Renaissance poured forth
+with exhaustless fertility, show the capabilities of the process for
+decorating flat surfaces, and the perspectives of cupboards and
+buildings were often most successful without passing the limits imposed
+by the material.
+
+The question of the limits within which the craftsman's effort should be
+confined in any form of art craftsmanship is a thorny one, for the
+attempt to overstep those limits has always had attractions for the
+craftsman who is master of his craft, and who sighs for fresh fields to
+conquer, knowing better than the outsider what are the difficulties
+which he has overcome successfully in any piece of work from the side of
+craftsmanship, though often with disastrous results when the matter is
+regarded from the point of view of excellence in design and purity of
+taste. 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
+illegitimate; and if this be so, it is equally illegitimate to stain any
+of them; but it is undeniable that a great addition to the resources of
+the inlayer was made by the discoveries of Fra Giovanni, and it seems
+unreasonable to refuse to make any use of them because later
+intarsiatori abused these means of gaining effect. The earliest work, it
+is true, depends mainly upon silhouette for its beauty, but does not
+altogether disdain lines within the main outline, and the abandonment of
+these inner lines, whether made by graver or saw, so reduces the
+possibilities of choice of subject as to restrict the designer to a
+simplicity which is apt to become bald. A great deal may be done by
+choice of pieces of wood and arrangement of the direction of the
+lines of the grain; some of Fra Giovanni's perspectives show very
+suggestive skies made in this manner, and Fra Damiano was very
+successful in thus suggesting the texture of much veined and coloured
+marble and of rocks, but directly the human figure enters into the
+design these expedients are felt to be insufficient and inexpressive,
+and inner lines have perforce to be introduced. The opposite extreme is
+such work as the panels by the brothers Caniana in the Colleoni Chapel
+at Bergamo, in which the composition and drawing of the figures recall
+the designs of the Caracci, and the technique of the shading reminds one
+of a copper plate, while the tinting and gradation of the colours take
+away all impression of a work in wood, substituting that of a coloured
+engraving. Here it is quite evident that the desire to imitate pictorial
+qualities has led the craftsman far away from what should have been his
+aim, viz., to display the qualities of the material which he was using
+to the best advantage, consistently with the position and purpose of his
+work in it. Not that perfection of workmanship is to be decried, though
+it is only occasionally that one is able to make use of, or indeed
+produce it. But the aesthetic 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
+giving. Notwithstanding the beauty of much of the marquetry of the
+periods of Louis XIV. and Louis XV., one often feels that design has
+been put to one side in the endeavour to gain a realistic effect, and
+the same defect may be traced more clearly in the clumsier Dutch and
+German productions. Even in the Italian work of an earlier date every
+now and then the same fault peeps out, though the excellent taste of the
+nation at that period prevented the Italians from falling into such
+excesses, and one generally feels the wood even in their most elaborate
+perspectives. It may be asserted in a general way that the more colours
+are used the less likelihood is there of the effect being quite
+satisfactory, and that any light and shade introduced should be of the
+simplest kind. A slight darkening of parts of the wood to gain a certain
+suggestion of roundness is quite admissible, but the expedient should be
+used with discretion, lavish employment of it leading to heaviness of
+effect and a monotony of tone which are most unpleasing. If ivory or
+metals are introduced the greatest care is necessary to prevent them
+from giving a spotty and uneven effect to the design, for neither these
+two materials nor mother-of-pearl marry quite with the tone of the wood;
+and this inequality is likely to increase with age, as the wood becomes
+richer and mellower in colour. Such materials should be so used that
+the points where they occur may form a pattern in themselves
+independently of the rest of the design, so that the effect may be
+pleasing at first sight, before the general meaning of the less
+prominent details is realised. Any other way of using them courts
+failure, since the effect of the whole design is ruined by the
+uncalculated prominence and inequality of these materials here and
+there. The Dutch sometimes made use of mother-of-pearl, in pieces upon
+which engraving broke up the hard glitter of the material, mingled with
+brass wire and nails or studs driven into the surface of the wood. The
+two materials appear to be quite harmonious, and small articles
+decorated in this manner are effective and satisfactory. The Italian use
+of ivory for the decoration of musical instruments, chess and backgammon
+boards, and other small objects is almost always successful, the
+proportion between wood and ivory being well judged, and the forms of
+the ornament pleasing.
+
+[Illustration: _To face page 122._
+
+Plate 53.--_Panel from S. Maria in Organo, Verona._]
+
+The modern French marquetry, though exceedingly clever and beautiful in
+its use of various woods, errs by want of consideration of the surface
+to be decorated, the subjects flowing over the surfaces and overflowing
+the proper boundaries very often; and also sins in using many woods of
+very slightly different tones and textures, which will almost certainly
+lose their reciprocal relation in the course of time, and thereby their
+decorative effect. The ancient intarsias were made of a small number of
+different woods, and the effect was kept simple; pear, white poplar,
+oak, walnut, and holly almost exhaust the list; while even Roentgen's
+work, in which he used a larger number of woods, including some of those
+foreign trees which Dutch commerce made available for him, has suffered
+from their changing and fading. I would advise the marqueteur to
+disregard most of the many foreign woods now in the market, and content
+himself with simple and well-proved effects for the most part, trusting
+rather to beauty of design to give distinction to his work than to
+variety of colour and startling effects of contrast.
+
+[Illustration: Plate 54.--_Panel from S. Maria in Organo, Verona._
+
+_To face page 126._]
+
+It is the fashion at the present day to exhort the designer to found his
+design upon the study of nature, which is right enough if accompanied by
+discretion and a feeling for style. In many mouths, however, the
+exhortation means that the copying of natural forms is advised, and
+often, if one may judge from the examples which one sees around one,
+without selection either of subject or form. Now it is obvious that it
+is sometimes the beauty of form in natural objects which attracts the
+eye, and sometimes the beauty or strangeness of colours, either in their
+combination or from the unusual tint. And while the former quality
+fits the object for translation into ornament, by means of
+simplification and repetition, 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 composition. Certain forms
+of flowers and leaves are also suitable for ornament expressed in a
+certain way, and when this harmony occurs the representation of nature
+is satisfactory as ornament; but the reverse is very often shown to be
+the case in work of a more modern type, in which the design is based on
+the dictum that the copying of natural forms will produce ornament. It
+is not the copying of natural forms, but the ordering of the spaces, the
+arranging and balancing of line and mass, and the adaptation of means to
+ends which produce satisfactory decoration, and in the best Italian
+intarsias founded upon freely-growing, natural plants this is well
+shown. The observation of natural growth shown in illustrations Nos. 53,
+54, and 55 is considerable, but the panels are not so beautiful because
+the bay, the pink, or the lily are so well rendered, but because the
+pattern of waving lines is so well fitted to the space it has to fill,
+and the shapes of the silhouettes are so expressive. In the later French
+marquetry we often find an equal or almost equal dexterity in expressing
+the natural form, and an almost greater cleverness in adapting the
+design to the material; 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 unsurpassable.
+
+Certain remarks made by Mr. Stephen Webb, in a paper read to the Society
+of Arts on April 28, 1899, as to the qualities which the designer or
+craftsman must possess for successfully producing intarsia, are worth
+reproducing here as the sayings of a man who himself has done much
+beautiful work of the kind. "Tone harmony, and in a limited degree, the
+sense of values, he must certainly cultivate. He must be able to draw a
+line or combination of lines which _may_ be ingenious if you like, but
+_must_ be delicate and graceful, vigorous withal, and in proper relation
+to any masses which he may introduce into his design. He must thoroughly
+understand the value of contrast in line and surface form, but these
+matters, though a stumbling block to the amateur, are the opportunities
+of the competent designer and craftsman. The most charming possibilities
+of broken colour lie ready to his hand, to be merely selected by him and
+introduced into his design. If the wood be properly selected shading is
+rarely necessary, and if it is done at all should be done by an artist.
+In the hands of an artist very beautiful effects may be obtained, the
+same kind of wood being made to yield quite a number of varying shades
+of colour of a low but rich tone. Over-staining and the abuse of shading
+are destructive. Ivory has always been a favourite material with workers
+in tarsia, and in the hands of an experienced designer very charming
+things may be done with it. There is, however, no material suitable for
+tarsia which requires so much care and experience in its use. It is
+ineffective in light-coloured woods, and in the darker ordinary woods,
+such as ebony, stained mahogany, or rosewood, under polish, the contrast
+of colour is so great that the ivory must be used very sparingly. The
+ivory is sometimes stained in order to bring its colour more into
+harmony with a dark wood-ground, but it is never quite satisfactory. The
+use of inlay makes the direction from which the light enters the room a
+matter of no moment, so long as the light reaches the object decorated."
+
+The effect of intarsia has been sought by various imitative processes,
+some of which are indistinguishable from it except by close inspection.
+In one of these wax, either in its natural state or tinted with an
+addition of powder colour, was used; in another glue mixed with whiting
+or plaster, also sometimes tinged, or red lead. On April 7, 1902, a
+paper was read at the Royal Institute of British Architects on wax
+stoppings of this kind by Mr. Heywood Sumner, in the course of which he
+said that the process he himself had used was as follows:--"First trace
+the design on the panel of wood to be incised; cut it, either with a V
+tool or knife blade fixed in a tool-handle; clear out the larger spaces
+with a small gouge, leaving tool-mark roughness in the bottoms for key;
+when cut, stop the suction of the wood by several coats of white, hard
+polish. For coloured stoppings, resin (as white as can be got), beeswax,
+and powdered distemper are the three things needful. The melted wax may
+be run into the incisions by means of a small funnel with handle and gas
+jet affixed; it is attachable to the nearest gas burner by india-rubber
+tubing, so that a regulated heat can be applied to the funnel. When thus
+attached and heated, pieces of wax of the required inlay colour are
+dropped into the funnel, and soon there will be a run of melted wax
+dropping from the end of the funnel-spout, which is easily guided by
+means of the wooden handle, and thus the entire panel may be inlaid with
+the melted wax. Superfluous surface wax is cleared off with a broad
+chisel, so as to make the whole surface flush. The suction of the wood
+is stopped by means of white, hard polish, otherwise the hot wax will
+enter the grain of the wood and stain it. Incised panels may be filled
+successfully with japanner's gold size and powdered distemper colour,
+using a palette knife to distribute the slab mixture. A close grain is
+the one thing needful in the wood. As to design, that which is best
+suited may be compared to a broad sort of engraving." Red lead was also
+used sometimes, 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 whiting, glue, and linseed oil.
+
+[Illustration: Plate 55.--_Panel from S. Pietro in Casinense, Perugia._
+
+_To face page 130._]
+
+At Hardwick some of the door panels are painted with arabesques in
+Indian ink, and varnished (a process also employed on several pieces of
+furniture in the South Kensington collection), and even in certain
+cases, no doubt under the direction of Bess of Hardwick, engravings have
+been stuck on the panels, tinted, surrounded with similar painting, and
+then similarly varnished over. The sacristy cupboards at S. Maria delle
+Grazie, Milan, called "Lo Scaffale," show paintings of no less an artist
+than Luini, the ornamental part of which is intended to simulate tarsia.
+
+For small objects, such as trinket boxes, a marquetry of straw tinted to
+different colours was sometimes employed, which, though not very
+lasting, in the hands of a worker who possessed taste in colour
+sometimes produced pleasing results, a form of work practised both in
+Holland and England, and lasting well into the 19th century. The writer
+possesses one or two objects decorated by this process which were bought
+from the French prisoners taken in the Peninsular War, who provided
+themselves with little luxuries by making and selling them. In all these
+imitative processes the question of design becomes of the very highest
+importance, since the material has neither beauty nor intrinsic value in
+itself; and here, even more than in many other forms of manufacture, the
+presence and influence of the intelligent designer is most desirable,
+and should be paramount.
+
+FOOTNOTES:
+
+[4] In 1453 Matteo di Giovanni Bartoli, painter, says that he possesses
+the half of certain tools and appliances of his art, which are not worth
+20 florins, and that the other half belongs to Giovanni di Pietro,
+painter, his partner. That they are in a house or dwelling that they
+hire from Guicciardo Forteguerri in the Palazzo Forteguerri, which they
+have as a house and not a shop, and that he has nothing else in the
+world but a few debts (!). He says that he makes no profit, but is
+learning as well as he can, and that his uncle, Ser Francescho di
+Bartolo, the notary, keeps him. This is a young and promising artist who
+cannot get on. Priamo della Quercia, brother of the celebrated sculptor
+Jacopo della Fonte, painter, says that he is poor and without anything
+to live on; that he has a girl of marriageable age and a young boy; that
+he owes money to several people. He had a dower of 200 florins which
+came from a possession which the nuns of Ogni Santi held, because they
+said that they were heirs to his daughter-in-law, a nun in that convent
+(!) and they had kept possession for six years and he could not sue
+these nuns at law on account of his poverty. There are several documents
+referring to money and property which his brother left to this man, but
+which he seems to have difficulty in obtaining possession of, and he
+gives one the impression of being unfortunate through life. In the same
+year Antonio di Ser Naddo, painter, says he has a house with an oven
+within the walls of Siena, "male in ponto," in which he lives in the
+Contrada of Camporegi. That he has three useless mouths in the house
+which gain nothing, two children, one a boy, and the other a girl of
+marriageable age, but if he dowered her, so that she could be married,
+he would have nothing to live on. Also that he owes 20 florins to
+various people. In the same year others, both painters and woodworkers,
+complain that they have nothing to live on and owe money, some saying
+that they have become old and poor in the art. In 1478 Ventura di Ser
+Giuliano, architect and woodcarver, says that he has a little house in
+the city division in the place called of S. Salvador, and that he is
+away at Naples because of his debts, for he is afraid to return. That he
+owes Ser Biagio, the priest, 80 florins and other persons 402. In 1488
+Giovanni di Cristofano Ghini, painter, says that he has a vineyard at
+Terraia in the commune of S. Giorgio a Papaino from which he receives in
+dues about 24 florins. That he has a wife and three sons and nothing to
+keep them on. That five years ago he had sold all that he had in the
+house, for times were very bad. 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 years. 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 hunger, and that they
+have a girl of marriageable age in the house, his sister, "Che e il
+fiorimento d'ognichosa." In the same year Benvenuto di Giovanni says
+that he is obliged to work away from Siena because his gains are so
+small; and finally in 1521, Ventura di Ser Giuliano di Tura petitions
+the Balia as follows:--He was a master joiner and says that he passed
+his youth and almost all his age in gathering ancient objects and
+carvings, which the craftsmen of the city have copied, so that one may
+say that the antique in the city has been re-discovered by his labours.
+But that he has not by this benefit to the craftsmen provided for his
+old age, since both he and his wife have been very unwell for years
+past, and that he finds himself old, with four little daughters, "one no
+heavier than the other," so he asks for a little pension of eight lire a
+month (which has been suspended apparently), so that he may not have to
+go to the hospital for bread with his wife and the four little ones.
+
+
+
+
+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
+Verona, to whom Vasari ascribes the invention, but is most distinctive
+of the work of the later Dutch and French marqueteurs. Receipts for the
+purpose were handed down from master to pupil, and while sometimes held
+as traditional secrets to be jealously guarded, were sometimes committed
+to writing; and several of these manuscripts have come down to us. The
+following have been collected from French, German, and Italian sources,
+and though not all of equal value, show the way in which the ancient
+workers produced the effects, most of which we admire in the present
+day:--
+
+To stain wood yellow (No. 1).--Put saffron in water, and when it is well
+steeped place the jar over hot coals. Then spread the stuff over boxwood
+with a brush. To make it brilliant let it dry, and put it with oil on
+the wood to be coloured. (No. 2.)--Take the plant turmeric (curcuma
+longa), grind it to powder; put an ounce into a pint of spirit (12
+oz.), and leave it for a day. If the tone is required reddish, add some
+dragon's blood. (No. 3.)--A cheaper but duller colour is to be obtained
+from steeped French berries, then dried, with weak alum water brushed
+over it. Thin pieces are dipped in it. The solution of French berries
+may be made thus--Take 1 lb. of French berries, and a gallon of water
+with 1/2 oz. of alum; boil for an hour in a pewter vessel, and filter
+through paper. Evaporate till the colour appears strong enough. Another
+receipt says 4 oz. of French berries put to steep in a pint of water is
+to have added to it 1 oz. of hazel nuts and as much alum. Wood may also
+be stained yellow with _aqua fortis_, used warm, and then immediately
+placed near the fire. The _aqua fortis_ must not be too strong, or the
+wood will go brown or black. This is apparently the same thing as Vasari
+calls "oil of sulphur," used in his time for colouring wood. A Nuremberg
+receipt book says that the plant Tournesol (croton tinctorium) may be
+steeped in water, and this solution mixed with yellow colour and glue
+may be spread over the wood warm, and finally polished with a burnisher.
+Holtzapffel gives the following:--A bright yellow stain may be obtained
+from 2 oz. of turmeric allowed to simmer for some hours in 1 quart of
+water in an earthen vessel, water being added from time to time to
+replace evaporation. Sparingly applied cold, it stains white woods the
+colour of satin wood. A canary yellow results from immersing the wood in
+the liquid, which can be rendered permanent without polishing by a
+strong solution of common salt. Washing the stained surface with
+nitro-muriate of tin for about a minute changes the colour to orange.
+The work should then be well rinsed in plain water to check the further
+action of the acid. Treating the canary yellow with 2 oz. of sulphate of
+iron dissolved in 3 quarts of water, after it has been allowed to dry,
+dyes a delicate olive brown. A tincture of 1/4 oz. of turmeric to 3 oz.
+of spirits of wine, allowed to stand for some days and well shaken
+daily, gives a rather higher colour.
+
+Red may be produced by (No. 1) taking a pound of Brazil wood, with some
+rain water, a handful of unslaked lime, and two handsful of ashes; soak
+all for half an hour in water, "cook" it, and pour it out into another
+pot, in which is a measure of gum arabic. The wood to be coloured must
+be cooked in alum water, and then brushed over with the warm colour; the
+result is a splendid scarlet red. If the wood was first grounded with
+saffron water and then had the Brazil decoction applied, the result was
+orange; a spoonful of lye made a browner colour, with a little alum. If
+whiter wood was taken the colour was correspondingly brighter. (No.
+2.)--Orcanda or Akanna root powdered, with nut oil, gives a fine red.
+(No. 3.)--Put lime in rain water, strain it, scrape Brazil twigs in it,
+then proceed as in No. 1. You can also soak the Brazil in tartar. The
+same colour with Tournesol steeped in water gives a fine purple when
+spread on the wood. Lebrun gives the same receipt, adding that the
+beauty of the colour is increased by rubbing with oil, and that pear
+wood is the best to use. Another receipt says:--Make a strong infusion
+of Brazil wood in stale urine or water impregnated with pearl ash, 1 oz.
+to a gallon; to a gallon of either of which put 1 lb. of Brazil wood.
+Let it stand for two or three days, often stirring it. Strain the
+infusion, and brush over the wood boiling hot; then, while still wet,
+brush over with alum water, 2 oz. to a quart of water. A less bright red
+may be made with 1 oz. of dragon's blood in a pint of spirits of wine,
+brushed over the wood.
+
+Holtzapffel gives for red stains the following:--Dragon's blood, an East
+Indian resin, gives a crimson with a purple tinge. Put a small quantity
+in an open vessel, and add sufficient linseed oil to rather more than
+cover it; it will be fit for use in a few days, when the oil may be
+poured off and more added. This dissolves more readily in oil than
+spirit. The colouring matter of Alkanet root, from which another red
+may be obtained, is contained in the rind, so that small pieces are the
+most useful. A deep red of a crimson character may be made with 1/2 oz.
+of raspings of Brazil wood macerated in 3 oz. of alcohol. A wash of
+logwood (see below) given with the brush, and when dry followed with a
+wash of Brazil, produces a deep, full colour, and when the two are
+applied in the reverse order a more brilliant colour of the same kind. A
+decoction of Brazil (4 oz.) allowed to simmer for some hours in 1 quart
+of water yields a rather brown-red stain. Treating light woods so
+stained with nitro-muriate of tin gives a brilliant crimson of a purple
+tinge.
+
+A brown red is made from a decoction of 2 oz. of logwood dust in 1 quart
+of water, or 1/2 oz. of logwood in 3 oz. of alcohol. Nitro-muriate of
+tin used on it gives a deep, dusky crimson purple. The same treated with
+alum solution yields a medium purple, darker and bluer than that from
+Brazil.
+
+White wood stained with Brazil and then treated with alum (4 oz.
+dissolved in a quart of water) acquires a light pink tinge. Another
+receipt for pink or rose red says:--1 gallon of infusion of Brazil wood,
+with 2 oz. additional of pearl ash; but it is necessary to brush the
+wood often with alum water. By increasing the proportion of pearl ash
+the red may be made still paler, in which case make the alum water
+stronger.
+
+For purple one brushes the wood over several times with a strong
+decoction of logwood and Brazil, 1 lb. of logwood and 1/4 lb. of Brazil
+to a gallon of water boiled for an hour or more. When the wood is dark
+enough let it dry, and then lightly pass over with a solution of 1
+drachm of pearl ash to a quart of water. Use this carefully, as the
+colour changes quickly from brown red to dark purple.
+
+Jet black may be made by using the logwood stain, followed by a solution
+of iron, 1 oz. sulphate of iron to 1 quart of water, and a less intense
+black by the same mixture about three times diluted. The Italian receipt
+books are well provided with receipts for producing black, which
+suggests that most of the ebony used in inlay was factitious. A 15th
+century MS. says:--"Take boxwood, and lay in oil with sulphur for a
+night, then let it stew for an hour, and it will become as black as
+coal." Evidently this means what Vasari calls oil of sulphur, _aqua
+fortis_. Others are founded upon the application of a solution of
+logwood, followed by one of iron. "Stew logwood till the liquid is
+reduced to one-third of its bulk, mix with stone alum, and leave for
+three days. Mix iron filings with very strong wine, and let it stand for
+twenty-four hours. On the quantity of iron filings the depth of the tone
+depends. Lastly, ox-gall is dissolved in this mixture, and the whole is
+three times worked over." An English receipt says:--"Brush the wood over
+several times with a hot decoction of logwood; take 1/4 lb. of powdered
+galls, and set in the sun or other gentle heat in 2 quarts of water for
+three or four days; brush the wood over with it three or four times,
+and, while wet, with a solution of green vitriol in water, 2 oz. to a
+quart; or use a solution of copper in _aqua fortis_, then the solution
+of logwood, and repeat until black enough." A German receipt
+says:--"Take half a measure of iron filings and a pennyweight of sal
+ammoniac, and put into a pot of vinegar; let it stand for twelve days at
+least. In another pot put blue Brazil and 3 measures of bruised gall
+apples in strong lime lye, and let it stand for the same time. The wood
+must be first washed over with lye, and then with hot vinegar, and
+finally polished with wax." "Pear wood may be grounded with Brazil
+steeped in alum water, then coloured with the black which the
+leather-stainers use, twenty times." Another says:--"Take a pennyweight
+of fine silver, with a pound of _aqua fortis_; add a measure of water,
+and soak the wood with it." The best wood for imitating ebony is holly;
+also, box cooked in olive oil is good for it, or well-planed pear soaked
+with _aqua fortis_, and then coloured with ink several times; or stew
+the wood in lamp-black, and soak with oil.
+
+Blue may be obtained by the use of a solution of copper brushed hot over
+the wood several times; then brush hot a solution of pearl ash, 2 oz. to
+a pint of water, until the wood becomes perfectly blue. The copper
+solution is prepared in this way:--"Take of the refiner's solution of
+copper made in the precipitation of silver from the spirit of nitre; or
+dissolve copper in spirit of nitre, or _aqua fortis_, by throwing in
+filings or putting in strips of copper gradually till all effervescence
+ceases. Add to it starch finely powdered, one-fifth or one-sixth of the
+weight of copper dissolved. Make a solution of pearl ash and filter it;
+put gradually to the solution of copper as much as will precipitate the
+whole of the copper. The fluid becomes colourless. Wash the powder, and
+when so well drained of water by means of a filter as to be of the
+proper consistence, grind well together, and lay out to dry. This makes
+dark verditer." Indigo may also be used, prepared with soap lees as when
+used by dyers; brush it over the wood boiling hot. With a solution of
+cream of tartar, 3 oz. to a quart of water, and boiled, brush over the
+wood copiously before the moisture is quite dried out. A German receipt
+says:--Put 4 oz. of Tournesol in three parts of lime water to cook for
+an hour and spread it on the wood. "Wood coloured green with verdigris
+can be made blue by using pearl ash." This is the process described
+first.
+
+For green verdigris dissolved in vinegar may be used; or crystals of
+verdigris in water, brushed hot over the wood. A 15th century MS. gives
+a traditional mode thus:--"Wood, bone, small leaves, and knife handles
+can be made green by strong, red vinegar and brass filings mixed
+together with a little Roman vitriol and stone alum in a glass vessel.
+When it has stood for a day the object is dipped in it, and steeps
+itself in the liquid. The colour will be very permanent." A German
+receipt says:--"Take walnut shells from the green fruit, and put in very
+strong lye with some copper vitriol and alum to stew for two or three
+hours. The wood must be put in strong wine vinegar for several days,
+then it is put in the above-mentioned mixture, to which ground verdigris
+mixed with vinegar is added. Or you can mix this ground verdigris with
+vinegar with some winestone, let it clarify, and spread the wood with
+the filtered stuff. The addition of saffron makes a grass green."
+
+A silver grey may be given to white wood by immersion in a decoction of
+4 oz. of sumach in 1 quart of water, and afterwards in a very dilute
+solution of sulphate of iron. A dilute solution of bichromate of potash
+is frequently employed to darken oak, mahogany, and coloured woods. This
+should be used carefully, since its effects are not altogether stopped
+by thoroughly washing the wood with water when dark enough. To bleach
+woods, immerse them in a strong, hot solution of oxalic acid.
+
+Since ivory is often used in inlaying and is sometimes stained, a few
+receipts for its staining will not be out of place. These come from
+Holtzapffel's book:--A pale yellow will be given by immersing the ivory
+for one minute in the tepid stain given by 60 grains of saffron boiled
+for some hours in half-a-pint of water. Immersion for from five to
+fifteen minutes produces a canary yellow brighter or deeper according to
+the time given, but all somewhat fugitive. A stain from 4 oz. of fustic
+dust and chips boiled in 1 quart of water produces similar but somewhat
+darker and more permanent results. Ivory subjected to either of these
+stains for fifteen minutes, and then placed for one to three minutes in
+Brazil water stain acquires an orange colour. If then treated with
+nitro-muriate of tin, an orange of a brighter, redder tone is produced;
+transfer to a clean water bath directly the required colour appears, as
+the nitro-muriate of tin acts very rapidly upon the ivory.
+
+Fine scarlet cloth is used for dyeing various tones of red. A piece
+about a foot square may be cut into shreds and boiled, with the addition
+of 10 grains of pearl ash, in half-a-pint of water from 5 to 6 hours.
+Immersion in the liquid for from three to ten minutes gives tones of
+pink; for one hour and subsequently for half-an-hour in an alum mordant
+gives a pink of a bright crimson character. When the ivory is from two
+to three hours in the tepid stain a crimson red results, and the
+addition of 1 part of sulphuric acid to 60 of stain gives billiard ball
+colour. Pinks of a different and duller full tone may be obtained by
+immersion for three minutes in Brazil water stain, followed by treatment
+with nitro-muriate of tin; when the Brazil is used for six minutes a
+deeper colour results. Fifteen minutes in Brazil, then treatment with
+nitro-muriate of tin and immediate washing gives a duller and deeper red
+than the first red-cloth stain. The depth of colour may be increased by
+longer immersion _or_ a higher temperature. A dull scarlet or brick red
+is made by the Brazil bath, followed by thirty to sixty minutes in an
+alum mordant.
+
+The cloth stain for one hour, followed by pearl ash for half-an-hour,
+gives a bright purple; if iron is used instead of pearl ash a sombre
+purple results; if you add alkalies to the stain instead of sulphuric
+acid you obtain purple reds. Fifteen minutes in Brazil, and then three
+or four in pearl ash gives full red purples deepening to maroon. Five
+minutes in logwood water stain gives a good warm brown; half-an-hour, a
+chocolate brown. Ten minutes in logwood stain, washing, and one or two
+seconds in pearl ash, and instantly washing again gives a deep red
+brown, and if one minute in alum instead of pearl ash a deep purple
+brown.
+
+Blue stains may be made from sulphate of indigo, 1/2 drachm to 1 pint of
+previously boiled water, with 10 grains of carbonate of potash added.
+One to two minutes' immersion and immediate washing yields a delicate
+turquoise, five minutes a bright full blue; and ten to fifteen a
+considerable depth of colour. Blues are rather fugitive. Staining with
+saffron or fustic for five minutes, and then with indigo for the same
+time, produces a clear pea green; with indigo for ten minutes, a deep
+grass green. The greens from fustic are more permanent and yellower. The
+sequence of the stains also affects the green, the last used having most
+effect. Blue stain first for fifteen minutes, followed by fustic for
+thirty, 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 water.
+
+Before applying these stains the ivory must be prepared by first
+polishing with whiting and water and washing quite clean. Next immerse
+it for three to five minutes in acid cold water (1 part muriatic acid to
+40 or 50 of water, or the same proportion of nitric). This extracts the
+gelatine from the surface of the ivory. Extreme cleanliness and absence
+of grease or soiling is most important; the ivory is not to be touched
+by the fingers, but removed from one vessel to another by wooden tongs,
+one pair to each colour. After treating with the acid, place the ivory
+in clean, cold, boiled water for some minutes. Water stains are used,
+but strained or filtered and warm or only tepid, for fear of injuring
+the surface of the ivory. Increasing the temperature also sometimes
+deepens or changes the colour. The best temperature is 100 deg. Fahr.
+When sufficiently stained the ivory is well rinsed in water, and if
+there are two colours on top of each other always well rinsed before
+going into the second bath. After thoroughly drying, repolish by
+friction, first with a few drops of oil on a soft clean rag; continue
+with a dry clean rag till the oil disappears.
+
+An old Italian receipt for polishing wood blackened to imitate ebony
+runs thus:--"Is the wood to be polished with burnt pumice stone? Rub the
+work carefully with canvas and this powder, then wash the piece with
+Dutch lime water so that it may be more beautifully polished. Then it is
+to be cleaned with another cloth. Then the rind of a pomegranate must be
+steeped, and the wood smeared over with it and set to dry, but in the
+shade."
+
+
+
+
+INDEX
+
+
+  A
+
+  Angelo di Lazzero, of Arezzo, 19
+
+  Anselmo de' Fornari, 77-78
+
+  Antique inlaid furniture, 2, 3, 6 (note)
+
+  Antonio da Melaria, 35
+
+  Antonio di Minella, of Siena, 10
+
+  Antonio Manetti, 19
+
+  Antonio Paolo Martini, 13
+
+  Assisi, 10, 46
+  ---- Stalls of the Upper church of S. Francesco, 46
+
+  Arezzo, S. Agostino and S. Michele, 41
+
+  Augsburg work, 85, 90
+
+
+  B
+
+  Baccio Albini, 40
+
+  Baccio d'Agnolo, 42-43
+
+  Barck, Klaus, 88
+
+  Barili, Antonio, of Siena, 37, 38, 39
+  ---- ---- Panel in K.K. Museum at Vienna, 37, 38
+  ---- ---- description of Chapel of S. Giovanni, Siena, 39, 40, 41
+  ---- Giovanni, 39
+
+  Bartolommeo Poli, surnamed dalla Polla, 35, 36
+
+  Beck, Sebald, 84
+
+  Belli, Giovanni and Alessandro, 73
+
+  Bencivieni da Mercatello da Massa, Antonio di, 46-51
+
+  Benedetto da Majano, Vasari's story of the reason of his giving up
+    working in tarsia, 20
+
+  Bergamo, Choir of S. Maria Maggiore, 79, 80
+  ---- Tassi's account of, 80
+  ---- Stalls in church of S. Stefano, 76
+
+  Bernardo di Tommaso di Ghigo, 19
+
+  Bernardino da Lendinara, 32
+
+  Brescia, Lectern from Rodengo in
+
+  Galleria Tosi, 64
+
+  Bologna, S. Domenico tarsie, by Fra Damiano, 70, 73, 75
+  ---- Sabba Castiglione's account, 74, 75
+  ---- Stalls in S. Giovanni in Monte, 66
+  ---- S. Michele in Bosco, stalls now in S. Petronio, 65, 66
+  ---- S. Petronio, 36
+
+  Boulle, Andre Charles, 96, 97
+  ---- Works by him, 97, 98, 99
+
+  Boulle, Pierre, 75-96
+
+
+  C
+
+  Canozio, of Lendinara, Lorenzo Genesino, 29
+
+  Capo di Ferro of Lodi, Zinino and Pietro, 80
+
+  Capo di Ferro of Lovere, Giovanni Francesco, 73, 79
+
+  Capra, Gabriel and Domenico, 54
+
+  Chapel of Palace, Siena, 13
+
+  Cecca, Il (Francesco d'Agnolo), 23, 24
+
+  Certosa, Pavia, 35
+
+  Cervelliera, Giovanni Battista, 22
+
+  Character of German inlays of late 16th Century, 85
+
+  Coburg, Hornzimmer, 86
+
+  Cornier, Conrad, 88
+
+  Cost of choir of S. Domenico, Bologna, 73
+
+  Cost of the stalls in Ferrara Cathedral, 34
+
+  Cost of stalls, Cathedral Orvieto, 10
+
+  Cremona, church of S. Sigismond, outside, 54
+
+  Cypress chest of 1350 in Victoria and Albert Museum, 104
+
+
+  D
+
+  Daniello di Neri Martini, 13
+
+  Danzig Sommerrathstube, 86
+
+  David of Pistoia, 41
+
+  Del Tasso, arms of the family, 24
+  ---- Chimenti di Domenico, 26
+  ---- Chimenti di Francesco, 25
+  ---- Domenico, 19, 25, 26
+  ---- Francesco, 27
+  ---- Francesco di Domenico, 24
+  ---- Giambattista called Maestro Tasso, 27, 28
+  ---- Lionardo, 25
+  ---- Marco, 26
+  ---- Zanobi, 25
+
+  Della Rocca, Andrea and Elia, 77, 78
+
+  Designs for intarsia made by Painters, 121
+
+  De' Marchi, Pantaleone, stalls in Museum at Berlin, 36
+
+  Domenico da Gajuolo, 42
+
+  Domenico di Mariotto, 21
+
+  Domenico di Nicolo of Siena, 10, 11
+
+  Domenico Tassi of Florence, 17
+
+  Dreyer, Hans and Juergen, of Schleswig, 87
+
+  Dutch work, characteristics of, 92
+
+
+  E
+
+  Eck, Adam, 85
+
+  Elfen, brothers, of S. Michael, Hildesheim, 84
+
+  Escurial, rooms in, decorated with inlays, 86
+
+  Evers, Antonia, master of joiners' guild at Luebeck, 86
+
+
+  F
+
+  Ferrara, stalls in Cathedral, 33
+
+  Fischer, N., and Johann Georg of Munich, 85
+
+  Florence, 16, 18
+  ---- stalls at S. Maria Novella, 42
+  ---- stalls at S. Miniato, 42
+  ---- tarsia in sacristy of the Cathedral, 18, 19
+
+  Flotner, Peter, 89
+
+  Folding seat of 14th century, 84
+
+  Fra Antonio Asinelis, 73
+
+  Fra Antonio da Lunigiano, Dominican, 73
+
+  Fra Antonio da Viterbo, Dominican, 76
+
+  Fra Bernardino, Dominican, 73
+
+  Fra Damiano of Bergamo, 69-76, 79
+
+  Fra Damiano of Bergamo, the Emperor Charles V., and the Duke of
+    Ferrara, 70, 71, 72
+
+  Fra Giovanni da Verona, 17, 57, 63
+
+  Fra Raffaello da Brescia, 63, 64
+
+  Fra Sebastian da Rovigno, 56, 57
+
+  Fra Vincenzo da Verona, called dalla Vacche, 67
+
+  Francesco di Lorenzo, Zambelli, 73, 77
+
+  Francesco Manciatto, 42
+
+  Francione, Il (Giovanni di Matteo di Firenze), 21
+
+  French Cabinets of 17th Century, 95, 96
+
+
+  G
+
+  Genoa, stalls in Cathedral, 77, 78
+
+  Geri of Arezzo, 41
+
+  German intarsiatori of 16th and 17th Century, 84, 85
+
+  Gilling Castle, near Wakefield, inlays, 93
+
+  Giovanni di Filippo da Fiesole, 45
+
+  Giovanni de Grassi (Giovanni de Melano), 14
+
+  Giovanni di Lodovico di Magno of Siena, 10
+
+  Giovanni Michele de Pantaleone, 77
+
+  Giovanni del Mulinella of Florence, 17
+
+  Giovanni Piccardo, 77
+
+  Giovanni di Ponteranica and his four sons, 80
+
+  Giovanni di Ser Giovanni detto Scheggione, 19
+
+  Giovanni Talini of Siena, 10
+
+  Girolamo della Cecca, 40
+
+  Giuliano di Salvatore, 21
+
+  Giusto di Francesco of Incisa, 45
+
+  Glastonbury Hall, Staircase, 94
+
+  Gole, Pierre, 92
+
+  Gottlieb, Conrad, 86
+
+  Gottorp, Castle of, Prince's prayer chamber in, 87
+
+  Gubbio, tarsia in study of Duke Guidobaldo, 52, 53
+
+  Guido da Seravallino, 21
+
+  Guido di Torino, 13
+
+  Guild of Painters, Siena, 16
+
+
+  H
+
+  Hans Schieferstein's Cabinet at Dresden, 90
+
+  Hardwick Hall, furniture at, 93
+
+  Herle, Simon, 86
+
+  Heywood Sumner, paper at Royal Institute of British Architects, 129, 130
+
+
+  I
+
+  Imitative processes, straw, wax, painting in Indian ink, &c., 129,
+    130, 131
+
+  Inlaid work, Greek and Latin names for, 3
+  ---- woods used for, by the ancients, 3, 5, 6 (note)
+  ---- wood, cost of, in ancient times, 4
+
+  Inlaying, antiquity of, 2
+
+  Innsbruck, Hofkirche, 86
+
+  Intarsia, derivation of, 1
+
+  Invention of stains for wood, by Fra Giovanni da Verona, 18
+
+  Ivory or metals in intarsia, 124, 125
+
+
+  J
+
+  Jacopo da Villa, 21
+
+  Joiners' tools, priced list of Perugian of 1496, 47, 48
+
+
+  K
+
+  Kellerthaler, Hans, of Dresden, 85
+
+  Kiening, Isaac, of Frissen, 91
+
+  Kraus, Hans, marqueteur du roi, 94
+
+
+  L
+
+  Lavoro alla Certosa, or tarsia alla Certosina, 9
+
+  Leipzig Museum, Cabinet in, 91
+
+  Lendinara, Cristophano d' Andrea da, 21
+
+  Limitations of the art of intarsia, 122, 123
+
+  Loblein, Sixtus, of Landshut, 91
+
+  Lodi, Stalls in S. Bernardino, by Fra Giovanni da Verona, 63
+
+  Louvre, 4 panels from S. Benedetto Novella, Padua, of Fra Vincenzo
+    dalla Vacche, 68
+
+  Luebeck, Kriegs Stube, 86
+
+  Lucca, panels in sacristy of Cathedral, by Christoforo da Lendinara, 32
+  ---- Stalls from Cathedral in Pinacotheca, 32
+
+  Luchet, M., Excursus on furniture in France, 1867, 113, 114
+
+  Lueneburg, Rathsaal, 86
+
+
+  M
+
+  Mace, Jean, of Blois, 92-95
+
+  Majano, Benedetto da, 19, 20
+
+  Majano, Giuliano di Nardo da, 18, 22
+  ---- Leonardo d' Antonio da, 19
+
+  Manuello, of Siena, 9
+
+  Marchi, of Crema, Family of, 6, 36
+
+  Mariotto di Mariotto, of Pesaro, 45
+
+  Marquetry, Derivation of, 1
+
+  Marti, Leonardo, 32
+
+  Masi, Antonio di Antonio, The Fleming, 46
+
+  Massari, Andrea, of Siena, 54
+
+  Mastei, Antonio, of Gubbio, 53
+
+  Mastro Crespolto, of Perugia, 26
+
+  Mastro Vanni di Tura dell' Ammanato, Sienese, 10
+
+  Matteo di Bernardino, of Florence, 17
+
+  Meo di Nuti, of Siena, 10
+
+  Michele Spagnuolo, 21
+
+  Milan, Cathedral, 15
+
+  Minelli, Giovanni and Cristoforo de, 45
+
+  Miniatures at Villanova, by Fra Giovanni da Verona, 59
+
+  Minnesinger's harp, of 14th Century, 8
+
+  Modern French marquetry, 125
+
+  Monte Oliveto, 55, 59, 60
+
+  Musee Cluny, wire-drawing bench made for Augustus, Elector of Saxony, 91
+
+
+  N
+
+  Naples, tarsia by Fra Giovanni da Verona in S. Anna dei Lombardi, 61, 62
+
+  Nicolo di Nicoluccio, 10
+
+  Nuremberg work in ebony and ivory, 90
+
+
+  O
+
+  [OE]ben, J. F., ebeniste du roi, 99
+
+  Orvieto, 10, 13
+
+
+  P
+
+  Padua, stalls in Church of S. Antonio, account by Matteo Colaccio, 30, 31
+
+  Paint and gilding added to intarsia work, 106
+
+  Paolo da Pesaro, 80
+
+  Parti of Siena, 9
+
+  Perugia, 10, 19, 26
+  ---- choir of the Cathedral, 19
+  ---- choir of S. Domenico, 26
+  ---- door in choir of S. Pietro in Casinense by Fra Damiano, 74
+  ---- Sala del Cambio, 26, 46
+  ---- stalls of S. Agostino, 44
+
+  Pier Antonio dell 'Abate of Modena, 29
+
+  Pietro Antonio of Florence, 17
+
+  Pietro di Maffeis, 73
+
+  Pietro di Miaella of Siena, 10
+
+  Pietro di Rizzardi, 33
+
+  Pisa Cathedral, 21, 22, 23
+
+  Polimante da Nicola, 26
+
+  Pontelli, Baccio, 21
+
+  Portuguese decorations with pierced metal plates, 83
+
+  Poverty of craftsmen, Domenico del Coro, 10, 12
+
+  Preuszen, Hans, carver, 87
+
+
+  R
+
+  Realism in intarsia panels, 105
+
+  Reasons for beauty in designs, 127
+
+  Reggio in Emilia, 35
+
+  Relief intarsia or Praeger arbeit, 85
+
+  Returns made by Sienese craftsman for taxation, 119, 120
+
+  Riesener, J. Henry, 99, 100
+
+  Roentgen, David, 102, 103
+
+  Rome, doors of St. Peter's, by Fra Antonio da Viterbo, 76, 77
+
+  Rosenfeldt, Jochim, 87
+
+
+  S
+
+  S. Mary Overie, Southwark, parish chest, 93
+
+  Sallig, Andreas, 87
+
+  San Sevrino, Domenico di, 46
+
+  Savona, choir of, Cathedral, 78
+
+  Schieferstein, Hans, 85, 90
+
+  Scraping and polishing marquetry, operation of, 115, 116
+
+  Shading of subjects in marquetry, 112
+
+  Siena, 9, 10, 13, 16, 37, 60
+
+  Simone d'Antonio of Siena, 13
+
+  Sizergh Castle, panelling from, 93
+
+  South German Bride chests, 89
+
+  South German inlaid Musical Instruments, 88
+
+  Spanish inlaid work in Victoria and Albert Museum, 81, 82
+
+
+  T
+
+  Taddeo Bartoli's designs for chapel of Palazzo Pubblico, Siena, 11
+
+  Tassi, Domenico of Florence, 17
+
+  Tasso, Maestro, his practical joke on the Benedictine Abbot, 28
+
+  Technical description from German book of 17th century, 106
+
+  Thickness of veneers in the market, 112
+
+  Tommaso di Ceccolo, 10
+
+  Tonbridge ware, 9
+
+  To stain ivory blue, 144
+
+  To stain ivory green, 144
+
+  To stain ivory orange, 142
+
+  To stain ivory purple, 143
+
+  To stain ivory various kinds of red, 142, 143
+
+  To stain ivory yellow, 142
+
+  To stain wood black, 138, 139
+
+  To stain wood blue, 140
+
+  To stain wood green, 141
+
+  To stain wood pink, 137
+
+  To stain wood purple, 137, 138
+
+  To stain wood red, 135, 136, 137
+
+  To stain wood silver grey, 141
+
+  To stain wood yellow, 133, 134
+
+
+  U
+
+  Uhr, Herman, 87, 88
+
+  Ulriksdal Castle, doors of drinking room, 92
+
+  Union of the crafts in one guild, 14
+
+  Urbino, tarsia in palace of Frederic of Montefeltro, 49, 50, 51
+
+  Use of mother-of-pearl, ivory, tortoiseshell, silver, &c., 54
+
+
+  V
+
+  Vasari's opinion of tarsia, 17
+
+  Veneering, operation of, 108
+
+  Veneers for marquetry, thickness of, 109, 110
+
+  Venice, Sacristy of S. Elena, 57, 58
+
+  Venice, tarsia in Sacristy of S. Mark's, 67, 68, 69
+
+  Verona, Sacristy of S. Anastasia, 10
+
+  Volthurn Castle, near Brixen, 90
+
+  Von Soest, Albert, 86
+
+  Vordt, 92
+
+  Vriese, Vriedemann, 86
+
+
+  W
+
+  Wallace Collection, Cabinet by Claude Charles Saunier, 95
+
+  Wallace Collection, Cabinets by Oeben and Riesener, 99, 100
+
+  Wallace Collection, jewel box by Conrad Cornier, 88
+
+  Webb, Stephen, paper at the Society of Arts, 128
+
+  Wegener, Adam, figure cutter, 87
+
+  Weiskopf, Wolf, 84
+
+  Winkler, Simon, 85
+
+  Wood, exceptional scantlings used by the ancients, 6, 7
+
+  Woods, combinations of, for marquetry, 111
+
+  Woods in use in England for marquetry, 112
+  ---- used by the marqueteurs of Nice, 115
+  ---- used by Riesener, 101
+  ---- used in Barili's panel, 38
+  ---- used in the best period, 106
+  ---- used in stalls, Cathedral, Orvieto, 10
+  ---- used on the Continent for veneers, 111
+
+
+  Z
+
+  Zambelli, of Bergamo, Stefano di Antoniuolo de, 46, 73
+
+  Zampiero da Padova, 73
+
+  Zanetto da Bergamo, 72, 73
+
+
+_Willam Hodge & Co., Glasgow and Edinburgh_
+
+
+
+
+
+
+End of Project Gutenberg's Intarsia and Marquetry, by F. Hamilton Jackson
+
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diff --git a/30215.zip b/30215.zip
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+The Project Gutenberg EBook of Intarsia and Marquetry, by F. Hamilton Jackson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Intarsia and Marquetry
+
+Author: F. Hamilton Jackson
+
+Release Date: October 8, 2009 [EBook #30215]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK INTARSIA AND MARQUETRY ***
+
+
+
+
+Produced by Chris Curnow, Lindy Walsh and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
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+
+
+
+
+
+
+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 Floor, Wall, and Vault
+
+
+
+
+  HANDBOOKS FOR THE DESIGNER AND
+  CRAFTSMAN
+
+  INTARSIA AND MARQUETRY
+
+  BY
+
+  F. 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
+  1903
+
+
+
+
+  PRINTED BY
+  WILLIAM HODGE AND COMPANY
+  GLASGOW AND EDINBURGH
+
+
+
+
+CONTENTS
+
+
+                                                                   PAGE
+
+  HISTORICAL NOTES--ANTIQUITY,                                         1
+
+  ITALY IN MEDIÆVAL AND RENAISSANCE TIMES,                             8
+
+  THE CLOISTERED INTARSIATORI AND THEIR PUPILS,                       55
+
+  IN GERMANY AND HOLLAND, ENGLAND AND FRANCE,                         84
+
+  THE PROCESS OF MANUFACTURE,                                        104
+
+  THE LIMITATIONS AND CAPABILITIES OF THE ART,                       118
+
+  WORKSHOP RECEIPTS,                                                 133
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  PLATE
+
+  1. Patterns used in Borders,                          _facing page_ 8
+
+  2. Various Patterns of Borders,                              "      9
+
+  3. Chair Back from S. Ambrogio, Milan,                       "     10
+
+  4. Door of the Sala del Papa, Palazzo Comunale, Siena,       "     13
+
+  5. The Prophet Amos. Figure intarsia from the  }
+     Sacristy of the Cathedral, Florence,        }
+  6. The Annunciation. Figure intarsia from the  } _between pages
+     Sacristy of the Cathedral, Florence,        } 18 and 19_
+  7. The Prophet Hosea. Figure intarsia from the }
+     Sacristy of the Cathedral, Florence,        }
+
+  8. The Nativity. Figure intarsia from the Sacristy
+     of the Cathedral, Florence,                        _facing page 20_
+
+  9. The Presentation in the Temple. Figure Intarsia
+     from the Sacristy of the Cathedral, Florence,             "      21
+
+  10. Panel from Sacristy of S. Croce, Florence,               "      23
+
+  11. Detail of Frieze from the Sacristy of S. Croce,
+      Florence,                                                "      24
+
+  12. Lower Seats of Choir, Cathedral, Perugia,                "      25
+
+  13. Upper Seats of Choir, Cathedral, Perugia,                "      26
+
+  14. One Panel, from Upper Series, Cathedral, Perugia,        "      27
+
+  15. Two Panels from the Sala del Cambio, Perugia,            "      28
+
+  16. Frieze from S. Mark's, Venice,                           "      30
+
+  17. Frieze from S. Mark's, Venice,                           "      32
+
+  18. Stalls from the Cathedral, Lucca,                        "      33
+
+  19. Lectern in Pinacoteca, Lucca,                            "      34
+
+  20. Two-leaved Door in the Pinacoteca, Lucca,                "      35
+
+  21. Stalls at the Certosa, Pavia,                            "      36
+
+  22. Detail of Arabesques, lower Seats, Certosa, Pavia,       "      37
+
+  23. Panel from S. Petronio, Bologna,                         "      38
+
+  24. Panel from S. Petronio, Bologna,                         "      39
+
+  25. Panel from S. Miniato, Florence,                         "      40
+
+  26. Panel from S. Maria Novella, Florence,                   "      42
+
+  27. Panel from S. Maria Novella, Florence,                   "      44
+
+  28. Panel in Sacristy of S. Pietro in Casinense, Perugia,    "      46
+
+  29. Panel from Door of Sala del Cambio, Perugia,             "      48
+
+  30. Panel from lower row of Stalls, S. Maria in
+  Organo, Verona,                                              "      59
+
+  31. Panels from Monte Oliveto Maggiore, now in
+  the Cathedral, Siena,                                        "      60
+
+  32. Frieze from Monte Oliveto Maggiore,                      "      62
+
+  33. Panel from S. Mark's, Venice,                            "      68
+
+  34. Panel from Door in Choir of S. Pietro in
+  Casinense, Perugia,                                          "      74
+
+  35. Lunette from Stalls in Cathedral, Genoa,                 "      77
+
+  36. Panel from lower row of Stalls, Cathedral, Savona,       "      78
+
+  37. Panel from the Ducal Palace, Mantua,                     "      80
+
+  38. Panel from the Rathaus, Breslau, 1563,                   "      84
+
+  39. Panel from Church of S. Mary Magdalene, Breslau,         "      86
+
+  40. Pilaster Strip from the Magdalene Church, Breslau,       "      87
+
+  41. Panel from S. Elizabeth's Church, Breslau,               "      88
+
+  42. Lower Panel of Door, 1564--Tyrolese,                     "      90
+
+  43. Top of Card Table in the Drawing-room, Roehampton
+  House; Dutch, 18th Century,                                  "      92
+
+  44. Panelling from Sizergh Castle, now in Victoria
+  and Albert Museum,                                           "      93
+
+  45. Cabinet with falling front, in the Drawingroom,
+  Roehampton House,                                            "      94
+
+  46. Cabinet belonging to Earl Granville. Boulle
+  work of about 1740,                                          "      96
+
+  47. Top of Writing Table in the Saloon, Roehampton
+  House. Period of Louis XV.,                                  "      97
+
+  48. Encoignure, signed J. F. Oeben, in the Jones
+  Bequest. Victoria and Albert Museum,                         "      98
+
+  49. Panel from back of Riesener's bureau, made
+  for Stanislas Leczinski, with figure of Secrecy,             "     100
+
+  50. Roundel from bureau, made for Stanislas
+  Leczinski, King of Poland, now in the
+  Wallace Collection,                                          "     102
+
+  51. Antonio Barili at work, by himself,                      "     104
+
+  52. Panel from the Victoria and Albert Museum,               "     106
+
+  53. Panel from S. Maria in Organo, Verona,                   "     122
+
+  54. Panel from S. Maria in Organo, Verona,                   "     126
+
+  55. Panel from S. Pietro in Casinense, Perugia,              "     130
+
+
+
+
+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 novelty. In every direction the
+question which is asked is not, "Is this fresh thing good? Is it
+appropriate to, and well-fitted for, its intended uses?" but "Is it
+novel?" 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 change. While there are directions in which this
+desire is not altogether harmful, since at least many monstrosities
+offend our eyes but for a short time, a full compliance with it by the
+designer is likely to prove disastrous to his reputation, 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 centuries, and to
+produce something entirely fresh and individual, have shown how
+impossible it is at this period of the world's history to dispense with
+tradition, and, escaping from the accumulated experience of the race,
+set forth with childlike _naïveté_. 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 generations, and that
+the undigested use of natural _motifs_ results not in nourishment but in
+nightmare.
+
+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 times, 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
+present. Since both design and craftsmanship as known until the end of
+the 18th century were the outcome of centuries of experience of the use
+of material and of the endeavour to meet daily requirements, it may be
+justly called folly to cast all this aside as the fripperies of bygone
+fashion which cramp the efforts of the designer, and attempt to start
+afresh without a rag of clothing, even if it were possible. At the same
+time it is not intended to advocate the direct copyism of any style,
+whether regarded as good, bad, or indifferent. Some minds find
+inspiration in the contemplation of natural objects, while others find
+the same stimulus in the works of man. The fashion of present opinion
+lays great stress upon the former source of inspiration, and considers
+the latter heretical, while, with a strange inconsistency, acclaiming a
+form of design based upon unnatural contortions of growth, and a
+treatment which is often alien to the material. It is the hope of the
+author to assist the second class of mind to the rivalling of the
+ancient glories of design and craftsmanship, 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 individuality. 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 unsuitable, and a greater acquaintance with their
+triumphs is likely, one would hope, to lead students, whether designers
+or craftsmen, to view with disgust undigested designs indifferently
+executed which have little but a fancied novelty to recommend them.
+
+It is intended that each volume shall contain an historical sketch of
+the phase of design and craft treated of, with examples of the
+successful overcoming of the difficulties to be encountered in its
+practice, workshop recipes, and the modes of producing the effects
+required, 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 them.
+
+
+
+
+PREFACE
+
+
+The subject treated of in this handbook has, until lately, received
+scant attention in England; and except for short notices of a general
+nature contained in such books as Waring's "Arts Connected with
+Architecture," technical descriptions, such as those in Holtzapffel's
+"Turning and Mechanical Manipulation," and a few fugitive papers, has
+not been treated in the English language. On the Continent it has,
+however, been the subject of considerable research, and in Italy,
+Germany, and France books have been published which either include it as
+part of the larger subject of furniture, or treat in considerable detail
+instances of specially-important undertakings. From these various
+sources I have endeavoured to gather as much information as possible
+without too wearying an insistence upon unimportant details, 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
+art, and especially for the designer and craftsman, whose business it
+is or may be to produce such works in harmonious co-operation in the
+present day, as they often did in days gone by, and, it may be hoped,
+with a success akin to that attained in those periods to which we look
+back as the golden age of art.
+
+The books from which I have drawn my information are principally the
+following:--
+
+In Italian--Borghese and Banchi's "Nuovi documenti per la storia dell'
+Arte Senese"; Brandolese's "Pitture, sculture, &c., di Padova"; Caffi's
+"Dei lavori d'intaglio in legname e d'intarsia nel Cattedrale di
+Ferrara"; Calvi's "Dei professori de belle arti che fiorirono in Milano
+ai tempi dei Visconti, &c."; Saba Castiglione's "Ricordi"; Erculei's
+paper in his "Catalogue of the Exhibition of works of carving and inlay
+held at Rome in 1885"; Finocchietti's "Report on carving and inlaid work
+in the Jurors' report on the Exhibition of 1867 in Paris"; Lanzi's
+"History of Painting in Italy"; Locatelli's "Iconografia Italiana";
+Marchese's "Lives of Dominican Artists"; Milanesi's "Documenti per la
+Storia dell' Arte Senese"; Morelli's "Notizie d'opere di disegno nella
+prima metà dell' Secolo XVI."; Tassi's "Vite di pittori, architetti,
+&c., Bergamaschi"; Temanza's "Vite dei piu celebri architetti, &c.,
+Dominicani"; Tiraboschi's "Biblioteca Modenese"; Della Valle's "Lettere
+Senesi sopra le belle Arti"; Vasari's "Lives," with Milanesi's notes and
+corrections, and papers in the "Bullettino di Arti, Industrie e
+Curiosità Veneziane," the "Atti e memorie della Società Savonese," the
+"Archivio Storico dell' Arte and its continuation as L'Arte," and the
+"Archivio Storico Lombardo," by such men as Michele Caffi, G. M. Urb,
+Ottavio Varaldo, Francesco Malaguzzi Valeri and L. T. Belgrano.
+
+In German--Becker and Hefner Alteneck's "Kunstwerke and Geräths Schaften
+des Mittelalters und der Renaissance"; Bucher's "Geschichte der
+Technischen Kunst"; Burckhardt's "Additions to Kugler's Geschichte der
+Baukunst, and Geschichte der Renaissance in Italien"; Demmin's "Studien
+über die Stofflich-bildenden Künste"; Von Falke's "Geschichte des
+deutsches Kunstgewerbes"; Scherer's "Technik und Geschichte der
+Intarsia"; Schmidt's "Schloss Gottorp"; Seeman's "Kunstgewerbliche
+Handbücher"; Teirich's "Ornamente aus der Blüthezeit italienischer
+Renaissance," and articles in "Blätter für Kunstgewerbe," and the
+"Kunstgewerbeblatt of the Zeitschrift für bildende Kunst," by such men
+as Teirich, Issel and Ilg.
+
+In French--Asselineau's "A. Boulle, ébéniste de Louis 14"; Burckhardt's
+"Le Cicerone"; Champeaux's "Le bois appliquée au mobilier," and "Le
+meuble"; Demmin's "Encyclopédie historique, archeologique, &c.";
+Luchet's "L'Arte industriel à l'Exposition Universelle de 1867," and
+other encyclopædias.
+
+In English--"The handmaid to the arts"; Holtzapffel's "Turning and
+mechanical manipulation"; Pollen's paper on "Furniture in the Kensington
+Catalogue of Ancient and Modern furniture"; Leader Scott's "The
+Cathedral builders"; Tomlinson's "Cyclopædia of Useful Arts"; Waring's
+"The Arts connected with architecture"; and Digby Wyatt's "Industrial
+Arts of the 19th Century," together with detached articles found in
+various publications.
+
+Those who desire further examples of arabesque patterns may find them in
+Issel's "Wandtäfelungen und Holzdecken"; Lacher's "Mustergültige
+holzintarsien der Deutschen Renaissance aus dem 16 und 17 Jahrhundert";
+Lachner's "Geschichte der Holzbaukunst in Deutschland"; Lichtwark's "Der
+ornamentstich der deutschen Frührenaissance"; Meurer's "Italienische
+Flachornamente aus der Zeit der Renaissance"; Teirich's "Ornamente aus
+der Blüthezeit italienischer Renaissance," and Rhenius "Eingelegte
+Holzornamente der Renaissance in Schlesien von 1550-1650."
+
+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 known,
+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
+question.
+
+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 ways, the facilities
+afforded me, and their unfailing kindness and courtesy; and to the
+Director of the Victoria and Albert Museum for similar kindness and
+assistance.
+
+I have also to thank my friend Mr. C. Bessant, whose experience in all
+kinds of cabinet work is so great, for very kindly looking over the
+section dealing with the processes of manufacture.
+
+  F. HAMILTON JACKSON.
+
+
+
+
+INTARSIA AND MARQUETRY
+
+HISTORICAL NOTES--ANTIQUITY
+
+
+The word "intarsia" is derived from the Latin "interserere," to insert,
+according to the best Italian authorities, though Scherer says there was
+a similar word, "Tausia," which was applied to the inlaying of gold and
+silver in some other metal, an art practised in Damascus, and thence
+called damascening; and that at first the two words meant the same
+thing, but after a time one was applied to work in wood and the other to
+metal work. In the "Museo Borbonico," xii., p. 4, xv., p. 6, the word
+"Tausia" is said to be of Arabic origin, and there is no doubt that the
+art is Oriental. It perhaps reached Europe either by way of Sicily or
+through the Spanish Moors. "Marquetry," on the other hand, is a word of
+much later origin, and comes from the French "marqueter," to spot, to
+mark; it seems, therefore, 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 (or sometimes some other
+material) cut to fit it, and to use the latter for the more modern
+practice of cutting several sheets of differently-coloured thin wood
+placed together to the same design, so that by one cutting eight or ten
+copies of different colours may be produced which will fit into each
+other, and only require subsequent arranging and glueing, as well as for
+the more artistic effects of the marquetry of the 17th and 18th
+centuries, which were produced with similar veneers. The process of
+inlaying is of the most remote antiquity, and the student may see in the
+cases of the British Museum, at the Louvre, and in other museums,
+examples of both Assyrian and Egyptian inlaid patterns of metal and
+ivory, or ebony or vitreous pastes, upon both wood and ivory, dating
+from the 8th and 10th centuries before the Christian Era, or earlier.
+The Greeks and Romans also made use of it for costly furniture and
+ornamental sculpture; in Book 23 of the "Odyssey," Ulysses, describing
+to Penelope the bride-bed which he had made, says--"Beginning from this
+head-post, I wrought at the bedstead till I had finished it, and made it
+fair with inlaid work of gold, and of silver, and of ivory"; the statue
+and throne of Jupiter at Olympia had ivory, ebony, and many other
+materials used in its construction, and the chests in which clothes
+were kept, mentioned by Homer, were some of them ornamented with inlaid
+work in the precious metals and ivory. Pausanias describes the box of
+Kypselos, in the opisthodomos of the Temple of Hera, at Olympia, as
+elliptical in shape, made of cedar wood and adorned with mythological
+representations, partly carved in wood and partly inlaid with gold and
+ivory, in five strips which encircled the whole box, one above another.
+The Greek words for inlaying used by Homer and Pindar are "[Greek:
+daidallô]" and "[Greek: kollaô]," and their derivatives, the first being
+also used for embroidering; Homer and Hesiod also use "[Greek:
+poikilos]" for "inlaid," which shows how closely at that time the arts
+were interwoven. These words have left no trace in the later terms,
+though [Greek: kollaô] means to fix together, or to glue, and it is
+tempting to connect the French word "coller" with it. Vitruvius and
+Pliny use the words "cerostrata" or "celostrata," which means, strictly
+speaking, "inlaid with horn," and "xilostraton." The woods used by the
+Greeks were ebony, cypress, cedar, oak, "sinila," yew, willow, lotus
+(celtis australis), and citron (thuyia cypressoides), a tree which grew
+on the slopes of the Atlas mountains. The value of large slabs of this
+last was enormous. Pliny says that Cicero, who was not very wealthy
+according to Roman notions, spent 500,000 sesterces (about £5400) for
+one table. Asinius Pollio spent £10,800, King Juba £13,050, and the
+family of the Cethegi £15,150 for a single slab. The value of this wood
+consisted chiefly in the beautiful lines of the veins and fibres; when
+they ran in wavy lines they were called "tigrinæ," tiger tables; when
+they formed spirals like so many little whirlpools they were called
+"pantherinæ," or panther tables, and when they had undulating, wavy
+marks like the filaments of a feather, especially if resembling the eyes
+on a peacock's tail, they were very highly esteemed. Next in value were
+those covered with dense masses of grain, called "apiatæ," parsley wood.
+But the colour of the wood was also a great factor in the value, that of
+wine mixed with honey being most highly prized. The defect in that kind
+of table was called "lignum," which denoted a dull, log colour, with
+stains and flaws and an indistinctly patterned grain. Pliny says the
+barbarous tribes buried the wood in the ground when green, giving it
+first a coating of wax. When it came into the workmen's hands they put
+it for a certain number of days under a heap of corn, by which it lost
+weight. Sea water was supposed to harden it and act as a preservative,
+and after bathing it, it was carefully polished by rubbing by hand. The
+use of such valuable wood naturally led to the use of veneers, and the
+practice was universal in costly furniture. The word "xilotarsia" was
+used by the Romans to designate a kind of mosaic of wood used for
+furniture decoration. Its etymology suggests that the Greeks were then
+masters in the art. They divided works in tarsia into two
+classes--"sectile," in which fragments of wood or other material were
+inserted in a surface of wood, and "pictorial," in which the various
+pieces of wood covered the ground entirely. The slices of wood,
+"sectiles laminæ," were laid down with glue, as in modern work. Wild and
+cultivated olive, box, ebony (Corsican especially), ilex, and beech were
+used for veneering boxes, desks, and small work. Besides these the
+Romans used the citrus, Syrian terebinth, maple, palm (cut
+transversely), holly, root of the elder, and poplar; the centres of the
+trees being most prized for colour and markings. [See note giving
+extracts from Pliny.[1]]
+
+A few notes on the exceptional scantlings of timber in antiquity may be
+interesting, though not strictly belonging to our subject. 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 curiosity. It measured
+120 feet by 2 feet the entire length. The mast of the vessel which
+brought the large obelisk from Egypt, afterwards set up in the Circus
+Maximus, and now in front of S. John Lateran, was 100 feet by 1-1/2
+feet, and the tree out of which it was cut required four men, holding
+hands, to surround it. A stick of cedar, cut in Cyprus and used as the
+mast of an undecireme, or 11 banked galley of Demetrius, took three men
+to span the tree out of which it was cut. It was the exceptional sizes
+of such pieces of timber, and veneers cut from them, which made the
+value of tables in Rome.
+
+FOOTNOTES:
+
+[1] Pliny, Book 16, Chap. 83--"Glue, too, plays one of the principal
+parts in all veneering and works of marquetry. For this purpose the
+workmen usually employ wood with a threaded vein, to which they give the
+name of 'ferulea,' from its resemblance to the grain of the giant
+fennel, this part of the wood being preferred from its being dotted and
+wavy." Chap. 84--"The wood, too, of the beech is easily worked, although
+it is brittle and soft. Cut into thin layers of veneer it is very
+flexible, but is only used for the construction of boxes and desks. The
+wood, too, of the holm oak is cut into veneers of remarkable thinness,
+the colour of which is far from unsightly; but it is more particularly
+where it is exposed to friction that this wood is valued, as being one
+to be depended upon; in the axle trees of wheels, for instance, for
+which the ash is also employed, on account of its pliancy, the holm oak
+for its hardness, and the elm for the union in it of both these
+qualities.... The best woods for cutting into layers and employing as a
+veneer for covering others are the citrus, the terebinth, the different
+varieties of the maple, the box, the palm, the holly, the holm oak, the
+root of the elder, and the poplar. The alder furnishes, also, a kind of
+tuberosity, which is cut into layers like those of the citrus and the
+maple. In all the other trees, the tuberosities are of no value
+whatever. It is the central part of trees that is most variegated, and
+the nearer we approach to the root the smaller are the spots and the
+more wavy. It was in this appearance that originated that requirement of
+luxury which displays itself in covering one tree with another, and
+bestowing upon the more common woods a bark of higher price. In order to
+make a single tree sell many times over laminæ of veneer have been
+devised; but that was not thought sufficient--the horns of animals must
+next be stained of different colours, and their teeth cut into sections,
+in order to decorate wood with ivory, and, at a later period, to veneer
+it all over. Then, after all this, man must go and seek his materials in
+the sea as well! For this purpose he has learned to cut tortoise shell
+into sections; and of late, in the reign of Nero, there was a monstrous
+invention devised of destroying its natural appearance by paint, and
+making it sell at a still higher price by a successful imitation of
+wood.
+
+"It is in this way that the value of our couches is so greatly enhanced;
+it is in this way, too, that they bid the rich lustre of the terebinth
+to be outdone, a mock citrus to be made that shall be more valuable than
+the real one, and the grain of the maple to be feigned. At one time
+luxury was not content with wood; at the present day it sets us on
+buying tortoise shells in the guise of wood."--Pliny's Natural History,
+Bohn's Translation.
+
+
+
+
+ITALY IN MEDIÆVAL AND RENAISSANCE TIMES
+
+
+The mediæval craft seems, however, to have been derived from the East,
+though Theophilus mentions the Germans as clever practitioners in
+woodwork. A minnesinger's harp of the 14th century, figured by Hefner
+Alteneck, appears to bear out his remark, though later in date, with its
+powdering of geometrical inlays and curiously-designed sprigs, which
+might almost have been produced by the latest art craze, which apes
+archaic simplicity. It belonged to the knightly poet Oswald von
+Wolkenstein, who died in 1445; the colours used are two browns, black,
+white, and green. The oriental inlays of ivory upon wood, elaborate and
+beautiful geometrical designs, are still produced in India in much the
+same fashion as in the middle ages, for the possibilities of geometric
+design were exhausted by the Arabs in Egypt and the Moors in Spain; and
+in Venice there was a quarter inhabited by workmen of the latter race
+who made both metal work and objects in wood. Except for the inlaid
+ivory casket in the Capella Palatina, at Palermo, which seems to be a
+work of Norman times, 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 Certosa," or "tarsia alla Certosina"; but since
+inlaying with small pieces of marble and vitreous pastes was practised
+in central and southern Italy certainly from the 12th century, there is
+little difficulty in imagining how its use arose. This work has its
+derivative still existing in England in the so-called "Tonbridge ware,"
+which is made by arranging rods of wood in a pattern and glueing them
+together, after which sections are sliced off--the same proceeding, in
+effect, as that which the Egyptians made use of with rods or threads of
+glass. One must allow, however, that the wooden border inlays, which are
+also placed under this heading, show greater craft mastery, as the
+examples appended show, which are typical instances. The chair-back from
+S. Ambrogio, Milan, is a characteristic example of the simpler form on a
+tolerably large scale.
+
+[Illustration: Plate 1.--_Patterns used in Borders._
+
+_To face page 8._]
+
+[Illustration: Plate 2.--_Various Patterns of Borders._]
+
+Historians are agreed that the cradle of Italian carving and inlaying
+was Siena, where there is mention of a certain Manuello, who, with his
+son Parti, worked in the ancient choir of the Cathedral in 1259.
+Orvieto was another place where tarsia work was made at an early date,
+but the craftsmen were all Sienese. Mastro Vanni di Tura dell' Ammanato,
+the Sienese, made the design of the stalls for the Cathedral in 1331,
+and commenced the work, some remains of which are still preserved in the
+Museum of the Opera del Duomo. Twenty-eight artists were employed on
+these stalls; Giovanni Talini, Meo di Nuti, and others, all Sienese,
+assisted him, but he died before they were finished, and they remained
+incomplete till 1414, when Domenico di Nicolò is recorded as undertaking
+the work; but neither did he finish it, for in 1431 the overseers gave
+it to Pietro di Minella, and then to his brother Antonio, and to
+Giovanni di Lodovico di Magno. The woods used were ebony, box, walnut,
+and white poplar, and the cost was 3152 lire. In the 14th century tarsia
+was executed at Siena, Assisi, where in 1349 Nicolo di Nicoluccio and
+Tommaso di Ceccolo worked at the Cathedral stalls, which no longer
+remain; Verona, in the sacristy of S. Anastasia, in which city are some
+inlays resembling those at Orvieto, and Perugia, where some inlays
+remain in the Collegio della Mercanzia, but remains of the period are
+few, as may be expected.
+
+[Illustration: _To face page 10._ Plate 3.--_Chair Back from S.
+Ambrogio, Milan._]
+
+Domenico di Nicolò worked for 13 years at the chapel in the Palazzo
+Pubblico at Siena, using some of Taddeo Bartoli's designs, and also
+did the doors of the Sala di Balia, or of the Pope. This man, who was
+one of the best Sienese masters of intarsia and carving, and was head of
+the Opera del Duomo in 1400, and whose work brought him so much
+reputation that his family name of Spinelli was changed for himself and
+his descendants to Del Coro, or Dei Cori, is an example and a proof of
+the small profit which was to be made even then by conscientious and
+careful work. He was not only a worker in wood, in 1424 he also did the
+panels of the Cathedral floor, representing David and Goliath, the
+Amorite Kings, and Samson, ascribed by Vasari to Duccio; in 1415 he was
+paid 42 lire for a tabernacle made of gesso, while as early as February
+28, 1397-8, he was paid 32 lire 10 soldi for 32-1/2 days' work on a
+window above the pulpit; yet on May 13, 1421, he petitions the priors
+and captain of the people to this effect. He says that he is poor, and
+cannot meet the requirements of his family and apprentices, each of
+whom, he says, costs 30 or 40 florins a year, and therefore suggests
+that he should have two or three boys to teach, and that the priors
+should subsidize him for that purpose, and binds himself to teach them
+all he can without reserve. The priors and captains recommended to the
+council that he should be paid by the chamberlain of Bicherna 200 lire,
+free of tax, by the year, "nomine provisionis libr: ducentos den:
+nitidas de gabella," and should have two or three Sienese youths to
+teach, and the council passed the recommendation the same day.
+Twenty-six years later, January 14, 1446-7, he appears again in the
+records with a petition to the Signory. He says that he has always, from
+his youth up, done his best to provide for his family, and that by his
+craft he has always tried to bring honour on the city and spread the
+fame of his works. That as they know he was granted money to teach his
+art to any young man who wanted to learn it, but "because this art was,
+and is, little profitable, there was no one who wished to go on with it
+except Master Mactio di Bernacchino, who followed the art thoroughly,
+and became an excellent master." That, as he thought he was fairly
+prosperous, he gave up the grant (like an honest man!), but the expenses
+of marrying and dowering his daughters had been so great, and added to
+the losses caused by the small profits on his work, had reduced him to
+such poverty that he did not see how he could go on, being 84 years of
+age, or thereabouts, and having a sick wife. He therefore asked to have
+a small pension settled on him for the few years he and his wife had to
+live. He was granted two florins a month, but three years later all
+mention of him ceases.
+
+[Illustration: Plate 4.--_Door of the Sala del Papa, Palazzo Comunale,
+Siena._
+
+_To face page 13._]
+
+The choir of the Chapel of the Palace had been given in 1414 to Simone
+d'Antonio and Antonio Paolo Martini, but they did not satisfy the
+public, so it was taken from them and given to Domenico di Nicolò,
+August 26, 1415. The tarsie are 21 in number, and represent the clauses
+of the apostles' creed and the symbols of the apostles. The unsuccessful
+work was given to the prior of the Servites. In the Communal records
+occur the following, March 31, 1428:--"Domenico di Nicolò, called
+Domenico del Coro, is to have 45 florins at 4 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 Palace, which salary was declared
+by Guido of Turin and Daniello di Neri Martini, two of the three workmen
+upon the contract of the said door, at 180 lire. And is to have 3152
+lire for his salary and workmanship of 21 seats made in the Palace of
+the Magnificent Signors, with all both '_fornamenti et facti_,' in full
+according to his contract"--accepted by Guido di Torino and Daniello di
+Neri Martini. He was called to Orvieto in 1416 to refix the roof of the
+Cathedral; he was not to have more than 200 florins a year, but if he
+came himself all expenses were to be paid. This suggests an appointment
+like that of a consulting engineer.
+
+From Siena masters were continually sent to the other great towns to
+design and carry out works of architecture, sculpture, and woodwork, as
+entries in Sienese documents show. In early times the various arts
+connected with building were in close union, and it appears tolerably
+certain that one guild sheltered them all, proficiency being required in
+several crafts and mastery in one. We find the same man acting in one
+place as master builder or architect, and sometimes only giving advice,
+while elsewhere he is sculptor or woodworker. The painter, the
+mosaicist, and the designer for intarsia are confused in a similar
+manner. Borsieri calls Giovanni de' Grassi, the Milanese painter (known
+as Giovanni de Melano at first, a pupil of Giotto and Taddeo Gaddi;
+pictures of his are in the Academy, Florence, and in the cloister of S.
+Caterina Milan), "an excellent architect"; and he also worked in relief,
+besides conducting very important architectural works. He says that
+about 1385 Giovanni Galeazzo opened an academy of fine art in his
+palace, which was conducted by Giovanni de' Grassi and Michelino da
+Besozzo. On June 19, 1391, he was paid five florins for models executed
+by him, and something for the expense of execution in marble by another
+hand. In 1391 he was called upon by the Council of the Duomo, and after
+four months of uncertainty was assigned the position and pay of first
+engineer, with a servant who was paid by the Council. He did the door of
+the S. Sacristy; it was finished in July, 1395, when he was ordered to
+decorate it with gilding and blue. He also made designs for capitals and
+window traceries, and carved a God the Father for a centre boss of the
+vault of the N. Sacristy. He illuminated the initials, &c., of a copy of
+the Ambrosian ritual of Berold for the "Fabbriceria," and this was his
+last work, as he died July 5, 1398, and the price was paid to his son
+Solomon, the officials declaring that it was most moderate. His pupils
+were nearly all both painters and sculptors, and some of them became
+stained-glass painters. It is well known that Taddeo Gaddi was painter,
+architect, and mosaicist, and Giotto, painter, sculptor, and architect,
+and these details are an example of what was then continually going on.
+Both in mediæval times and at the beginning of the Renaissance the most
+celebrated architects often called themselves by the most humble
+titles--"Magister lignaminio," "maestro di legname," "faber lignarius,"
+"carpentarius." Minerva, the worker, was the patron of all workmen from
+Pheidias to the lowest pottery thrower, and in Christian times the
+Quattro Coronati, the four workmen-saints, were the patrons of all who
+worked with their hands.
+
+The oldest of the differentiated guilds appears to be that of the
+painters, at least in Siena, where one was established in 1355, while in
+Florence they were obliged to enrol themselves in the "Art" of the
+"medici e speziali," unless they preferred, as many of them did, to be
+reckoned with the goldsmiths. In Siena the Goldsmiths' Guild followed
+the Painters' Guild in 1361, while the workers in stone formed their
+guild still later. Among the painters were included designers of every
+sort--moulders, and workers in plaster, stucco, and papier maché, gold
+beaters, tin beaters, &c., and masters and apprentices in stained glass,
+also makers of playing cards--a most comprehensive guild. Vasari, in his
+life of Jacopo Casentino, architect and painter, says, however, "Towards
+1349 the painters of the old Greek style, and those of the new,
+disciples of Cimabue, finding themselves in great number, united and
+formed at Florence a company under the name and protection of S. Luke
+the Evangelist"; and Baldinucci, in his "Notizie dei professori di
+disegno," prints the articles of association at length. Others hold that
+the Confraternità dei Pittori was not founded till 1386.
+
+[Illustration: Plate 5.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PROPHET AMOS.
+
+_This and the two succeeding are part of the same composition._
+
+_To face page 18._]
+
+
+[Illustration: Plate 6.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE ANNUNCIATION.]
+
+[Illustration: Plate 7.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PROPHET HOSEA.]
+
+The rapid rise of the last-named city in wealth and importance was the
+reason that so much of the best later 15th century inlaid work was done
+there, or at least by Florentines, though the art was not new to
+Florence, the names of Matteo di Bernardino, Pietro Antonio, Giovanni
+del Mulinella, and Domenico Tassi being recorded as working there in the
+14th century. Vasari, as usual, is somewhat inaccurate; he says that
+tarsia was first introduced in the time of Brunelleschi and Paolo
+Uccello, "that, namely, of conjoining woods, tinted of different
+colours, and representing with these buildings in perspective, foliage,
+and various fantasies of different kinds." Both he and Lanzi say that
+Brunelleschi gave lessons in perspective and "tarsia" to architects and
+others, of which Masaccio in painting and Benedetto da Majano in his
+inlaid works availed themselves. Vasari held but a poor opinion of
+tarsia, which, he said, "was practised chiefly by those persons who
+possessed more patience than skill in design," and goes on to say that
+the subjects most suitable to the process are "perspective
+representations of buildings full of windows and angular lines, to which
+force and relief are given by means of lights and shades"; that although
+he had seen some good representations of figures, fruit, and animals,
+"yet the work soon becomes dark, and is always in danger of perishing
+from the worms or by fires." He adds that it was first practised in
+black and white alone, 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 colours, making the lights with the whitest pieces of
+the spindle tree; to shade, some singed the wood by firing, others used
+oil of sulphur, or a solution of corrosive sublimate and arsenic. The
+"most solemn" masters of tarsia in Florence were the Majani, La Cecca,
+Il Francione, and the da San Gallo. The first name which he gives is
+that of Giuliano da Majano (1432-90), architect and sculptor, who
+executed as his first work the seats and presses of the sacristy of S.
+S. Annunziata at Florence, with Giusto and Minore, two masters in
+tarsia. He also did other things for S. Marco. In the archives of the
+Duomo, Giuliano di Nardo da Maiano is named in a contract for ornamental
+wood-work in the sacristy, to be finished in 1465. There is still
+existing in the Opera del Duomo a panel of S. Zenobio standing between
+two deacons, executed by him from cartoons by Maso Finiguerra, who
+designed five figures for the panels of the sacristy. The heads were
+painted by Alessio Baldovinetti. There are also several subjects in the
+sacristy, a Nativity, resembling Lippino Lippi's picture in the
+Accademia; a Presentation in the Temple, not without a reminiscence of
+Ghirlandajo's manner; and an Annunciation. The whole scheme of the
+decoration of this wall was Giuliano's, but it was the completion of
+work begun in 1439 by Angelo di Lazzero of Arezzo, Bernardo di Tommaso
+di Ghigo, Giovanni di Ser Giovanni detto Scheggione, painter and brother
+of Masaccio, and Antonio Manetti. Milanesi says his father was Leonardo
+d'Antonio da Majano, master of wood and stone work. He entered the Arte
+del legnajuolo in company with his younger brother Benedetto, and the
+first mention of his work in connection with the "Arte" is in 1455, when
+he made for the Compagnia di S. Agnese delle Laudi, which met in the
+Carmine, a chest with a bookcase of some sort. Five years later he
+carved some candlesticks for the Monastery of S. Monaca, and constructed
+some cupboards ornamented with inlaid work and perspectives for the
+Badia of Fiesole. Among his architectural work may be mentioned the
+Chapel of S. Fina at S. Gemignano, which Ghirlandajo embellished with
+frescoes. He commenced a choir for the Duomo at Perugia, decorated with
+both carving and tarsia, but since he went to Naples shortly after 1481,
+and died there in 1490, the greater part of the credit of this work must
+be given to Domenico del Tasso, who completed it in 1491. His brother
+Benedetto, to whom he turned over most of his commissions for tarsia,
+when he became much occupied with architectural work, was born in 1442.
+He assisted his brother in many of his works, such as the doors of the
+hall of audience in the Palazzo Vecchio, made between 1475 and 1480,
+representing Dante and Petrarch, with ornamental borders and other
+panels, in which Il Francione also had a hand. He gave up tarsia in
+disgust for the following reason, according to the story told by
+Vasari:--"He made two chests, with difficult and most splendid mastery,
+of wood mosaic, which he wished to show to Matthew Corvinus, then King
+of Hungary, who had many Florentines at his Court, and had summoned him
+with much favour; so he packed his chests up and sailed for Hungary,
+where, when he had made obeisance to the King, and had been kindly
+received, he brought forward the said cases and had them unpacked in his
+presence, who much wished to see them; 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 ground, at
+which every one may understand how astonished and speechless Benedetto
+was in the presence of so many lords. However, he put the work together
+again as he best might, and satisfied the King; still he was disgusted
+with that kind of work, not being able to forget the vexation which
+he had suffered, and gave it up, taking to carving instead." He finished
+his brother's presses in the sacristy of S. Maria dei Fiori, and, in the
+opinion of Vasari, surpassed him and became the best master of his
+period. He died in 1497. Vasari ascribes the celebrant's seat in Pisa
+Cathedral to Giuliano, together with another of spindlewood, "to be
+placed in the nave where the women sit," finished and sent home in 1477,
+and put up by Baccio Pontelli. Milanesi says, however, that the choir of
+this Cathedral was done by Francesco di Giovanni di Matteo da Firenze,
+called Il Francione. Guido da Seravallino, between 1490 and 1495, made
+for the choir of the sacristy of this Cathedral more than 15
+perspectives; the usual price appears to have been 11 lire. He was a
+Pisan, and his father's name was Filippo. Domenico di Mariotto first
+appears in the accounts in 1489, when he began the choir and seats for
+the Campo Santo; he went on with various works of tarsia and carving
+till 1513. He was a Florentine, but lived in Pisa for many years, dying
+there in 1519. Other names which appear in the accounts are Giuliano di
+Salvatore and Michele Spagnuolo. In 1486 Cristophano d'Andrea da
+Lendinara and Jacopo da Villa came to make a seat for the choir, but
+this does not seem to have been a success, and Il Francione, who had
+been at Pisa as long before as 1462, and Baccio di Fino Pontelli, who
+appears in 1471, were put in charge of the work. Giovanni Battista
+Cervelliera is mentioned first in 1522. He was son of Pietro d'Altro
+Pietra, a native of Corsica, who began the singing gallery of the organ
+in S. Martino, Pietra Santa, finished by his son, who died in about
+1570. In 1596 a great fire took place. After this the best pieces saved
+were used in the decoration of the new choir, in 1606, by Pietro Giolli,
+who also had some fresh ones made; others were mended by Girolamo
+Innocenti, and placed round the walls and round the nave piers in 1613.
+The pieces of Giuliano da Majano's work now remaining are in the side
+aisles, two at the right, one at the left; one represents King David
+with his harp and with a label in the other hand, "Laudate Pueri
+Dominum." The other two figures are prophets, and have scrolls,
+"Benedicam, benedicam," and "Ve qui condunt legem." Pontelli's Faith,
+Hope, and Charity are on the pier near the Chapel of S. Ranier, three
+half-length figures of women. The seated figures of the liberal arts on
+the side panelling of the church are Il Francione's, women with symbols,
+arithmetic, grammar, geometry, astrology, logic, and music. The great
+seat in the nave is the work of Giovanni Battista del Cervelliera. In
+the centre is a large round-headed panel with the Adoration of the
+Magi; at each side are three lower seats with architectural subjects in
+the centre and objects in the side panels and below the seats. It is
+signed and dated 1536. The whole collection of panels is well worth a
+stay at Pisa to see, even if there were not other attractions in that
+pleasant little town. In the registers of the "Opera" is an annual
+charge for two "sbirri," or two servants of the captain of the people,
+to watch the seats of the Cathedral "so that children may not damage
+them in the obscurity," which shows that even Italian children could not
+always be trusted not to be mischievous.
+
+[Illustration: Plate 8.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE NATIVITY.
+
+_To face page 20._]
+
+[Illustration: Plate 9.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PRESENTATION IN THE TEMPLE.
+
+_To face page 21._]
+
+[Illustration: Plate 10.--_Panel from Sacristy of S. Croce, Florence._
+
+_To face page 23._]
+
+[Illustration: _To face page 24._
+
+Plate 11.--_Detail of frieze from the Sacristy of S. Croce, Florence._]
+
+[Illustration: Plate 12.--_Lower Seats of Choir, Cathedral, Perugia._]
+
+
+[Illustration: Plate 13.--_Upper Seats of Choir, Cathedral, Perugia._
+
+_To face page 26._]
+
+[Illustration: Plate 14.--_One panel from upper series, Cathedral,
+Perugia._]
+
+Il Francione had a pupil called Il Cecca. His name was really Francesco
+d'Agnolo, but like most men at that time he went by a nick-name. Cecca
+is a corruption of Francesco into Cecco, Cecca, from being Francione's
+companion and disciple. He was born in 1447; his father was Angelo di
+Giovanni, a mender of leather or "galigajo." He came to Florence from
+Tonda, a little place near S. Miniato al Tedesco. His father died in
+1460; he and three older sisters were left to his mother, Monna Pasqua.
+So the 13 year-old boy went bravely to work to keep his mother and
+sisters, and entered Il Francione's workshop. When he was 25 he left him
+and set up for himself, taking a shop in the Borgo de' Greci, where he
+lived and slept as well as worked. In 1481 he had a commission from the
+magistrates, called "degli ufficiali di Palazzo," for all the wood-work
+of the Hall of the Seventy, Bernardo di Marco Renzi helping him.
+Afterwards he did other work for different parts of the Palace and for
+other places, all of which has perished. Finally, he spent most of his
+time as architect and engineer, 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 engagements. He died in 1488.
+
+The del Tasso lived in the village of S. Gervasio, and moved to a place
+near the walls of Florence, a few steps from the Porta a Pinti. Then
+they went into the city and had a house in the parish of S. Ambrogio, in
+which church Francesco di Domenico made a tomb for himself and his
+family in 1470. They had arms; at first they were a goldsmith's anvil
+(tasso or tassetto), and above a ball or heap of silver. Afterwards the
+field of the shield was divided, and they added in the upper part two
+little badgers (tassi) at the side of the anvil, and put below the keys
+of S. Peter, crossed, and interspersed with four roses. "And this they
+did, not only to point out the parish of S. Pier Maggiore in the
+gonfalon 'Chiavi' of the quarter of S. Giovanni, where the del Tasso
+lived, but also to differentiate their arms from those almost similar of
+another Florentine family of the same name." Evidently there was no
+College of Heralds in Florence in those days! The first of the family
+recorded is Chimenti di Francesco, who, in 1483-4 made a grating or
+gridiron of wood in the Chapel of S. Lorenzo in the Monastery of S.
+Ambrogio, and the dossal of the altar called "del Miracolo." In 1488 he
+carved a choir of walnut, outlined with tarsia, for the Chapel
+Minerbetti in S. Pancrazio, for which he was paid 100 florins of gold.
+He had, among others, two sons, Lionardo and Zanobi, who became
+sculptors under Benedetto da Majano and Andrea Sansovino. They also
+worked in S. Ambrogio, and the figure of S. Sebastian is by Lionardo.
+The two brothers in 1499 made nine antique heads of marble and bronze,
+which the republic sent as a gift to the Maréchal de Guise in France.
+Chimenti had two brothers, also carvers and joiners, Cervagio and
+Domenico, who brought up their sons to follow the same calling, who did
+many things for triumphal arches, cars, &c., for "feste." Domenico did
+the tarsia and rosettes in the seat backs of the refectory of S. Pietro,
+Perugia, and a credence of walnut, ordered on October 20, 1490, for the
+table of the priors, on which were festoons, griffins, and other inlaid
+work. The year after he finished the choir of the Cathedral left by
+Giuliano da Majano, and was paid 1404 florins, according to the estimate
+of Crispolto and Polimante, Perugian joiners. For the same choir he made
+the panelling of wood, for which he was paid 60 florins. There were 34
+seats with ornaments at 36 florins each, and three with figures, which
+were estimated at 60 florins apiece. Payments were also made to him for
+work in the Sala del Cambio, sometimes for wood, sometimes on account of
+salary, so that it seems certain that he made the benches there on
+finishing the choir of the Cathedral, since they were being made between
+1491 and 1494. The first cost 130 florins and 6 soldi in 1491, but it
+was not finished till the next year. Polimante da Nicola was made
+citizen of Perugia in 1473. Three years after he began the choir of S.
+Domenico, which cost 11 florins per seat. Four years later it was still
+unfinished. "Mastro Crespolto and Mastro Giovagne" were his assistants.
+Domenico had three sons, Chimenti, Francesco, and Marco, who followed
+the paternal calling. Chimenti was one of those who were judges in 1490
+in the competition for the façade of S. Maria del Fiore, and in 1504 was
+one of those chosen to decide the position in the piazza to be occupied
+by Michael Angelo's David. Marco was an enthusiastic follower of
+Savonarola; in 1491 he was, with his brother Francesco, at Perugia
+helping his father, and six years later he undertook work there on his
+own account. They did half of the choir of La Badia in 1501-2, and the
+very elaborate lectern. The son of Mark was Giambattista, called Maestro
+Tasso, who was a fine carver in wood, and, in the opinion of Cellini,
+the best in his profession. He did many things both for ephemeral and
+lasting purposes, and became an architect, designing the door of the
+Church of S. Romolo and the Loggia of Mercato Nuovo, Florence, and
+superintending the construction of the latter between 1549 and 1551. In
+1548 he designed an addition to the Palazzo Vecchio, then the ducal
+residence, and also undertook to execute all the joinery. At the same
+time he made a model of the Palace which he intended to build in Pisa,
+which, however, was not carried out. He died in 1555. He was said by
+Vasari to spend his time in playing the wag, in enjoyment rather than
+work, and in criticising the works of others. But Cellini calls him
+pleasant and gay; Bronzino, good, lovable, and honest; and so does Luca
+Martini, who was a great friend of his. The following story of him,
+related by Il Lasca, shows that he was not above playing a practical
+joke of a rough character, and that he took great pride in the
+achievements of his fellow-artists:--"A Lombard Benedictine abbot on
+the way to Rome stayed in Florence, and wished one day to see the
+figures on the Medicean tombs in the sacristy of San Lorenzo carved by
+Michael Angelo, and having therefore gone thither with his two attendant
+monks, the prior of the church asked Tasso, who was then working at the
+floor of the library together with his son-in-law Crocini Antonio di
+Romolo, under the direction of Michael Angelo, to show the abbot the
+sacristy and the said library. Which abbot, after having seen the
+figures in the sacristy, and thought very little of them, set off to see
+the library, and while he was gently ascending a stair which conducted
+to it, talking with Tasso, happened to turn his eyes on the cupola of
+Brunellesco, and stopping to look at it commenced to say that, although
+it was considered by all the world as a marvel, he had heard a person
+worthy of credence say that the dome of Norcia was much more beautiful,
+and made with greater art. Which words so much exasperated Tasso that,
+pulling the abbot backwards with force, he made him tumble down the
+staircase, and he took care to let himself fall on him (!) and calling
+out that the frater was mad, he got two cords, with which he bound his
+arms, his legs, and all his person, so that he could not move, and then
+taking him, hanging over his shoulders, carried him to a room near,
+and, stretching him on the ground, left him there in the dark, locking
+the door and taking away the key." What happened to the unfortunate
+abbot after, and whether he was much damaged or not one does not know,
+for the anecdote stops here. Another instance of a family which devoted
+itself for many years to the production of tarsia and wood-work,
+displaying hereditary aptitude in the craft and gaining great repute, is
+given by the Canozii of Lendinara. The first member who took up tarsia,
+abandoning his craft of painting for that purpose, was Lorenzo Genesino
+da Lendinara, surnamed Canozio, to give him his full description. From
+him descended many excellent workers in wood. He studied in Padua, where
+he had Mantegna as fellow-student, and worked in company with his
+brother, his son, and a relation called Pier Antonio dell' Abate di
+Modena, who did the intarsia in the choir of S. Francesco at Treviso in
+1486. He died in 1477, and is buried in the first cloister of S. Antonio
+at Padua, for which he made the stalls, as his epitaph states. They were
+commenced in 1462, were worked at continuously for three years, and
+after an interval finished in 1468. They were then coloured and gilded
+in places by "Maestro Ugozon de Padoa, depentor." Burnt in 1749, only
+two stalls remain, made into confessional boxes, in the Chapel of the
+Beato Belludi. The designs for the tarsia of the sacristy were made by
+Squarcione, master of Mantegna and Lorenzo, who was paid for them in
+1462. There were 90 seats in this choir, so that it was a very important
+piece of work. A contemporary account by Matteo Colaccio (1486) shows
+what were the aims of the intarsiatori of the period as understood and
+admired by the more or less cultivated populace. "In past days in
+visiting those intarsiad figures, I was so much taken with the
+exquisiteness of the work that I could not withhold myself from praising
+the authors to heaven! And to commence with the objects that one sees
+around every day, here are books expressed in tarsia that seem real.
+Some are one on the other, and arranged carelessly, or by chance, some
+closed, some newly bound and difficult to close; candles of wax with the
+ends of wicks, now in well-turned wooden candlesticks, one straight, one
+crooked, less or more, with another crossing it. Elsewhere one sees
+clouds of smoke which spread out from new chimneys, fish which turn
+round from a full basket, a cithern which hangs from the centre of a
+narrow niche. Close by is a cage of bars expressed with wonderful
+spirit. Palaces, towers, and churches, through the half-closed doors of
+which one can see in the interior arches and windows, cupolas and
+steps. Most natural, then, is it not to be able to decide which tower
+to approach; these mountains appear to one covered with grass and with
+stones; and where earth of various colours appears there all green is
+taken away. But what shall I say of the images of the saints. Of their
+uncut and curled beards, of their hands, the joints of their fingers,
+their nails? Of their clothes, their sinuous folds, and the shadows? Nor
+less pleased me the little collar of rich pearls under the chin of S.
+Prosdocimus. 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 true. And this is specially admirable, that through the dull
+colour of their leaves they seem to have been taken from the tree
+scarcely a day ago." And then he praises in a pompous fashion the folds
+of the Virgin's and the Angel's drapery, the silk veil over a chalice,
+and the perspective of a flight of steps which support the feet of the
+Madonna, &c. One of his first works was done for S. Mark's, Venice, in
+1450. His reputation was much increased by the stalls of the Cathedral
+of Modena, made in 1472 by Lorenzo and Cristoforo, and restored in 1540
+by Mastro Angelo de Piacenza, one of their pupils. He also worked at
+Parma in 1473. Fra Luca Pacioli (1509) makes an enthusiastic eulogium
+upon Lorenzo, "who, in the said art (perspective), was in his time
+supreme, as he showed in all his famous works, as in tarsia in the
+worthy choir of the Santo and its sacristy, and in Venice in the Cha
+Grande, as well as in painting in the same places and elsewhere. And at
+the present time his son, Giovan Marco, my dear comrade, who is worthy
+of his paternity, as his work at Rovigo shows, and that in the choir of
+our convent in Venice, and in Mirandola, the architecture of which
+fortress is well understood." In the sacristy of the Cathedral at Lucca
+are five panels from the seats which once surrounded it, signed
+"Cristopharus de Canociis de Lendinaria fecit opus, MCCCCLXXXVIII." One
+shows S. Martin, the bishop, full length, the others perspectives,
+perhaps of various streets of the city as then existing. He did these in
+conjunction with Matteo Civitale, and they were his last works. He died
+in 1491. Bernardino da Lendinara, who worked at Parma in 1494, and
+later, and was a citizen of that town and of Modena, was son of
+Cristoforo, who was also citizen of those cities from 1463.
+
+[Illustration: Plate 15.--_Two panels from the Sala del Cambio,
+Perugia._
+
+_To face page 28._]
+
+[Illustration: Plate 16.--_Frieze from S. Mark's, Venice._
+
+_To face page 30._]
+
+[Illustration: _To face page 32._ Plate 17.--_Frieze from S. Mark's,
+Venice._]
+
+[Illustration: Plate 18.--_Stalls from the Cathedral, Lucca._]
+
+The stalls from the Cathedral at Lucca, which are illustrated, are now
+in the Picture Gallery. They were made by Leonardo Marti, of Lucca. When
+in 1620 the choir was spoilt (they thought that they were making grand
+improvements) they were moved to the church of the Riformati of S.
+Cerbone, being badly mutilated to adapt them to their new position.
+There, in two centuries of neglect they became in such a state that the
+brothers thought them no longer decent, and wished to sell them and make
+a new choir. The Opera of the Cathedral and the Commission of Art paid
+them something for them, and thus preserved them as they now are, having
+executed some restorations here and there.
+
+At Ferrara are some remains of stalls in the apse of the Cathedral which
+were commissioned from Bernardino da Lendinara in 1501, though not made
+by him owing to the defalcations of a dishonest steward. In 1519 the
+Chapter of the Cathedral renewed the contract with Pietro de' Rizzardi
+and Bernardino, but as he died in 1520, M. Angelo Discaccia, of Cremona,
+son of M. Cristoforo (da Lendinara?), was substituted, and assisted
+Rizzardi till the work was finished in 1525. The gilding was done by
+Baldassare dalla Viola and Albertino dalla Mirandola. A note in the
+books of the Fabbrica, June 30, 1525, states that "Mro. Piero di
+Richardo dale Lanze" owes for work not yet completed 58 lire 20 soldi.
+There are three rows of seats, 132 in all, and the Episcopal throne in
+the middle. The upper row is of 56 seats, without the throne, the middle
+one 42, the lowest 34. Originally there were 150, but in the
+alterations of 1715 nine from each side were taken away, as the high
+altar was placed further within the apse. The upper stalls are divided
+by a chancelled column with Corinthian capital, and terminated in a
+shell hood. The intarsia on the back showed ornament of fine style,
+drawings of sacred objects and perspectives of fine buildings drawn from
+various parts of the city. Two of the best preserved show the ducal
+castle and the ancient ducal courtyard with the still-existing staircase
+constructed by Ercole I. in 1481. The usual bird in a cage appears, the
+symbol of human passions conquered by religious abnegation. The lower
+rows of seats are also worked in tarsia, but with ornaments of
+geometrical form, books, and joint-stools, the diamond, the cognisance
+of Ercole I. (who gave the original commission), and the pomegranate,
+that of Alfonso, and this last figure, which only occurs in the third
+stall to the right in the lower order, makes one think that only that
+part was finished under him. The frames surrounding are carved with
+restraint. The work cost altogether 2771 lire 8 soldi 2 denari besides
+the expense of making the lower seats, which cost 3984 lire marchesane
+16 soldi 10 denari. The lira marchesana in 1523-25 corresponded to 43
+Roman bajocchi 9 denari, about 2 francs 35 centimes of modern Italian
+money.
+
+[Illustration: Plate 19.--_Lectern in Pinacoteca, Lucca._]
+
+[Illustration: Plate 20.--_Two-leaved door in the Pinacoteca, Lucca._
+
+_To face page 35._]
+
+The Canozii were also at Reggio, in the Emilia, in 1474 and in 1485, but
+the work of the stalls in the Cathedral seems rather more archaic than
+their period, and the lectern is dated 1459. It is probably the work of
+Antonio da Melaria, who three years later made one exactly like it, with
+other things, for the Church of S. Domenico. This was done for Antonia
+di Fiordibelli, and the contract shows what were the conditions under
+which such work was done. He was given 50 lire at once to buy material
+with, 50 when he began working, 50 when he had finished a third of the
+work, 50 when it was half done, 50 more when three-quarters was
+finished, and the rest of the whole price of 336 lire when it was
+completed. He was to use wood of Piella, and give 48 planks to the
+lady--a very curious clause in the contract.
+
+At Città di Castello there are tarsie designed by Raffaello da Colle in
+the Cathedral.
+
+The choir stalls at the Certosa, Pavia, were made by Bartolommeo Poli,
+surnamed dalla Polla, from designs by Borgognone, as is said, and the
+style certainly seems to bear out the assertion, though no document has
+yet been found directly connecting him with them. They were restored in
+1847 by Count Nava with wax and stucco coloured to imitate the missing
+pieces of wood. The upper row contains a series of figures of saints
+and prophets, and below are exceedingly graceful and flowing arabesques.
+A document in the Brera Library notes that in 1490 "Mro. Bartolommeo de
+Polli da Mantoa, who made the inlaid choir and the doors of the chapels,
+has a right to 8 ducats per door, and also for the wooden pulpits 30
+ducats a pulpit." He was the son of Andrea da Mantova, who was born at
+Modena, but lived and worked at Mantua, and also with his brother Paolo
+in S. Mark's, Venice. The stalls were made between 1486 and 1501, and
+are the only work which he is recorded to have executed. A Cremonese,
+Pantaleone de' Marchi also worked on these stalls--a relation of the
+large family of the Marchi of Crema, perhaps, who worked in S. Petronio,
+Bologna, in 1495. The father was named Agostino, and he had six sons,
+Giacomo, Nicolo, Taddeo, Biagio, Agostino, and a second Giacomo. The
+stalls in the Chapel of S. Sebastian are signed Jacopo de Marchis. Some
+stalls by Pantaleone de' Marchi are in the Museum at Berlin, acquired in
+1883. They probably came from Bramante's Church, the Madonna of Tirano,
+in the Valtelline, which was built in 1505, and where there are still
+some remains of seats similar in style. The upper range of panels has a
+few half-lengths of saints, landscapes, and the usual open cupboard
+doors revealing objects on the shelves within. On the backs of the seats
+below are arabesques, and the pilaster panels and divisions between are
+also inlaid, as is the cornice. He also worked at Savona.
+
+[Illustration: Plate 21.--_Stalls at the Certosa, Pavia._]
+
+[Illustration: Plate 22.--_Detail of Arabesques, lower seats, Certosa,
+Pavia._
+
+_To face page 37._]
+
+One of the best Sienese masters has not yet been mentioned, Antonio
+Barili, much of whose work has perished, like that of many other
+intarsiatori, an example of which the collectors for the Austrian K.K.
+Museum at Vienna have picked up, however, where it may now be seen. He
+was born in Siena, August 12, 1453. His first work on his own account
+was the choir of the Chapel of S. Giovanni, in the Cathedral, Siena, of
+which a few poor remains have escaped the carelessness of the last
+century, and are in the Collegiate Church of S. Quirico in Osenna, 26
+miles from Siena, on the old Roman road. The contract is dated January
+16, 1483, and in it he engages to finish it in about two years. He was
+to be paid 50 florins of 4 lire beyond what he expended, and was to go
+on working at the rate of 10 florins a month. If he did not finish it in
+the given time he was to forfeit 100 florins, except for cause of
+infirmity, plague, &c. It was to be valued in the usual manner, and 100
+florins was the penalty for the breaking of the contract on either side.
+As a matter of fact it took him nearly 20 years to complete. On one of
+the panels Barili made a portrait of himself at work, the one referred
+to above, now in the K.K. Austrian Museum at Vienna, which shows the
+very simple means used by the great intarsiatori. His tools consist of a
+folding pocket-knife, a square-handled gouge, and a short-bladed,
+long-handled knife, which he holds with the left hand and presses his
+shoulder against, so as to use the push of the shoulder in cutting,
+while in the right he holds a small pencil, with which he appears to
+direct the knife edge. The panel upon which he is at work bears the
+inscription, "Hoc ego Antonius Barilis opus c[oe]lo non penicello
+excussi. Anno. D., 1502." He works in a window opening with panelled
+framing, and behind him a tree spreads across a courtyard against the
+sky, upon a branch of which a parrot is seated. Von Tschudi says that
+the panel is about 2 feet 10 inches long by 1 foot 9-1/2 inches broad,
+and that the woods employed are pear and walnut, oak, maple, box,
+mahogany, palisander, and one as hard as birch in texture. A full
+description of it as it originally was is appended in a note taken from
+Della Valle's "Lettere Senese." It was valued by Fra Giovanni of Verona
+at 3990 lire. 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 2000 lire, and did other work for private persons. Another
+great work was the choir of the Certosa of Maggiano, which has entirely
+disappeared. He was not only intarsiatore, but was much employed by the
+commune on architectural works. In 1484 he was sent to rebuild the
+bridge of Buonconvento, broken by a flood of the Ombrone, and in the
+same year, with Francesco di Giorgio, and on equal terms with him,
+restored the bridge of Macereto. In 1495 he was asked to make designs
+and models for a bastion to be erected over against the bridge of
+Valiano, taken by the Florentines. Owing to a bad guard being kept this
+was taken, and between 1498 and 1500 Barili was sent again to rebuild it
+larger and stronger. Finally, in 1503, he was sent to make designs and
+models of the new walls for the fortifications of Talamone, an important
+coast town. In his intarsias he was helped by his nephew, Giovanni,
+whose salary, when working for Leo X. at Rome, was five ducats a month.
+He died in 1516.[2]
+
+[Illustration: Plate 23.--_Panel from S. Petronio, Bologna._]
+
+[Illustration: Plate 24.--_Panel from S. Petronio, Bologna._
+
+_To face page 39._]
+
+[Illustration: _To face page 40._
+
+Plate 25.--_Panel from S. Miniato, Florence._]
+
+[Illustration: Plate 26.--_Panel from S. Maria Novella, Florence._
+
+_To face page 42._]
+
+Other names mentioned by Vasari are Baccio Albini and his pupil Girolamo
+della Cecca, _pipers to the signoria_, as good intarsiatori who worked
+also in ivory when Benedetto da Majano was yet a young man, and
+David of Pistoia and Geri of Arezzo, who decorated the choir and pulpit
+of S. Agostino in the latter town. Geri also made intarsie for S.
+Michele, Arezzo. Milanesi says Girolamo della Cecca was of Volterra,
+and calls Baccio, di Andrea Cellini; he was in Hungary in 1480 with his
+brother Francesco; they were brothers of Giovanni, who was father of
+Benvenuto and piper also. The stalls in S. Miniato, Florence, were made
+in 1466 by Francesco Manciatto and Domenico da Gajuolo; but perhaps the
+highest point reached by Florentine intarsia is shown by the stalls of
+S. Maria Novella, made by Baccio d'Agnolo from Filippino Lippi's
+designs. There are 40 stalls and 30 different ornamental fillings; the
+capitals, pilasters, and frieze are inlaid, the rest carved; the
+execution of figures, scrolls, leaves, and ornamental forms is as near
+perfection as may be.
+
+Baccio, or Bartolommeo d'Agnolo Baglioni, was born May 19, 1462. "In his
+youth he did very fine intarsia in the choir of S. Maria Novella, in
+which are a very fine S. John Baptist and S. Laurence, and also carved
+the ornaments in the same place and the organ case"--so says Vasari. The
+organ case is no longer there, having been sold in England, but the
+stalls still remain. After carving the surroundings of the altar at S.
+S. Annunziata, which no longer exist, he went to Rome and studied
+architecture, of which Vasari remarks, "the science of which has not
+been exercised, for several years back, except by carvers and deceitful
+persons, who made profession of understanding perspective without
+knowing even the terminology and the first principles" (!) When he
+returned to Florence he made triumphal arches of carpentry for the entry
+of Leo X. But he still stuck to his shop, in which, especially in the
+winter, fine discourses and discussions on art matters were held,
+attended at different times by Raffaello, then quite young; by Andrea
+Sansovino, il Maiano, il Cronaca, Antonio and Giuliano San Gallo, il
+Granaccio, and sometimes, by chance, by Michel Agnolo, and many young
+men, both Florentines and strangers. He did a great deal of work for the
+great hall of the Palazzo Vecchio in conjunction with others, and the
+staircase of the Sala del Dugento. After this he did many architectural
+works, palaces and additions to churches, some of which are still
+existing. The design of Brunelleschi for the gallery to surround the
+dome of the Cathedral having been lost, Baccio was commissioned to make
+a fresh one, and a piece of it was put up; but when Michael Angelo came
+back from Rome he said it was not large enough in style for the dome; in
+fact, he called it a cage for grasshoppers (grilli), and made a design
+to replace it himself; as, however, the authorities could not make up
+their minds to accept it, and Baccio's work was much blamed, it went no
+farther, and was never finished. He died on May 6, 1543, at the age of
+83, being still in full possession of his faculties, and leaving three
+sons, of whom the second, Giuliano, did a good deal of carving both in
+stone and wood, and architectural design, working in conjunction with
+Baccio Bandinelli, among which was the choir of the Cathedral of
+Florence. Another son, Domenico, showed great promise, but died young.
+
+[Illustration: Plate 27.--_Panel from S. Maria Novella, Florence._
+
+_To face page 44._]
+
+The seats near the high altar at S. Maria Novella, and other things
+there were made between 1491 and 1496. The floor of the hall of the
+Great Council in the Palazzo Vecchio was begun in 1496, and with other
+works there went on till 1503. On October 1, 1502, he engaged to do the
+choir of S. Agostino Perugia from Perugino's designs at 1120 florins of
+40 bolognini each, but he did not work at it much at that time, since on
+June 20, 1532, he made a fresh contract with the monks to continue and
+complete the choir of their church. Adamo Rossi gives other curious
+details about this work drawn from Perugian records, which are worth
+noting. He says that in 1501 Bacciolo d'Agnolo, not having a good design
+to show, agreed with the prior Federico di Giuliano in three months'
+time to submit two different seats for the choir of S. Agostino, and
+confessed to having received 50 broad ducats of gold as part of the
+price of the choir and the two stalls mentioned. He also agreed to
+return the money if he did not undertake the choir or did not finish it
+according to contract. He presented them accordingly, and in 1502 the
+contract was signed at 30 florins for each upper seat. Rossi also says
+that he finds trace of another Baccio d'Agnolo in the collection of
+wills of Pietro Paolo di Lodovico, under date June 11, 1529, and thinks
+that the work was done by him. One Baccio was elected capo-maestro of
+the Duomo in 1507 together with Giuliano and Antonio da San Gallo and il
+Cronaca (Simone del Pollajuolo), and continued in that office until
+1529.
+
+Rossi also gives other interesting details about the making of various
+pieces of joinery in Perugia and their makers, from which I extract the
+following:--"In the refectory of S. Agostino two Sienese, Giovanni and
+Cristoforo de'Minelli, worked in 1477. The cupboards in the sacristy of
+S. Pietro in Casinense were made by Giusto di Francesco of Incisa and
+Giovanni di Filippo da Fiesole in 1472. They were bought in Florence,
+and are particularly fine and large in their treatment of flowers, &c.
+The work was finished with the assistance of Mariotto di Mariotto of
+Pesaro, three workmen coming from places at considerable distances from
+each other, proving that they wandered about the country a good deal.
+The lectern in the same church, which is well inlaid and finely carved,
+was made by Battista the Bolognese, Ambrose the Frenchman, and Lorenzo.
+The contract was between the abbot and Fra Damiano's brother, Maestro
+Stefano di Antoniuolo de' Zambelli da Bergamo, and was for the whole
+choir at 30 scudi for each seat, wood being provided. The lectern itself
+cost 176 florins, and was finished in 1535. In the Sala del Cambio,
+besides Domenico del Tasso's seats, there is a fine door which was made
+by Antonio di Benciviene da Mercatello da Massa, for which he was paid
+10 florins 93 soldi 6 denari. The orator's desk, the 'ringhiera,' was
+made by Antonio di Antonio Masi, the Fleming, though often ascribed to
+Mercatello. It was estimated by Eusebio del Bastone as worth 68 florins.
+At Assisi the choir of the upper church, which is the most important in
+all Italy for the number of its stalls, the mastery of its figure
+intarsia, and the elegance of its form, was made by Domenico da S.
+Severino, who agreed with the superiors on July 8, 1491, to make it for
+770 ducats of gold. It was not finished till 1501, but no payments are
+noted in the archives after November 18, 1498. In the lower church two
+Sienese worked in 1420, and a Florentine from 1448 to 1471. The choir
+of the Cathedral in the same city was made by Giovanni di Piergiacomo,
+also of S. Severino, and there is sometimes confusion between the two
+artists. The price was 57 florins. On one of the backs is carved the
+date 1520. The most ancient piece of joinery in Perugia is that executed
+for the Arte della Mercanzia in the 14th century."
+
+[Illustration: Plate 28.--_Panel in Sacristy of S. Pietro in Casinense,
+Perugia._
+
+_To face page 46._]
+
+Rossi prints a priced list of joiners' tools, dated November 8, 1496,
+which is interesting as showing the small amount of tools and furniture
+required in a joiner and intarsiatore's workshop at that period. It runs
+thus:--
+
+     Bernardino di Lazzaro buys from Angelo di Maestro Jacopo, called
+     Boldrino, joiner, the underwritten tools and apparatus at the price
+     at which they were valued by Master Giovanni da Siena and Ercolano
+     di Gabriele of Perugia.
+
+                                                  Florins.   Soldi.
+
+  Two benches,                                       2          0
+  Four planes,                                       1          0
+  Two screw profiles, one broad and one narrow,      0         40
+  Two rules,                                         0         16
+  Four straight edges, one large and three small,    0         28
+  One outliner for tarsia,                           0          8
+  Rods for making cornices,                          0         12
+  A cross beam,                                      0          6
+  Two compasses, one large and one small,            0         12
+  Two rulers,                                        0          5
+  Four one-handed little planes,                     0         16
+  One two-handed little plane,                       0          8
+  Two broad planes,                                  0         12
+  Two hollow moulding planes,                        0         12
+  Three pieces of unfinished tarsia, and one
+    with a wire drawing iron,                        1         30
+  Two large squares and one "grafonetto" and
+    one little square,                               0          8
+  Two old irons for making cornices,                 0          8
+  Nine files, large and small, round and
+    straight,                                        0         30
+  Fifteen "gulfie," large and small,                 0         24
+  Three chisels, one glued and one all of iron
+    and one "a tiro colla manacha de legusa
+    saietta,"                                        0          7
+  One small hammer,                                  0         16
+  Two arm chairs,                                    0          8
+  A big "tenevello,"                                 0         25
+  A little anvil,                                    0         20
+  A pair of big pincers,                             0         32
+  Two little axes,                                   0         20
+  A two-handed axe,                                  0         25
+  A two-handed saw with a file,                      0         60
+  A cutting saw,                                     0         25
+  Two stools,                                        0         16
+  Nine presses (clamps),                             0         60
+  Two cupboards,                                     0         90
+  Five pieces of panels, two on the benches
+    and three outside,                               0         20
+  Three pieces of tarsia frieze and two
+    pictures with a box without a lid,               1          0
+  A bench to put the tarsia on,                      0         40
+
+
+The words untranslated are, I suppose, Perugian words. At all events,
+they do not appear in the large Italian dictionary edited by Tommaseo
+and Bellini.
+
+This Bernardino six years earlier worked as apprentice with Maestro
+Mattia da Reggio, and was paid 6 florins 22 soldi for four months. His
+name appears in the list of masters of stone and wood.
+
+[Illustration: Plate 29.--_Panel from door of Sala del Cambio, Perugia._
+
+_To face page 48._]
+
+Frederic of Montefeltro, Duke of Urbino, built himself a splendid palace
+in that city between the years of 1468 and 1480, which cost 200,000
+golden scudi. At that time a sack of corn cost rather less than five
+modern Italian lire in the duchy, and a hectolitre of wine only one
+franc sixty centimes, 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 figures. Among the decorations, which
+include much stone carving of the most extraordinary finish, which in
+the interior of the palace appears as fresh as the day it was completed,
+were some splendidly inlaid doors, eight or nine of which still remain.
+The palace was constructed upon the foundations of an older palace of
+1350, much enlarged, and here he lived magnificently, and collected that
+fine library which was subsequently removed to Rome, of which Vespasiano
+da Bisticci, the Florentine bookseller, who had a good deal to do with
+it, says that it was the most perfect that he knew, for in others there
+were either gaps or duplicates, from which defects it was free.
+Castiglione's "Cortigiano," the ideal of a courtier in those days,
+describes the Court of Urbino as it was under Guidobaldo, his son and
+successor. Among the decorations of the palace which still remain is the
+panelling of a small studio on the _piano nobile_, close to the tiny
+chapel, which is entirely surrounded by intarsia of the finest
+description, which represents in the lower part a seat something like
+the misereres of choir stalls surrounding the apartment, some parts of
+which are raised and some lowered. In the spaces rest some portions of
+the duke's arms, a sword, a mace, &c., leaning in the corners, and on
+the lower parts of the seat are musical instruments, fruits and
+sweetmeats in dishes, cushions, books, &c. The upper panels show
+cupboards with doors partly open, showing all sorts of things within in
+the usual fashion, and there are four figure panels inserted at
+intervals containing the portrait of the duke and the Christian virtues
+of Faith, Hope, and Charity which he strove to exemplify in his life. At
+one end of the room are two recesses divided by a projecting pier; in
+the one to the left the armour of the duke is represented as hanging
+piece by piece on the wall, in that on the right is shown his reading
+desk, made to turn on a pivot, with books upon it and around, and on the
+pier between, a landscape, seen through an arcade with a terrace in
+front, upon which are a squirrel and a basket of fruit. Close to the
+reading desk is a representation of an organ with a seat in front of it,
+upon which is a cushion covered with brocade or cut velvet, which is
+most realistic, and on the organ is the name Johan Castellano, which is
+supposed to be the name of the intarsiatore, though this name does not
+appear in the accounts. The custodian called him a Bergamase, I do not
+know on what authority. The designs of the figures are ascribed to
+Botticelli, and some of them look as if the ascription might possibly be
+correct. The only names of intarsiatori found in the ducal accounts are
+Beneivegni da Mercatello, who worked in the Sala del Cambio at Perugia,
+and no doubt had to do with the making of the doors, which resemble that
+work, and perhaps a Taddeo da Rovigno, the town from which the Olivetan
+Fra Sebastian came. Pungileone, however, found a payment of seven
+florins in 1473 to "Maestro Giacomo, from Florence, on account of
+intarsia for the audience hall." Dennistoun says that this study
+contained "arm-chairs encircling a table all mosaicked with tarsia, and
+carved by Maestro Giacomo of Florence," but it is now quite bare,
+though, fortunately, the tarsie are well preserved. He goes on to say
+that "on each compartment of the panelling was the portrait of some
+famous author and an appropriate distich," which leads one to suppose
+either that his information was inaccurate or that he was referring to
+the similar small study on the lower floor, in which Timoteto delle Vite
+did some painting.
+
+The duke and his son Guidobaldo were both great builders, and Urbino was
+not the only town in which they raised palaces, though the others were
+not of so much importance. The names by which they were denominated show
+this. It is always the _corte_ at Urbino, at Pesaro it is the _palazzo_,
+and at Gubbio the modest _casa_. Nevertheless, at this last place the
+intarsias were of almost as great importance, though now the palace is
+ruinous and the intarsias dispersed, some of them being at South
+Kensington. Dennistoun quotes descriptions from Sig. Luigi Bonfatti and
+Mr. F. C. Brooke, which are worth reproducing, as showing the care some
+times expended on the decoration of quite small apartments. This study,
+which was commissioned by Duke Guidobaldo, is only 13 by 6-1/2 feet in
+plan, though it is 19 feet high. The inlaid work only went half-way up,
+as at Urbino, the upper part of the walls having been covered with
+tapestries. The tarsie showed "emblematic representations of music,
+literature, physical science, geography, and war; bookcases, or rather
+cupboards, with their contents, among which were a ship, a tambourine,
+military weapons, a cage with a parrot in it, and as if for the sake of
+variety only, a few volumes of books, over one of which, containing
+music, with the word 'Rosabella' inscribed on its pages, was suspended
+a crucifix. On the central case opposite the window, and occupying as it
+were the place of honour, was the garter, with its motto, 'Honi soit q.
+mal i pense,' a device which was sculptured on the exterior of the stone
+architrave of the door of this apartment. It appeared again in tarsia in
+the recess of the window, where might also be seen, within circles, 'G.
+Ubaldo Dx. and Fe Dux.' Amongst the devices was the crane standing on
+one leg, and holding, with the foot of the other, which is raised, the
+stone he is to drop as a signal of alarm to his companions. Among other
+feigned contents of a bookcase were an hour-glass, guitar, and pair of
+compasses; in another were seen a dagger, dried fruits in a small basket
+made of thin wood, and a tankard, while in a third was represented an
+open book surmounted with the name of Guidobaldo, who probably made the
+selection inscribed on the two pages of the volume, comprising verses
+457-491 of the tenth Æneid." On the cornice was an inscription. It was
+thought to be the work of Antonio Mastei of Gubbio, a famous artist in
+wood, who executed the choir of S. Fortunato at Todi, and who is known
+to have been much in favour with Dukes Guidobaldo and Francesco Maria
+I., the latter of whom gave him an exemption from imposts.
+
+In the 17th century tarsia was more used for domestic furniture than
+for stationary decoration. The character of the design changed in
+consequence, and mother-of-pearl, ivory, tortoiseshell, silver, and
+other materials were used. The first Tuscan, or one of the first who did
+so was Andrea Massari of Siena. A few works in tarsia were still
+executed, but none of much importance. The choir of S. Sigismondo,
+outside Cremona, commenced by Gabriel Capra and finished by his son
+Domenico in 1605, is one of the principal, and the choir of S.
+Francesco, Perugia, where Fortebraccio was buried, but this latter no
+longer exists. Marquetry was produced in Florence, Venice, Milan, and
+Genoa down to a still later date, but the fashion for ivory and ebony
+carried all before it. The Italian work of this kind is often most
+beautifully engraved, but less accurate than that produced in France.
+The later Italian marquetry does not lose decorative effect though the
+figure drawing becomes very conventional, and the curves of ornament are
+often cut with a mechanical sweep. A good deal of it is in only two
+colours, a return to the simplicity of earlier days.
+
+FOOTNOTES:
+
+[2] There were nineteen subjects, divided by channelled pilasters with a
+carved frieze, above a bench which ran round the circular wall from one
+doorpost to the other, the whole work crowned with a cornice also carved
+with foliated ornament. The first subject on the right was an open
+cupboard with architects' and joiners' tools. The second was the
+portrait described above. The third showed a cupboard half open, worked
+with a grille of pierced almond shapes and divided. "In the upper part
+is a naked boy, standing with a ball in his left hand, below is a large
+circle with a bridge within and without in the form of a diamond. Within
+the closed part of the grille one sees a ewer above and a basin below.
+The fourth is a figure of S. Ansano, half-length, below whom is the head
+of a man who receives baptism with joined hands, and the saint with a
+vase in his hand pours water on his head, holding in his right hand a
+standard. The fifth shows a cupboard open and shelved in the
+middle--above is a chalice and paten, below is a salver with fruit
+within and falling from it. The sixth contains an organ case with a man
+who, with raised head, enjoys the sweetness of the sounds, on the side
+of the organ are the arms of the Opera and below are the arms of the
+rector Arringhieri. The seventh is a cupboard half open with pierced
+doors, in the upper half a censer, and an incense boat, with a label
+above with these words, 'Dirigatur Domine oratio mea sicut incensum in
+conspectu tuo.' Below is the holy water pot with the sprinkler within,
+and with a pair of sacrament cruets. The eighth shows the figure of a
+man with a glory and a diadem on his head, with face and right arm
+raised to heaven, representing whom I do not understand; above him is a
+garden full of different flowers and trees. The ninth is a cupboard cut
+across and half open; in the upper part a label with these words 'Qui
+post me venit, ante me factus est. Cujus non sum dignus calceamente
+solvere;' below are different musical instruments, the words above are
+set to plain song. The tenth, that is the centre one, is a half-length
+of S. John Baptist with the cross in his left hand, and in the right a
+label with the words, 'Ecce Agnus Dei,' while with his finger he points
+to Christ in a figure which represents him. The eleventh shows another
+cupboard half open and shelved, above is a label on which are some lines
+of the hymn of S. John Baptist, with notes in plain song and with the
+name of the author above, which was Alessandro Agricola, and below is a
+flute and a violin with its bow. The twelfth is the figure of a young
+man with a label below which says, 'Johannis Baptistæ discipulus.' This
+is generally thought to represent S. Andrew the apostle. The thirteenth
+is another open cupboard with a shelf. In the upper part is a chalice
+and more fruit, and in the lower a hollow dish with a foot also full of
+fruit. The fourteenth shows the half-length of a man who plays a lute,
+above him appears a garden with different trees. The fifteenth is a
+cupboard with open division, with a little gate and grating with almond
+shaped openings, above is a candlestick with a candle half burnt, and
+below is a box full of yellow tapers. The sixteenth represents S.
+Catherine with her wheel, half-length, disputing with the tyrant, before
+her is an open book on which are cut these words, 'Catharina
+disputationis virginitatis ac martirii palmam reportat.' The seventeenth
+shows a cupboard divided and half closed, with a grating like the
+others, above is a missal laid down, with a chalice upright, and a paten
+on the missal, and there are also a pair of spectacles and another paten
+leaning against the wall, below there is a closed book which seems to be
+a breviary, upon which is an open book with these words, 'Ecce mitto
+angelum meum ante faciem tuam, qui preparabit viam tuam ante te. Vox
+clamantis in deserto; parate viam Domini: rectas facite semitas ejus.'
+The eighteenth shows a fine gate through which one sees a garden, within
+which appear different trees with fruit on them, 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 words, 'Alberto
+Aringherio operaio fabre factum.' The last panel shows an open cupboard
+with shelf and grating, above is a harp and below is a violin and other
+musical instruments. The rector Arringhieri paid 4090 scudi for the work
+as a matter of compromise on the valuing of Fra Giovanni da Verona. It
+was in so dark a place that it could not be seen except with lighted
+torches, and it was also damaged because it was put in a newly built
+place, the walls of which were not sufficiently dry to receive such
+delicate work." This account was written in 1786.
+
+
+
+
+THE CLOISTERED INTARSIATORI AND THEIR PUPILS
+
+
+The Order of the Olivetans took its rise from the piety and liberality
+of a Sienese noble, Bernardo Tolomei, who, with two companions, Ambrogio
+Piccolomini and Patricio Patrizzi, established himself as a hermit on a
+barren point of land at Chiusuri, some miles from Siena, in the same
+manner as did S. Benedict at Subiaco. This was in 1312, but the Papal
+charter by which the Order was founded dates from 1319. It was called
+"Monte Oliveto," from a vision seen by Guido Tarlati, Bishop of Arezzo,
+the Papal commissary, in which the Virgin ordered that the monks should
+have a white habit, and that the badge of the Order should be three
+hills surmounted by a branch of olive. It was a branch of the
+Benedictines, and, like them, the monks devoted their lives to useful
+labours. As Michele Caffi says, "The Olivetans did not strive in
+political or party struggles, but spent their simple lives in works of
+charity and industry, and showing great talent for working in wood
+succeeded to the heirship of the art of tarsia in coloured woods, which
+they got from Tuscany."
+
+The first master of intarsia mentioned among the Olivetan monks is a
+certain lay brother, "laico Olivetano," who came from Tuscany in the
+first half of the fifteenth century, and taught the art to the monks of
+S. Elena, the island which lies just beyond the Public Gardens at
+Venice, and was so beautiful before the iron foundry was established
+upon it. His principal pupil was Fra Sebastiano of Rovigno, known as the
+"Zoppo Schiavone," the lame Slavonian, who taught Fra Giovanni da Verona
+and Domenico Zambello of Bergamo, Fra Damiano. Fra Giovanni, again, was
+master to Vincenzo dalle Vacche and Raffaello da Brescia, and perhaps to
+the oblate of S. Elena, Antonio Preposito, in 1493.
+
+Fra Sebastiano da Rovigno was probably born in 1420. The register of
+professions and deaths at Monte Oliveto Maggiore says--"In conventu
+Paduæ professus est sub die 15 Augusti, an 1461, fr: Sebastianus de
+Rovinio"; his death is shown by another extract--"Venetiis, obiit in
+Mon. S. Helenæ, anno Domini, 1505, fr: Sebastianus de Histria,
+conversus" (lay brother). He was at S. Maria in Organo, in 1464-5 and
+1468-9, and at S. Elena in 1479-80-81, and again from 1484 to 1494. He
+was also at Monte Oliveto 1466-7, 1474-5, and 1482-3, and at S. Michele
+in Bosco, Bologna, from 1494 till shortly before his death, in all of
+which places were important works in tarsia. The inscription in the
+corner of the sacristy at S. Elena runs thus:--"Extremus hic mortalium
+operum fr: Sebastianus de Ruigno Montis Oliveti, qui III. id: Sept: diem
+obiit, 1505." Some of his work is in the stalls and sacristy cupboards
+of S. Marco, signed C.S.S., or S.S.C., that is, "Converso Sebastiano
+Schiavone," or "Seb: Sch: converso." His pupil Fra Giovanni da Verona
+was one of the most celebrated of the carvers and intarsiatori, and left
+works in many places in Italy. He was born in Verona in 1457, and no one
+has been able to discover either his family name nor who his father was.
+When still a boy he left his native town and went into Tuscany to Monte
+Oliveto di Chiusuri of Siena, the principal monastery of the Olivetan
+order. He may perhaps have gone with Liberale of Verona, who was of
+about the same age, the first time he went to Monte Oliveto, in 1467, or
+more probably on the second occasion, in 1474, his business being to
+illuminate the choir books. In the administration books of that convent
+it is recorded that in 1467 Liberale had as assistant a certain
+Bernardino, and in 1474 another whose name is not mentioned. This may
+have been Fra Giovanni, who might then have learnt to illuminate, which
+was his first profession, and in which he succeeded excellently. He
+resolved to "profess religion" about this time, and was received as
+novice in the beginning of 1475. The year of noviciate being passed he
+made his solemn profession on March 25, 1476, and remained for about
+four years more in the monastery, during which time he finished his
+studies and became priest. In 1480 he was sent for a short time to the
+monastery of S. Elena, near Venice. Here he found the lay brother Fra
+Sebastiano da Rovigno, whom he may perhaps have known before, since they
+were both at Monte Oliveto in 1475. At all events he spoke to him about
+learning his art, and finding him willing to teach him, "set about it
+with so much diligence and assiduity that he was soon able to give him
+valuable assistance." The work was on the cupboards of the sacristy and
+on the backs of the choir stalls, which were 34 in number. On these the
+principal cities of the world, as they then were, were drawn in
+perspective "with great beauty and cleverness." About 1485 he went to an
+abbey of Olivetan monks at Villanova, a small village in lower Lombardy,
+where he illuminated 20 choral books with heads of saints and prophets,
+with very beautiful borders of flowers, fruits, and animals. These were
+sold by an ignorant and greedy priest for 17 zecchins, and only a few
+of the miniatures have been recovered, which are now kept in the
+sacristy. Of them, Vincenzo Sabbia, the Olivetan abbot, who was
+"confratello di religione" and nearly contemporary, says, when
+describing the abbey and its treasures in 1594, that there are there
+"stupendous and wonderful choral books to the number of twenty, made
+about the year 1485, and rare and wonderful miniatures are among the
+letters, like lovely flowers in a delicious garden, and many most
+beautiful imaginings, heads of saints and of all the ancient prophets,
+and other wonderful things of like kind, made and illuminated by that
+celebrated Fra Giovanni da Verona, around the text."
+
+[Illustration: Plate 30.--_Panel from lower row of Stalls, S. Maria in
+Organo, Verona._
+
+_To face page 59._]
+
+[Illustration: Plate 31.--_Panels from Monte Oliveto Maggiore, now in
+the Cathedral, Siena._
+
+_To face page 60._]
+
+In 1490 he was summoned to the Certosa at Pavia to estimate the value of
+the stalls made by Bartolommeo dei Polli, in company with Giacomo dei
+Crocefissi and Cristoforo de' Rocchi. Except for these there are no
+notices of the work which he must have done till 1502, when the abbot
+and monks of Monte Oliveto Maggiore, having determined to renew the
+choir of their church, confided the work to Fra Giovanni, and
+necessarily recalled him. 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 monks." "The whole comprised 52 stalls, with
+their backs, seats and arm rests, kneelers and all things appertaining"
+(it now consists of 48 stalls and 47 pictures), and the panels of the
+backs were worked in tarsia with perspective views "beautiful to a
+marvel," where were figured houses, views of the country, cupboards,
+grilles, sacred utensils, and other fancies. In the early years of the
+19th century 38 of these perspectives were moved to Siena and placed in
+the Cathedral, where they now are. Another choir, smaller but not less
+beautiful, was made for the church of the Olivetan monastery of S.
+Benedetto fuori della Porta at Tufi, near Siena. This church is in
+ruins; 31 perspectives from the choir were sent to fill the gaps in
+Monte Oliveto Maggiore, the monks who returned after the revocation of
+the suppression in 1813 having appealed to the Archbishop to allow them
+to take them. Four of the ancient backs were found in a corner of the
+sacristy, and eight carried to Siena and found superfluous were
+returned, as well as one which a neighbouring villager had taken. Some
+of them show the conventual buildings as they were at the beginning of
+the 16th century. The frames resemble friezes, and are decorated with
+flowers, fruit, birds, musical instruments, arms, and ornament. Each
+back is separated from the next by a colonnette carved with delicate
+arabesques. In this choir is also an Easter candlestick much like that
+at S. Maria in Organo, Verona, and there are two doors which belonged
+to the library. Pope Julius II. called him to Rome in 1571, and
+commissioned the ornamentation of the Camera della Segnatura in the
+Vatican, the designs for which are ascribed to Raffaelle, not only the
+seat backs with their seats, but also the doors, all worked with
+perspectives, "in which he succeeded so well that he gained great favour
+with the pontiff." 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
+Tolosa, in the church of Monte Oliveto in that city, works not less
+successful and lauded than those of Siena and Rome. This church is now
+called that of S. Anna dei Lombardi. The tarsie in the sacristy are in a
+later setting, and include nine panels of perspectives of landscapes,
+buildings, &c., nine others showing cupboards with objects on the
+shelves, and one with a figure of an abbot around which the following
+inscription runs:--
+
+
+  ·T·EPRE·R·P·F·DOMI·DE·LEV·GNK·ABBATIS·ET
+         R·P·ALOISII·DE·SALER·NO·PRIOR.
+
+The work is exceedingly delicate, pieces of wood no thicker than a thick
+pencil line being often used. In one panel is a well-executed lily, in
+another a hare is a foreground figure, in another are an owl and a
+bullfinch, while a hoopoe appears in another, with mountains behind
+him. The objects on the shelves of the cupboards are turned at queer
+angles to show his skill in perspective, but, since they lack tone, do
+not appear quite accurate. Among the architectural subjects are the
+choir of a church, a harbour, and a castle on a hill, seen from a
+balustraded terrace, and a circular building a little like that in the
+background of Raffaelle's "Sposalizio." They were well restored in 1860
+by C. G. Minchiotti. In the monks' choir in the church are other
+intarsie said to be by Angelo da Verona, Giovanni's brother. They are
+principally arabesques, somewhat resembling the panels in the Cathedral
+at Genoa, but include four figure panels of little angels and an
+Annunciation in two panels, which are not without charm, though rather
+overstiff.
+
+[Illustration: Plate 32.--_Frieze from Monte Oliveto Maggiore._
+
+_To face page 62._]
+
+In his last years he returned to Verona, where he had made the monks'
+choir in S. Maria in Organo, and the cupboards of the sacristy. These
+have the reputation of being not only the finest of the period but also
+the best which came from his hand. The Adige was in this church for two
+months during one of the inundations, but the tarsie did not suffer so
+much as might have been expected. He accepted a commission in 1523 for
+some stalls for the Olivetan church at Lodi, S. Cristopher, eleven of
+which are now in the suburban church of S. Bernardino in that city,
+but died before they were completed. Vincenzo Sabbia writes of
+these:--"In the year 1523 the reverend father Fra Filippo Villani of
+Lodi, prior of the convent of S. Cristoforo in that city, agreed with
+Fra Giovanni Veronese, an excellent master of perspective, to make him
+35 pictures of perspective at the rate of 30 or 40 broad ducats of gold
+for each--which are worth 5 lire 4 soldi each--which were to be finished
+in two or three years, and 300 broad ducats of gold were counted out to
+him. The said brother was not able to finish more than 23, because he
+died on February 10, 1525. They were sent from Verona and taken to Lodi,
+and in 1586 the new church of S. Cristoforo being finished, Don
+Agostino, the prior, who had charge of the fabric, had the aforesaid 23
+pictures with their ornaments set in the choir by the hand of Paolo
+Sasono." He died in the 68th year of his age, and was buried in S. Maria
+in Organo. He is called "prior" in a chronicle of the monastery under
+date 1511, and in the list of dead. In his portrait in the sacristy, by
+Caroto, he is represented with the tonsure and with the hood and cowl of
+the form which was proper to monks who were constituted "in sacris."
+
+Fra Raffaello da Brescia, whose name was Roberto Marone, was born in
+1477. His father's name was Pietro Marone, and his mother was a
+Venetian, named Cecilia Tiepolo. When twenty-two years old he took the
+monastic habit as a lay brother in the convent of S. Nicolò di Rodengo,
+near Brescia, and a little later (in 1502) was sent to Monte Oliveto
+Maggiore. Fra Giovanni being then established there as "conventual
+brother," took young Marone and taught him, seeing that he had both
+liking and talent for the work, so that he soon became a clever workman.
+Between 1504 and 1507 he worked with him at the choir of Monte Oliveto,
+from 1506 to 1510 he was with him at Naples, when the famous sacristy
+panels were being executed, and in 1511 and 1512 he was at S. Nicolò di
+Rodengo, where he worked at the choir of that church. The lectern from
+Rodengo is now in the Galleria Tosi at Brescia; the inlays are in the
+lower portion, and show architectural compositions in perspective and
+the usual objects, such as a censer, an open book, &c. It is signed
+F.R.B. In 1513 Raffaello commenced the magnificent choir of S. Michaele
+in Bosco, Bologna, and here he also made the design for the campanile,
+which was built by Maestro Pedrino di Como, showing that like so many of
+the intarsiatori he was no mere worker in wood. While this work was in
+progress he executed a lectern for Monte Oliveto, ordered by the abbot
+Barnaba Cevenini, who was a Bolognese. It is signed and dated 1520, and
+shows on each side a choir book open, with notes of music and words. In
+one of the lower panels a black cat symbolises fidelity.
+
+S. Michele in Bosco was among the largest of the Olivetan convents. The
+Benedictines entered into possession in 1364, but these buildings were
+destroyed by the Bolognese in 1430, "so that they might not give shelter
+and a base for hostilities to the soldiers of Martin V." The
+re-construction began in 1437. The choir was raised on several steps,
+and called "Il Paradiso," ten years later, but subsequent alterations
+have left very little of the original work visible. Raffaello's stalls
+were probably finished in 1521, that being the date on a panel which was
+formerly in the centre of the choir. Of these splendid works only two
+confessionals still remain in the church. At the time of the suppression
+of the convents at the end of the 18th century the populace, drunk with
+rapine and devastation, tore down these stalls, and they were sold for a
+few pence to the Bolognese marine store dealers and rag merchants. Only
+18 of the principal row were saved from destruction, the Marquis Antonio
+Malvezzi buying them in 1812, and having them restored and placed in the
+chapel of his family in S. Petronio (now the chapel of the Holy
+Sacrament), where they now are. He was not able to save the hoods and
+shell canopies, which were sold for firewood for 4 baiocchi each! (about
+two pence.) The designs are of the usual style, cupboards and various
+objects in perspective; one of the finest is the first on the left,
+which includes a fine sphere and sundial, and several books written in
+German letters, black and red, a chalice in a cupboard, two books, and a
+cross. In the seventh is the figure of Pope Gregory in the act of
+blessing, and the last on the right shows loggias and porticoes of good
+style, well put in perspective. With part of the tarsie from S. Michele
+pianoforte cases were made, other portions were used for the floor of
+the Casino, near the theatre of the Corso, and were worn to pieces by
+the feet of the dancers! In 1525 Fra Raffaello went to Rome, and no
+further notices of him or of his work occur till his death there in
+1537; he was buried in S. Maria in Campo Santo.
+
+Another somewhat similar set of stalls, though rather later in date,
+also at Bologna, are the upper row in the choir of S. Giovanni in Monte,
+which have on their backs intarsie representing monuments, fantastic
+battlemented buildings, musical instruments, and geometrical motives,
+all executed with a mastery which reveals an artist old at the work.
+They recall in their general effect those in S. Prospero at Reggio, in
+the Emilia, which were executed by the brothers Mantelli in 1546. They
+are set in a carved framing of arches divided by pilasters which
+terminate above in brackets which support the cornice. The pilasters
+rest on the arms which divide the seats. Champeaux says they were made
+by Paolo del Sacha.
+
+The tarsie in S. Mark's, Venice, were worked by Fra Vincenzo da Verona,
+another Olivetan, under whom was Fra Pietro da Padova, Jesuit, with two
+youths to assist them. The commission was given in 1523. Three rooms in
+the hospital of "Messer Jesu Cristo" were assigned him as workshops, and
+100 ducats for food and clothing, as stated in the registers of the
+procurators of S. Mark's. On January 15, 1524, they inspected the work
+done, and were not satisfied, and so suspended it, "praising,
+nevertheless, the manners and the life of Fra Vincenzo." According to
+Cicogna, the registers contained, under date April 7, 1526, a note of
+money paid to "Fra Vincenzio, of the order of the Jesuits, for the
+finishing of the works of inlay" in the choir of S. Marco. On February
+25, 1537, certain moneys were given to more workmen for the construction
+of the doge's seat, which is said to have been "a great thing full of
+artistic pangs" (!), and rather hindered the genuflections to the
+altar. This was made for Andrea Gritti, who was doge that year. This Fra
+Vincenzo da Verona, or Vincenzo dalla Vacche, is mentioned by Morello in
+his "Notizie" as excellent, especially in his work at S. Benedetto
+Novello at Padua, four panels from which are now in the Louvre. He
+became novice in 1492, "Conventuale" of Monte Oliveto in 1498, was a
+priest like Fra Giovanni, and lived almost all his life in his native
+city. He died in 1531. The tarsie in the presbytery at S. Marco consist
+of seven great compartments, five lesser, and thirteen which are small.
+The eighteen smaller compartments are panels of ornament. The others are
+figure subjects, but by more than one hand. First comes a figure of S.
+Mark with a lion at his feet, which is not very good (it was restored in
+1848-50 by Antonio Camusso); next, a figure of Charity side by side with
+one of Justice, a woman with a baby, and one holding the balances. Next
+comes a figure of Strength or Courage, older and rougher in character,
+then four ornamental panels, a door, and five others, also of ornament.
+The next panel in the corner bears date 1535, to which year the figures
+of Justice and Charity may be assigned. The other figures are Prudence
+and Temperance, the latter of which resembles Strength in character. The
+remaining subject, a Pietà, is like Charity and Justice, and is
+masterly. Three spaces are empty. The doge's seat, until the fall of the
+Republic, was on the right of the principal entrance to the choir, as
+Sansovino says. It had on its back a figure of Justice, now in the Museo
+Civico. He also says that Sebastiano Schiavone did these tarsie, but he
+died in 1505. Various initials appear here and there through the work;
+on each side of the figure of S. Mark are U.F.Q. and M.S.R. in
+cartouches, Charity and Justice have N. and P. at the sides, and
+Prudence has P.S.S. and S.S.C. attached to her. The panels of ornament
+seem to be of the same period as the figure of Charity.
+
+[Illustration: Plate 33.--_Panel from S. Mark's, Venice._
+
+_To face page 68._]
+
+Fra Damiano of Bergamo, Fra Giovanni's fellow-pupil, attained, if
+possible, even greater reputation. He was considered the finest artist
+in tarsia of his time, he having, "with his woods, coloured to a marvel,
+raised the art to the rank of real painting." His family name was
+Zambello, he is thought to have been born about 1490, and he became a
+Dominican monk. An anonymous MS. of the 16th century, published by
+Morelli, calls him a pupil of a Slavonian, that is, Illyrian, brother of
+Venice, Fra Sebastiano da Rovigno. He passed the greater part of his
+life at Bologna, in the Dominican cloister there, into which he was
+admitted in 1528. In the records of the convent for that year occurs the
+note, "Frater Damianus de Bergomo, homo peritissimus, singularissimus,
+et unicus in l'arte della tarsia, conversus, receptatus fuit in filium
+conventus." At S. Domenico the choir stalls were his first work; he did
+seven, containing fourteen subjects and seven heads of saints. These
+were finished in 1530, and in consequence of their success he was
+commissioned to complete the choir. He carried the tinting of the wood
+farther than Fra Giovanni did, using solutions of sublimate of mercury,
+of arsenic, and what they called oil of sulphur. He is said to have had
+Vignola's designs for the architectural parts.
+
+Charles the Fifth was in Bologna with Clement VII., and was crowned
+Emperor in S. Petronio on December 5, 1529. One day he was in S.
+Domenico admiring the works of art, and, doubting that the tarsie were
+made of tinted wood, as he was told, drew his rapier and cut a bit out
+of one of the panels, which has always remained in the state in which he
+left it in memory of his act. Desiring to see how the work was done he
+determined to visit Fra Damiano's studio. Accordingly, on March 7, 1530,
+he took with him Alfonso d'Este, Duke of Ferrara, and several princes of
+his escort, and went to the convent, when, being conducted to Fra
+Damiano's poor cell, he knocked at the door. The friar, having opened
+and allowed the Emperor to enter, shut it quickly. "Stay," said the
+Emperor, "that is the Duke of Ferrara, who follows me." "I know him,"
+answered Fra Damiano, "and that is why I will never let him enter my
+cell." "And why?" said Charles V.; "have you anything of his doing to
+complain of then?" "Listen, your majesty," answered the lay brother. "I
+had to come from Bergamo to Bologna to undertake the work of this choir.
+I had with me these tools which you see, few in number, but necessary
+for the work in which it is my study to worthily spend my life, and to
+delight in the art. I had scarcely touched the frontiers of Ferrara when
+they not only obliged me, a poor friar, to pay a heavy and unjust tax,
+but the manner of doing it was most offensive. Now, while that duke
+allows such roguery in his State, it is right that he should not see
+this work which you see." Charles smiled, and promised to obtain from
+Duke Alfonso the amplest satisfaction. Going out of the cell he told the
+duke the reason of Fra Damiano's anger, and he not only promised to
+repay the loss which he had suffered, but conceded a patent to him, by
+which he and his pupils were for ever free from any tax or duty when
+crossing the duchy of Ferrara. Then they all came laughing and joking
+into the cell, and Fra Damiano, to show them that his tarsie were not
+painted with a brush took a little plane and passed it over a panel with
+some force, showing how the colours, after that treatment, still
+retained their integrity and beauty. And then he gave the Emperor a most
+beautiful piece of the Crucifixion, and another to the Duke of Ferrara,
+who valued it greatly. Locatelli gives some conversations between Fra
+Damiano and his assistant Zanetto, which must have preceded this visit,
+which are worth recording for their racy expression, according well with
+his reported action. "If it were in my power I would nail up this door
+for Charles and for all the dukes of the world. This art which I
+exercise is exceeding dear to me, and I hate to have to do with these
+signori who manage things after their own fashion; and sad it is for
+those who have to endure it. I respect His Majesty the Emperor, and hold
+him to be a great man, but the fate of Rome sticks in my throat. That
+other, too, who accompanies him--" "Who?" interrupted Zanetto, "the
+Pope?" "Oh, rubbish; the Pope! The Duke of Ferrara. With him I have a
+special account, and he must not come here." He also adds the detail
+that Fra Damiano had no money with him, and had to go about begging for
+wherewithal to pay the duke's dues till he blushed.
+
+From 1530 to 1534 he worked at a great piece of panelling to be placed
+in the chapel of the "arca," the tomb of S. Dominic, which is now in the
+sacristy, and thought by some to be his masterpiece. There are eight
+cupboards in this, and on each are eight subjects. In 1534 the Order was
+so poor that such expenses were stopped. Seven years later the work was
+recommenced and finished in 1550 by Fra Bernardino and Fra Antonio da
+Lunigiano a few months after Fra Damiano's death, which occurred on
+August 30, 1549. The choir consists of a double row of 28 stalls on each
+side, making 112 in all, showing on the right subjects from the New, and
+on the left from the Old Testament. Those on the right are the best, and
+are probably Fra Damiano's own work. He had as assistants at one time
+Zanetto da Bergamo, Francesco di Lorenzo Zambelli, and a lay brother,
+Fra Bernardino, who afterwards did the sacristy door. At another time
+his brother Stefano helped him, together with Zampiero da Padova, Fra
+Antonio Asinelis, the brothers Capo di Ferro of Lovere, Pietro di
+Maffeis, Giovanni and Alessandro Belli. The choir of S. Domenico cost
+2809 scudi. Henry II. of France commissioned a little chapel from him
+with an altar-piece, for his reputation had crossed the Alps, and
+Cardinal Salviati and Paul III., the Farnese Pope, also wished for his
+work, as did the Benedictine monks of S. Pietro in Casinense, at
+Perugia. He did for them a two-leaved door, which cost 120 scudi, now
+placed at the back of the choir, and opening on to a balcony, from which
+one sees, in fine weather, as far as the Castle of Spoleto. There are
+four subjects, two on each leaf; the Annunciation illustrated is one of
+them. Sabba Castiglione uses the most enthusiastic language about him
+and his work. "But, above all, those who can obtain them decorate their
+mansions with the works, rather divine than human, of Fra Damiano, who
+excelled not only in perspectives, like those other worthy masters, but
+in landscapes, in backgrounds, and what is yet more, in figures; and who
+effected in wood as much as the great Apelles did with his pencil. I
+even think that the colours of these woods are more vivid, brilliant,
+and beautiful than those used by painters, so that these most excellent
+works may be considered as a new style of painting without colours, a
+thing much to be wondered at. And what adds to the marvel is, that
+though these works are executed with inlaid pieces the eye cannot even
+by the greatest exertion detect the joints." He then goes on in the same
+grandiloquent strain--"This good father in dyeing woods in any colour
+that you may wish, and in imitation of spotted and marbled stones, as
+he has been unique in our century, so I think that he will be without
+equal in the future; it is certain that our Lord God has lent him grace,
+as I believe, because he wished so much that things might be well ended,
+to put his final work on the work of S. Domenico of Bologna. I think,
+indeed I am certain, that it will be called the eighth wonder of the
+world; and as the Babylonians, the Assyrians, the Egyptians, and the
+Greeks boasted of their temples, pyramids, colossi, and sepulchres, thus
+happy Bologna will be able to glory in and to boast of the choir of S.
+Domenico. 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 (!), a thing far from me, and especially with friends about
+whom I always speak the truth, I say no more; yet all that which I could
+say would be little enough on the merit of his rare and singular virtue,
+and on the goodness of his religious and holy life." Fra Leandro
+Alberti, in his description of Italy, speaks in something the same
+manner--"Frate Damiano, lay brother of the Order of Preachers, has
+become a man of as much genius as is to be found in the whole world at
+present, in putting together woods with so much art that they appear
+pictures made with a brush."
+
+[Illustration: Plate 34.--_Panel from door in Choir of S. Pietro in
+Casinense, Perugia._
+
+_To face page 74._]
+
+A few stalls made by him are now in the church of S. Bartolommeo,
+Bergamo, which were brought from the Dominican church of S. Stefano,
+destroyed for the fortifications in 1561. The designs were made by Trozo
+da Monza, Bernardo da Trevi (? Treviglio), and Bramantino. As Locatelli
+says, they preceded the famous choir at Bologna, and show the master
+trying his wings. Some think that his best works are those in which he
+did not employ colour, but only shading, but general opinion considers
+his highest point was reached in the doors of S. Pietro in Casinense.
+
+Another Dominican intarsiatore was Fra Antonio da Viterbo, who, in 1437,
+made the doors of S. Peter's at Rome by order of Eugenius IV., which
+were subsequently destroyed by Paul V. He was paid 800 ducats of gold
+before the Pope died, when they were nearly finished. They were both
+inlaid and carved in the most elaborate fashion, as the list of subjects
+shows:--The Saviour, the Blessed Virgin, SS. Peter and Paul, and
+Eugenius on his knees, the martyrdom of SS. Peter and Paul, S.
+Plautilla, who received the borrowed veil from S. Paul; the Coronation
+of the Emperor Sigismund in S. Peter's in 1433 by Eugenius, "and there
+you see the Prefect of Rome holding the sword before him, their march
+through Rome, the union of the Greek Church with the Latin, the entry
+of the ambassador from the King of Ethiopia, and other histories of the
+time." He had two assistants, Valentine and Leonardo.
+
+[Illustration: _To face page 77._ Plate 35.--_Lunette from Stalls in
+Cathedral, Genoa._]
+
+The choir stalls in the Cathedral at Genoa are attributed to Francesco
+Zambelli of Bergamo, a relative of Fra Damiano. He was helped by Anselmo
+de' Fornari, Andrea and Elia della Rocca, Giovanni Michele de
+Pantaleone, and Giovanni Piccardo, who had already worked in the choir
+of the Cathedral of Savona. 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 Lorenzo, dated
+April 12, 1540. He agrees to get to work not later than the first of
+September next, and to stay in the city till the work is done. Nor must
+he undertake other work under a penalty of 100 scudi, which he is to pay
+in such case without demur or defence. The procurators agree to pay for
+every picture, with its frame, according to the design furnished to him,
+and they also promise to provide lodgings for himself and his family
+without any expense to him, and to give him a present when the work is
+finished. On the same day his relative, Fra Damiano, promises to make
+two pictures, one for the seat of the archbishop and one for the doge,
+to be ready by Christmas Day next, to be paid for at the rate of 27
+scudi each, measure and design to be given by the signory. The same day
+the aforesaid "Magnifici" had it explained to them that they would have
+to pay the expenses of making sketches. In the panel with the history of
+Moses Zambelli signs his name and domicile. Fra Damiano's subjects
+appear to be the large ones in the panelling before the stalls commence,
+"The Massacre of the Innocents" and "The Martyrdom of S. Laurence." The
+figure subjects are not very successful, the arabesques are better; but
+the panels with open cupboard doors and objects within are not so well
+done as Fra Giovanni's. The stalls were restored in 1868, and a good
+deal of new work put in. The choir of the Cathedral of Savona was made
+in 1500 by Anselmo de' Fornari, a native of Castelnuovo da Scrivia; Pope
+Julius II. (della Rovere), who was born in the city, commissioned it.
+The intarsias are on the elbows of the stalls, half-figures of saints
+nearly life size, singly or in pairs, among which is a portrait of the
+donor, with perspectives of palaces, temples, or interiors on the backs.
+The lower stalls have less important subjects, such as censers,
+chalices, vases of flowers, animals, armillary spheres, musical
+instruments, etc. The cost of these stalls was 1132 scudi d'oro larghi
+(10 francs each and a little more) half of which was paid by Julius
+II. and half by the Commune of Savona. In the same Cathedral are a fine
+lectern, an episcopal throne, two doors of the chapel of our Lady of the
+Column, and a fine seat, the "banco dell' opera," commonly called
+"Massaria." Upon such a seat sat anciently the four citizens elected by
+the Commune to attend to the interests of the Church governed by them.
+Within this bench were preserved the diplomas, statutes, and arguments
+held to be most important to the greatness of the country. Anselmo de'
+Fornari was helped by Elia de' Rocchi, and the commission was given to
+them jointly on January 30, 1500, on which date Cardinal della Rovere
+promised to pay 570 ducats towards the expenses.
+
+[Illustration: _To face page 78._
+
+Plate 36.--_Panel from lower row of Stalls, Cathedral, Savona._]
+
+Another intarsiatore who worked with Fra Damiano was Giovanni Francesco
+Capo di ferro of Lovere, on Lake Iseo. His masterpiece is the choir of
+S. Maria Maggiore, Bergamo. When it was determined to commence it in
+1521 the presidents of the church fabric sent to various cities of
+Italy, especially to Milan, to consult over the model to be selected for
+so important a work with the excellent painter and architect M. Bernardo
+Zenale da Treviglio. In the archives of the Misericordia is a book
+entitled "Fabbrica Chori," in which is noted the great expense of the
+designs only, among which were some made by Lorenzo Lotto, by
+Alessandro Bonvicini, called Il Moretto; Andrea Previtali, Giacomo de'
+Scipioni, Filippo Zanchi, Giuseppe Belli, Domenico di Albano, Niccolino
+Cabrini, Pietro da Nembro, Francesco Boneri, and other painters, as well
+as the making of models and other similar operations. Those who worked
+at carving and tarsia under the direction of Giovanni Francesco were his
+son Zinino and Pietro his brother, who lived in Lodi; Paolo da Pesaro,
+and many others, including a whole family, Giovanni di Ponteranica and
+his four sons. The part towards the sacristy was designed by Lorenzo
+Lotto, the rest by Alessandro Belli. The sedilia on the Gospel side bear
+a signature hung from a tree, "Opus Jo: Franc: D. Cap. Ferr. Bergomi."
+The four panels outside the screen are Noah entering the ark, the
+passage of the Red Sea, the triumph of Judith by the death of
+Holofernes, and the victory of David over Goliath. Thus Tassi speaks of
+them--"These, to speak the truth, for their admirable workmanship,
+singular art, and beautiful colouring, do not appear to be pieces of
+wood put together, but rather pictures formed by an excellent brush, the
+pieces placed with such mastery, 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 designs, and as he was a celebrated and
+finished painter and a powerful one, thus certainly these pieces of wood
+put together could stand in face of paintings by the most celebrated
+brushes, which, beyond the exactness of drawing, gave to their works
+singular force and finish; for in them all the possible excellences of
+drawing and of art are displayed, and whoever has had the opportunity of
+well considering them has remained surprised and delighted, never
+believing that human art could reach so high a pitch of perfection." His
+last work is mentioned in 1533, two pictures of Samson, at 60 lire each.
+In 1547 his son Zinino and his brother Giovanni Pietro went on with the
+choir, and finished it nine years later. The total cost for labour alone
+was 7000 lire Imperiali.
+
+[Illustration: _To face page 80._
+
+Plate 37.--_Panel from the Ducal Palace, Mantua._]
+
+In Spain there must have been a good deal of intarsia done, seeing how
+long the Moors held the southern part of the country, but very little
+has come down to us. In the Mosque at Cordova was a finely inlaid mihrab
+of the 10th century, which was unfortunately destroyed in the 16th
+century and its material used to make an altar. In the Museum at South
+Kensington are some panels with Hispano-Moresque geometric inlays of
+bone of the 15th century, which are very pleasing; the ground is of
+chestnut, the bone is often stained green, and metal triangles and
+light wood are also used. This use of bone, which is frequently tinted,
+in conjunction with black and pale wood, is characteristic of Spanish
+work of the 16th century. The design is often exceedingly naive,
+employing birds, animals, plants, and trees, with scrolls and monsters.
+There is one cabinet at South Kensington with the animals entering the
+ark, which is most entertaining. The Portuguese carried this work on
+later, especially at Goa, in the 17th century, but neither here nor in
+Spain is the later work tasteful, except occasionally. Cabinets were
+then made at Toledo of ebony and ivory, and at Seville and Salamanca the
+same materials were used for chests and sideboards.
+
+At Burgos is a pulpit decorated with inlay as well as carving, and one
+of the most elaborate works of marquetry of comparatively modern times
+is Spanish. This consists of the decoration of four small rooms in the
+Escurial, upon which 28,000,000 reals (£300,000) was spent in 1831. They
+are called "piezas de maderas finas," rooms of perfect or delicate
+woods, and are entirely covered with landscapes, still-life subjects,
+flowers, etc., made of the finest and most costly woods, and almost like
+paintings; floor, frieze, panels, window recesses, and doors.
+
+There was a mode of decorating furniture much used in Spain and
+Portugal, especially the latter, in which metal plates, cut and pierced
+into elaborate and fanciful patterns, were fastened on to the surface of
+objects made of black wood by means of small pins. From this to the
+decoration of the same surfaces by sinking the metal in the wood is a
+short step, and some think that this was the origin of the metal inlay
+so well known a little later under the name of Boulle work.
+
+
+
+
+IN GERMANY AND HOLLAND, ENGLAND AND FRANCE
+
+
+[Illustration: Plate 38.--_Panel from the Rathaus, Breslau, 1563._
+
+_To face page 84._]
+
+In Germany there can be little doubt that the art first struck root in
+the southern part of the country, the towns which produced the earliest
+furniture and other objects decorated in this manner being Augsburg and
+Nuremberg. The first names of workers recorded, however, are those of
+the two brothers Elfen, monks of S. Michael at Hildesheim, who made
+altars, pulpits, mass-desks, and other church furniture for their
+monastery, ornamented with inlays, at the beginning of the 16th century,
+and Hans Stengel, of Nuremberg, but none of the inlaid work of either
+has come down to us. Two earlier pieces are figured by Hefner Alteneck,
+the harp already referred to on p. 8, and a folding seat of brown wood
+inlaid with ivory, stained yellow or light green, and black or dark
+brown wood, in oriental patterns, both of the latter part of the 14th or
+beginning of the 15th century. Two other names are mentioned as capable
+craftsmen in Nuremberg, Wolf Weiskopf and Sebald Beck; the latter died
+in 1546. The Augsburg work was much sought after, the "so-called
+mosaic work of coloured woods." The designs for the panels were
+generally made by painters, architectural and perspective subjects being
+most common, but flower pieces, views of towns, and historical
+compositions were also made. A German work thus characterises the later
+16th century productions of this type--"A certain kind of intarsia
+becomes common in the German panelling and architectural woodwork; also
+in cabinets, vases, and arabesques, with tasteless ruins and
+architectural subjects with arabesque growths clinging all over them, of
+which examples may be seen in the museums at Vienna and Berlin, where
+one may also see works in ebony with engraved ivory inlays, which are
+generally more satisfactory. In German work, however, inlay was never of
+so much importance as carving, and the Baroque influence almost
+immediately affected the character of the design for the worse." At
+Dresden and Munich there were several celebrated inlayers in the 17th
+century, among whom may be named Hans Schieferstein, Hans Kellerthaler,
+of Dresden, and Simon Winkler, N. Fischer, and his son Johann Georg, of
+Munich, the last of whom, with his contemporary Adam Eck, practised
+relief intarsia, of which the latter is said to have been the inventor.
+It was known in the art trade as "Präger arbeit," which was not a name
+which accurately described its origin. Panellings of walls and doors
+were often decorated with inlays, most frequently of arabesques, of
+which the town halls of Lübeck and Danzig furnish fine examples. The
+"Kriegsstube" at Lübeck was done by Antonius Evers, who in 1598-9 was
+master of the joiners' guild, with his companions. The Rathsaal at
+Lüneburg was made in 1566-78, and the name of Albert von Soest is
+connected with it. Danzig, in the "Sommerrathstube," shows intarsias and
+decorations of 1596 in which the painter Vriedeman Vriese and a certain
+Simon Herle, probably a local man, collaborated. Other similar works may
+be seen at Brunswick and Breslau, at Ulm, in the Michel Hofkirche at
+Munich, and in the Cathedral at Mainz. At Coburg, in the so-called
+"Hornzimmer," are intarsias worked from the designs of Lucas Cranach and
+others, at Rothenburgh, at Geminden, at Landshut, and in many places in
+Tyrol and Steiermark, most of them much mixed with carving, too numerous
+to describe. The intarsias at the Hofkirche at Innsbruck, begun in 1560
+by Conrad Gottlieb, may, however, be mentioned as being remarkably fine.
+Schleswig Holstein is full of intarsias of the end of the 16th and
+beginning of the 17th century, of which perhaps the finest are in the
+chapel of the Castle of Gottorp. The princes' prayer chamber or pew
+is elaborately panelled, and the panels are all filled with inlays,
+mostly arabesques. The door and wall panels have elaborate architectural
+forms in relief with base, frieze, and pilasters; and are also fully
+inlaid with arabesques, counterchanged bay by bay. The ceiling is
+coffered, and the male and female patterns are counterchanged
+diagonally. Bosses of lions' heads and rosettes project from the
+surfaces of the beams, between which the intarsia panels are flat. The
+central features in the several divisions are sunk, a central oblong
+with an oval in centre bearing the subject of the Resurrection and two
+side diamonds. The panels surrounding these have raised mouldings, so
+that there is considerable variety of level, and the whole is raised on
+a bracketed cornice, the flat surface of which has small panels inlaid
+in the same fashion. It was put up in 1612 by Duke Johann Adolf of
+Schleswig Holstein and his wife, Augusta of Denmark.
+
+[Illustration: Plate 39.--_Panel from Church of S. Mary Magdalene,
+Breslau._
+
+_To face page 86._]
+
+[Illustration: Plate 40.--_Pilaster strip from the Magdalen Church,
+Breslau._]
+
+In the State archives of Schleswig, in 1608, the names of Andreas
+Sallig, court joiner; Jochim Rosenfeldt, carver; and others are noted.
+Also in 1609, with the addition of the painter Herman Uhr and Hans and
+Jürgen Dreyer, of Schleswig; also the carver Hans Preuszen, and Adam
+Wegener, the figure-cutter. In 1610 the names of Jürgen Koningh,
+joiner's workman, several carvers, and Herman Uhr, the painter, occur.
+In 1611 Herman Uhr and Klaus Barck work in the chapel, the first for 115
+days, and the second for 178 days, and in 1612 several carvers and
+turners work for a long time at the rate of five "schillings" a day, as
+well as Herman Uhr and his assistant. These records distinctly suggest
+that the painter Herman Uhr was the designer, since his name is the only
+one which appears for four years consecutively, though the long period
+during which he worked in 1612 may be explained by the number of
+paintings which cover a portion of the exterior of the pew.
+
+[Illustration: Plate 41.--_Panel from S. Elizabeth's Church, Breslau._
+
+_To face page 88._]
+
+In South Germany one often meets with musical instruments which are
+inlaid with conventionalised floral forms. They were produced in the
+17th century in considerable quantities in Wurtemburg, Bavaria, and on
+the Southern Shores of Lake Constance. Nor must one forget the
+extraordinarily elaborate ivory inlays on the stocks of arquebuses. In
+the Wallace collection are many examples, and attention may be drawn to
+a jewel box made in 1630 by Conrad Cornier, arquebus mounter, which is
+decorated with most elaborate scrolls, leaves, and birds of ivory and
+mother-of-pearl, stained green in parts. It is made of walnut, and has
+metal scrolls at the corners of the panel framing. The German inlays
+on the whole rather run to arabesques and strapwork, or naturalistic
+vases of flowers, with butterflies and birds; one meets occasional
+perspectives and even figures, but the work is generally harder and less
+successful than the Italian technique, with a larger and less
+intelligent use of scorched tints.
+
+In the latter part of the 17th 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 another, or even of two others;
+the effect is not quite happy. Tortoiseshell also appears, and metal and
+coloured stones; the striving after what they thought to be greater
+artistry soon caused them to outstep more and more the proper limits of
+the art, and brought about decadence. The South German bride chests of
+the century before are decorated a good deal with inlays, Peter
+Flotner's designs often serving as patterns; a little green and red
+appear mixed with the commoner colours. The architectural forms project,
+and would form a tolerable design by themselves, though scarcely
+suitable to the object to which they are applied. In German work the
+cabinets are often of the most elaborate architectural design, like the
+façade of a palace, made of ebony, or occasionally even of ivory, and
+inlaid with ivory, silver, gold and enamels or precious stones.
+Augsburg was the most celebrated place for such work. The joiner, the
+woodcarver, the lapidary, and the goldsmith all worked together on such
+things. In the North of Germany tarsia was principally used on chests,
+cabinets, seats, and smaller objects of furniture; in South Germany,
+where the Italian influence was stronger, it was much used in
+wall-panelling and the panels of doors. The little castle of Völthurn,
+near Brixen, built by the bishop of that town in 1580-85 and decorated
+by Brixener artists and joiners (now belonging to Prince Lichtenstein),
+shows "panelled walls with architectural features, columns, cornices,
+and friezes, with gabled doorways with columns and pediments, decorated
+with very delicate intarsias, foliage ornaments, flowers, and fruit, a
+work which modern Brixener joiners could with difficulty understand"; so
+says Von Falke. Ebony and ivory work came to Germany in the latter half
+of the 16th century, when Augsburg and Nuremberg soon exported their
+productions of this sort to all the world, and with this commercial
+production the use of male and female designs begins, black on white and
+white on black. The latter is the better and more valued. Hans
+Schieferstein's cabinet, now at Dresden, a work of this period, has an
+ingenious use of this mode of inlay. It is made of ebony or veneered
+with that wood, and has inlays of brown cypress and of ivory. The
+panel on the inside of the door is of the same design as that on the
+outside, but what was white becomes brown, what was brown is black, and
+the black becomes white.
+
+[Illustration: Plate 42.--_Lower panel of door, 1564--Tyrolese._
+
+_To face page 90._]
+
+In the Musée Cluny is a wire drawing bench made in 1565 for Augustus I.,
+Elector of Saxony, who was an amateur craftsman. The two longitudinal
+surfaces are covered with a double frieze of marquetry, one side
+representing a satirical tournament between the Papacy and Lutheranism,
+and the other a carousal of wild men. In front one sees the marqueteur
+with his tools doing his work, below which he has placed his monogram,
+L--D., accompanied by a cup.
+
+In the Museum at Leipzig is a very fine cabinet, with many drawers
+within, elaborately inlaid with arabesques on a light ground, with a few
+architectural forms in ebony projecting. It is Tyrolese work of the
+beginning of the 17th century, and is a typical example. To the few
+names of German intarsiatori may be added those of Isaac Kiening, of
+Frissen, and Sixtus Loblein, of Landshut.
+
+In the lower Rhine and in Holland tarsia was used for great and small
+chests, sideboards and doors with rich gable crownings, with good
+drawing of flowers, and sprigs of leaves with birds and beasts among
+them, the ground being generally light. The doors ordered by the Swedish
+Chamberlain, Axel Oxenstiern, now in the drinking-room of the King's
+Castle of Ulriksdal, near Stockholm, are said by Von Falke to be the
+finest examples extant of this kind of work, and to have been made in
+the 17th century by a Dutch craftsman. The best period in Holland was
+the second half of the 16th and the first half of the 17th century. In
+the work of this period the handling is broad, and the composition often
+a little over-full, but the many different woods which Dutch commerce
+made available seduced the marqueteurs into too pictorial a treatment in
+point of colour. Their reputation was so great that Colbert engaged two
+Dutch marqueteurs, Pierre Gole and Vordt, for the Gobelins at the
+beginning of the 17th century, and Jean Macé also learnt the craft by a
+long stay in Holland. Here, as well as in France and Italy, rich chairs
+were commonly decorated with marquetry, and in William and Mary's reign
+such things became the fashion in England. The design employed tulips
+and other flowers, foliage, birds, etc., all in gay colours; ivory and
+mother-of-pearl were used occasionally for salient points, such as eyes.
+Examples of the use and misuse of these materials may be seen in the
+Victoria and Albert Museum at South Kensington.
+
+[Illustration: Plate 43.--_Top of card table in the Drawing-room,
+Roehampton House. Dutch, 18th Century._
+
+_To face page 92._]
+
+[Illustration: Plate 44.--_Panelling from Sizergh Castle, now in
+Victoria and Albert Museum._]
+
+Although not much work of importance is known in England which is
+certainly the production of native craftsmen, a few notable examples may
+be called to mind, such as the room from Sizergh Castle, now at South
+Kensington, with inlays of holly and bog-oak, and the fine suite of
+furniture at Hardwick Hall, made for Bess of Hardwick by English workmen
+who had been to Italy for some years. Correspondence passed between her
+and Sir John Thynne on the subject of the craftsmen employed by both,
+and there seems no doubt that Longleat and Hardwick were the work of the
+same men. The inlays upon the long table are particularly fine, and
+except for a certain clumsiness almost recall the glories of the great
+period of Italian marquetry. The cradle of James I. (1566) is enriched
+with inlays.
+
+At Gilling Castle, near Wakefield, are some panels inlaid with flowers,
+etc., which local tradition says were executed by some of the ladies of
+the family, which probably points to their having been done under their
+superintendence by local workmen, and small panels of rough inlay are
+not uncommon in chest and bedstead, overmantel and cabinet from the
+Jacobean period onward. S. Mary Overie, Southwark, possesses a fine
+parish chest decorated with a good deal of Dutch-looking inlay in
+conjunction with carving, and a rather unusual piece of work may be
+seen at Glastonbury Hall, 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 1726. The use of satin wood
+came into fashion towards the end of the eighteenth century, and was
+accompanied by a delicate inlay of other woods, which, however, scarcely
+went beyond the simplest ornament, since the decoration of furniture by
+means of painting became fashionable at nearly the same period.
+
+[Illustration: Plate 45.--_Cabinet with falling front, in the
+drawing-room, Roehampton House._
+
+_To face page 94._]
+
+It was in France that the most wonderful achievements of the later
+marqueteurs were produced, which have made French furniture recognised
+by the public as well as by connoisseurs as an art manufacture, in
+conjunction with the wonderfully chiselled ormolu mountings. Mention is
+made of intarsia in France as early as the end of the fifteenth century,
+however. In the inventory of Anne of Brittanny's effects (1498) may be
+read "ung coffret faict de musayeque de bois et d'ivoire," and in a
+still earlier one of the Duke de Berry's, dated 1416, is mentioned a
+"grant tableau, où est la passion de Nostre Seigneur, fait de poins de
+marqueterie." This is as early as the intarsias of Domenico di Nicolò at
+Siena, and was probably of foreign manufacture. In 1576 a certain Hans
+Kraus was called "marqueteur du roi," but the first Frenchman known to
+have practised the art is Jean Macé of Blois, who was at work in
+Paris from 1644 or earlier to 1672 as sculptor and painter. He is said
+to have been the first who brought intarsia into France, under the name
+of "marqueterie," having been for some time in the Netherlands. His
+title was "menuisier et faiseur de Cabinets et tableaux en marqueterie
+de bois." He was lodged in the Louvre in 1644 (when Louis XIV. was six
+years old), "en honneur de la longue et belle pratique de son art dans
+les Pays Bas." His daughter married Pierre Boulle, who in 1619 was
+turner and joiner to the King, probably both to Louis XIII. and Henry
+IV. In 1621 Paul Boulle was born, and five years later Jacques. The
+family was settled at Charenton-le-Pont, near Paris, the principal town
+of the Huguenots for eighty years. Here, in 1649, Pierre Boulle was
+buried, the father of seven children. The earlier seventeenth century
+designs show picturesque landscapes or broken ruins or figures, _motifs_
+which recur a century later, as in the beautiful panel signed "Follet"
+in the Cabinet by Claude Charles Saunier in the Wallace collection. The
+colours are occasionally stained, and ebony and ivory are favourite
+materials. It is impossible to fix the exact time when copper and
+tortoiseshell came into use in France. Some of the cabinets in which
+they appear are certainly of the period of Louis XIII. It was probably
+imported either from Spain or Flanders; it became very fashionable
+about the middle of the seventeenth century, and ended by entirely
+absorbing the official orders of the Court of Louis XIV. With this work
+the name of Boulle is indissolubly associated. Pierre Boulle was lodged
+in the Louvre about 1642. In 1636 he is on the list for 400 livres
+annually. Jean Boulle died in the Louvre in 1680. He was the father of
+André Charles probably, who was born in November, 1642, and the nephew
+of Pierre. André Charles Boulle in 1672 succeeded to the lodging of Jean
+Macé in the same building, and seven years later by a second brévet to
+the "demilogement," formerly occupied by Guillaume Petit "to allow him
+to finish the works executed for His Majesty's service." It is told of
+him by a contemporary that the talented boy wanted to be a painter, but
+his father would not allow it, and insisted upon his keeping to
+handicraft. He was a man of most varied talent; when he was first
+granted apartments in the Louvre it was as "joiner, marqueteur, gilder,
+and chiseller," and in the decree of Louis XIV., by which he was
+appointed the first art-joiner to the King, he is called "architect,
+sculptor, and engraver." He had a passion for collecting drawings,
+paintings, and other works of art, and when his workshops were burnt his
+collection was valued at 60,000 livres. This taste brought him into
+money difficulties, and in 1704 his creditors obtained a decree
+against him, 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 them. He was a member of the Academy of
+S. Luke as sculptor and brass engraver. The Cabinet of the Dauphin was
+considered his masterpiece, in which the walls and ceiling were covered
+with mirrors in ebony frames, with inlays of rich gilding, and the floor
+laid with wood mosaic, in which the initials of the Dauphin and his wife
+were intertwined. The drawing made for it is now in the Musée des Arts
+Décoratifs, but the work itself no longer exists. On August 30th, 1720,
+his works were burnt, it was thought by a thief whom the workmen of
+Marteau, his neighbour at the Louvre, had surprised some months before
+and punished summarily, who, by way of vengeance on the "menuisiers,"
+set fire to the "ébénistes." Nearly everything he possessed was either
+burnt, lost, or stolen; models of the value of 37,000 livres, wood and
+tools worth 25,000, many pieces of furniture finished or in course of
+construction; works in metal, as well as in wood, and his whole
+collection of drawings, paintings, and objects of art. His total loss
+was estimated by experts at 383,780 livres, more than 1,000,000 of
+francs in the money of to-day, from which an income of 50,000 francs
+might be expected. This valuation was on an inventory drawn up shortly
+after, perhaps for the purpose of getting the King's help. The number of
+undeniable productions of his hand is small, but objects which came from
+the studio after his death are tolerably plentiful since his four sons
+carried on the business, though not the inspiration; contemporaries
+characterised them as "apes." Two commodes which were in Louis XVI.'s
+bedroom at Versailles are now in the Bibliothêque Mazarin, and a chest
+which was forgotten in the Custom House at Havre now belongs to the
+museum of that city. A cabinet is in the Mobilier National, and a
+pedestal is in the Grünes Gewölbe at Dresden. Other genuine Boulles are
+in the Wallace collection, in the Rothschild collection, and at the
+Hotel Cluny. A writing table, for which the millionaire Samuel Bernard
+(who died in 1739), a great collector of art treasures, had given 50,000
+livres, appears to be lost. M. Luchet asks, with some truth, "Can you
+imagine a financier, Jew or Christian, paying 100,000 francs for a new
+bureau? Old, it would be another thing--an object of art to sell."
+Boulle was most careful over his materials. He had 12,000 livres worth
+of wood in his stores, fir, oak, walnut, battens, Norwegian wood, all
+collected and kept long and carefully for the benefit of the work. He
+also used real tortoiseshell, which, is replaced in the economical art
+industry of the day with gelatine. The mountings were always chiselled,
+cast quite roughly, so that the artist did nearly everything. He was
+helped in this part of the work by Domenico Cucci and others. The inlay,
+instead of being tortoiseshell, may have been horn, mother-of-pearl,
+ivory, or wood; the motive, instead of brass, may be pewter, silver,
+aluminium, or gold; it is still known by the name of Boulle work. Boulle
+himself worked intarsia of wood also at intervals all through his life.
+He died February 29th, 1732.
+
+[Illustration: Plate 46.--_Cabinet belonging to Earl Granville. Boulle
+work of about 1740._
+
+_To face page 96._] [Illustration: Plate 47.--_Top of writing table in
+the Saloon, Roehampton House. Period of Louis XV._]
+
+[Illustration: Plate 48.--_Encoignure, signed J. F. Oeben, in the Jones
+bequest, Victoria and Albert Museum._
+
+_To face page 98._]
+
+His pupil, J. F. Oëben, became "ébéniste du roi," with a lodging in the
+_dépendances_ of the Arsenal in 1754. He was marqueteur especially.
+Examples of his work are both at South Kensington and in the Wallace
+collection, and in the Gallerie d'Apollon at the Louvre is the great
+secretary bureau, which he was making for Louis XV. at the time of his
+death, in or about 1765. His widow carried on the establishment; her
+foreman, J. Henry Riesener, completed the unfinished work. He was also a
+German, born in 1735 at Gladbach, near Cologne, and coming to Paris
+quite young entered Oëben's atelier. On his death he was made foreman,
+and two years after, when he was thirty-two years of age, married his
+master's widow. The year following 1768 he was received as master
+_menuisier ébéniste_. In 1776 his wife died, and six years after he
+married again, but was divorced as soon as the new legislation allowed
+it. When he was married the first time he had no fortune, but fifteen
+years after he declared in his marriage contract that there was then
+owing to him by the King, the royal family, and other debtors 504,571
+livres, without counting the finished objects in his warehouses, his
+models of bronze, his jewels, and personal effects, and several
+important life annuities. Between 1775 and 1785 he received from the
+Garde Meuble 500,000 livres, so profitable had the production of
+furniture of the highest class become. He was in full work at the time
+of the Revolution, and two of his finest pieces bear the dates 1790 and
+1791 in their marquetry. When the furniture of the royal residences was
+sold, Riesener bought back several pieces, being aided by Charles
+Delacroix, the husband of his first wife's daughter, who directed the
+sale at Versailles. He tried to sell these again, but with poor success,
+and when he died, on January 8th, 1806, at the age of 71, he was again
+almost without fortune. His beautiful bureau secretary in the Wallace
+collection, made for Stanislas Leczinski, King of Poland, and dated
+1769, shows him at his best. The workmanship is superb, and the design
+most pleasing, almost the only point to which exception may be taken
+being the crude green, obtained by staining, here and there. The
+half-length of Secrecy in the oval cartouche at the back is as good as
+the best Italian figure work, and was often reproduced by him. The
+flower panels are particularly delicate and beautiful. There is an
+upright secretary, also by him, in the same collection almost equally
+delicate and beautiful in its marquetry decorations. The diaper patterns
+so characteristic of this period are most beautifully executed, but are
+not very interesting, and the mountings take the interest rather from
+the marquetry, becoming more and more delicately designed and
+elaborately worked. The principal woods used by Riesener were tulip and
+rose wood, holly, maple, laburnum, purple wood, and sometimes snake
+wood. His contemporary, David Roentgen, used principally pear, lime, and
+light-coloured woods, burnt for the shades.
+
+[Illustration: Plate 49.--_Panel from back of Riesener's bureau, made
+for Stanislas Leczinski, with figure of Secrecy._
+
+_To face page 100._]
+
+[Illustration: Plate 50.--_Roundel from bureau, made for Stanislas
+Leczinski, King of Poland, now in the Wallace Collection._
+
+_To face page 102._]
+
+Paris has endured a regular invasion of German craftsmen from the middle
+of the eighteenth century, and the Faubourg S. Antoine still has a
+number of German-born joiners among its workmen. Among the most
+celebrated of them was David Roentgen, born either at Neuwied or
+Herrenhagen in 1743. In 1772 he succeeded his father, Abraham Roentgen,
+in his business at Neuwied am Rhein, which he had founded in 1753, and
+from which he retired into the house of the Moravian brethren, where he
+lived for twenty years longer. The engraver Wille relates that he came
+to his house in Paris in 1774 with letters of recommendation, and that
+he put him in touch with designers and sculptors. When Marie Antoinette
+became Queen he was appointed "Ébéniste méchanicien" to the Queen. He
+was in such good odour with her as to be charged on several occasions to
+carry presents to her mother and sisters. Her favour excited the
+jealousy of the other joiners, and they contested his right to sell
+foreign-made furniture. He got out of this difficulty by being admitted
+a member of their corporation on May 24th, 1780. He was so entirely
+master of his craft, and increased its resources so much by using exotic
+woods, that contemporary opinion thought it difficult to imagine greater
+success in the particular direction in which he worked. In 1779 he
+showed a table of marquetry, made in a new fashion, which he described
+as a mosaic, "in which the shades are neither burnt, nor engraved, nor
+darkened with smoke, as one has been obliged to express them until now,"
+a return in fact to the earlier Italian method. His designs were many of
+them made by Johann Zick of Coblenz, others by Jean Baptiste Le Prince,
+chinoiseries, and shepherd games. Under him the later German marqueterie
+reached its highest point. His works went all over Europe, from St.
+Petersburg to Paris, and replicas were ordered by those who were obliged
+to forego the originals. He sold to Catherine of Russia a series of
+articles of furniture for 20,000 roubles, and the Empress added a
+present of 5000 roubles and a gold snuff-box. The King of Prussia was
+his constant protector, and in February, 1792, gave him the title of
+Secret Councillor, and in November of the same year named him Royal
+Agent on the Lower Rhine. The Revolution ruined him, and he was obliged
+in 1796 to close his factory. He abandoned France at this period, and
+the Government, considering him as an "Emigré," seized all his effects
+in 1793, including the furniture made at Neuwied, then in his stores. He
+died at Wiesbaden in 1807. With him these incomplete historical notes
+may terminate. Many of the names mentioned are but names, while in many
+cases names and works cannot be connected, for the carver and
+intarsiatori were often, like other craftsmen, content to do the work
+without caring about the reputation of doing it; 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 rarity, and certainly do not show them
+to any disadvantage compared with other artists, or those among whom
+their lives were passed.
+
+
+
+
+THE PROCESS OF MANUFACTURE
+
+
+The early mode of working intarsia in Italy, where it is more than 100
+years more ancient than in any other country, was by sinking forms in
+the wood, according to a prearranged design, and then filling the
+hollows with pieces of different coloured woods. At first the number of
+colours used was very small--indeed, Vasari says that the only tints
+employed were black and white, but this must be interpreted freely,
+since the colour of wood is not generally uniform, and there would
+consequently often be a difference in tint in portions cut from
+different parts of the same plank. A cypress chest of 1350, now in the
+Victoria and Albert Museum, shows another mode of decoration standing
+between tarsia proper and the mediæval German and French fashion of
+sinking the ground round the ornament and colouring it. In this example
+the design is incised, the ground cleared out to a slight depth, and the
+internal lines of the drawing and the background spaces filled in with a
+black mastic, the result much resembling niello. 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 Siena, which, though
+an early work of Domenico di Nicolò, are well considered in design, well
+executed, and quite satisfactory in point of harmony between material
+and design.
+
+[Illustration: Plate 51.--_Antonio Barili at work, by himself._
+
+_To face page 104._]
+
+At the commencement of the Renaissance the fancy of the intarsiatori
+overflowed in the most graceful arabesques, which are perfectly suited
+to the material and are often executed with absolute perfection, and
+these may perhaps be held to be the most entirely satisfactory of their
+works, though not the most marvellous. The ambition of the craftsman led
+him to emulate the achievements of the painter, and we find, after the
+invention of perspective drawing, views of streets and other
+architectural subjects, which are not always very successful, and the
+representation of cupboards, the doors of which are partly open, showing
+objects of different kinds on the shelves, which are often rendered with
+the most extraordinary realism, when the means adopted are
+considered.[3] This realism was much assisted by Fra Giovanni da
+Verona's discovery of acid solutions and stains for treating the wood,
+so as to get more variety of colour, and by the practice of scorching
+portions of the pieces of which the subject was composed, thus
+suggesting roundness by means of shading. It was a common practice to
+increase the decorative effect by means of gilding and paint, thus
+obtaining a brilliancy of colour at the expense of unity of effect
+sometimes, one may think, 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 times. At the best period it was used almost entirely
+for church furniture and the furnishings of public edifices, in Italy at
+least, and many of the ranges of stalls still occupy their original
+positions.
+
+[Illustration: Plate 52.--_Panel from the Victoria and Albert Museum._
+
+_To face page 106._]
+
+The principal woods used in the work of the best period were pear,
+walnut, and maple, though pine and cypress also appear. Ebony was
+imitated with a tincture of gall apples, green was obtained with
+verdigris, and red with cochineal. Sublimate of mercury, arsenical acid,
+and sulphuric acid were also used to affect the colour of the wood. This
+treatment lessened its lasting power, and often caused its decay through
+the attacks of worms. The scorching was done with molten lead, or in
+very dark places with a soldering-iron. It is now done with hot sand.
+The following technical description is taken from a German book of
+1669--"Wood-workers paint with quite thin little bits of wood, which
+are coloured in different ways, and the same are put together after
+the form of the design in hollowed-out panels, fastened with glue and
+polished with an iron on the surface so that they may become quite
+smooth. They paint at the present time in this manner tables and jewel
+chests or trays, and all in the highest artistic manner. Also separate
+pictures are put together, which copy the works of the most celebrated
+masters. First, they take small, very thin pieces of pear or lime dyed
+through with different colour-stuffs, which are prepared by certain
+processes, so that the wood is the same colour within and without. Then
+they give them their several shapes as the kind of picture requires,
+cutting them according to the size and shape, and stick them with glue
+on the board. In the place of wood they sometimes use bone, horn, and
+tortoiseshell cut into fine strips, also ivory and silver. The whole
+work is called by the Germans 'Einlegen' or 'Furnieren,' because
+although each piece is separate from the others no part is taken out
+from the surface in which such figures are inlaid, but the whole is
+covered." With the use of the fret-saw for cutting the patterns, and the
+consequent discovery of the possibility of counterchanging the ground
+and the design (that which was black becoming white, and _vice versâ_),
+called male and female forms, the manufacture of tarsia, or marquetry
+rather, commenced to take a more commercial aspect, the cost being
+considerably reduced by the making of several copies by one sawing. This
+is the process used at the present day.
+
+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 wood, and also on the level grounding
+out of the matrix. In Spanish and Portuguese work ivory or ebony pins or
+pegs were used also. Marquetry is a form of veneering, and the operation
+is thus conducted:--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 clean, newly-worked surface; the ground is then well wetted with
+glue, at a high temperature, and the two surfaces pressed tightly
+together so as to squeeze as much out as possible. The parts are screwed
+down on heated metal beds, or between wooden frames, made so as to
+exactly fit the surfaces in every part, called "cauls," until the glue
+is hard. In cutting the patterns of Boulle work two or three slices of
+material, such as brass and tortoiseshell or ebony, are glued together
+with paper between, so that they may be easily separated when the
+cutting is done. Another piece of paper is glued outside, upon which the
+pattern is indicated. A fine watch spring saw is then introduced
+through a hole in an unimportant part of the design, and the patterns
+sawn out as in ordinary fretwork. The slices are then separated, 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
+pattern. When there are only two slices of material the technical term
+for them is Boulle and Counter. When the various parts have been
+arranged in their places, face downwards, paper is glued over them to
+keep the whole in place, and filings of the material rubbed in to fill
+up any interstices. The whole is then toothed over and laid down in the
+same manner as ordinary veneer, the ground being first rubbed over with
+garlic, or some acid, to remove any traces of grease. Marquetry of wood
+is made in the same way, but more thicknesses of wood are put together
+to be sawn through, as many as four not being an unusual number, while
+for common work even eight may be sawn at one time, and the various
+sheets are pinned together only with a stiff backing of common veneer of
+good thickness to steady the work. Dye woods are used as far as
+possible, and holly stained to the required colour serves for greens and
+blues and a few other tints. Pearl is always cut in one thickness, and
+is glued down on a backing of wood at least 1/8-inch thick.
+
+Another mode of cutting the design approximates more nearly to the
+ancient practice. The whole design is drawn on paper attached to the
+ground, or counter, and cut out entirely. The various portions of inlay
+are then cut from different veneers of the desired colour and fitted
+into their places. Another method is to paste the paper with the whole
+design on the ground, and on it to paste the various ornaments cut from
+suitable veneers, then to cut through the ground, the saw grazing the
+edges of the ornamental forms. The parts so cut out are then pushed
+through the ornaments, separated from the paper, and laid down in the
+vacant places. A variation on this method is to cut out the forms to be
+inlaid in different veneers, and glue them in their proper positions on
+a sheet of paper. A sheet of white paper is pasted on the veneer, which
+is to serve as the ground. A sheet of blackened paper is laid over it,
+and over this the sheet with the forms to be inlaid, which are then
+struck with a light mallet, so as to print an impression of their edges
+upon the paper. The printed shapes are then cut out one at a time, care
+being taken to make the saw exactly follow the outline. The object of
+all these processes is, of course, to ensure the ground and the inlaid
+forms exactly fitting. After cleaning the surface from paper and glue it
+is smoothed with plane and scraper, and the markings on leaves or other
+figures made by a graver, if not already made by saw cuts, and they and
+the lines between the male and female forms are filled with shellac or
+wood-dust and glue.
+
+In Germany the veneers used are one to two millimetres thick, _i.e._,
+one-twenty-fifth or two-twenty-fifths of an inch. The principal woods
+used are walnut, pear, ash, bird maple, holly, olive, amboyna, rose
+wood, violet wood, thuya, and palisander, which name is also used on the
+Continent for rose wood and violet, though it is really a sort of cedar.
+Tortoiseshell, ivory, and metal plates are also used, principally of
+pewter, brass, and zinc. Seeman's Kunstgewerbliche Handbücher advise
+thus:--"When ivory or hard precious metals are used it is better to
+divide the design into smaller parts. To avoid damage to the effect by
+time and change of colour in the woods such combinations as the
+following are to be preferred:--Mahogany and black walnut, pear and
+black walnut, Hungarian ash and black thuya, pear and palisander, brass
+and black, etc. For fine, small ornament smooth, even-textured woods
+should be used such as pear, mahogany, maple, or holly; for broad
+patches and backgrounds, which are not required to be dark, you should
+use patterned or streaked woods, like bird maple, amboyna, thuya, or
+olive. Ivory, mother-of-pearl, and metals in large pieces look hard and
+loud, so it is better to use them in quite small pieces. If engraved,
+larger pieces may be employed and used for inscription tablets, coats of
+arms, and cartouches, or for bits of figures, birds, and butterflies.
+Shading may be done in various ways. Lines may be engraved and filled up
+with a glue cement, or hatchings may be drawn with a scorching solution,
+or the wood may be burnt with hot sand. The sand is made hot in an iron
+pot, and the piece to be darkened inserted. Or it may be scorched with a
+hot iron or spirit or gas flame. The simplest way is with the poker used
+in poker work." In England the sand is heaped upon a metal plate which
+is heated underneath. The veneer is held with tweezers and pushed into
+the sand, the gradation of heat giving gradation of tone. The hot sand
+shrinks the wood, and allowance must be made for this.
+
+Veneers are both saw and knife cut; the saw wastes about as much as the
+thickness cut in sawdust. They range from 8 to 15 to the inch. The
+French saw-cut their veneers thinner than the English do.
+
+The woods in every-day use at the present day are white holly, box, pear
+(in various shades), and holly (dyed all colours); while the veneer
+merchants sometimes supply also planetree, sycamore, chestnut,
+Brazilwood, yellow fustic, barwood, tulipwood, kingwood, East and West
+India satinwood, rosewood, ebony, ash, harewood, Indian purplewood,
+hornbeam, and snakewood. Bird's-eye maple and partridgewood may also be
+bought.
+
+Dye woods used for marquetry--Braziletto, cam wood, logwood, Nicaragua,
+red sanders, sapan, ebony, fustic (a species of mulberry), Zante (a
+species of sumach). "Ebony is the black pear tree of Madagascar, at
+least they make cider of its fruit." So says M. Luchet in an interesting
+excursus on furniture manufacture in his book on the Paris Exhibition of
+1867, in which he gives further details of ancient manufacture and its
+modern imitation. "I know a factory," he says, "where the tortoiseshell
+is false, the mother-of-pearl false, the ivory holly wood; the brass is
+the only real thing, because science applied to industry has not yet
+found out how to imitate it. When Boulle employed wood in his work it
+was ebony--they have abandoned that for blackened pear wood, under the
+pretext that ebony is a hard, close wood which twists, splits, and
+cracks, takes glue badly, and refuses varnish. So that they call a man
+who never uses ebony 'ébéniste.' They did not trouble about these things
+in the time of Louis XIV. They never varnished their furniture, so it
+did not matter that ebony would not take varnish.... There are two sorts
+of tortoiseshell, that of the Antilles, often bad and scaly, but good
+enough for common work, because it is thin and equal in thickness, and a
+little carmine vermilion gives it a not unpleasant red tint. The Indian
+tortoiseshell is thick and opaque and unequal, demanding preparation and
+welding. It can only be used for expensive work, and takes easily a
+black preparation which makes it magnificently austere." One ought to
+mention here that good shell was often treated with carmine vermilion or
+with gold, and that without a colour background it loses half its beauty
+and value.
+
+"In modern times six or eight couples of shell and metal are sawn
+together, whereas two was the number in the fine period. This saves
+money. A new Boulle bed, secretary, or chest of drawers should cost 15
+to 20,000 francs. You may easily get one for 2000 made of rubbish. An
+honest chest of drawers with tolerable mountings is worth 1500 francs.
+In gelatine tortoiseshell and brass or zinc of the future 100 is the
+price.... The mode still practised in Paris of making a good 'placage'
+in preparation for marquetry or Boulle work is as follows:--A thicker or
+thinner sheet of Italian poplar is placed between two sheets of oak with
+the grain the other way, then on the external sheet of oak is placed the
+wood intended to be seen, also with the grain the other way, the whole
+of convenient thickness, and glued with the best glue. Good glue is the
+nurse of the wood, say the masters. These four or five thicknesses of
+wood pulling against each other neutralise all bad effects, and the
+result is very good. The external covering is usually either mahogany,
+American walnut, or violet wood (a sort of cedar). Sometimes it is
+ebony, or perhaps a collection of small pieces of wood, such as acacia,
+which are called by all sorts of pretty names. It is of this fine and
+good 'plaqué' that they still make cupboards at 1000 francs, beds at 600
+francs, and bureaus at 800 francs, which are the success and the pride
+of Parisian joinery." The marqueteurs of Nice made use of olive for
+veined grey backgrounds, orange and lemon for pale yellow, carob for
+dark red, jujube tree for rose colour, holly for white, and charred fig
+for black; arbutus served for dark flesh, and sumach for light.
+
+It is advisable after the marquetry has been put together to reduce the
+surface to a level and do something in the way of polishing, though it
+is not necessary to carry the process as far as is often done by the
+cheap furniture manufacturers. If nothing but wood has been used, the
+surface should be reduced to a level with a toothing plane and scraped
+with a joiner's scraper, taking care to apply it obliquely to the joints
+as far as possible, so as to avoid digging down and so failing in the
+object aimed at. If done very well and carefully it sometimes only
+requires to be rubbed down with its own shavings, but it is more usually
+necessary to follow with a worn piece of glass-paper on a flat piece of
+cork, but the dust must not be allowed to collect into hard lumps upon
+it, as these lumps would scratch the surface. Holtzapffel says that when
+metal, ivory, pearl, shell, or tortoiseshell are mixed with the wood the
+surface must be carefully levelled with flat files, ending with a very
+smooth one, after which the scraper should be used if possible and
+followed by glass or emery paper very sparingly. When metal
+preponderates emery paper is best, and really good _sand_ paper may also
+be used, but all paper should have very little "cut," should be applied
+dry, and allowed to become clogged, so as to act principally as a hard
+dry rubber or burnisher. If the polishing is at all in excess the wood
+will get rubbed or worn down below the metal. 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 powder, much
+like polishing marble, using oil instead of water. Wet polishing should
+not be used for inlaid works; the water may soften the glue. A
+superficial wetting is likely to warp the woods and make them curl up at
+the edges, and the grain of the wood is almost certain to rise. Oil is
+better than water, but light woods are almost certain to become stained
+by polishing powders and fluid. To avoid this modern marquetry is often
+covered with varnish applied with friction like French polish, or laid
+on in several coats with a brush and polished off with pumice and rotten
+stone, like the Vernis Martin, being first levelled with a file or
+scraper and smoothed with glass-paper.
+
+FOOTNOTES:
+
+[3] The panel illustrated from the Albert and Victoria Museum is a good
+average specimen of this kind, but not quite a masterpiece.
+
+
+
+
+THE LIMITATIONS AND CAPABILITIES OF THE ART
+
+
+The process described, by which the early works in intarsia were
+produced, was slow and tedious; and, as may be supposed, though fame
+might be won by its exercise, the winning of fortune was a very
+different thing. Domenico di Nicolò, who made the stalls in the chapel
+of the Palazzo Pubblico, Siena, and was thence called "del Coro," or
+"dei Cori," a name which descended to his children in place of their
+proper name of Spinelli, is an example in point. The petitions to the
+priors already referred to, printed in Milanesi's Documenti per la
+Storia dell' Arte Senese, show how little a man of talent, who was
+constantly employed for many years and gained great reputation in his
+art, could do to provide for his old age; and many returns of both
+painters, sculptors, and woodworkers, made for the purposes of taxation
+and printed in the same book, show that even in a great and flourishing
+town like Siena, which prided itself on its artistic reputation, it was
+often most difficult for the craftsmen, on whose work that reputation
+was based, to make a living.[4] It is true that there were thirty-four
+workshops for wood carving and intarsia in Florence at one time (1478,
+as Fabroni says in his life of Lorenzo the Magnificent), from which one
+may conclude that work of a certain sort was plentiful and lucrative,
+and panels of intarsia were certainly sometimes exported, but it may be
+observed that all the most celebrated intarsiatori practised some other
+form of art also, and generally abandoned intarsia sooner or later; the
+exceptions being those who belonged to the Olivetan and Dominican
+orders, and therefore had no anxiety about their living. Of these
+craftsmen the most celebrated were Fra Giovanni da Verona and Fra
+Damiano of Bergamo, whose works were so elaborate and so finely executed
+as to excite the suspicion that they were painted with the brush, though
+supposed to be executed with wood and the chisel. The anecdote of the
+Emperor Charles V.'s trial of Fra Damiano's tarsia panel in S. Domenico,
+Bologna, attests the wonderful quality of the work, and its success in
+attaining a doubtful aim, 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 brush. The designs from which the
+intarsia was executed were often furnished by painters of repute, and
+pictures or portions of pictures were copied, a proceeding which Fra
+Giovanni's discovery of stains and washes of different kinds made
+easier, until the proper limits of the art were far overpassed, and its
+decorative quality quite lost sight of in the attempt to rival a form of
+art the requirements of which were quite different. The beautiful
+arabesques, which the designers of the early Renaissance poured forth
+with exhaustless fertility, show the capabilities of the process for
+decorating flat surfaces, and the perspectives of cupboards and
+buildings were often most successful without passing the limits imposed
+by the material.
+
+The question of the limits within which the craftsman's effort should be
+confined in any form of art craftsmanship is a thorny one, for the
+attempt to overstep those limits has always had attractions for the
+craftsman who is master of his craft, and who sighs for fresh fields to
+conquer, knowing better than the outsider what are the difficulties
+which he has overcome successfully in any piece of work from the side of
+craftsmanship, though often with disastrous results when the matter is
+regarded from the point of view of excellence in design and purity of
+taste. 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
+illegitimate; and if this be so, it is equally illegitimate to stain any
+of them; but it is undeniable that a great addition to the resources of
+the inlayer was made by the discoveries of Fra Giovanni, and it seems
+unreasonable to refuse to make any use of them because later
+intarsiatori abused these means of gaining effect. The earliest work, it
+is true, depends mainly upon silhouette for its beauty, but does not
+altogether disdain lines within the main outline, and the abandonment of
+these inner lines, whether made by graver or saw, so reduces the
+possibilities of choice of subject as to restrict the designer to a
+simplicity which is apt to become bald. A great deal may be done by
+choice of pieces of wood and arrangement of the direction of the
+lines of the grain; some of Fra Giovanni's perspectives show very
+suggestive skies made in this manner, and Fra Damiano was very
+successful in thus suggesting the texture of much veined and coloured
+marble and of rocks, but directly the human figure enters into the
+design these expedients are felt to be insufficient and inexpressive,
+and inner lines have perforce to be introduced. The opposite extreme is
+such work as the panels by the brothers Caniana in the Colleoni Chapel
+at Bergamo, in which the composition and drawing of the figures recall
+the designs of the Caracci, and the technique of the shading reminds one
+of a copper plate, while the tinting and gradation of the colours take
+away all impression of a work in wood, substituting that of a coloured
+engraving. Here it is quite evident that the desire to imitate pictorial
+qualities has led the craftsman far away from what should have been his
+aim, viz., to display the qualities of the material which he was using
+to the best advantage, consistently with the position and purpose of his
+work in it. Not that perfection of workmanship is to be decried, though
+it is only occasionally that one is able to make use of, or indeed
+produce it. But the æsthetic 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
+giving. Notwithstanding the beauty of much of the marquetry of the
+periods of Louis XIV. and Louis XV., one often feels that design has
+been put to one side in the endeavour to gain a realistic effect, and
+the same defect may be traced more clearly in the clumsier Dutch and
+German productions. Even in the Italian work of an earlier date every
+now and then the same fault peeps out, though the excellent taste of the
+nation at that period prevented the Italians from falling into such
+excesses, and one generally feels the wood even in their most elaborate
+perspectives. It may be asserted in a general way that the more colours
+are used the less likelihood is there of the effect being quite
+satisfactory, and that any light and shade introduced should be of the
+simplest kind. A slight darkening of parts of the wood to gain a certain
+suggestion of roundness is quite admissible, but the expedient should be
+used with discretion, lavish employment of it leading to heaviness of
+effect and a monotony of tone which are most unpleasing. If ivory or
+metals are introduced the greatest care is necessary to prevent them
+from giving a spotty and uneven effect to the design, for neither these
+two materials nor mother-of-pearl marry quite with the tone of the wood;
+and this inequality is likely to increase with age, as the wood becomes
+richer and mellower in colour. Such materials should be so used that
+the points where they occur may form a pattern in themselves
+independently of the rest of the design, so that the effect may be
+pleasing at first sight, before the general meaning of the less
+prominent details is realised. Any other way of using them courts
+failure, since the effect of the whole design is ruined by the
+uncalculated prominence and inequality of these materials here and
+there. The Dutch sometimes made use of mother-of-pearl, in pieces upon
+which engraving broke up the hard glitter of the material, mingled with
+brass wire and nails or studs driven into the surface of the wood. The
+two materials appear to be quite harmonious, and small articles
+decorated in this manner are effective and satisfactory. The Italian use
+of ivory for the decoration of musical instruments, chess and backgammon
+boards, and other small objects is almost always successful, the
+proportion between wood and ivory being well judged, and the forms of
+the ornament pleasing.
+
+[Illustration: _To face page 122._
+
+Plate 53.--_Panel from S. Maria in Organo, Verona._]
+
+The modern French marquetry, though exceedingly clever and beautiful in
+its use of various woods, errs by want of consideration of the surface
+to be decorated, the subjects flowing over the surfaces and overflowing
+the proper boundaries very often; and also sins in using many woods of
+very slightly different tones and textures, which will almost certainly
+lose their reciprocal relation in the course of time, and thereby their
+decorative effect. The ancient intarsias were made of a small number of
+different woods, and the effect was kept simple; pear, white poplar,
+oak, walnut, and holly almost exhaust the list; while even Roentgen's
+work, in which he used a larger number of woods, including some of those
+foreign trees which Dutch commerce made available for him, has suffered
+from their changing and fading. I would advise the marqueteur to
+disregard most of the many foreign woods now in the market, and content
+himself with simple and well-proved effects for the most part, trusting
+rather to beauty of design to give distinction to his work than to
+variety of colour and startling effects of contrast.
+
+[Illustration: Plate 54.--_Panel from S. Maria in Organo, Verona._
+
+_To face page 126._]
+
+It is the fashion at the present day to exhort the designer to found his
+design upon the study of nature, which is right enough if accompanied by
+discretion and a feeling for style. In many mouths, however, the
+exhortation means that the copying of natural forms is advised, and
+often, if one may judge from the examples which one sees around one,
+without selection either of subject or form. Now it is obvious that it
+is sometimes the beauty of form in natural objects which attracts the
+eye, and sometimes the beauty or strangeness of colours, either in their
+combination or from the unusual tint. And while the former quality
+fits the object for translation into ornament, by means of
+simplification and repetition, 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 composition. Certain forms
+of flowers and leaves are also suitable for ornament expressed in a
+certain way, and when this harmony occurs the representation of nature
+is satisfactory as ornament; but the reverse is very often shown to be
+the case in work of a more modern type, in which the design is based on
+the dictum that the copying of natural forms will produce ornament. It
+is not the copying of natural forms, but the ordering of the spaces, the
+arranging and balancing of line and mass, and the adaptation of means to
+ends which produce satisfactory decoration, and in the best Italian
+intarsias founded upon freely-growing, natural plants this is well
+shown. The observation of natural growth shown in illustrations Nos. 53,
+54, and 55 is considerable, but the panels are not so beautiful because
+the bay, the pink, or the lily are so well rendered, but because the
+pattern of waving lines is so well fitted to the space it has to fill,
+and the shapes of the silhouettes are so expressive. In the later French
+marquetry we often find an equal or almost equal dexterity in expressing
+the natural form, and an almost greater cleverness in adapting the
+design to the material; 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 unsurpassable.
+
+Certain remarks made by Mr. Stephen Webb, in a paper read to the Society
+of Arts on April 28, 1899, as to the qualities which the designer or
+craftsman must possess for successfully producing intarsia, are worth
+reproducing here as the sayings of a man who himself has done much
+beautiful work of the kind. "Tone harmony, and in a limited degree, the
+sense of values, he must certainly cultivate. He must be able to draw a
+line or combination of lines which _may_ be ingenious if you like, but
+_must_ be delicate and graceful, vigorous withal, and in proper relation
+to any masses which he may introduce into his design. He must thoroughly
+understand the value of contrast in line and surface form, but these
+matters, though a stumbling block to the amateur, are the opportunities
+of the competent designer and craftsman. The most charming possibilities
+of broken colour lie ready to his hand, to be merely selected by him and
+introduced into his design. If the wood be properly selected shading is
+rarely necessary, and if it is done at all should be done by an artist.
+In the hands of an artist very beautiful effects may be obtained, the
+same kind of wood being made to yield quite a number of varying shades
+of colour of a low but rich tone. Over-staining and the abuse of shading
+are destructive. Ivory has always been a favourite material with workers
+in tarsia, and in the hands of an experienced designer very charming
+things may be done with it. There is, however, no material suitable for
+tarsia which requires so much care and experience in its use. It is
+ineffective in light-coloured woods, and in the darker ordinary woods,
+such as ebony, stained mahogany, or rosewood, under polish, the contrast
+of colour is so great that the ivory must be used very sparingly. The
+ivory is sometimes stained in order to bring its colour more into
+harmony with a dark wood-ground, but it is never quite satisfactory. The
+use of inlay makes the direction from which the light enters the room a
+matter of no moment, so long as the light reaches the object decorated."
+
+The effect of intarsia has been sought by various imitative processes,
+some of which are indistinguishable from it except by close inspection.
+In one of these wax, either in its natural state or tinted with an
+addition of powder colour, was used; in another glue mixed with whiting
+or plaster, also sometimes tinged, or red lead. On April 7, 1902, a
+paper was read at the Royal Institute of British Architects on wax
+stoppings of this kind by Mr. Heywood Sumner, in the course of which he
+said that the process he himself had used was as follows:--"First trace
+the design on the panel of wood to be incised; cut it, either with a V
+tool or knife blade fixed in a tool-handle; clear out the larger spaces
+with a small gouge, leaving tool-mark roughness in the bottoms for key;
+when cut, stop the suction of the wood by several coats of white, hard
+polish. For coloured stoppings, resin (as white as can be got), beeswax,
+and powdered distemper are the three things needful. The melted wax may
+be run into the incisions by means of a small funnel with handle and gas
+jet affixed; it is attachable to the nearest gas burner by india-rubber
+tubing, so that a regulated heat can be applied to the funnel. When thus
+attached and heated, pieces of wax of the required inlay colour are
+dropped into the funnel, and soon there will be a run of melted wax
+dropping from the end of the funnel-spout, which is easily guided by
+means of the wooden handle, and thus the entire panel may be inlaid with
+the melted wax. Superfluous surface wax is cleared off with a broad
+chisel, so as to make the whole surface flush. The suction of the wood
+is stopped by means of white, hard polish, otherwise the hot wax will
+enter the grain of the wood and stain it. Incised panels may be filled
+successfully with japanner's gold size and powdered distemper colour,
+using a palette knife to distribute the slab mixture. A close grain is
+the one thing needful in the wood. As to design, that which is best
+suited may be compared to a broad sort of engraving." Red lead was also
+used sometimes, 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 whiting, glue, and linseed oil.
+
+[Illustration: Plate 55.--_Panel from S. Pietro in Casinense, Perugia._
+
+_To face page 130._]
+
+At Hardwick some of the door panels are painted with arabesques in
+Indian ink, and varnished (a process also employed on several pieces of
+furniture in the South Kensington collection), and even in certain
+cases, no doubt under the direction of Bess of Hardwick, engravings have
+been stuck on the panels, tinted, surrounded with similar painting, and
+then similarly varnished over. The sacristy cupboards at S. Maria delle
+Grazie, Milan, called "Lo Scaffale," show paintings of no less an artist
+than Luini, the ornamental part of which is intended to simulate tarsia.
+
+For small objects, such as trinket boxes, a marquetry of straw tinted to
+different colours was sometimes employed, which, though not very
+lasting, in the hands of a worker who possessed taste in colour
+sometimes produced pleasing results, a form of work practised both in
+Holland and England, and lasting well into the 19th century. The writer
+possesses one or two objects decorated by this process which were bought
+from the French prisoners taken in the Peninsular War, who provided
+themselves with little luxuries by making and selling them. In all these
+imitative processes the question of design becomes of the very highest
+importance, since the material has neither beauty nor intrinsic value in
+itself; and here, even more than in many other forms of manufacture, the
+presence and influence of the intelligent designer is most desirable,
+and should be paramount.
+
+FOOTNOTES:
+
+[4] In 1453 Matteo di Giovanni Bartoli, painter, says that he possesses
+the half of certain tools and appliances of his art, which are not worth
+20 florins, and that the other half belongs to Giovanni di Pietro,
+painter, his partner. That they are in a house or dwelling that they
+hire from Guicciardo Forteguerri in the Palazzo Forteguerri, which they
+have as a house and not a shop, and that he has nothing else in the
+world but a few debts (!). He says that he makes no profit, but is
+learning as well as he can, and that his uncle, Ser Francescho di
+Bartolo, the notary, keeps him. This is a young and promising artist who
+cannot get on. Priamo della Quercia, brother of the celebrated sculptor
+Jacopo della Fonte, painter, says that he is poor and without anything
+to live on; that he has a girl of marriageable age and a young boy; that
+he owes money to several people. He had a dower of 200 florins which
+came from a possession which the nuns of Ogni Santi held, because they
+said that they were heirs to his daughter-in-law, a nun in that convent
+(!) and they had kept possession for six years and he could not sue
+these nuns at law on account of his poverty. There are several documents
+referring to money and property which his brother left to this man, but
+which he seems to have difficulty in obtaining possession of, and he
+gives one the impression of being unfortunate through life. In the same
+year Antonio di Ser Naddo, painter, says he has a house with an oven
+within the walls of Siena, "male in ponto," in which he lives in the
+Contrada of Camporegi. That he has three useless mouths in the house
+which gain nothing, two children, one a boy, and the other a girl of
+marriageable age, but if he dowered her, so that she could be married,
+he would have nothing to live on. Also that he owes 20 florins to
+various people. In the same year others, both painters and woodworkers,
+complain that they have nothing to live on and owe money, some saying
+that they have become old and poor in the art. In 1478 Ventura di Ser
+Giuliano, architect and woodcarver, says that he has a little house in
+the city division in the place called of S. Salvador, and that he is
+away at Naples because of his debts, for he is afraid to return. That he
+owes Ser Biagio, the priest, 80 florins and other persons 402. In 1488
+Giovanni di Cristofano Ghini, painter, says that he has a vineyard at
+Terraia in the commune of S. Giorgio a Papaino from which he receives in
+dues about 24 florins. That he has a wife and three sons and nothing to
+keep them on. That five years ago he had sold all that he had in the
+house, for times were very bad. 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 years. 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 hunger, and that they
+have a girl of marriageable age in the house, his sister, "Che è il
+fiorimento d'ognichosa." In the same year Benvenuto di Giovanni says
+that he is obliged to work away from Siena because his gains are so
+small; and finally in 1521, Ventura di Ser Giuliano di Tura petitions
+the Balia as follows:--He was a master joiner and says that he passed
+his youth and almost all his age in gathering ancient objects and
+carvings, which the craftsmen of the city have copied, so that one may
+say that the antique in the city has been re-discovered by his labours.
+But that he has not by this benefit to the craftsmen provided for his
+old age, since both he and his wife have been very unwell for years
+past, and that he finds himself old, with four little daughters, "one no
+heavier than the other," so he asks for a little pension of eight lire a
+month (which has been suspended apparently), so that he may not have to
+go to the hospital for bread with his wife and the four little ones.
+
+
+
+
+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
+Verona, to whom Vasari ascribes the invention, but is most distinctive
+of the work of the later Dutch and French marqueteurs. Receipts for the
+purpose were handed down from master to pupil, and while sometimes held
+as traditional secrets to be jealously guarded, were sometimes committed
+to writing; and several of these manuscripts have come down to us. The
+following have been collected from French, German, and Italian sources,
+and though not all of equal value, show the way in which the ancient
+workers produced the effects, most of which we admire in the present
+day:--
+
+To stain wood yellow (No. 1).--Put saffron in water, and when it is well
+steeped place the jar over hot coals. Then spread the stuff over boxwood
+with a brush. To make it brilliant let it dry, and put it with oil on
+the wood to be coloured. (No. 2.)--Take the plant turmeric (curcuma
+longa), grind it to powder; put an ounce into a pint of spirit (12
+oz.), and leave it for a day. If the tone is required reddish, add some
+dragon's blood. (No. 3.)--A cheaper but duller colour is to be obtained
+from steeped French berries, then dried, with weak alum water brushed
+over it. Thin pieces are dipped in it. The solution of French berries
+may be made thus--Take 1 lb. of French berries, and a gallon of water
+with 1/2 oz. of alum; boil for an hour in a pewter vessel, and filter
+through paper. Evaporate till the colour appears strong enough. Another
+receipt says 4 oz. of French berries put to steep in a pint of water is
+to have added to it 1 oz. of hazel nuts and as much alum. Wood may also
+be stained yellow with _aqua fortis_, used warm, and then immediately
+placed near the fire. The _aqua fortis_ must not be too strong, or the
+wood will go brown or black. This is apparently the same thing as Vasari
+calls "oil of sulphur," used in his time for colouring wood. A Nuremberg
+receipt book says that the plant Tournesol (croton tinctorium) may be
+steeped in water, and this solution mixed with yellow colour and glue
+may be spread over the wood warm, and finally polished with a burnisher.
+Holtzapffel gives the following:--A bright yellow stain may be obtained
+from 2 oz. of turmeric allowed to simmer for some hours in 1 quart of
+water in an earthen vessel, water being added from time to time to
+replace evaporation. Sparingly applied cold, it stains white woods the
+colour of satin wood. A canary yellow results from immersing the wood in
+the liquid, which can be rendered permanent without polishing by a
+strong solution of common salt. Washing the stained surface with
+nitro-muriate of tin for about a minute changes the colour to orange.
+The work should then be well rinsed in plain water to check the further
+action of the acid. Treating the canary yellow with 2 oz. of sulphate of
+iron dissolved in 3 quarts of water, after it has been allowed to dry,
+dyes a delicate olive brown. A tincture of 1/4 oz. of turmeric to 3 oz.
+of spirits of wine, allowed to stand for some days and well shaken
+daily, gives a rather higher colour.
+
+Red may be produced by (No. 1) taking a pound of Brazil wood, with some
+rain water, a handful of unslaked lime, and two handsful of ashes; soak
+all for half an hour in water, "cook" it, and pour it out into another
+pot, in which is a measure of gum arabic. The wood to be coloured must
+be cooked in alum water, and then brushed over with the warm colour; the
+result is a splendid scarlet red. If the wood was first grounded with
+saffron water and then had the Brazil decoction applied, the result was
+orange; a spoonful of lye made a browner colour, with a little alum. If
+whiter wood was taken the colour was correspondingly brighter. (No.
+2.)--Orcanda or Akanna root powdered, with nut oil, gives a fine red.
+(No. 3.)--Put lime in rain water, strain it, scrape Brazil twigs in it,
+then proceed as in No. 1. You can also soak the Brazil in tartar. The
+same colour with Tournesol steeped in water gives a fine purple when
+spread on the wood. Lebrun gives the same receipt, adding that the
+beauty of the colour is increased by rubbing with oil, and that pear
+wood is the best to use. Another receipt says:--Make a strong infusion
+of Brazil wood in stale urine or water impregnated with pearl ash, 1 oz.
+to a gallon; to a gallon of either of which put 1 lb. of Brazil wood.
+Let it stand for two or three days, often stirring it. Strain the
+infusion, and brush over the wood boiling hot; then, while still wet,
+brush over with alum water, 2 oz. to a quart of water. A less bright red
+may be made with 1 oz. of dragon's blood in a pint of spirits of wine,
+brushed over the wood.
+
+Holtzapffel gives for red stains the following:--Dragon's blood, an East
+Indian resin, gives a crimson with a purple tinge. Put a small quantity
+in an open vessel, and add sufficient linseed oil to rather more than
+cover it; it will be fit for use in a few days, when the oil may be
+poured off and more added. This dissolves more readily in oil than
+spirit. The colouring matter of Alkanet root, from which another red
+may be obtained, is contained in the rind, so that small pieces are the
+most useful. A deep red of a crimson character may be made with 1/2 oz.
+of raspings of Brazil wood macerated in 3 oz. of alcohol. A wash of
+logwood (see below) given with the brush, and when dry followed with a
+wash of Brazil, produces a deep, full colour, and when the two are
+applied in the reverse order a more brilliant colour of the same kind. A
+decoction of Brazil (4 oz.) allowed to simmer for some hours in 1 quart
+of water yields a rather brown-red stain. Treating light woods so
+stained with nitro-muriate of tin gives a brilliant crimson of a purple
+tinge.
+
+A brown red is made from a decoction of 2 oz. of logwood dust in 1 quart
+of water, or 1/2 oz. of logwood in 3 oz. of alcohol. Nitro-muriate of
+tin used on it gives a deep, dusky crimson purple. The same treated with
+alum solution yields a medium purple, darker and bluer than that from
+Brazil.
+
+White wood stained with Brazil and then treated with alum (4 oz.
+dissolved in a quart of water) acquires a light pink tinge. Another
+receipt for pink or rose red says:--1 gallon of infusion of Brazil wood,
+with 2 oz. additional of pearl ash; but it is necessary to brush the
+wood often with alum water. By increasing the proportion of pearl ash
+the red may be made still paler, in which case make the alum water
+stronger.
+
+For purple one brushes the wood over several times with a strong
+decoction of logwood and Brazil, 1 lb. of logwood and 1/4 lb. of Brazil
+to a gallon of water boiled for an hour or more. When the wood is dark
+enough let it dry, and then lightly pass over with a solution of 1
+drachm of pearl ash to a quart of water. Use this carefully, as the
+colour changes quickly from brown red to dark purple.
+
+Jet black may be made by using the logwood stain, followed by a solution
+of iron, 1 oz. sulphate of iron to 1 quart of water, and a less intense
+black by the same mixture about three times diluted. The Italian receipt
+books are well provided with receipts for producing black, which
+suggests that most of the ebony used in inlay was factitious. A 15th
+century MS. says:--"Take boxwood, and lay in oil with sulphur for a
+night, then let it stew for an hour, and it will become as black as
+coal." Evidently this means what Vasari calls oil of sulphur, _aqua
+fortis_. Others are founded upon the application of a solution of
+logwood, followed by one of iron. "Stew logwood till the liquid is
+reduced to one-third of its bulk, mix with stone alum, and leave for
+three days. Mix iron filings with very strong wine, and let it stand for
+twenty-four hours. On the quantity of iron filings the depth of the tone
+depends. Lastly, ox-gall is dissolved in this mixture, and the whole is
+three times worked over." An English receipt says:--"Brush the wood over
+several times with a hot decoction of logwood; take 1/4 lb. of powdered
+galls, and set in the sun or other gentle heat in 2 quarts of water for
+three or four days; brush the wood over with it three or four times,
+and, while wet, with a solution of green vitriol in water, 2 oz. to a
+quart; or use a solution of copper in _aqua fortis_, then the solution
+of logwood, and repeat until black enough." A German receipt
+says:--"Take half a measure of iron filings and a pennyweight of sal
+ammoniac, and put into a pot of vinegar; let it stand for twelve days at
+least. In another pot put blue Brazil and 3 measures of bruised gall
+apples in strong lime lye, and let it stand for the same time. The wood
+must be first washed over with lye, and then with hot vinegar, and
+finally polished with wax." "Pear wood may be grounded with Brazil
+steeped in alum water, then coloured with the black which the
+leather-stainers use, twenty times." Another says:--"Take a pennyweight
+of fine silver, with a pound of _aqua fortis_; add a measure of water,
+and soak the wood with it." The best wood for imitating ebony is holly;
+also, box cooked in olive oil is good for it, or well-planed pear soaked
+with _aqua fortis_, and then coloured with ink several times; or stew
+the wood in lamp-black, and soak with oil.
+
+Blue may be obtained by the use of a solution of copper brushed hot over
+the wood several times; then brush hot a solution of pearl ash, 2 oz. to
+a pint of water, until the wood becomes perfectly blue. The copper
+solution is prepared in this way:--"Take of the refiner's solution of
+copper made in the precipitation of silver from the spirit of nitre; or
+dissolve copper in spirit of nitre, or _aqua fortis_, by throwing in
+filings or putting in strips of copper gradually till all effervescence
+ceases. Add to it starch finely powdered, one-fifth or one-sixth of the
+weight of copper dissolved. Make a solution of pearl ash and filter it;
+put gradually to the solution of copper as much as will precipitate the
+whole of the copper. The fluid becomes colourless. Wash the powder, and
+when so well drained of water by means of a filter as to be of the
+proper consistence, grind well together, and lay out to dry. This makes
+dark verditer." Indigo may also be used, prepared with soap lees as when
+used by dyers; brush it over the wood boiling hot. With a solution of
+cream of tartar, 3 oz. to a quart of water, and boiled, brush over the
+wood copiously before the moisture is quite dried out. A German receipt
+says:--Put 4 oz. of Tournesol in three parts of lime water to cook for
+an hour and spread it on the wood. "Wood coloured green with verdigris
+can be made blue by using pearl ash." This is the process described
+first.
+
+For green verdigris dissolved in vinegar may be used; or crystals of
+verdigris in water, brushed hot over the wood. A 15th century MS. gives
+a traditional mode thus:--"Wood, bone, small leaves, and knife handles
+can be made green by strong, red vinegar and brass filings mixed
+together with a little Roman vitriol and stone alum in a glass vessel.
+When it has stood for a day the object is dipped in it, and steeps
+itself in the liquid. The colour will be very permanent." A German
+receipt says:--"Take walnut shells from the green fruit, and put in very
+strong lye with some copper vitriol and alum to stew for two or three
+hours. The wood must be put in strong wine vinegar for several days,
+then it is put in the above-mentioned mixture, to which ground verdigris
+mixed with vinegar is added. Or you can mix this ground verdigris with
+vinegar with some winestone, let it clarify, and spread the wood with
+the filtered stuff. The addition of saffron makes a grass green."
+
+A silver grey may be given to white wood by immersion in a decoction of
+4 oz. of sumach in 1 quart of water, and afterwards in a very dilute
+solution of sulphate of iron. A dilute solution of bichromate of potash
+is frequently employed to darken oak, mahogany, and coloured woods. This
+should be used carefully, since its effects are not altogether stopped
+by thoroughly washing the wood with water when dark enough. To bleach
+woods, immerse them in a strong, hot solution of oxalic acid.
+
+Since ivory is often used in inlaying and is sometimes stained, a few
+receipts for its staining will not be out of place. These come from
+Holtzapffel's book:--A pale yellow will be given by immersing the ivory
+for one minute in the tepid stain given by 60 grains of saffron boiled
+for some hours in half-a-pint of water. Immersion for from five to
+fifteen minutes produces a canary yellow brighter or deeper according to
+the time given, but all somewhat fugitive. A stain from 4 oz. of fustic
+dust and chips boiled in 1 quart of water produces similar but somewhat
+darker and more permanent results. Ivory subjected to either of these
+stains for fifteen minutes, and then placed for one to three minutes in
+Brazil water stain acquires an orange colour. If then treated with
+nitro-muriate of tin, an orange of a brighter, redder tone is produced;
+transfer to a clean water bath directly the required colour appears, as
+the nitro-muriate of tin acts very rapidly upon the ivory.
+
+Fine scarlet cloth is used for dyeing various tones of red. A piece
+about a foot square may be cut into shreds and boiled, with the addition
+of 10 grains of pearl ash, in half-a-pint of water from 5 to 6 hours.
+Immersion in the liquid for from three to ten minutes gives tones of
+pink; for one hour and subsequently for half-an-hour in an alum mordant
+gives a pink of a bright crimson character. When the ivory is from two
+to three hours in the tepid stain a crimson red results, and the
+addition of 1 part of sulphuric acid to 60 of stain gives billiard ball
+colour. Pinks of a different and duller full tone may be obtained by
+immersion for three minutes in Brazil water stain, followed by treatment
+with nitro-muriate of tin; when the Brazil is used for six minutes a
+deeper colour results. Fifteen minutes in Brazil, then treatment with
+nitro-muriate of tin and immediate washing gives a duller and deeper red
+than the first red-cloth stain. The depth of colour may be increased by
+longer immersion _or_ a higher temperature. A dull scarlet or brick red
+is made by the Brazil bath, followed by thirty to sixty minutes in an
+alum mordant.
+
+The cloth stain for one hour, followed by pearl ash for half-an-hour,
+gives a bright purple; if iron is used instead of pearl ash a sombre
+purple results; if you add alkalies to the stain instead of sulphuric
+acid you obtain purple reds. Fifteen minutes in Brazil, and then three
+or four in pearl ash gives full red purples deepening to maroon. Five
+minutes in logwood water stain gives a good warm brown; half-an-hour, a
+chocolate brown. Ten minutes in logwood stain, washing, and one or two
+seconds in pearl ash, and instantly washing again gives a deep red
+brown, and if one minute in alum instead of pearl ash a deep purple
+brown.
+
+Blue stains may be made from sulphate of indigo, 1/2 drachm to 1 pint of
+previously boiled water, with 10 grains of carbonate of potash added.
+One to two minutes' immersion and immediate washing yields a delicate
+turquoise, five minutes a bright full blue; and ten to fifteen a
+considerable depth of colour. Blues are rather fugitive. Staining with
+saffron or fustic for five minutes, and then with indigo for the same
+time, produces a clear pea green; with indigo for ten minutes, a deep
+grass green. The greens from fustic are more permanent and yellower. The
+sequence of the stains also affects the green, the last used having most
+effect. Blue stain first for fifteen minutes, followed by fustic for
+thirty, 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 water.
+
+Before applying these stains the ivory must be prepared by first
+polishing with whiting and water and washing quite clean. Next immerse
+it for three to five minutes in acid cold water (1 part muriatic acid to
+40 or 50 of water, or the same proportion of nitric). This extracts the
+gelatine from the surface of the ivory. Extreme cleanliness and absence
+of grease or soiling is most important; the ivory is not to be touched
+by the fingers, but removed from one vessel to another by wooden tongs,
+one pair to each colour. After treating with the acid, place the ivory
+in clean, cold, boiled water for some minutes. Water stains are used,
+but strained or filtered and warm or only tepid, for fear of injuring
+the surface of the ivory. Increasing the temperature also sometimes
+deepens or changes the colour. The best temperature is 100 deg. Fahr.
+When sufficiently stained the ivory is well rinsed in water, and if
+there are two colours on top of each other always well rinsed before
+going into the second bath. After thoroughly drying, repolish by
+friction, first with a few drops of oil on a soft clean rag; continue
+with a dry clean rag till the oil disappears.
+
+An old Italian receipt for polishing wood blackened to imitate ebony
+runs thus:--"Is the wood to be polished with burnt pumice stone? Rub the
+work carefully with canvas and this powder, then wash the piece with
+Dutch lime water so that it may be more beautifully polished. Then it is
+to be cleaned with another cloth. Then the rind of a pomegranate must be
+steeped, and the wood smeared over with it and set to dry, but in the
+shade."
+
+
+
+
+INDEX
+
+
+  A
+
+  Angelo di Lazzero, of Arezzo, 19
+
+  Anselmo de' Fornari, 77-78
+
+  Antique inlaid furniture, 2, 3, 6 (note)
+
+  Antonio da Melaria, 35
+
+  Antonio di Minella, of Siena, 10
+
+  Antonio Manetti, 19
+
+  Antonio Paolo Martini, 13
+
+  Assisi, 10, 46
+  ---- Stalls of the Upper church of S. Francesco, 46
+
+  Arezzo, S. Agostino and S. Michele, 41
+
+  Augsburg work, 85, 90
+
+
+  B
+
+  Baccio Albini, 40
+
+  Baccio d'Agnolo, 42-43
+
+  Barck, Klaus, 88
+
+  Barili, Antonio, of Siena, 37, 38, 39
+  ---- ---- Panel in K.K. Museum at Vienna, 37, 38
+  ---- ---- description of Chapel of S. Giovanni, Siena, 39, 40, 41
+  ---- Giovanni, 39
+
+  Bartolommeo Poli, surnamed dalla Polla, 35, 36
+
+  Beck, Sebald, 84
+
+  Belli, Giovanni and Alessandro, 73
+
+  Bencivieni da Mercatello da Massa, Antonio di, 46-51
+
+  Benedetto da Majano, Vasari's story of the reason of his giving up
+    working in tarsia, 20
+
+  Bergamo, Choir of S. Maria Maggiore, 79, 80
+  ---- Tassi's account of, 80
+  ---- Stalls in church of S. Stefano, 76
+
+  Bernardo di Tommaso di Ghigo, 19
+
+  Bernardino da Lendinara, 32
+
+  Brescia, Lectern from Rodengo in
+
+  Galleria Tosi, 64
+
+  Bologna, S. Domenico tarsie, by Fra Damiano, 70, 73, 75
+  ---- Sabba Castiglione's account, 74, 75
+  ---- Stalls in S. Giovanni in Monte, 66
+  ---- S. Michele in Bosco, stalls now in S. Petronio, 65, 66
+  ---- S. Petronio, 36
+
+  Boulle, André Charles, 96, 97
+  ---- Works by him, 97, 98, 99
+
+  Boulle, Pierre, 75-96
+
+
+  C
+
+  Canozio, of Lendinara, Lorenzo Genesino, 29
+
+  Capo di Ferro of Lodi, Zinino and Pietro, 80
+
+  Capo di Ferro of Lovere, Giovanni Francesco, 73, 79
+
+  Capra, Gabriel and Domenico, 54
+
+  Chapel of Palace, Siena, 13
+
+  Cecca, Il (Francesco d'Agnolo), 23, 24
+
+  Certosa, Pavia, 35
+
+  Cervelliera, Giovanni Battista, 22
+
+  Character of German inlays of late 16th Century, 85
+
+  Coburg, Hornzimmer, 86
+
+  Cornier, Conrad, 88
+
+  Cost of choir of S. Domenico, Bologna, 73
+
+  Cost of the stalls in Ferrara Cathedral, 34
+
+  Cost of stalls, Cathedral Orvieto, 10
+
+  Cremona, church of S. Sigismond, outside, 54
+
+  Cypress chest of 1350 in Victoria and Albert Museum, 104
+
+
+  D
+
+  Daniello di Neri Martini, 13
+
+  Danzig Sommerrathstube, 86
+
+  David of Pistoia, 41
+
+  Del Tasso, arms of the family, 24
+  ---- Chimenti di Domenico, 26
+  ---- Chimenti di Francesco, 25
+  ---- Domenico, 19, 25, 26
+  ---- Francesco, 27
+  ---- Francesco di Domenico, 24
+  ---- Giambattista called Maestro Tasso, 27, 28
+  ---- Lionardo, 25
+  ---- Marco, 26
+  ---- Zanobi, 25
+
+  Della Rocca, Andrea and Elia, 77, 78
+
+  Designs for intarsia made by Painters, 121
+
+  De' Marchi, Pantaleone, stalls in Museum at Berlin, 36
+
+  Domenico da Gajuolo, 42
+
+  Domenico di Mariotto, 21
+
+  Domenico di Nicolò of Siena, 10, 11
+
+  Domenico Tassi of Florence, 17
+
+  Dreyer, Hans and Jürgen, of Schleswig, 87
+
+  Dutch work, characteristics of, 92
+
+
+  E
+
+  Eck, Adam, 85
+
+  Elfen, brothers, of S. Michael, Hildesheim, 84
+
+  Escurial, rooms in, decorated with inlays, 86
+
+  Evers, Antonia, master of joiners' guild at Lübeck, 86
+
+
+  F
+
+  Ferrara, stalls in Cathedral, 33
+
+  Fischer, N., and Johann Georg of Munich, 85
+
+  Florence, 16, 18
+  ---- stalls at S. Maria Novella, 42
+  ---- stalls at S. Miniato, 42
+  ---- tarsia in sacristy of the Cathedral, 18, 19
+
+  Flotner, Peter, 89
+
+  Folding seat of 14th century, 84
+
+  Fra Antonio Asinelis, 73
+
+  Fra Antonio da Lunigiano, Dominican, 73
+
+  Fra Antonio da Viterbo, Dominican, 76
+
+  Fra Bernardino, Dominican, 73
+
+  Fra Damiano of Bergamo, 69-76, 79
+
+  Fra Damiano of Bergamo, the Emperor Charles V., and the Duke of
+    Ferrara, 70, 71, 72
+
+  Fra Giovanni da Verona, 17, 57, 63
+
+  Fra Raffaello da Brescia, 63, 64
+
+  Fra Sebastian da Rovigno, 56, 57
+
+  Fra Vincenzo da Verona, called dalla Vacche, 67
+
+  Francesco di Lorenzo, Zambelli, 73, 77
+
+  Francesco Manciatto, 42
+
+  Francione, Il (Giovanni di Matteo di Firenze), 21
+
+  French Cabinets of 17th Century, 95, 96
+
+
+  G
+
+  Genoa, stalls in Cathedral, 77, 78
+
+  Geri of Arezzo, 41
+
+  German intarsiatori of 16th and 17th Century, 84, 85
+
+  Gilling Castle, near Wakefield, inlays, 93
+
+  Giovanni di Filippo da Fiesole, 45
+
+  Giovanni de Grassi (Giovanni de Melano), 14
+
+  Giovanni di Lodovico di Magno of Siena, 10
+
+  Giovanni Michele de Pantaleone, 77
+
+  Giovanni del Mulinella of Florence, 17
+
+  Giovanni Piccardo, 77
+
+  Giovanni di Ponteranica and his four sons, 80
+
+  Giovanni di Ser Giovanni detto Scheggione, 19
+
+  Giovanni Talini of Siena, 10
+
+  Girolamo della Cecca, 40
+
+  Giuliano di Salvatore, 21
+
+  Giusto di Francesco of Incisa, 45
+
+  Glastonbury Hall, Staircase, 94
+
+  Gole, Pierre, 92
+
+  Gottlieb, Conrad, 86
+
+  Gottorp, Castle of, Prince's prayer chamber in, 87
+
+  Gubbio, tarsia in study of Duke Guidobaldo, 52, 53
+
+  Guido da Seravallino, 21
+
+  Guido di Torino, 13
+
+  Guild of Painters, Siena, 16
+
+
+  H
+
+  Hans Schieferstein's Cabinet at Dresden, 90
+
+  Hardwick Hall, furniture at, 93
+
+  Herle, Simon, 86
+
+  Heywood Sumner, paper at Royal Institute of British Architects, 129, 130
+
+
+  I
+
+  Imitative processes, straw, wax, painting in Indian ink, &c., 129,
+    130, 131
+
+  Inlaid work, Greek and Latin names for, 3
+  ---- woods used for, by the ancients, 3, 5, 6 (note)
+  ---- wood, cost of, in ancient times, 4
+
+  Inlaying, antiquity of, 2
+
+  Innsbruck, Hofkirche, 86
+
+  Intarsia, derivation of, 1
+
+  Invention of stains for wood, by Fra Giovanni da Verona, 18
+
+  Ivory or metals in intarsia, 124, 125
+
+
+  J
+
+  Jacopo da Villa, 21
+
+  Joiners' tools, priced list of Perugian of 1496, 47, 48
+
+
+  K
+
+  Kellerthaler, Hans, of Dresden, 85
+
+  Kiening, Isaac, of Frissen, 91
+
+  Kraus, Hans, marqueteur du roi, 94
+
+
+  L
+
+  Lavoro alla Certosa, or tarsia alla Certosina, 9
+
+  Leipzig Museum, Cabinet in, 91
+
+  Lendinara, Cristophano d' Andrea da, 21
+
+  Limitations of the art of intarsia, 122, 123
+
+  Loblein, Sixtus, of Landshut, 91
+
+  Lodi, Stalls in S. Bernardino, by Fra Giovanni da Verona, 63
+
+  Louvre, 4 panels from S. Benedetto Novella, Padua, of Fra Vincenzo
+    dalla Vacche, 68
+
+  Lübeck, Kriegs Stube, 86
+
+  Lucca, panels in sacristy of Cathedral, by Christoforo da Lendinara, 32
+  ---- Stalls from Cathedral in Pinacotheca, 32
+
+  Luchet, M., Excursus on furniture in France, 1867, 113, 114
+
+  Lüneburg, Rathsaal, 86
+
+
+  M
+
+  Macé, Jean, of Blois, 92-95
+
+  Majano, Benedetto da, 19, 20
+
+  Majano, Giuliano di Nardo da, 18, 22
+  ---- Leonardo d' Antonio da, 19
+
+  Manuello, of Siena, 9
+
+  Marchi, of Crema, Family of, 6, 36
+
+  Mariotto di Mariotto, of Pesaro, 45
+
+  Marquetry, Derivation of, 1
+
+  Marti, Leonardo, 32
+
+  Masi, Antonio di Antonio, The Fleming, 46
+
+  Massari, Andrea, of Siena, 54
+
+  Mastei, Antonio, of Gubbio, 53
+
+  Mastro Crespolto, of Perugia, 26
+
+  Mastro Vanni di Tura dell' Ammanato, Sienese, 10
+
+  Matteo di Bernardino, of Florence, 17
+
+  Meo di Nuti, of Siena, 10
+
+  Michele Spagnuolo, 21
+
+  Milan, Cathedral, 15
+
+  Minelli, Giovanni and Cristoforo de, 45
+
+  Miniatures at Villanova, by Fra Giovanni da Verona, 59
+
+  Minnesinger's harp, of 14th Century, 8
+
+  Modern French marquetry, 125
+
+  Monte Oliveto, 55, 59, 60
+
+  Musée Cluny, wire-drawing bench made for Augustus, Elector of Saxony, 91
+
+
+  N
+
+  Naples, tarsia by Fra Giovanni da Verona in S. Anna dei Lombardi, 61, 62
+
+  Nicolò di Nicoluccio, 10
+
+  Nuremberg work in ebony and ivory, 90
+
+
+  O
+
+  [OE]ben, J. F., ébeniste du roi, 99
+
+  Orvieto, 10, 13
+
+
+  P
+
+  Padua, stalls in Church of S. Antonio, account by Matteo Colaccio, 30, 31
+
+  Paint and gilding added to intarsia work, 106
+
+  Paolo da Pesaro, 80
+
+  Parti of Siena, 9
+
+  Perugia, 10, 19, 26
+  ---- choir of the Cathedral, 19
+  ---- choir of S. Domenico, 26
+  ---- door in choir of S. Pietro in Casinense by Fra Damiano, 74
+  ---- Sala del Cambio, 26, 46
+  ---- stalls of S. Agostino, 44
+
+  Pier Antonio dell 'Abate of Modena, 29
+
+  Pietro Antonio of Florence, 17
+
+  Pietro di Maffeis, 73
+
+  Pietro di Miaella of Siena, 10
+
+  Pietro di Rizzardi, 33
+
+  Pisa Cathedral, 21, 22, 23
+
+  Polimante da Nicola, 26
+
+  Pontelli, Baccio, 21
+
+  Portuguese decorations with pierced metal plates, 83
+
+  Poverty of craftsmen, Domenico del Coro, 10, 12
+
+  Preuszen, Hans, carver, 87
+
+
+  R
+
+  Realism in intarsia panels, 105
+
+  Reasons for beauty in designs, 127
+
+  Reggio in Emilia, 35
+
+  Relief intarsia or Präger arbeit, 85
+
+  Returns made by Sienese craftsman for taxation, 119, 120
+
+  Riesener, J. Henry, 99, 100
+
+  Roentgen, David, 102, 103
+
+  Rome, doors of St. Peter's, by Fra Antonio da Viterbo, 76, 77
+
+  Rosenfeldt, Jochim, 87
+
+
+  S
+
+  S. Mary Overie, Southwark, parish chest, 93
+
+  Sallig, Andreas, 87
+
+  San Sevrino, Domenico di, 46
+
+  Savona, choir of, Cathedral, 78
+
+  Schieferstein, Hans, 85, 90
+
+  Scraping and polishing marquetry, operation of, 115, 116
+
+  Shading of subjects in marquetry, 112
+
+  Siena, 9, 10, 13, 16, 37, 60
+
+  Simone d'Antonio of Siena, 13
+
+  Sizergh Castle, panelling from, 93
+
+  South German Bride chests, 89
+
+  South German inlaid Musical Instruments, 88
+
+  Spanish inlaid work in Victoria and Albert Museum, 81, 82
+
+
+  T
+
+  Taddeo Bartoli's designs for chapel of Palazzo Pubblico, Siena, 11
+
+  Tassi, Domenico of Florence, 17
+
+  Tasso, Maestro, his practical joke on the Benedictine Abbot, 28
+
+  Technical description from German book of 17th century, 106
+
+  Thickness of veneers in the market, 112
+
+  Tommaso di Ceccolo, 10
+
+  Tonbridge ware, 9
+
+  To stain ivory blue, 144
+
+  To stain ivory green, 144
+
+  To stain ivory orange, 142
+
+  To stain ivory purple, 143
+
+  To stain ivory various kinds of red, 142, 143
+
+  To stain ivory yellow, 142
+
+  To stain wood black, 138, 139
+
+  To stain wood blue, 140
+
+  To stain wood green, 141
+
+  To stain wood pink, 137
+
+  To stain wood purple, 137, 138
+
+  To stain wood red, 135, 136, 137
+
+  To stain wood silver grey, 141
+
+  To stain wood yellow, 133, 134
+
+
+  U
+
+  Uhr, Herman, 87, 88
+
+  Ulriksdal Castle, doors of drinking room, 92
+
+  Union of the crafts in one guild, 14
+
+  Urbino, tarsia in palace of Frederic of Montefeltro, 49, 50, 51
+
+  Use of mother-of-pearl, ivory, tortoiseshell, silver, &c., 54
+
+
+  V
+
+  Vasari's opinion of tarsia, 17
+
+  Veneering, operation of, 108
+
+  Veneers for marquetry, thickness of, 109, 110
+
+  Venice, Sacristy of S. Elena, 57, 58
+
+  Venice, tarsia in Sacristy of S. Mark's, 67, 68, 69
+
+  Verona, Sacristy of S. Anastasia, 10
+
+  Volthurn Castle, near Brixen, 90
+
+  Von Soest, Albert, 86
+
+  Vordt, 92
+
+  Vriese, Vriedemann, 86
+
+
+  W
+
+  Wallace Collection, Cabinet by Claude Charles Saunier, 95
+
+  Wallace Collection, Cabinets by Oeben and Riesener, 99, 100
+
+  Wallace Collection, jewel box by Conrad Cornier, 88
+
+  Webb, Stephen, paper at the Society of Arts, 128
+
+  Wegener, Adam, figure cutter, 87
+
+  Weiskopf, Wolf, 84
+
+  Winkler, Simon, 85
+
+  Wood, exceptional scantlings used by the ancients, 6, 7
+
+  Woods, combinations of, for marquetry, 111
+
+  Woods in use in England for marquetry, 112
+  ---- used by the marqueteurs of Nice, 115
+  ---- used by Riesener, 101
+  ---- used in Barili's panel, 38
+  ---- used in the best period, 106
+  ---- used in stalls, Cathedral, Orvieto, 10
+  ---- used on the Continent for veneers, 111
+
+
+  Z
+
+  Zambelli, of Bergamo, Stefano di Antoniuolo de, 46, 73
+
+  Zampiero da Padova, 73
+
+  Zanetto da Bergamo, 72, 73
+
+
+_Willam Hodge & Co., Glasgow and Edinburgh_
+
+
+
+
+
+
+End of Project Gutenberg's Intarsia and Marquetry, by F. Hamilton Jackson
+
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+
+The Project Gutenberg EBook of Intarsia and Marquetry, by F. Hamilton Jackson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Intarsia and Marquetry
+
+Author: F. Hamilton Jackson
+
+Release Date: October 8, 2009 [EBook #30215]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK INTARSIA AND MARQUETRY ***
+
+
+
+
+Produced by Chris Curnow, Lindy Walsh and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+
+
+<div class="figcenter" style="width: 380px;">
+<img src="images/icover.jpg" width="380" height="600" alt="" title="cover" />
+</div>
+
+<p><span class="pagenum"><a name="Page_i" id="Page_i">[Pg i]</a></span></p>
+
+
+
+
+<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></span></p>
+<h1>INTARSIA AND MARQUETRY</h1>
+
+<div class="centerbox bbox">
+<h3>OTHER VOLUMES OF THE SERIES</h3>
+
+<h4>By the same Author</h4>
+
+<p>Mural Painting&mdash;the Decoration of the Wall Surface by means of
+Paint</p>
+
+<p>Mosaic and Marble Inlay for Floor, Wall, and Vault </p></div>
+
+<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[Pg iii]</a></span></p>
+
+<hr style="width: 45%;" />
+
+
+
+  <h3>HANDBOOKS FOR THE DESIGNER AND<br />
+  CRAFTSMAN</h3>
+
+<h1><span class="smcap">Intarsia and Marquetry</span></h1>
+  <h4>BY</h4>
+
+  <h2>F. HAMILTON JACKSON</h2>
+<p class="center"><span class="smcap">Examiner to the Board of Education in Principles<br />
+of Ornament</span></p>
+
+
+  <p class="center"><i>With Illustrations from Photographs and from Drawings
+  and Tracings by the Author</i></p>
+
+
+  <p class="center">LONDON<br />
+  SANDS &amp; COMPANY<br />
+  1903</p>
+
+<p><span class="pagenum"><a name="Page_iv" id="Page_iv">[Pg iv]</a></span></p>
+
+
+
+
+<p class="center">
+PRINTED BY<br />
+WILLIAM HODGE AND COMPANY<br />
+GLASGOW AND EDINBURGH
+<span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
+
+
+
+
+<div class="centered">
+<table border="0" cellpadding="2" width="65%" cellspacing="0" summary="CONTENTS">
+<tr><td align="left">&nbsp;</td><td align="right">PAGE</td></tr>
+<tr><td align="left"><span class="smcap">Historical Notes&mdash;Antiquity,</span></td><td align="right"><a href='#Page_1'><b>1</b></a></td></tr>
+<tr><td align="left"><span class="smcap">Italy in Mediæval and Renaissance Times,</span></td><td align="right"><a href='#Page_8'><b>8</b></a></td></tr>
+<tr><td align="left"><span class="smcap">The Cloistered Intarsiatori and their Pupils,</span></td><td align="right"><a href='#Page_55'><b>55</b></a></td></tr>
+<tr><td align="left"><span class="smcap">In Germany and Holland, England and France,</span></td><td align="right"><a href='#Page_84'><b>84</b></a></td></tr>
+<tr><td align="left"><span class="smcap">The Process of Manufacture,</span></td><td align="right"><a href='#Page_104'><b>104</b></a></td></tr>
+<tr><td align="left"><span class="smcap">The Limitations and Capabilities of the Art,</span></td><td align="right"><a href='#Page_118'><b>118</b></a></td></tr>
+<tr><td align="left"><span class="smcap">Workshop Receipts,</span></td><td align="right"><a href='#Page_133'><b>133</b></a></td></tr>
+</table></div>
+
+<p><span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span><br /><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2>
+
+
+
+
+<div class="centered">
+<table border="0" cellpadding="2" width="90%" cellspacing="0" summary="">
+<tr><td align="left" style="width: 70%;">1. Patterns used in Borders,</td><td align="right" style="width: 20%;"><i>facing page</i></td><td align="right" style="width: 10%;"><a href='#i030'><b>8</b></a></td></tr>
+<tr><td align="left">2. Various Patterns of Borders,</td><td align="right">&nbsp;</td><td align="right"><a href='#i031'><b>9</b></a></td></tr>
+<tr><td align="left">3. Chair Back from S. Ambrogio, Milan,</td><td align="right">&nbsp;</td><td align="right"><a href='#i034'><b>10</b></a></td></tr>
+<tr><td align="left">4. Door of the Sala del Papa, Palazzo Comunale, Siena,</td><td align="right">&nbsp;</td><td align="right"><a href='#i039'><b>13</b></a></td></tr>
+</table></div>
+
+<div class="centered">
+<table border="0" cellpadding="2" width="90%" cellspacing="0" summary="">
+
+<tr><td>5. The Prophet Amos. Figure intarsia from the Sacristy of the Cathedral, Florence,</td><td align="right" rowspan="3"><span class="bracket3">}</span></td></tr>
+<tr><td>6. The Annunciation. Figure intarsia from the Sacristy of the Cathedral, Florence,</td><td align="right"><i>between pages <a href='#i046'><b>18</b></a> and 19</i></td></tr>
+<tr><td>7. The Prophet Hosea. Figure intarsia from the Sacristy of the Cathedral, Florence,</td><td>&nbsp;</td></tr>
+
+</table></div>
+
+
+
+<div class="centered">
+<table border="0" cellpadding="2" width="90%" cellspacing="0" summary="">
+<tr><td align="left" style="width: 70%;">8. The Nativity. Figure intarsia from the Sacristy of the Cathedral, Florence,</td><td align="right" style="width: 20%;"><i>facing page</i></td><td align="right" style="width: 10%;"><a href='#i052'><b>20</b></a></td></tr>
+<tr><td align="left">9. The Presentation in the Temple. Figure Intarsia from the Sacristy of the Cathedral, Florence,</td><td align="left">&nbsp;</td><td align="right"><a href='#i053'><b>21</b></a></td></tr>
+<tr><td align="left">10. Panel from Sacristy of S. Croce, Florence,</td><td align="left">&nbsp;</td><td align="right"><a href='#i057'><b>23</b></a></td></tr>
+<tr><td align="left">11. Detail of Frieze from the Sacristy of S. Croce, Florence,</td><td align="left">&nbsp;</td><td align="right"><a href='#i060'><b>24</b></a></td></tr>
+<tr><td align="left">12. Lower Seats of Choir, Cathedral, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i061'><b>25</b></a></td></tr>
+<tr><td align="left">13. Upper Seats of Choir, Cathedral, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i064'><b>26</b></a></td></tr>
+<tr><td align="left">14. One Panel, from Upper Series, Cathedral, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i065'><b>27</b></a></td></tr>
+<tr><td align="left">15. Two Panels from the Sala del Cambio, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i068'><b>28</b></a></td></tr>
+<tr><td align="left">16. Frieze from S. Mark's, Venice,</td><td align="left">&nbsp;</td><td align="right"><a href='#i072'><b>30</b></a></td></tr>
+<tr><td align="left">17. Frieze from S. Mark's, Venice,</td><td align="left">&nbsp;</td><td align="right"><a href='#i076'><b>32</b></a></td></tr>
+<tr><td align="left"><span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> 18. Stalls from the Cathedral, Lucca,</td><td align="left">&nbsp;</td><td align="right"><a href='#i077'><b>33</b></a></td></tr>
+<tr><td align="left">19. Lectern in Pinacoteca, Lucca,</td><td align="left">&nbsp;</td><td align="right"><a href='#i080'><b>34</b></a></td></tr>
+<tr><td align="left">20. Two-leaved Door in the Pinacoteca, Lucca,</td><td align="left">&nbsp;</td><td align="right"><a href='#i081'><b>35</b></a></td></tr>
+<tr><td align="left">21. Stalls at the Certosa, Pavia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i084'><b>36</b></a></td></tr>
+<tr><td align="left">22. Detail of Arabesques, lower Seats, Certosa, Pavia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i085'><b>37</b></a></td></tr>
+<tr><td align="left">23. Panel from S. Petronio, Bologna,</td><td align="left">&nbsp;</td><td align="right"><a href='#i088'><b>38</b></a></td></tr>
+<tr><td align="left">24. Panel from S. Petronio, Bologna,</td><td align="left">&nbsp;</td><td align="right"><a href='#i089'><b>39</b></a></td></tr>
+<tr><td align="left">25. Panel from S. Miniato, Florence,</td><td align="left">&nbsp;</td><td align="right"><a href='#i093'><b>40</b></a></td></tr>
+<tr><td align="left">26. Panel from S. Maria Novella, Florence,</td><td align="left">&nbsp;</td><td align="right"><a href='#i098'><b>42</b></a></td></tr>
+<tr><td align="left">27. Panel from S. Maria Novella, Florence,</td><td align="left">&nbsp;</td><td align="right"><a href='#i103'><b>44</b></a></td></tr>
+<tr><td align="left">28. Panel in Sacristy of S. Pietro in Casinense, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i107'><b>46</b></a></td></tr>
+<tr><td align="left">29. Panel from Door of Sala del Cambio, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i111'><b>48</b></a></td></tr>
+<tr><td align="left">30. Panel from lower row of Stalls, S. Maria in Organo, Verona,</td><td align="left">&nbsp;</td><td align="right"><a href='#i124'><b>59</b></a></td></tr>
+<tr><td align="left">31. Panels from Monte Oliveto Maggiore, now in the Cathedral, Siena,</td><td align="left">&nbsp;</td><td align="right"><a href='#i127'><b>60</b></a></td></tr>
+<tr><td align="left">32. Frieze from Monte Oliveto Maggiore,</td><td align="left">&nbsp;</td><td align="right"><a href='#i131'><b>62</b></a></td></tr>
+<tr><td align="left">33. Panel from S. Mark's, Venice,</td><td align="left">&nbsp;</td><td align="right"><a href='#i140'><b>68</b></a></td></tr>
+<tr><td align="left">34. Panel from Door in Choir of S. Pietro in Casinense, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i148'><b>74</b></a></td></tr>
+<tr><td align="left">35. Lunette from Stalls in Cathedral, Genoa,</td><td align="left">&nbsp;</td><td align="right"><a href='#i153'><b>77</b></a></td></tr>
+<tr><td align="left">36. Panel from lower row of Stalls, Cathedral, Savona,</td><td align="left">&nbsp;</td><td align="right"><a href='#i156'><b>78</b></a></td></tr>
+<tr><td align="left">37. Panel from the Ducal Palace, Mantua,</td><td align="left">&nbsp;</td><td align="right"><a href='#i160'><b>80</b></a></td></tr>
+<tr><td align="left">38. Panel from the Rathaus, Breslau, 1563,</td><td align="left">&nbsp;</td><td align="right"><a href='#i166'><b>84</b></a></td></tr>
+<tr><td align="left">39. Panel from Church of S. Mary Magdalene, Breslau,</td><td align="left">&nbsp;</td><td align="right"><a href='#i170'><b>86</b></a></td></tr>
+<tr><td align="left">40. Pilaster Strip from the Magdalene Church, Breslau,</td><td align="left">&nbsp;</td><td align="right"><a href='#i171'><b>87</b></a></td></tr>
+<tr><td align="left">41. Panel from S. Elizabeth's Church, Breslau,</td><td align="left">&nbsp;</td><td align="right"><a href='#i174'><b>88</b></a></td></tr>
+<tr><td align="left">42. Lower Panel of Door, 1564&mdash;Tyrolese,</td><td align="left">&nbsp;</td><td align="right"><a href='#i178'><b>90</b></a></td></tr>
+<tr><td align="left">43. Top of Card Table in the Drawing-room, Roehampton House; Dutch, 18th Century,</td><td align="left">&nbsp;</td><td align="right"><a href='#i182'><b>92</b></a></td></tr>
+<tr><td align="left">44. Panelling from Sizergh Castle, now in Victoria and Albert Museum<span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></td><td align="left">&nbsp;</td><td align="right"><a href='#i183'><b>93</b></a></td></tr>
+<tr><td align="left">45. Cabinet with falling front, in the Drawingroom, Roehampton House,</td><td align="left">&nbsp;</td><td align="right"><a href='#i186'><b>94</b></a></td></tr>
+<tr><td align="left">46. Cabinet belonging to Earl Granville. Boulle work of about 1740,</td><td align="left">&nbsp;</td><td align="right"><a href='#i190'><b>96</b></a></td></tr>
+<tr><td align="left">47. Top of Writing Table in the Saloon, Roehampton House. Period of Louis XV.,</td><td align="left">&nbsp;</td><td align="right"><a href='#i191'><b>97</b></a></td></tr>
+<tr><td align="left">48. Encoignure, signed J. F. Oeben, in the Jones Bequest. Victoria and Albert Museum,</td><td align="left">&nbsp;</td><td align="right"><a href='#i194'><b>98</b></a></td></tr>
+<tr><td align="left">49. Panel from back of Riesener's bureau, made for Stanislas Leczinski, with figure of Secrecy,</td><td align="left">&nbsp;</td><td align="right"><a href='#i198'><b>100</b></a></td></tr>
+<tr><td align="left">50. Roundel from bureau, made for Stanislas Leczinski, King of Poland, now in the Wallace Collection,</td><td align="left">&nbsp;</td><td align="right"><a href='#i202'><b>102</b></a></td></tr>
+<tr><td align="left">51. Antonio Barili at work, by himself,</td><td align="left">&nbsp;</td><td align="right"><a href='#i206'><b>104</b></a></td></tr>
+<tr><td align="left">52. Panel from the Victoria and Albert Museum,</td><td align="left">&nbsp;</td><td align="right"><a href='#i210'><b>106</b></a></td></tr>
+<tr><td align="left">53. Panel from S. Maria in Organo, Verona,</td><td align="left">&nbsp;</td><td align="right"><a href='#i228'><b>122</b></a></td></tr>
+<tr><td align="left">54. Panel from S. Maria in Organo, Verona,</td><td align="left">&nbsp;</td><td align="right"><a href='#i234'><b>126</b></a></td></tr>
+<tr><td align="left">55. Panel from S. Pietro in Casinense, Perugia,</td><td align="left">&nbsp;</td><td align="right"><a href='#i240'><b>130</b></a></td></tr>
+</table></div>
+
+<p><span class="pagenum"><a name="Page_x" id="Page_x">[Pg x]</a></span><br /><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="GENERAL_PREFACE_TO_THE_SERIES" id="GENERAL_PREFACE_TO_THE_SERIES"></a>GENERAL PREFACE TO THE SERIES</h2>
+
+
+<p>If there is one quality which more than another marks the demand of the
+present day it is the requirement of novelty. In every direction the
+question which is asked is not, "Is this fresh thing good? Is it
+appropriate to, and well-fitted for, its intended uses?" but "Is it
+novel?" 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 change. While there are directions in which this
+desire is not altogether harmful, since at least many monstrosities
+offend our eyes but for a short time, a full compliance with it by the
+designer is likely to prove disastrous to his reputation, 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 centuries, and to
+produce something entirely fresh and individual, have<span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span> shown how
+impossible it is at this period of the world's history to dispense with
+tradition, and, escaping from the accumulated experience of the race,
+set forth with childlike <i>naïveté</i>. 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 generations, and that
+the undigested use of natural <i>motifs</i> results not in nourishment but in
+nightmare.</p>
+
+<p>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 times, 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
+present. Since both design and craftsmanship as known until the end of
+the 18th century were the outcome of centuries of experience of the use
+of material and of the endeavour to meet daily requirements, it may be
+justly called folly to cast all this aside as the fripperies of bygone
+fashion which cramp the efforts of the designer, and attempt to start
+afresh without a rag of clothing, even if it were possible. At the same
+time it is not intended to advocate the direct copyism of any style,
+whether regarded as good, bad, or indifferent. Some minds<span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span> find
+inspiration in the contemplation of natural objects, while others find
+the same stimulus in the works of man. The fashion of present opinion
+lays great stress upon the former source of inspiration, and considers
+the latter heretical, while, with a strange inconsistency, acclaiming a
+form of design based upon unnatural contortions of growth, and a
+treatment which is often alien to the material. It is the hope of the
+author to assist the second class of mind to the rivalling of the
+ancient glories of design and craftsmanship, 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 individuality. Much of what
+appears to the uneducated and ill-informed talent as new is really but
+the re-discovery of <i>motifs</i> which have been tried and abandoned by
+bygone masters as unsuitable, and a greater acquaintance with their
+triumphs is likely, one would hope, to lead students, whether designers
+or craftsmen, to view with disgust undigested designs indifferently
+executed which have little but a fancied novelty to recommend them.</p>
+
+<p>It is intended that each volume shall contain an historical sketch of
+the phase of design and craft treated of, with examples of the
+successful overcoming of the difficulties to be encountered in its<span class="pagenum"><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span>
+practice, workshop recipes, and the modes of producing the effects
+required, 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 them.<span class="pagenum"><a name="Page_xv" id="Page_xv">[Pg xv]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+
+<p>The subject treated of in this handbook has, until lately, received
+scant attention in England; and except for short notices of a general
+nature contained in such books as Waring's "Arts Connected with
+Architecture," technical descriptions, such as those in Holtzapffel's
+"Turning and Mechanical Manipulation," and a few fugitive papers, has
+not been treated in the English language. On the Continent it has,
+however, been the subject of considerable research, and in Italy,
+Germany, and France books have been published which either include it as
+part of the larger subject of furniture, or treat in considerable detail
+instances of specially-important undertakings. From these various
+sources I have endeavoured to gather as much information as possible
+without too wearying an insistence upon unimportant details, 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
+art, and<span class="pagenum"><a name="Page_xvi" id="Page_xvi">[Pg xvi]</a></span> especially for the designer and craftsman, whose business it
+is or may be to produce such works in harmonious co-operation in the
+present day, as they often did in days gone by, and, it may be hoped,
+with a success akin to that attained in those periods to which we look
+back as the golden age of art.</p>
+
+<p>The books from which I have drawn my information are principally the
+following:&mdash;</p>
+
+<p>In Italian&mdash;Borghese and Banchi's "Nuovi documenti per la storia dell'
+Arte Senese"; Brandolese's "Pitture, sculture, &amp;c., di Padova"; Caffi's
+"Dei lavori d'intaglio in legname e d'intarsia nel Cattedrale di
+Ferrara"; Calvi's "Dei professori de belle arti che fiorirono in Milano
+ai tempi dei Visconti, &amp;c."; Saba Castiglione's "Ricordi"; Erculei's
+paper in his "Catalogue of the Exhibition of works of carving and inlay
+held at Rome in 1885"; Finocchietti's "Report on carving and inlaid work
+in the Jurors' report on the Exhibition of 1867 in Paris"; Lanzi's
+"History of Painting in Italy"; Locatelli's "Iconografia Italiana";
+Marchese's "Lives of Dominican Artists"; Milanesi's "Documenti per la
+Storia dell' Arte Senese"; Morelli's "Notizie d'opere di disegno nella
+prima metà dell' Secolo XVI."; Tassi's "Vite di pittori, architetti,
+&amp;c., Bergamaschi"; Temanza's "Vite dei piu celebri architetti, &amp;c.,
+Dominicani"; Tiraboschi's "Biblioteca<span class="pagenum"><a name="Page_xvii" id="Page_xvii">[Pg xvii]</a></span> Modenese"; Della Valle's "Lettere
+Senesi sopra le belle Arti"; Vasari's "Lives," with Milanesi's notes and
+corrections, and papers in the "Bullettino di Arti, Industrie e
+Curiosità Veneziane," the "Atti e memorie della Società Savonese," the
+"Archivio Storico dell' Arte and its continuation as L'Arte," and the
+"Archivio Storico Lombardo," by such men as Michele Caffi, G. M. Urb,
+Ottavio Varaldo, Francesco Malaguzzi Valeri and L. T. Belgrano.</p>
+
+<p>In German&mdash;Becker and Hefner Alteneck's "Kunstwerke and Geräths Schaften
+des Mittelalters und der Renaissance"; Bucher's "Geschichte der
+Technischen Kunst"; Burckhardt's "Additions to Kugler's Geschichte der
+Baukunst, and Geschichte der Renaissance in Italien"; Demmin's "Studien
+über die Stofflich-bildenden Künste"; Von Falke's "Geschichte des
+deutsches Kunstgewerbes"; Scherer's "Technik und Geschichte der
+Intarsia"; Schmidt's "Schloss Gottorp"; Seeman's "Kunstgewerbliche
+Handbücher"; Teirich's "Ornamente aus der Blüthezeit italienischer
+Renaissance," and articles in "Blätter für Kunstgewerbe," and the
+"Kunstgewerbeblatt of the Zeitschrift für bildende Kunst," by such men
+as Teirich, Issel and Ilg.</p>
+
+<p>In French&mdash;Asselineau's "A. Boulle, ébéniste de Louis 14"; Burckhardt's
+"Le Cicerone"; Champeaux's "Le bois appliquée au mobilier," and "Le
+meuble";<span class="pagenum"><a name="Page_xviii" id="Page_xviii">[Pg xviii]</a></span> Demmin's "Encyclopédie historique, archeologique, &amp;c.";
+Luchet's "L'Arte industriel à l'Exposition Universelle de 1867," and
+other encyclopædias.</p>
+
+<p>In English&mdash;"The handmaid to the arts"; Holtzapffel's "Turning and
+mechanical manipulation"; Pollen's paper on "Furniture in the Kensington
+Catalogue of Ancient and Modern furniture"; Leader Scott's "The
+Cathedral builders"; Tomlinson's "Cyclopædia of Useful Arts"; Waring's
+"The Arts connected with architecture"; and Digby Wyatt's "Industrial
+Arts of the 19th Century," together with detached articles found in
+various publications.</p>
+
+<p>Those who desire further examples of arabesque patterns may find them in
+Issel's "Wandtäfelungen und Holzdecken"; Lacher's "Mustergültige
+holzintarsien der Deutschen Renaissance aus dem 16 und 17 Jahrhundert";
+Lachner's "Geschichte der Holzbaukunst in Deutschland"; Lichtwark's "Der
+ornamentstich der deutschen Frührenaissance"; Meurer's "Italienische
+Flachornamente aus der Zeit der Renaissance"; Teirich's "Ornamente aus
+der Blüthezeit italienischer Renaissance," and Rhenius "Eingelegte
+Holzornamente der Renaissance in Schlesien von 1550-1650."</p>
+
+<p>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<span class="pagenum"><a name="Page_xix" id="Page_xix">[Pg xix]</a></span> whom and whose work scarcely anything is known,
+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
+question.</p>
+
+<p>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 ways, the facilities
+afforded me, and their unfailing kindness and courtesy; and to the
+Director of the Victoria and Albert Museum for similar kindness and
+assistance.</p>
+
+<p>I have also to thank my friend Mr. C. Bessant, whose experience in all
+kinds of cabinet work is so great, for very kindly looking over the
+section dealing with the processes of manufacture.</p>
+
+<p class="author">
+<span class="smcap">F. Hamilton Jackson.</span>
+<span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="INTARSIA_AND_MARQUETRY" id="INTARSIA_AND_MARQUETRY"></a>INTARSIA AND MARQUETRY</h2>
+
+<h3>HISTORICAL NOTES&mdash;ANTIQUITY</h3>
+
+
+<p>The word "intarsia" is derived from the Latin "interserere," to insert,
+according to the best Italian authorities, though Scherer says there was
+a similar word, "Tausia," which was applied to the inlaying of gold and
+silver in some other metal, an art practised in Damascus, and thence
+called damascening; and that at first the two words meant the same
+thing, but after a time one was applied to work in wood and the other to
+metal work. In the "Museo Borbonico," xii., p. 4, xv., p. 6, the word
+"Tausia" is said to be of Arabic origin, and there is no doubt that the
+art is Oriental. It perhaps reached Europe either by way of Sicily or
+through the Spanish Moors. "Marquetry," on the other hand, is a word of
+much later origin, and comes from the French "marqueter," to spot, to
+mark; it seems, therefore, 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<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> of wood (or sometimes some other
+material) cut to fit it, and to use the latter for the more modern
+practice of cutting several sheets of differently-coloured thin wood
+placed together to the same design, so that by one cutting eight or ten
+copies of different colours may be produced which will fit into each
+other, and only require subsequent arranging and glueing, as well as for
+the more artistic effects of the marquetry of the 17th and 18th
+centuries, which were produced with similar veneers. The process of
+inlaying is of the most remote antiquity, and the student may see in the
+cases of the British Museum, at the Louvre, and in other museums,
+examples of both Assyrian and Egyptian inlaid patterns of metal and
+ivory, or ebony or vitreous pastes, upon both wood and ivory, dating
+from the 8th and 10th centuries before the Christian Era, or earlier.
+The Greeks and Romans also made use of it for costly furniture and
+ornamental sculpture; in Book 23 of the "Odyssey," Ulysses, describing
+to Penelope the bride-bed which he had made, says&mdash;"Beginning from this
+head-post, I wrought at the bedstead till I had finished it, and made it
+fair with inlaid work of gold, and of silver, and of ivory"; the statue
+and throne of Jupiter at Olympia had ivory, ebony, and many other
+materials used in its construction, and the chests in which clothes
+were<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> kept, mentioned by Homer, were some of them ornamented with inlaid
+work in the precious metals and ivory. Pausanias describes the box of
+Kypselos, in the opisthodomos of the Temple of Hera, at Olympia, as
+elliptical in shape, made of cedar wood and adorned with mythological
+representations, partly carved in wood and partly inlaid with gold and
+ivory, in five strips which encircled the whole box, one above another.
+The Greek words for inlaying used by Homer and Pindar are "&#948;&#945;&#953;&#948;&#7937;&#955;&#955;&#969;" and "&#954;&#959;&#955;&#955;&#7937;&#969;," and their derivatives, the first being
+also used for embroidering; Homer and Hesiod also use "&#960;&#959;&#953;&#954;&#7985;&#955;&#959;&#962;" for "inlaid," which shows how closely at that time the arts
+were interwoven. These words have left no trace in the later terms,
+though &#954;&#959;&#955;&#955;&#7937;&#969; means to fix together, or to glue, and it is
+tempting to connect the French word "coller" with it. Vitruvius and
+Pliny use the words "cerostrata" or "celostrata," which means, strictly
+speaking, "inlaid with horn," and "xilostraton." The woods used by the
+Greeks were ebony, cypress, cedar, oak, "sinila," yew, willow, lotus
+(celtis australis), and citron (thuyia cypressoides), a tree which grew
+on the slopes of the Atlas mountains. The value of large slabs of this
+last was enormous. Pliny says that Cicero, who was not very wealthy
+according to Roman notions, spent 500,000 sesterces<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> (about £5400) for
+one table. Asinius Pollio spent £10,800, King Juba £13,050, and the
+family of the Cethegi £15,150 for a single slab. The value of this wood
+consisted chiefly in the beautiful lines of the veins and fibres; when
+they ran in wavy lines they were called "tigrinæ," tiger tables; when
+they formed spirals like so many little whirlpools they were called
+"pantherinæ," or panther tables, and when they had undulating, wavy
+marks like the filaments of a feather, especially if resembling the eyes
+on a peacock's tail, they were very highly esteemed. Next in value were
+those covered with dense masses of grain, called "apiatæ," parsley wood.
+But the colour of the wood was also a great factor in the value, that of
+wine mixed with honey being most highly prized. The defect in that kind
+of table was called "lignum," which denoted a dull, log colour, with
+stains and flaws and an indistinctly patterned grain. Pliny says the
+barbarous tribes buried the wood in the ground when green, giving it
+first a coating of wax. When it came into the workmen's hands they put
+it for a certain number of days under a heap of corn, by which it lost
+weight. Sea water was supposed to harden it and act as a preservative,
+and after bathing it, it was carefully polished by rubbing by hand. The
+use of such valuable wood naturally led to the use of veneers,<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> and the
+practice was universal in costly furniture. The word "xilotarsia" was
+used by the Romans to designate a kind of mosaic of wood used for
+furniture decoration. Its etymology suggests that the Greeks were then
+masters in the art. They divided works in tarsia into two
+classes&mdash;"sectile," in which fragments of wood or other material were
+inserted in a surface of wood, and "pictorial," in which the various
+pieces of wood covered the ground entirely. The slices of wood,
+"sectiles laminæ," were laid down with glue, as in modern work. Wild and
+cultivated olive, box, ebony (Corsican especially), ilex, and beech were
+used for veneering boxes, desks, and small work. Besides these the
+Romans used the citrus, Syrian terebinth, maple, palm (cut
+transversely), holly, root of the elder, and poplar; the centres of the
+trees being most prized for colour and markings. [See note giving
+extracts from Pliny.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a>]<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>
+
+<p>A few notes on the exceptional scantlings of timber in antiquity may be
+interesting, though not strictly belonging to our subject. A stick of
+fir prepared to repair a bridge over the Naumachia in<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> the time of Nero
+was left unused for some time to satisfy public curiosity. It measured
+120 feet by 2 feet the entire length. The mast of the vessel which
+brought the large obelisk from Egypt, afterwards set up in the Circus
+Maximus, and now in front of S. John Lateran, was 100 feet by 1&frac12;
+feet, and the tree out of which it was cut required four men, holding
+hands, to surround it. A stick of cedar, cut in Cyprus and used as the
+mast of an undecireme, or 11 banked galley of Demetrius, took three men
+to span the tree out of which it was cut. It was the exceptional sizes
+of such pieces of timber, and veneers cut from them, which made the
+value of tables in Rome.<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="ITALY_IN_MEDIAEVAL_AND_RENAISSANCE_TIMES" id="ITALY_IN_MEDIAEVAL_AND_RENAISSANCE_TIMES"></a>ITALY IN MEDIÆVAL AND RENAISSANCE TIMES</h2>
+
+
+<p>The mediæval craft seems, however, to have been derived from the East,
+though Theophilus mentions the Germans as clever practitioners in
+woodwork. A minnesinger's harp of the 14th century, figured by Hefner
+Alteneck, appears to bear out his remark, though later in date, with its
+powdering of geometrical inlays and curiously-designed sprigs, which
+might almost have been produced by the latest art craze, which apes
+archaic simplicity. It belonged to the knightly poet Oswald von
+Wolkenstein, who died in 1445; the colours used are two browns, black,
+white, and green. The oriental inlays of ivory upon wood, elaborate and
+beautiful geometrical designs, are still produced in India in much the
+same fashion as in the middle ages, for the possibilities of geometric
+design were exhausted by the Arabs in Egypt and the Moors in Spain; and
+in Venice there was a quarter inhabited by workmen of the latter race
+who made both metal work and objects in wood.<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> Except for the inlaid
+ivory casket in the Capella Palatina, at Palermo, which seems to be a
+work of Norman times, 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 Certosa," or "tarsia alla Certosina"; but since
+inlaying with small pieces of marble and vitreous pastes was practised
+in central and southern Italy certainly from the 12th century, there is
+little difficulty in imagining how its use arose. This work has its
+derivative still existing in England in the so-called "Tonbridge ware,"
+which is made by arranging rods of wood in a pattern and glueing them
+together, after which sections are sliced off&mdash;the same proceeding, in
+effect, as that which the Egyptians made use of with rods or threads of
+glass. One must allow, however, that the wooden border inlays, which are
+also placed under this heading, show greater craft mastery, as the
+examples appended show, which are typical instances. The chair-back from
+S. Ambrogio, Milan, is a characteristic example of the simpler form on a
+tolerably large scale.</p>
+
+<div class='centered'>
+<a name="i030" id="i030"></a><a name="i031" id="i031"></a>
+<table border="0" cellpadding="0" width="100%" cellspacing="0" summary="Fig 148/149">
+<tr>
+<td align='center'><img src="images/i030.jpg-tb.jpg" width="406" height="600"
+             alt="Plate 1" /><br />
+         </td>
+
+<td align='center'><img src="images/i031.jpg-tb.jpg" width="369" height="400"
+             alt="Plate 2" /><br />
+         </td>
+</tr>
+<tr><td align='center'><span class="caption">Plate 1.&mdash;<i>Patterns used in Borders</i>.</span></td><td align='center'><span class="caption">Plate 2.&mdash;<i>Various Patterns of Borders.</i></span></td></tr>
+</table></div>
+
+
+<p>Historians are agreed that the cradle of Italian carving and inlaying
+was Siena, where there is mention of a certain Manuello, who, with his
+son Parti, worked in the ancient choir of the Cathedral<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> in 1259.
+Orvieto was another place where tarsia work was made at an early date,
+but the craftsmen were all Sienese. Mastro Vanni di Tura dell' Ammanato,
+the Sienese, made the design of the stalls for the Cathedral in 1331,
+and commenced the work, some remains of which are still preserved in the
+Museum of the Opera del Duomo. Twenty-eight artists were employed on
+these stalls; Giovanni Talini, Meo di Nuti, and others, all Sienese,
+assisted him, but he died before they were finished, and they remained
+incomplete till 1414, when Domenico di Nicolò is recorded as undertaking
+the work; but neither did he finish it, for in 1431 the overseers gave
+it to Pietro di Minella, and then to his brother Antonio, and to
+Giovanni di Lodovico di Magno. The woods used were ebony, box, walnut,
+and white poplar, and the cost was 3152 lire. In the 14th century tarsia
+was executed at Siena, Assisi, where in 1349 Nicolo di Nicoluccio and
+Tommaso di Ceccolo worked at the Cathedral stalls, which no longer
+remain; Verona, in the sacristy of S. Anastasia, in which city are some
+inlays resembling those at Orvieto, and Perugia, where some inlays
+remain in the Collegio della Mercanzia, but remains of the period are
+few, as may be expected.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i034" id="i034"></a>
+<img src="images/i034.jpg-tb.jpg" width="600" height="452" alt="Plate 3.&mdash;Chair Back from S.
+Ambrogio, Milan." title="" />
+<span class="caption">Plate 3.&mdash;<i>Chair Back from S.
+Ambrogio, Milan.</i></span>
+</div>
+
+<p>Domenico di Nicolò worked for 13 years at the chapel in the Palazzo
+Pubblico at Siena, using some<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span> of Taddeo Bartoli's designs, and also
+did the doors of the Sala di Balia, or of the Pope. This man, who was
+one of the best Sienese masters of intarsia and carving, and was head of
+the Opera del Duomo in 1400, and whose work brought him so much
+reputation that his family name of Spinelli was changed for himself and
+his descendants to Del Coro, or Dei Cori, is an example and a proof of
+the small profit which was to be made even then by conscientious and
+careful work. He was not only a worker in wood, in 1424 he also did the
+panels of the Cathedral floor, representing David and Goliath, the
+Amorite Kings, and Samson, ascribed by Vasari to Duccio; in 1415 he was
+paid 42 lire for a tabernacle made of gesso, while as early as February
+28, 1397-8, he was paid 32 lire 10 soldi for 32&frac12; days' work on a
+window above the pulpit; yet on May 13, 1421, he petitions the priors
+and captain of the people to this effect. He says that he is poor, and
+cannot meet the requirements of his family and apprentices, each of
+whom, he says, costs 30 or 40 florins a year, and therefore suggests
+that he should have two or three boys to teach, and that the priors
+should subsidize him for that purpose, and binds himself to teach them
+all he can without reserve. The priors and captains recommended to the
+council that he should be paid by the chamberlain of Bicherna 200<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> lire,
+free of tax, by the year, "nomine provisionis libr: ducentos den:
+nitidas de gabella," and should have two or three Sienese youths to
+teach, and the council passed the recommendation the same day.
+Twenty-six years later, January 14, 1446-7, he appears again in the
+records with a petition to the Signory. He says that he has always, from
+his youth up, done his best to provide for his family, and that by his
+craft he has always tried to bring honour on the city and spread the
+fame of his works. That as they know he was granted money to teach his
+art to any young man who wanted to learn it, but "because this art was,
+and is, little profitable, there was no one who wished to go on with it
+except Master Mactio di Bernacchino, who followed the art thoroughly,
+and became an excellent master." That, as he thought he was fairly
+prosperous, he gave up the grant (like an honest man!), but the expenses
+of marrying and dowering his daughters had been so great, and added to
+the losses caused by the small profits on his work, had reduced him to
+such poverty that he did not see how he could go on, being 84 years of
+age, or thereabouts, and having a sick wife. He therefore asked to have
+a small pension settled on him for the few years he and his wife had to
+live. He was granted two florins a month, but three years later all
+mention of him ceases.</p>
+
+<div class="figcenter" style="width: 449px;">
+<a name="i039" id="i039"></a>
+<img src="images/i039.jpg" width="449" height="600" alt="Plate 4.&mdash;Door of the Sala del Papa, Palazzo Comunale,
+Siena.
+
+" title="" />
+<span class="caption">Plate 4.&mdash;<i>Door of the Sala del Papa, Palazzo Comunale,
+Siena.</i></span>
+</div><p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+
+<p>The choir of the Chapel of the Palace had been given in 1414 to Simone
+d'Antonio and Antonio Paolo Martini, but they did not satisfy the
+public, so it was taken from them and given to Domenico di Nicolò,
+August 26, 1415. The tarsie are 21 in number, and represent the clauses
+of the apostles' creed and the symbols of the apostles. The unsuccessful
+work was given to the prior of the Servites. In the Communal records
+occur the following, March 31, 1428:&mdash;"Domenico di Nicolò, called
+Domenico del Coro, is to have 45 florins at 4 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 Palace, which salary was declared
+by Guido of Turin and Daniello di Neri Martini, two of the three workmen
+upon the contract of the said door, at 180 lire. And is to have 3152
+lire for his salary and workmanship of 21 seats made in the Palace of
+the Magnificent Signors, with all both '<i>fornamenti et facti</i>,' in full
+according to his contract"&mdash;accepted by Guido di Torino and Daniello di
+Neri Martini. He was called to Orvieto in 1416 to refix the roof of the
+Cathedral; he was not to have more than 200 florins a year, but if he
+came himself all expenses were to be paid. This suggests an appointment
+like that of a consulting engineer.<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p>
+
+<p>From Siena masters were continually sent to the other great towns to
+design and carry out works of architecture, sculpture, and woodwork, as
+entries in Sienese documents show. In early times the various arts
+connected with building were in close union, and it appears tolerably
+certain that one guild sheltered them all, proficiency being required in
+several crafts and mastery in one. We find the same man acting in one
+place as master builder or architect, and sometimes only giving advice,
+while elsewhere he is sculptor or woodworker. The painter, the
+mosaicist, and the designer for intarsia are confused in a similar
+manner. Borsieri calls Giovanni de' Grassi, the Milanese painter (known
+as Giovanni de Melano at first, a pupil of Giotto and Taddeo Gaddi;
+pictures of his are in the Academy, Florence, and in the cloister of S.
+Caterina Milan), "an excellent architect"; and he also worked in relief,
+besides conducting very important architectural works. He says that
+about 1385 Giovanni Galeazzo opened an academy of fine art in his
+palace, which was conducted by Giovanni de' Grassi and Michelino da
+Besozzo. On June 19, 1391, he was paid five florins for models executed
+by him, and something for the expense of execution in marble by another
+hand. In 1391 he was called upon by the Council of the Duomo, and after
+four months of<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> uncertainty was assigned the position and pay of first
+engineer, with a servant who was paid by the Council. He did the door of
+the S. Sacristy; it was finished in July, 1395, when he was ordered to
+decorate it with gilding and blue. He also made designs for capitals and
+window traceries, and carved a God the Father for a centre boss of the
+vault of the N. Sacristy. He illuminated the initials, &amp;c., of a copy of
+the Ambrosian ritual of Berold for the "Fabbriceria," and this was his
+last work, as he died July 5, 1398, and the price was paid to his son
+Solomon, the officials declaring that it was most moderate. His pupils
+were nearly all both painters and sculptors, and some of them became
+stained-glass painters. It is well known that Taddeo Gaddi was painter,
+architect, and mosaicist, and Giotto, painter, sculptor, and architect,
+and these details are an example of what was then continually going on.
+Both in mediæval times and at the beginning of the Renaissance the most
+celebrated architects often called themselves by the most humble
+titles&mdash;"Magister lignaminio," "maestro di legname," "faber lignarius,"
+"carpentarius." Minerva, the worker, was the patron of all workmen from
+Pheidias to the lowest pottery thrower, and in Christian times the
+Quattro Coronati, the four workmen-saints, were the patrons of all who
+worked with their hands.<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+
+<p>The oldest of the differentiated guilds appears to be that of the
+painters, at least in Siena, where one was established in 1355, while in
+Florence they were obliged to enrol themselves in the "Art" of the
+"medici e speziali," unless they preferred, as many of them did, to be
+reckoned with the goldsmiths. In Siena the Goldsmiths' Guild followed
+the Painters' Guild in 1361, while the workers in stone formed their
+guild still later. Among the painters were included designers of every
+sort&mdash;moulders, and workers in plaster, stucco, and papier maché, gold
+beaters, tin beaters, &amp;c., and masters and apprentices in stained glass,
+also makers of playing cards&mdash;a most comprehensive guild. Vasari, in his
+life of Jacopo Casentino, architect and painter, says, however, "Towards
+1349 the painters of the old Greek style, and those of the new,
+disciples of Cimabue, finding themselves in great number, united and
+formed at Florence a company under the name and protection of S. Luke
+the Evangelist"; and Baldinucci, in his "Notizie dei professori di
+disegno," prints the articles of association at length. Others hold that
+the Confraternità dei Pittori was not founded till 1386.</p>
+
+<div class="figcenter" style="width: 374px;">
+
+<a name="i046" id="i046"></a>
+<img src="images/i046.jpg" width="374" height="500" alt="Plate 5.&mdash;Figure intarsia from the Sacristy of the
+Cathedral, Florence." title="" />
+<span class="caption">Plate 5.&mdash;<i>Figure intarsia from the Sacristy of the
+Cathedral, Florence</i>.<br />
+
+THE PROPHET AMOS.<br />
+
+<i>This and the two succeeding are part of the same composition.</i>
+
+</span>
+</div>
+
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/i047.jpg" width="600" height="451" alt="Plate 6.&mdash;Figure intarsia from the Sacristy of the
+Cathedral, Florence." title="" />
+<span class="caption">Plate 6.&mdash;<i>Figure intarsia from the Sacristy of the
+Cathedral, Florence.</i><br />
+
+THE ANNUNCIATION.</span>
+</div>
+
+<div class="figcenter" style="width: 458px;">
+<img src="images/i048.jpg" width="458" height="600" alt="Plate 7.&mdash;Figure intarsia from the Sacristy of the
+Cathedral, Florence." title="" />
+<span class="caption">Plate 7.&mdash;<i>Figure intarsia from the Sacristy of the
+Cathedral, Florence.</i><br />
+
+THE PROPHET HOSEA.</span>
+</div>
+
+<p>The rapid rise of the last-named city in wealth and importance was the
+reason that so much of the best later 15th century inlaid work was done
+there,<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> or at least by Florentines, though the art was not new to
+Florence, the names of Matteo di Bernardino, Pietro Antonio, Giovanni
+del Mulinella, and Domenico Tassi being recorded as working there in the
+14th century. Vasari, as usual, is somewhat inaccurate; he says that
+tarsia was first introduced in the time of Brunelleschi and Paolo
+Uccello, "that, namely, of conjoining woods, tinted of different
+colours, and representing with these buildings in perspective, foliage,
+and various fantasies of different kinds." Both he and Lanzi say that
+Brunelleschi gave lessons in perspective and "tarsia" to architects and
+others, of which Masaccio in painting and Benedetto da Majano in his
+inlaid works availed themselves. Vasari held but a poor opinion of
+tarsia, which, he said, "was practised chiefly by those persons who
+possessed more patience than skill in design," and goes on to say that
+the subjects most suitable to the process are "perspective
+representations of buildings full of windows and angular lines, to which
+force and relief are given by means of lights and shades"; that although
+he had seen some good representations of figures, fruit, and animals,
+"yet the work soon becomes dark, and is always in danger of perishing
+from the worms or by fires." He adds that it was first practised in
+black and white alone, but Fra Giovanni da Verona<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> 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 colours, making the lights with the whitest pieces of
+the spindle tree; to shade, some singed the wood by firing, others used
+oil of sulphur, or a solution of corrosive sublimate and arsenic. The
+"most solemn" masters of tarsia in Florence were the Majani, La Cecca,
+Il Francione, and the da San Gallo. The first name which he gives is
+that of Giuliano da Majano (1432-90), architect and sculptor, who
+executed as his first work the seats and presses of the sacristy of S.
+S. Annunziata at Florence, with Giusto and Minore, two masters in
+tarsia. He also did other things for S. Marco. In the archives of the
+Duomo, Giuliano di Nardo da Maiano is named in a contract for ornamental
+wood-work in the sacristy, to be finished in 1465. There is still
+existing in the Opera del Duomo a panel of S. Zenobio standing between
+two deacons, executed by him from cartoons by Maso Finiguerra, who
+designed five figures for the panels of the sacristy. The heads were
+painted by Alessio Baldovinetti. There are also several subjects in the
+sacristy, a Nativity, resembling Lippino Lippi's picture in the
+Accademia; a Presentation in the Temple, not without a reminiscence of
+Ghirlandajo's<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> manner; and an Annunciation. The whole scheme of the
+decoration of this wall was Giuliano's, but it was the completion of
+work begun in 1439 by Angelo di Lazzero of Arezzo, Bernardo di Tommaso
+di Ghigo, Giovanni di Ser Giovanni detto Scheggione, painter and brother
+of Masaccio, and Antonio Manetti. Milanesi says his father was Leonardo
+d'Antonio da Majano, master of wood and stone work. He entered the Arte
+del legnajuolo in company with his younger brother Benedetto, and the
+first mention of his work in connection with the "Arte" is in 1455, when
+he made for the Compagnia di S. Agnese delle Laudi, which met in the
+Carmine, a chest with a bookcase of some sort. Five years later he
+carved some candlesticks for the Monastery of S. Monaca, and constructed
+some cupboards ornamented with inlaid work and perspectives for the
+Badia of Fiesole. Among his architectural work may be mentioned the
+Chapel of S. Fina at S. Gemignano, which Ghirlandajo embellished with
+frescoes. He commenced a choir for the Duomo at Perugia, decorated with
+both carving and tarsia, but since he went to Naples shortly after 1481,
+and died there in 1490, the greater part of the credit of this work must
+be given to Domenico del Tasso, who completed it in 1491. His brother
+Benedetto, to whom he turned over most of his commissions for<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> tarsia,
+when he became much occupied with architectural work, was born in 1442.
+He assisted his brother in many of his works, such as the doors of the
+hall of audience in the Palazzo Vecchio, made between 1475 and 1480,
+representing Dante and Petrarch, with ornamental borders and other
+panels, in which Il Francione also had a hand. He gave up tarsia in
+disgust for the following reason, according to the story told by
+Vasari:&mdash;"He made two chests, with difficult and most splendid mastery,
+of wood mosaic, which he wished to show to Matthew Corvinus, then King
+of Hungary, who had many Florentines at his Court, and had summoned him
+with much favour; so he packed his chests up and sailed for Hungary,
+where, when he had made obeisance to the King, and had been kindly
+received, he brought forward the said cases and had them unpacked in his
+presence, who much wished to see them; 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 ground, at
+which every one may understand how astonished and speechless Benedetto
+was in the presence of so many lords. However, he put the work together
+again as he best might, and satisfied the King; still he was disgusted
+with that kind of work, not being able to forget the vexation<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> which
+he had suffered, and gave it up, taking to carving instead." He finished
+his brother's presses in the sacristy of S. Maria dei Fiori, and, in the
+opinion of Vasari, surpassed him and became the best master of his
+period. He died in 1497. Vasari ascribes the celebrant's seat in Pisa
+Cathedral to Giuliano, together with another of spindlewood, "to be
+placed in the nave where the women sit," finished and sent home in 1477,
+and put up by Baccio Pontelli. Milanesi says, however, that the choir of
+this Cathedral was done by Francesco di Giovanni di Matteo da Firenze,
+called Il Francione. Guido da Seravallino, between 1490 and 1495, made
+for the choir of the sacristy of this Cathedral more than 15
+perspectives; the usual price appears to have been 11 lire. He was a
+Pisan, and his father's name was Filippo. Domenico di Mariotto first
+appears in the accounts in 1489, when he began the choir and seats for
+the Campo Santo; he went on with various works of tarsia and carving
+till 1513. He was a Florentine, but lived in Pisa for many years, dying
+there in 1519. Other names which appear in the accounts are Giuliano di
+Salvatore and Michele Spagnuolo. In 1486 Cristophano d'Andrea da
+Lendinara and Jacopo da Villa came to make a seat for the choir, but
+this does not seem to have been a success, and Il Francione, who had<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>
+been at Pisa as long before as 1462, and Baccio di Fino Pontelli, who
+appears in 1471, were put in charge of the work. Giovanni Battista
+Cervelliera is mentioned first in 1522. He was son of Pietro d'Altro
+Pietra, a native of Corsica, who began the singing gallery of the organ
+in S. Martino, Pietra Santa, finished by his son, who died in about
+1570. In 1596 a great fire took place. After this the best pieces saved
+were used in the decoration of the new choir, in 1606, by Pietro Giolli,
+who also had some fresh ones made; others were mended by Girolamo
+Innocenti, and placed round the walls and round the nave piers in 1613.
+The pieces of Giuliano da Majano's work now remaining are in the side
+aisles, two at the right, one at the left; one represents King David
+with his harp and with a label in the other hand, "Laudate Pueri
+Dominum." The other two figures are prophets, and have scrolls,
+"Benedicam, benedicam," and "Ve qui condunt legem." Pontelli's Faith,
+Hope, and Charity are on the pier near the Chapel of S. Ranier, three
+half-length figures of women. The seated figures of the liberal arts on
+the side panelling of the church are Il Francione's, women with symbols,
+arithmetic, grammar, geometry, astrology, logic, and music. The great
+seat in the nave is the work of Giovanni Battista del Cervelliera. In
+the centre is a large<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> round-headed panel with the Adoration of the
+Magi; at each side are three lower seats with architectural subjects in
+the centre and objects in the side panels and below the seats. It is
+signed and dated 1536. The whole collection of panels is well worth a
+stay at Pisa to see, even if there were not other attractions in that
+pleasant little town. In the registers of the "Opera" is an annual
+charge for two "sbirri," or two servants of the captain of the people,
+to watch the seats of the Cathedral "so that children may not damage
+them in the obscurity," which shows that even Italian children could not
+always be trusted not to be mischievous.</p>
+
+<div class="figcenter" style="width: 460px;">
+<a name="i052" id="i052"></a>
+<img src="images/i052.jpg" width="460" height="600" alt="Plate 8.&mdash;Figure intarsia from the Sacristy of the
+Cathedral, Florence." title="" />
+<span class="caption">Plate 8.&mdash;<i>Figure intarsia from the Sacristy of the
+Cathedral, Florence</i>.<br />
+
+THE NATIVITY.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 454px;">
+<a name="i053" id="i053"></a>
+<img src="images/i053.jpg" width="454" height="600" alt="Plate 9.&mdash;Figure intarsia from the Sacristy of the
+Cathedral, Florence." title="" />
+<span class="caption">Plate 9.&mdash;<i>Figure intarsia from the Sacristy of the
+Cathedral, Florence</i>.<br />
+
+THE PRESENTATION IN THE TEMPLE.</span>
+</div>
+
+<div class="figcenter" style="width: 384px;">
+<a name="i057" id="i057"></a>
+<img src="images/i057.jpg" width="384" height="500" alt="Plate 10.&mdash;Panel from Sacristy of S. Croce, Florence.
+
+" title="" />
+<span class="caption">Plate 10.&mdash;<i>Panel from Sacristy of S. Croce, Florence.</i>
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="i060" id="i060"></a>
+<img src="images/i060.jpg" width="650" height="176" alt="Plate 11.&mdash;Detail of frieze from the Sacristy of S. Croce, Florence." title="" />
+<span class="caption">
+
+Plate 11.&mdash;<i>Detail of frieze from the Sacristy of S. Croce, Florence.</i></span>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="i061" id="i061"></a>
+<img src="images/i061.jpg" width="650" height="473" alt="Plate 12.&mdash;Lower Seats of Choir, Cathedral, Perugia." title="" />
+<span class="caption">Plate 12.&mdash;<i>Lower Seats of Choir, Cathedral, Perugia</i>.</span>
+</div>
+
+
+<div class="figcenter" style="width: 455px;">
+<a name="i064" id="i064"></a>
+<img src="images/i064.jpg" width="455" height="600" alt="Plate 13.&mdash;Upper Seats of Choir, Cathedral, Perugia.
+
+" title="" />
+<span class="caption">Plate 13.&mdash;<i>Upper Seats of Choir, Cathedral, Perugia</i>.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 250px;">
+<a name="i065" id="i065"></a>
+<img src="images/i065.jpg" width="250" height="500" alt="Plate 14.&mdash;One panel from upper series, Cathedral,
+Perugia." title="" />
+<span class="caption">Plate 14.&mdash;<i>One panel from upper series, Cathedral,
+Perugia</i>.</span>
+</div>
+
+<p>Il Francione had a pupil called Il Cecca. His name was really Francesco
+d'Agnolo, but like most men at that time he went by a nick-name. Cecca
+is a corruption of Francesco into Cecco, Cecca, from being Francione's
+companion and disciple. He was born in 1447; his father was Angelo di
+Giovanni, a mender of leather or "galigajo." He came to Florence from
+Tonda, a little place near S. Miniato al Tedesco. His father died in
+1460; he and three older sisters were left to his mother, Monna Pasqua.
+So the 13 year-old boy went bravely to work to keep his mother and
+sisters, and entered Il Francione's workshop. When he was 25 he left him
+and set up for himself, taking a shop in<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> the Borgo de' Greci, where he
+lived and slept as well as worked. In 1481 he had a commission from the
+magistrates, called "degli ufficiali di Palazzo," for all the wood-work
+of the Hall of the Seventy, Bernardo di Marco Renzi helping him.
+Afterwards he did other work for different parts of the Palace and for
+other places, all of which has perished. Finally, he spent most of his
+time as architect and engineer, and had a great deal to do with the
+fortification of various places and with the great cars for the
+"feste"&mdash;a not uncommon juxtaposition of engagements. He died in 1488.</p>
+
+<p>The del Tasso lived in the village of S. Gervasio, and moved to a place
+near the walls of Florence, a few steps from the Porta a Pinti. Then
+they went into the city and had a house in the parish of S. Ambrogio, in
+which church Francesco di Domenico made a tomb for himself and his
+family in 1470. They had arms; at first they were a goldsmith's anvil
+(tasso or tassetto), and above a ball or heap of silver. Afterwards the
+field of the shield was divided, and they added in the upper part two
+little badgers (tassi) at the side of the anvil, and put below the keys
+of S. Peter, crossed, and interspersed with four roses. "And this they
+did, not only to point out the parish of S. Pier Maggiore in the
+gonfalon 'Chiavi' of the quarter of S. Giovanni, where the<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> del Tasso
+lived, but also to differentiate their arms from those almost similar of
+another Florentine family of the same name." Evidently there was no
+College of Heralds in Florence in those days! The first of the family
+recorded is Chimenti di Francesco, who, in 1483-4 made a grating or
+gridiron of wood in the Chapel of S. Lorenzo in the Monastery of S.
+Ambrogio, and the dossal of the altar called "del Miracolo." In 1488 he
+carved a choir of walnut, outlined with tarsia, for the Chapel
+Minerbetti in S. Pancrazio, for which he was paid 100 florins of gold.
+He had, among others, two sons, Lionardo and Zanobi, who became
+sculptors under Benedetto da Majano and Andrea Sansovino. They also
+worked in S. Ambrogio, and the figure of S. Sebastian is by Lionardo.
+The two brothers in 1499 made nine antique heads of marble and bronze,
+which the republic sent as a gift to the Maréchal de Guise in France.
+Chimenti had two brothers, also carvers and joiners, Cervagio and
+Domenico, who brought up their sons to follow the same calling, who did
+many things for triumphal arches, cars, &amp;c., for "feste." Domenico did
+the tarsia and rosettes in the seat backs of the refectory of S. Pietro,
+Perugia, and a credence of walnut, ordered on October 20, 1490, for the
+table of the priors, on which were festoons, griffins, and other inlaid
+work. The year<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> after he finished the choir of the Cathedral left by
+Giuliano da Majano, and was paid 1404 florins, according to the estimate
+of Crispolto and Polimante, Perugian joiners. For the same choir he made
+the panelling of wood, for which he was paid 60 florins. There were 34
+seats with ornaments at 36 florins each, and three with figures, which
+were estimated at 60 florins apiece. Payments were also made to him for
+work in the Sala del Cambio, sometimes for wood, sometimes on account of
+salary, so that it seems certain that he made the benches there on
+finishing the choir of the Cathedral, since they were being made between
+1491 and 1494. The first cost 130 florins and 6 soldi in 1491, but it
+was not finished till the next year. Polimante da Nicola was made
+citizen of Perugia in 1473. Three years after he began the choir of S.
+Domenico, which cost 11 florins per seat. Four years later it was still
+unfinished. "Mastro Crespolto and Mastro Giovagne" were his assistants.
+Domenico had three sons, Chimenti, Francesco, and Marco, who followed
+the paternal calling. Chimenti was one of those who were judges in 1490
+in the competition for the façade of S. Maria del Fiore, and in 1504 was
+one of those chosen to decide the position in the piazza to be occupied
+by Michael Angelo's David. Marco was an enthusiastic follower of
+Savonarola; in 1491<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> he was, with his brother Francesco, at Perugia
+helping his father, and six years later he undertook work there on his
+own account. They did half of the choir of La Badia in 1501-2, and the
+very elaborate lectern. The son of Mark was Giambattista, called Maestro
+Tasso, who was a fine carver in wood, and, in the opinion of Cellini,
+the best in his profession. He did many things both for ephemeral and
+lasting purposes, and became an architect, designing the door of the
+Church of S. Romolo and the Loggia of Mercato Nuovo, Florence, and
+superintending the construction of the latter between 1549 and 1551. In
+1548 he designed an addition to the Palazzo Vecchio, then the ducal
+residence, and also under-*took to execute all the joinery. At the same
+time he made a model of the Palace which he intended to build in Pisa,
+which, however, was not carried out. He died in 1555. He was said by
+Vasari to spend his time in playing the wag, in enjoyment rather than
+work, and in criticising the works of others. But Cellini calls him
+pleasant and gay; Bronzino, good, lovable, and honest; and so does Luca
+Martini, who was a great friend of his. The following story of him,
+related by Il Lasca, shows that he was not above playing a practical
+joke of a rough character, and that he took great pride in the
+achievements of his fellow-artists:&mdash;"A<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> Lombard Benedictine abbot on
+the way to Rome stayed in Florence, and wished one day to see the
+figures on the Medicean tombs in the sacristy of San Lorenzo carved by
+Michael Angelo, and having therefore gone thither with his two attendant
+monks, the prior of the church asked Tasso, who was then working at the
+floor of the library together with his son-in-law Crocini Antonio di
+Romolo, under the direction of Michael Angelo, to show the abbot the
+sacristy and the said library. Which abbot, after having seen the
+figures in the sacristy, and thought very little of them, set off to see
+the library, and while he was gently ascending a stair which conducted
+to it, talking with Tasso, happened to turn his eyes on the cupola of
+Brunellesco, and stopping to look at it commenced to say that, although
+it was considered by all the world as a marvel, he had heard a person
+worthy of credence say that the dome of Norcia was much more beautiful,
+and made with greater art. Which words so much exasperated Tasso that,
+pulling the abbot backwards with force, he made him tumble down the
+staircase, and he took care to let himself fall on him (!) and calling
+out that the frater was mad, he got two cords, with which he bound his
+arms, his legs, and all his person, so that he could not move, and then
+taking him, hanging over his shoulders, carried him to a<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> room near,
+and, stretching him on the ground, left him there in the dark, locking
+the door and taking away the key." What happened to the unfortunate
+abbot after, and whether he was much damaged or not one does not know,
+for the anecdote stops here. Another instance of a family which devoted
+itself for many years to the production of tarsia and wood-work,
+displaying hereditary aptitude in the craft and gaining great repute, is
+given by the Canozii of Lendinara. The first member who took up tarsia,
+abandoning his craft of painting for that purpose, was Lorenzo Genesino
+da Lendinara, surnamed Canozio, to give him his full description. From
+him descended many excellent workers in wood. He studied in Padua, where
+he had Mantegna as fellow-student, and worked in company with his
+brother, his son, and a relation called Pier Antonio dell' Abate di
+Modena, who did the intarsia in the choir of S. Francesco at Treviso in
+1486. He died in 1477, and is buried in the first cloister of S. Antonio
+at Padua, for which he made the stalls, as his epitaph states. They were
+commenced in 1462, were worked at continuously for three years, and
+after an interval finished in 1468. They were then coloured and gilded
+in places by "Maestro Ugozon de Padoa, depentor." Burnt in 1749, only
+two stalls remain, made into confessional boxes, in the Chapel<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> of the
+Beato Belludi. The designs for the tarsia of the sacristy were made by
+Squarcione, master of Mantegna and Lorenzo, who was paid for them in
+1462. There were 90 seats in this choir, so that it was a very important
+piece of work. A contemporary account by Matteo Colaccio (1486) shows
+what were the aims of the intarsiatori of the period as understood and
+admired by the more or less cultivated populace. "In past days in
+visiting those intarsiad figures, I was so much taken with the
+exquisiteness of the work that I could not withhold myself from praising
+the authors to heaven! And to commence with the objects that one sees
+around every day, here are books expressed in tarsia that seem real.
+Some are one on the other, and arranged carelessly, or by chance, some
+closed, some newly bound and difficult to close; candles of wax with the
+ends of wicks, now in well-turned wooden candlesticks, one straight, one
+crooked, less or more, with another crossing it. Elsewhere one sees
+clouds of smoke which spread out from new chimneys, fish which turn
+round from a full basket, a cithern which hangs from the centre of a
+narrow niche. Close by is a cage of bars expressed with wonderful
+spirit. Palaces, towers, and churches, through the half-closed doors of
+which one can see in the interior arches and windows, cupolas and
+steps.<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> Most natural, then, is it not to be able to decide which tower
+to approach; these mountains appear to one covered with grass and with
+stones; and where earth of various colours appears there all green is
+taken away. But what shall I say of the images of the saints. Of their
+uncut and curled beards, of their hands, the joints of their fingers,
+their nails? Of their clothes, their sinuous folds, and the shadows? Nor
+less pleased me the little collar of rich pearls under the chin of S.
+Prosdocimus. 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 true. And this is specially admirable, that through the dull
+colour of their leaves they seem to have been taken from the tree
+scarcely a day ago." And then he praises in a pompous fashion the folds
+of the Virgin's and the Angel's drapery, the silk veil over a chalice,
+and the perspective of a flight of steps which support the feet of the
+Madonna, &amp;c. One of his first works was done for S. Mark's, Venice, in
+1450. His reputation was much increased by the stalls of the Cathedral
+of Modena, made in 1472 by Lorenzo and Cristoforo, and restored in 1540
+by Mastro Angelo de Piacenza, one of their pupils. He also worked at
+Parma in 1473. Fra Luca Pacioli (1509) makes an enthusiastic eulogium
+upon<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> Lorenzo, "who, in the said art (perspective), was in his time
+supreme, as he showed in all his famous works, as in tarsia in the
+worthy choir of the Santo and its sacristy, and in Venice in the Cha
+Grande, as well as in painting in the same places and elsewhere. And at
+the present time his son, Giovan Marco, my dear comrade, who is worthy
+of his paternity, as his work at Rovigo shows, and that in the choir of
+our convent in Venice, and in Mirandola, the architecture of which
+fortress is well understood." In the sacristy of the Cathedral at Lucca
+are five panels from the seats which once surrounded it, signed
+"Cristopharus de Canociis de Lendinaria fecit opus, <span class="smcap">MCCCCLXXXVIII</span>." One
+shows S. Martin, the bishop, full length, the others perspectives,
+perhaps of various streets of the city as then existing. He did these in
+conjunction with Matteo Civitale, and they were his last works. He died
+in 1491. Bernardino da Lendinara, who worked at Parma in 1494, and
+later, and was a citizen of that town and of Modena, was son of
+Cristoforo, who was also citizen of those cities from 1463.</p>
+
+<div class="figcenter" style="width: 487px;">
+<a name="i068" id="i068"></a>
+<img src="images/i068.jpg" width="487" height="550" alt="Plate 15.&mdash;Two panels from the Sala del Cambio,
+Perugia." title="" />
+<span class="caption">Plate 15.&mdash;<i>Two panels from the Sala del Cambio,
+Perugia</i>.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="i072" id="i072"></a>
+<img src="images/i072.jpg" width="650" height="255" alt="Plate 16.&mdash;Frieze from S. Mark&#39;s, Venice.
+" title="" />
+<span class="caption">Plate 16.&mdash;<i>Frieze from S. Mark&#39;s, Venice</i>.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="i076" id="i076"></a>
+<img src="images/i076.jpg" width="650" height="195" alt="Plate 17.&mdash;Frieze from S. Mark&#39;s,
+Venice." title="" />
+<span class="caption">Plate 17.&mdash;<i>Frieze from S. Mark&#39;s,
+Venice.</i></span>
+</div>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i077" id="i077"></a>
+<img src="images/i077.jpg" width="600" height="439" alt="Plate 18.&mdash;Stalls from the Cathedral, Lucca." title="" />
+<span class="caption">Plate 18.&mdash;<i>Stalls from the Cathedral, Lucca</i>.</span>
+</div>
+
+<p>The stalls from the Cathedral at Lucca, which are illustrated, are now
+in the Picture Gallery. They were made by Leonardo Marti, of Lucca. When
+in 1620 the choir was spoilt (they thought that they were making grand
+improvements) they were moved<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> to the church of the Riformati of S.
+Cerbone, being badly mutilated to adapt them to their new position.
+There, in two centuries of neglect they became in such a state that the
+brothers thought them no longer decent, and wished to sell them and make
+a new choir. The Opera of the Cathedral and the Commission of Art paid
+them something for them, and thus preserved them as they now are, having
+executed some restorations here and there.</p>
+
+<p>At Ferrara are some remains of stalls in the apse of the Cathedral which
+were commissioned from Bernardino da Lendinara in 1501, though not made
+by him owing to the defalcations of a dishonest steward. In 1519 the
+Chapter of the Cathedral renewed the contract with Pietro de' Rizzardi
+and Bernardino, but as he died in 1520, M. Angelo Discaccia, of Cremona,
+son of M. Cristoforo (da Lendinara?), was substituted, and assisted
+Rizzardi till the work was finished in 1525. The gilding was done by
+Baldassare dalla Viola and Albertino dalla Mirandola. A note in the
+books of the Fabbrica, June 30, 1525, states that "Mro. Piero di
+Richardo dale Lanze" owes for work not yet completed 58 lire 20 soldi.
+There are three rows of seats, 132 in all, and the Episcopal throne in
+the middle. The upper row is of 56 seats, without the throne, the middle
+one 42, the lowest 34. Originally there were 150,<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> but in the
+alterations of 1715 nine from each side were taken away, as the high
+altar was placed further within the apse. The upper stalls are divided
+by a chancelled column with Corinthian capital, and terminated in a
+shell hood. The intarsia on the back showed ornament of fine style,
+drawings of sacred objects and perspectives of fine buildings drawn from
+various parts of the city. Two of the best preserved show the ducal
+castle and the ancient ducal courtyard with the still-existing staircase
+constructed by Ercole I. in 1481. The usual bird in a cage appears, the
+symbol of human passions conquered by religious abnegation. The lower
+rows of seats are also worked in tarsia, but with ornaments of
+geometrical form, books, and joint-stools, the diamond, the cognisance
+of Ercole I. (who gave the original commission), and the pomegranate,
+that of Alfonso, and this last figure, which only occurs in the third
+stall to the right in the lower order, makes one think that only that
+part was finished under him. The frames surrounding are carved with
+restraint. The work cost altogether 2771 lire 8 soldi 2 denari besides
+the expense of making the lower seats, which cost 3984 lire marchesane
+16 soldi 10 denari. The lira marchesana in 1523-25 corresponded to 43
+Roman bajocchi 9 denari, about 2 francs 35 centimes of modern Italian
+money.</p>
+
+<div class="figcenter" style="width: 459px;">
+<a name="i080" id="i080"></a>
+<img src="images/i080.jpg" width="459" height="600" alt="Plate 19.&mdash;Lectern in Pinacoteca, Lucca." title="" />
+<span class="caption">Plate 19.&mdash;<i>Lectern in Pinacoteca, Lucca</i>.</span>
+</div>
+
+<div class="figcenter" style="width: 344px;">
+<a name="i081" id="i081"></a>
+<img src="images/i081.jpg" width="344" height="650" alt="Plate 20.&mdash;Two-leaved door in the Pinacoteca, Lucca.
+
+" title="" />
+<span class="caption">Plate 20.&mdash;<i>Two-leaved door in the Pinacoteca, Lucca.</i>
+
+</span>
+</div><p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p>
+
+<p>The Canozii were also at Reggio, in the Emilia, in 1474 and in 1485, but
+the work of the stalls in the Cathedral seems rather more archaic than
+their period, and the lectern is dated 1459. It is probably the work of
+Antonio da Melaria, who three years later made one exactly like it, with
+other things, for the Church of S. Domenico. This was done for Antonia
+di Fiordibelli, and the contract shows what were the conditions under
+which such work was done. He was given 50 lire at once to buy material
+with, 50 when he began working, 50 when he had finished a third of the
+work, 50 when it was half done, 50 more when three-quarters was
+finished, and the rest of the whole price of 336 lire when it was
+completed. He was to use wood of Piella, and give 48 planks to the
+lady&mdash;a very curious clause in the contract.</p>
+
+<p>At Città di Castello there are tarsie designed by Raffaello da Colle in
+the Cathedral.</p>
+
+<p>The choir stalls at the Certosa, Pavia, were made by Bartolommeo Poli,
+surnamed dalla Polla, from designs by Borgognone, as is said, and the
+style certainly seems to bear out the assertion, though no document has
+yet been found directly connecting him with them. They were restored in
+1847 by Count Nava with wax and stucco coloured to imitate the missing
+pieces of wood. The upper row<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> contains a series of figures of saints
+and prophets, and below are exceedingly graceful and flowing arabesques.
+A document in the Brera Library notes that in 1490 "Mro. Bartolommeo de
+Polli da Mantoa, who made the inlaid choir and the doors of the chapels,
+has a right to 8 ducats per door, and also for the wooden pulpits 30
+ducats a pulpit." He was the son of Andrea da Mantova, who was born at
+Modena, but lived and worked at Mantua, and also with his brother Paolo
+in S. Mark's, Venice. The stalls were made between 1486 and 1501, and
+are the only work which he is recorded to have executed. A Cremonese,
+Pantaleone de' Marchi also worked on these stalls&mdash;a relation of the
+large family of the Marchi of Crema, perhaps, who worked in S. Petronio,
+Bologna, in 1495. The father was named Agostino, and he had six sons,
+Giacomo, Nicolo, Taddeo, Biagio, Agostino, and a second Giacomo. The
+stalls in the Chapel of S. Sebastian are signed Jacopo de Marchis. Some
+stalls by Pantaleone de' Marchi are in the Museum at Berlin, acquired in
+1883. They probably came from Bramante's Church, the Madonna of Tirano,
+in the Valtelline, which was built in 1505, and where there are still
+some remains of seats similar in style. The upper range of panels has a
+few half-lengths of saints, landscapes, and the usual open cupboard<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span>
+doors revealing objects on the shelves within. On the backs of the seats
+below are arabesques, and the pilaster panels and divisions between are
+also inlaid, as is the cornice. He also worked at Savona.</p>
+
+<div class="figcenter" style="width: 506px;">
+<a name="i084" id="i084"></a>
+<img src="images/i084.jpg" width="506" height="650" alt="Plate 21.&mdash;Stalls at the Certosa, Pavia." title="" />
+<span class="caption">Plate 21.&mdash;<i>Stalls at the Certosa, Pavia</i>.</span>
+</div>
+
+<div class="figcenter" style="width: 569px;">
+<a name="i085" id="i085"></a>
+<img src="images/i085.jpg" width="569" height="600" alt="Plate 22.&mdash;Detail of Arabesques, lower seats, Certosa,
+Pavia." title="" />
+<span class="caption">Plate 22.&mdash;<i>Detail of Arabesques, lower seats, Certosa,
+Pavia</i>.
+
+</span>
+</div>
+
+<p><a name="i088" id="i088"></a></p>
+<div class="figleft" style="width: 173px;">
+<img src="images/i088.jpg" width="173" height="600" alt="Plate 23.&mdash;Panel from S. Petronio, Bologna." title="" />
+<span class="caption">Plate 23.&mdash;<br /><i>Panel from S. Petronio, Bologna.</i></span>
+</div>
+
+<p><br /><br /><br />One of the best Sienese masters has not yet been mentioned, Antonio
+Barili, much of whose work has perished, like that of many other
+intarsiatori, an example of which the collectors for the Austrian K.K.
+Museum at Vienna have picked up, however, where it may now be seen. He
+was born in Siena, August 12, 1453. His first work on his own account
+was the choir of the Chapel of S. Giovanni, in the Cathedral, Siena, of
+which a few poor remains have escaped the carelessness of the last
+century, and are in the Collegiate Church of S. Quirico in Osenna, 26
+miles from Siena, on the old Roman road. The contract is dated January
+16, 1483, and in it he engages to finish it in about two years. He was
+to be paid 50 florins of 4 lire beyond what he expended, and was to go
+on working at the rate of 10 florins a month. If he did not finish it in
+the given time he was to forfeit 100 florins, except for cause of
+infirmity, plague, &amp;c. It was to be valued in the usual manner, and 100
+florins was the penalty for the breaking of the contract on either side.
+As a matter of fact it took him nearly 20 years to complete. On one of
+the panels Barili made<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> a portrait of himself at work, the one referred
+to above, now in the K.K. Austrian Museum at Vienna, which shows the
+very simple means used by the great intarsiatori. His tools consist of a
+folding pocket-knife, a square-handled gouge, and a short-bladed,
+long-handled knife, which he holds with the left hand and presses his
+shoulder against, so as to use the push of the shoulder in cutting,
+while in the right he holds a small pencil, with which he appears to
+direct the knife edge. The panel upon which he is at work bears the
+inscription, "Hoc ego Antonius Barilis opus c&oelig;lo non penicello
+excussi. Anno. D., 1502." He works in a window opening with panelled
+framing, and behind him a tree spreads across a courtyard against the
+sky, upon a branch of which a parrot is seated. Von Tschudi says that
+the panel is about 2 feet 10 inches long by 1 foot 9&frac12; inches broad,
+and that the woods employed are pear and walnut, oak, maple, box,
+mahogany, palisander, and one as hard as birch in texture. A full
+description of it as it originally was is appended in a note taken from
+Della Valle's "Lettere Senese." It was valued by Fra Giovanni of Verona
+at 3990 lire. 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 2000 lire, and did other work for private<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> persons. Another
+great work was the choir of the Certosa of Maggiano, which has entirely
+disappeared. He was not only intarsiatore, but was much employed by the
+commune on architectural works. In 1484 he was sent to rebuild the
+bridge of Buonconvento, broken by a flood of the Ombrone, and in the
+same year, with Francesco di Giorgio, and on equal terms with him,
+restored the bridge of Macereto. In 1495 he was asked to make designs
+and models for a bastion to be erected over against the bridge of
+Valiano, taken by the Florentines. Owing to a bad guard being kept this
+was taken, and between 1498 and 1500 Barili was sent again to rebuild it
+larger and stronger. Finally, in 1503, he was sent to make designs and
+models of the new walls for the fortifications of Talamone, an important
+coast town. In his intarsias he was helped by his nephew, Giovanni,
+whose salary, when working for Leo X. at Rome, was five ducats a month.
+He died in 1516.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p>
+
+<p style="clear: both;">&nbsp;</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i089" id="i089"></a>
+<img src="images/i089.jpg" width="600" height="461" alt="Plate 24.&mdash;Panel from S. Petronio, Bologna.
+
+" title="" />
+<span class="caption">Plate 24.&mdash;<i>Panel from S. Petronio, Bologna.</i>
+</span>
+</div>
+
+<div class="figcenter" style="width: 650px;">
+<a name="i093" id="i093"></a>
+<img src="images/i093.jpg" width="650" height="396" alt="
+
+Plate 25.&mdash;Panel from S. Miniato, Florence." title="" />
+<span class="caption">
+Plate 25.&mdash;<i>Panel from S. Miniato, Florence.</i></span>
+</div>
+
+<div class="figcenter" style="width: 279px;">
+<a name="i098" id="i098"></a>
+<img src="images/i098.jpg" width="279" height="600" alt="Plate 26.&mdash;Panel from S. Maria Novella, Florence.
+" title="" />
+<span class="caption">Plate 26.&mdash;<i>Panel from S. Maria Novella, Florence</i>.
+</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span><br /><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>
+
+<p>Other names mentioned by Vasari are Baccio Albini and his pupil Girolamo
+della Cecca, <i>pipers to the signoria</i>, as good intarsiatori who worked
+also in ivory when Benedetto da Majano was yet a young<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> man, and
+David of Pistoia and Geri of Arezzo, who decorated the choir and pulpit
+of S. Agostino in the latter town. Geri also made intarsie for S.
+Michele, Arezzo. Milanesi says Girolamo della Cecca was of Volterra,
+and calls Baccio, di Andrea Cellini; he was in Hungary in 1480 with his
+brother Francesco; they were brothers of Giovanni, who was father of
+Benvenuto and piper also. The stalls in S. Miniato, Florence, were made
+in 1466 by Francesco Manciatto and Domenico da Gajuolo; but perhaps the
+highest point reached by Florentine intarsia is shown by the stalls of
+S. Maria Novella, made by Baccio d'Agnolo from Filippino Lippi's
+designs. There are 40 stalls and 30 different ornamental fillings; the
+capitals, pilasters, and frieze are inlaid, the rest carved; the
+execution of figures, scrolls, leaves, and ornamental forms is as near
+perfection as may be.</p>
+
+<p>Baccio, or Bartolommeo d'Agnolo Baglioni, was born May 19, 1462. "In his
+youth he did very fine intarsia in the choir of S. Maria Novella, in
+which are a very fine S. John Baptist and S. Laurence, and also carved
+the ornaments in the same place and the organ case"&mdash;so says Vasari. The
+organ case is no longer there, having been sold in England, but the
+stalls still remain. After carving the surroundings of the altar at S.
+S. Annunziata, which no longer exist, he went to Rome and studied
+architecture, of which Vasari remarks, "the science of which has not
+been exercised, for several years back, except by carvers and deceitful
+persons, who made<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> profession of understanding perspective without
+knowing even the terminology and the first principles" (!) When he
+returned to Florence he made triumphal arches of carpentry for the entry
+of Leo X. But he still stuck to his shop, in which, especially in the
+winter, fine discourses and discussions on art matters were held,
+attended at different times by Raffaello, then quite young; by Andrea
+Sansovino, il Maiano, il Cronaca, Antonio and Giuliano San Gallo, il
+Granaccio, and sometimes, by chance, by Michel Agnolo, and many young
+men, both Florentines and strangers. He did a great deal of work for the
+great hall of the Palazzo Vecchio in conjunction with others, and the
+staircase of the Sala del Dugento. After this he did many architectural
+works, palaces and additions to churches, some of which are still
+existing. The design of Brunelleschi for the gallery to surround the
+dome of the Cathedral having been lost, Baccio was commissioned to make
+a fresh one, and a piece of it was put up; but when Michael Angelo came
+back from Rome he said it was not large enough in style for the dome; in
+fact, he called it a cage for grasshoppers (grilli), and made a design
+to replace it himself; as, however, the authorities could not make up
+their minds to accept it, and Baccio's work was much blamed, it went no
+farther,<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> and was never finished. He died on May 6, 1543, at the age of
+83, being still in full possession of his faculties, and leaving three
+sons, of whom the second, Giuliano, did a good deal of carving both in
+stone and wood, and architectural design, working in conjunction with
+Baccio Bandinelli, among which was the choir of the Cathedral of
+Florence. Another son, Domenico, showed great promise, but died young.</p>
+
+<div class="figcenter" style="width: 280px;">
+<a name="i103" id="i103"></a>
+<img src="images/i103.jpg" width="280" height="600" alt="Plate 27.&mdash;Panel from S. Maria Novella, Florence.
+" title="" />
+<span class="caption">Plate 27.&mdash;<i>Panel from S. Maria Novella, Florence</i>.
+</span>
+</div>
+
+<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>The seats near the high altar at S. Maria Novella, and other things
+there were made between 1491 and 1496. The floor of the hall of the
+Great Council in the Palazzo Vecchio was begun in 1496, and with other
+works there went on till 1503. On October 1, 1502, he engaged to do the
+choir of S. Agostino Perugia from Perugino's designs at 1120 florins of
+40 bolognini each, but he did not work at it much at that time, since on
+June 20, 1532, he made a fresh contract with the monks to continue and
+complete the choir of their church. Adamo Rossi gives other curious
+details about this work drawn from Perugian records, which are worth
+noting. He says that in 1501 Bacciolo d'Agnolo, not having a good design
+to show, agreed with the prior Federico di Giuliano in three months'
+time to submit two different seats for the choir of S. Agostino, and
+confessed to having received 50 broad ducats of<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> gold as part of the
+price of the choir and the two stalls mentioned. He also agreed to
+return the money if he did not undertake the choir or did not finish it
+according to contract. He presented them accordingly, and in 1502 the
+contract was signed at 30 florins for each upper seat. Rossi also says
+that he finds trace of another Baccio d'Agnolo in the collection of
+wills of Pietro Paolo di Lodovico, under date June 11, 1529, and thinks
+that the work was done by him. One Baccio was elected capo-maestro of
+the Duomo in 1507 together with Giuliano and Antonio da San Gallo and il
+Cronaca (Simone del Pollajuolo), and continued in that office until
+1529.</p>
+
+<p>Rossi also gives other interesting details about the making of various
+pieces of joinery in Perugia and their makers, from which I extract the
+following:&mdash;"In the refectory of S. Agostino two Sienese, Giovanni and
+Cristoforo de'Minelli, worked in 1477. The cupboards in the sacristy of
+S. Pietro in Casinense were made by Giusto di Francesco of Incisa and
+Giovanni di Filippo da Fiesole in 1472. They were bought in Florence,
+and are particularly fine and large in their treatment of flowers, &amp;c.
+The work was finished with the assistance of Mariotto di Mariotto of
+Pesaro, three workmen coming from places at considerable distances from
+each other, proving that they wandered about the country a good deal.
+The lectern in the same church, which is well inlaid and finely carved,
+was made by Battista the Bolognese, Ambrose the Frenchman, and Lorenzo.
+The contract was between the abbot and Fra Damiano's brother, Maestro
+Stefano di Antoniuolo de' Zambelli da Bergamo, and was for the whole
+choir at 30 scudi for each seat, wood being provided. The lectern itself
+cost 176 florins, and was finished in 1535. In the Sala del Cambio,
+besides Domenico del Tasso's seats, there is a fine door which was made
+by Antonio di Benciviene da Mercatello da Massa, for which he was paid
+10 florins 93 soldi 6 denari. The orator's desk, the 'ringhiera,' was
+made by Antonio di Antonio Masi, the Fleming, though often ascribed to
+Mercatello. It was estimated by Eusebio del Bastone as worth 68 florins.
+At Assisi the choir of the upper church, which is the most important in
+all Italy for the number of its stalls, the mastery of its figure
+intarsia, and the elegance of its form, was made by Domenico da S.
+Severino, who agreed with the superiors on July 8, 1491, to make it for
+770 ducats of gold. It was not finished till 1501, but no payments are
+noted in the archives after November 18, 1498. In the lower church two
+Sienese worked in 1420, and a Florentine<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> from 1448 to 1471. The choir
+of the Cathedral in the same city was made by Giovanni di Piergiacomo,
+also of S. Severino, and there is sometimes confusion between the two
+artists. The price was 57 florins. On one of the backs is carved the
+date 1520. The most ancient piece of joinery in Perugia is that executed
+for the Arte della Mercanzia in the 14th century."</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i107" id="i107"></a>
+<img src="images/i107.jpg" width="600" height="600" alt="Plate 28.&mdash;Panel in Sacristy of S. Pietro in Casinense,
+Perugia." title="" />
+<span class="caption">Plate 28.&mdash;<i>Panel in Sacristy of S. Pietro in Casinense,
+Perugia</i>.</span>
+</div>
+
+<p>Rossi prints a priced list of joiners' tools, dated November 8, 1496,
+which is interesting as showing the small amount of tools and furniture
+required in a joiner and intarsiatore's workshop at that period. It runs
+thus:&mdash;</p>
+
+<blockquote><p>Bernardino di Lazzaro buys from Angelo di Maestro Jacopo, called
+Boldrino, joiner, the underwritten tools and apparatus at the price
+at which they were valued by Master Giovanni da Siena and Ercolano
+di Gabriele of Perugia. </p></blockquote>
+
+
+<p><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p>
+<div class="centered">
+<table border="0" cellpadding="2" width="70%" cellspacing="0" summary="the underwritten tools and apparatus at the price
+at which they were valued">
+<tr><td align="left">&nbsp;</td><td align="right">Florins.</td><td align="right">Soldi.</td></tr>
+<tr><td align="left">Two benches,</td><td align="right">2</td><td align="right">0</td></tr>
+<tr><td align="left">Four planes,</td><td align="right">1</td><td align="right">0</td></tr>
+<tr><td align="left">Two screw profiles, one broad and one narrow,</td><td align="right">0</td><td align="right">40</td></tr>
+<tr><td align="left">Two rules,</td><td align="right">0</td><td align="right">16</td></tr>
+<tr><td align="left">Four straight edges, one large and three small,</td><td align="right">0</td><td align="right">28</td></tr>
+<tr><td align="left">One outliner for tarsia,</td><td align="right">0</td><td align="right">8</td></tr>
+<tr><td align="left">Rods for making cornices,</td><td align="right">0</td><td align="right">12</td></tr>
+<tr><td align="left">A cross beam,</td><td align="right">0</td><td align="right">6</td></tr>
+<tr><td align="left">Two compasses, one large and one small,</td><td align="right">0</td><td align="right">12</td></tr>
+<tr><td align="left">Two rulers,</td><td align="right">0</td><td align="right">5</td></tr>
+<tr><td align="left">Four one-handed little planes,</td><td align="right">0</td><td align="right">16</td></tr>
+<tr><td align="left">One two-handed little plane,</td><td align="right">0</td><td align="right">8</td></tr>
+<tr><td align="left">Two broad planes,</td><td align="right">0</td><td align="right">12</td></tr>
+<tr><td align="left">Two hollow moulding planes,</td><td align="right">0</td><td align="right">12</td></tr>
+<tr><td align="left">Three pieces of unfinished tarsia, and one with a wire drawing iron,</td><td align="right">1</td><td align="right">30</td></tr>
+<tr><td align="left">Two large squares and one "grafonetto" and one little square,</td><td align="right">0</td><td align="right">8</td></tr>
+<tr><td align="left">Two old irons for making cornices,</td><td align="right">0</td><td align="right">8</td></tr>
+<tr><td align="left">Nine files, large and small, round and straight,</td><td align="right">0</td><td align="right">30</td></tr>
+<tr><td align="left">Fifteen "gulfie," large and small,</td><td align="right">0</td><td align="right">24</td></tr>
+<tr><td align="left">Three chisels, one glued and one all of iron and one "a tiro colla manacha de legusa saietta,"</td><td align="right">0</td><td align="right">7</td></tr>
+<tr><td align="left">One small hammer,</td><td align="right">0</td><td align="right">16</td></tr>
+<tr><td align="left">Two arm chairs,</td><td align="right">0</td><td align="right">8</td></tr>
+<tr><td align="left">A big "tenevello,"</td><td align="right">0</td><td align="right">25</td></tr>
+<tr><td align="left">A little anvil,</td><td align="right">0</td><td align="right">20</td></tr>
+<tr><td align="left">A pair of big pincers,</td><td align="right">0</td><td align="right">32</td></tr>
+<tr><td align="left">Two little axes,</td><td align="right">0</td><td align="right">20</td></tr>
+<tr><td align="left">A two-handed axe,</td><td align="right">0</td><td align="right">25</td></tr>
+<tr><td align="left">A two-handed saw with a file,</td><td align="right">0</td><td align="right">60</td></tr>
+<tr><td align="left">A cutting saw,</td><td align="right">0</td><td align="right">25</td></tr>
+<tr><td align="left">Two stools,</td><td align="right">0</td><td align="right">16</td></tr>
+<tr><td align="left">Nine presses (clamps),</td><td align="right">0</td><td align="right">60</td></tr>
+<tr><td align="left">Two cupboards,</td><td align="right">0</td><td align="right">90</td></tr>
+<tr><td align="left">Five pieces of panels, two on the benches and three outside,</td><td align="right">0</td><td align="right">20</td></tr>
+<tr><td align="left">Three pieces of tarsia frieze and two pictures with a box without a lid,</td><td align="right">1</td><td align="right">0</td></tr>
+<tr><td align="left">A bench to put the tarsia on,</td><td align="right">0</td><td align="right">40</td></tr>
+</table></div>
+
+<p>The words untranslated are, I suppose, Perugian words. At all events,
+they do not appear in the large Italian dictionary edited by Tommaseo
+and Bellini.</p>
+
+<p>This Bernardino six years earlier worked as apprentice with Maestro
+Mattia da Reggio, and was paid 6 florins 22 soldi for four months. His
+name appears in the list of masters of stone and wood.</p>
+
+<div class="figcenter" style="width: 595px;">
+<a name="i111" id="i111"></a>
+<img src="images/i111.jpg" width="595" height="600" alt="Plate 29.&mdash;Panel from door of Sala del Cambio, Perugia.
+" title="" />
+<span class="caption">Plate 29.&mdash;<i>Panel from door of Sala del Cambio, Perugia</i>.
+</span>
+</div><p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></p>
+
+<p>Frederic of Montefeltro, Duke of Urbino, built himself a splendid palace
+in that city between the years of 1468 and 1480, which cost 200,000
+golden scudi. At that time a sack of corn cost rather less than five
+modern Italian lire in the duchy, and a hectolitre of wine only one
+franc sixty centimes, 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 figures. Among the decorations, which
+include much stone carving of the most extraordinary finish, which in
+the interior of the palace appears as fresh as the day it was completed,
+were some splendidly inlaid doors, eight or nine of which still remain.
+The palace was constructed upon the foundations of an older palace of
+1350, much enlarged, and here he lived magnificently, and collected that
+fine library which was subsequently removed to Rome, of which Vespasiano
+da Bisticci, the Florentine bookseller, who had a good deal to do with
+it, says that it was the most perfect that he knew, for in others there
+were either gaps or duplicates, from which defects it was free.
+Castiglione's "Cortigiano," the ideal of a courtier in those days,
+describes the Court of Urbino as it was under Guidobaldo, his son and
+successor. Among the decorations of the palace which still remain is the
+panelling of a small studio<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> on the <i>piano nobile</i>, close to the tiny
+chapel, which is entirely surrounded by intarsia of the finest
+description, which represents in the lower part a seat something like
+the misereres of choir stalls surrounding the apartment, some parts of
+which are raised and some lowered. In the spaces rest some portions of
+the duke's arms, a sword, a mace, &amp;c., leaning in the corners, and on
+the lower parts of the seat are musical instruments, fruits and
+sweet-*meats in dishes, cushions, books, &amp;c. The upper panels show
+cupboards with doors partly open, showing all sorts of things within in
+the usual fashion, and there are four figure panels inserted at
+intervals containing the portrait of the duke and the Christian virtues
+of Faith, Hope, and Charity which he strove to exemplify in his life. At
+one end of the room are two recesses divided by a projecting pier; in
+the one to the left the armour of the duke is represented as hanging
+piece by piece on the wall, in that on the right is shown his reading
+desk, made to turn on a pivot, with books upon it and around, and on the
+pier between, a landscape, seen through an arcade with a terrace in
+front, upon which are a squirrel and a basket of fruit. Close to the
+reading desk is a representation of an organ with a seat in front of it,
+upon which is a cushion covered with brocade or cut velvet, which is
+most<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span> realistic, and on the organ is the name Johan Castellano, which is
+supposed to be the name of the intarsiatore, though this name does not
+appear in the accounts. The custodian called him a Bergamase, I do not
+know on what authority. The designs of the figures are ascribed to
+Botticelli, and some of them look as if the ascription might possibly be
+correct. The only names of intarsiatori found in the ducal accounts are
+Beneivegni da Mercatello, who worked in the Sala del Cambio at Perugia,
+and no doubt had to do with the making of the doors, which resemble that
+work, and perhaps a Taddeo da Rovigno, the town from which the Olivetan
+Fra Sebastian came. Pungileone, however, found a payment of seven
+florins in 1473 to "Maestro Giacomo, from Florence, on account of
+intarsia for the audience hall." Dennistoun says that this study
+contained "arm-chairs encircling a table all mosaicked with tarsia, and
+carved by Maestro Giacomo of Florence," but it is now quite bare,
+though, fortunately, the tarsie are well preserved. He goes on to say
+that "on each compartment of the panelling was the portrait of some
+famous author and an appropriate distich," which leads one to suppose
+either that his information was inaccurate or that he was referring to
+the similar small study on the lower floor, in which Timoteto delle Vite
+did some painting.<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span></p>
+
+<p>The duke and his son Guidobaldo were both great builders, and Urbino was
+not the only town in which they raised palaces, though the others were
+not of so much importance. The names by which they were denominated show
+this. It is always the <i>corte</i> at Urbino, at Pesaro it is the <i>palazzo</i>,
+and at Gubbio the modest <i>casa</i>. Nevertheless, at this last place the
+intarsias were of almost as great importance, though now the palace is
+ruinous and the intarsias dispersed, some of them being at South
+Kensington. Dennistoun quotes descriptions from Sig. Luigi Bonfatti and
+Mr. F. C. Brooke, which are worth reproducing, as showing the care some
+times expended on the decoration of quite small apartments. This study,
+which was commissioned by Duke Guidobaldo, is only 13 by 6&frac12; feet in
+plan, though it is 19 feet high. The inlaid work only went half-way up,
+as at Urbino, the upper part of the walls having been covered with
+tapestries. The tarsie showed "emblematic representations of music,
+literature, physical science, geography, and war; bookcases, or rather
+cupboards, with their contents, among which were a ship, a tambourine,
+military weapons, a cage with a parrot in it, and as if for the sake of
+variety only, a few volumes of books, over one of which, containing
+music, with the word 'Rosabella' inscribed on its pages, was<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> suspended
+a crucifix. On the central case opposite the window, and occupying as it
+were the place of honour, was the garter, with its motto, 'Honi soit q.
+mal i pense,' a device which was sculptured on the exterior of the stone
+architrave of the door of this apartment. It appeared again in tarsia in
+the recess of the window, where might also be seen, within circles, 'G.
+Ubaldo Dx. and Fe Dux.' Amongst the devices was the crane standing on
+one leg, and holding, with the foot of the other, which is raised, the
+stone he is to drop as a signal of alarm to his companions. Among other
+feigned contents of a bookcase were an hour-glass, guitar, and pair of
+compasses; in another were seen a dagger, dried fruits in a small basket
+made of thin wood, and a tankard, while in a third was represented an
+open book surmounted with the name of Guidobaldo, who probably made the
+selection inscribed on the two pages of the volume, comprising verses
+457-491 of the tenth Æneid." On the cornice was an inscription. It was
+thought to be the work of Antonio Mastei of Gubbio, a famous artist in
+wood, who executed the choir of S. Fortunato at Todi, and who is known
+to have been much in favour with Dukes Guidobaldo and Francesco Maria
+I., the latter of whom gave him an exemption from imposts.</p>
+
+<p>In the 17th century tarsia was more used for<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> domestic furniture than
+for stationary decoration. The character of the design changed in
+consequence, and mother-of-pearl, ivory, tortoiseshell, silver, and
+other materials were used. The first Tuscan, or one of the first who did
+so was Andrea Massari of Siena. A few works in tarsia were still
+executed, but none of much importance. The choir of S. Sigismondo,
+outside Cremona, commenced by Gabriel Capra and finished by his son
+Domenico in 1605, is one of the principal, and the choir of S.
+Francesco, Perugia, where Fortebraccio was buried, but this latter no
+longer exists. Marquetry was produced in Florence, Venice, Milan, and
+Genoa down to a still later date, but the fashion for ivory and ebony
+carried all before it. The Italian work of this kind is often most
+beautifully engraved, but less accurate than that produced in France.
+The later Italian marquetry does not lose decorative effect though the
+figure drawing becomes very conventional, and the curves of ornament are
+often cut with a mechanical sweep. A good deal of it is in only two
+colours, a return to the simplicity of earlier days.<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></p>
+
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THE_CLOISTERED_INTARSIATORI_AND_THEIR_PUPILS" id="THE_CLOISTERED_INTARSIATORI_AND_THEIR_PUPILS"></a>THE CLOISTERED INTARSIATORI AND THEIR PUPILS</h2>
+
+
+<p>The Order of the Olivetans took its rise from the piety and liberality
+of a Sienese noble, Bernardo Tolomei, who, with two companions, Ambrogio
+Piccolomini and Patricio Patrizzi, established himself as a hermit on a
+barren point of land at Chiusuri, some miles from Siena, in the same
+manner as did S. Benedict at Subiaco. This was in 1312, but the Papal
+charter by which the Order was founded dates from 1319. It was called
+"Monte Oliveto," from a vision seen by Guido Tarlati, Bishop of Arezzo,
+the Papal commissary, in which the Virgin ordered that the monks should
+have a white habit, and that the badge of the Order should be three
+hills surmounted by a branch of olive. It was a branch of the
+Benedictines, and, like them, the monks devoted their lives to useful
+labours. As Michele Caffi says, "The Olivetans did not strive in
+political or party struggles, but spent their simple lives in works of
+charity and industry, and showing great talent for working in wood
+succeeded to the heirship of the<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span> art of tarsia in coloured woods, which
+they got from Tuscany."</p>
+
+<p>The first master of intarsia mentioned among the Olivetan monks is a
+certain lay brother, "laico Olivetano," who came from Tuscany in the
+first half of the fifteenth century, and taught the art to the monks of
+S. Elena, the island which lies just beyond the Public Gardens at
+Venice, and was so beautiful before the iron foundry was established
+upon it. His principal pupil was Fra Sebastiano of Rovigno, known as the
+"Zoppo Schiavone," the lame Slavonian, who taught Fra Giovanni da Verona
+and Domenico Zambello of Bergamo, Fra Damiano. Fra Giovanni, again, was
+master to Vincenzo dalle Vacche and Raffaello da Brescia, and perhaps to
+the oblate of S. Elena, Antonio Preposito, in 1493.</p>
+
+<p>Fra Sebastiano da Rovigno was probably born in 1420. The register of
+professions and deaths at Monte Oliveto Maggiore says&mdash;"In conventu
+Paduæ professus est sub die 15 Augusti, an 1461, fr: Sebastianus de
+Rovinio"; his death is shown by another extract&mdash;"Venetiis, obiit in
+Mon. S. Helenæ, anno Domini, 1505, fr: Sebastianus de Histria,
+conversus" (lay brother). He was at S. Maria in Organo, in 1464-5 and
+1468-9, and at S. Elena in 1479-80-81, and again from 1484 to 1494.<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span> He
+was also at Monte Oliveto 1466-7, 1474-5, and 1482-3, and at S. Michele
+in Bosco, Bologna, from 1494 till shortly before his death, in all of
+which places were important works in tarsia. The inscription in the
+corner of the sacristy at S. Elena runs thus:&mdash;"Extremus hic mortalium
+operum fr: Sebastianus de Ruigno Montis Oliveti, qui III. id: Sept: diem
+obiit, 1505." Some of his work is in the stalls and sacristy cupboards
+of S. Marco, signed C.S.S., or S.S.C., that is, "Converso Sebastiano
+Schiavone," or "Seb: Sch: converso." His pupil Fra Giovanni da Verona
+was one of the most celebrated of the carvers and intarsiatori, and left
+works in many places in Italy. He was born in Verona in 1457, and no one
+has been able to discover either his family name nor who his father was.
+When still a boy he left his native town and went into Tuscany to Monte
+Oliveto di Chiusuri of Siena, the principal monastery of the Olivetan
+order. He may perhaps have gone with Liberale of Verona, who was of
+about the same age, the first time he went to Monte Oliveto, in 1467, or
+more probably on the second occasion, in 1474, his business being to
+illuminate the choir books. In the administration books of that convent
+it is recorded that in 1467 Liberale had as assistant a certain
+Bernardino, and in 1474 another whose name is not mentioned. This<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> may
+have been Fra Giovanni, who might then have learnt to illuminate, which
+was his first profession, and in which he succeeded excellently. He
+resolved to "profess religion" about this time, and was received as
+novice in the beginning of 1475. The year of noviciate being passed he
+made his solemn profession on March 25, 1476, and remained for about
+four years more in the monastery, during which time he finished his
+studies and became priest. In 1480 he was sent for a short time to the
+monastery of S. Elena, near Venice. Here he found the lay brother Fra
+Sebastiano da Rovigno, whom he may perhaps have known before, since they
+were both at Monte Oliveto in 1475. At all events he spoke to him about
+learning his art, and finding him willing to teach him, "set about it
+with so much diligence and assiduity that he was soon able to give him
+valuable assistance." The work was on the cupboards of the sacristy and
+on the backs of the choir stalls, which were 34 in number. On these the
+principal cities of the world, as they then were, were drawn in
+perspective "with great beauty and cleverness." About 1485 he went to an
+abbey of Olivetan monks at Villanova, a small village in lower Lombardy,
+where he illuminated 20 choral books with heads of saints and prophets,
+with very beautiful borders of flowers, fruits, and animals. These were
+sold by an ignorant and greedy priest<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span> for 17 zecchins, and only a few
+of the miniatures have been recovered, which are now kept in the
+sacristy. Of them, Vincenzo Sabbia, the Olivetan abbot, who was
+"confratello di religione" and nearly contemporary, says, when
+describing the abbey and its treasures in 1594, that there are there
+"stupendous and wonderful choral books to the number of twenty, made
+about the year 1485, and rare and wonderful miniatures are among the
+letters, like lovely flowers in a delicious garden, and many most
+beautiful imaginings, heads of saints and of all the ancient prophets,
+and other wonderful things of like kind, made and illuminated by that
+celebrated Fra Giovanni da Verona, around the text."</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i124" id="i124"></a>
+<img src="images/i124.jpg" width="600" height="459" alt="Plate 30.&mdash;Panel from lower row of Stalls, S. Maria in
+Organo, Verona.
+" title="" />
+<span class="caption">Plate 30.&mdash;<i>Panel from lower row of Stalls, S. Maria in
+Organo, Verona</i>.
+</span>
+</div>
+
+<div class="figcenter" style="width: 445px;">
+<a name="i127" id="i127"></a>
+<img src="images/i127.jpg" width="445" height="600" alt="Plate 31.&mdash;Panels from Monte Oliveto Maggiore, now in
+the Cathedral, Siena." title="" />
+<span class="caption">Plate 31.&mdash;<i>Panels from Monte Oliveto Maggiore, now in
+the Cathedral, Siena</i>.</span>
+</div>
+
+<p>In 1490 he was summoned to the Certosa at Pavia to estimate the value of
+the stalls made by Bartolommeo dei Polli, in company with Giacomo dei
+Crocefissi and Cristoforo de' Rocchi. Except for these there are no
+notices of the work which he must have done till 1502, when the abbot
+and monks of Monte Oliveto Maggiore, having determined to renew the
+choir of their church, confided the work to Fra Giovanni, and
+necessarily recalled him. 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 monks." "The whole comprised 52 stalls, with
+their backs, seats and arm rests, kneelers and all things appertaining"<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span>
+(it now consists of 48 stalls and 47 pictures), and the panels of the
+backs were worked in tarsia with perspective views "beautiful to a
+marvel," where were figured houses, views of the country, cupboards,
+grilles, sacred utensils, and other fancies. In the early years of the
+19th century 38 of these perspectives were moved to Siena and placed in
+the Cathedral, where they now are. Another choir, smaller but not less
+beautiful, was made for the church of the Olivetan monastery of S.
+Benedetto fuori della Porta at Tufi, near Siena. This church is in
+ruins; 31 perspectives from the choir were sent to fill the gaps in
+Monte Oliveto Maggiore, the monks who returned after the revocation of
+the suppression in 1813 having appealed to the Archbishop to allow them
+to take them. Four of the ancient backs were found in a corner of the
+sacristy, and eight carried to Siena and found superfluous were
+returned, as well as one which a neighbouring villager had taken. Some
+of them show the conventual buildings as they were at the beginning of
+the 16th century. The frames resemble friezes, and are decorated with
+flowers, fruit, birds, musical instruments, arms, and ornament. Each
+back is separated from the next by a colonnette carved with delicate
+arabesques. In this choir is also an Easter candlestick much like that
+at S. Maria in Organo,<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span> Verona, and there are two doors which belonged
+to the library. Pope Julius II. called him to Rome in 1571, and
+commissioned the ornamentation of the Camera della Segnatura in the
+Vatican, the designs for which are ascribed to Raffaelle, not only the
+seat backs with their seats, but also the doors, all worked with
+perspectives, "in which he succeeded so well that he gained great favour
+with the pontiff." 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
+Tolosa, in the church of Monte Oliveto in that city, works not less
+successful and lauded than those of Siena and Rome. This church is now
+called that of S. Anna dei Lombardi. The tarsie in the sacristy are in a
+later setting, and include nine panels of perspectives of landscapes,
+buildings, &amp;c., nine others showing cupboards with objects on the
+shelves, and one with a figure of an abbot around which the following
+inscription runs:&mdash;</p>
+
+<p class="center">
+
+·T·EPRE·R·P·F·DOMI·DE·LEV·GNK·ABBATIS·ET<br />
+R·P·ALOISII·DE·SALER·NO·PRIOR.
+</p>
+
+<p>The work is exceedingly delicate, pieces of wood no thicker than a thick
+pencil line being often used. In one panel is a well-executed lily, in
+another a hare is a foreground figure, in another are an owl and a
+bullfinch, while a hoopoe appears<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> in another, with mountains behind
+him. The objects on the shelves of the cupboards are turned at queer
+angles to show his skill in perspective, but, since they lack tone, do
+not appear quite accurate. Among the architectural subjects are the
+choir of a church, a harbour, and a castle on a hill, seen from a
+balustraded terrace, and a circular building a little like that in the
+background of Raffaelle's "Sposalizio." They were well restored in 1860
+by C. G. Minchiotti. In the monks' choir in the church are other
+intarsie said to be by Angelo da Verona, Giovanni's brother. They are
+principally arabesques, somewhat resembling the panels in the Cathedral
+at Genoa, but include four figure panels of little angels and an
+Annunciation in two panels, which are not without charm, though rather
+overstiff.</p>
+
+<div class="figcenter" style="width: 650px;">
+<a name="i131" id="i131"></a>
+<img src="images/i131.jpg" width="650" height="238" alt="Plate 32.&mdash;Frieze from Monte Oliveto Maggiore." />
+<span class="caption">Plate 32.&mdash;<i>Frieze from Monte Oliveto Maggiore</i>.
+</span>
+</div>
+
+<p>In his last years he returned to Verona, where he had made the monks'
+choir in S. Maria in Organo, and the cupboards of the sacristy. These
+have the reputation of being not only the finest of the period but also
+the best which came from his hand. The Adige was in this church for two
+months during one of the inundations, but the tarsie did not suffer so
+much as might have been expected. He accepted a commission in 1523 for
+some stalls for the Olivetan church at Lodi, S. Cristopher, eleven of
+which are<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> now in the suburban church of S. Bernardino in that city,
+but died before they were completed. Vincenzo Sabbia writes of
+these:&mdash;"In the year 1523 the reverend father Fra Filippo Villani of
+Lodi, prior of the convent of S. Cristoforo in that city, agreed with
+Fra Giovanni Veronese, an excellent master of perspective, to make him
+35 pictures of perspective at the rate of 30 or 40 broad ducats of gold
+for each&mdash;which are worth 5 lire 4 soldi each&mdash;which were to be finished
+in two or three years, and 300 broad ducats of gold were counted out to
+him. The said brother was not able to finish more than 23, because he
+died on February 10, 1525. They were sent from Verona and taken to Lodi,
+and in 1586 the new church of S. Cristoforo being finished, Don
+Agostino, the prior, who had charge of the fabric, had the aforesaid 23
+pictures with their ornaments set in the choir by the hand of Paolo
+Sasono." He died in the 68th year of his age, and was buried in S. Maria
+in Organo. He is called "prior" in a chronicle of the monastery under
+date 1511, and in the list of dead. In his portrait in the sacristy, by
+Caroto, he is represented with the tonsure and with the hood and cowl of
+the form which was proper to monks who were constituted "in sacris."</p>
+
+<p>Fra Raffaello da Brescia, whose name was Roberto<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> Marone, was born in
+1477. His father's name was Pietro Marone, and his mother was a
+Venetian, named Cecilia Tiepolo. When twenty-two years old he took the
+monastic habit as a lay brother in the convent of S. Nicolò di Rodengo,
+near Brescia, and a little later (in 1502) was sent to Monte Oliveto
+Maggiore. Fra Giovanni being then established there as "conventual
+brother," took young Marone and taught him, seeing that he had both
+liking and talent for the work, so that he soon became a clever workman.
+Between 1504 and 1507 he worked with him at the choir of Monte Oliveto,
+from 1506 to 1510 he was with him at Naples, when the famous sacristy
+panels were being executed, and in 1511 and 1512 he was at S. Nicolò di
+Rodengo, where he worked at the choir of that church. The lectern from
+Rodengo is now in the Galleria Tosi at Brescia; the inlays are in the
+lower portion, and show architectural compositions in perspective and
+the usual objects, such as a censer, an open book, &amp;c. It is signed
+F.R.B. In 1513 Raffaello commenced the magnificent choir of S. Michaele
+in Bosco, Bologna, and here he also made the design for the campanile,
+which was built by Maestro Pedrino di Como, showing that like so many of
+the intarsiatori he was no mere worker in wood. While this work was in
+progress he executed a lectern for<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> Monte Oliveto, ordered by the abbot
+Barnaba Cevenini, who was a Bolognese. It is signed and dated 1520, and
+shows on each side a choir book open, with notes of music and words. In
+one of the lower panels a black cat symbolises fidelity.</p>
+
+<p>S. Michele in Bosco was among the largest of the Olivetan convents. The
+Benedictines entered into possession in 1364, but these buildings were
+destroyed by the Bolognese in 1430, "so that they might not give shelter
+and a base for hostilities to the soldiers of Martin V." The
+re-construction began in 1437. The choir was raised on several steps,
+and called "Il Paradiso," ten years later, but subsequent alterations
+have left very little of the original work visible. Raffaello's stalls
+were probably finished in 1521, that being the date on a panel which was
+formerly in the centre of the choir. Of these splendid works only two
+confessionals still remain in the church. At the time of the suppression
+of the convents at the end of the 18th century the populace, drunk with
+rapine and devastation, tore down these stalls, and they were sold for a
+few pence to the Bolognese marine store dealers and rag merchants. Only
+18 of the principal row were saved from destruction, the Marquis Antonio
+Malvezzi buying them in 1812, and having them restored and placed in the
+chapel of his family<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> in S. Petronio (now the chapel of the Holy
+Sacrament), where they now are. He was not able to save the hoods and
+shell canopies, which were sold for firewood for 4 baiocchi each! (about
+two pence.) The designs are of the usual style, cupboards and various
+objects in perspective; one of the finest is the first on the left,
+which includes a fine sphere and sundial, and several books written in
+German letters, black and red, a chalice in a cupboard, two books, and a
+cross. In the seventh is the figure of Pope Gregory in the act of
+blessing, and the last on the right shows loggias and porticoes of good
+style, well put in perspective. With part of the tarsie from S. Michele
+pianoforte cases were made, other portions were used for the floor of
+the Casino, near the theatre of the Corso, and were worn to pieces by
+the feet of the dancers! In 1525 Fra Raffaello went to Rome, and no
+further notices of him or of his work occur till his death there in
+1537; he was buried in S. Maria in Campo Santo.</p>
+
+<p>Another somewhat similar set of stalls, though rather later in date,
+also at Bologna, are the upper row in the choir of S. Giovanni in Monte,
+which have on their backs intarsie representing monuments, fantastic
+battlemented buildings, musical instruments, and geometrical motives,
+all executed with a mastery which reveals an artist old at the<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> work.
+They recall in their general effect those in S. Prospero at Reggio, in
+the Emilia, which were executed by the brothers Mantelli in 1546. They
+are set in a carved framing of arches divided by pilasters which
+terminate above in brackets which support the cornice. The pilasters
+rest on the arms which divide the seats. Champeaux says they were made
+by Paolo del Sacha.</p>
+
+<p>The tarsie in S. Mark's, Venice, were worked by Fra Vincenzo da Verona,
+another Olivetan, under whom was Fra Pietro da Padova, Jesuit, with two
+youths to assist them. The commission was given in 1523. Three rooms in
+the hospital of "Messer Jesu Cristo" were assigned him as workshops, and
+100 ducats for food and clothing, as stated in the registers of the
+procurators of S. Mark's. On January 15, 1524, they inspected the work
+done, and were not satisfied, and so suspended it, "praising,
+nevertheless, the manners and the life of Fra Vincenzo." According to
+Cicogna, the registers contained, under date April 7, 1526, a note of
+money paid to "Fra Vincenzio, of the order of the Jesuits, for the
+finishing of the works of inlay" in the choir of S. Marco. On February
+25, 1537, certain moneys were given to more workmen for the construction
+of the doge's seat, which is said to have been "a great thing full of
+artistic pangs" (!), and<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> rather hindered the genuflections to the
+altar. This was made for Andrea Gritti, who was doge that year. This Fra
+Vincenzo da Verona, or Vincenzo dalla Vacche, is mentioned by Morello in
+his "Notizie" as excellent, especially in his work at S. Benedetto
+Novello at Padua, four panels from which are now in the Louvre. He
+became novice in 1492, "Conventuale" of Monte Oliveto in 1498, was a
+priest like Fra Giovanni, and lived almost all his life in his native
+city. He died in 1531. The tarsie in the presbytery at S. Marco consist
+of seven great compartments, five lesser, and thirteen which are small.
+The eighteen smaller compartments are panels of ornament. The others are
+<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>figure subjects, but by more than one hand. First comes a figure of S.
+Mark with a lion at his feet, which is not very good (it was restored in
+1848-50 by Antonio Camusso); next, a figure of Charity side by side with
+one of Justice, a woman with a baby, and one holding the balances. Next
+comes a figure of Strength or Courage, older and rougher in character,
+then four ornamental panels, a door, and five others, also of ornament.
+The next panel in the corner bears date 1535, to which year the figures
+of Justice and Charity may be assigned. The other figures are Prudence
+and Temperance, the latter of which resembles Strength in character. The
+remaining<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span> subject, a Pietà, is like Charity and Justice, and is
+masterly. Three spaces are empty. The doge's seat, until the fall of the
+Republic, was on the right of the principal entrance to the choir, as
+Sansovino says. It had on its back a figure of Justice, now in the Museo
+Civico. He also says that Sebastiano Schiavone did these tarsie, but he
+died in 1505. Various initials appear here and there through the work;
+on each side of the figure of S. Mark are U.F.Q. and M.S.R. in
+cartouches, Charity and Justice have N. and P. at the sides, and
+Prudence has P.S.S. and S.S.C. attached to her. The panels of ornament
+seem to be of the same period as the figure of Charity.</p>
+
+<p><a name="i140" id="i140"></a></p>
+<div class="figleft" style="width: 244px;">
+<img src="images/i140.jpg" width="244" height="650" alt="Plate 33.&mdash;Panel from S. Mark&#39;s, Venice.
+" title="" />
+<span class="caption">Plate 33.&mdash;<i>Panel from S. Mark&#39;s, Venice.</i>
+</span>
+</div>
+
+<p>Fra Damiano of Bergamo, Fra Giovanni's fellow-pupil, attained, if
+possible, even greater reputation. He was considered the finest artist
+in tarsia of his time, he having, "with his woods, coloured to a marvel,
+raised the art to the rank of real painting." His family name was
+Zambello, he is thought to have been born about 1490, and he became a
+Dominican monk. An anonymous MS. of the 16th century, published by
+Morelli, calls him a pupil of a Slavonian, that is, Illyrian, brother of
+Venice, Fra Sebastiano da Rovigno. He passed the greater part of his
+life at Bologna, in the Dominican cloister there, into which he was<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span>
+admitted in 1528. In the records of the convent for that year occurs the
+note, "Frater Damianus de Bergomo, homo peritissimus, singularissimus,
+et unicus in l'arte della tarsia, conversus, receptatus fuit in filium
+conventus." At S. Domenico the choir stalls were his first work; he did
+seven, containing fourteen subjects and seven heads of saints. These
+were finished in 1530, and in consequence of their success he was
+commissioned to complete the choir. He carried the tinting of the wood
+farther than Fra Giovanni did, using solutions of sublimate of mercury,
+of arsenic, and what they called oil of sulphur. He is said to have had
+Vignola's designs for the architectural parts.</p>
+
+<p>Charles the Fifth was in Bologna with Clement VII., and was crowned
+Emperor in S. Petronio on December 5, 1529. One day he was in S.
+Domenico admiring the works of art, and, doubting that the tarsie were
+made of tinted wood, as he was told, drew his rapier and cut a bit out
+of one of the panels, which has always remained in the state in which he
+left it in memory of his act. Desiring to see how the work was done he
+determined to visit Fra Damiano's studio. Accordingly, on March 7, 1530,
+he took with him Alfonso d'Este, Duke of Ferrara, and several princes of
+his escort, and went to the convent, when, being conducted to Fra<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>
+Damiano's poor cell, he knocked at the door. The friar, having opened
+and allowed the Emperor to enter, shut it quickly. "Stay," said the
+Emperor, "that is the Duke of Ferrara, who follows me." "I know him,"
+answered Fra Damiano, "and that is why I will never let him enter my
+cell." "And why?" said Charles V.; "have you anything of his doing to
+complain of then?" "Listen, your majesty," answered the lay brother. "I
+had to come from Bergamo to Bologna to undertake the work of this choir.
+I had with me these tools which you see, few in number, but necessary
+for the work in which it is my study to worthily spend my life, and to
+delight in the art. I had scarcely touched the frontiers of Ferrara when
+they not only obliged me, a poor friar, to pay a heavy and unjust tax,
+but the manner of doing it was most offensive. Now, while that duke
+allows such roguery in his State, it is right that he should not see
+this work which you see." Charles smiled, and promised to obtain from
+Duke Alfonso the amplest satisfaction. Going out of the cell he told the
+duke the reason of Fra Damiano's anger, and he not only promised to
+repay the loss which he had suffered, but conceded a patent to him, by
+which he and his pupils were for ever free from any tax or duty when
+crossing the duchy of Ferrara. Then they all came laughing<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> and joking
+into the cell, and Fra Damiano, to show them that his tarsie were not
+painted with a brush took a little plane and passed it over a panel with
+some force, showing how the colours, after that treatment, still
+retained their integrity and beauty. And then he gave the Emperor a most
+beautiful piece of the Crucifixion, and another to the Duke of Ferrara,
+who valued it greatly. Locatelli gives some conversations between Fra
+Damiano and his assistant Zanetto, which must have preceded this visit,
+which are worth recording for their racy expression, according well with
+his reported action. "If it were in my power I would nail up this door
+for Charles and for all the dukes of the world. This art which I
+exercise is exceeding dear to me, and I hate to have to do with these
+signori who manage things after their own fashion; and sad it is for
+those who have to endure it. I respect His Majesty the Emperor, and hold
+him to be a great man, but the fate of Rome sticks in my throat. That
+other, too, who accompanies him&mdash;" "Who?" interrupted Zanetto, "the
+Pope?" "Oh, rubbish; the Pope! The Duke of Ferrara. With him I have a
+special account, and he must not come here." He also adds the detail
+that Fra Damiano had no money with him, and had to go about begging for
+wherewithal to pay the duke's dues till he blushed.<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span></p>
+
+<p>From 1530 to 1534 he worked at a great piece of panelling to be placed
+in the chapel of the "arca," the tomb of S. Dominic, which is now in the
+sacristy, and thought by some to be his masterpiece. There are eight
+cupboards in this, and on each are eight subjects. In 1534 the Order was
+so poor that such expenses were stopped. Seven years later the work was
+recommenced and finished in 1550 by Fra Bernardino and Fra Antonio da
+Lunigiano a few months after Fra Damiano's death, which occurred on
+August 30, 1549. The choir consists of a double row of 28 stalls on each
+side, making 112 in all, showing on the right subjects from the New, and
+on the left from the Old Testament. Those on the right are the best, and
+are probably Fra Damiano's own work. He had as assistants at one time
+Zanetto da Bergamo, Francesco di Lorenzo Zambelli, and a lay brother,
+Fra Bernardino, who afterwards did the sacristy door. At another time
+his brother Stefano helped him, together with Zampiero da Padova, Fra
+Antonio Asinelis, the brothers Capo di Ferro of Lovere, Pietro di
+Maffeis, Giovanni and Alessandro Belli. The choir of S. Domenico cost
+2809 scudi. Henry II. of France commissioned a little chapel from him
+with an altar-piece, for his reputation had crossed the Alps, and
+Cardinal Salviati and Paul III., the Farnese Pope, also wished for his
+work, as did the Benedictine monks of S. Pietro in Casinense, at
+Perugia. He did for them a two-leaved door, which cost 120 scudi, now
+placed at the back of the choir, and opening on to a balcony, from which
+one sees, in fine weather, as far as the Castle of Spoleto. There are
+four subjects, two on each leaf; the Annunciation illustrated is one of
+them. Sabba Castiglione uses the most enthusiastic language about him
+and his work. "But, above all, those who can obtain them decorate their
+mansions with the works, rather divine than human, of Fra Damiano, who
+excelled not only in perspectives, like those other worthy masters, but
+in landscapes, in backgrounds, and what is yet more, in figures; and who
+effected in wood as much as the great Apelles did with his pencil. I
+even think that the colours of these woods are more vivid, brilliant,
+and beautiful than those used by painters, so that these most excellent
+works may be considered as a new style of painting without colours, a
+thing much to be wondered at. And what adds to the marvel is, that
+though these works are executed with inlaid pieces the eye cannot even
+by the greatest exertion detect the joints." He then goes on in the same
+grandiloquent strain&mdash;"This good father in dyeing woods in any colour
+that you may wish, and in<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> imitation of spotted and marbled stones, as
+he has been unique in our century, so I think that he will be without
+equal in the future; it is certain that our Lord God has lent him grace,
+as I believe, because he wished so much that things might be well ended,
+to put his final work on the work of S. Domenico of Bologna. I think,
+indeed I am certain, that it will be called the eighth wonder of the
+world; and as the Babylonians, the Assyrians, the Egyptians, and the
+Greeks boasted of their temples, pyramids, colossi, and sepulchres, thus
+happy Bologna will be able to glory in and to boast of the choir of S.
+Domenico. 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 (!), a thing far from me, and especially with friends about
+whom I always speak the truth, I say no more; yet all that which I could
+say would be little enough on the merit of his rare and singular virtue,
+and on the goodness of his religious and holy life." Fra Leandro
+Alberti, in his description of Italy, speaks in something the same
+manner&mdash;"Frate Damiano, lay brother of the Order of Preachers, has
+become a man of as much genius as is to be found in the whole world at
+present, in putting together woods with so much art that they appear
+pictures made with a brush."<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
+
+<div class="figcenter" style="width: 482px;">
+<a name="i148" id="i148"></a>
+<img src="images/i148.jpg" width="482" height="650" alt="Plate 34.&mdash;Panel from door in Choir of S. Pietro in
+Casinense, Perugia.
+" title="" />
+<span class="caption">Plate 34.&mdash;<i>Panel from door in Choir of S. Pietro in
+Casinense, Perugia</i>.
+
+</span>
+</div>
+
+<p>A few stalls made by him are now in the church of S. Bartolommeo,
+Bergamo, which were brought from the Dominican church of S. Stefano,
+destroyed for the fortifications in 1561. The designs were made by Trozo
+da Monza, Bernardo da Trevi (? Treviglio), and Bramantino. As Locatelli
+says, they preceded the famous choir at Bologna, and show the master
+trying his wings. Some think that his best works are those in which he
+did not employ colour, but only shading, but general opinion considers
+his highest point was reached in the doors of S. Pietro in Casinense.</p>
+
+<p>Another Dominican intarsiatore was Fra Antonio da Viterbo, who, in 1437,
+made the doors of S. Peter's at Rome by order of Eugenius IV., which
+were subsequently destroyed by Paul V. He was paid 800 ducats of gold
+before the Pope died, when they were nearly finished. They were both
+inlaid and carved in the most elaborate fashion, as the list of subjects
+shows:&mdash;The Saviour, the Blessed Virgin, SS. Peter and Paul, and
+Eugenius on his knees, the martyrdom of SS. Peter and Paul, S.
+Plautilla, who received the borrowed veil from S. Paul; the Coronation
+of the Emperor Sigismund in S. Peter's in 1433 by Eugenius, "and there
+you see the Prefect of Rome holding the sword before him, their march
+through Rome, the union of the Greek Church with<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> the Latin, the entry
+of the ambassador from the King of Ethiopia, and other histories of the
+time." He had two assistants, Valentine and Leonardo.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="i153" id="i153"></a>
+<img src="images/i153.jpg" width="550" height="206" alt="Plate 35.&mdash;Lunette from Stalls in
+Cathedral, Genoa." title="" />
+<span class="caption">Plate 35.&mdash;<i>Lunette from Stalls in
+Cathedral, Genoa</i>.</span>
+</div>
+
+<p>The choir stalls in the Cathedral at Genoa are attributed to Francesco
+Zambelli of Bergamo, a relative of Fra Damiano. He was helped by Anselmo
+de' Fornari, Andrea and Elia della Rocca, Giovanni Michele de
+Pantaleone, and Giovanni Piccardo, who had already worked in the choir
+of the Cathedral of Savona. 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 Lorenzo, dated
+April 12, 1540. He agrees to get to work not later than the first of
+September next, and to stay in the city till the work is done. Nor must
+he undertake other work under a penalty of 100 scudi, which he is to pay
+in such case without demur or defence. The procurators agree to pay for
+every picture, with its frame, according to the design furnished to him,
+and they also promise to provide lodgings for himself and his family
+without any expense to him, and to give him a present when the work is
+finished. On the same day his relative, Fra Damiano, promises to make
+two pictures, one for the seat of the archbishop and one for the doge,
+to be ready by Christmas Day next, to be paid for at the rate of<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span> 27
+scudi each, measure and design to be given by the signory. The same day
+the aforesaid "Magnifici" had it explained to them that they would have
+to pay the expenses of making sketches. In the panel with the history of
+Moses Zambelli signs his name and domicile. Fra Damiano's subjects
+appear to be the large ones in the panelling before the stalls commence,
+"The Massacre of the Innocents" and "The Martyrdom of S. Laurence." The
+figure subjects are not very successful, the arabesques are better; but
+the panels with open cupboard doors and objects within are not so well
+done as Fra Giovanni's. The stalls were restored in 1868, and a good
+deal of new work put in. The choir of the Cathedral of Savona was made
+in 1500 by Anselmo de' Fornari, a native of Castelnuovo da Scrivia; Pope
+Julius II. (della Rovere), who was born in the city, commissioned it.
+The intarsias are on the elbows of the stalls, half-figures of saints
+nearly life size, singly or in pairs, among which is a portrait of the
+donor, with perspectives of palaces, temples, or interiors on the backs.
+The lower stalls have less important subjects, such as censers,
+chalices, vases of flowers, animals, armillary spheres, musical
+instruments, etc. The cost of these stalls was 1132 scudi d'oro larghi
+(10 francs each and a little more) half of which was paid by Julius<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span>
+II. and half by the Commune of Savona. In the same Cathedral are a fine
+lectern, an episcopal throne, two doors of the chapel of our Lady of the
+Column, and a fine seat, the "banco dell' opera," commonly called
+"Massaria." Upon such a seat sat anciently the four citizens elected by
+the Commune to attend to the interests of the Church governed by them.
+Within this bench were preserved the diplomas, statutes, and arguments
+held to be most important to the greatness of the country. Anselmo de'
+Fornari was helped by Elia de' Rocchi, and the commission was given to
+them jointly on January 30, 1500, on which date Cardinal della Rovere
+promised to pay 570 ducats towards the expenses.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i156" id="i156"></a>
+<img src="images/i156.jpg" width="600" height="382" alt="
+Plate 36.&mdash;Panel from lower row of Stalls, Cathedral, Savona." title="" />
+<span class="caption">
+
+Plate 36.&mdash;<i>Panel from lower row of Stalls, Cathedral, Savona.</i></span>
+</div>
+
+<p>Another intarsiatore who worked with Fra Damiano was Giovanni Francesco
+Capo di ferro of Lovere, on Lake Iseo. His masterpiece is the choir of
+S. Maria Maggiore, Bergamo. When it was determined to commence it in
+1521 the presidents of the church fabric sent to various cities of
+Italy, especially to Milan, to consult over the model to be selected for
+so important a work with the excellent painter and architect M. Bernardo
+Zenale da Treviglio. In the archives of the Misericordia is a book
+entitled "Fabbrica Chori," in which is noted the great expense of the
+designs only, among which were some made by Lorenzo Lotto, by
+Alessandro<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span> Bonvicini, called Il Moretto; Andrea Previtali, Giacomo de'
+Scipioni, Filippo Zanchi, Giuseppe Belli, Domenico di Albano, Niccolino
+Cabrini, Pietro da Nembro, Francesco Boneri, and other painters, as well
+as the making of models and other similar operations. Those who worked
+at carving and tarsia under the direction of Giovanni Francesco were his
+son Zinino and Pietro his brother, who lived in Lodi; Paolo da Pesaro,
+and many others, including a whole family, Giovanni di Ponteranica and
+his four sons. The part towards the sacristy was designed by Lorenzo
+Lotto, the rest by Alessandro Belli. The sedilia on the Gospel side bear
+a signature hung from a tree, "Opus Jo: Franc: D. Cap. Ferr. Bergomi."
+The four panels outside the screen are Noah entering the ark, the
+passage of the Red Sea, the triumph of Judith by the death of
+Holofernes, and the victory of David over Goliath. Thus Tassi speaks of
+them&mdash;"These, to speak the truth, for their admirable workmanship,
+singular art, and beautiful colouring, do not appear to be pieces of
+wood put together, but rather pictures formed by an excellent brush, the
+pieces placed with such mastery, 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<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> made the coloured designs, and as he was a celebrated and
+finished painter and a powerful one, thus certainly these pieces of wood
+put together could stand in face of paintings by the most celebrated
+brushes, which, beyond the exactness of drawing, gave to their works
+singular force and finish; for in them all the possible excellences of
+drawing and of art are displayed, and whoever has had the opportunity of
+well considering them has remained surprised and delighted, never
+believing that human art could reach so high a pitch of perfection." His
+last work is mentioned in 1533, two pictures of Samson, at 60 lire each.
+In 1547 his son Zinino and his brother Giovanni Pietro went on with the
+choir, and finished it nine years later. The total cost for labour alone
+was 7000 lire Imperiali.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i160" id="i160"></a>
+<img src="images/i160.jpg" width="600" height="402" alt="
+
+Plate 37.&mdash;Panel from the Ducal Palace, Mantua." title="" />
+<span class="caption">
+
+Plate 37.&mdash;<i>Panel from the Ducal Palace, Mantua</i>.</span>
+</div>
+
+<p>In Spain there must have been a good deal of intarsia done, seeing how
+long the Moors held the southern part of the country, but very little
+has come down to us. In the Mosque at Cordova was a finely inlaid mihrab
+of the 10th century, which was unfortunately destroyed in the 16th
+century and its material used to make an altar. In the Museum at South
+Kensington are some panels with Hispano-Moresque geometric inlays of
+bone of the 15th century, which are very pleasing; the ground is of
+chestnut, the bone is often stained green, and<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> metal triangles and
+light wood are also used. This use of bone, which is frequently tinted,
+in conjunction with black and pale wood, is characteristic of Spanish
+work of the 16th century. The design is often exceedingly naive,
+employing birds, animals, plants, and trees, with scrolls and monsters.
+There is one cabinet at South Kensington with the animals entering the
+ark, which is most entertaining. The Portuguese carried this work on
+later, especially at Goa, in the 17th century, but neither here nor in
+Spain is the later work tasteful, except occasionally. Cabinets were
+then made at Toledo of ebony and ivory, and at Seville and Salamanca the
+same materials were used for chests and sideboards.</p>
+
+<p>At Burgos is a pulpit decorated with inlay as well as carving, and one
+of the most elaborate works of marquetry of comparatively modern times
+is Spanish. This consists of the decoration of four small rooms in the
+Escurial, upon which 28,000,000 reals (£300,000) was spent in 1831. They
+are called "piezas de maderas finas," rooms of perfect or delicate
+woods, and are entirely covered with landscapes, still-life subjects,
+flowers, etc., made of the finest and most costly woods, and almost like
+paintings; floor, frieze, panels, window recesses, and doors.</p>
+
+<p>There was a mode of decorating furniture much<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> used in Spain and
+Portugal, especially the latter, in which metal plates, cut and pierced
+into elaborate and fanciful patterns, were fastened on to the surface of
+objects made of black wood by means of small pins. From this to the
+decoration of the same surfaces by sinking the metal in the wood is a
+short step, and some think that this was the origin of the metal inlay
+so well known a little later under the name of Boulle work.<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="IN_GERMANY_AND_HOLLAND_ENGLAND_AND_FRANCE" id="IN_GERMANY_AND_HOLLAND_ENGLAND_AND_FRANCE"></a>IN GERMANY AND HOLLAND, ENGLAND AND FRANCE</h2>
+
+
+<div class="figcenter" style="width: 364px;">
+<a name="i166" id="i166"></a>
+<img src="images/i166.jpg" width="364" height="600" alt="Plate 38.&mdash;Panel from the Rathaus, Breslau, 1563.
+
+" title="" />
+<span class="caption">Plate 38.&mdash;<i>Panel from the Rathaus, Breslau, 1563.</i>
+
+</span>
+</div>
+
+<p><a name="i170" id="i170"></a></p>
+<div class="figleft" style="width: 330px;">
+<img src="images/i170.jpg" width="330" height="600" alt="Plate 39.&mdash;Panel from Church of S. Mary Magdalene,
+Breslau.
+
+" title="" />
+<span class="caption">Plate 39.&mdash;<i>Panel from Church of S. Mary Magdalene,
+Breslau.</i>
+
+</span>
+</div>
+
+<p>In Germany there can be little doubt that the art first struck root in
+the southern part of the country, the towns which produced the earliest
+furniture and other objects decorated in this manner being Augsburg and
+Nuremberg. The first names of workers recorded, however, are those of
+the two brothers Elfen, monks of S. Michael at Hildesheim, who made
+altars, pulpits, mass-desks, and other church furniture for their
+monastery, ornamented with inlays, at the beginning of the 16th century,
+and Hans Stengel, of Nuremberg, but none of the inlaid work of either
+has come down to us. Two earlier pieces are figured by Hefner Alteneck,
+the harp already referred to on p. 8, and a folding seat of brown wood
+inlaid with ivory, stained yellow or light green, and black or dark
+brown wood, in oriental patterns, both of the latter part of the 14th or
+beginning of the 15th century. Two other names are mentioned as capable
+craftsmen in Nuremberg, Wolf Weiskopf and Sebald Beck; the latter died
+in 1546.<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> The Augsburg work was much sought after, the "so-called
+mosaic work of coloured woods." The designs for the panels were
+generally made by painters, architectural and perspective subjects being
+most common, but flower pieces, views of towns, and historical
+compositions were also made. A German work thus characterises the later
+16th century productions of this type&mdash;"A certain kind of intarsia
+becomes common in the German panelling and architectural woodwork; also
+in cabinets, vases, and arabesques, with tasteless ruins and
+architectural subjects with arabesque growths clinging all over them, of
+which examples may be seen in the museums at Vienna and Berlin, where
+one may also see works in ebony with engraved ivory inlays, which are
+generally more satisfactory. In German work, however, inlay was never of
+so much importance as carving, and the Baroque influence almost
+immediately affected the character of the design for the worse." At
+Dresden and Munich there were several celebrated inlayers in the 17th
+century, among whom may be named Hans Schieferstein, Hans Kellerthaler,
+of Dresden, and Simon Winkler, N. Fischer, and his son Johann Georg, of
+Munich, the last of whom, with his contemporary Adam Eck, practised
+relief intarsia, of which the latter is said to have been the inventor.
+It was known in the art trade as<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> "Präger arbeit," which was not a name
+which accurately described its origin. Panellings of walls and doors
+were often decorated with inlays, most frequently of arabesques, of
+which the town halls of Lübeck and Danzig furnish fine examples. The
+"Kriegsstube" at Lübeck was done by Antonius Evers, who in 1598-9 was
+master of the joiners' guild, with his companions. The Rathsaal at
+Lüneburg was made in 1566-78, and the name of Albert von Soest is
+connected with it. Danzig, in the "Sommerrathstube," shows intarsias and
+decorations of 1596 in which the painter Vriedeman Vriese and a certain
+Simon Herle, probably a local man, collaborated. Other similar works may
+be seen at Brunswick and Breslau, at Ulm, in the Michel Hofkirche at
+Munich, and in the Cathedral at Mainz. At Coburg, in the so-called
+"Hornzimmer," are intarsias worked from the designs of Lucas Cranach and
+others, at Rothenburgh, at Geminden, at Landshut, and in many places in
+Tyrol and Steiermark, most of them much mixed with carving, too numerous
+to describe. The intarsias at the Hofkirche at Innsbruck, begun in 1560
+by Conrad Gottlieb, may, however, be mentioned as being remarkably fine.
+Schleswig Holstein is full of intarsias of the end of the 16th and
+beginning of the 17th century, of which perhaps the finest are in the
+chapel of the Castle of<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> Gottorp. The princes' prayer chamber or pew
+is elaborately panelled, and the panels are all filled with inlays,
+mostly arabesques. The door and wall panels have elaborate architectural
+forms in relief with base, frieze, and pilasters; and are also fully
+inlaid with arabesques, counterchanged bay by bay. The ceiling is
+coffered, and the male and female patterns are counterchanged
+diagonally. Bosses of lions' heads and rosettes project from the
+surfaces of the beams, between which the intarsia panels are flat. The
+central features in the several divisions are sunk, a central oblong
+with an oval in centre bearing the subject of the Resurrection and two
+side diamonds. The panels surrounding these have raised mouldings, so
+that there is considerable variety of level, and the whole is raised on
+a bracketed cornice, the flat surface of which has small panels inlaid
+in the same fashion. It was put up in 1612 by Duke Johann Adolf of
+Schleswig Holstein and his wife, Augusta of Denmark.</p>
+
+
+<div class="figcenter" style="width: 650px;">
+<a name="i171" id="i171"></a>
+<img src="images/i171.jpg" width="650" height="88" alt="Plate 40.&mdash;Pilaster strip from the Magdalen Church,
+Breslau." title="" />
+<span class="caption">Plate 40.&mdash;<i>Pilaster strip from the Magdalen Church,
+Breslau</i>.</span>
+</div>
+
+<p>In the State archives of Schleswig, in 1608, the names of Andreas
+Sallig, court joiner; Jochim Rosenfeldt, carver; and others are noted.
+Also in 1609, with the addition of the painter Herman Uhr and Hans and
+Jürgen Dreyer, of Schleswig; also the carver Hans Preuszen, and Adam
+Wegener, the figure-cutter. In 1610 the names of Jürgen<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> Koningh,
+joiner's workman, several carvers, and Herman Uhr, the painter, occur.
+In 1611 Herman Uhr and Klaus Barck work in the chapel, the first for 115
+days, and the second for 178 days, and in 1612 several carvers and
+turners work for a long time at the rate of five "schillings" a day, as
+well as Herman Uhr and his assistant. These records distinctly suggest
+that the painter Herman Uhr was the designer, since his name is the only
+one which appears for four years consecutively, though the long period
+during which he worked in 1612 may be explained by the number of
+paintings which cover a portion of the exterior of the pew.</p>
+
+<div class="figcenter" style="width: 372px;">
+<a name="i174" id="i174"></a>
+<img src="images/i174.jpg" width="372" height="600" alt="Plate 41.&mdash;Panel from S. Elizabeth&#39;s Church, Breslau.
+
+" title="" />
+<span class="caption">Plate 41.&mdash;<i>Panel from S. Elizabeth&#39;s Church, Breslau</i>.
+
+</span>
+</div>
+
+<p>In South Germany one often meets with musical instruments which are
+inlaid with conventionalised floral forms. They were produced in the
+17th century in considerable quantities in Wurtemburg, Bavaria, and on
+the Southern Shores of Lake Constance. Nor must one forget the
+extraordinarily elaborate ivory inlays on the stocks of arquebuses. In
+the Wallace collection are many examples, and attention may be drawn to
+a jewel box made in 1630 by Conrad Cornier, arquebus mounter, which is
+decorated with most elaborate scrolls, leaves, and birds of ivory and
+mother-of-pearl, stained green in parts. It is made of walnut, and has
+metal scrolls at the corners of the panel framing. The German<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> inlays
+on the whole rather run to arabesques and strapwork, or naturalistic
+vases of flowers, with butterflies and birds; one meets occasional
+perspectives and even figures, but the work is generally harder and less
+successful than the Italian technique, with a larger and less
+intelligent use of scorched tints.</p>
+
+<p>In the latter part of the 17th 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 another, or even of two others;
+the effect is not quite happy. Tortoiseshell also appears, and metal and
+coloured stones; the striving after what they thought to be greater
+artistry soon caused them to outstep more and more the proper limits of
+the art, and brought about decadence. The South German bride chests of
+the century before are decorated a good deal with inlays, Peter
+Flotner's designs often serving as patterns; a little green and red
+appear mixed with the commoner colours. The architectural forms project,
+and would form a tolerable design by themselves, though scarcely
+suitable to the object to which they are applied. In German work the
+cabinets are often of the most elaborate architectural design, like the
+façade of a palace, made of ebony, or occasionally even of ivory, and
+inlaid with ivory, silver, gold and<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> enamels or precious stones.
+Augsburg was the most celebrated place for such work. The joiner, the
+woodcarver, the lapidary, and the goldsmith all worked together on such
+things. In the North of Germany tarsia was principally used on chests,
+cabinets, seats, and smaller objects of furniture; in South Germany,
+where the Italian influence was stronger, it was much used in
+wall-panelling and the panels of doors. The little castle of Völthurn,
+near Brixen, built by the bishop of that town in 1580-85 and decorated
+by Brixener artists and joiners (now belonging to Prince Lichtenstein),
+shows "panelled walls with architectural features, columns, cornices,
+and friezes, with gabled doorways with columns and pediments, decorated
+with very delicate intarsias, foliage ornaments, flowers, and fruit, a
+work which modern Brixener joiners could with difficulty understand"; so
+says Von Falke. Ebony and ivory work came to Germany in the latter half
+of the 16th century, when Augsburg and Nuremberg soon exported their
+productions of this sort to all the world, and with this commercial
+production the use of male and female designs begins, black on white and
+white on black. The latter is the better and more valued. Hans
+Schieferstein's cabinet, now at Dresden, a work of this period, has an
+ingenious use of this mode of inlay. It is made of ebony or veneered
+with that wood, and<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> has inlays of brown cypress and of ivory. The
+panel on the inside of the door is of the same design as that on the
+outside, but what was white becomes brown, what was brown is black, and
+the black becomes white.</p>
+
+<div class="figcenter" style="width: 324px;">
+<a name="i178" id="i178"></a>
+<img src="images/i178.jpg" width="324" height="600" alt="Plate 42.&mdash;Lower panel of door, 1564&mdash;Tyrolese.
+
+" title="" />
+<span class="caption">Plate 42.&mdash;<i>Lower panel of door, 1564&mdash;Tyrolese</i>.
+
+</span>
+</div>
+
+<p>In the Musée Cluny is a wire drawing bench made in 1565 for Augustus I.,
+Elector of Saxony, who was an amateur craftsman. The two longitudinal
+surfaces are covered with a double frieze of marquetry, one side
+representing a satirical tournament between the Papacy and Lutheranism,
+and the other a carousal of wild men. In front one sees the marqueteur
+with his tools doing his work, below which he has placed his monogram,
+L&mdash;D., accompanied by a cup.</p>
+
+<p>In the Museum at Leipzig is a very fine cabinet, with many drawers
+within, elaborately inlaid with arabesques on a light ground, with a few
+architectural forms in ebony projecting. It is Tyrolese work of the
+beginning of the 17th century, and is a typical example. To the few
+names of German intarsiatori may be added those of Isaac Kiening, of
+Frissen, and Sixtus Loblein, of Landshut.</p>
+
+<p>In the lower Rhine and in Holland tarsia was used for great and small
+chests, sideboards and doors with rich gable crownings, with good
+drawing of flowers, and sprigs of leaves with birds and beasts among<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span>
+them, the ground being generally light. The doors ordered by the Swedish
+Chamberlain, Axel Oxenstiern, now in the drinking-room of the King's
+Castle of Ulriksdal, near Stockholm, are said by Von Falke to be the
+finest examples extant of this kind of work, and to have been made in
+the 17th century by a Dutch craftsman. The best period in Holland was
+the second half of the 16th and the first half of the 17th century. In
+the work of this period the handling is broad, and the composition often
+a little over-full, but the many different woods which Dutch commerce
+made available seduced the marqueteurs into too pictorial a treatment in
+point of colour. Their reputation was so great that Colbert engaged two
+Dutch marqueteurs, Pierre Gole and Vordt, for the Gobelins at the
+beginning of the 17th century, and Jean Macé also learnt the craft by a
+long stay in Holland. Here, as well as in France and Italy, rich chairs
+were commonly decorated with marquetry, and in William and Mary's reign
+such things became the fashion in England. The design employed tulips
+and other flowers, foliage, birds, etc., all in gay colours; ivory and
+mother-of-pearl were used occasionally for salient points, such as eyes.
+Examples of the use and misuse of these materials may be seen in the
+Victoria and Albert Museum at South Kensington.</p>
+
+<div class="figcenter" style="width: 550px;">
+<a name="i182" id="i182"></a>
+<img src="images/i182.jpg" width="550" height="339" alt="Plate 43.&mdash;Top of card table in the Drawing-room,
+Roehampton House. Dutch, 18th Century.
+
+" title="" />
+<span class="caption">Plate 43.&mdash;<i>Top of card table in the Drawing-room,
+Roehampton House. Dutch, 18th Century</i>.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 304px;">
+<a name="i183" id="i183"></a>
+<img src="images/i183.jpg" width="304" height="600" alt="Plate 44.&mdash;Panelling from Sizergh Castle, now in
+Victoria and Albert Museum." title="" />
+<span class="caption">Plate 44.&mdash;<i>Panelling from Sizergh Castle, now in
+Victoria and Albert Museum</i>.</span>
+</div><p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span></p>
+
+<p>Although not much work of importance is known in England which is
+certainly the production of native craftsmen, a few notable examples may
+be called to mind, such as the room from Sizergh Castle, now at South
+Kensington, with inlays of holly and bog-oak, and the fine suite of
+furniture at Hardwick Hall, made for Bess of Hardwick by English workmen
+who had been to Italy for some years. Correspondence passed between her
+and Sir John Thynne on the subject of the craftsmen employed by both,
+and there seems no doubt that Longleat and Hardwick were the work of the
+same men. The inlays upon the long table are particularly fine, and
+except for a certain clumsiness almost recall the glories of the great
+period of Italian marquetry. The cradle of James I. (1566) is enriched
+with inlays.</p>
+
+<p>At Gilling Castle, near Wakefield, are some panels inlaid with flowers,
+etc., which local tradition says were executed by some of the ladies of
+the family, which probably points to their having been done under their
+superintendence by local workmen, and small panels of rough inlay are
+not uncommon in chest and bedstead, overmantel and cabinet from the
+Jacobean period onward. S. Mary Overie, Southwark, possesses a fine
+parish chest decorated with a good deal of Dutch-looking inlay in
+conjunction with carving, and a rather unusual piece of work may be<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span>
+seen at Glastonbury Hall, 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 1726. The use of satin wood
+came into fashion towards the end of the eighteenth century, and was
+accompanied by a delicate inlay of other woods, which, however, scarcely
+went beyond the simplest ornament, since the decoration of furniture by
+means of painting became fashionable at nearly the same period.</p>
+
+<div class="figcenter" style="width: 406px;">
+<a name="i186" id="i186"></a>
+<img src="images/i186.jpg" width="406" height="600" alt="Plate 45.&mdash;Cabinet with falling front, in the
+drawing-room, Roehampton House.
+
+" title="" />
+<span class="caption">Plate 45.&mdash;<i>Cabinet with falling front, in the
+drawing-room, Roehampton House</i>.
+
+</span>
+</div>
+
+<p>It was in France that the most wonderful achievements of the later
+marqueteurs were produced, which have made French furniture recognised
+by the public as well as by connoisseurs as an art manufacture, in
+conjunction with the wonderfully chiselled ormolu mountings. Mention is
+made of intarsia in France as early as the end of the fifteenth century,
+however. In the inventory of Anne of Brittanny's effects (1498) may be
+read "ung coffret faict de musayeque de bois et d'ivoire," and in a
+still earlier one of the Duke de Berry's, dated 1416, is mentioned a
+"grant tableau, où est la passion de Nostre Seigneur, fait de poins de
+marqueterie." This is as early as the intarsias of Domenico di Nicolò at
+Siena, and was probably of foreign manufacture. In 1576 a certain Hans
+Kraus was called "marqueteur du roi," but the first Frenchman known to
+have practised the art is Jean Macé of<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span> Blois, who was at work in
+Paris from 1644 or earlier to 1672 as sculptor and painter. He is said
+to have been the first who brought intarsia into France, under the name
+of "marqueterie," having been for some time in the Netherlands. His
+title was "menuisier et faiseur de Cabinets et tableaux en marqueterie
+de bois." He was lodged in the Louvre in 1644 (when Louis XIV. was six
+years old), "en honneur de la longue et belle pratique de son art dans
+les Pays Bas." His daughter married Pierre Boulle, who in 1619 was
+turner and joiner to the King, probably both to Louis XIII. and Henry
+IV. In 1621 Paul Boulle was born, and five years later Jacques. The
+family was settled at Charenton-le-Pont, near Paris, the principal town
+of the Huguenots for eighty years. Here, in 1649, Pierre Boulle was
+buried, the father of seven children. The earlier seventeenth century
+designs show picturesque landscapes or broken ruins or figures, <i>motifs</i>
+which recur a century later, as in the beautiful panel signed "Follet"
+in the Cabinet by Claude Charles Saunier in the Wallace collection. The
+colours are occasionally stained, and ebony and ivory are favourite
+materials. It is impossible to fix the exact time when copper and
+tortoiseshell came into use in France. Some of the cabinets in which
+they appear are certainly of the period of Louis XIII. It was probably
+imported either from Spain or Flanders; it<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> became very fashionable
+about the middle of the seventeenth century, and ended by entirely
+absorbing the official orders of the Court of Louis XIV. With this work
+the name of Boulle is indissolubly associated. Pierre Boulle was lodged
+in the Louvre about 1642. In 1636 he is on the list for 400 livres
+annually. Jean Boulle died in the Louvre in 1680. He was the father of
+André Charles probably, who was born in November, 1642, and the nephew
+of Pierre. André Charles Boulle in 1672 succeeded to the lodging of Jean
+Macé in the same building, and seven years later by a second brévet to
+the "demilogement," formerly occupied by Guillaume Petit "to allow him
+to finish the works executed for His Majesty's service." It is told of
+him by a contemporary that the talented boy wanted to be a painter, but
+his father would not allow it, and insisted upon his keeping to
+handicraft. He was a man of most varied talent; when he was first
+granted apartments in the Louvre it was as "joiner, marqueteur, gilder,
+and chiseller," and in the decree of Louis XIV., by which he was
+appointed the first art-joiner to the King, he is called "architect,
+sculptor, and engraver." He had a passion for collecting drawings,
+paintings, and other works of art, and when his workshops were burnt his
+collection was valued at 60,000 livres. This taste brought him into
+money difficulties, and in<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span> 1704 his creditors obtained a decree
+against him, 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 them. He was a member of the Academy of
+S. Luke as sculptor and brass engraver. The Cabinet of the Dauphin was
+considered his masterpiece, in which the walls and ceiling were covered
+with mirrors in ebony frames, with inlays of rich gilding, and the floor
+laid with wood mosaic, in which the initials of the Dauphin and his wife
+were intertwined. The drawing made for it is now in the Musée des Arts
+Décoratifs, but the work itself no longer exists. On August 30th, 1720,
+his works were burnt, it was thought by a thief whom the workmen of
+Marteau, his neighbour at the Louvre, had surprised some months before
+and punished summarily, who, by way of vengeance on the "menuisiers,"
+set fire to the "ébénistes." Nearly everything he possessed was either
+burnt, lost, or stolen; models of the value of 37,000 livres, wood and
+tools worth 25,000, many pieces of furniture finished or in course of
+construction; works in metal, as well as in wood, and his whole
+collection of drawings, paintings, and objects of art. His total loss
+was estimated by experts at 383,780 livres, more than 1,000,000 of
+francs in the money of<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> to-day, from which an income of 50,000 francs
+might be expected. This valuation was on an inventory drawn up shortly
+after, perhaps for the purpose of getting the King's help. The number of
+undeniable productions of his hand is small, but objects which came from
+the studio after his death are tolerably plentiful since his four sons
+carried on the business, though not the inspiration; contemporaries
+characterised them as "apes." Two commodes which were in Louis XVI.'s
+bedroom at Versailles are now in the Bibliothêque Mazarin, and a chest
+which was forgotten in the Custom House at Havre now belongs to the
+museum of that city. A cabinet is in the Mobilier National, and a
+pedestal is in the Grünes Gewölbe at Dresden. Other genuine Boulles are
+in the Wallace collection, in the Rothschild collection, and at the
+Hotel Cluny. A writing table, for which the millionaire Samuel Bernard
+(who died in 1739), a great collector of art treasures, had given 50,000
+livres, appears to be lost. M. Luchet asks, with some truth, "Can you
+imagine a financier, Jew or Christian, paying 100,000 francs for a new
+bureau? Old, it would be another thing&mdash;an object of art to sell."
+Boulle was most careful over his materials. He had 12,000 livres worth
+of wood in his stores, fir, oak, walnut, battens, Norwegian wood, all
+collected and kept long and carefully for the benefit of the work.<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span> He
+also used real tortoiseshell, which, is replaced in the economical art
+industry of the day with gelatine. The mountings were always chiselled,
+cast quite roughly, so that the artist did nearly everything. He was
+helped in this part of the work by Domenico Cucci and others. The inlay,
+instead of being tortoiseshell, may have been horn, mother-of-pearl,
+ivory, or wood; the motive, instead of brass, may be pewter, silver,
+aluminium, or gold; it is still known by the name of Boulle work. Boulle
+himself worked intarsia of wood also at intervals all through his life.
+He died February 29th, 1732.</p>
+
+<div class="figcenter" style="width: 530px;">
+<a name="i190" id="i190"></a>
+<img src="images/i190.jpg" width="530" height="600" alt="Plate 46.&mdash;Cabinet belonging to Earl Granville. Boulle
+work of about 1740.
+
+" title="" />
+<span class="caption">Plate 46.&mdash;<i>Cabinet belonging to Earl Granville. Boulle
+work of about 1740</i>.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 411px;">
+<a name="i191" id="i191"></a>
+<img src="images/i191.jpg" width="411" height="600" alt="Plate 47.&mdash;Top of writing table in
+the Saloon, Roehampton House. Period of Louis XV." title="" />
+<span class="caption">Plate 47.&mdash;<i>Top of writing table in
+the Saloon, Roehampton House. Period of Louis XV</i>.</span>
+</div>
+
+<div class="figcenter" style="width: 439px;">
+<a name="i194" id="i194"></a>
+<img src="images/i194.jpg" width="439" height="600" alt="Plate 48.&mdash;Encoignure, signed J. F. Oeben, in the Jones
+bequest, Victoria and Albert Museum.
+
+" title="" />
+<span class="caption">Plate 48.&mdash;<i>Encoignure, signed J. F. Oeben, in the Jones
+bequest, Victoria and Albert Museum</i>.
+
+</span>
+</div>
+
+<p>His pupil, J. F. Oëben, became "ébéniste du roi," with a lodging in the
+<i>dépendances</i> of the Arsenal in 1754. He was marqueteur especially.
+Examples of his work are both at South Kensington and in the Wallace
+collection, and in the Gallerie d'Apollon at the Louvre is the great
+secretary bureau, which he was making for Louis XV. at the time of his
+death, in or about 1765. His widow carried on the establishment; her
+foreman, J. Henry Riesener, completed the unfinished work. He was also a
+German, born in 1735 at Gladbach, near Cologne, and coming to Paris
+quite young entered Oëben's atelier. On his death he was made foreman,
+and two years after, when he was thirty-two years of age, married his
+master's widow. The year following<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> 1768 he was received as master
+<i>menuisier ébéniste</i>. In 1776 his wife died, and six years after he
+married again, but was divorced as soon as the new legislation allowed
+it. When he was married the first time he had no fortune, but fifteen
+years after he declared in his marriage contract that there was then
+owing to him by the King, the royal family, and other debtors 504,571
+livres, without counting the finished objects in his warehouses, his
+models of bronze, his jewels, and personal effects, and several
+important life annuities. Between 1775 and 1785 he received from the
+Garde Meuble 500,000 livres, so profitable had the production of
+furniture of the highest class become. He was in full work at the time
+of the Revolution, and two of his finest pieces bear the dates 1790 and
+1791 in their marquetry. When the furniture of the royal residences was
+sold, Riesener bought back several pieces, being aided by Charles
+Delacroix, the husband of his first wife's daughter, who directed the
+sale at Versailles. He tried to sell these again, but with poor success,
+and when he died, on January 8th, 1806, at the age of 71, he was again
+almost without fortune. His beautiful bureau secretary in the Wallace
+collection, made for Stanislas Leczinski, King of Poland, and dated
+1769, shows him at his best. The workmanship is superb, and the design
+most pleasing, almost the only point to which<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> exception may be taken
+being the crude green, obtained by staining, here and there. The
+half-length of Secrecy in the oval cartouche at the back is as good as
+the best Italian figure work, and was often reproduced by him. The
+flower panels are particularly delicate and beautiful. There is an
+upright secretary, also by him, in the same collection almost equally
+delicate and beautiful in its marquetry decorations. The diaper patterns
+so characteristic of this period are most beautifully executed, but are
+not very interesting, and the mountings take the interest rather from
+the marquetry, becoming more and more delicately designed and
+elaborately worked. The principal woods used by Riesener were tulip and
+rose wood, holly, maple, laburnum, purple wood, and sometimes snake
+wood. His contemporary, David Roentgen, used principally pear, lime, and
+light-coloured woods, burnt for the shades.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i198" id="i198"></a>
+<img src="images/i198.jpg" width="600" height="213" alt="Plate 49.&mdash;Panel from back of Riesener&#39;s bureau, made
+for Stanislas Leczinski, with figure of Secrecy.
+
+" title="" />
+<span class="caption">Plate 49.&mdash;<i>Panel from back of Riesener&#39;s bureau, made
+for Stanislas Leczinski, with figure of Secrecy</i>.
+
+</span>
+</div>
+
+<div class="figcenter" style="width: 500px;">
+<a name="i202" id="i202"></a>
+<img src="images/i202.jpg" width="500" height="496" alt="Plate 50.&mdash;Roundel from bureau, made for Stanislas
+Leczinski, King of Poland, now in the Wallace Collection.
+
+" title="" />
+<span class="caption">Plate 50.&mdash;<i>Roundel from bureau, made for Stanislas
+Leczinski, King of Poland, now in the Wallace Collection</i>.
+
+</span>
+</div>
+
+<p>Paris has endured a regular invasion of German craftsmen from the middle
+of the eighteenth century, and the Faubourg S. Antoine still has a
+number of German-born joiners among its workmen. Among the most
+celebrated of them was David Roentgen, born either at Neuwied or
+Herrenhagen in 1743. In 1772 he succeeded his father, Abraham Roentgen,
+in his business at Neuwied am Rhein, which he had founded in 1753, and
+from which he retired into the<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span> house of the Moravian brethren, where he
+lived for twenty years longer. The engraver Wille relates that he came
+to his house in Paris in 1774 with letters of recommendation, and that
+he put him in touch with designers and sculptors. When Marie Antoinette
+became Queen he was appointed "Ébéniste méchanicien" to the Queen. He
+was in such good odour with her as to be charged on several occasions to
+carry presents to her mother and sisters. Her favour excited the
+jealousy of the other joiners, and they contested his right to sell
+foreign-made furniture. He got out of this difficulty by being admitted
+a member of their corporation on May 24th, 1780. He was so entirely
+master of his craft, and increased its resources so much by using exotic
+woods, that contemporary opinion thought it difficult to imagine greater
+success in the particular direction in which he worked. In 1779 he
+showed a table of marquetry, made in a new fashion, which he described
+as a mosaic, "in which the shades are neither burnt, nor engraved, nor
+darkened with smoke, as one has been obliged to express them until now,"
+a return in fact to the earlier Italian method. His designs were many of
+them made by Johann Zick of Coblenz, others by Jean Baptiste Le Prince,
+chinoiseries, and shepherd games. Under him the later German marqueterie
+reached its highest point. His works went all over Europe, from<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span> St.
+Petersburg to Paris, and replicas were ordered by those who were obliged
+to forego the originals. He sold to Catherine of Russia a series of
+articles of furniture for 20,000 roubles, and the Empress added a
+present of 5000 roubles and a gold snuff-box. The King of Prussia was
+his constant protector, and in February, 1792, gave him the title of
+Secret Councillor, and in November of the same year named him Royal
+Agent on the Lower Rhine. The Revolution ruined him, and he was obliged
+in 1796 to close his factory. He abandoned France at this period, and
+the Government, considering him as an "Emigré," seized all his effects
+in 1793, including the furniture made at Neuwied, then in his stores. He
+died at Wiesbaden in 1807. With him these incomplete historical notes
+may terminate. Many of the names mentioned are but names, while in many
+cases names and works cannot be connected, for the carver and
+intarsiatori were often, like other craftsmen, content to do the work
+without caring about the reputation of doing it; 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 rarity, and certainly do not show them
+to any disadvantage compared with other artists, or those among whom
+their lives were passed.<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THE_PROCESS_OF_MANUFACTURE" id="THE_PROCESS_OF_MANUFACTURE"></a>THE PROCESS OF MANUFACTURE</h2>
+
+
+<p>The early mode of working intarsia in Italy, where it is more than 100
+years more ancient than in any other country, was by sinking forms in
+the wood, according to a prearranged design, and then filling the
+hollows with pieces of different coloured woods. At first the number of
+colours used was very small&mdash;indeed, Vasari says that the only tints
+employed were black and white, but this must be interpreted freely,
+since the colour of wood is not generally uniform, and there would
+consequently often be a difference in tint in portions cut from
+different parts of the same plank. A cypress chest of 1350, now in the
+Victoria and Albert Museum, shows another mode of decoration standing
+between tarsia proper and the mediæval German and French fashion of
+sinking the ground round the ornament and colouring it. In this example
+the design is incised, the ground cleared out to a slight depth, and the
+internal lines of the drawing and the background spaces filled in with a
+black mastic, the result much resembling niello. If dark wood be
+substituted for the mastic background we<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span> have almost the effect of
+the stalls of the chapel of the Palazzo Pubblico at Siena, which, though
+an early work of Domenico di Nicolò, are well considered in design, well
+executed, and quite satisfactory in point of harmony between material
+and design.</p>
+
+<div class="figcenter" style="width: 437px;">
+<a name="i206" id="i206"></a>
+<img src="images/206.jpg" width="437" height="450" alt="Plate 51.&mdash;Antonio Barili at work, by himself.
+
+" title="" />
+<span class="caption">Plate 51.&mdash;<i>Antonio Barili at work, by himself.</i>
+
+</span>
+</div>
+
+<p>At the commencement of the Renaissance the fancy of the intarsiatori
+overflowed in the most graceful arabesques, which are perfectly suited
+to the material and are often executed with absolute perfection, and
+these may perhaps be held to be the most entirely satisfactory of their
+works, though not the most marvellous. The ambition of the craftsman led
+him to emulate the achievements of the painter, and we find, after the
+invention of perspective drawing, views of streets and other
+architectural subjects, which are not always very successful, and the
+representation of cupboards, the doors of which are partly open, showing
+objects of different kinds on the shelves, which are often rendered with
+the most extraordinary realism, when the means adopted are
+considered.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> This realism was much assisted by Fra Giovanni da
+Verona's discovery of acid solutions and stains for treating the wood,
+so as to get more variety of colour, and by the practice of scorching
+portions of the pieces of which the subject was composed, thus
+suggesting<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span> roundness by means of shading. It was a common practice to
+increase the decorative effect by means of gilding and paint, thus
+obtaining a brilliancy of colour at the expense of unity of effect
+sometimes, one may think, if one may judge from the panels in the stalls
+at the Certosa of Pavia&mdash;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 times. At the best period it was used almost entirely
+for church furniture and the furnishings of public edifices, in Italy at
+least, and many of the ranges of stalls still occupy their original
+positions.</p>
+
+<div class="figcenter" style="width: 408px;">
+<a name="i210" id="i210"></a>
+<img src="images/i210.jpg" width="408" height="600" alt="Plate 52.&mdash;Panel from the Victoria and Albert Museum.
+
+" title="" />
+<span class="caption">Plate 52.&mdash;<i>Panel from the Victoria and Albert Museum</i>.
+
+</span>
+</div>
+
+<p>The principal woods used in the work of the best period were pear,
+walnut, and maple, though pine and cypress also appear. Ebony was
+imitated with a tincture of gall apples, green was obtained with
+verdigris, and red with cochineal. Sublimate of mercury, arsenical acid,
+and sulphuric acid were also used to affect the colour of the wood. This
+treatment lessened its lasting power, and often caused its decay through
+the attacks of worms. The scorching was done with molten lead, or in
+very dark places with a soldering-iron. It is now done with hot sand.
+The following technical description is taken from a German book of
+1669&mdash;"Wood-workers paint with quite thin little bits of wood, which
+are<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span> coloured in different ways, and the same are put together after
+the form of the design in hollowed-out panels, fastened with glue and
+polished with an iron on the surface so that they may become quite
+smooth. They paint at the present time in this manner tables and jewel
+chests or trays, and all in the highest artistic manner. Also separate
+pictures are put together, which copy the works of the most celebrated
+masters. First, they take small, very thin pieces of pear or lime dyed
+through with different colour-stuffs, which are prepared by certain
+processes, so that the wood is the same colour within and without. Then
+they give them their several shapes as the kind of picture requires,
+cutting them according to the size and shape, and stick them with glue
+on the board. In the place of wood they sometimes use bone, horn, and
+tortoiseshell cut into fine strips, also ivory and silver. The whole
+work is called by the Germans 'Einlegen' or 'Furnieren,' because
+although each piece is separate from the others no part is taken out
+from the surface in which such figures are inlaid, but the whole is
+covered." With the use of the fret-saw for cutting the patterns, and the
+consequent discovery of the possibility of counterchanging the ground
+and the design (that which was black becoming white, and <i>vice versâ</i>),
+called male and female forms, the manufacture of tarsia, or marquetry
+rather, commenced to<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span> take a more commercial aspect, the cost being
+considerably reduced by the making of several copies by one sawing. This
+is the process used at the present day.</p>
+
+<p>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 wood, and also on the level grounding
+out of the matrix. In Spanish and Portuguese work ivory or ebony pins or
+pegs were used also. Marquetry is a form of veneering, and the operation
+is thus conducted:&mdash;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 clean, newly-worked surface; the ground is then well wetted with
+glue, at a high temperature, and the two surfaces pressed tightly
+together so as to squeeze as much out as possible. The parts are screwed
+down on heated metal beds, or between wooden frames, made so as to
+exactly fit the surfaces in every part, called "cauls," until the glue
+is hard. In cutting the patterns of Boulle work two or three slices of
+material, such as brass and tortoiseshell or ebony, are glued together
+with paper between, so that they may be easily separated when the
+cutting is done. Another piece of paper is glued outside, upon which the
+pattern is indicated. A fine watch spring<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span> saw is then introduced
+through a hole in an unimportant part of the design, and the patterns
+sawn out as in ordinary fretwork. The slices are then separated, 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
+pattern. When there are only two slices of material the technical term
+for them is Boulle and Counter. When the various parts have been
+arranged in their places, face downwards, paper is glued over them to
+keep the whole in place, and filings of the material rubbed in to fill
+up any interstices. The whole is then toothed over and laid down in the
+same manner as ordinary veneer, the ground being first rubbed over with
+garlic, or some acid, to remove any traces of grease. Marquetry of wood
+is made in the same way, but more thicknesses of wood are put together
+to be sawn through, as many as four not being an unusual number, while
+for common work even eight may be sawn at one time, and the various
+sheets are pinned together only with a stiff backing of common veneer of
+good thickness to steady the work. Dye woods are used as far as
+possible, and holly stained to the required colour serves for greens and
+blues and a few other tints. Pearl is always cut in one thickness, and
+is glued down on a backing of wood at least &#8539;inch thick.<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span></p>
+
+<p>Another mode of cutting the design approximates more nearly to the
+ancient practice. The whole design is drawn on paper attached to the
+ground, or counter, and cut out entirely. The various portions of inlay
+are then cut from different veneers of the desired colour and fitted
+into their places. Another method is to paste the paper with the whole
+design on the ground, and on it to paste the various ornaments cut from
+suitable veneers, then to cut through the ground, the saw grazing the
+edges of the ornamental forms. The parts so cut out are then pushed
+through the ornaments, separated from the paper, and laid down in the
+vacant places. A variation on this method is to cut out the forms to be
+inlaid in different veneers, and glue them in their proper positions on
+a sheet of paper. A sheet of white paper is pasted on the veneer, which
+is to serve as the ground. A sheet of blackened paper is laid over it,
+and over this the sheet with the forms to be inlaid, which are then
+struck with a light mallet, so as to print an impression of their edges
+upon the paper. The printed shapes are then cut out one at a time, care
+being taken to make the saw exactly follow the outline. The object of
+all these processes is, of course, to ensure the ground and the inlaid
+forms exactly fitting. After cleaning the surface from paper and glue it
+is smoothed with plane and scraper, and the<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span> markings on leaves or other
+figures made by a graver, if not already made by saw cuts, and they and
+the lines between the male and female forms are filled with shellac or
+wood-dust and glue.</p>
+
+<p>In Germany the veneers used are one to two millimetres thick, <i>i.e.</i>,
+one-twenty-fifth or two-twenty-fifths of an inch. The principal woods
+used are walnut, pear, ash, bird maple, holly, olive, amboyna, rose
+wood, violet wood, thuya, and palisander, which name is also used on the
+Continent for rose wood and violet, though it is really a sort of cedar.
+Tortoiseshell, ivory, and metal plates are also used, principally of
+pewter, brass, and zinc. Seeman's Kunstgewerbliche Handbücher advise
+thus:&mdash;"When ivory or hard precious metals are used it is better to
+divide the design into smaller parts. To avoid damage to the effect by
+time and change of colour in the woods such combinations as the
+following are to be preferred:&mdash;Mahogany and black walnut, pear and
+black walnut, Hungarian ash and black thuya, pear and palisander, brass
+and black, etc. For fine, small ornament smooth, even-textured woods
+should be used such as pear, mahogany, maple, or holly; for broad
+patches and backgrounds, which are not required to be dark, you should
+use patterned or streaked woods, like bird maple, amboyna, thuya, or
+olive. Ivory, mother-of-pearl, and metals in large pieces look hard<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span> and
+loud, so it is better to use them in quite small pieces. If engraved,
+larger pieces may be employed and used for inscription tablets, coats of
+arms, and cartouches, or for bits of figures, birds, and butterflies.
+Shading may be done in various ways. Lines may be engraved and filled up
+with a glue cement, or hatchings may be drawn with a scorching solution,
+or the wood may be burnt with hot sand. The sand is made hot in an iron
+pot, and the piece to be darkened inserted. Or it may be scorched with a
+hot iron or spirit or gas flame. The simplest way is with the poker used
+in poker work." In England the sand is heaped upon a metal plate which
+is heated underneath. The veneer is held with tweezers and pushed into
+the sand, the gradation of heat giving gradation of tone. The hot sand
+shrinks the wood, and allowance must be made for this.</p>
+
+<p>Veneers are both saw and knife cut; the saw wastes about as much as the
+thickness cut in sawdust. They range from 8 to 15 to the inch. The
+French saw-cut their veneers thinner than the English do.</p>
+
+<p>The woods in every-day use at the present day are white holly, box, pear
+(in various shades), and holly (dyed all colours); while the veneer
+merchants sometimes supply also planetree, sycamore, chestnut,
+Brazilwood, yellow fustic, barwood, tulipwood,<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span> kingwood, East and West
+India satinwood, rosewood, ebony, ash, harewood, Indian purplewood,
+hornbeam, and snakewood. Bird's-eye maple and partridgewood may also be
+bought.</p>
+
+<p>Dye woods used for marquetry&mdash;Braziletto, cam wood, logwood, Nicaragua,
+red sanders, sapan, ebony, fustic (a species of mulberry), Zante (a
+species of sumach). "Ebony is the black pear tree of Madagascar, at
+least they make cider of its fruit." So says M. Luchet in an interesting
+excursus on furniture manufacture in his book on the Paris Exhibition of
+1867, in which he gives further details of ancient manufacture and its
+modern imitation. "I know a factory," he says, "where the tortoiseshell
+is false, the mother-of-pearl false, the ivory holly wood; the brass is
+the only real thing, because science applied to industry has not yet
+found out how to imitate it. When Boulle employed wood in his work it
+was ebony&mdash;they have abandoned that for blackened pear wood, under the
+pretext that ebony is a hard, close wood which twists, splits, and
+cracks, takes glue badly, and refuses varnish. So that they call a man
+who never uses ebony 'ébéniste.' They did not trouble about these things
+in the time of Louis XIV. They never varnished their furniture, so it
+did not matter that ebony would not take varnish.... There are two sorts
+of tortoiseshell, that of the Antilles, often bad<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span> and scaly, but good
+enough for common work, because it is thin and equal in thickness, and a
+little carmine vermilion gives it a not unpleasant red tint. The Indian
+tortoiseshell is thick and opaque and unequal, demanding preparation and
+welding. It can only be used for expensive work, and takes easily a
+black preparation which makes it magnificently austere." One ought to
+mention here that good shell was often treated with carmine vermilion or
+with gold, and that without a colour background it loses half its beauty
+and value.</p>
+
+<p>"In modern times six or eight couples of shell and metal are sawn
+together, whereas two was the number in the fine period. This saves
+money. A new Boulle bed, secretary, or chest of drawers should cost 15
+to 20,000 francs. You may easily get one for 2000 made of rubbish. An
+honest chest of drawers with tolerable mountings is worth 1500 francs.
+In gelatine tortoiseshell and brass or zinc of the future 100 is the
+price.... The mode still practised in Paris of making a good 'placage'
+in preparation for marquetry or Boulle work is as follows:&mdash;A thicker or
+thinner sheet of Italian poplar is placed between two sheets of oak with
+the grain the other way, then on the external sheet of oak is placed the
+wood intended to be seen, also with the grain the other way, the whole
+of convenient thickness, and glued with the best glue.<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span> Good glue is the
+nurse of the wood, say the masters. These four or five thicknesses of
+wood pulling against each other neutralise all bad effects, and the
+result is very good. The external covering is usually either mahogany,
+American walnut, or violet wood (a sort of cedar). Sometimes it is
+ebony, or perhaps a collection of small pieces of wood, such as acacia,
+which are called by all sorts of pretty names. It is of this fine and
+good 'plaqué' that they still make cupboards at 1000 francs, beds at 600
+francs, and bureaus at 800 francs, which are the success and the pride
+of Parisian joinery." The marqueteurs of Nice made use of olive for
+veined grey backgrounds, orange and lemon for pale yellow, carob for
+dark red, jujube tree for rose colour, holly for white, and charred fig
+for black; arbutus served for dark flesh, and sumach for light.</p>
+
+<p>It is advisable after the marquetry has been put together to reduce the
+surface to a level and do something in the way of polishing, though it
+is not necessary to carry the process as far as is often done by the
+cheap furniture manufacturers. If nothing but wood has been used, the
+surface should be reduced to a level with a toothing plane and scraped
+with a joiner's scraper, taking care to apply it obliquely to the joints
+as far as possible, so as to avoid digging down and so<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span> failing in the
+object aimed at. If done very well and carefully it sometimes only
+requires to be rubbed down with its own shavings, but it is more usually
+necessary to follow with a worn piece of glass-paper on a flat piece of
+cork, but the dust must not be allowed to collect into hard lumps upon
+it, as these lumps would scratch the surface. Holtzapffel says that when
+metal, ivory, pearl, shell, or tortoiseshell are mixed with the wood the
+surface must be carefully levelled with flat files, ending with a very
+smooth one, after which the scraper should be used if possible and
+followed by glass or emery paper very sparingly. When metal
+preponderates emery paper is best, and really good <i>sand</i> paper may also
+be used, but all paper should have very little "cut," should be applied
+dry, and allowed to become clogged, so as to act principally as a hard
+dry rubber or burnisher. If the polishing is at all in excess the wood
+will get rubbed or worn down below the metal. 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 powder, much
+like polishing marble, using oil instead of water. Wet polishing should
+not be used for inlaid works; the water may soften the glue. A
+superficial wetting is likely to warp the woods and make them curl up at
+the edges, and the grain of the<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span> wood is almost certain to rise. Oil is
+better than water, but light woods are almost certain to become stained
+by polishing powders and fluid. To avoid this modern marquetry is often
+covered with varnish applied with friction like French polish, or laid
+on in several coats with a brush and polished off with pumice and rotten
+stone, like the Vernis Martin, being first levelled with a file or
+scraper and smoothed with glass-paper.<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span></p>
+
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THE_LIMITATIONS_AND_CAPABILITIES_OF_THE_ART" id="THE_LIMITATIONS_AND_CAPABILITIES_OF_THE_ART"></a>THE LIMITATIONS AND CAPABILITIES OF THE ART</h2>
+
+
+<p>The process described, by which the early works in intarsia were
+produced, was slow and tedious; and, as may be supposed, though fame
+might be won by its exercise, the winning of fortune was a very
+different thing. Domenico di Nicolò, who made the stalls in the chapel
+of the Palazzo Pubblico, Siena, and was thence called "del Coro," or
+"dei Cori," a name which descended to his children in place of their
+proper name of Spinelli, is an example in point. The petitions to the
+priors already referred to, printed in Milanesi's Documenti per la
+Storia dell' Arte Senese, show how little a man of talent, who was
+constantly employed for many years and gained great reputation in his
+art, could do to provide for his old age; and many returns of both<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>
+painters, sculptors, and woodworkers, made for the purposes of taxation
+and printed in the same book, show that even in a great and flourishing
+town like Siena, which prided itself on its artistic reputation, it was
+often most difficult for the craftsmen, on whose work that reputation
+was based, to make a living.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> It is true that there were thirty-four
+workshops for wood carving and intarsia in<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span> Florence at one time (1478,
+as Fabroni says in his life of Lorenzo the Magnificent), from which one
+may conclude that work of a certain sort was plentiful and lucrative,
+and panels of intarsia were certainly sometimes exported, but it may be
+observed that all the most celebrated intarsiatori practised some other
+form of art also, and generally abandoned intarsia sooner or later; the
+exceptions being those who belonged to the Olivetan and Dominican
+orders, and therefore had no<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> anxiety about their living. Of these
+craftsmen the most celebrated were Fra Giovanni da Verona and Fra
+Damiano of Bergamo, whose works were so elaborate and so finely executed
+as to excite the suspicion that they were painted with the brush, though
+supposed to be executed with wood and the chisel. The anecdote of the
+Emperor Charles V.'s trial of Fra Damiano's tarsia panel in S. Domenico,
+Bologna, attests the wonderful quality of the work, and its success in
+attaining a doubtful aim, 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 brush. The designs from which the
+intarsia was executed were often furnished by painters of repute, and
+pictures or portions of pictures were copied, a proceeding which Fra
+Giovanni's discovery of stains and washes of different kinds made
+easier, until the proper limits of the art were far overpassed, and its
+decorative quality quite lost sight of in the attempt to rival a form of
+art the requirements of which were quite different. The beautiful
+arabesques, which the designers of the early Renaissance poured forth
+with exhaustless fertility, show the capabilities of the process for
+decorating flat surfaces, and the perspectives of cupboards and
+buildings were often most successful without passing the limits imposed
+by the material.<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span></p>
+
+<p>The question of the limits within which the craftsman's effort should be
+confined in any form of art craftsmanship is a thorny one, for the
+attempt to overstep those limits has always had attractions for the
+craftsman who is master of his craft, and who sighs for fresh fields to
+conquer, knowing better than the outsider what are the difficulties
+which he has overcome successfully in any piece of work from the side of
+craftsmanship, though often with disastrous results when the matter is
+regarded from the point of view of excellence in design and purity of
+taste. 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
+illegitimate; and if this be so, it is equally illegitimate to stain any
+of them; but it is undeniable that a great addition to the resources of
+the inlayer was made by the discoveries of Fra Giovanni, and it seems
+unreasonable to refuse to make any use of them because later
+intarsiatori abused these means of gaining effect. The earliest work, it
+is true, depends mainly upon silhouette for its beauty, but does not
+altogether disdain lines within the main outline, and the abandonment of
+these inner lines, whether made by graver or saw, so reduces the
+possibilities of choice of subject as to restrict the designer to a
+simplicity which is apt to become bald. A great deal may be done by
+choice of pieces of wood and arrangement of<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span> the direction of the
+lines of the grain; some of Fra Giovanni's perspectives show very
+suggestive skies made in this manner, and Fra Damiano was very
+successful in thus suggesting the texture of much veined and coloured
+marble and of rocks, but directly the human figure enters into the
+design these expedients are felt to be insufficient and inexpressive,
+and inner lines have perforce to be introduced. The opposite extreme is
+such work as the panels by the brothers Caniana in the Colleoni Chapel
+at Bergamo, in which the composition and drawing of the figures recall
+the designs of the Caracci, and the technique of the shading reminds one
+of a copper plate, while the tinting and gradation of the colours take
+away all impression of a work in wood, substituting that of a coloured
+engraving. Here it is quite evident that the desire to imitate pictorial
+qualities has led the craftsman far away from what should have been his
+aim, viz., to display the qualities of the material which he was using
+to the best advantage, consistently with the position and purpose of his
+work in it. Not that perfection of workmanship is to be decried, though
+it is only occasionally that one is able to make use of, or indeed
+produce it. But the æsthetic sense demands that consideration for
+material and purpose in every production which the joy and pride of the
+craftsman in overcoming difficulties sometimes pre<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>vents him from
+giving. Notwithstanding the beauty of much of the marquetry of the
+periods of Louis XIV. and Louis XV., one often feels that design has
+been put to one side in the endeavour to gain a realistic effect, and
+the same defect may be traced more clearly in the clumsier Dutch and
+German productions. Even in the Italian work of an earlier date every
+now and then the same fault peeps out, though the excellent taste of the
+nation at that period prevented the Italians from falling into such
+excesses, and one generally feels the wood even in their most elaborate
+perspectives. It may be asserted in a general way that the more colours
+are used the less likelihood is there of the effect being quite
+satisfactory, and that any light and shade introduced should be of the
+simplest kind. A slight darkening of parts of the wood to gain a certain
+suggestion of roundness is quite admissible, but the expedient should be
+used with discretion, lavish employment of it leading to heaviness of
+effect and a monotony of tone which are most unpleasing. If ivory or
+metals are introduced the greatest care is necessary to prevent them
+from giving a spotty and uneven effect to the design, for neither these
+two materials nor mother-of-pearl marry quite with the tone of the wood;
+and this inequality is likely to increase with age, as the wood becomes
+richer and mellower in colour. Such<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span> materials should be so used that
+the points where they occur may form a pattern in themselves
+independently of the rest of the design, so that the effect may be
+pleasing at first sight, before the general meaning of the less
+prominent details is realised. Any other way of using them courts
+failure, since the effect of the whole design is ruined by the
+uncalculated prominence and inequality of these materials here and
+there. The Dutch sometimes made use of mother-of-pearl, in pieces upon
+which engraving broke up the hard glitter of the material, mingled with
+brass wire and nails or studs driven into the surface of the wood. The
+two materials appear to be quite harmonious, and small articles
+decorated in this manner are effective and satisfactory. The Italian use
+of ivory for the decoration of musical instruments, chess and backgammon
+boards, and other small objects is almost always successful, the
+proportion between wood and ivory being well judged, and the forms of
+the ornament pleasing.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i228" id="i228"></a>
+<img src="images/i228.jpg" width="600" height="429" alt="
+
+Plate 53.&mdash;Panel from S. Maria in Organo, Verona." title="" />
+<span class="caption">
+
+Plate 53.&mdash;<i>Panel from S. Maria in Organo, Verona</i>.</span>
+</div>
+
+<p>The modern French marquetry, though exceedingly clever and beautiful in
+its use of various woods, errs by want of consideration of the surface
+to be decorated, the subjects flowing over the surfaces and overflowing
+the proper boundaries very often; and also sins in using many woods of
+very slightly different tones and textures, which will almost certainly<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span>
+lose their reciprocal relation in the course of time, and thereby their
+decorative effect. The ancient intarsias were made of a small number of
+different woods, and the effect was kept simple; pear, white poplar,
+oak, walnut, and holly almost exhaust the list; while even Roentgen's
+work, in which he used a larger number of woods, including some of those
+foreign trees which Dutch commerce made available for him, has suffered
+from their changing and fading. I would advise the marqueteur to
+disregard most of the many foreign woods now in the market, and content
+himself with simple and well-proved effects for the most part, trusting
+rather to beauty of design to give distinction to his work than to
+variety of colour and startling effects of contrast.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="i234" id="i234"></a>
+<img src="images/i234.jpg" width="600" height="414" alt="Plate 54.&mdash;Panel from S. Maria in Organo, Verona.
+
+" title="" />
+<span class="caption">Plate 54.&mdash;<i>Panel from S. Maria in Organo, Verona.</i>
+
+</span>
+</div>
+
+<p>It is the fashion at the present day to exhort the designer to found his
+design upon the study of nature, which is right enough if accompanied by
+discretion and a feeling for style. In many mouths, however, the
+exhortation means that the copying of natural forms is advised, and
+often, if one may judge from the examples which one sees around one,
+without selection either of subject or form. Now it is obvious that it
+is sometimes the beauty of form in natural objects which attracts the
+eye, and sometimes the beauty or strangeness of colours, either in their
+combination or from the unusual tint. And while<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span> the former quality
+fits the object for translation into ornament, by means of
+simplification and repetition, 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 composition. Certain forms
+of flowers and leaves are also suitable for ornament expressed in a
+certain way, and when this harmony occurs the representation of nature
+is satisfactory as ornament; but the reverse is very often shown to be
+the case in work of a more modern type, in which the design is based on
+the dictum that the copying of natural forms will produce ornament. It
+is not the copying of natural forms, but the ordering of the spaces, the
+arranging and balancing of line and mass, and the adaptation of means to
+ends which produce satisfactory decoration, and in the best Italian
+intarsias founded upon freely-growing, natural plants this is well
+shown. The observation of natural growth shown in illustrations Nos. 53,
+54, and 55 is considerable, but the panels are not so beautiful because
+the bay, the pink, or the lily are so well rendered, but because the
+pattern of waving lines is so well fitted to the space it has to fill,
+and the shapes of the silhouettes are so expressive. In the later French
+marquetry we often find an equal or almost equal dexterity in expressing
+the natural form, and an almost greater cleverness in adapting<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span> the
+design to the material; 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 unsurpassable.</p>
+
+<p>Certain remarks made by Mr. Stephen Webb, in a paper read to the Society
+of Arts on April 28, 1899, as to the qualities which the designer or
+craftsman must possess for successfully producing intarsia, are worth
+reproducing here as the sayings of a man who himself has done much
+beautiful work of the kind. "Tone harmony, and in a limited degree, the
+sense of values, he must certainly cultivate. He must be able to draw a
+line or combination of lines which <i>may</i> be ingenious if you like, but
+<i>must</i> be delicate and graceful, vigorous withal, and in proper relation
+to any masses which he may introduce into his design. He must thoroughly
+understand the value of contrast in line and surface form, but these
+matters, though a stumbling block to the amateur, are the opportunities
+of the competent designer and craftsman. The most charming possibilities
+of broken colour lie ready to his hand, to be merely selected by him and
+introduced into his design. If the wood be properly selected shading is
+rarely necessary, and if it is done at all should be done by an artist.
+In the hands of an artist very beautiful effects may be obtained, the
+same kind of wood being made to yield quite a<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span> number of varying shades
+of colour of a low but rich tone. Over-staining and the abuse of shading
+are destructive. Ivory has always been a favourite material with workers
+in tarsia, and in the hands of an experienced designer very charming
+things may be done with it. There is, however, no material suitable for
+tarsia which requires so much care and experience in its use. It is
+ineffective in light-coloured woods, and in the darker ordinary woods,
+such as ebony, stained mahogany, or rosewood, under polish, the contrast
+of colour is so great that the ivory must be used very sparingly. The
+ivory is sometimes stained in order to bring its colour more into
+harmony with a dark wood-ground, but it is never quite satisfactory. The
+use of inlay makes the direction from which the light enters the room a
+matter of no moment, so long as the light reaches the object decorated."</p>
+
+<p>The effect of intarsia has been sought by various imitative processes,
+some of which are indistinguishable from it except by close inspection.
+In one of these wax, either in its natural state or tinted with an
+addition of powder colour, was used; in another glue mixed with whiting
+or plaster, also sometimes tinged, or red lead. On April 7, 1902, a
+paper was read at the Royal Institute of British Architects on wax
+stoppings of this kind by Mr. Heywood Sumner,<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span> in the course of which he
+said that the process he himself had used was as follows:&mdash;"First trace
+the design on the panel of wood to be incised; cut it, either with a V
+tool or knife blade fixed in a tool-handle; clear out the larger spaces
+with a small gouge, leaving tool-mark roughness in the bottoms for key;
+when cut, stop the suction of the wood by several coats of white, hard
+polish. For coloured stoppings, resin (as white as can be got), beeswax,
+and powdered distemper are the three things needful. The melted wax may
+be run into the incisions by means of a small funnel with handle and gas
+jet affixed; it is attachable to the nearest gas burner by india-rubber
+tubing, so that a regulated heat can be applied to the funnel. When thus
+attached and heated, pieces of wax of the required inlay colour are
+dropped into the funnel, and soon there will be a run of melted wax
+dropping from the end of the funnel-spout, which is easily guided by
+means of the wooden handle, and thus the entire panel may be inlaid with
+the melted wax. Superfluous surface wax is cleared off with a broad
+chisel, so as to make the whole surface flush. The suction of the wood
+is stopped by means of white, hard polish, otherwise the hot wax will
+enter the grain of the wood and stain it. Incised panels may be filled
+successfully with japanner's gold size and powdered distemper<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span> colour,
+using a palette knife to distribute the slab mixture. A close grain is
+the one thing needful in the wood. As to design, that which is best
+suited may be compared to a broad sort of engraving." Red lead was also
+used sometimes, 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 whiting, glue, and linseed oil.</p>
+
+<div class="figcenter" style="width: 593px;">
+<a name="i240" id="i240"></a>
+<img src="images/i240.jpg" width="593" height="600" alt="Plate 55.&mdash;Panel from S. Pietro in Casinense, Perugia.
+
+" title="" />
+<span class="caption">Plate 55.&mdash;<i>Panel from S. Pietro in Casinense, Perugia.</i>
+
+</span>
+</div>
+
+<p>At Hardwick some of the door panels are painted with arabesques in
+Indian ink, and varnished (a process also employed on several pieces of
+furniture in the South Kensington collection), and even in certain
+cases, no doubt under the direction of Bess of Hardwick, engravings have
+been stuck on the panels, tinted, surrounded with similar painting, and
+then similarly varnished over. The sacristy cupboards at S. Maria delle
+Grazie, Milan, called "Lo Scaffale," show paintings of no less an artist
+than Luini, the ornamental part of which is intended to simulate tarsia.</p>
+
+<p>For small objects, such as trinket boxes, a marquetry of straw tinted to
+different colours was sometimes employed, which, though not very
+lasting, in the hands of a worker who possessed taste in colour
+sometimes produced pleasing results, a form of work practised both in
+Holland and England, and lasting<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span> well into the 19th century. The writer
+possesses one or two objects decorated by this process which were bought
+from the French prisoners taken in the Peninsular War, who provided
+themselves with little luxuries by making and selling them. In all these
+imitative processes the question of design becomes of the very highest
+importance, since the material has neither beauty nor intrinsic value in
+itself; and here, even more than in many other forms of manufacture, the
+presence and influence of the intelligent designer is most desirable,
+and should be paramount.<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span></p>
+
+
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="WORKSHOP_RECEIPTS" id="WORKSHOP_RECEIPTS"></a>WORKSHOP RECEIPTS</h2>
+
+
+<p>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
+Verona, to whom Vasari ascribes the invention, but is most distinctive
+of the work of the later Dutch and French marqueteurs. Receipts for the
+purpose were handed down from master to pupil, and while sometimes held
+as traditional secrets to be jealously guarded, were sometimes committed
+to writing; and several of these manuscripts have come down to us. The
+following have been collected from French, German, and Italian sources,
+and though not all of equal value, show the way in which the ancient
+workers produced the effects, most of which we admire in the present
+day:&mdash;</p>
+
+<p>To stain wood yellow (No. 1).&mdash;Put saffron in water, and when it is well
+steeped place the jar over hot coals. Then spread the stuff over boxwood
+with a brush. To make it brilliant let it dry, and put it with oil on
+the wood to be coloured. (No. 2.)&mdash;Take the plant turmeric (curcuma
+longa), grind it<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span> to powder; put an ounce into a pint of spirit (12
+oz.), and leave it for a day. If the tone is required reddish, add some
+dragon's blood. (No. 3.)&mdash;A cheaper but duller colour is to be obtained
+from steeped French berries, then dried, with weak alum water brushed
+over it. Thin pieces are dipped in it. The solution of French berries
+may be made thus&mdash;Take 1 lb. of French berries, and a gallon of water
+with &frac12; oz. of alum; boil for an hour in a pewter vessel, and filter
+through paper. Evaporate till the colour appears strong enough. Another
+receipt says 4 oz. of French berries put to steep in a pint of water is
+to have added to it 1 oz. of hazel nuts and as much alum. Wood may also
+be stained yellow with <i>aqua fortis</i>, used warm, and then immediately
+placed near the fire. The <i>aqua fortis</i> must not be too strong, or the
+wood will go brown or black. This is apparently the same thing as Vasari
+calls "oil of sulphur," used in his time for colouring wood. A Nuremberg
+receipt book says that the plant Tournesol (croton tinctorium) may be
+steeped in water, and this solution mixed with yellow colour and glue
+may be spread over the wood warm, and finally polished with a burnisher.
+Holtzapffel gives the following:&mdash;A bright yellow stain may be obtained
+from 2 oz. of turmeric allowed to simmer for some hours in 1<span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span> quart of
+water in an earthen vessel, water being added from time to time to
+replace evaporation. Sparingly applied cold, it stains white woods the
+colour of satin wood. A canary yellow results from immersing the wood in
+the liquid, which can be rendered permanent without polishing by a
+strong solution of common salt. Washing the stained surface with
+nitro-muriate of tin for about a minute changes the colour to orange.
+The work should then be well rinsed in plain water to check the further
+action of the acid. Treating the canary yellow with 2 oz. of sulphate of
+iron dissolved in 3 quarts of water, after it has been allowed to dry,
+dyes a delicate olive brown. A tincture of &frac14; oz. of turmeric to 3 oz.
+of spirits of wine, allowed to stand for some days and well shaken
+daily, gives a rather higher colour.</p>
+
+<p>Red may be produced by (No. 1) taking a pound of Brazil wood, with some
+rain water, a handful of unslaked lime, and two handsful of ashes; soak
+all for half an hour in water, "cook" it, and pour it out into another
+pot, in which is a measure of gum arabic. The wood to be coloured must
+be cooked in alum water, and then brushed over with the warm colour; the
+result is a splendid scarlet red. If the wood was first grounded with
+saffron water and then had the Brazil decoction applied, the result was
+orange; a spoonful of lye made a browner colour,<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span> with a little alum. If
+whiter wood was taken the colour was correspondingly brighter. (No.
+2.)&mdash;Orcanda or Akanna root powdered, with nut oil, gives a fine red.
+(No. 3.)&mdash;Put lime in rain water, strain it, scrape Brazil twigs in it,
+then proceed as in No. 1. You can also soak the Brazil in tartar. The
+same colour with Tournesol steeped in water gives a fine purple when
+spread on the wood. Lebrun gives the same receipt, adding that the
+beauty of the colour is increased by rubbing with oil, and that pear
+wood is the best to use. Another receipt says:&mdash;Make a strong infusion
+of Brazil wood in stale urine or water impregnated with pearl ash, 1 oz.
+to a gallon; to a gallon of either of which put 1 lb. of Brazil wood.
+Let it stand for two or three days, often stirring it. Strain the
+infusion, and brush over the wood boiling hot; then, while still wet,
+brush over with alum water, 2 oz. to a quart of water. A less bright red
+may be made with 1 oz. of dragon's blood in a pint of spirits of wine,
+brushed over the wood.</p>
+
+<p>Holtzapffel gives for red stains the following:&mdash;Dragon's blood, an East
+Indian resin, gives a crimson with a purple tinge. Put a small quantity
+in an open vessel, and add sufficient linseed oil to rather more than
+cover it; it will be fit for use in a few days, when the oil may be
+poured off and more added. This dissolves more readily in oil than
+spirit. The<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span> colouring matter of Alkanet root, from which another red
+may be obtained, is contained in the rind, so that small pieces are the
+most useful. A deep red of a crimson character may be made with &frac12; oz.
+of raspings of Brazil wood macerated in 3 oz. of alcohol. A wash of
+logwood (see below) given with the brush, and when dry followed with a
+wash of Brazil, produces a deep, full colour, and when the two are
+applied in the reverse order a more brilliant colour of the same kind. A
+decoction of Brazil (4 oz.) allowed to simmer for some hours in 1 quart
+of water yields a rather brown-red stain. Treating light woods so
+stained with nitro-muriate of tin gives a brilliant crimson of a purple
+tinge.</p>
+
+<p>A brown red is made from a decoction of 2 oz. of logwood dust in 1 quart
+of water, or &frac12; oz. of logwood in 3 oz. of alcohol. Nitro-muriate of
+tin used on it gives a deep, dusky crimson purple. The same treated with
+alum solution yields a medium purple, darker and bluer than that from
+Brazil.</p>
+
+<p>White wood stained with Brazil and then treated with alum (4 oz.
+dissolved in a quart of water) acquires a light pink tinge. Another
+receipt for pink or rose red says:&mdash;1 gallon of infusion of Brazil wood,
+with 2 oz. additional of pearl ash; but it is necessary to brush the
+wood often with alum water. By increasing the proportion of pearl ash
+the red<span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span> may be made still paler, in which case make the alum water
+stronger.</p>
+
+<p>For purple one brushes the wood over several times with a strong
+decoction of logwood and Brazil, 1 lb. of logwood and &frac14; lb. of Brazil
+to a gallon of water boiled for an hour or more. When the wood is dark
+enough let it dry, and then lightly pass over with a solution of 1
+drachm of pearl ash to a quart of water. Use this carefully, as the
+colour changes quickly from brown red to dark purple.</p>
+
+<p>Jet black may be made by using the logwood stain, followed by a solution
+of iron, 1 oz. sulphate of iron to 1 quart of water, and a less intense
+black by the same mixture about three times diluted. The Italian receipt
+books are well provided with receipts for producing black, which
+suggests that most of the ebony used in inlay was factitious. A 15th
+century MS. says:&mdash;"Take boxwood, and lay in oil with sulphur for a
+night, then let it stew for an hour, and it will become as black as
+coal." Evidently this means what Vasari calls oil of sulphur, <i>aqua
+fortis</i>. Others are founded upon the application of a solution of
+logwood, followed by one of iron. "Stew logwood till the liquid is
+reduced to one-third of its bulk, mix with stone alum, and leave for
+three days. Mix iron filings with very strong wine, and let it stand for
+twenty-four hours. On the quantity of iron filings the depth of the tone
+depends. Lastly, ox-<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span>gall is dissolved in this mixture, and the whole is
+three times worked over." An English receipt says:&mdash;"Brush the wood over
+several times with a hot decoction of logwood; take &frac14; lb. of powdered
+galls, and set in the sun or other gentle heat in 2 quarts of water for
+three or four days; brush the wood over with it three or four times,
+and, while wet, with a solution of green vitriol in water, 2 oz. to a
+quart; or use a solution of copper in <i>aqua fortis</i>, then the solution
+of logwood, and repeat until black enough." A German receipt
+says:&mdash;"Take half a measure of iron filings and a pennyweight of sal
+ammoniac, and put into a pot of vinegar; let it stand for twelve days at
+least. In another pot put blue Brazil and 3 measures of bruised gall
+apples in strong lime lye, and let it stand for the same time. The wood
+must be first washed over with lye, and then with hot vinegar, and
+finally polished with wax." "Pear wood may be grounded with Brazil
+steeped in alum water, then coloured with the black which the
+leather-stainers use, twenty times." Another says:&mdash;"Take a pennyweight
+of fine silver, with a pound of <i>aqua fortis</i>; add a measure of water,
+and soak the wood with it." The best wood for imitating ebony is holly;
+also, box cooked in olive oil is good for it, or well-planed pear soaked
+with <i>aqua fortis</i>, and then coloured with ink several times; or stew
+the wood in lamp-black, and soak with oil.<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span></p>
+
+<p>Blue may be obtained by the use of a solution of copper brushed hot over
+the wood several times; then brush hot a solution of pearl ash, 2 oz. to
+a pint of water, until the wood becomes perfectly blue. The copper
+solution is prepared in this way:&mdash;"Take of the refiner's solution of
+copper made in the precipitation of silver from the spirit of nitre; or
+dissolve copper in spirit of nitre, or <i>aqua fortis</i>, by throwing in
+filings or putting in strips of copper gradually till all effervescence
+ceases. Add to it starch finely powdered, one-fifth or one-sixth of the
+weight of copper dissolved. Make a solution of pearl ash and filter it;
+put gradually to the solution of copper as much as will precipitate the
+whole of the copper. The fluid becomes colourless. Wash the powder, and
+when so well drained of water by means of a filter as to be of the
+proper consistence, grind well together, and lay out to dry. This makes
+dark verditer." Indigo may also be used, prepared with soap lees as when
+used by dyers; brush it over the wood boiling hot. With a solution of
+cream of tartar, 3 oz. to a quart of water, and boiled, brush over the
+wood copiously before the moisture is quite dried out. A German receipt
+says:&mdash;Put 4 oz. of Tournesol in three parts of lime water to cook for
+an hour and spread it on the wood. "Wood coloured green with verdigris
+can be made blue by using pearl ash." This is the process described
+first.<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span></p>
+
+<p>For green verdigris dissolved in vinegar may be used; or crystals of
+verdigris in water, brushed hot over the wood. A 15th century MS. gives
+a traditional mode thus:&mdash;"Wood, bone, small leaves, and knife handles
+can be made green by strong, red vinegar and brass filings mixed
+together with a little Roman vitriol and stone alum in a glass vessel.
+When it has stood for a day the object is dipped in it, and steeps
+itself in the liquid. The colour will be very permanent." A German
+receipt says:&mdash;"Take walnut shells from the green fruit, and put in very
+strong lye with some copper vitriol and alum to stew for two or three
+hours. The wood must be put in strong wine vinegar for several days,
+then it is put in the above-mentioned mixture, to which ground verdigris
+mixed with vinegar is added. Or you can mix this ground verdigris with
+vinegar with some winestone, let it clarify, and spread the wood with
+the filtered stuff. The addition of saffron makes a grass green."</p>
+
+<p>A silver grey may be given to white wood by immersion in a decoction of
+4 oz. of sumach in 1 quart of water, and afterwards in a very dilute
+solution of sulphate of iron. A dilute solution of bichromate of potash
+is frequently employed to darken oak, mahogany, and coloured woods. This
+should be used carefully, since its effects are not altogether stopped
+by thoroughly washing the wood with water when<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span> dark enough. To bleach
+woods, immerse them in a strong, hot solution of oxalic acid.</p>
+
+<p>Since ivory is often used in inlaying and is sometimes stained, a few
+receipts for its staining will not be out of place. These come from
+Holtzapffel's book:&mdash;A pale yellow will be given by immersing the ivory
+for one minute in the tepid stain given by 60 grains of saffron boiled
+for some hours in half-a-pint of water. Immersion for from five to
+fifteen minutes produces a canary yellow brighter or deeper according to
+the time given, but all somewhat fugitive. A stain from 4 oz. of fustic
+dust and chips boiled in 1 quart of water produces similar but somewhat
+darker and more permanent results. Ivory subjected to either of these
+stains for fifteen minutes, and then placed for one to three minutes in
+Brazil water stain acquires an orange colour. If then treated with
+nitro-muriate of tin, an orange of a brighter, redder tone is produced;
+transfer to a clean water bath directly the required colour appears, as
+the nitro-muriate of tin acts very rapidly upon the ivory.</p>
+
+<p>Fine scarlet cloth is used for dyeing various tones of red. A piece
+about a foot square may be cut into shreds and boiled, with the addition
+of 10 grains of pearl ash, in half-a-pint of water from 5 to 6 hours.
+Immersion in the liquid for from three to ten minutes gives tones of
+pink; for one hour and subsequently<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span> for half-an-hour in an alum mordant
+gives a pink of a bright crimson character. When the ivory is from two
+to three hours in the tepid stain a crimson red results, and the
+addition of 1 part of sulphuric acid to 60 of stain gives billiard ball
+colour. Pinks of a different and duller full tone may be obtained by
+immersion for three minutes in Brazil water stain, followed by treatment
+with nitro-muriate of tin; when the Brazil is used for six minutes a
+deeper colour results. Fifteen minutes in Brazil, then treatment with
+nitro-muriate of tin and immediate washing gives a duller and deeper red
+than the first red-cloth stain. The depth of colour may be increased by
+longer immersion <i>or</i> a higher temperature. A dull scarlet or brick red
+is made by the Brazil bath, followed by thirty to sixty minutes in an
+alum mordant.</p>
+
+<p>The cloth stain for one hour, followed by pearl ash for half-an-hour,
+gives a bright purple; if iron is used instead of pearl ash a sombre
+purple results; if you add alkalies to the stain instead of sulphuric
+acid you obtain purple reds. Fifteen minutes in Brazil, and then three
+or four in pearl ash gives full red purples deepening to maroon. Five
+minutes in logwood water stain gives a good warm brown; half-an-hour, a
+chocolate brown. Ten minutes in logwood stain, washing, and one or two
+seconds in pearl ash, and instantly washing again gives a<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span> deep red
+brown, and if one minute in alum instead of pearl ash a deep purple
+brown.</p>
+
+<p>Blue stains may be made from sulphate of indigo, &frac12; drachm to 1 pint of
+previously boiled water, with 10 grains of carbonate of potash added.
+One to two minutes' immersion and immediate washing yields a delicate
+turquoise, five minutes a bright full blue; and ten to fifteen a
+considerable depth of colour. Blues are rather fugitive. Staining with
+saffron or fustic for five minutes, and then with indigo for the same
+time, produces a clear pea green; with indigo for ten minutes, a deep
+grass green. The greens from fustic are more permanent and yellower. The
+sequence of the stains also affects the green, the last used having most
+effect. Blue stain first for fifteen minutes, followed by fustic for
+thirty, stains ivory the green used for table knife handles&mdash;a colour
+which may also be obtained by immersion for some weeks in a clear
+solution of verdigris in dilute vinegar and water.</p>
+
+<p>Before applying these stains the ivory must be prepared by first
+polishing with whiting and water and washing quite clean. Next immerse
+it for three to five minutes in acid cold water (1 part muriatic acid to
+40 or 50 of water, or the same proportion of nitric). This extracts the
+gelatine from the surface of the ivory. Extreme cleanliness and absence
+of grease or soiling is most important; the ivory is not<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span> to be touched
+by the fingers, but removed from one vessel to another by wooden tongs,
+one pair to each colour. After treating with the acid, place the ivory
+in clean, cold, boiled water for some minutes. Water stains are used,
+but strained or filtered and warm or only tepid, for fear of injuring
+the surface of the ivory. Increasing the temperature also sometimes
+deepens or changes the colour. The best temperature is 100 deg. Fahr.
+When sufficiently stained the ivory is well rinsed in water, and if
+there are two colours on top of each other always well rinsed before
+going into the second bath. After thoroughly drying, repolish by
+friction, first with a few drops of oil on a soft clean rag; continue
+with a dry clean rag till the oil disappears.</p>
+
+<p>An old Italian receipt for polishing wood blackened to imitate ebony
+runs thus:&mdash;"Is the wood to be polished with burnt pumice stone? Rub the
+work carefully with canvas and this powder, then wash the piece with
+Dutch lime water so that it may be more beautifully polished. Then it is
+to be cleaned with another cloth. Then the rind of a pomegranate must be
+steeped, and the wood smeared over with it and set to dry, but in the
+shade."</p>
+
+<p><span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span><br /><span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
+
+<ul class="none"><li><span style="margin-left: 1em;">A</span></li><li>&nbsp;</li><li><span style="margin-left: 1em;">Angelo di Lazzero, of Arezzo, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Anselmo de' Fornari, <a href='#Page_77'><b>77</b></a>-<a href='#Page_78'><b>78</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Antique inlaid furniture, <a href='#Page_2'><b>2</b></a>, <a href='#Page_3'><b>3</b></a>, <a href='#Page_6'><b>6</b></a> (note)</span></li>
+
+<li><span style="margin-left: 1em;">Antonio da Melaria, <a href='#Page_35'><b>35</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Antonio di Minella, of Siena, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Antonio Manetti, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Antonio Paolo Martini, <a href='#Page_13'><b>13</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Assisi, <a href='#Page_10'><b>10</b></a>, <a href='#Page_46'><b>46</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Stalls of the Upper church of S. Francesco, <a href='#Page_46'><b>46</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Arezzo, S. Agostino and S. Michele, <a href='#Page_41'><b>41</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Augsburg work, <a href='#Page_85'><b>85</b></a>, <a href='#Page_90'><b>90</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">B</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Baccio Albini, <a href='#Page_40'><b>40</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Baccio d'Agnolo, <a href='#Page_42'><b>42</b></a>-<a href='#Page_43'><b>43</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Barck, Klaus, <a href='#Page_88'><b>88</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Barili, Antonio, of Siena, <a href='#Page_37'><b>37</b></a>, <a href='#Page_38'><b>38</b></a>, <a href='#Page_39'><b>39</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; Panel in K.K. Museum at Vienna, <a href='#Page_37'><b>37</b></a>, <a href='#Page_38'><b>38</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; &mdash;&mdash; description of Chapel of S. Giovanni, Siena, <a href='#Page_39'><b>39</b></a>, <a href='#Page_40'><b>40</b></a>, <a href='#Page_41'><b>41</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Giovanni, <a href='#Page_39'><b>39</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Bartolommeo Poli, surnamed dalla Polla, <a href='#Page_35'><b>35</b></a>, <a href='#Page_36'><b>36</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Beck, Sebald, <a href='#Page_84'><b>84</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Belli, Giovanni and Alessandro, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Bencivieni da Mercatello da Massa, Antonio di, <a href='#Page_46'><b>46</b></a>-<a href='#Page_51'><b>51</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Benedetto da Majano, Vasari's story of the reason of his giving up working in tarsia, <a href='#Page_20'><b>20</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Bergamo, Choir of S. Maria Maggiore, <a href='#Page_79'><b>79</b></a>, <a href='#Page_80'><b>80</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Tassi's account of, <a href='#Page_80'><b>80</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Stalls in church of S. Stefano, <a href='#Page_76'><b>76</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Bernardo di Tommaso di Ghigo, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Bernardino da Lendinara, <a href='#Page_32'><b>32</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Brescia, Lectern from Rodengo in</span></li>
+
+<li><span style="margin-left: 1em;">Galleria Tosi, <a href='#Page_64'><b>64</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Bologna, S. Domenico tarsie, by Fra Damiano, <a href='#Page_70'><b>70</b></a>, <a href='#Page_73'><b>73</b></a>, <a href='#Page_75'><b>75</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Sabba Castiglione's account, <a href='#Page_74'><b>74</b></a>, <a href='#Page_75'><b>75</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Stalls in S. Giovanni in Monte, <a href='#Page_66'><b>66</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; S. Michele in Bosco, stalls now in S. Petronio, <a href='#Page_65'><b>65</b></a>, <a href='#Page_66'><b>66</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; S. Petronio, <a href='#Page_36'><b>36</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Boulle, André Charles, <a href='#Page_96'><b>96</b></a>, <a href='#Page_97'><b>97</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Works by him, <a href='#Page_97'><b>97</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_99'><b>99</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Boulle, Pierre, <a href='#Page_75'><b>75</b></a>-<a href='#Page_96'><b>96</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">C</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Canozio, of Lendinara, Lorenzo Genesino, <a href='#Page_29'><b>29</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Capo di Ferro of Lodi, Zinino and Pietro, <a href='#Page_80'><b>80</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Capo di Ferro of Lovere, Giovanni Francesco, <a href='#Page_73'><b>73</b></a>, <a href='#Page_79'><b>79</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Capra, Gabriel and Domenico, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Chapel of Palace, Siena, <a href='#Page_13'><b>13</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cecca, Il (Francesco d'Agnolo), <a href='#Page_23'><b>23</b></a>, <a href='#Page_24'><b>24</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Certosa, Pavia, <a href='#Page_35'><b>35</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cervelliera, Giovanni Battista, <a href='#Page_22'><b>22</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Character of German inlays of late <a href='#Page_16'><b>16</b></a>th Century, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Coburg, Hornzimmer, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cornier, Conrad, <a href='#Page_88'><b>88</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cost of choir of S. Domenico, Bologna, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cost of the stalls in Ferrara Cathedral, <a href='#Page_34'><b>34</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cost of stalls, Cathedral Orvieto, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cremona, church of S. Sigismond, outside, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Cypress chest of 1350 in Victoria and Albert Museum, <a href='#Page_104'><b>104</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">D</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Daniello di Neri Martini, <a href='#Page_13'><b>13</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Danzig Sommerrathstube, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">David of Pistoia, <a href='#Page_41'><b>41</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Del Tasso, arms of the family, <a href='#Page_24'><b>24</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Chimenti di Domenico, <a href='#Page_26'><b>26</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Chimenti di Francesco, <a href='#Page_25'><b>25</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Domenico, <a href='#Page_19'><b>19</b></a>, <a href='#Page_25'><b>25</b></a>, <a href='#Page_26'><b>26</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Francesco, <a href='#Page_27'><b>27</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Francesco di Domenico, <a href='#Page_24'><b>24</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Giambattista called Maestro Tasso, <a href='#Page_27'><b>27</b></a>, <a href='#Page_28'><b>28</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Lionardo, <a href='#Page_25'><b>25</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Marco, <a href='#Page_26'><b>26</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Zanobi, <a href='#Page_25'><b>25</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Della Rocca, Andrea and Elia, <a href='#Page_77'><b>77</b></a>, <a href='#Page_78'><b>78</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Designs for intarsia made by Painters, <a href='#Page_121'><b>121</b></a></span></li>
+
+<li><span style="margin-left: 1em;">De' Marchi, Pantaleone, stalls in Museum at Berlin, <a href='#Page_36'><b>36</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Domenico da Gajuolo, <a href='#Page_42'><b>42</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Domenico di Mariotto, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Domenico di Nicolò of Siena, <a href='#Page_10'><b>10</b></a>, <a href='#Page_11'><b>11</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Domenico Tassi of Florence, <a href='#Page_17'><b>17</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Dreyer, Hans and Jürgen, of Schleswig, <a href='#Page_87'><b>87</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Dutch work, characteristics of, <a href='#Page_92'><b>92</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">E</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Eck, Adam, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Elfen, brothers, of S. Michael, Hildesheim, <a href='#Page_84'><b>84</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Escurial, rooms in, decorated with inlays, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Evers, Antonia, master of joiners' guild at Lübeck, <a href='#Page_86'><b>86</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">F</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Ferrara, stalls in Cathedral, <a href='#Page_33'><b>33</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fischer, N., and Johann Georg of Munich, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Florence, <a href='#Page_16'><b>16</b></a>, <a href='#Page_18'><b>18</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; stalls at S. Maria Novella, <a href='#Page_42'><b>42</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; stalls at S. Miniato, <a href='#Page_42'><b>42</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; tarsia in sacristy of the Cathedral, <a href='#Page_18'><b>18</b></a>, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Flotner, Peter, <a href='#Page_89'><b>89</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Folding seat of <a href='#Page_14'><b>14</b></a>th century, <a href='#Page_84'><b>84</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Antonio Asinelis, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Antonio da Lunigiano, Dominican, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Antonio da Viterbo, Dominican, <a href='#Page_76'><b>76</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Bernardino, Dominican, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Damiano of Bergamo, <a href='#Page_69'><b>69</b></a>-<a href='#Page_76'><b>76</b></a>, <a href='#Page_79'><b>79</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Damiano of Bergamo, the Emperor Charles V., and the Duke of Ferrara, <a href='#Page_70'><b>70</b></a>, <a href='#Page_71'><b>71</b></a>, <a href='#Page_72'><b>72</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Giovanni da Verona, <a href='#Page_17'><b>17</b></a>, <a href='#Page_57'><b>57</b></a>, <a href='#Page_63'><b>63</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Raffaello da Brescia, <a href='#Page_63'><b>63</b></a>, <a href='#Page_64'><b>64</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Sebastian da Rovigno, <a href='#Page_56'><b>56</b></a>, <a href='#Page_57'><b>57</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Fra Vincenzo da Verona, called dalla Vacche, <a href='#Page_67'><b>67</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Francesco di Lorenzo, Zambelli, <a href='#Page_73'><b>73</b></a>, <a href='#Page_77'><b>77</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Francesco Manciatto, <a href='#Page_42'><b>42</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Francione, Il (Giovanni di Matteo di Firenze), <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">French Cabinets of <a href='#Page_17'><b>17</b></a>th Century, <a href='#Page_95'><b>95</b></a>, <a href='#Page_96'><b>96</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">G</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Genoa, stalls in Cathedral, <a href='#Page_77'><b>77</b></a>, <a href='#Page_78'><b>78</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Geri of Arezzo, <a href='#Page_41'><b>41</b></a></span></li>
+
+<li><span style="margin-left: 1em;">German intarsiatori of <a href='#Page_16'><b>16</b></a>th and <a href='#Page_17'><b>17</b></a>th Century, <a href='#Page_84'><b>84</b></a>, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Gilling Castle, near Wakefield, inlays, <a href='#Page_93'><b>93</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni di Filippo da Fiesole, <a href='#Page_45'><b>45</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni de Grassi (Giovanni de Melano), <a href='#Page_14'><b>14</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni di Lodovico di Magno of Siena, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni Michele de Pantaleone, <a href='#Page_77'><b>77</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni del Mulinella of Florence, <a href='#Page_17'><b>17</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni Piccardo, <a href='#Page_77'><b>77</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni di Ponteranica and his four sons, <a href='#Page_80'><b>80</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni di Ser Giovanni detto Scheggione, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giovanni Talini of Siena, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Girolamo della Cecca, <a href='#Page_40'><b>40</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giuliano di Salvatore, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Giusto di Francesco of Incisa, <a href='#Page_45'><b>45</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Glastonbury Hall, Staircase, <a href='#Page_94'><b>94</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Gole, Pierre, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Gottlieb, Conrad, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Gottorp, Castle of, Prince's prayer chamber in, <a href='#Page_87'><b>87</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Gubbio, tarsia in study of Duke Guidobaldo, <a href='#Page_52'><b>52</b></a>, <a href='#Page_53'><b>53</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Guido da Seravallino, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Guido di Torino, <a href='#Page_13'><b>13</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Guild of Painters, Siena, <a href='#Page_16'><b>16</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">H</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Hans Schieferstein's Cabinet at Dresden, <a href='#Page_90'><b>90</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Hardwick Hall, furniture at, <a href='#Page_93'><b>93</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Herle, Simon, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Heywood Sumner, paper at Royal Institute of British Architects, <a href='#Page_129'><b>129</b></a>, <a href='#Page_130'><b>130</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">I</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Imitative processes, straw, wax, painting in Indian ink, &amp;c., <a href='#Page_129'><b>129</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_131'><b>131</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Inlaid work, Greek and Latin names for, <a href='#Page_3'><b>3</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; woods used for, by the ancients, <a href='#Page_3'><b>3</b></a>, <a href='#Page_5'><b>5</b></a>, <a href='#Page_6'><b>6</b></a> (note)</span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; wood, cost of, in ancient times, <a href='#Page_4'><b>4</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Inlaying, antiquity of, <a href='#Page_2'><b>2</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Innsbruck, Hofkirche, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Intarsia, derivation of, <a href='#Page_1'><b>1</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Invention of stains for wood, by Fra Giovanni da Verona, <a href='#Page_18'><b>18</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Ivory or metals in intarsia, <a href='#Page_124'><b>124</b></a>, <a href='#Page_125'><b>125</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">J</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Jacopo da Villa, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Joiners' tools, priced list of Perugian of 1496, <a href='#Page_47'><b>47</b></a>, <a href='#Page_48'><b>48</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">K</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Kellerthaler, Hans, of Dresden, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Kiening, Isaac, of Frissen, <a href='#Page_91'><b>91</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Kraus, Hans, marqueteur du roi, <a href='#Page_94'><b>94</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">L</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Lavoro alla Certosa, or tarsia alla Certosina, <a href='#Page_9'><b>9</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Leipzig Museum, Cabinet in, <a href='#Page_91'><b>91</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Lendinara, Cristophano d' Andrea da, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Limitations of the art of intarsia, <a href='#Page_122'><b>122</b></a>, <a href='#Page_123'><b>123</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Loblein, Sixtus, of Landshut, <a href='#Page_91'><b>91</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Lodi, Stalls in S. Bernardino, by Fra Giovanni da Verona, <a href='#Page_63'><b>63</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Louvre, <a href='#Page_4'><b>4</b></a> panels from S. Benedetto Novella, Padua, of Fra Vincenzo dalla Vacche, <a href='#Page_68'><b>68</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Lübeck, Kriegs Stube, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Lucca, panels in sacristy of Cathedral, by Christoforo da Lendinara, <a href='#Page_32'><b>32</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Stalls from Cathedral in Pinacotheca, <a href='#Page_32'><b>32</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Luchet, M., Excursus on furniture in France, 1867, <a href='#Page_113'><b>113</b></a>, <a href='#Page_114'><b>114</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Lüneburg, Rathsaal, <a href='#Page_86'><b>86</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">M</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Macé, Jean, of Blois, <a href='#Page_92'><b>92</b></a>-<a href='#Page_95'><b>95</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Majano, Benedetto da, <a href='#Page_19'><b>19</b></a>, <a href='#Page_20'><b>20</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Majano, Giuliano di Nardo da, <a href='#Page_18'><b>18</b></a>, <a href='#Page_22'><b>22</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Leonardo d' Antonio da, <a href='#Page_19'><b>19</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Manuello, of Siena, <a href='#Page_9'><b>9</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Marchi, of Crema, Family of, <a href='#Page_6'><b>6</b></a>, <a href='#Page_36'><b>36</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Mariotto di Mariotto, of Pesaro, <a href='#Page_45'><b>45</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Marquetry, Derivation of, <a href='#Page_1'><b>1</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Marti, Leonardo, <a href='#Page_32'><b>32</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Masi, Antonio di Antonio, The Fleming, <a href='#Page_46'><b>46</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Massari, Andrea, of Siena, <a href='#Page_54'><b>54</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Mastei, Antonio, of Gubbio, <a href='#Page_53'><b>53</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Mastro Crespolto, of Perugia, <a href='#Page_26'><b>26</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Mastro Vanni di Tura dell' Ammanato, Sienese, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Matteo di Bernardino, of Florence, <a href='#Page_17'><b>17</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Meo di Nuti, of Siena, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Michele Spagnuolo, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Milan, Cathedral, <a href='#Page_15'><b>15</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Minelli, Giovanni and Cristoforo de, <a href='#Page_45'><b>45</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Miniatures at Villanova, by Fra Giovanni da Verona, <a href='#Page_59'><b>59</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Minnesinger's harp, of <a href='#Page_14'><b>14</b></a>th Century, <a href='#Page_8'><b>8</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Modern French marquetry, <a href='#Page_125'><b>125</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Monte Oliveto, <a href='#Page_55'><b>55</b></a>, <a href='#Page_59'><b>59</b></a>, <a href='#Page_60'><b>60</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Musée Cluny, wire-drawing bench made for Augustus, Elector of Saxony, <a href='#Page_91'><b>91</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">N</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Naples, tarsia by Fra Giovanni da Verona in S. Anna dei Lombardi, <a href='#Page_61'><b>61</b></a>, <a href='#Page_62'><b>62</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Nicolò di Nicoluccio, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Nuremberg work in ebony and ivory, <a href='#Page_90'><b>90</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">O</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">&OElig;ben, J. F., ébeniste du roi, <a href='#Page_99'><b>99</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Orvieto, <a href='#Page_10'><b>10</b></a>, <a href='#Page_13'><b>13</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">P</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Padua, stalls in Church of S. Antonio, account by Matteo Colaccio, <a href='#Page_30'><b>30</b></a>, <a href='#Page_31'><b>31</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Paint and gilding added to intarsia work, <a href='#Page_106'><b>106</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Paolo da Pesaro, <a href='#Page_80'><b>80</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Parti of Siena, <a href='#Page_9'><b>9</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Perugia, <a href='#Page_10'><b>10</b></a>, <a href='#Page_19'><b>19</b></a>, <a href='#Page_26'><b>26</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; choir of the Cathedral, <a href='#Page_19'><b>19</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; choir of S. Domenico, <a href='#Page_26'><b>26</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; door in choir of S. Pietro in Casinense by Fra Damiano, <a href='#Page_74'><b>74</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; Sala del Cambio, <a href='#Page_26'><b>26</b></a>, <a href='#Page_46'><b>46</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; stalls of S. Agostino, <a href='#Page_44'><b>44</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pier Antonio dell 'Abate of Modena, <a href='#Page_29'><b>29</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pietro Antonio of Florence, <a href='#Page_17'><b>17</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pietro di Maffeis, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pietro di Miaella of Siena, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pietro di Rizzardi, <a href='#Page_33'><b>33</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pisa Cathedral, <a href='#Page_21'><b>21</b></a>, <a href='#Page_22'><b>22</b></a>, <a href='#Page_23'><b>23</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Polimante da Nicola, <a href='#Page_26'><b>26</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Pontelli, Baccio, <a href='#Page_21'><b>21</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Portuguese decorations with pierced metal plates, <a href='#Page_83'><b>83</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Poverty of craftsmen, Domenico del Coro, <a href='#Page_10'><b>10</b></a>, <a href='#Page_12'><b>12</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Preuszen, Hans, carver, <a href='#Page_87'><b>87</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">R</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Realism in intarsia panels, <a href='#Page_105'><b>105</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Reasons for beauty in designs, <a href='#Page_127'><b>127</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Reggio in Emilia, <a href='#Page_35'><b>35</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Relief intarsia or Präger arbeit, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Returns made by Sienese craftsman for taxation, <a href='#Page_119'><b>119</b></a>, <a href='#Page_120'><b>120</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Riesener, J. Henry, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Roentgen, David, <a href='#Page_102'><b>102</b></a>, <a href='#Page_103'><b>103</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Rome, doors of St. Peter's, by Fra Antonio da Viterbo, <a href='#Page_76'><b>76</b></a>, <a href='#Page_77'><b>77</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Rosenfeldt, Jochim, <a href='#Page_87'><b>87</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">S</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">S. Mary Overie, Southwark, parish chest, <a href='#Page_93'><b>93</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Sallig, Andreas, <a href='#Page_87'><b>87</b></a></span></li>
+
+<li><span style="margin-left: 1em;">San Sevrino, Domenico di, <a href='#Page_46'><b>46</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Savona, choir of, Cathedral, <a href='#Page_78'><b>78</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Schieferstein, Hans, <a href='#Page_85'><b>85</b></a>, <a href='#Page_90'><b>90</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Scraping and polishing marquetry, operation of, <a href='#Page_115'><b>115</b></a>, <a href='#Page_116'><b>116</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Shading of subjects in marquetry, <a href='#Page_112'><b>112</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Siena, <a href='#Page_9'><b>9</b></a>, <a href='#Page_10'><b>10</b></a>, <a href='#Page_13'><b>13</b></a>, <a href='#Page_16'><b>16</b></a>, <a href='#Page_37'><b>37</b></a>, <a href='#Page_60'><b>60</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Simone d'Antonio of Siena, <a href='#Page_13'><b>13</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Sizergh Castle, panelling from, <a href='#Page_93'><b>93</b></a></span></li>
+
+<li><span style="margin-left: 1em;">South German Bride chests, <a href='#Page_89'><b>89</b></a></span></li>
+
+<li><span style="margin-left: 1em;">South German inlaid Musical Instruments, <a href='#Page_88'><b>88</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Spanish inlaid work in Victoria and Albert Museum, <a href='#Page_81'><b>81</b></a>, <a href='#Page_82'><b>82</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">T</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Taddeo Bartoli's designs for chapel of Palazzo Pubblico, Siena, <a href='#Page_11'><b>11</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Tassi, Domenico of Florence, <a href='#Page_17'><b>17</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Tasso, Maestro, his practical joke on the Benedictine Abbot, <a href='#Page_28'><b>28</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Technical description from German book of <a href='#Page_17'><b>17</b></a>th century, <a href='#Page_106'><b>106</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Thickness of veneers in the market, <a href='#Page_112'><b>112</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Tommaso di Ceccolo, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Tonbridge ware, <a href='#Page_9'><b>9</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain ivory blue, <a href='#Page_144'><b>144</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain ivory green, <a href='#Page_144'><b>144</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain ivory orange, <a href='#Page_142'><b>142</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain ivory purple, <a href='#Page_143'><b>143</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain ivory various kinds of red, <a href='#Page_142'><b>142</b></a>, <a href='#Page_143'><b>143</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain ivory yellow, <a href='#Page_142'><b>142</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood black, <a href='#Page_138'><b>138</b></a>, <a href='#Page_139'><b>139</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood blue, <a href='#Page_140'><b>140</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood green, <a href='#Page_141'><b>141</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood pink, <a href='#Page_137'><b>137</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood purple, <a href='#Page_137'><b>137</b></a>, <a href='#Page_138'><b>138</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood red, <a href='#Page_135'><b>135</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_137'><b>137</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood silver grey, <a href='#Page_141'><b>141</b></a></span></li>
+
+<li><span style="margin-left: 1em;">To stain wood yellow, <a href='#Page_133'><b>133</b></a>, <a href='#Page_134'><b>134</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">U</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Uhr, Herman, <a href='#Page_87'><b>87</b></a>, <a href='#Page_88'><b>88</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Ulriksdal Castle, doors of drinking room, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Union of the crafts in one guild, <a href='#Page_14'><b>14</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Urbino, tarsia in palace of Frederic of Montefeltro, <a href='#Page_49'><b>49</b></a>, <a href='#Page_50'><b>50</b></a>, <a href='#Page_51'><b>51</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Use of mother-of-pearl, ivory, tortoiseshell, silver, &amp;c., <a href='#Page_54'><b>54</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">V</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Vasari's opinion of tarsia, <a href='#Page_17'><b>17</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Veneering, operation of, <a href='#Page_108'><b>108</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Veneers for marquetry, thickness of, <a href='#Page_109'><b>109</b></a>, <a href='#Page_110'><b>110</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Venice, Sacristy of S. Elena, <a href='#Page_57'><b>57</b></a>, <a href='#Page_58'><b>58</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Venice, tarsia in Sacristy of S. Mark's, <a href='#Page_67'><b>67</b></a>, <a href='#Page_68'><b>68</b></a>, <a href='#Page_69'><b>69</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Verona, Sacristy of S. Anastasia, <a href='#Page_10'><b>10</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Volthurn Castle, near Brixen, <a href='#Page_90'><b>90</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Von Soest, Albert, <a href='#Page_86'><b>86</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Vordt, <a href='#Page_92'><b>92</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Vriese, Vriedemann, <a href='#Page_86'><b>86</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">W</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Wallace Collection, Cabinet by Claude Charles Saunier, <a href='#Page_95'><b>95</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Wallace Collection, Cabinets by Oeben and Riesener, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Wallace Collection, jewel box by Conrad Cornier, <a href='#Page_88'><b>88</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Webb, Stephen, paper at the Society of Arts, <a href='#Page_128'><b>128</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Wegener, Adam, figure cutter, <a href='#Page_87'><b>87</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Weiskopf, Wolf, <a href='#Page_84'><b>84</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Winkler, Simon, <a href='#Page_85'><b>85</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Wood, exceptional scantlings used by the ancients, <a href='#Page_6'><b>6</b></a>, <a href='#Page_7'><b>7</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Woods, combinations of, for marquetry, <a href='#Page_111'><b>111</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Woods in use in England for marquetry, <a href='#Page_112'><b>112</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; used by the marqueteurs of Nice, <a href='#Page_115'><b>115</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; used by Riesener, <a href='#Page_101'><b>101</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; used in Barili's panel, <a href='#Page_38'><b>38</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; used in the best period, <a href='#Page_106'><b>106</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; used in stalls, Cathedral, Orvieto, <a href='#Page_10'><b>10</b></a></span></li>
+<li><span style="margin-left: 1em;">&mdash;&mdash; used on the Continent for veneers, <a href='#Page_111'><b>111</b></a></span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Z</span></li>
+<li>&nbsp;</li>
+<li><span style="margin-left: 1em;">Zambelli, of Bergamo, Stefano di Antoniuolo de, <a href='#Page_46'><b>46</b></a>, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Zampiero da Padova, <a href='#Page_73'><b>73</b></a></span></li>
+
+<li><span style="margin-left: 1em;">Zanetto da Bergamo, <a href='#Page_72'><b>72</b></a>, <a href='#Page_73'><b>73</b></a></span></li>
+<li><span style="margin-left: 1em;">Zanetto da Bergamo, <a href='#Page_72'><b>72</b></a>, <a href='#Page_73'><b>73</b></a></span></li></ul>
+
+<hr style="width: 65%;" />
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Pliny, Book 16, Chap. 83&mdash;"Glue, too, plays one of the
+principal parts in all veneering and works of marquetry. For this
+purpose the workmen usually employ wood with a threaded vein, to which
+they give the name of 'ferulea,' from its resemblance to the grain of
+the giant fennel, this part of the wood being preferred from its being
+dotted and wavy." Chap. 84&mdash;"The wood, too, of the beech is easily
+worked, although it is brittle and soft. Cut into thin layers of veneer
+it is very flexible, but is only used for the construction of boxes and
+desks. The wood, too, of the holm oak is cut into veneers of remarkable
+thinness, the colour of which is far from unsightly; but it is more
+particularly where it is exposed to friction that this wood is valued,
+as being one to be depended upon; in the axle trees of wheels, for
+instance, for which the ash is also employed, on account of its pliancy,
+the holm oak for its hardness, and the elm for the union in it of both
+these qualities.... The best woods for cutting into layers and employing
+as a veneer for covering others are the citrus, the terebinth, the
+different varieties of the maple, the box, the palm, the holly, the holm
+oak, the root of the elder, and the poplar. The alder furnishes, also, a
+kind of tuberosity, which is cut into layers like those of the citrus
+and the maple. In all the other trees, the tuberosities are of no value
+whatever. It is the central part of trees that is most variegated, and
+the nearer we approach to the root the smaller are the spots and the
+more wavy. It was in this appearance that originated that requirement of
+luxury which displays itself in covering one tree with another, and
+bestowing upon the more common woods a bark of higher price. In order to
+make a single tree sell many times over laminæ of veneer have been
+devised; but that was not thought sufficient&mdash;the horns of animals must
+next be stained of different colours, and their teeth cut into sections,
+in order to decorate wood with ivory, and, at a later period, to veneer
+it all over. Then, after all this, man must go and seek his materials in
+the sea as well! For this purpose he has learned to cut tortoise shell
+into sections; and of late, in the reign of Nero, there was a monstrous
+invention devised of destroying its natural appearance by paint, and
+making it sell at a still higher price by a successful imitation of
+wood.
+</p><p>
+"It is in this way that the value of our couches is so greatly enhanced;
+it is in this way, too, that they bid the rich lustre of the terebinth
+to be outdone, a mock citrus to be made that shall be more valuable than
+the real one, and the grain of the maple to be feigned. At one time
+luxury was not content with wood; at the present day it sets us on
+buying tortoise shells in the guise of wood."&mdash;Pliny's Natural History,
+Bohn's Translation.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> There were nineteen subjects, divided by channelled
+pilasters with a carved frieze, above a bench which ran round the
+circular wall from one doorpost to the other, the whole work crowned
+with a cornice also carved with foliated ornament. The first subject on
+the right was an open cupboard with architects' and joiners' tools. The
+second was the portrait described above. The third showed a cupboard
+half open, worked with a grille of pierced almond shapes and divided.
+"In the upper part is a naked boy, standing with a ball in his left
+hand, below is a large circle with a bridge within and without in the
+form of a diamond. Within the closed part of the grille one sees a ewer
+above and a basin below. The fourth is a figure of S. Ansano,
+half-length, below whom is the head of a man who receives baptism with
+joined hands, and the saint with a vase in his hand pours water on his
+head, holding in his right hand a standard. The fifth shows a cupboard
+open and shelved in the middle&mdash;above is a chalice and paten, below is a
+salver with fruit within and falling from it. The sixth contains an
+organ case with a man who, with raised head, enjoys the sweetness of the
+sounds, on the side of the organ are the arms of the Opera and below are
+the arms of the rector Arringhieri. The seventh is a cupboard half open
+with pierced doors, in the upper half a censer, and an incense boat,
+with a label above with these words, 'Dirigatur Domine oratio mea sicut
+incensum in conspectu tuo.' Below is the holy water pot with the
+sprinkler within, and with a pair of sacrament cruets. The eighth shows
+the figure of a man with a glory and a diadem on his head, with face and
+right arm raised to heaven, representing whom I do not understand; above
+him is a garden full of different flowers and trees. The ninth is a
+cupboard cut across and half open; in the upper part a label with these
+words 'Qui post me venit, ante me factus est. Cujus non sum dignus
+calceamente solvere;' below are different musical instruments, the words
+above are set to plain song. The tenth, that is the centre one, is a
+half-length of S. John Baptist with the cross in his left hand, and in
+the right a label with the words, 'Ecce Agnus Dei,' while with his
+finger he points to Christ in a figure which represents him. The
+eleventh shows another cupboard half open and shelved, above is a label
+on which are some lines of the hymn of S. John Baptist, with notes in
+plain song and with the name of the author above, which was Alessandro
+Agricola, and below is a flute and a violin with its bow. The twelfth is
+the figure of a young man with a label below which says, 'Johannis
+Baptistæ discipulus.' This is generally thought to represent S. Andrew
+the apostle. The thirteenth is another open cupboard with a shelf. In
+the upper part is a chalice and more fruit, and in the lower a hollow
+dish with a foot also full of fruit. The fourteenth shows the
+half-length of a man who plays a lute, above him appears a garden with
+different trees. The fifteenth is a cupboard with open division, with a
+little gate and grating with almond shaped openings, above is a
+candlestick with a candle half burnt, and below is a box full of yellow
+tapers. The sixteenth represents S. Catherine with her wheel,
+half-length, disputing with the tyrant, before her is an open book on
+which are cut these words, 'Catharina disputationis virginitatis ac
+martirii palmam reportat.' The seventeenth shows a cupboard divided and
+half closed, with a grating like the others, above is a missal laid
+down, with a chalice upright, and a paten on the missal, and there are
+also a pair of spectacles and another paten leaning against the wall,
+below there is a closed book which seems to be a breviary, upon which is
+an open book with these words, 'Ecce mitto angelum meum ante faciem
+tuam, qui preparabit viam tuam ante te. Vox clamantis in deserto; parate
+viam Domini: rectas facite semitas ejus.' The eighteenth shows a fine
+gate through which one sees a garden, within which appear different
+trees with fruit on them, 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 words, 'Alberto Aringherio operaio fabre
+factum.' The last panel shows an open cupboard with shelf and grating,
+above is a harp and below is a violin and other musical instruments. The
+rector Arringhieri paid 4090 scudi for the work as a matter of
+compromise on the valuing of Fra Giovanni da Verona. It was in so dark a
+place that it could not be seen except with lighted torches, and it was
+also damaged because it was put in a newly built place, the walls of
+which were not sufficiently dry to receive such delicate work." This
+account was written in 1786.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> The panel illustrated from the Albert and Victoria Museum
+is a good average specimen of this kind, but not quite a masterpiece.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> In 1453 Matteo di Giovanni Bartoli, painter, says that he
+possesses the half of certain tools and appliances of his art, which are
+not worth 20 florins, and that the other half belongs to Giovanni di
+Pietro, painter, his partner. That they are in a house or dwelling that
+they hire from Guicciardo Forteguerri in the Palazzo Forteguerri, which
+they have as a house and not a shop, and that he has nothing else in the
+world but a few debts (!). He says that he makes no profit, but is
+learning as well as he can, and that his uncle, Ser Francescho di
+Bartolo, the notary, keeps him. This is a young and promising artist who
+cannot get on. Priamo della Quercia, brother of the celebrated sculptor
+Jacopo della Fonte, painter, says that he is poor and without anything
+to live on; that he has a girl of marriageable age and a young boy; that
+he owes money to several people. He had a dower of 200 florins which
+came from a possession which the nuns of Ogni Santi held, because they
+said that they were heirs to his daughter-in-law, a nun in that convent
+(!) and they had kept possession for six years and he could not sue
+these nuns at law on account of his poverty. There are several documents
+referring to money and property which his brother left to this man, but
+which he seems to have difficulty in obtaining possession of, and he
+gives one the impression of being unfortunate through life. In the same
+year Antonio di Ser Naddo, painter, says he has a house with an oven
+within the walls of Siena, "male in ponto," in which he lives in the
+Contrada of Camporegi. That he has three useless mouths in the house
+which gain nothing, two children, one a boy, and the other a girl of
+marriageable age, but if he dowered her, so that she could be married,
+he would have nothing to live on. Also that he owes 20 florins to
+various people. In the same year others, both painters and woodworkers,
+complain that they have nothing to live on and owe money, some saying
+that they have become old and poor in the art. In 1478 Ventura di Ser
+Giuliano, architect and woodcarver, says that he has a little house in
+the city division in the place called of S. Salvador, and that he is
+away at Naples because of his debts, for he is afraid to return. That he
+owes Ser Biagio, the priest, 80 florins and other persons 402. In 1488
+Giovanni di Cristofano Ghini, painter, says that he has a vineyard at
+Terraia in the commune of S. Giorgio a Papaino from which he receives in
+dues about 24 florins. That he has a wife and three sons and nothing to
+keep them on. That five years ago he had sold all that he had in the
+house, for times were very bad. 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 years. 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 hunger, and that they
+have a girl of marriageable age in the house, his sister, "Che è il
+fiorimento d'ognichosa." In the same year Benvenuto di Giovanni says
+that he is obliged to work away from Siena because his gains are so
+small; and finally in 1521, Ventura di Ser Giuliano di Tura petitions
+the Balia as follows:&mdash;He was a master joiner and says that he passed
+his youth and almost all his age in gathering ancient objects and
+carvings, which the craftsmen of the city have copied, so that one may
+say that the antique in the city has been re-discovered by his labours.
+But that he has not by this benefit to the craftsmen provided for his
+old age, since both he and his wife have been very unwell for years
+past, and that he finds himself old, with four little daughters, "one no
+heavier than the other," so he asks for a little pension of eight lire a
+month (which has been suspended apparently), so that he may not have to
+go to the hospital for bread with his wife and the four little ones.</p></div>
+
+
+</div>
+
+
+<p class="center"><i>Willam Hodge &amp; Co., Glasgow and Edinburgh</i></p>
+
+<div class="centerbox1 bbox">
+<p class="ceter">Transcriber's note:</p>
+
+<p>Many of the illustrations had a caption stating 'facing page 1' etc. These were dropped from the captions in this etext.
+
+It was also seen as beneficial to avoid splitting the very long paragraphs, so some illustrations
+are not quite in the same place as in the
+original book.</p></div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Intarsia and Marquetry, by F. Hamilton Jackson
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+</pre>
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+</body>
+</html>
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@@ -0,0 +1,4605 @@
+The Project Gutenberg EBook of Intarsia and Marquetry, by F. Hamilton Jackson
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Intarsia and Marquetry
+
+Author: F. Hamilton Jackson
+
+Release Date: October 8, 2009 [EBook #30215]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK INTARSIA AND MARQUETRY ***
+
+
+
+
+Produced by Chris Curnow, Lindy Walsh and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+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 Floor, Wall, and Vault
+
+
+
+
+  HANDBOOKS FOR THE DESIGNER AND
+  CRAFTSMAN
+
+  INTARSIA AND MARQUETRY
+
+  BY
+
+  F. 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
+  1903
+
+
+
+
+  PRINTED BY
+  WILLIAM HODGE AND COMPANY
+  GLASGOW AND EDINBURGH
+
+
+
+
+CONTENTS
+
+
+                                                                   PAGE
+
+  HISTORICAL NOTES--ANTIQUITY,                                         1
+
+  ITALY IN MEDIAEVAL AND RENAISSANCE TIMES,                             8
+
+  THE CLOISTERED INTARSIATORI AND THEIR PUPILS,                       55
+
+  IN GERMANY AND HOLLAND, ENGLAND AND FRANCE,                         84
+
+  THE PROCESS OF MANUFACTURE,                                        104
+
+  THE LIMITATIONS AND CAPABILITIES OF THE ART,                       118
+
+  WORKSHOP RECEIPTS,                                                 133
+
+
+
+
+LIST OF ILLUSTRATIONS
+
+
+  PLATE
+
+  1. Patterns used in Borders,                          _facing page_ 8
+
+  2. Various Patterns of Borders,                              "      9
+
+  3. Chair Back from S. Ambrogio, Milan,                       "     10
+
+  4. Door of the Sala del Papa, Palazzo Comunale, Siena,       "     13
+
+  5. The Prophet Amos. Figure intarsia from the  }
+     Sacristy of the Cathedral, Florence,        }
+  6. The Annunciation. Figure intarsia from the  } _between pages
+     Sacristy of the Cathedral, Florence,        } 18 and 19_
+  7. The Prophet Hosea. Figure intarsia from the }
+     Sacristy of the Cathedral, Florence,        }
+
+  8. The Nativity. Figure intarsia from the Sacristy
+     of the Cathedral, Florence,                        _facing page 20_
+
+  9. The Presentation in the Temple. Figure Intarsia
+     from the Sacristy of the Cathedral, Florence,             "      21
+
+  10. Panel from Sacristy of S. Croce, Florence,               "      23
+
+  11. Detail of Frieze from the Sacristy of S. Croce,
+      Florence,                                                "      24
+
+  12. Lower Seats of Choir, Cathedral, Perugia,                "      25
+
+  13. Upper Seats of Choir, Cathedral, Perugia,                "      26
+
+  14. One Panel, from Upper Series, Cathedral, Perugia,        "      27
+
+  15. Two Panels from the Sala del Cambio, Perugia,            "      28
+
+  16. Frieze from S. Mark's, Venice,                           "      30
+
+  17. Frieze from S. Mark's, Venice,                           "      32
+
+  18. Stalls from the Cathedral, Lucca,                        "      33
+
+  19. Lectern in Pinacoteca, Lucca,                            "      34
+
+  20. Two-leaved Door in the Pinacoteca, Lucca,                "      35
+
+  21. Stalls at the Certosa, Pavia,                            "      36
+
+  22. Detail of Arabesques, lower Seats, Certosa, Pavia,       "      37
+
+  23. Panel from S. Petronio, Bologna,                         "      38
+
+  24. Panel from S. Petronio, Bologna,                         "      39
+
+  25. Panel from S. Miniato, Florence,                         "      40
+
+  26. Panel from S. Maria Novella, Florence,                   "      42
+
+  27. Panel from S. Maria Novella, Florence,                   "      44
+
+  28. Panel in Sacristy of S. Pietro in Casinense, Perugia,    "      46
+
+  29. Panel from Door of Sala del Cambio, Perugia,             "      48
+
+  30. Panel from lower row of Stalls, S. Maria in
+  Organo, Verona,                                              "      59
+
+  31. Panels from Monte Oliveto Maggiore, now in
+  the Cathedral, Siena,                                        "      60
+
+  32. Frieze from Monte Oliveto Maggiore,                      "      62
+
+  33. Panel from S. Mark's, Venice,                            "      68
+
+  34. Panel from Door in Choir of S. Pietro in
+  Casinense, Perugia,                                          "      74
+
+  35. Lunette from Stalls in Cathedral, Genoa,                 "      77
+
+  36. Panel from lower row of Stalls, Cathedral, Savona,       "      78
+
+  37. Panel from the Ducal Palace, Mantua,                     "      80
+
+  38. Panel from the Rathaus, Breslau, 1563,                   "      84
+
+  39. Panel from Church of S. Mary Magdalene, Breslau,         "      86
+
+  40. Pilaster Strip from the Magdalene Church, Breslau,       "      87
+
+  41. Panel from S. Elizabeth's Church, Breslau,               "      88
+
+  42. Lower Panel of Door, 1564--Tyrolese,                     "      90
+
+  43. Top of Card Table in the Drawing-room, Roehampton
+  House; Dutch, 18th Century,                                  "      92
+
+  44. Panelling from Sizergh Castle, now in Victoria
+  and Albert Museum,                                           "      93
+
+  45. Cabinet with falling front, in the Drawingroom,
+  Roehampton House,                                            "      94
+
+  46. Cabinet belonging to Earl Granville. Boulle
+  work of about 1740,                                          "      96
+
+  47. Top of Writing Table in the Saloon, Roehampton
+  House. Period of Louis XV.,                                  "      97
+
+  48. Encoignure, signed J. F. Oeben, in the Jones
+  Bequest. Victoria and Albert Museum,                         "      98
+
+  49. Panel from back of Riesener's bureau, made
+  for Stanislas Leczinski, with figure of Secrecy,             "     100
+
+  50. Roundel from bureau, made for Stanislas
+  Leczinski, King of Poland, now in the
+  Wallace Collection,                                          "     102
+
+  51. Antonio Barili at work, by himself,                      "     104
+
+  52. Panel from the Victoria and Albert Museum,               "     106
+
+  53. Panel from S. Maria in Organo, Verona,                   "     122
+
+  54. Panel from S. Maria in Organo, Verona,                   "     126
+
+  55. Panel from S. Pietro in Casinense, Perugia,              "     130
+
+
+
+
+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 novelty. In every direction the
+question which is asked is not, "Is this fresh thing good? Is it
+appropriate to, and well-fitted for, its intended uses?" but "Is it
+novel?" 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 change. While there are directions in which this
+desire is not altogether harmful, since at least many monstrosities
+offend our eyes but for a short time, a full compliance with it by the
+designer is likely to prove disastrous to his reputation, 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 centuries, and to
+produce something entirely fresh and individual, have shown how
+impossible it is at this period of the world's history to dispense with
+tradition, and, escaping from the accumulated experience of the race,
+set forth with childlike _naivete_. 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 generations, and that
+the undigested use of natural _motifs_ results not in nourishment but in
+nightmare.
+
+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 times, 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
+present. Since both design and craftsmanship as known until the end of
+the 18th century were the outcome of centuries of experience of the use
+of material and of the endeavour to meet daily requirements, it may be
+justly called folly to cast all this aside as the fripperies of bygone
+fashion which cramp the efforts of the designer, and attempt to start
+afresh without a rag of clothing, even if it were possible. At the same
+time it is not intended to advocate the direct copyism of any style,
+whether regarded as good, bad, or indifferent. Some minds find
+inspiration in the contemplation of natural objects, while others find
+the same stimulus in the works of man. The fashion of present opinion
+lays great stress upon the former source of inspiration, and considers
+the latter heretical, while, with a strange inconsistency, acclaiming a
+form of design based upon unnatural contortions of growth, and a
+treatment which is often alien to the material. It is the hope of the
+author to assist the second class of mind to the rivalling of the
+ancient glories of design and craftsmanship, 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 individuality. 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 unsuitable, and a greater acquaintance with their
+triumphs is likely, one would hope, to lead students, whether designers
+or craftsmen, to view with disgust undigested designs indifferently
+executed which have little but a fancied novelty to recommend them.
+
+It is intended that each volume shall contain an historical sketch of
+the phase of design and craft treated of, with examples of the
+successful overcoming of the difficulties to be encountered in its
+practice, workshop recipes, and the modes of producing the effects
+required, 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 them.
+
+
+
+
+PREFACE
+
+
+The subject treated of in this handbook has, until lately, received
+scant attention in England; and except for short notices of a general
+nature contained in such books as Waring's "Arts Connected with
+Architecture," technical descriptions, such as those in Holtzapffel's
+"Turning and Mechanical Manipulation," and a few fugitive papers, has
+not been treated in the English language. On the Continent it has,
+however, been the subject of considerable research, and in Italy,
+Germany, and France books have been published which either include it as
+part of the larger subject of furniture, or treat in considerable detail
+instances of specially-important undertakings. From these various
+sources I have endeavoured to gather as much information as possible
+without too wearying an insistence upon unimportant details, 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
+art, and especially for the designer and craftsman, whose business it
+is or may be to produce such works in harmonious co-operation in the
+present day, as they often did in days gone by, and, it may be hoped,
+with a success akin to that attained in those periods to which we look
+back as the golden age of art.
+
+The books from which I have drawn my information are principally the
+following:--
+
+In Italian--Borghese and Banchi's "Nuovi documenti per la storia dell'
+Arte Senese"; Brandolese's "Pitture, sculture, &c., di Padova"; Caffi's
+"Dei lavori d'intaglio in legname e d'intarsia nel Cattedrale di
+Ferrara"; Calvi's "Dei professori de belle arti che fiorirono in Milano
+ai tempi dei Visconti, &c."; Saba Castiglione's "Ricordi"; Erculei's
+paper in his "Catalogue of the Exhibition of works of carving and inlay
+held at Rome in 1885"; Finocchietti's "Report on carving and inlaid work
+in the Jurors' report on the Exhibition of 1867 in Paris"; Lanzi's
+"History of Painting in Italy"; Locatelli's "Iconografia Italiana";
+Marchese's "Lives of Dominican Artists"; Milanesi's "Documenti per la
+Storia dell' Arte Senese"; Morelli's "Notizie d'opere di disegno nella
+prima meta dell' Secolo XVI."; Tassi's "Vite di pittori, architetti,
+&c., Bergamaschi"; Temanza's "Vite dei piu celebri architetti, &c.,
+Dominicani"; Tiraboschi's "Biblioteca Modenese"; Della Valle's "Lettere
+Senesi sopra le belle Arti"; Vasari's "Lives," with Milanesi's notes and
+corrections, and papers in the "Bullettino di Arti, Industrie e
+Curiosita Veneziane," the "Atti e memorie della Societa Savonese," the
+"Archivio Storico dell' Arte and its continuation as L'Arte," and the
+"Archivio Storico Lombardo," by such men as Michele Caffi, G. M. Urb,
+Ottavio Varaldo, Francesco Malaguzzi Valeri and L. T. Belgrano.
+
+In German--Becker and Hefner Alteneck's "Kunstwerke and Geraeths Schaften
+des Mittelalters und der Renaissance"; Bucher's "Geschichte der
+Technischen Kunst"; Burckhardt's "Additions to Kugler's Geschichte der
+Baukunst, and Geschichte der Renaissance in Italien"; Demmin's "Studien
+ueber die Stofflich-bildenden Kuenste"; Von Falke's "Geschichte des
+deutsches Kunstgewerbes"; Scherer's "Technik und Geschichte der
+Intarsia"; Schmidt's "Schloss Gottorp"; Seeman's "Kunstgewerbliche
+Handbuecher"; Teirich's "Ornamente aus der Bluethezeit italienischer
+Renaissance," and articles in "Blaetter fuer Kunstgewerbe," and the
+"Kunstgewerbeblatt of the Zeitschrift fuer bildende Kunst," by such men
+as Teirich, Issel and Ilg.
+
+In French--Asselineau's "A. Boulle, ebeniste de Louis 14"; Burckhardt's
+"Le Cicerone"; Champeaux's "Le bois appliquee au mobilier," and "Le
+meuble"; Demmin's "Encyclopedie historique, archeologique, &c.";
+Luchet's "L'Arte industriel a l'Exposition Universelle de 1867," and
+other encyclopaedias.
+
+In English--"The handmaid to the arts"; Holtzapffel's "Turning and
+mechanical manipulation"; Pollen's paper on "Furniture in the Kensington
+Catalogue of Ancient and Modern furniture"; Leader Scott's "The
+Cathedral builders"; Tomlinson's "Cyclopaedia of Useful Arts"; Waring's
+"The Arts connected with architecture"; and Digby Wyatt's "Industrial
+Arts of the 19th Century," together with detached articles found in
+various publications.
+
+Those who desire further examples of arabesque patterns may find them in
+Issel's "Wandtaefelungen und Holzdecken"; Lacher's "Mustergueltige
+holzintarsien der Deutschen Renaissance aus dem 16 und 17 Jahrhundert";
+Lachner's "Geschichte der Holzbaukunst in Deutschland"; Lichtwark's "Der
+ornamentstich der deutschen Fruehrenaissance"; Meurer's "Italienische
+Flachornamente aus der Zeit der Renaissance"; Teirich's "Ornamente aus
+der Bluethezeit italienischer Renaissance," and Rhenius "Eingelegte
+Holzornamente der Renaissance in Schlesien von 1550-1650."
+
+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 known,
+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
+question.
+
+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 ways, the facilities
+afforded me, and their unfailing kindness and courtesy; and to the
+Director of the Victoria and Albert Museum for similar kindness and
+assistance.
+
+I have also to thank my friend Mr. C. Bessant, whose experience in all
+kinds of cabinet work is so great, for very kindly looking over the
+section dealing with the processes of manufacture.
+
+  F. HAMILTON JACKSON.
+
+
+
+
+INTARSIA AND MARQUETRY
+
+HISTORICAL NOTES--ANTIQUITY
+
+
+The word "intarsia" is derived from the Latin "interserere," to insert,
+according to the best Italian authorities, though Scherer says there was
+a similar word, "Tausia," which was applied to the inlaying of gold and
+silver in some other metal, an art practised in Damascus, and thence
+called damascening; and that at first the two words meant the same
+thing, but after a time one was applied to work in wood and the other to
+metal work. In the "Museo Borbonico," xii., p. 4, xv., p. 6, the word
+"Tausia" is said to be of Arabic origin, and there is no doubt that the
+art is Oriental. It perhaps reached Europe either by way of Sicily or
+through the Spanish Moors. "Marquetry," on the other hand, is a word of
+much later origin, and comes from the French "marqueter," to spot, to
+mark; it seems, therefore, 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 (or sometimes some other
+material) cut to fit it, and to use the latter for the more modern
+practice of cutting several sheets of differently-coloured thin wood
+placed together to the same design, so that by one cutting eight or ten
+copies of different colours may be produced which will fit into each
+other, and only require subsequent arranging and glueing, as well as for
+the more artistic effects of the marquetry of the 17th and 18th
+centuries, which were produced with similar veneers. The process of
+inlaying is of the most remote antiquity, and the student may see in the
+cases of the British Museum, at the Louvre, and in other museums,
+examples of both Assyrian and Egyptian inlaid patterns of metal and
+ivory, or ebony or vitreous pastes, upon both wood and ivory, dating
+from the 8th and 10th centuries before the Christian Era, or earlier.
+The Greeks and Romans also made use of it for costly furniture and
+ornamental sculpture; in Book 23 of the "Odyssey," Ulysses, describing
+to Penelope the bride-bed which he had made, says--"Beginning from this
+head-post, I wrought at the bedstead till I had finished it, and made it
+fair with inlaid work of gold, and of silver, and of ivory"; the statue
+and throne of Jupiter at Olympia had ivory, ebony, and many other
+materials used in its construction, and the chests in which clothes
+were kept, mentioned by Homer, were some of them ornamented with inlaid
+work in the precious metals and ivory. Pausanias describes the box of
+Kypselos, in the opisthodomos of the Temple of Hera, at Olympia, as
+elliptical in shape, made of cedar wood and adorned with mythological
+representations, partly carved in wood and partly inlaid with gold and
+ivory, in five strips which encircled the whole box, one above another.
+The Greek words for inlaying used by Homer and Pindar are "[Greek:
+daidallo]" and "[Greek: kollao]," and their derivatives, the first being
+also used for embroidering; Homer and Hesiod also use "[Greek:
+poikilos]" for "inlaid," which shows how closely at that time the arts
+were interwoven. These words have left no trace in the later terms,
+though [Greek: kollao] means to fix together, or to glue, and it is
+tempting to connect the French word "coller" with it. Vitruvius and
+Pliny use the words "cerostrata" or "celostrata," which means, strictly
+speaking, "inlaid with horn," and "xilostraton." The woods used by the
+Greeks were ebony, cypress, cedar, oak, "sinila," yew, willow, lotus
+(celtis australis), and citron (thuyia cypressoides), a tree which grew
+on the slopes of the Atlas mountains. The value of large slabs of this
+last was enormous. Pliny says that Cicero, who was not very wealthy
+according to Roman notions, spent 500,000 sesterces (about L5400) for
+one table. Asinius Pollio spent L10,800, King Juba L13,050, and the
+family of the Cethegi L15,150 for a single slab. The value of this wood
+consisted chiefly in the beautiful lines of the veins and fibres; when
+they ran in wavy lines they were called "tigrinae," tiger tables; when
+they formed spirals like so many little whirlpools they were called
+"pantherinae," or panther tables, and when they had undulating, wavy
+marks like the filaments of a feather, especially if resembling the eyes
+on a peacock's tail, they were very highly esteemed. Next in value were
+those covered with dense masses of grain, called "apiatae," parsley wood.
+But the colour of the wood was also a great factor in the value, that of
+wine mixed with honey being most highly prized. The defect in that kind
+of table was called "lignum," which denoted a dull, log colour, with
+stains and flaws and an indistinctly patterned grain. Pliny says the
+barbarous tribes buried the wood in the ground when green, giving it
+first a coating of wax. When it came into the workmen's hands they put
+it for a certain number of days under a heap of corn, by which it lost
+weight. Sea water was supposed to harden it and act as a preservative,
+and after bathing it, it was carefully polished by rubbing by hand. The
+use of such valuable wood naturally led to the use of veneers, and the
+practice was universal in costly furniture. The word "xilotarsia" was
+used by the Romans to designate a kind of mosaic of wood used for
+furniture decoration. Its etymology suggests that the Greeks were then
+masters in the art. They divided works in tarsia into two
+classes--"sectile," in which fragments of wood or other material were
+inserted in a surface of wood, and "pictorial," in which the various
+pieces of wood covered the ground entirely. The slices of wood,
+"sectiles laminae," were laid down with glue, as in modern work. Wild and
+cultivated olive, box, ebony (Corsican especially), ilex, and beech were
+used for veneering boxes, desks, and small work. Besides these the
+Romans used the citrus, Syrian terebinth, maple, palm (cut
+transversely), holly, root of the elder, and poplar; the centres of the
+trees being most prized for colour and markings. [See note giving
+extracts from Pliny.[1]]
+
+A few notes on the exceptional scantlings of timber in antiquity may be
+interesting, though not strictly belonging to our subject. 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 curiosity. It measured
+120 feet by 2 feet the entire length. The mast of the vessel which
+brought the large obelisk from Egypt, afterwards set up in the Circus
+Maximus, and now in front of S. John Lateran, was 100 feet by 1-1/2
+feet, and the tree out of which it was cut required four men, holding
+hands, to surround it. A stick of cedar, cut in Cyprus and used as the
+mast of an undecireme, or 11 banked galley of Demetrius, took three men
+to span the tree out of which it was cut. It was the exceptional sizes
+of such pieces of timber, and veneers cut from them, which made the
+value of tables in Rome.
+
+FOOTNOTES:
+
+[1] Pliny, Book 16, Chap. 83--"Glue, too, plays one of the principal
+parts in all veneering and works of marquetry. For this purpose the
+workmen usually employ wood with a threaded vein, to which they give the
+name of 'ferulea,' from its resemblance to the grain of the giant
+fennel, this part of the wood being preferred from its being dotted and
+wavy." Chap. 84--"The wood, too, of the beech is easily worked, although
+it is brittle and soft. Cut into thin layers of veneer it is very
+flexible, but is only used for the construction of boxes and desks. The
+wood, too, of the holm oak is cut into veneers of remarkable thinness,
+the colour of which is far from unsightly; but it is more particularly
+where it is exposed to friction that this wood is valued, as being one
+to be depended upon; in the axle trees of wheels, for instance, for
+which the ash is also employed, on account of its pliancy, the holm oak
+for its hardness, and the elm for the union in it of both these
+qualities.... The best woods for cutting into layers and employing as a
+veneer for covering others are the citrus, the terebinth, the different
+varieties of the maple, the box, the palm, the holly, the holm oak, the
+root of the elder, and the poplar. The alder furnishes, also, a kind of
+tuberosity, which is cut into layers like those of the citrus and the
+maple. In all the other trees, the tuberosities are of no value
+whatever. It is the central part of trees that is most variegated, and
+the nearer we approach to the root the smaller are the spots and the
+more wavy. It was in this appearance that originated that requirement of
+luxury which displays itself in covering one tree with another, and
+bestowing upon the more common woods a bark of higher price. In order to
+make a single tree sell many times over laminae of veneer have been
+devised; but that was not thought sufficient--the horns of animals must
+next be stained of different colours, and their teeth cut into sections,
+in order to decorate wood with ivory, and, at a later period, to veneer
+it all over. Then, after all this, man must go and seek his materials in
+the sea as well! For this purpose he has learned to cut tortoise shell
+into sections; and of late, in the reign of Nero, there was a monstrous
+invention devised of destroying its natural appearance by paint, and
+making it sell at a still higher price by a successful imitation of
+wood.
+
+"It is in this way that the value of our couches is so greatly enhanced;
+it is in this way, too, that they bid the rich lustre of the terebinth
+to be outdone, a mock citrus to be made that shall be more valuable than
+the real one, and the grain of the maple to be feigned. At one time
+luxury was not content with wood; at the present day it sets us on
+buying tortoise shells in the guise of wood."--Pliny's Natural History,
+Bohn's Translation.
+
+
+
+
+ITALY IN MEDIAEVAL AND RENAISSANCE TIMES
+
+
+The mediaeval craft seems, however, to have been derived from the East,
+though Theophilus mentions the Germans as clever practitioners in
+woodwork. A minnesinger's harp of the 14th century, figured by Hefner
+Alteneck, appears to bear out his remark, though later in date, with its
+powdering of geometrical inlays and curiously-designed sprigs, which
+might almost have been produced by the latest art craze, which apes
+archaic simplicity. It belonged to the knightly poet Oswald von
+Wolkenstein, who died in 1445; the colours used are two browns, black,
+white, and green. The oriental inlays of ivory upon wood, elaborate and
+beautiful geometrical designs, are still produced in India in much the
+same fashion as in the middle ages, for the possibilities of geometric
+design were exhausted by the Arabs in Egypt and the Moors in Spain; and
+in Venice there was a quarter inhabited by workmen of the latter race
+who made both metal work and objects in wood. Except for the inlaid
+ivory casket in the Capella Palatina, at Palermo, which seems to be a
+work of Norman times, 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 Certosa," or "tarsia alla Certosina"; but since
+inlaying with small pieces of marble and vitreous pastes was practised
+in central and southern Italy certainly from the 12th century, there is
+little difficulty in imagining how its use arose. This work has its
+derivative still existing in England in the so-called "Tonbridge ware,"
+which is made by arranging rods of wood in a pattern and glueing them
+together, after which sections are sliced off--the same proceeding, in
+effect, as that which the Egyptians made use of with rods or threads of
+glass. One must allow, however, that the wooden border inlays, which are
+also placed under this heading, show greater craft mastery, as the
+examples appended show, which are typical instances. The chair-back from
+S. Ambrogio, Milan, is a characteristic example of the simpler form on a
+tolerably large scale.
+
+[Illustration: Plate 1.--_Patterns used in Borders._
+
+_To face page 8._]
+
+[Illustration: Plate 2.--_Various Patterns of Borders._]
+
+Historians are agreed that the cradle of Italian carving and inlaying
+was Siena, where there is mention of a certain Manuello, who, with his
+son Parti, worked in the ancient choir of the Cathedral in 1259.
+Orvieto was another place where tarsia work was made at an early date,
+but the craftsmen were all Sienese. Mastro Vanni di Tura dell' Ammanato,
+the Sienese, made the design of the stalls for the Cathedral in 1331,
+and commenced the work, some remains of which are still preserved in the
+Museum of the Opera del Duomo. Twenty-eight artists were employed on
+these stalls; Giovanni Talini, Meo di Nuti, and others, all Sienese,
+assisted him, but he died before they were finished, and they remained
+incomplete till 1414, when Domenico di Nicolo is recorded as undertaking
+the work; but neither did he finish it, for in 1431 the overseers gave
+it to Pietro di Minella, and then to his brother Antonio, and to
+Giovanni di Lodovico di Magno. The woods used were ebony, box, walnut,
+and white poplar, and the cost was 3152 lire. In the 14th century tarsia
+was executed at Siena, Assisi, where in 1349 Nicolo di Nicoluccio and
+Tommaso di Ceccolo worked at the Cathedral stalls, which no longer
+remain; Verona, in the sacristy of S. Anastasia, in which city are some
+inlays resembling those at Orvieto, and Perugia, where some inlays
+remain in the Collegio della Mercanzia, but remains of the period are
+few, as may be expected.
+
+[Illustration: _To face page 10._ Plate 3.--_Chair Back from S.
+Ambrogio, Milan._]
+
+Domenico di Nicolo worked for 13 years at the chapel in the Palazzo
+Pubblico at Siena, using some of Taddeo Bartoli's designs, and also
+did the doors of the Sala di Balia, or of the Pope. This man, who was
+one of the best Sienese masters of intarsia and carving, and was head of
+the Opera del Duomo in 1400, and whose work brought him so much
+reputation that his family name of Spinelli was changed for himself and
+his descendants to Del Coro, or Dei Cori, is an example and a proof of
+the small profit which was to be made even then by conscientious and
+careful work. He was not only a worker in wood, in 1424 he also did the
+panels of the Cathedral floor, representing David and Goliath, the
+Amorite Kings, and Samson, ascribed by Vasari to Duccio; in 1415 he was
+paid 42 lire for a tabernacle made of gesso, while as early as February
+28, 1397-8, he was paid 32 lire 10 soldi for 32-1/2 days' work on a
+window above the pulpit; yet on May 13, 1421, he petitions the priors
+and captain of the people to this effect. He says that he is poor, and
+cannot meet the requirements of his family and apprentices, each of
+whom, he says, costs 30 or 40 florins a year, and therefore suggests
+that he should have two or three boys to teach, and that the priors
+should subsidize him for that purpose, and binds himself to teach them
+all he can without reserve. The priors and captains recommended to the
+council that he should be paid by the chamberlain of Bicherna 200 lire,
+free of tax, by the year, "nomine provisionis libr: ducentos den:
+nitidas de gabella," and should have two or three Sienese youths to
+teach, and the council passed the recommendation the same day.
+Twenty-six years later, January 14, 1446-7, he appears again in the
+records with a petition to the Signory. He says that he has always, from
+his youth up, done his best to provide for his family, and that by his
+craft he has always tried to bring honour on the city and spread the
+fame of his works. That as they know he was granted money to teach his
+art to any young man who wanted to learn it, but "because this art was,
+and is, little profitable, there was no one who wished to go on with it
+except Master Mactio di Bernacchino, who followed the art thoroughly,
+and became an excellent master." That, as he thought he was fairly
+prosperous, he gave up the grant (like an honest man!), but the expenses
+of marrying and dowering his daughters had been so great, and added to
+the losses caused by the small profits on his work, had reduced him to
+such poverty that he did not see how he could go on, being 84 years of
+age, or thereabouts, and having a sick wife. He therefore asked to have
+a small pension settled on him for the few years he and his wife had to
+live. He was granted two florins a month, but three years later all
+mention of him ceases.
+
+[Illustration: Plate 4.--_Door of the Sala del Papa, Palazzo Comunale,
+Siena._
+
+_To face page 13._]
+
+The choir of the Chapel of the Palace had been given in 1414 to Simone
+d'Antonio and Antonio Paolo Martini, but they did not satisfy the
+public, so it was taken from them and given to Domenico di Nicolo,
+August 26, 1415. The tarsie are 21 in number, and represent the clauses
+of the apostles' creed and the symbols of the apostles. The unsuccessful
+work was given to the prior of the Servites. In the Communal records
+occur the following, March 31, 1428:--"Domenico di Nicolo, called
+Domenico del Coro, is to have 45 florins at 4 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 Palace, which salary was declared
+by Guido of Turin and Daniello di Neri Martini, two of the three workmen
+upon the contract of the said door, at 180 lire. And is to have 3152
+lire for his salary and workmanship of 21 seats made in the Palace of
+the Magnificent Signors, with all both '_fornamenti et facti_,' in full
+according to his contract"--accepted by Guido di Torino and Daniello di
+Neri Martini. He was called to Orvieto in 1416 to refix the roof of the
+Cathedral; he was not to have more than 200 florins a year, but if he
+came himself all expenses were to be paid. This suggests an appointment
+like that of a consulting engineer.
+
+From Siena masters were continually sent to the other great towns to
+design and carry out works of architecture, sculpture, and woodwork, as
+entries in Sienese documents show. In early times the various arts
+connected with building were in close union, and it appears tolerably
+certain that one guild sheltered them all, proficiency being required in
+several crafts and mastery in one. We find the same man acting in one
+place as master builder or architect, and sometimes only giving advice,
+while elsewhere he is sculptor or woodworker. The painter, the
+mosaicist, and the designer for intarsia are confused in a similar
+manner. Borsieri calls Giovanni de' Grassi, the Milanese painter (known
+as Giovanni de Melano at first, a pupil of Giotto and Taddeo Gaddi;
+pictures of his are in the Academy, Florence, and in the cloister of S.
+Caterina Milan), "an excellent architect"; and he also worked in relief,
+besides conducting very important architectural works. He says that
+about 1385 Giovanni Galeazzo opened an academy of fine art in his
+palace, which was conducted by Giovanni de' Grassi and Michelino da
+Besozzo. On June 19, 1391, he was paid five florins for models executed
+by him, and something for the expense of execution in marble by another
+hand. In 1391 he was called upon by the Council of the Duomo, and after
+four months of uncertainty was assigned the position and pay of first
+engineer, with a servant who was paid by the Council. He did the door of
+the S. Sacristy; it was finished in July, 1395, when he was ordered to
+decorate it with gilding and blue. He also made designs for capitals and
+window traceries, and carved a God the Father for a centre boss of the
+vault of the N. Sacristy. He illuminated the initials, &c., of a copy of
+the Ambrosian ritual of Berold for the "Fabbriceria," and this was his
+last work, as he died July 5, 1398, and the price was paid to his son
+Solomon, the officials declaring that it was most moderate. His pupils
+were nearly all both painters and sculptors, and some of them became
+stained-glass painters. It is well known that Taddeo Gaddi was painter,
+architect, and mosaicist, and Giotto, painter, sculptor, and architect,
+and these details are an example of what was then continually going on.
+Both in mediaeval times and at the beginning of the Renaissance the most
+celebrated architects often called themselves by the most humble
+titles--"Magister lignaminio," "maestro di legname," "faber lignarius,"
+"carpentarius." Minerva, the worker, was the patron of all workmen from
+Pheidias to the lowest pottery thrower, and in Christian times the
+Quattro Coronati, the four workmen-saints, were the patrons of all who
+worked with their hands.
+
+The oldest of the differentiated guilds appears to be that of the
+painters, at least in Siena, where one was established in 1355, while in
+Florence they were obliged to enrol themselves in the "Art" of the
+"medici e speziali," unless they preferred, as many of them did, to be
+reckoned with the goldsmiths. In Siena the Goldsmiths' Guild followed
+the Painters' Guild in 1361, while the workers in stone formed their
+guild still later. Among the painters were included designers of every
+sort--moulders, and workers in plaster, stucco, and papier mache, gold
+beaters, tin beaters, &c., and masters and apprentices in stained glass,
+also makers of playing cards--a most comprehensive guild. Vasari, in his
+life of Jacopo Casentino, architect and painter, says, however, "Towards
+1349 the painters of the old Greek style, and those of the new,
+disciples of Cimabue, finding themselves in great number, united and
+formed at Florence a company under the name and protection of S. Luke
+the Evangelist"; and Baldinucci, in his "Notizie dei professori di
+disegno," prints the articles of association at length. Others hold that
+the Confraternita dei Pittori was not founded till 1386.
+
+[Illustration: Plate 5.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PROPHET AMOS.
+
+_This and the two succeeding are part of the same composition._
+
+_To face page 18._]
+
+
+[Illustration: Plate 6.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE ANNUNCIATION.]
+
+[Illustration: Plate 7.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PROPHET HOSEA.]
+
+The rapid rise of the last-named city in wealth and importance was the
+reason that so much of the best later 15th century inlaid work was done
+there, or at least by Florentines, though the art was not new to
+Florence, the names of Matteo di Bernardino, Pietro Antonio, Giovanni
+del Mulinella, and Domenico Tassi being recorded as working there in the
+14th century. Vasari, as usual, is somewhat inaccurate; he says that
+tarsia was first introduced in the time of Brunelleschi and Paolo
+Uccello, "that, namely, of conjoining woods, tinted of different
+colours, and representing with these buildings in perspective, foliage,
+and various fantasies of different kinds." Both he and Lanzi say that
+Brunelleschi gave lessons in perspective and "tarsia" to architects and
+others, of which Masaccio in painting and Benedetto da Majano in his
+inlaid works availed themselves. Vasari held but a poor opinion of
+tarsia, which, he said, "was practised chiefly by those persons who
+possessed more patience than skill in design," and goes on to say that
+the subjects most suitable to the process are "perspective
+representations of buildings full of windows and angular lines, to which
+force and relief are given by means of lights and shades"; that although
+he had seen some good representations of figures, fruit, and animals,
+"yet the work soon becomes dark, and is always in danger of perishing
+from the worms or by fires." He adds that it was first practised in
+black and white alone, 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 colours, making the lights with the whitest pieces of
+the spindle tree; to shade, some singed the wood by firing, others used
+oil of sulphur, or a solution of corrosive sublimate and arsenic. The
+"most solemn" masters of tarsia in Florence were the Majani, La Cecca,
+Il Francione, and the da San Gallo. The first name which he gives is
+that of Giuliano da Majano (1432-90), architect and sculptor, who
+executed as his first work the seats and presses of the sacristy of S.
+S. Annunziata at Florence, with Giusto and Minore, two masters in
+tarsia. He also did other things for S. Marco. In the archives of the
+Duomo, Giuliano di Nardo da Maiano is named in a contract for ornamental
+wood-work in the sacristy, to be finished in 1465. There is still
+existing in the Opera del Duomo a panel of S. Zenobio standing between
+two deacons, executed by him from cartoons by Maso Finiguerra, who
+designed five figures for the panels of the sacristy. The heads were
+painted by Alessio Baldovinetti. There are also several subjects in the
+sacristy, a Nativity, resembling Lippino Lippi's picture in the
+Accademia; a Presentation in the Temple, not without a reminiscence of
+Ghirlandajo's manner; and an Annunciation. The whole scheme of the
+decoration of this wall was Giuliano's, but it was the completion of
+work begun in 1439 by Angelo di Lazzero of Arezzo, Bernardo di Tommaso
+di Ghigo, Giovanni di Ser Giovanni detto Scheggione, painter and brother
+of Masaccio, and Antonio Manetti. Milanesi says his father was Leonardo
+d'Antonio da Majano, master of wood and stone work. He entered the Arte
+del legnajuolo in company with his younger brother Benedetto, and the
+first mention of his work in connection with the "Arte" is in 1455, when
+he made for the Compagnia di S. Agnese delle Laudi, which met in the
+Carmine, a chest with a bookcase of some sort. Five years later he
+carved some candlesticks for the Monastery of S. Monaca, and constructed
+some cupboards ornamented with inlaid work and perspectives for the
+Badia of Fiesole. Among his architectural work may be mentioned the
+Chapel of S. Fina at S. Gemignano, which Ghirlandajo embellished with
+frescoes. He commenced a choir for the Duomo at Perugia, decorated with
+both carving and tarsia, but since he went to Naples shortly after 1481,
+and died there in 1490, the greater part of the credit of this work must
+be given to Domenico del Tasso, who completed it in 1491. His brother
+Benedetto, to whom he turned over most of his commissions for tarsia,
+when he became much occupied with architectural work, was born in 1442.
+He assisted his brother in many of his works, such as the doors of the
+hall of audience in the Palazzo Vecchio, made between 1475 and 1480,
+representing Dante and Petrarch, with ornamental borders and other
+panels, in which Il Francione also had a hand. He gave up tarsia in
+disgust for the following reason, according to the story told by
+Vasari:--"He made two chests, with difficult and most splendid mastery,
+of wood mosaic, which he wished to show to Matthew Corvinus, then King
+of Hungary, who had many Florentines at his Court, and had summoned him
+with much favour; so he packed his chests up and sailed for Hungary,
+where, when he had made obeisance to the King, and had been kindly
+received, he brought forward the said cases and had them unpacked in his
+presence, who much wished to see them; 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 ground, at
+which every one may understand how astonished and speechless Benedetto
+was in the presence of so many lords. However, he put the work together
+again as he best might, and satisfied the King; still he was disgusted
+with that kind of work, not being able to forget the vexation which
+he had suffered, and gave it up, taking to carving instead." He finished
+his brother's presses in the sacristy of S. Maria dei Fiori, and, in the
+opinion of Vasari, surpassed him and became the best master of his
+period. He died in 1497. Vasari ascribes the celebrant's seat in Pisa
+Cathedral to Giuliano, together with another of spindlewood, "to be
+placed in the nave where the women sit," finished and sent home in 1477,
+and put up by Baccio Pontelli. Milanesi says, however, that the choir of
+this Cathedral was done by Francesco di Giovanni di Matteo da Firenze,
+called Il Francione. Guido da Seravallino, between 1490 and 1495, made
+for the choir of the sacristy of this Cathedral more than 15
+perspectives; the usual price appears to have been 11 lire. He was a
+Pisan, and his father's name was Filippo. Domenico di Mariotto first
+appears in the accounts in 1489, when he began the choir and seats for
+the Campo Santo; he went on with various works of tarsia and carving
+till 1513. He was a Florentine, but lived in Pisa for many years, dying
+there in 1519. Other names which appear in the accounts are Giuliano di
+Salvatore and Michele Spagnuolo. In 1486 Cristophano d'Andrea da
+Lendinara and Jacopo da Villa came to make a seat for the choir, but
+this does not seem to have been a success, and Il Francione, who had
+been at Pisa as long before as 1462, and Baccio di Fino Pontelli, who
+appears in 1471, were put in charge of the work. Giovanni Battista
+Cervelliera is mentioned first in 1522. He was son of Pietro d'Altro
+Pietra, a native of Corsica, who began the singing gallery of the organ
+in S. Martino, Pietra Santa, finished by his son, who died in about
+1570. In 1596 a great fire took place. After this the best pieces saved
+were used in the decoration of the new choir, in 1606, by Pietro Giolli,
+who also had some fresh ones made; others were mended by Girolamo
+Innocenti, and placed round the walls and round the nave piers in 1613.
+The pieces of Giuliano da Majano's work now remaining are in the side
+aisles, two at the right, one at the left; one represents King David
+with his harp and with a label in the other hand, "Laudate Pueri
+Dominum." The other two figures are prophets, and have scrolls,
+"Benedicam, benedicam," and "Ve qui condunt legem." Pontelli's Faith,
+Hope, and Charity are on the pier near the Chapel of S. Ranier, three
+half-length figures of women. The seated figures of the liberal arts on
+the side panelling of the church are Il Francione's, women with symbols,
+arithmetic, grammar, geometry, astrology, logic, and music. The great
+seat in the nave is the work of Giovanni Battista del Cervelliera. In
+the centre is a large round-headed panel with the Adoration of the
+Magi; at each side are three lower seats with architectural subjects in
+the centre and objects in the side panels and below the seats. It is
+signed and dated 1536. The whole collection of panels is well worth a
+stay at Pisa to see, even if there were not other attractions in that
+pleasant little town. In the registers of the "Opera" is an annual
+charge for two "sbirri," or two servants of the captain of the people,
+to watch the seats of the Cathedral "so that children may not damage
+them in the obscurity," which shows that even Italian children could not
+always be trusted not to be mischievous.
+
+[Illustration: Plate 8.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE NATIVITY.
+
+_To face page 20._]
+
+[Illustration: Plate 9.--_Figure intarsia from the Sacristy of the
+Cathedral, Florence._
+
+THE PRESENTATION IN THE TEMPLE.
+
+_To face page 21._]
+
+[Illustration: Plate 10.--_Panel from Sacristy of S. Croce, Florence._
+
+_To face page 23._]
+
+[Illustration: _To face page 24._
+
+Plate 11.--_Detail of frieze from the Sacristy of S. Croce, Florence._]
+
+[Illustration: Plate 12.--_Lower Seats of Choir, Cathedral, Perugia._]
+
+
+[Illustration: Plate 13.--_Upper Seats of Choir, Cathedral, Perugia._
+
+_To face page 26._]
+
+[Illustration: Plate 14.--_One panel from upper series, Cathedral,
+Perugia._]
+
+Il Francione had a pupil called Il Cecca. His name was really Francesco
+d'Agnolo, but like most men at that time he went by a nick-name. Cecca
+is a corruption of Francesco into Cecco, Cecca, from being Francione's
+companion and disciple. He was born in 1447; his father was Angelo di
+Giovanni, a mender of leather or "galigajo." He came to Florence from
+Tonda, a little place near S. Miniato al Tedesco. His father died in
+1460; he and three older sisters were left to his mother, Monna Pasqua.
+So the 13 year-old boy went bravely to work to keep his mother and
+sisters, and entered Il Francione's workshop. When he was 25 he left him
+and set up for himself, taking a shop in the Borgo de' Greci, where he
+lived and slept as well as worked. In 1481 he had a commission from the
+magistrates, called "degli ufficiali di Palazzo," for all the wood-work
+of the Hall of the Seventy, Bernardo di Marco Renzi helping him.
+Afterwards he did other work for different parts of the Palace and for
+other places, all of which has perished. Finally, he spent most of his
+time as architect and engineer, 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 engagements. He died in 1488.
+
+The del Tasso lived in the village of S. Gervasio, and moved to a place
+near the walls of Florence, a few steps from the Porta a Pinti. Then
+they went into the city and had a house in the parish of S. Ambrogio, in
+which church Francesco di Domenico made a tomb for himself and his
+family in 1470. They had arms; at first they were a goldsmith's anvil
+(tasso or tassetto), and above a ball or heap of silver. Afterwards the
+field of the shield was divided, and they added in the upper part two
+little badgers (tassi) at the side of the anvil, and put below the keys
+of S. Peter, crossed, and interspersed with four roses. "And this they
+did, not only to point out the parish of S. Pier Maggiore in the
+gonfalon 'Chiavi' of the quarter of S. Giovanni, where the del Tasso
+lived, but also to differentiate their arms from those almost similar of
+another Florentine family of the same name." Evidently there was no
+College of Heralds in Florence in those days! The first of the family
+recorded is Chimenti di Francesco, who, in 1483-4 made a grating or
+gridiron of wood in the Chapel of S. Lorenzo in the Monastery of S.
+Ambrogio, and the dossal of the altar called "del Miracolo." In 1488 he
+carved a choir of walnut, outlined with tarsia, for the Chapel
+Minerbetti in S. Pancrazio, for which he was paid 100 florins of gold.
+He had, among others, two sons, Lionardo and Zanobi, who became
+sculptors under Benedetto da Majano and Andrea Sansovino. They also
+worked in S. Ambrogio, and the figure of S. Sebastian is by Lionardo.
+The two brothers in 1499 made nine antique heads of marble and bronze,
+which the republic sent as a gift to the Marechal de Guise in France.
+Chimenti had two brothers, also carvers and joiners, Cervagio and
+Domenico, who brought up their sons to follow the same calling, who did
+many things for triumphal arches, cars, &c., for "feste." Domenico did
+the tarsia and rosettes in the seat backs of the refectory of S. Pietro,
+Perugia, and a credence of walnut, ordered on October 20, 1490, for the
+table of the priors, on which were festoons, griffins, and other inlaid
+work. The year after he finished the choir of the Cathedral left by
+Giuliano da Majano, and was paid 1404 florins, according to the estimate
+of Crispolto and Polimante, Perugian joiners. For the same choir he made
+the panelling of wood, for which he was paid 60 florins. There were 34
+seats with ornaments at 36 florins each, and three with figures, which
+were estimated at 60 florins apiece. Payments were also made to him for
+work in the Sala del Cambio, sometimes for wood, sometimes on account of
+salary, so that it seems certain that he made the benches there on
+finishing the choir of the Cathedral, since they were being made between
+1491 and 1494. The first cost 130 florins and 6 soldi in 1491, but it
+was not finished till the next year. Polimante da Nicola was made
+citizen of Perugia in 1473. Three years after he began the choir of S.
+Domenico, which cost 11 florins per seat. Four years later it was still
+unfinished. "Mastro Crespolto and Mastro Giovagne" were his assistants.
+Domenico had three sons, Chimenti, Francesco, and Marco, who followed
+the paternal calling. Chimenti was one of those who were judges in 1490
+in the competition for the facade of S. Maria del Fiore, and in 1504 was
+one of those chosen to decide the position in the piazza to be occupied
+by Michael Angelo's David. Marco was an enthusiastic follower of
+Savonarola; in 1491 he was, with his brother Francesco, at Perugia
+helping his father, and six years later he undertook work there on his
+own account. They did half of the choir of La Badia in 1501-2, and the
+very elaborate lectern. The son of Mark was Giambattista, called Maestro
+Tasso, who was a fine carver in wood, and, in the opinion of Cellini,
+the best in his profession. He did many things both for ephemeral and
+lasting purposes, and became an architect, designing the door of the
+Church of S. Romolo and the Loggia of Mercato Nuovo, Florence, and
+superintending the construction of the latter between 1549 and 1551. In
+1548 he designed an addition to the Palazzo Vecchio, then the ducal
+residence, and also undertook to execute all the joinery. At the same
+time he made a model of the Palace which he intended to build in Pisa,
+which, however, was not carried out. He died in 1555. He was said by
+Vasari to spend his time in playing the wag, in enjoyment rather than
+work, and in criticising the works of others. But Cellini calls him
+pleasant and gay; Bronzino, good, lovable, and honest; and so does Luca
+Martini, who was a great friend of his. The following story of him,
+related by Il Lasca, shows that he was not above playing a practical
+joke of a rough character, and that he took great pride in the
+achievements of his fellow-artists:--"A Lombard Benedictine abbot on
+the way to Rome stayed in Florence, and wished one day to see the
+figures on the Medicean tombs in the sacristy of San Lorenzo carved by
+Michael Angelo, and having therefore gone thither with his two attendant
+monks, the prior of the church asked Tasso, who was then working at the
+floor of the library together with his son-in-law Crocini Antonio di
+Romolo, under the direction of Michael Angelo, to show the abbot the
+sacristy and the said library. Which abbot, after having seen the
+figures in the sacristy, and thought very little of them, set off to see
+the library, and while he was gently ascending a stair which conducted
+to it, talking with Tasso, happened to turn his eyes on the cupola of
+Brunellesco, and stopping to look at it commenced to say that, although
+it was considered by all the world as a marvel, he had heard a person
+worthy of credence say that the dome of Norcia was much more beautiful,
+and made with greater art. Which words so much exasperated Tasso that,
+pulling the abbot backwards with force, he made him tumble down the
+staircase, and he took care to let himself fall on him (!) and calling
+out that the frater was mad, he got two cords, with which he bound his
+arms, his legs, and all his person, so that he could not move, and then
+taking him, hanging over his shoulders, carried him to a room near,
+and, stretching him on the ground, left him there in the dark, locking
+the door and taking away the key." What happened to the unfortunate
+abbot after, and whether he was much damaged or not one does not know,
+for the anecdote stops here. Another instance of a family which devoted
+itself for many years to the production of tarsia and wood-work,
+displaying hereditary aptitude in the craft and gaining great repute, is
+given by the Canozii of Lendinara. The first member who took up tarsia,
+abandoning his craft of painting for that purpose, was Lorenzo Genesino
+da Lendinara, surnamed Canozio, to give him his full description. From
+him descended many excellent workers in wood. He studied in Padua, where
+he had Mantegna as fellow-student, and worked in company with his
+brother, his son, and a relation called Pier Antonio dell' Abate di
+Modena, who did the intarsia in the choir of S. Francesco at Treviso in
+1486. He died in 1477, and is buried in the first cloister of S. Antonio
+at Padua, for which he made the stalls, as his epitaph states. They were
+commenced in 1462, were worked at continuously for three years, and
+after an interval finished in 1468. They were then coloured and gilded
+in places by "Maestro Ugozon de Padoa, depentor." Burnt in 1749, only
+two stalls remain, made into confessional boxes, in the Chapel of the
+Beato Belludi. The designs for the tarsia of the sacristy were made by
+Squarcione, master of Mantegna and Lorenzo, who was paid for them in
+1462. There were 90 seats in this choir, so that it was a very important
+piece of work. A contemporary account by Matteo Colaccio (1486) shows
+what were the aims of the intarsiatori of the period as understood and
+admired by the more or less cultivated populace. "In past days in
+visiting those intarsiad figures, I was so much taken with the
+exquisiteness of the work that I could not withhold myself from praising
+the authors to heaven! And to commence with the objects that one sees
+around every day, here are books expressed in tarsia that seem real.
+Some are one on the other, and arranged carelessly, or by chance, some
+closed, some newly bound and difficult to close; candles of wax with the
+ends of wicks, now in well-turned wooden candlesticks, one straight, one
+crooked, less or more, with another crossing it. Elsewhere one sees
+clouds of smoke which spread out from new chimneys, fish which turn
+round from a full basket, a cithern which hangs from the centre of a
+narrow niche. Close by is a cage of bars expressed with wonderful
+spirit. Palaces, towers, and churches, through the half-closed doors of
+which one can see in the interior arches and windows, cupolas and
+steps. Most natural, then, is it not to be able to decide which tower
+to approach; these mountains appear to one covered with grass and with
+stones; and where earth of various colours appears there all green is
+taken away. But what shall I say of the images of the saints. Of their
+uncut and curled beards, of their hands, the joints of their fingers,
+their nails? Of their clothes, their sinuous folds, and the shadows? Nor
+less pleased me the little collar of rich pearls under the chin of S.
+Prosdocimus. 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 true. And this is specially admirable, that through the dull
+colour of their leaves they seem to have been taken from the tree
+scarcely a day ago." And then he praises in a pompous fashion the folds
+of the Virgin's and the Angel's drapery, the silk veil over a chalice,
+and the perspective of a flight of steps which support the feet of the
+Madonna, &c. One of his first works was done for S. Mark's, Venice, in
+1450. His reputation was much increased by the stalls of the Cathedral
+of Modena, made in 1472 by Lorenzo and Cristoforo, and restored in 1540
+by Mastro Angelo de Piacenza, one of their pupils. He also worked at
+Parma in 1473. Fra Luca Pacioli (1509) makes an enthusiastic eulogium
+upon Lorenzo, "who, in the said art (perspective), was in his time
+supreme, as he showed in all his famous works, as in tarsia in the
+worthy choir of the Santo and its sacristy, and in Venice in the Cha
+Grande, as well as in painting in the same places and elsewhere. And at
+the present time his son, Giovan Marco, my dear comrade, who is worthy
+of his paternity, as his work at Rovigo shows, and that in the choir of
+our convent in Venice, and in Mirandola, the architecture of which
+fortress is well understood." In the sacristy of the Cathedral at Lucca
+are five panels from the seats which once surrounded it, signed
+"Cristopharus de Canociis de Lendinaria fecit opus, MCCCCLXXXVIII." One
+shows S. Martin, the bishop, full length, the others perspectives,
+perhaps of various streets of the city as then existing. He did these in
+conjunction with Matteo Civitale, and they were his last works. He died
+in 1491. Bernardino da Lendinara, who worked at Parma in 1494, and
+later, and was a citizen of that town and of Modena, was son of
+Cristoforo, who was also citizen of those cities from 1463.
+
+[Illustration: Plate 15.--_Two panels from the Sala del Cambio,
+Perugia._
+
+_To face page 28._]
+
+[Illustration: Plate 16.--_Frieze from S. Mark's, Venice._
+
+_To face page 30._]
+
+[Illustration: _To face page 32._ Plate 17.--_Frieze from S. Mark's,
+Venice._]
+
+[Illustration: Plate 18.--_Stalls from the Cathedral, Lucca._]
+
+The stalls from the Cathedral at Lucca, which are illustrated, are now
+in the Picture Gallery. They were made by Leonardo Marti, of Lucca. When
+in 1620 the choir was spoilt (they thought that they were making grand
+improvements) they were moved to the church of the Riformati of S.
+Cerbone, being badly mutilated to adapt them to their new position.
+There, in two centuries of neglect they became in such a state that the
+brothers thought them no longer decent, and wished to sell them and make
+a new choir. The Opera of the Cathedral and the Commission of Art paid
+them something for them, and thus preserved them as they now are, having
+executed some restorations here and there.
+
+At Ferrara are some remains of stalls in the apse of the Cathedral which
+were commissioned from Bernardino da Lendinara in 1501, though not made
+by him owing to the defalcations of a dishonest steward. In 1519 the
+Chapter of the Cathedral renewed the contract with Pietro de' Rizzardi
+and Bernardino, but as he died in 1520, M. Angelo Discaccia, of Cremona,
+son of M. Cristoforo (da Lendinara?), was substituted, and assisted
+Rizzardi till the work was finished in 1525. The gilding was done by
+Baldassare dalla Viola and Albertino dalla Mirandola. A note in the
+books of the Fabbrica, June 30, 1525, states that "Mro. Piero di
+Richardo dale Lanze" owes for work not yet completed 58 lire 20 soldi.
+There are three rows of seats, 132 in all, and the Episcopal throne in
+the middle. The upper row is of 56 seats, without the throne, the middle
+one 42, the lowest 34. Originally there were 150, but in the
+alterations of 1715 nine from each side were taken away, as the high
+altar was placed further within the apse. The upper stalls are divided
+by a chancelled column with Corinthian capital, and terminated in a
+shell hood. The intarsia on the back showed ornament of fine style,
+drawings of sacred objects and perspectives of fine buildings drawn from
+various parts of the city. Two of the best preserved show the ducal
+castle and the ancient ducal courtyard with the still-existing staircase
+constructed by Ercole I. in 1481. The usual bird in a cage appears, the
+symbol of human passions conquered by religious abnegation. The lower
+rows of seats are also worked in tarsia, but with ornaments of
+geometrical form, books, and joint-stools, the diamond, the cognisance
+of Ercole I. (who gave the original commission), and the pomegranate,
+that of Alfonso, and this last figure, which only occurs in the third
+stall to the right in the lower order, makes one think that only that
+part was finished under him. The frames surrounding are carved with
+restraint. The work cost altogether 2771 lire 8 soldi 2 denari besides
+the expense of making the lower seats, which cost 3984 lire marchesane
+16 soldi 10 denari. The lira marchesana in 1523-25 corresponded to 43
+Roman bajocchi 9 denari, about 2 francs 35 centimes of modern Italian
+money.
+
+[Illustration: Plate 19.--_Lectern in Pinacoteca, Lucca._]
+
+[Illustration: Plate 20.--_Two-leaved door in the Pinacoteca, Lucca._
+
+_To face page 35._]
+
+The Canozii were also at Reggio, in the Emilia, in 1474 and in 1485, but
+the work of the stalls in the Cathedral seems rather more archaic than
+their period, and the lectern is dated 1459. It is probably the work of
+Antonio da Melaria, who three years later made one exactly like it, with
+other things, for the Church of S. Domenico. This was done for Antonia
+di Fiordibelli, and the contract shows what were the conditions under
+which such work was done. He was given 50 lire at once to buy material
+with, 50 when he began working, 50 when he had finished a third of the
+work, 50 when it was half done, 50 more when three-quarters was
+finished, and the rest of the whole price of 336 lire when it was
+completed. He was to use wood of Piella, and give 48 planks to the
+lady--a very curious clause in the contract.
+
+At Citta di Castello there are tarsie designed by Raffaello da Colle in
+the Cathedral.
+
+The choir stalls at the Certosa, Pavia, were made by Bartolommeo Poli,
+surnamed dalla Polla, from designs by Borgognone, as is said, and the
+style certainly seems to bear out the assertion, though no document has
+yet been found directly connecting him with them. They were restored in
+1847 by Count Nava with wax and stucco coloured to imitate the missing
+pieces of wood. The upper row contains a series of figures of saints
+and prophets, and below are exceedingly graceful and flowing arabesques.
+A document in the Brera Library notes that in 1490 "Mro. Bartolommeo de
+Polli da Mantoa, who made the inlaid choir and the doors of the chapels,
+has a right to 8 ducats per door, and also for the wooden pulpits 30
+ducats a pulpit." He was the son of Andrea da Mantova, who was born at
+Modena, but lived and worked at Mantua, and also with his brother Paolo
+in S. Mark's, Venice. The stalls were made between 1486 and 1501, and
+are the only work which he is recorded to have executed. A Cremonese,
+Pantaleone de' Marchi also worked on these stalls--a relation of the
+large family of the Marchi of Crema, perhaps, who worked in S. Petronio,
+Bologna, in 1495. The father was named Agostino, and he had six sons,
+Giacomo, Nicolo, Taddeo, Biagio, Agostino, and a second Giacomo. The
+stalls in the Chapel of S. Sebastian are signed Jacopo de Marchis. Some
+stalls by Pantaleone de' Marchi are in the Museum at Berlin, acquired in
+1883. They probably came from Bramante's Church, the Madonna of Tirano,
+in the Valtelline, which was built in 1505, and where there are still
+some remains of seats similar in style. The upper range of panels has a
+few half-lengths of saints, landscapes, and the usual open cupboard
+doors revealing objects on the shelves within. On the backs of the seats
+below are arabesques, and the pilaster panels and divisions between are
+also inlaid, as is the cornice. He also worked at Savona.
+
+[Illustration: Plate 21.--_Stalls at the Certosa, Pavia._]
+
+[Illustration: Plate 22.--_Detail of Arabesques, lower seats, Certosa,
+Pavia._
+
+_To face page 37._]
+
+One of the best Sienese masters has not yet been mentioned, Antonio
+Barili, much of whose work has perished, like that of many other
+intarsiatori, an example of which the collectors for the Austrian K.K.
+Museum at Vienna have picked up, however, where it may now be seen. He
+was born in Siena, August 12, 1453. His first work on his own account
+was the choir of the Chapel of S. Giovanni, in the Cathedral, Siena, of
+which a few poor remains have escaped the carelessness of the last
+century, and are in the Collegiate Church of S. Quirico in Osenna, 26
+miles from Siena, on the old Roman road. The contract is dated January
+16, 1483, and in it he engages to finish it in about two years. He was
+to be paid 50 florins of 4 lire beyond what he expended, and was to go
+on working at the rate of 10 florins a month. If he did not finish it in
+the given time he was to forfeit 100 florins, except for cause of
+infirmity, plague, &c. It was to be valued in the usual manner, and 100
+florins was the penalty for the breaking of the contract on either side.
+As a matter of fact it took him nearly 20 years to complete. On one of
+the panels Barili made a portrait of himself at work, the one referred
+to above, now in the K.K. Austrian Museum at Vienna, which shows the
+very simple means used by the great intarsiatori. His tools consist of a
+folding pocket-knife, a square-handled gouge, and a short-bladed,
+long-handled knife, which he holds with the left hand and presses his
+shoulder against, so as to use the push of the shoulder in cutting,
+while in the right he holds a small pencil, with which he appears to
+direct the knife edge. The panel upon which he is at work bears the
+inscription, "Hoc ego Antonius Barilis opus c[oe]lo non penicello
+excussi. Anno. D., 1502." He works in a window opening with panelled
+framing, and behind him a tree spreads across a courtyard against the
+sky, upon a branch of which a parrot is seated. Von Tschudi says that
+the panel is about 2 feet 10 inches long by 1 foot 9-1/2 inches broad,
+and that the woods employed are pear and walnut, oak, maple, box,
+mahogany, palisander, and one as hard as birch in texture. A full
+description of it as it originally was is appended in a note taken from
+Della Valle's "Lettere Senese." It was valued by Fra Giovanni of Verona
+at 3990 lire. 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 2000 lire, and did other work for private persons. Another
+great work was the choir of the Certosa of Maggiano, which has entirely
+disappeared. He was not only intarsiatore, but was much employed by the
+commune on architectural works. In 1484 he was sent to rebuild the
+bridge of Buonconvento, broken by a flood of the Ombrone, and in the
+same year, with Francesco di Giorgio, and on equal terms with him,
+restored the bridge of Macereto. In 1495 he was asked to make designs
+and models for a bastion to be erected over against the bridge of
+Valiano, taken by the Florentines. Owing to a bad guard being kept this
+was taken, and between 1498 and 1500 Barili was sent again to rebuild it
+larger and stronger. Finally, in 1503, he was sent to make designs and
+models of the new walls for the fortifications of Talamone, an important
+coast town. In his intarsias he was helped by his nephew, Giovanni,
+whose salary, when working for Leo X. at Rome, was five ducats a month.
+He died in 1516.[2]
+
+[Illustration: Plate 23.--_Panel from S. Petronio, Bologna._]
+
+[Illustration: Plate 24.--_Panel from S. Petronio, Bologna._
+
+_To face page 39._]
+
+[Illustration: _To face page 40._
+
+Plate 25.--_Panel from S. Miniato, Florence._]
+
+[Illustration: Plate 26.--_Panel from S. Maria Novella, Florence._
+
+_To face page 42._]
+
+Other names mentioned by Vasari are Baccio Albini and his pupil Girolamo
+della Cecca, _pipers to the signoria_, as good intarsiatori who worked
+also in ivory when Benedetto da Majano was yet a young man, and
+David of Pistoia and Geri of Arezzo, who decorated the choir and pulpit
+of S. Agostino in the latter town. Geri also made intarsie for S.
+Michele, Arezzo. Milanesi says Girolamo della Cecca was of Volterra,
+and calls Baccio, di Andrea Cellini; he was in Hungary in 1480 with his
+brother Francesco; they were brothers of Giovanni, who was father of
+Benvenuto and piper also. The stalls in S. Miniato, Florence, were made
+in 1466 by Francesco Manciatto and Domenico da Gajuolo; but perhaps the
+highest point reached by Florentine intarsia is shown by the stalls of
+S. Maria Novella, made by Baccio d'Agnolo from Filippino Lippi's
+designs. There are 40 stalls and 30 different ornamental fillings; the
+capitals, pilasters, and frieze are inlaid, the rest carved; the
+execution of figures, scrolls, leaves, and ornamental forms is as near
+perfection as may be.
+
+Baccio, or Bartolommeo d'Agnolo Baglioni, was born May 19, 1462. "In his
+youth he did very fine intarsia in the choir of S. Maria Novella, in
+which are a very fine S. John Baptist and S. Laurence, and also carved
+the ornaments in the same place and the organ case"--so says Vasari. The
+organ case is no longer there, having been sold in England, but the
+stalls still remain. After carving the surroundings of the altar at S.
+S. Annunziata, which no longer exist, he went to Rome and studied
+architecture, of which Vasari remarks, "the science of which has not
+been exercised, for several years back, except by carvers and deceitful
+persons, who made profession of understanding perspective without
+knowing even the terminology and the first principles" (!) When he
+returned to Florence he made triumphal arches of carpentry for the entry
+of Leo X. But he still stuck to his shop, in which, especially in the
+winter, fine discourses and discussions on art matters were held,
+attended at different times by Raffaello, then quite young; by Andrea
+Sansovino, il Maiano, il Cronaca, Antonio and Giuliano San Gallo, il
+Granaccio, and sometimes, by chance, by Michel Agnolo, and many young
+men, both Florentines and strangers. He did a great deal of work for the
+great hall of the Palazzo Vecchio in conjunction with others, and the
+staircase of the Sala del Dugento. After this he did many architectural
+works, palaces and additions to churches, some of which are still
+existing. The design of Brunelleschi for the gallery to surround the
+dome of the Cathedral having been lost, Baccio was commissioned to make
+a fresh one, and a piece of it was put up; but when Michael Angelo came
+back from Rome he said it was not large enough in style for the dome; in
+fact, he called it a cage for grasshoppers (grilli), and made a design
+to replace it himself; as, however, the authorities could not make up
+their minds to accept it, and Baccio's work was much blamed, it went no
+farther, and was never finished. He died on May 6, 1543, at the age of
+83, being still in full possession of his faculties, and leaving three
+sons, of whom the second, Giuliano, did a good deal of carving both in
+stone and wood, and architectural design, working in conjunction with
+Baccio Bandinelli, among which was the choir of the Cathedral of
+Florence. Another son, Domenico, showed great promise, but died young.
+
+[Illustration: Plate 27.--_Panel from S. Maria Novella, Florence._
+
+_To face page 44._]
+
+The seats near the high altar at S. Maria Novella, and other things
+there were made between 1491 and 1496. The floor of the hall of the
+Great Council in the Palazzo Vecchio was begun in 1496, and with other
+works there went on till 1503. On October 1, 1502, he engaged to do the
+choir of S. Agostino Perugia from Perugino's designs at 1120 florins of
+40 bolognini each, but he did not work at it much at that time, since on
+June 20, 1532, he made a fresh contract with the monks to continue and
+complete the choir of their church. Adamo Rossi gives other curious
+details about this work drawn from Perugian records, which are worth
+noting. He says that in 1501 Bacciolo d'Agnolo, not having a good design
+to show, agreed with the prior Federico di Giuliano in three months'
+time to submit two different seats for the choir of S. Agostino, and
+confessed to having received 50 broad ducats of gold as part of the
+price of the choir and the two stalls mentioned. He also agreed to
+return the money if he did not undertake the choir or did not finish it
+according to contract. He presented them accordingly, and in 1502 the
+contract was signed at 30 florins for each upper seat. Rossi also says
+that he finds trace of another Baccio d'Agnolo in the collection of
+wills of Pietro Paolo di Lodovico, under date June 11, 1529, and thinks
+that the work was done by him. One Baccio was elected capo-maestro of
+the Duomo in 1507 together with Giuliano and Antonio da San Gallo and il
+Cronaca (Simone del Pollajuolo), and continued in that office until
+1529.
+
+Rossi also gives other interesting details about the making of various
+pieces of joinery in Perugia and their makers, from which I extract the
+following:--"In the refectory of S. Agostino two Sienese, Giovanni and
+Cristoforo de'Minelli, worked in 1477. The cupboards in the sacristy of
+S. Pietro in Casinense were made by Giusto di Francesco of Incisa and
+Giovanni di Filippo da Fiesole in 1472. They were bought in Florence,
+and are particularly fine and large in their treatment of flowers, &c.
+The work was finished with the assistance of Mariotto di Mariotto of
+Pesaro, three workmen coming from places at considerable distances from
+each other, proving that they wandered about the country a good deal.
+The lectern in the same church, which is well inlaid and finely carved,
+was made by Battista the Bolognese, Ambrose the Frenchman, and Lorenzo.
+The contract was between the abbot and Fra Damiano's brother, Maestro
+Stefano di Antoniuolo de' Zambelli da Bergamo, and was for the whole
+choir at 30 scudi for each seat, wood being provided. The lectern itself
+cost 176 florins, and was finished in 1535. In the Sala del Cambio,
+besides Domenico del Tasso's seats, there is a fine door which was made
+by Antonio di Benciviene da Mercatello da Massa, for which he was paid
+10 florins 93 soldi 6 denari. The orator's desk, the 'ringhiera,' was
+made by Antonio di Antonio Masi, the Fleming, though often ascribed to
+Mercatello. It was estimated by Eusebio del Bastone as worth 68 florins.
+At Assisi the choir of the upper church, which is the most important in
+all Italy for the number of its stalls, the mastery of its figure
+intarsia, and the elegance of its form, was made by Domenico da S.
+Severino, who agreed with the superiors on July 8, 1491, to make it for
+770 ducats of gold. It was not finished till 1501, but no payments are
+noted in the archives after November 18, 1498. In the lower church two
+Sienese worked in 1420, and a Florentine from 1448 to 1471. The choir
+of the Cathedral in the same city was made by Giovanni di Piergiacomo,
+also of S. Severino, and there is sometimes confusion between the two
+artists. The price was 57 florins. On one of the backs is carved the
+date 1520. The most ancient piece of joinery in Perugia is that executed
+for the Arte della Mercanzia in the 14th century."
+
+[Illustration: Plate 28.--_Panel in Sacristy of S. Pietro in Casinense,
+Perugia._
+
+_To face page 46._]
+
+Rossi prints a priced list of joiners' tools, dated November 8, 1496,
+which is interesting as showing the small amount of tools and furniture
+required in a joiner and intarsiatore's workshop at that period. It runs
+thus:--
+
+     Bernardino di Lazzaro buys from Angelo di Maestro Jacopo, called
+     Boldrino, joiner, the underwritten tools and apparatus at the price
+     at which they were valued by Master Giovanni da Siena and Ercolano
+     di Gabriele of Perugia.
+
+                                                  Florins.   Soldi.
+
+  Two benches,                                       2          0
+  Four planes,                                       1          0
+  Two screw profiles, one broad and one narrow,      0         40
+  Two rules,                                         0         16
+  Four straight edges, one large and three small,    0         28
+  One outliner for tarsia,                           0          8
+  Rods for making cornices,                          0         12
+  A cross beam,                                      0          6
+  Two compasses, one large and one small,            0         12
+  Two rulers,                                        0          5
+  Four one-handed little planes,                     0         16
+  One two-handed little plane,                       0          8
+  Two broad planes,                                  0         12
+  Two hollow moulding planes,                        0         12
+  Three pieces of unfinished tarsia, and one
+    with a wire drawing iron,                        1         30
+  Two large squares and one "grafonetto" and
+    one little square,                               0          8
+  Two old irons for making cornices,                 0          8
+  Nine files, large and small, round and
+    straight,                                        0         30
+  Fifteen "gulfie," large and small,                 0         24
+  Three chisels, one glued and one all of iron
+    and one "a tiro colla manacha de legusa
+    saietta,"                                        0          7
+  One small hammer,                                  0         16
+  Two arm chairs,                                    0          8
+  A big "tenevello,"                                 0         25
+  A little anvil,                                    0         20
+  A pair of big pincers,                             0         32
+  Two little axes,                                   0         20
+  A two-handed axe,                                  0         25
+  A two-handed saw with a file,                      0         60
+  A cutting saw,                                     0         25
+  Two stools,                                        0         16
+  Nine presses (clamps),                             0         60
+  Two cupboards,                                     0         90
+  Five pieces of panels, two on the benches
+    and three outside,                               0         20
+  Three pieces of tarsia frieze and two
+    pictures with a box without a lid,               1          0
+  A bench to put the tarsia on,                      0         40
+
+
+The words untranslated are, I suppose, Perugian words. At all events,
+they do not appear in the large Italian dictionary edited by Tommaseo
+and Bellini.
+
+This Bernardino six years earlier worked as apprentice with Maestro
+Mattia da Reggio, and was paid 6 florins 22 soldi for four months. His
+name appears in the list of masters of stone and wood.
+
+[Illustration: Plate 29.--_Panel from door of Sala del Cambio, Perugia._
+
+_To face page 48._]
+
+Frederic of Montefeltro, Duke of Urbino, built himself a splendid palace
+in that city between the years of 1468 and 1480, which cost 200,000
+golden scudi. At that time a sack of corn cost rather less than five
+modern Italian lire in the duchy, and a hectolitre of wine only one
+franc sixty centimes, 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 figures. Among the decorations, which
+include much stone carving of the most extraordinary finish, which in
+the interior of the palace appears as fresh as the day it was completed,
+were some splendidly inlaid doors, eight or nine of which still remain.
+The palace was constructed upon the foundations of an older palace of
+1350, much enlarged, and here he lived magnificently, and collected that
+fine library which was subsequently removed to Rome, of which Vespasiano
+da Bisticci, the Florentine bookseller, who had a good deal to do with
+it, says that it was the most perfect that he knew, for in others there
+were either gaps or duplicates, from which defects it was free.
+Castiglione's "Cortigiano," the ideal of a courtier in those days,
+describes the Court of Urbino as it was under Guidobaldo, his son and
+successor. Among the decorations of the palace which still remain is the
+panelling of a small studio on the _piano nobile_, close to the tiny
+chapel, which is entirely surrounded by intarsia of the finest
+description, which represents in the lower part a seat something like
+the misereres of choir stalls surrounding the apartment, some parts of
+which are raised and some lowered. In the spaces rest some portions of
+the duke's arms, a sword, a mace, &c., leaning in the corners, and on
+the lower parts of the seat are musical instruments, fruits and
+sweetmeats in dishes, cushions, books, &c. The upper panels show
+cupboards with doors partly open, showing all sorts of things within in
+the usual fashion, and there are four figure panels inserted at
+intervals containing the portrait of the duke and the Christian virtues
+of Faith, Hope, and Charity which he strove to exemplify in his life. At
+one end of the room are two recesses divided by a projecting pier; in
+the one to the left the armour of the duke is represented as hanging
+piece by piece on the wall, in that on the right is shown his reading
+desk, made to turn on a pivot, with books upon it and around, and on the
+pier between, a landscape, seen through an arcade with a terrace in
+front, upon which are a squirrel and a basket of fruit. Close to the
+reading desk is a representation of an organ with a seat in front of it,
+upon which is a cushion covered with brocade or cut velvet, which is
+most realistic, and on the organ is the name Johan Castellano, which is
+supposed to be the name of the intarsiatore, though this name does not
+appear in the accounts. The custodian called him a Bergamase, I do not
+know on what authority. The designs of the figures are ascribed to
+Botticelli, and some of them look as if the ascription might possibly be
+correct. The only names of intarsiatori found in the ducal accounts are
+Beneivegni da Mercatello, who worked in the Sala del Cambio at Perugia,
+and no doubt had to do with the making of the doors, which resemble that
+work, and perhaps a Taddeo da Rovigno, the town from which the Olivetan
+Fra Sebastian came. Pungileone, however, found a payment of seven
+florins in 1473 to "Maestro Giacomo, from Florence, on account of
+intarsia for the audience hall." Dennistoun says that this study
+contained "arm-chairs encircling a table all mosaicked with tarsia, and
+carved by Maestro Giacomo of Florence," but it is now quite bare,
+though, fortunately, the tarsie are well preserved. He goes on to say
+that "on each compartment of the panelling was the portrait of some
+famous author and an appropriate distich," which leads one to suppose
+either that his information was inaccurate or that he was referring to
+the similar small study on the lower floor, in which Timoteto delle Vite
+did some painting.
+
+The duke and his son Guidobaldo were both great builders, and Urbino was
+not the only town in which they raised palaces, though the others were
+not of so much importance. The names by which they were denominated show
+this. It is always the _corte_ at Urbino, at Pesaro it is the _palazzo_,
+and at Gubbio the modest _casa_. Nevertheless, at this last place the
+intarsias were of almost as great importance, though now the palace is
+ruinous and the intarsias dispersed, some of them being at South
+Kensington. Dennistoun quotes descriptions from Sig. Luigi Bonfatti and
+Mr. F. C. Brooke, which are worth reproducing, as showing the care some
+times expended on the decoration of quite small apartments. This study,
+which was commissioned by Duke Guidobaldo, is only 13 by 6-1/2 feet in
+plan, though it is 19 feet high. The inlaid work only went half-way up,
+as at Urbino, the upper part of the walls having been covered with
+tapestries. The tarsie showed "emblematic representations of music,
+literature, physical science, geography, and war; bookcases, or rather
+cupboards, with their contents, among which were a ship, a tambourine,
+military weapons, a cage with a parrot in it, and as if for the sake of
+variety only, a few volumes of books, over one of which, containing
+music, with the word 'Rosabella' inscribed on its pages, was suspended
+a crucifix. On the central case opposite the window, and occupying as it
+were the place of honour, was the garter, with its motto, 'Honi soit q.
+mal i pense,' a device which was sculptured on the exterior of the stone
+architrave of the door of this apartment. It appeared again in tarsia in
+the recess of the window, where might also be seen, within circles, 'G.
+Ubaldo Dx. and Fe Dux.' Amongst the devices was the crane standing on
+one leg, and holding, with the foot of the other, which is raised, the
+stone he is to drop as a signal of alarm to his companions. Among other
+feigned contents of a bookcase were an hour-glass, guitar, and pair of
+compasses; in another were seen a dagger, dried fruits in a small basket
+made of thin wood, and a tankard, while in a third was represented an
+open book surmounted with the name of Guidobaldo, who probably made the
+selection inscribed on the two pages of the volume, comprising verses
+457-491 of the tenth AEneid." On the cornice was an inscription. It was
+thought to be the work of Antonio Mastei of Gubbio, a famous artist in
+wood, who executed the choir of S. Fortunato at Todi, and who is known
+to have been much in favour with Dukes Guidobaldo and Francesco Maria
+I., the latter of whom gave him an exemption from imposts.
+
+In the 17th century tarsia was more used for domestic furniture than
+for stationary decoration. The character of the design changed in
+consequence, and mother-of-pearl, ivory, tortoiseshell, silver, and
+other materials were used. The first Tuscan, or one of the first who did
+so was Andrea Massari of Siena. A few works in tarsia were still
+executed, but none of much importance. The choir of S. Sigismondo,
+outside Cremona, commenced by Gabriel Capra and finished by his son
+Domenico in 1605, is one of the principal, and the choir of S.
+Francesco, Perugia, where Fortebraccio was buried, but this latter no
+longer exists. Marquetry was produced in Florence, Venice, Milan, and
+Genoa down to a still later date, but the fashion for ivory and ebony
+carried all before it. The Italian work of this kind is often most
+beautifully engraved, but less accurate than that produced in France.
+The later Italian marquetry does not lose decorative effect though the
+figure drawing becomes very conventional, and the curves of ornament are
+often cut with a mechanical sweep. A good deal of it is in only two
+colours, a return to the simplicity of earlier days.
+
+FOOTNOTES:
+
+[2] There were nineteen subjects, divided by channelled pilasters with a
+carved frieze, above a bench which ran round the circular wall from one
+doorpost to the other, the whole work crowned with a cornice also carved
+with foliated ornament. The first subject on the right was an open
+cupboard with architects' and joiners' tools. The second was the
+portrait described above. The third showed a cupboard half open, worked
+with a grille of pierced almond shapes and divided. "In the upper part
+is a naked boy, standing with a ball in his left hand, below is a large
+circle with a bridge within and without in the form of a diamond. Within
+the closed part of the grille one sees a ewer above and a basin below.
+The fourth is a figure of S. Ansano, half-length, below whom is the head
+of a man who receives baptism with joined hands, and the saint with a
+vase in his hand pours water on his head, holding in his right hand a
+standard. The fifth shows a cupboard open and shelved in the
+middle--above is a chalice and paten, below is a salver with fruit
+within and falling from it. The sixth contains an organ case with a man
+who, with raised head, enjoys the sweetness of the sounds, on the side
+of the organ are the arms of the Opera and below are the arms of the
+rector Arringhieri. The seventh is a cupboard half open with pierced
+doors, in the upper half a censer, and an incense boat, with a label
+above with these words, 'Dirigatur Domine oratio mea sicut incensum in
+conspectu tuo.' Below is the holy water pot with the sprinkler within,
+and with a pair of sacrament cruets. The eighth shows the figure of a
+man with a glory and a diadem on his head, with face and right arm
+raised to heaven, representing whom I do not understand; above him is a
+garden full of different flowers and trees. The ninth is a cupboard cut
+across and half open; in the upper part a label with these words 'Qui
+post me venit, ante me factus est. Cujus non sum dignus calceamente
+solvere;' below are different musical instruments, the words above are
+set to plain song. The tenth, that is the centre one, is a half-length
+of S. John Baptist with the cross in his left hand, and in the right a
+label with the words, 'Ecce Agnus Dei,' while with his finger he points
+to Christ in a figure which represents him. The eleventh shows another
+cupboard half open and shelved, above is a label on which are some lines
+of the hymn of S. John Baptist, with notes in plain song and with the
+name of the author above, which was Alessandro Agricola, and below is a
+flute and a violin with its bow. The twelfth is the figure of a young
+man with a label below which says, 'Johannis Baptistae discipulus.' This
+is generally thought to represent S. Andrew the apostle. The thirteenth
+is another open cupboard with a shelf. In the upper part is a chalice
+and more fruit, and in the lower a hollow dish with a foot also full of
+fruit. The fourteenth shows the half-length of a man who plays a lute,
+above him appears a garden with different trees. The fifteenth is a
+cupboard with open division, with a little gate and grating with almond
+shaped openings, above is a candlestick with a candle half burnt, and
+below is a box full of yellow tapers. The sixteenth represents S.
+Catherine with her wheel, half-length, disputing with the tyrant, before
+her is an open book on which are cut these words, 'Catharina
+disputationis virginitatis ac martirii palmam reportat.' The seventeenth
+shows a cupboard divided and half closed, with a grating like the
+others, above is a missal laid down, with a chalice upright, and a paten
+on the missal, and there are also a pair of spectacles and another paten
+leaning against the wall, below there is a closed book which seems to be
+a breviary, upon which is an open book with these words, 'Ecce mitto
+angelum meum ante faciem tuam, qui preparabit viam tuam ante te. Vox
+clamantis in deserto; parate viam Domini: rectas facite semitas ejus.'
+The eighteenth shows a fine gate through which one sees a garden, within
+which appear different trees with fruit on them, 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 words, 'Alberto
+Aringherio operaio fabre factum.' The last panel shows an open cupboard
+with shelf and grating, above is a harp and below is a violin and other
+musical instruments. The rector Arringhieri paid 4090 scudi for the work
+as a matter of compromise on the valuing of Fra Giovanni da Verona. It
+was in so dark a place that it could not be seen except with lighted
+torches, and it was also damaged because it was put in a newly built
+place, the walls of which were not sufficiently dry to receive such
+delicate work." This account was written in 1786.
+
+
+
+
+THE CLOISTERED INTARSIATORI AND THEIR PUPILS
+
+
+The Order of the Olivetans took its rise from the piety and liberality
+of a Sienese noble, Bernardo Tolomei, who, with two companions, Ambrogio
+Piccolomini and Patricio Patrizzi, established himself as a hermit on a
+barren point of land at Chiusuri, some miles from Siena, in the same
+manner as did S. Benedict at Subiaco. This was in 1312, but the Papal
+charter by which the Order was founded dates from 1319. It was called
+"Monte Oliveto," from a vision seen by Guido Tarlati, Bishop of Arezzo,
+the Papal commissary, in which the Virgin ordered that the monks should
+have a white habit, and that the badge of the Order should be three
+hills surmounted by a branch of olive. It was a branch of the
+Benedictines, and, like them, the monks devoted their lives to useful
+labours. As Michele Caffi says, "The Olivetans did not strive in
+political or party struggles, but spent their simple lives in works of
+charity and industry, and showing great talent for working in wood
+succeeded to the heirship of the art of tarsia in coloured woods, which
+they got from Tuscany."
+
+The first master of intarsia mentioned among the Olivetan monks is a
+certain lay brother, "laico Olivetano," who came from Tuscany in the
+first half of the fifteenth century, and taught the art to the monks of
+S. Elena, the island which lies just beyond the Public Gardens at
+Venice, and was so beautiful before the iron foundry was established
+upon it. His principal pupil was Fra Sebastiano of Rovigno, known as the
+"Zoppo Schiavone," the lame Slavonian, who taught Fra Giovanni da Verona
+and Domenico Zambello of Bergamo, Fra Damiano. Fra Giovanni, again, was
+master to Vincenzo dalle Vacche and Raffaello da Brescia, and perhaps to
+the oblate of S. Elena, Antonio Preposito, in 1493.
+
+Fra Sebastiano da Rovigno was probably born in 1420. The register of
+professions and deaths at Monte Oliveto Maggiore says--"In conventu
+Paduae professus est sub die 15 Augusti, an 1461, fr: Sebastianus de
+Rovinio"; his death is shown by another extract--"Venetiis, obiit in
+Mon. S. Helenae, anno Domini, 1505, fr: Sebastianus de Histria,
+conversus" (lay brother). He was at S. Maria in Organo, in 1464-5 and
+1468-9, and at S. Elena in 1479-80-81, and again from 1484 to 1494. He
+was also at Monte Oliveto 1466-7, 1474-5, and 1482-3, and at S. Michele
+in Bosco, Bologna, from 1494 till shortly before his death, in all of
+which places were important works in tarsia. The inscription in the
+corner of the sacristy at S. Elena runs thus:--"Extremus hic mortalium
+operum fr: Sebastianus de Ruigno Montis Oliveti, qui III. id: Sept: diem
+obiit, 1505." Some of his work is in the stalls and sacristy cupboards
+of S. Marco, signed C.S.S., or S.S.C., that is, "Converso Sebastiano
+Schiavone," or "Seb: Sch: converso." His pupil Fra Giovanni da Verona
+was one of the most celebrated of the carvers and intarsiatori, and left
+works in many places in Italy. He was born in Verona in 1457, and no one
+has been able to discover either his family name nor who his father was.
+When still a boy he left his native town and went into Tuscany to Monte
+Oliveto di Chiusuri of Siena, the principal monastery of the Olivetan
+order. He may perhaps have gone with Liberale of Verona, who was of
+about the same age, the first time he went to Monte Oliveto, in 1467, or
+more probably on the second occasion, in 1474, his business being to
+illuminate the choir books. In the administration books of that convent
+it is recorded that in 1467 Liberale had as assistant a certain
+Bernardino, and in 1474 another whose name is not mentioned. This may
+have been Fra Giovanni, who might then have learnt to illuminate, which
+was his first profession, and in which he succeeded excellently. He
+resolved to "profess religion" about this time, and was received as
+novice in the beginning of 1475. The year of noviciate being passed he
+made his solemn profession on March 25, 1476, and remained for about
+four years more in the monastery, during which time he finished his
+studies and became priest. In 1480 he was sent for a short time to the
+monastery of S. Elena, near Venice. Here he found the lay brother Fra
+Sebastiano da Rovigno, whom he may perhaps have known before, since they
+were both at Monte Oliveto in 1475. At all events he spoke to him about
+learning his art, and finding him willing to teach him, "set about it
+with so much diligence and assiduity that he was soon able to give him
+valuable assistance." The work was on the cupboards of the sacristy and
+on the backs of the choir stalls, which were 34 in number. On these the
+principal cities of the world, as they then were, were drawn in
+perspective "with great beauty and cleverness." About 1485 he went to an
+abbey of Olivetan monks at Villanova, a small village in lower Lombardy,
+where he illuminated 20 choral books with heads of saints and prophets,
+with very beautiful borders of flowers, fruits, and animals. These were
+sold by an ignorant and greedy priest for 17 zecchins, and only a few
+of the miniatures have been recovered, which are now kept in the
+sacristy. Of them, Vincenzo Sabbia, the Olivetan abbot, who was
+"confratello di religione" and nearly contemporary, says, when
+describing the abbey and its treasures in 1594, that there are there
+"stupendous and wonderful choral books to the number of twenty, made
+about the year 1485, and rare and wonderful miniatures are among the
+letters, like lovely flowers in a delicious garden, and many most
+beautiful imaginings, heads of saints and of all the ancient prophets,
+and other wonderful things of like kind, made and illuminated by that
+celebrated Fra Giovanni da Verona, around the text."
+
+[Illustration: Plate 30.--_Panel from lower row of Stalls, S. Maria in
+Organo, Verona._
+
+_To face page 59._]
+
+[Illustration: Plate 31.--_Panels from Monte Oliveto Maggiore, now in
+the Cathedral, Siena._
+
+_To face page 60._]
+
+In 1490 he was summoned to the Certosa at Pavia to estimate the value of
+the stalls made by Bartolommeo dei Polli, in company with Giacomo dei
+Crocefissi and Cristoforo de' Rocchi. Except for these there are no
+notices of the work which he must have done till 1502, when the abbot
+and monks of Monte Oliveto Maggiore, having determined to renew the
+choir of their church, confided the work to Fra Giovanni, and
+necessarily recalled him. 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 monks." "The whole comprised 52 stalls, with
+their backs, seats and arm rests, kneelers and all things appertaining"
+(it now consists of 48 stalls and 47 pictures), and the panels of the
+backs were worked in tarsia with perspective views "beautiful to a
+marvel," where were figured houses, views of the country, cupboards,
+grilles, sacred utensils, and other fancies. In the early years of the
+19th century 38 of these perspectives were moved to Siena and placed in
+the Cathedral, where they now are. Another choir, smaller but not less
+beautiful, was made for the church of the Olivetan monastery of S.
+Benedetto fuori della Porta at Tufi, near Siena. This church is in
+ruins; 31 perspectives from the choir were sent to fill the gaps in
+Monte Oliveto Maggiore, the monks who returned after the revocation of
+the suppression in 1813 having appealed to the Archbishop to allow them
+to take them. Four of the ancient backs were found in a corner of the
+sacristy, and eight carried to Siena and found superfluous were
+returned, as well as one which a neighbouring villager had taken. Some
+of them show the conventual buildings as they were at the beginning of
+the 16th century. The frames resemble friezes, and are decorated with
+flowers, fruit, birds, musical instruments, arms, and ornament. Each
+back is separated from the next by a colonnette carved with delicate
+arabesques. In this choir is also an Easter candlestick much like that
+at S. Maria in Organo, Verona, and there are two doors which belonged
+to the library. Pope Julius II. called him to Rome in 1571, and
+commissioned the ornamentation of the Camera della Segnatura in the
+Vatican, the designs for which are ascribed to Raffaelle, not only the
+seat backs with their seats, but also the doors, all worked with
+perspectives, "in which he succeeded so well that he gained great favour
+with the pontiff." 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
+Tolosa, in the church of Monte Oliveto in that city, works not less
+successful and lauded than those of Siena and Rome. This church is now
+called that of S. Anna dei Lombardi. The tarsie in the sacristy are in a
+later setting, and include nine panels of perspectives of landscapes,
+buildings, &c., nine others showing cupboards with objects on the
+shelves, and one with a figure of an abbot around which the following
+inscription runs:--
+
+
+  .T.EPRE.R.P.F.DOMI.DE.LEV.GNK.ABBATIS.ET
+         R.P.ALOISII.DE.SALER.NO.PRIOR.
+
+The work is exceedingly delicate, pieces of wood no thicker than a thick
+pencil line being often used. In one panel is a well-executed lily, in
+another a hare is a foreground figure, in another are an owl and a
+bullfinch, while a hoopoe appears in another, with mountains behind
+him. The objects on the shelves of the cupboards are turned at queer
+angles to show his skill in perspective, but, since they lack tone, do
+not appear quite accurate. Among the architectural subjects are the
+choir of a church, a harbour, and a castle on a hill, seen from a
+balustraded terrace, and a circular building a little like that in the
+background of Raffaelle's "Sposalizio." They were well restored in 1860
+by C. G. Minchiotti. In the monks' choir in the church are other
+intarsie said to be by Angelo da Verona, Giovanni's brother. They are
+principally arabesques, somewhat resembling the panels in the Cathedral
+at Genoa, but include four figure panels of little angels and an
+Annunciation in two panels, which are not without charm, though rather
+overstiff.
+
+[Illustration: Plate 32.--_Frieze from Monte Oliveto Maggiore._
+
+_To face page 62._]
+
+In his last years he returned to Verona, where he had made the monks'
+choir in S. Maria in Organo, and the cupboards of the sacristy. These
+have the reputation of being not only the finest of the period but also
+the best which came from his hand. The Adige was in this church for two
+months during one of the inundations, but the tarsie did not suffer so
+much as might have been expected. He accepted a commission in 1523 for
+some stalls for the Olivetan church at Lodi, S. Cristopher, eleven of
+which are now in the suburban church of S. Bernardino in that city,
+but died before they were completed. Vincenzo Sabbia writes of
+these:--"In the year 1523 the reverend father Fra Filippo Villani of
+Lodi, prior of the convent of S. Cristoforo in that city, agreed with
+Fra Giovanni Veronese, an excellent master of perspective, to make him
+35 pictures of perspective at the rate of 30 or 40 broad ducats of gold
+for each--which are worth 5 lire 4 soldi each--which were to be finished
+in two or three years, and 300 broad ducats of gold were counted out to
+him. The said brother was not able to finish more than 23, because he
+died on February 10, 1525. They were sent from Verona and taken to Lodi,
+and in 1586 the new church of S. Cristoforo being finished, Don
+Agostino, the prior, who had charge of the fabric, had the aforesaid 23
+pictures with their ornaments set in the choir by the hand of Paolo
+Sasono." He died in the 68th year of his age, and was buried in S. Maria
+in Organo. He is called "prior" in a chronicle of the monastery under
+date 1511, and in the list of dead. In his portrait in the sacristy, by
+Caroto, he is represented with the tonsure and with the hood and cowl of
+the form which was proper to monks who were constituted "in sacris."
+
+Fra Raffaello da Brescia, whose name was Roberto Marone, was born in
+1477. His father's name was Pietro Marone, and his mother was a
+Venetian, named Cecilia Tiepolo. When twenty-two years old he took the
+monastic habit as a lay brother in the convent of S. Nicolo di Rodengo,
+near Brescia, and a little later (in 1502) was sent to Monte Oliveto
+Maggiore. Fra Giovanni being then established there as "conventual
+brother," took young Marone and taught him, seeing that he had both
+liking and talent for the work, so that he soon became a clever workman.
+Between 1504 and 1507 he worked with him at the choir of Monte Oliveto,
+from 1506 to 1510 he was with him at Naples, when the famous sacristy
+panels were being executed, and in 1511 and 1512 he was at S. Nicolo di
+Rodengo, where he worked at the choir of that church. The lectern from
+Rodengo is now in the Galleria Tosi at Brescia; the inlays are in the
+lower portion, and show architectural compositions in perspective and
+the usual objects, such as a censer, an open book, &c. It is signed
+F.R.B. In 1513 Raffaello commenced the magnificent choir of S. Michaele
+in Bosco, Bologna, and here he also made the design for the campanile,
+which was built by Maestro Pedrino di Como, showing that like so many of
+the intarsiatori he was no mere worker in wood. While this work was in
+progress he executed a lectern for Monte Oliveto, ordered by the abbot
+Barnaba Cevenini, who was a Bolognese. It is signed and dated 1520, and
+shows on each side a choir book open, with notes of music and words. In
+one of the lower panels a black cat symbolises fidelity.
+
+S. Michele in Bosco was among the largest of the Olivetan convents. The
+Benedictines entered into possession in 1364, but these buildings were
+destroyed by the Bolognese in 1430, "so that they might not give shelter
+and a base for hostilities to the soldiers of Martin V." The
+re-construction began in 1437. The choir was raised on several steps,
+and called "Il Paradiso," ten years later, but subsequent alterations
+have left very little of the original work visible. Raffaello's stalls
+were probably finished in 1521, that being the date on a panel which was
+formerly in the centre of the choir. Of these splendid works only two
+confessionals still remain in the church. At the time of the suppression
+of the convents at the end of the 18th century the populace, drunk with
+rapine and devastation, tore down these stalls, and they were sold for a
+few pence to the Bolognese marine store dealers and rag merchants. Only
+18 of the principal row were saved from destruction, the Marquis Antonio
+Malvezzi buying them in 1812, and having them restored and placed in the
+chapel of his family in S. Petronio (now the chapel of the Holy
+Sacrament), where they now are. He was not able to save the hoods and
+shell canopies, which were sold for firewood for 4 baiocchi each! (about
+two pence.) The designs are of the usual style, cupboards and various
+objects in perspective; one of the finest is the first on the left,
+which includes a fine sphere and sundial, and several books written in
+German letters, black and red, a chalice in a cupboard, two books, and a
+cross. In the seventh is the figure of Pope Gregory in the act of
+blessing, and the last on the right shows loggias and porticoes of good
+style, well put in perspective. With part of the tarsie from S. Michele
+pianoforte cases were made, other portions were used for the floor of
+the Casino, near the theatre of the Corso, and were worn to pieces by
+the feet of the dancers! In 1525 Fra Raffaello went to Rome, and no
+further notices of him or of his work occur till his death there in
+1537; he was buried in S. Maria in Campo Santo.
+
+Another somewhat similar set of stalls, though rather later in date,
+also at Bologna, are the upper row in the choir of S. Giovanni in Monte,
+which have on their backs intarsie representing monuments, fantastic
+battlemented buildings, musical instruments, and geometrical motives,
+all executed with a mastery which reveals an artist old at the work.
+They recall in their general effect those in S. Prospero at Reggio, in
+the Emilia, which were executed by the brothers Mantelli in 1546. They
+are set in a carved framing of arches divided by pilasters which
+terminate above in brackets which support the cornice. The pilasters
+rest on the arms which divide the seats. Champeaux says they were made
+by Paolo del Sacha.
+
+The tarsie in S. Mark's, Venice, were worked by Fra Vincenzo da Verona,
+another Olivetan, under whom was Fra Pietro da Padova, Jesuit, with two
+youths to assist them. The commission was given in 1523. Three rooms in
+the hospital of "Messer Jesu Cristo" were assigned him as workshops, and
+100 ducats for food and clothing, as stated in the registers of the
+procurators of S. Mark's. On January 15, 1524, they inspected the work
+done, and were not satisfied, and so suspended it, "praising,
+nevertheless, the manners and the life of Fra Vincenzo." According to
+Cicogna, the registers contained, under date April 7, 1526, a note of
+money paid to "Fra Vincenzio, of the order of the Jesuits, for the
+finishing of the works of inlay" in the choir of S. Marco. On February
+25, 1537, certain moneys were given to more workmen for the construction
+of the doge's seat, which is said to have been "a great thing full of
+artistic pangs" (!), and rather hindered the genuflections to the
+altar. This was made for Andrea Gritti, who was doge that year. This Fra
+Vincenzo da Verona, or Vincenzo dalla Vacche, is mentioned by Morello in
+his "Notizie" as excellent, especially in his work at S. Benedetto
+Novello at Padua, four panels from which are now in the Louvre. He
+became novice in 1492, "Conventuale" of Monte Oliveto in 1498, was a
+priest like Fra Giovanni, and lived almost all his life in his native
+city. He died in 1531. The tarsie in the presbytery at S. Marco consist
+of seven great compartments, five lesser, and thirteen which are small.
+The eighteen smaller compartments are panels of ornament. The others are
+figure subjects, but by more than one hand. First comes a figure of S.
+Mark with a lion at his feet, which is not very good (it was restored in
+1848-50 by Antonio Camusso); next, a figure of Charity side by side with
+one of Justice, a woman with a baby, and one holding the balances. Next
+comes a figure of Strength or Courage, older and rougher in character,
+then four ornamental panels, a door, and five others, also of ornament.
+The next panel in the corner bears date 1535, to which year the figures
+of Justice and Charity may be assigned. The other figures are Prudence
+and Temperance, the latter of which resembles Strength in character. The
+remaining subject, a Pieta, is like Charity and Justice, and is
+masterly. Three spaces are empty. The doge's seat, until the fall of the
+Republic, was on the right of the principal entrance to the choir, as
+Sansovino says. It had on its back a figure of Justice, now in the Museo
+Civico. He also says that Sebastiano Schiavone did these tarsie, but he
+died in 1505. Various initials appear here and there through the work;
+on each side of the figure of S. Mark are U.F.Q. and M.S.R. in
+cartouches, Charity and Justice have N. and P. at the sides, and
+Prudence has P.S.S. and S.S.C. attached to her. The panels of ornament
+seem to be of the same period as the figure of Charity.
+
+[Illustration: Plate 33.--_Panel from S. Mark's, Venice._
+
+_To face page 68._]
+
+Fra Damiano of Bergamo, Fra Giovanni's fellow-pupil, attained, if
+possible, even greater reputation. He was considered the finest artist
+in tarsia of his time, he having, "with his woods, coloured to a marvel,
+raised the art to the rank of real painting." His family name was
+Zambello, he is thought to have been born about 1490, and he became a
+Dominican monk. An anonymous MS. of the 16th century, published by
+Morelli, calls him a pupil of a Slavonian, that is, Illyrian, brother of
+Venice, Fra Sebastiano da Rovigno. He passed the greater part of his
+life at Bologna, in the Dominican cloister there, into which he was
+admitted in 1528. In the records of the convent for that year occurs the
+note, "Frater Damianus de Bergomo, homo peritissimus, singularissimus,
+et unicus in l'arte della tarsia, conversus, receptatus fuit in filium
+conventus." At S. Domenico the choir stalls were his first work; he did
+seven, containing fourteen subjects and seven heads of saints. These
+were finished in 1530, and in consequence of their success he was
+commissioned to complete the choir. He carried the tinting of the wood
+farther than Fra Giovanni did, using solutions of sublimate of mercury,
+of arsenic, and what they called oil of sulphur. He is said to have had
+Vignola's designs for the architectural parts.
+
+Charles the Fifth was in Bologna with Clement VII., and was crowned
+Emperor in S. Petronio on December 5, 1529. One day he was in S.
+Domenico admiring the works of art, and, doubting that the tarsie were
+made of tinted wood, as he was told, drew his rapier and cut a bit out
+of one of the panels, which has always remained in the state in which he
+left it in memory of his act. Desiring to see how the work was done he
+determined to visit Fra Damiano's studio. Accordingly, on March 7, 1530,
+he took with him Alfonso d'Este, Duke of Ferrara, and several princes of
+his escort, and went to the convent, when, being conducted to Fra
+Damiano's poor cell, he knocked at the door. The friar, having opened
+and allowed the Emperor to enter, shut it quickly. "Stay," said the
+Emperor, "that is the Duke of Ferrara, who follows me." "I know him,"
+answered Fra Damiano, "and that is why I will never let him enter my
+cell." "And why?" said Charles V.; "have you anything of his doing to
+complain of then?" "Listen, your majesty," answered the lay brother. "I
+had to come from Bergamo to Bologna to undertake the work of this choir.
+I had with me these tools which you see, few in number, but necessary
+for the work in which it is my study to worthily spend my life, and to
+delight in the art. I had scarcely touched the frontiers of Ferrara when
+they not only obliged me, a poor friar, to pay a heavy and unjust tax,
+but the manner of doing it was most offensive. Now, while that duke
+allows such roguery in his State, it is right that he should not see
+this work which you see." Charles smiled, and promised to obtain from
+Duke Alfonso the amplest satisfaction. Going out of the cell he told the
+duke the reason of Fra Damiano's anger, and he not only promised to
+repay the loss which he had suffered, but conceded a patent to him, by
+which he and his pupils were for ever free from any tax or duty when
+crossing the duchy of Ferrara. Then they all came laughing and joking
+into the cell, and Fra Damiano, to show them that his tarsie were not
+painted with a brush took a little plane and passed it over a panel with
+some force, showing how the colours, after that treatment, still
+retained their integrity and beauty. And then he gave the Emperor a most
+beautiful piece of the Crucifixion, and another to the Duke of Ferrara,
+who valued it greatly. Locatelli gives some conversations between Fra
+Damiano and his assistant Zanetto, which must have preceded this visit,
+which are worth recording for their racy expression, according well with
+his reported action. "If it were in my power I would nail up this door
+for Charles and for all the dukes of the world. This art which I
+exercise is exceeding dear to me, and I hate to have to do with these
+signori who manage things after their own fashion; and sad it is for
+those who have to endure it. I respect His Majesty the Emperor, and hold
+him to be a great man, but the fate of Rome sticks in my throat. That
+other, too, who accompanies him--" "Who?" interrupted Zanetto, "the
+Pope?" "Oh, rubbish; the Pope! The Duke of Ferrara. With him I have a
+special account, and he must not come here." He also adds the detail
+that Fra Damiano had no money with him, and had to go about begging for
+wherewithal to pay the duke's dues till he blushed.
+
+From 1530 to 1534 he worked at a great piece of panelling to be placed
+in the chapel of the "arca," the tomb of S. Dominic, which is now in the
+sacristy, and thought by some to be his masterpiece. There are eight
+cupboards in this, and on each are eight subjects. In 1534 the Order was
+so poor that such expenses were stopped. Seven years later the work was
+recommenced and finished in 1550 by Fra Bernardino and Fra Antonio da
+Lunigiano a few months after Fra Damiano's death, which occurred on
+August 30, 1549. The choir consists of a double row of 28 stalls on each
+side, making 112 in all, showing on the right subjects from the New, and
+on the left from the Old Testament. Those on the right are the best, and
+are probably Fra Damiano's own work. He had as assistants at one time
+Zanetto da Bergamo, Francesco di Lorenzo Zambelli, and a lay brother,
+Fra Bernardino, who afterwards did the sacristy door. At another time
+his brother Stefano helped him, together with Zampiero da Padova, Fra
+Antonio Asinelis, the brothers Capo di Ferro of Lovere, Pietro di
+Maffeis, Giovanni and Alessandro Belli. The choir of S. Domenico cost
+2809 scudi. Henry II. of France commissioned a little chapel from him
+with an altar-piece, for his reputation had crossed the Alps, and
+Cardinal Salviati and Paul III., the Farnese Pope, also wished for his
+work, as did the Benedictine monks of S. Pietro in Casinense, at
+Perugia. He did for them a two-leaved door, which cost 120 scudi, now
+placed at the back of the choir, and opening on to a balcony, from which
+one sees, in fine weather, as far as the Castle of Spoleto. There are
+four subjects, two on each leaf; the Annunciation illustrated is one of
+them. Sabba Castiglione uses the most enthusiastic language about him
+and his work. "But, above all, those who can obtain them decorate their
+mansions with the works, rather divine than human, of Fra Damiano, who
+excelled not only in perspectives, like those other worthy masters, but
+in landscapes, in backgrounds, and what is yet more, in figures; and who
+effected in wood as much as the great Apelles did with his pencil. I
+even think that the colours of these woods are more vivid, brilliant,
+and beautiful than those used by painters, so that these most excellent
+works may be considered as a new style of painting without colours, a
+thing much to be wondered at. And what adds to the marvel is, that
+though these works are executed with inlaid pieces the eye cannot even
+by the greatest exertion detect the joints." He then goes on in the same
+grandiloquent strain--"This good father in dyeing woods in any colour
+that you may wish, and in imitation of spotted and marbled stones, as
+he has been unique in our century, so I think that he will be without
+equal in the future; it is certain that our Lord God has lent him grace,
+as I believe, because he wished so much that things might be well ended,
+to put his final work on the work of S. Domenico of Bologna. I think,
+indeed I am certain, that it will be called the eighth wonder of the
+world; and as the Babylonians, the Assyrians, the Egyptians, and the
+Greeks boasted of their temples, pyramids, colossi, and sepulchres, thus
+happy Bologna will be able to glory in and to boast of the choir of S.
+Domenico. 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 (!), a thing far from me, and especially with friends about
+whom I always speak the truth, I say no more; yet all that which I could
+say would be little enough on the merit of his rare and singular virtue,
+and on the goodness of his religious and holy life." Fra Leandro
+Alberti, in his description of Italy, speaks in something the same
+manner--"Frate Damiano, lay brother of the Order of Preachers, has
+become a man of as much genius as is to be found in the whole world at
+present, in putting together woods with so much art that they appear
+pictures made with a brush."
+
+[Illustration: Plate 34.--_Panel from door in Choir of S. Pietro in
+Casinense, Perugia._
+
+_To face page 74._]
+
+A few stalls made by him are now in the church of S. Bartolommeo,
+Bergamo, which were brought from the Dominican church of S. Stefano,
+destroyed for the fortifications in 1561. The designs were made by Trozo
+da Monza, Bernardo da Trevi (? Treviglio), and Bramantino. As Locatelli
+says, they preceded the famous choir at Bologna, and show the master
+trying his wings. Some think that his best works are those in which he
+did not employ colour, but only shading, but general opinion considers
+his highest point was reached in the doors of S. Pietro in Casinense.
+
+Another Dominican intarsiatore was Fra Antonio da Viterbo, who, in 1437,
+made the doors of S. Peter's at Rome by order of Eugenius IV., which
+were subsequently destroyed by Paul V. He was paid 800 ducats of gold
+before the Pope died, when they were nearly finished. They were both
+inlaid and carved in the most elaborate fashion, as the list of subjects
+shows:--The Saviour, the Blessed Virgin, SS. Peter and Paul, and
+Eugenius on his knees, the martyrdom of SS. Peter and Paul, S.
+Plautilla, who received the borrowed veil from S. Paul; the Coronation
+of the Emperor Sigismund in S. Peter's in 1433 by Eugenius, "and there
+you see the Prefect of Rome holding the sword before him, their march
+through Rome, the union of the Greek Church with the Latin, the entry
+of the ambassador from the King of Ethiopia, and other histories of the
+time." He had two assistants, Valentine and Leonardo.
+
+[Illustration: _To face page 77._ Plate 35.--_Lunette from Stalls in
+Cathedral, Genoa._]
+
+The choir stalls in the Cathedral at Genoa are attributed to Francesco
+Zambelli of Bergamo, a relative of Fra Damiano. He was helped by Anselmo
+de' Fornari, Andrea and Elia della Rocca, Giovanni Michele de
+Pantaleone, and Giovanni Piccardo, who had already worked in the choir
+of the Cathedral of Savona. 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 Lorenzo, dated
+April 12, 1540. He agrees to get to work not later than the first of
+September next, and to stay in the city till the work is done. Nor must
+he undertake other work under a penalty of 100 scudi, which he is to pay
+in such case without demur or defence. The procurators agree to pay for
+every picture, with its frame, according to the design furnished to him,
+and they also promise to provide lodgings for himself and his family
+without any expense to him, and to give him a present when the work is
+finished. On the same day his relative, Fra Damiano, promises to make
+two pictures, one for the seat of the archbishop and one for the doge,
+to be ready by Christmas Day next, to be paid for at the rate of 27
+scudi each, measure and design to be given by the signory. The same day
+the aforesaid "Magnifici" had it explained to them that they would have
+to pay the expenses of making sketches. In the panel with the history of
+Moses Zambelli signs his name and domicile. Fra Damiano's subjects
+appear to be the large ones in the panelling before the stalls commence,
+"The Massacre of the Innocents" and "The Martyrdom of S. Laurence." The
+figure subjects are not very successful, the arabesques are better; but
+the panels with open cupboard doors and objects within are not so well
+done as Fra Giovanni's. The stalls were restored in 1868, and a good
+deal of new work put in. The choir of the Cathedral of Savona was made
+in 1500 by Anselmo de' Fornari, a native of Castelnuovo da Scrivia; Pope
+Julius II. (della Rovere), who was born in the city, commissioned it.
+The intarsias are on the elbows of the stalls, half-figures of saints
+nearly life size, singly or in pairs, among which is a portrait of the
+donor, with perspectives of palaces, temples, or interiors on the backs.
+The lower stalls have less important subjects, such as censers,
+chalices, vases of flowers, animals, armillary spheres, musical
+instruments, etc. The cost of these stalls was 1132 scudi d'oro larghi
+(10 francs each and a little more) half of which was paid by Julius
+II. and half by the Commune of Savona. In the same Cathedral are a fine
+lectern, an episcopal throne, two doors of the chapel of our Lady of the
+Column, and a fine seat, the "banco dell' opera," commonly called
+"Massaria." Upon such a seat sat anciently the four citizens elected by
+the Commune to attend to the interests of the Church governed by them.
+Within this bench were preserved the diplomas, statutes, and arguments
+held to be most important to the greatness of the country. Anselmo de'
+Fornari was helped by Elia de' Rocchi, and the commission was given to
+them jointly on January 30, 1500, on which date Cardinal della Rovere
+promised to pay 570 ducats towards the expenses.
+
+[Illustration: _To face page 78._
+
+Plate 36.--_Panel from lower row of Stalls, Cathedral, Savona._]
+
+Another intarsiatore who worked with Fra Damiano was Giovanni Francesco
+Capo di ferro of Lovere, on Lake Iseo. His masterpiece is the choir of
+S. Maria Maggiore, Bergamo. When it was determined to commence it in
+1521 the presidents of the church fabric sent to various cities of
+Italy, especially to Milan, to consult over the model to be selected for
+so important a work with the excellent painter and architect M. Bernardo
+Zenale da Treviglio. In the archives of the Misericordia is a book
+entitled "Fabbrica Chori," in which is noted the great expense of the
+designs only, among which were some made by Lorenzo Lotto, by
+Alessandro Bonvicini, called Il Moretto; Andrea Previtali, Giacomo de'
+Scipioni, Filippo Zanchi, Giuseppe Belli, Domenico di Albano, Niccolino
+Cabrini, Pietro da Nembro, Francesco Boneri, and other painters, as well
+as the making of models and other similar operations. Those who worked
+at carving and tarsia under the direction of Giovanni Francesco were his
+son Zinino and Pietro his brother, who lived in Lodi; Paolo da Pesaro,
+and many others, including a whole family, Giovanni di Ponteranica and
+his four sons. The part towards the sacristy was designed by Lorenzo
+Lotto, the rest by Alessandro Belli. The sedilia on the Gospel side bear
+a signature hung from a tree, "Opus Jo: Franc: D. Cap. Ferr. Bergomi."
+The four panels outside the screen are Noah entering the ark, the
+passage of the Red Sea, the triumph of Judith by the death of
+Holofernes, and the victory of David over Goliath. Thus Tassi speaks of
+them--"These, to speak the truth, for their admirable workmanship,
+singular art, and beautiful colouring, do not appear to be pieces of
+wood put together, but rather pictures formed by an excellent brush, the
+pieces placed with such mastery, 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 designs, and as he was a celebrated and
+finished painter and a powerful one, thus certainly these pieces of wood
+put together could stand in face of paintings by the most celebrated
+brushes, which, beyond the exactness of drawing, gave to their works
+singular force and finish; for in them all the possible excellences of
+drawing and of art are displayed, and whoever has had the opportunity of
+well considering them has remained surprised and delighted, never
+believing that human art could reach so high a pitch of perfection." His
+last work is mentioned in 1533, two pictures of Samson, at 60 lire each.
+In 1547 his son Zinino and his brother Giovanni Pietro went on with the
+choir, and finished it nine years later. The total cost for labour alone
+was 7000 lire Imperiali.
+
+[Illustration: _To face page 80._
+
+Plate 37.--_Panel from the Ducal Palace, Mantua._]
+
+In Spain there must have been a good deal of intarsia done, seeing how
+long the Moors held the southern part of the country, but very little
+has come down to us. In the Mosque at Cordova was a finely inlaid mihrab
+of the 10th century, which was unfortunately destroyed in the 16th
+century and its material used to make an altar. In the Museum at South
+Kensington are some panels with Hispano-Moresque geometric inlays of
+bone of the 15th century, which are very pleasing; the ground is of
+chestnut, the bone is often stained green, and metal triangles and
+light wood are also used. This use of bone, which is frequently tinted,
+in conjunction with black and pale wood, is characteristic of Spanish
+work of the 16th century. The design is often exceedingly naive,
+employing birds, animals, plants, and trees, with scrolls and monsters.
+There is one cabinet at South Kensington with the animals entering the
+ark, which is most entertaining. The Portuguese carried this work on
+later, especially at Goa, in the 17th century, but neither here nor in
+Spain is the later work tasteful, except occasionally. Cabinets were
+then made at Toledo of ebony and ivory, and at Seville and Salamanca the
+same materials were used for chests and sideboards.
+
+At Burgos is a pulpit decorated with inlay as well as carving, and one
+of the most elaborate works of marquetry of comparatively modern times
+is Spanish. This consists of the decoration of four small rooms in the
+Escurial, upon which 28,000,000 reals (L300,000) was spent in 1831. They
+are called "piezas de maderas finas," rooms of perfect or delicate
+woods, and are entirely covered with landscapes, still-life subjects,
+flowers, etc., made of the finest and most costly woods, and almost like
+paintings; floor, frieze, panels, window recesses, and doors.
+
+There was a mode of decorating furniture much used in Spain and
+Portugal, especially the latter, in which metal plates, cut and pierced
+into elaborate and fanciful patterns, were fastened on to the surface of
+objects made of black wood by means of small pins. From this to the
+decoration of the same surfaces by sinking the metal in the wood is a
+short step, and some think that this was the origin of the metal inlay
+so well known a little later under the name of Boulle work.
+
+
+
+
+IN GERMANY AND HOLLAND, ENGLAND AND FRANCE
+
+
+[Illustration: Plate 38.--_Panel from the Rathaus, Breslau, 1563._
+
+_To face page 84._]
+
+In Germany there can be little doubt that the art first struck root in
+the southern part of the country, the towns which produced the earliest
+furniture and other objects decorated in this manner being Augsburg and
+Nuremberg. The first names of workers recorded, however, are those of
+the two brothers Elfen, monks of S. Michael at Hildesheim, who made
+altars, pulpits, mass-desks, and other church furniture for their
+monastery, ornamented with inlays, at the beginning of the 16th century,
+and Hans Stengel, of Nuremberg, but none of the inlaid work of either
+has come down to us. Two earlier pieces are figured by Hefner Alteneck,
+the harp already referred to on p. 8, and a folding seat of brown wood
+inlaid with ivory, stained yellow or light green, and black or dark
+brown wood, in oriental patterns, both of the latter part of the 14th or
+beginning of the 15th century. Two other names are mentioned as capable
+craftsmen in Nuremberg, Wolf Weiskopf and Sebald Beck; the latter died
+in 1546. The Augsburg work was much sought after, the "so-called
+mosaic work of coloured woods." The designs for the panels were
+generally made by painters, architectural and perspective subjects being
+most common, but flower pieces, views of towns, and historical
+compositions were also made. A German work thus characterises the later
+16th century productions of this type--"A certain kind of intarsia
+becomes common in the German panelling and architectural woodwork; also
+in cabinets, vases, and arabesques, with tasteless ruins and
+architectural subjects with arabesque growths clinging all over them, of
+which examples may be seen in the museums at Vienna and Berlin, where
+one may also see works in ebony with engraved ivory inlays, which are
+generally more satisfactory. In German work, however, inlay was never of
+so much importance as carving, and the Baroque influence almost
+immediately affected the character of the design for the worse." At
+Dresden and Munich there were several celebrated inlayers in the 17th
+century, among whom may be named Hans Schieferstein, Hans Kellerthaler,
+of Dresden, and Simon Winkler, N. Fischer, and his son Johann Georg, of
+Munich, the last of whom, with his contemporary Adam Eck, practised
+relief intarsia, of which the latter is said to have been the inventor.
+It was known in the art trade as "Praeger arbeit," which was not a name
+which accurately described its origin. Panellings of walls and doors
+were often decorated with inlays, most frequently of arabesques, of
+which the town halls of Luebeck and Danzig furnish fine examples. The
+"Kriegsstube" at Luebeck was done by Antonius Evers, who in 1598-9 was
+master of the joiners' guild, with his companions. The Rathsaal at
+Lueneburg was made in 1566-78, and the name of Albert von Soest is
+connected with it. Danzig, in the "Sommerrathstube," shows intarsias and
+decorations of 1596 in which the painter Vriedeman Vriese and a certain
+Simon Herle, probably a local man, collaborated. Other similar works may
+be seen at Brunswick and Breslau, at Ulm, in the Michel Hofkirche at
+Munich, and in the Cathedral at Mainz. At Coburg, in the so-called
+"Hornzimmer," are intarsias worked from the designs of Lucas Cranach and
+others, at Rothenburgh, at Geminden, at Landshut, and in many places in
+Tyrol and Steiermark, most of them much mixed with carving, too numerous
+to describe. The intarsias at the Hofkirche at Innsbruck, begun in 1560
+by Conrad Gottlieb, may, however, be mentioned as being remarkably fine.
+Schleswig Holstein is full of intarsias of the end of the 16th and
+beginning of the 17th century, of which perhaps the finest are in the
+chapel of the Castle of Gottorp. The princes' prayer chamber or pew
+is elaborately panelled, and the panels are all filled with inlays,
+mostly arabesques. The door and wall panels have elaborate architectural
+forms in relief with base, frieze, and pilasters; and are also fully
+inlaid with arabesques, counterchanged bay by bay. The ceiling is
+coffered, and the male and female patterns are counterchanged
+diagonally. Bosses of lions' heads and rosettes project from the
+surfaces of the beams, between which the intarsia panels are flat. The
+central features in the several divisions are sunk, a central oblong
+with an oval in centre bearing the subject of the Resurrection and two
+side diamonds. The panels surrounding these have raised mouldings, so
+that there is considerable variety of level, and the whole is raised on
+a bracketed cornice, the flat surface of which has small panels inlaid
+in the same fashion. It was put up in 1612 by Duke Johann Adolf of
+Schleswig Holstein and his wife, Augusta of Denmark.
+
+[Illustration: Plate 39.--_Panel from Church of S. Mary Magdalene,
+Breslau._
+
+_To face page 86._]
+
+[Illustration: Plate 40.--_Pilaster strip from the Magdalen Church,
+Breslau._]
+
+In the State archives of Schleswig, in 1608, the names of Andreas
+Sallig, court joiner; Jochim Rosenfeldt, carver; and others are noted.
+Also in 1609, with the addition of the painter Herman Uhr and Hans and
+Juergen Dreyer, of Schleswig; also the carver Hans Preuszen, and Adam
+Wegener, the figure-cutter. In 1610 the names of Juergen Koningh,
+joiner's workman, several carvers, and Herman Uhr, the painter, occur.
+In 1611 Herman Uhr and Klaus Barck work in the chapel, the first for 115
+days, and the second for 178 days, and in 1612 several carvers and
+turners work for a long time at the rate of five "schillings" a day, as
+well as Herman Uhr and his assistant. These records distinctly suggest
+that the painter Herman Uhr was the designer, since his name is the only
+one which appears for four years consecutively, though the long period
+during which he worked in 1612 may be explained by the number of
+paintings which cover a portion of the exterior of the pew.
+
+[Illustration: Plate 41.--_Panel from S. Elizabeth's Church, Breslau._
+
+_To face page 88._]
+
+In South Germany one often meets with musical instruments which are
+inlaid with conventionalised floral forms. They were produced in the
+17th century in considerable quantities in Wurtemburg, Bavaria, and on
+the Southern Shores of Lake Constance. Nor must one forget the
+extraordinarily elaborate ivory inlays on the stocks of arquebuses. In
+the Wallace collection are many examples, and attention may be drawn to
+a jewel box made in 1630 by Conrad Cornier, arquebus mounter, which is
+decorated with most elaborate scrolls, leaves, and birds of ivory and
+mother-of-pearl, stained green in parts. It is made of walnut, and has
+metal scrolls at the corners of the panel framing. The German inlays
+on the whole rather run to arabesques and strapwork, or naturalistic
+vases of flowers, with butterflies and birds; one meets occasional
+perspectives and even figures, but the work is generally harder and less
+successful than the Italian technique, with a larger and less
+intelligent use of scorched tints.
+
+In the latter part of the 17th 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 another, or even of two others;
+the effect is not quite happy. Tortoiseshell also appears, and metal and
+coloured stones; the striving after what they thought to be greater
+artistry soon caused them to outstep more and more the proper limits of
+the art, and brought about decadence. The South German bride chests of
+the century before are decorated a good deal with inlays, Peter
+Flotner's designs often serving as patterns; a little green and red
+appear mixed with the commoner colours. The architectural forms project,
+and would form a tolerable design by themselves, though scarcely
+suitable to the object to which they are applied. In German work the
+cabinets are often of the most elaborate architectural design, like the
+facade of a palace, made of ebony, or occasionally even of ivory, and
+inlaid with ivory, silver, gold and enamels or precious stones.
+Augsburg was the most celebrated place for such work. The joiner, the
+woodcarver, the lapidary, and the goldsmith all worked together on such
+things. In the North of Germany tarsia was principally used on chests,
+cabinets, seats, and smaller objects of furniture; in South Germany,
+where the Italian influence was stronger, it was much used in
+wall-panelling and the panels of doors. The little castle of Voelthurn,
+near Brixen, built by the bishop of that town in 1580-85 and decorated
+by Brixener artists and joiners (now belonging to Prince Lichtenstein),
+shows "panelled walls with architectural features, columns, cornices,
+and friezes, with gabled doorways with columns and pediments, decorated
+with very delicate intarsias, foliage ornaments, flowers, and fruit, a
+work which modern Brixener joiners could with difficulty understand"; so
+says Von Falke. Ebony and ivory work came to Germany in the latter half
+of the 16th century, when Augsburg and Nuremberg soon exported their
+productions of this sort to all the world, and with this commercial
+production the use of male and female designs begins, black on white and
+white on black. The latter is the better and more valued. Hans
+Schieferstein's cabinet, now at Dresden, a work of this period, has an
+ingenious use of this mode of inlay. It is made of ebony or veneered
+with that wood, and has inlays of brown cypress and of ivory. The
+panel on the inside of the door is of the same design as that on the
+outside, but what was white becomes brown, what was brown is black, and
+the black becomes white.
+
+[Illustration: Plate 42.--_Lower panel of door, 1564--Tyrolese._
+
+_To face page 90._]
+
+In the Musee Cluny is a wire drawing bench made in 1565 for Augustus I.,
+Elector of Saxony, who was an amateur craftsman. The two longitudinal
+surfaces are covered with a double frieze of marquetry, one side
+representing a satirical tournament between the Papacy and Lutheranism,
+and the other a carousal of wild men. In front one sees the marqueteur
+with his tools doing his work, below which he has placed his monogram,
+L--D., accompanied by a cup.
+
+In the Museum at Leipzig is a very fine cabinet, with many drawers
+within, elaborately inlaid with arabesques on a light ground, with a few
+architectural forms in ebony projecting. It is Tyrolese work of the
+beginning of the 17th century, and is a typical example. To the few
+names of German intarsiatori may be added those of Isaac Kiening, of
+Frissen, and Sixtus Loblein, of Landshut.
+
+In the lower Rhine and in Holland tarsia was used for great and small
+chests, sideboards and doors with rich gable crownings, with good
+drawing of flowers, and sprigs of leaves with birds and beasts among
+them, the ground being generally light. The doors ordered by the Swedish
+Chamberlain, Axel Oxenstiern, now in the drinking-room of the King's
+Castle of Ulriksdal, near Stockholm, are said by Von Falke to be the
+finest examples extant of this kind of work, and to have been made in
+the 17th century by a Dutch craftsman. The best period in Holland was
+the second half of the 16th and the first half of the 17th century. In
+the work of this period the handling is broad, and the composition often
+a little over-full, but the many different woods which Dutch commerce
+made available seduced the marqueteurs into too pictorial a treatment in
+point of colour. Their reputation was so great that Colbert engaged two
+Dutch marqueteurs, Pierre Gole and Vordt, for the Gobelins at the
+beginning of the 17th century, and Jean Mace also learnt the craft by a
+long stay in Holland. Here, as well as in France and Italy, rich chairs
+were commonly decorated with marquetry, and in William and Mary's reign
+such things became the fashion in England. The design employed tulips
+and other flowers, foliage, birds, etc., all in gay colours; ivory and
+mother-of-pearl were used occasionally for salient points, such as eyes.
+Examples of the use and misuse of these materials may be seen in the
+Victoria and Albert Museum at South Kensington.
+
+[Illustration: Plate 43.--_Top of card table in the Drawing-room,
+Roehampton House. Dutch, 18th Century._
+
+_To face page 92._]
+
+[Illustration: Plate 44.--_Panelling from Sizergh Castle, now in
+Victoria and Albert Museum._]
+
+Although not much work of importance is known in England which is
+certainly the production of native craftsmen, a few notable examples may
+be called to mind, such as the room from Sizergh Castle, now at South
+Kensington, with inlays of holly and bog-oak, and the fine suite of
+furniture at Hardwick Hall, made for Bess of Hardwick by English workmen
+who had been to Italy for some years. Correspondence passed between her
+and Sir John Thynne on the subject of the craftsmen employed by both,
+and there seems no doubt that Longleat and Hardwick were the work of the
+same men. The inlays upon the long table are particularly fine, and
+except for a certain clumsiness almost recall the glories of the great
+period of Italian marquetry. The cradle of James I. (1566) is enriched
+with inlays.
+
+At Gilling Castle, near Wakefield, are some panels inlaid with flowers,
+etc., which local tradition says were executed by some of the ladies of
+the family, which probably points to their having been done under their
+superintendence by local workmen, and small panels of rough inlay are
+not uncommon in chest and bedstead, overmantel and cabinet from the
+Jacobean period onward. S. Mary Overie, Southwark, possesses a fine
+parish chest decorated with a good deal of Dutch-looking inlay in
+conjunction with carving, and a rather unusual piece of work may be
+seen at Glastonbury Hall, 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 1726. The use of satin wood
+came into fashion towards the end of the eighteenth century, and was
+accompanied by a delicate inlay of other woods, which, however, scarcely
+went beyond the simplest ornament, since the decoration of furniture by
+means of painting became fashionable at nearly the same period.
+
+[Illustration: Plate 45.--_Cabinet with falling front, in the
+drawing-room, Roehampton House._
+
+_To face page 94._]
+
+It was in France that the most wonderful achievements of the later
+marqueteurs were produced, which have made French furniture recognised
+by the public as well as by connoisseurs as an art manufacture, in
+conjunction with the wonderfully chiselled ormolu mountings. Mention is
+made of intarsia in France as early as the end of the fifteenth century,
+however. In the inventory of Anne of Brittanny's effects (1498) may be
+read "ung coffret faict de musayeque de bois et d'ivoire," and in a
+still earlier one of the Duke de Berry's, dated 1416, is mentioned a
+"grant tableau, ou est la passion de Nostre Seigneur, fait de poins de
+marqueterie." This is as early as the intarsias of Domenico di Nicolo at
+Siena, and was probably of foreign manufacture. In 1576 a certain Hans
+Kraus was called "marqueteur du roi," but the first Frenchman known to
+have practised the art is Jean Mace of Blois, who was at work in
+Paris from 1644 or earlier to 1672 as sculptor and painter. He is said
+to have been the first who brought intarsia into France, under the name
+of "marqueterie," having been for some time in the Netherlands. His
+title was "menuisier et faiseur de Cabinets et tableaux en marqueterie
+de bois." He was lodged in the Louvre in 1644 (when Louis XIV. was six
+years old), "en honneur de la longue et belle pratique de son art dans
+les Pays Bas." His daughter married Pierre Boulle, who in 1619 was
+turner and joiner to the King, probably both to Louis XIII. and Henry
+IV. In 1621 Paul Boulle was born, and five years later Jacques. The
+family was settled at Charenton-le-Pont, near Paris, the principal town
+of the Huguenots for eighty years. Here, in 1649, Pierre Boulle was
+buried, the father of seven children. The earlier seventeenth century
+designs show picturesque landscapes or broken ruins or figures, _motifs_
+which recur a century later, as in the beautiful panel signed "Follet"
+in the Cabinet by Claude Charles Saunier in the Wallace collection. The
+colours are occasionally stained, and ebony and ivory are favourite
+materials. It is impossible to fix the exact time when copper and
+tortoiseshell came into use in France. Some of the cabinets in which
+they appear are certainly of the period of Louis XIII. It was probably
+imported either from Spain or Flanders; it became very fashionable
+about the middle of the seventeenth century, and ended by entirely
+absorbing the official orders of the Court of Louis XIV. With this work
+the name of Boulle is indissolubly associated. Pierre Boulle was lodged
+in the Louvre about 1642. In 1636 he is on the list for 400 livres
+annually. Jean Boulle died in the Louvre in 1680. He was the father of
+Andre Charles probably, who was born in November, 1642, and the nephew
+of Pierre. Andre Charles Boulle in 1672 succeeded to the lodging of Jean
+Mace in the same building, and seven years later by a second brevet to
+the "demilogement," formerly occupied by Guillaume Petit "to allow him
+to finish the works executed for His Majesty's service." It is told of
+him by a contemporary that the talented boy wanted to be a painter, but
+his father would not allow it, and insisted upon his keeping to
+handicraft. He was a man of most varied talent; when he was first
+granted apartments in the Louvre it was as "joiner, marqueteur, gilder,
+and chiseller," and in the decree of Louis XIV., by which he was
+appointed the first art-joiner to the King, he is called "architect,
+sculptor, and engraver." He had a passion for collecting drawings,
+paintings, and other works of art, and when his workshops were burnt his
+collection was valued at 60,000 livres. This taste brought him into
+money difficulties, and in 1704 his creditors obtained a decree
+against him, 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 them. He was a member of the Academy of
+S. Luke as sculptor and brass engraver. The Cabinet of the Dauphin was
+considered his masterpiece, in which the walls and ceiling were covered
+with mirrors in ebony frames, with inlays of rich gilding, and the floor
+laid with wood mosaic, in which the initials of the Dauphin and his wife
+were intertwined. The drawing made for it is now in the Musee des Arts
+Decoratifs, but the work itself no longer exists. On August 30th, 1720,
+his works were burnt, it was thought by a thief whom the workmen of
+Marteau, his neighbour at the Louvre, had surprised some months before
+and punished summarily, who, by way of vengeance on the "menuisiers,"
+set fire to the "ebenistes." Nearly everything he possessed was either
+burnt, lost, or stolen; models of the value of 37,000 livres, wood and
+tools worth 25,000, many pieces of furniture finished or in course of
+construction; works in metal, as well as in wood, and his whole
+collection of drawings, paintings, and objects of art. His total loss
+was estimated by experts at 383,780 livres, more than 1,000,000 of
+francs in the money of to-day, from which an income of 50,000 francs
+might be expected. This valuation was on an inventory drawn up shortly
+after, perhaps for the purpose of getting the King's help. The number of
+undeniable productions of his hand is small, but objects which came from
+the studio after his death are tolerably plentiful since his four sons
+carried on the business, though not the inspiration; contemporaries
+characterised them as "apes." Two commodes which were in Louis XVI.'s
+bedroom at Versailles are now in the Bibliotheque Mazarin, and a chest
+which was forgotten in the Custom House at Havre now belongs to the
+museum of that city. A cabinet is in the Mobilier National, and a
+pedestal is in the Gruenes Gewoelbe at Dresden. Other genuine Boulles are
+in the Wallace collection, in the Rothschild collection, and at the
+Hotel Cluny. A writing table, for which the millionaire Samuel Bernard
+(who died in 1739), a great collector of art treasures, had given 50,000
+livres, appears to be lost. M. Luchet asks, with some truth, "Can you
+imagine a financier, Jew or Christian, paying 100,000 francs for a new
+bureau? Old, it would be another thing--an object of art to sell."
+Boulle was most careful over his materials. He had 12,000 livres worth
+of wood in his stores, fir, oak, walnut, battens, Norwegian wood, all
+collected and kept long and carefully for the benefit of the work. He
+also used real tortoiseshell, which, is replaced in the economical art
+industry of the day with gelatine. The mountings were always chiselled,
+cast quite roughly, so that the artist did nearly everything. He was
+helped in this part of the work by Domenico Cucci and others. The inlay,
+instead of being tortoiseshell, may have been horn, mother-of-pearl,
+ivory, or wood; the motive, instead of brass, may be pewter, silver,
+aluminium, or gold; it is still known by the name of Boulle work. Boulle
+himself worked intarsia of wood also at intervals all through his life.
+He died February 29th, 1732.
+
+[Illustration: Plate 46.--_Cabinet belonging to Earl Granville. Boulle
+work of about 1740._
+
+_To face page 96._] [Illustration: Plate 47.--_Top of writing table in
+the Saloon, Roehampton House. Period of Louis XV._]
+
+[Illustration: Plate 48.--_Encoignure, signed J. F. Oeben, in the Jones
+bequest, Victoria and Albert Museum._
+
+_To face page 98._]
+
+His pupil, J. F. Oeben, became "ebeniste du roi," with a lodging in the
+_dependances_ of the Arsenal in 1754. He was marqueteur especially.
+Examples of his work are both at South Kensington and in the Wallace
+collection, and in the Gallerie d'Apollon at the Louvre is the great
+secretary bureau, which he was making for Louis XV. at the time of his
+death, in or about 1765. His widow carried on the establishment; her
+foreman, J. Henry Riesener, completed the unfinished work. He was also a
+German, born in 1735 at Gladbach, near Cologne, and coming to Paris
+quite young entered Oeben's atelier. On his death he was made foreman,
+and two years after, when he was thirty-two years of age, married his
+master's widow. The year following 1768 he was received as master
+_menuisier ebeniste_. In 1776 his wife died, and six years after he
+married again, but was divorced as soon as the new legislation allowed
+it. When he was married the first time he had no fortune, but fifteen
+years after he declared in his marriage contract that there was then
+owing to him by the King, the royal family, and other debtors 504,571
+livres, without counting the finished objects in his warehouses, his
+models of bronze, his jewels, and personal effects, and several
+important life annuities. Between 1775 and 1785 he received from the
+Garde Meuble 500,000 livres, so profitable had the production of
+furniture of the highest class become. He was in full work at the time
+of the Revolution, and two of his finest pieces bear the dates 1790 and
+1791 in their marquetry. When the furniture of the royal residences was
+sold, Riesener bought back several pieces, being aided by Charles
+Delacroix, the husband of his first wife's daughter, who directed the
+sale at Versailles. He tried to sell these again, but with poor success,
+and when he died, on January 8th, 1806, at the age of 71, he was again
+almost without fortune. His beautiful bureau secretary in the Wallace
+collection, made for Stanislas Leczinski, King of Poland, and dated
+1769, shows him at his best. The workmanship is superb, and the design
+most pleasing, almost the only point to which exception may be taken
+being the crude green, obtained by staining, here and there. The
+half-length of Secrecy in the oval cartouche at the back is as good as
+the best Italian figure work, and was often reproduced by him. The
+flower panels are particularly delicate and beautiful. There is an
+upright secretary, also by him, in the same collection almost equally
+delicate and beautiful in its marquetry decorations. The diaper patterns
+so characteristic of this period are most beautifully executed, but are
+not very interesting, and the mountings take the interest rather from
+the marquetry, becoming more and more delicately designed and
+elaborately worked. The principal woods used by Riesener were tulip and
+rose wood, holly, maple, laburnum, purple wood, and sometimes snake
+wood. His contemporary, David Roentgen, used principally pear, lime, and
+light-coloured woods, burnt for the shades.
+
+[Illustration: Plate 49.--_Panel from back of Riesener's bureau, made
+for Stanislas Leczinski, with figure of Secrecy._
+
+_To face page 100._]
+
+[Illustration: Plate 50.--_Roundel from bureau, made for Stanislas
+Leczinski, King of Poland, now in the Wallace Collection._
+
+_To face page 102._]
+
+Paris has endured a regular invasion of German craftsmen from the middle
+of the eighteenth century, and the Faubourg S. Antoine still has a
+number of German-born joiners among its workmen. Among the most
+celebrated of them was David Roentgen, born either at Neuwied or
+Herrenhagen in 1743. In 1772 he succeeded his father, Abraham Roentgen,
+in his business at Neuwied am Rhein, which he had founded in 1753, and
+from which he retired into the house of the Moravian brethren, where he
+lived for twenty years longer. The engraver Wille relates that he came
+to his house in Paris in 1774 with letters of recommendation, and that
+he put him in touch with designers and sculptors. When Marie Antoinette
+became Queen he was appointed "Ebeniste mechanicien" to the Queen. He
+was in such good odour with her as to be charged on several occasions to
+carry presents to her mother and sisters. Her favour excited the
+jealousy of the other joiners, and they contested his right to sell
+foreign-made furniture. He got out of this difficulty by being admitted
+a member of their corporation on May 24th, 1780. He was so entirely
+master of his craft, and increased its resources so much by using exotic
+woods, that contemporary opinion thought it difficult to imagine greater
+success in the particular direction in which he worked. In 1779 he
+showed a table of marquetry, made in a new fashion, which he described
+as a mosaic, "in which the shades are neither burnt, nor engraved, nor
+darkened with smoke, as one has been obliged to express them until now,"
+a return in fact to the earlier Italian method. His designs were many of
+them made by Johann Zick of Coblenz, others by Jean Baptiste Le Prince,
+chinoiseries, and shepherd games. Under him the later German marqueterie
+reached its highest point. His works went all over Europe, from St.
+Petersburg to Paris, and replicas were ordered by those who were obliged
+to forego the originals. He sold to Catherine of Russia a series of
+articles of furniture for 20,000 roubles, and the Empress added a
+present of 5000 roubles and a gold snuff-box. The King of Prussia was
+his constant protector, and in February, 1792, gave him the title of
+Secret Councillor, and in November of the same year named him Royal
+Agent on the Lower Rhine. The Revolution ruined him, and he was obliged
+in 1796 to close his factory. He abandoned France at this period, and
+the Government, considering him as an "Emigre," seized all his effects
+in 1793, including the furniture made at Neuwied, then in his stores. He
+died at Wiesbaden in 1807. With him these incomplete historical notes
+may terminate. Many of the names mentioned are but names, while in many
+cases names and works cannot be connected, for the carver and
+intarsiatori were often, like other craftsmen, content to do the work
+without caring about the reputation of doing it; 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 rarity, and certainly do not show them
+to any disadvantage compared with other artists, or those among whom
+their lives were passed.
+
+
+
+
+THE PROCESS OF MANUFACTURE
+
+
+The early mode of working intarsia in Italy, where it is more than 100
+years more ancient than in any other country, was by sinking forms in
+the wood, according to a prearranged design, and then filling the
+hollows with pieces of different coloured woods. At first the number of
+colours used was very small--indeed, Vasari says that the only tints
+employed were black and white, but this must be interpreted freely,
+since the colour of wood is not generally uniform, and there would
+consequently often be a difference in tint in portions cut from
+different parts of the same plank. A cypress chest of 1350, now in the
+Victoria and Albert Museum, shows another mode of decoration standing
+between tarsia proper and the mediaeval German and French fashion of
+sinking the ground round the ornament and colouring it. In this example
+the design is incised, the ground cleared out to a slight depth, and the
+internal lines of the drawing and the background spaces filled in with a
+black mastic, the result much resembling niello. 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 Siena, which, though
+an early work of Domenico di Nicolo, are well considered in design, well
+executed, and quite satisfactory in point of harmony between material
+and design.
+
+[Illustration: Plate 51.--_Antonio Barili at work, by himself._
+
+_To face page 104._]
+
+At the commencement of the Renaissance the fancy of the intarsiatori
+overflowed in the most graceful arabesques, which are perfectly suited
+to the material and are often executed with absolute perfection, and
+these may perhaps be held to be the most entirely satisfactory of their
+works, though not the most marvellous. The ambition of the craftsman led
+him to emulate the achievements of the painter, and we find, after the
+invention of perspective drawing, views of streets and other
+architectural subjects, which are not always very successful, and the
+representation of cupboards, the doors of which are partly open, showing
+objects of different kinds on the shelves, which are often rendered with
+the most extraordinary realism, when the means adopted are
+considered.[3] This realism was much assisted by Fra Giovanni da
+Verona's discovery of acid solutions and stains for treating the wood,
+so as to get more variety of colour, and by the practice of scorching
+portions of the pieces of which the subject was composed, thus
+suggesting roundness by means of shading. It was a common practice to
+increase the decorative effect by means of gilding and paint, thus
+obtaining a brilliancy of colour at the expense of unity of effect
+sometimes, one may think, 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 times. At the best period it was used almost entirely
+for church furniture and the furnishings of public edifices, in Italy at
+least, and many of the ranges of stalls still occupy their original
+positions.
+
+[Illustration: Plate 52.--_Panel from the Victoria and Albert Museum._
+
+_To face page 106._]
+
+The principal woods used in the work of the best period were pear,
+walnut, and maple, though pine and cypress also appear. Ebony was
+imitated with a tincture of gall apples, green was obtained with
+verdigris, and red with cochineal. Sublimate of mercury, arsenical acid,
+and sulphuric acid were also used to affect the colour of the wood. This
+treatment lessened its lasting power, and often caused its decay through
+the attacks of worms. The scorching was done with molten lead, or in
+very dark places with a soldering-iron. It is now done with hot sand.
+The following technical description is taken from a German book of
+1669--"Wood-workers paint with quite thin little bits of wood, which
+are coloured in different ways, and the same are put together after
+the form of the design in hollowed-out panels, fastened with glue and
+polished with an iron on the surface so that they may become quite
+smooth. They paint at the present time in this manner tables and jewel
+chests or trays, and all in the highest artistic manner. Also separate
+pictures are put together, which copy the works of the most celebrated
+masters. First, they take small, very thin pieces of pear or lime dyed
+through with different colour-stuffs, which are prepared by certain
+processes, so that the wood is the same colour within and without. Then
+they give them their several shapes as the kind of picture requires,
+cutting them according to the size and shape, and stick them with glue
+on the board. In the place of wood they sometimes use bone, horn, and
+tortoiseshell cut into fine strips, also ivory and silver. The whole
+work is called by the Germans 'Einlegen' or 'Furnieren,' because
+although each piece is separate from the others no part is taken out
+from the surface in which such figures are inlaid, but the whole is
+covered." With the use of the fret-saw for cutting the patterns, and the
+consequent discovery of the possibility of counterchanging the ground
+and the design (that which was black becoming white, and _vice versa_),
+called male and female forms, the manufacture of tarsia, or marquetry
+rather, commenced to take a more commercial aspect, the cost being
+considerably reduced by the making of several copies by one sawing. This
+is the process used at the present day.
+
+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 wood, and also on the level grounding
+out of the matrix. In Spanish and Portuguese work ivory or ebony pins or
+pegs were used also. Marquetry is a form of veneering, and the operation
+is thus conducted:--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 clean, newly-worked surface; the ground is then well wetted with
+glue, at a high temperature, and the two surfaces pressed tightly
+together so as to squeeze as much out as possible. The parts are screwed
+down on heated metal beds, or between wooden frames, made so as to
+exactly fit the surfaces in every part, called "cauls," until the glue
+is hard. In cutting the patterns of Boulle work two or three slices of
+material, such as brass and tortoiseshell or ebony, are glued together
+with paper between, so that they may be easily separated when the
+cutting is done. Another piece of paper is glued outside, upon which the
+pattern is indicated. A fine watch spring saw is then introduced
+through a hole in an unimportant part of the design, and the patterns
+sawn out as in ordinary fretwork. The slices are then separated, 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
+pattern. When there are only two slices of material the technical term
+for them is Boulle and Counter. When the various parts have been
+arranged in their places, face downwards, paper is glued over them to
+keep the whole in place, and filings of the material rubbed in to fill
+up any interstices. The whole is then toothed over and laid down in the
+same manner as ordinary veneer, the ground being first rubbed over with
+garlic, or some acid, to remove any traces of grease. Marquetry of wood
+is made in the same way, but more thicknesses of wood are put together
+to be sawn through, as many as four not being an unusual number, while
+for common work even eight may be sawn at one time, and the various
+sheets are pinned together only with a stiff backing of common veneer of
+good thickness to steady the work. Dye woods are used as far as
+possible, and holly stained to the required colour serves for greens and
+blues and a few other tints. Pearl is always cut in one thickness, and
+is glued down on a backing of wood at least 1/8-inch thick.
+
+Another mode of cutting the design approximates more nearly to the
+ancient practice. The whole design is drawn on paper attached to the
+ground, or counter, and cut out entirely. The various portions of inlay
+are then cut from different veneers of the desired colour and fitted
+into their places. Another method is to paste the paper with the whole
+design on the ground, and on it to paste the various ornaments cut from
+suitable veneers, then to cut through the ground, the saw grazing the
+edges of the ornamental forms. The parts so cut out are then pushed
+through the ornaments, separated from the paper, and laid down in the
+vacant places. A variation on this method is to cut out the forms to be
+inlaid in different veneers, and glue them in their proper positions on
+a sheet of paper. A sheet of white paper is pasted on the veneer, which
+is to serve as the ground. A sheet of blackened paper is laid over it,
+and over this the sheet with the forms to be inlaid, which are then
+struck with a light mallet, so as to print an impression of their edges
+upon the paper. The printed shapes are then cut out one at a time, care
+being taken to make the saw exactly follow the outline. The object of
+all these processes is, of course, to ensure the ground and the inlaid
+forms exactly fitting. After cleaning the surface from paper and glue it
+is smoothed with plane and scraper, and the markings on leaves or other
+figures made by a graver, if not already made by saw cuts, and they and
+the lines between the male and female forms are filled with shellac or
+wood-dust and glue.
+
+In Germany the veneers used are one to two millimetres thick, _i.e._,
+one-twenty-fifth or two-twenty-fifths of an inch. The principal woods
+used are walnut, pear, ash, bird maple, holly, olive, amboyna, rose
+wood, violet wood, thuya, and palisander, which name is also used on the
+Continent for rose wood and violet, though it is really a sort of cedar.
+Tortoiseshell, ivory, and metal plates are also used, principally of
+pewter, brass, and zinc. Seeman's Kunstgewerbliche Handbuecher advise
+thus:--"When ivory or hard precious metals are used it is better to
+divide the design into smaller parts. To avoid damage to the effect by
+time and change of colour in the woods such combinations as the
+following are to be preferred:--Mahogany and black walnut, pear and
+black walnut, Hungarian ash and black thuya, pear and palisander, brass
+and black, etc. For fine, small ornament smooth, even-textured woods
+should be used such as pear, mahogany, maple, or holly; for broad
+patches and backgrounds, which are not required to be dark, you should
+use patterned or streaked woods, like bird maple, amboyna, thuya, or
+olive. Ivory, mother-of-pearl, and metals in large pieces look hard and
+loud, so it is better to use them in quite small pieces. If engraved,
+larger pieces may be employed and used for inscription tablets, coats of
+arms, and cartouches, or for bits of figures, birds, and butterflies.
+Shading may be done in various ways. Lines may be engraved and filled up
+with a glue cement, or hatchings may be drawn with a scorching solution,
+or the wood may be burnt with hot sand. The sand is made hot in an iron
+pot, and the piece to be darkened inserted. Or it may be scorched with a
+hot iron or spirit or gas flame. The simplest way is with the poker used
+in poker work." In England the sand is heaped upon a metal plate which
+is heated underneath. The veneer is held with tweezers and pushed into
+the sand, the gradation of heat giving gradation of tone. The hot sand
+shrinks the wood, and allowance must be made for this.
+
+Veneers are both saw and knife cut; the saw wastes about as much as the
+thickness cut in sawdust. They range from 8 to 15 to the inch. The
+French saw-cut their veneers thinner than the English do.
+
+The woods in every-day use at the present day are white holly, box, pear
+(in various shades), and holly (dyed all colours); while the veneer
+merchants sometimes supply also planetree, sycamore, chestnut,
+Brazilwood, yellow fustic, barwood, tulipwood, kingwood, East and West
+India satinwood, rosewood, ebony, ash, harewood, Indian purplewood,
+hornbeam, and snakewood. Bird's-eye maple and partridgewood may also be
+bought.
+
+Dye woods used for marquetry--Braziletto, cam wood, logwood, Nicaragua,
+red sanders, sapan, ebony, fustic (a species of mulberry), Zante (a
+species of sumach). "Ebony is the black pear tree of Madagascar, at
+least they make cider of its fruit." So says M. Luchet in an interesting
+excursus on furniture manufacture in his book on the Paris Exhibition of
+1867, in which he gives further details of ancient manufacture and its
+modern imitation. "I know a factory," he says, "where the tortoiseshell
+is false, the mother-of-pearl false, the ivory holly wood; the brass is
+the only real thing, because science applied to industry has not yet
+found out how to imitate it. When Boulle employed wood in his work it
+was ebony--they have abandoned that for blackened pear wood, under the
+pretext that ebony is a hard, close wood which twists, splits, and
+cracks, takes glue badly, and refuses varnish. So that they call a man
+who never uses ebony 'ebeniste.' They did not trouble about these things
+in the time of Louis XIV. They never varnished their furniture, so it
+did not matter that ebony would not take varnish.... There are two sorts
+of tortoiseshell, that of the Antilles, often bad and scaly, but good
+enough for common work, because it is thin and equal in thickness, and a
+little carmine vermilion gives it a not unpleasant red tint. The Indian
+tortoiseshell is thick and opaque and unequal, demanding preparation and
+welding. It can only be used for expensive work, and takes easily a
+black preparation which makes it magnificently austere." One ought to
+mention here that good shell was often treated with carmine vermilion or
+with gold, and that without a colour background it loses half its beauty
+and value.
+
+"In modern times six or eight couples of shell and metal are sawn
+together, whereas two was the number in the fine period. This saves
+money. A new Boulle bed, secretary, or chest of drawers should cost 15
+to 20,000 francs. You may easily get one for 2000 made of rubbish. An
+honest chest of drawers with tolerable mountings is worth 1500 francs.
+In gelatine tortoiseshell and brass or zinc of the future 100 is the
+price.... The mode still practised in Paris of making a good 'placage'
+in preparation for marquetry or Boulle work is as follows:--A thicker or
+thinner sheet of Italian poplar is placed between two sheets of oak with
+the grain the other way, then on the external sheet of oak is placed the
+wood intended to be seen, also with the grain the other way, the whole
+of convenient thickness, and glued with the best glue. Good glue is the
+nurse of the wood, say the masters. These four or five thicknesses of
+wood pulling against each other neutralise all bad effects, and the
+result is very good. The external covering is usually either mahogany,
+American walnut, or violet wood (a sort of cedar). Sometimes it is
+ebony, or perhaps a collection of small pieces of wood, such as acacia,
+which are called by all sorts of pretty names. It is of this fine and
+good 'plaque' that they still make cupboards at 1000 francs, beds at 600
+francs, and bureaus at 800 francs, which are the success and the pride
+of Parisian joinery." The marqueteurs of Nice made use of olive for
+veined grey backgrounds, orange and lemon for pale yellow, carob for
+dark red, jujube tree for rose colour, holly for white, and charred fig
+for black; arbutus served for dark flesh, and sumach for light.
+
+It is advisable after the marquetry has been put together to reduce the
+surface to a level and do something in the way of polishing, though it
+is not necessary to carry the process as far as is often done by the
+cheap furniture manufacturers. If nothing but wood has been used, the
+surface should be reduced to a level with a toothing plane and scraped
+with a joiner's scraper, taking care to apply it obliquely to the joints
+as far as possible, so as to avoid digging down and so failing in the
+object aimed at. If done very well and carefully it sometimes only
+requires to be rubbed down with its own shavings, but it is more usually
+necessary to follow with a worn piece of glass-paper on a flat piece of
+cork, but the dust must not be allowed to collect into hard lumps upon
+it, as these lumps would scratch the surface. Holtzapffel says that when
+metal, ivory, pearl, shell, or tortoiseshell are mixed with the wood the
+surface must be carefully levelled with flat files, ending with a very
+smooth one, after which the scraper should be used if possible and
+followed by glass or emery paper very sparingly. When metal
+preponderates emery paper is best, and really good _sand_ paper may also
+be used, but all paper should have very little "cut," should be applied
+dry, and allowed to become clogged, so as to act principally as a hard
+dry rubber or burnisher. If the polishing is at all in excess the wood
+will get rubbed or worn down below the metal. 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 powder, much
+like polishing marble, using oil instead of water. Wet polishing should
+not be used for inlaid works; the water may soften the glue. A
+superficial wetting is likely to warp the woods and make them curl up at
+the edges, and the grain of the wood is almost certain to rise. Oil is
+better than water, but light woods are almost certain to become stained
+by polishing powders and fluid. To avoid this modern marquetry is often
+covered with varnish applied with friction like French polish, or laid
+on in several coats with a brush and polished off with pumice and rotten
+stone, like the Vernis Martin, being first levelled with a file or
+scraper and smoothed with glass-paper.
+
+FOOTNOTES:
+
+[3] The panel illustrated from the Albert and Victoria Museum is a good
+average specimen of this kind, but not quite a masterpiece.
+
+
+
+
+THE LIMITATIONS AND CAPABILITIES OF THE ART
+
+
+The process described, by which the early works in intarsia were
+produced, was slow and tedious; and, as may be supposed, though fame
+might be won by its exercise, the winning of fortune was a very
+different thing. Domenico di Nicolo, who made the stalls in the chapel
+of the Palazzo Pubblico, Siena, and was thence called "del Coro," or
+"dei Cori," a name which descended to his children in place of their
+proper name of Spinelli, is an example in point. The petitions to the
+priors already referred to, printed in Milanesi's Documenti per la
+Storia dell' Arte Senese, show how little a man of talent, who was
+constantly employed for many years and gained great reputation in his
+art, could do to provide for his old age; and many returns of both
+painters, sculptors, and woodworkers, made for the purposes of taxation
+and printed in the same book, show that even in a great and flourishing
+town like Siena, which prided itself on its artistic reputation, it was
+often most difficult for the craftsmen, on whose work that reputation
+was based, to make a living.[4] It is true that there were thirty-four
+workshops for wood carving and intarsia in Florence at one time (1478,
+as Fabroni says in his life of Lorenzo the Magnificent), from which one
+may conclude that work of a certain sort was plentiful and lucrative,
+and panels of intarsia were certainly sometimes exported, but it may be
+observed that all the most celebrated intarsiatori practised some other
+form of art also, and generally abandoned intarsia sooner or later; the
+exceptions being those who belonged to the Olivetan and Dominican
+orders, and therefore had no anxiety about their living. Of these
+craftsmen the most celebrated were Fra Giovanni da Verona and Fra
+Damiano of Bergamo, whose works were so elaborate and so finely executed
+as to excite the suspicion that they were painted with the brush, though
+supposed to be executed with wood and the chisel. The anecdote of the
+Emperor Charles V.'s trial of Fra Damiano's tarsia panel in S. Domenico,
+Bologna, attests the wonderful quality of the work, and its success in
+attaining a doubtful aim, 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 brush. The designs from which the
+intarsia was executed were often furnished by painters of repute, and
+pictures or portions of pictures were copied, a proceeding which Fra
+Giovanni's discovery of stains and washes of different kinds made
+easier, until the proper limits of the art were far overpassed, and its
+decorative quality quite lost sight of in the attempt to rival a form of
+art the requirements of which were quite different. The beautiful
+arabesques, which the designers of the early Renaissance poured forth
+with exhaustless fertility, show the capabilities of the process for
+decorating flat surfaces, and the perspectives of cupboards and
+buildings were often most successful without passing the limits imposed
+by the material.
+
+The question of the limits within which the craftsman's effort should be
+confined in any form of art craftsmanship is a thorny one, for the
+attempt to overstep those limits has always had attractions for the
+craftsman who is master of his craft, and who sighs for fresh fields to
+conquer, knowing better than the outsider what are the difficulties
+which he has overcome successfully in any piece of work from the side of
+craftsmanship, though often with disastrous results when the matter is
+regarded from the point of view of excellence in design and purity of
+taste. 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
+illegitimate; and if this be so, it is equally illegitimate to stain any
+of them; but it is undeniable that a great addition to the resources of
+the inlayer was made by the discoveries of Fra Giovanni, and it seems
+unreasonable to refuse to make any use of them because later
+intarsiatori abused these means of gaining effect. The earliest work, it
+is true, depends mainly upon silhouette for its beauty, but does not
+altogether disdain lines within the main outline, and the abandonment of
+these inner lines, whether made by graver or saw, so reduces the
+possibilities of choice of subject as to restrict the designer to a
+simplicity which is apt to become bald. A great deal may be done by
+choice of pieces of wood and arrangement of the direction of the
+lines of the grain; some of Fra Giovanni's perspectives show very
+suggestive skies made in this manner, and Fra Damiano was very
+successful in thus suggesting the texture of much veined and coloured
+marble and of rocks, but directly the human figure enters into the
+design these expedients are felt to be insufficient and inexpressive,
+and inner lines have perforce to be introduced. The opposite extreme is
+such work as the panels by the brothers Caniana in the Colleoni Chapel
+at Bergamo, in which the composition and drawing of the figures recall
+the designs of the Caracci, and the technique of the shading reminds one
+of a copper plate, while the tinting and gradation of the colours take
+away all impression of a work in wood, substituting that of a coloured
+engraving. Here it is quite evident that the desire to imitate pictorial
+qualities has led the craftsman far away from what should have been his
+aim, viz., to display the qualities of the material which he was using
+to the best advantage, consistently with the position and purpose of his
+work in it. Not that perfection of workmanship is to be decried, though
+it is only occasionally that one is able to make use of, or indeed
+produce it. But the aesthetic 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
+giving. Notwithstanding the beauty of much of the marquetry of the
+periods of Louis XIV. and Louis XV., one often feels that design has
+been put to one side in the endeavour to gain a realistic effect, and
+the same defect may be traced more clearly in the clumsier Dutch and
+German productions. Even in the Italian work of an earlier date every
+now and then the same fault peeps out, though the excellent taste of the
+nation at that period prevented the Italians from falling into such
+excesses, and one generally feels the wood even in their most elaborate
+perspectives. It may be asserted in a general way that the more colours
+are used the less likelihood is there of the effect being quite
+satisfactory, and that any light and shade introduced should be of the
+simplest kind. A slight darkening of parts of the wood to gain a certain
+suggestion of roundness is quite admissible, but the expedient should be
+used with discretion, lavish employment of it leading to heaviness of
+effect and a monotony of tone which are most unpleasing. If ivory or
+metals are introduced the greatest care is necessary to prevent them
+from giving a spotty and uneven effect to the design, for neither these
+two materials nor mother-of-pearl marry quite with the tone of the wood;
+and this inequality is likely to increase with age, as the wood becomes
+richer and mellower in colour. Such materials should be so used that
+the points where they occur may form a pattern in themselves
+independently of the rest of the design, so that the effect may be
+pleasing at first sight, before the general meaning of the less
+prominent details is realised. Any other way of using them courts
+failure, since the effect of the whole design is ruined by the
+uncalculated prominence and inequality of these materials here and
+there. The Dutch sometimes made use of mother-of-pearl, in pieces upon
+which engraving broke up the hard glitter of the material, mingled with
+brass wire and nails or studs driven into the surface of the wood. The
+two materials appear to be quite harmonious, and small articles
+decorated in this manner are effective and satisfactory. The Italian use
+of ivory for the decoration of musical instruments, chess and backgammon
+boards, and other small objects is almost always successful, the
+proportion between wood and ivory being well judged, and the forms of
+the ornament pleasing.
+
+[Illustration: _To face page 122._
+
+Plate 53.--_Panel from S. Maria in Organo, Verona._]
+
+The modern French marquetry, though exceedingly clever and beautiful in
+its use of various woods, errs by want of consideration of the surface
+to be decorated, the subjects flowing over the surfaces and overflowing
+the proper boundaries very often; and also sins in using many woods of
+very slightly different tones and textures, which will almost certainly
+lose their reciprocal relation in the course of time, and thereby their
+decorative effect. The ancient intarsias were made of a small number of
+different woods, and the effect was kept simple; pear, white poplar,
+oak, walnut, and holly almost exhaust the list; while even Roentgen's
+work, in which he used a larger number of woods, including some of those
+foreign trees which Dutch commerce made available for him, has suffered
+from their changing and fading. I would advise the marqueteur to
+disregard most of the many foreign woods now in the market, and content
+himself with simple and well-proved effects for the most part, trusting
+rather to beauty of design to give distinction to his work than to
+variety of colour and startling effects of contrast.
+
+[Illustration: Plate 54.--_Panel from S. Maria in Organo, Verona._
+
+_To face page 126._]
+
+It is the fashion at the present day to exhort the designer to found his
+design upon the study of nature, which is right enough if accompanied by
+discretion and a feeling for style. In many mouths, however, the
+exhortation means that the copying of natural forms is advised, and
+often, if one may judge from the examples which one sees around one,
+without selection either of subject or form. Now it is obvious that it
+is sometimes the beauty of form in natural objects which attracts the
+eye, and sometimes the beauty or strangeness of colours, either in their
+combination or from the unusual tint. And while the former quality
+fits the object for translation into ornament, by means of
+simplification and repetition, 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 composition. Certain forms
+of flowers and leaves are also suitable for ornament expressed in a
+certain way, and when this harmony occurs the representation of nature
+is satisfactory as ornament; but the reverse is very often shown to be
+the case in work of a more modern type, in which the design is based on
+the dictum that the copying of natural forms will produce ornament. It
+is not the copying of natural forms, but the ordering of the spaces, the
+arranging and balancing of line and mass, and the adaptation of means to
+ends which produce satisfactory decoration, and in the best Italian
+intarsias founded upon freely-growing, natural plants this is well
+shown. The observation of natural growth shown in illustrations Nos. 53,
+54, and 55 is considerable, but the panels are not so beautiful because
+the bay, the pink, or the lily are so well rendered, but because the
+pattern of waving lines is so well fitted to the space it has to fill,
+and the shapes of the silhouettes are so expressive. In the later French
+marquetry we often find an equal or almost equal dexterity in expressing
+the natural form, and an almost greater cleverness in adapting the
+design to the material; 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 unsurpassable.
+
+Certain remarks made by Mr. Stephen Webb, in a paper read to the Society
+of Arts on April 28, 1899, as to the qualities which the designer or
+craftsman must possess for successfully producing intarsia, are worth
+reproducing here as the sayings of a man who himself has done much
+beautiful work of the kind. "Tone harmony, and in a limited degree, the
+sense of values, he must certainly cultivate. He must be able to draw a
+line or combination of lines which _may_ be ingenious if you like, but
+_must_ be delicate and graceful, vigorous withal, and in proper relation
+to any masses which he may introduce into his design. He must thoroughly
+understand the value of contrast in line and surface form, but these
+matters, though a stumbling block to the amateur, are the opportunities
+of the competent designer and craftsman. The most charming possibilities
+of broken colour lie ready to his hand, to be merely selected by him and
+introduced into his design. If the wood be properly selected shading is
+rarely necessary, and if it is done at all should be done by an artist.
+In the hands of an artist very beautiful effects may be obtained, the
+same kind of wood being made to yield quite a number of varying shades
+of colour of a low but rich tone. Over-staining and the abuse of shading
+are destructive. Ivory has always been a favourite material with workers
+in tarsia, and in the hands of an experienced designer very charming
+things may be done with it. There is, however, no material suitable for
+tarsia which requires so much care and experience in its use. It is
+ineffective in light-coloured woods, and in the darker ordinary woods,
+such as ebony, stained mahogany, or rosewood, under polish, the contrast
+of colour is so great that the ivory must be used very sparingly. The
+ivory is sometimes stained in order to bring its colour more into
+harmony with a dark wood-ground, but it is never quite satisfactory. The
+use of inlay makes the direction from which the light enters the room a
+matter of no moment, so long as the light reaches the object decorated."
+
+The effect of intarsia has been sought by various imitative processes,
+some of which are indistinguishable from it except by close inspection.
+In one of these wax, either in its natural state or tinted with an
+addition of powder colour, was used; in another glue mixed with whiting
+or plaster, also sometimes tinged, or red lead. On April 7, 1902, a
+paper was read at the Royal Institute of British Architects on wax
+stoppings of this kind by Mr. Heywood Sumner, in the course of which he
+said that the process he himself had used was as follows:--"First trace
+the design on the panel of wood to be incised; cut it, either with a V
+tool or knife blade fixed in a tool-handle; clear out the larger spaces
+with a small gouge, leaving tool-mark roughness in the bottoms for key;
+when cut, stop the suction of the wood by several coats of white, hard
+polish. For coloured stoppings, resin (as white as can be got), beeswax,
+and powdered distemper are the three things needful. The melted wax may
+be run into the incisions by means of a small funnel with handle and gas
+jet affixed; it is attachable to the nearest gas burner by india-rubber
+tubing, so that a regulated heat can be applied to the funnel. When thus
+attached and heated, pieces of wax of the required inlay colour are
+dropped into the funnel, and soon there will be a run of melted wax
+dropping from the end of the funnel-spout, which is easily guided by
+means of the wooden handle, and thus the entire panel may be inlaid with
+the melted wax. Superfluous surface wax is cleared off with a broad
+chisel, so as to make the whole surface flush. The suction of the wood
+is stopped by means of white, hard polish, otherwise the hot wax will
+enter the grain of the wood and stain it. Incised panels may be filled
+successfully with japanner's gold size and powdered distemper colour,
+using a palette knife to distribute the slab mixture. A close grain is
+the one thing needful in the wood. As to design, that which is best
+suited may be compared to a broad sort of engraving." Red lead was also
+used sometimes, 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 whiting, glue, and linseed oil.
+
+[Illustration: Plate 55.--_Panel from S. Pietro in Casinense, Perugia._
+
+_To face page 130._]
+
+At Hardwick some of the door panels are painted with arabesques in
+Indian ink, and varnished (a process also employed on several pieces of
+furniture in the South Kensington collection), and even in certain
+cases, no doubt under the direction of Bess of Hardwick, engravings have
+been stuck on the panels, tinted, surrounded with similar painting, and
+then similarly varnished over. The sacristy cupboards at S. Maria delle
+Grazie, Milan, called "Lo Scaffale," show paintings of no less an artist
+than Luini, the ornamental part of which is intended to simulate tarsia.
+
+For small objects, such as trinket boxes, a marquetry of straw tinted to
+different colours was sometimes employed, which, though not very
+lasting, in the hands of a worker who possessed taste in colour
+sometimes produced pleasing results, a form of work practised both in
+Holland and England, and lasting well into the 19th century. The writer
+possesses one or two objects decorated by this process which were bought
+from the French prisoners taken in the Peninsular War, who provided
+themselves with little luxuries by making and selling them. In all these
+imitative processes the question of design becomes of the very highest
+importance, since the material has neither beauty nor intrinsic value in
+itself; and here, even more than in many other forms of manufacture, the
+presence and influence of the intelligent designer is most desirable,
+and should be paramount.
+
+FOOTNOTES:
+
+[4] In 1453 Matteo di Giovanni Bartoli, painter, says that he possesses
+the half of certain tools and appliances of his art, which are not worth
+20 florins, and that the other half belongs to Giovanni di Pietro,
+painter, his partner. That they are in a house or dwelling that they
+hire from Guicciardo Forteguerri in the Palazzo Forteguerri, which they
+have as a house and not a shop, and that he has nothing else in the
+world but a few debts (!). He says that he makes no profit, but is
+learning as well as he can, and that his uncle, Ser Francescho di
+Bartolo, the notary, keeps him. This is a young and promising artist who
+cannot get on. Priamo della Quercia, brother of the celebrated sculptor
+Jacopo della Fonte, painter, says that he is poor and without anything
+to live on; that he has a girl of marriageable age and a young boy; that
+he owes money to several people. He had a dower of 200 florins which
+came from a possession which the nuns of Ogni Santi held, because they
+said that they were heirs to his daughter-in-law, a nun in that convent
+(!) and they had kept possession for six years and he could not sue
+these nuns at law on account of his poverty. There are several documents
+referring to money and property which his brother left to this man, but
+which he seems to have difficulty in obtaining possession of, and he
+gives one the impression of being unfortunate through life. In the same
+year Antonio di Ser Naddo, painter, says he has a house with an oven
+within the walls of Siena, "male in ponto," in which he lives in the
+Contrada of Camporegi. That he has three useless mouths in the house
+which gain nothing, two children, one a boy, and the other a girl of
+marriageable age, but if he dowered her, so that she could be married,
+he would have nothing to live on. Also that he owes 20 florins to
+various people. In the same year others, both painters and woodworkers,
+complain that they have nothing to live on and owe money, some saying
+that they have become old and poor in the art. In 1478 Ventura di Ser
+Giuliano, architect and woodcarver, says that he has a little house in
+the city division in the place called of S. Salvador, and that he is
+away at Naples because of his debts, for he is afraid to return. That he
+owes Ser Biagio, the priest, 80 florins and other persons 402. In 1488
+Giovanni di Cristofano Ghini, painter, says that he has a vineyard at
+Terraia in the commune of S. Giorgio a Papaino from which he receives in
+dues about 24 florins. That he has a wife and three sons and nothing to
+keep them on. That five years ago he had sold all that he had in the
+house, for times were very bad. 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 years. 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 hunger, and that they
+have a girl of marriageable age in the house, his sister, "Che e il
+fiorimento d'ognichosa." In the same year Benvenuto di Giovanni says
+that he is obliged to work away from Siena because his gains are so
+small; and finally in 1521, Ventura di Ser Giuliano di Tura petitions
+the Balia as follows:--He was a master joiner and says that he passed
+his youth and almost all his age in gathering ancient objects and
+carvings, which the craftsmen of the city have copied, so that one may
+say that the antique in the city has been re-discovered by his labours.
+But that he has not by this benefit to the craftsmen provided for his
+old age, since both he and his wife have been very unwell for years
+past, and that he finds himself old, with four little daughters, "one no
+heavier than the other," so he asks for a little pension of eight lire a
+month (which has been suspended apparently), so that he may not have to
+go to the hospital for bread with his wife and the four little ones.
+
+
+
+
+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
+Verona, to whom Vasari ascribes the invention, but is most distinctive
+of the work of the later Dutch and French marqueteurs. Receipts for the
+purpose were handed down from master to pupil, and while sometimes held
+as traditional secrets to be jealously guarded, were sometimes committed
+to writing; and several of these manuscripts have come down to us. The
+following have been collected from French, German, and Italian sources,
+and though not all of equal value, show the way in which the ancient
+workers produced the effects, most of which we admire in the present
+day:--
+
+To stain wood yellow (No. 1).--Put saffron in water, and when it is well
+steeped place the jar over hot coals. Then spread the stuff over boxwood
+with a brush. To make it brilliant let it dry, and put it with oil on
+the wood to be coloured. (No. 2.)--Take the plant turmeric (curcuma
+longa), grind it to powder; put an ounce into a pint of spirit (12
+oz.), and leave it for a day. If the tone is required reddish, add some
+dragon's blood. (No. 3.)--A cheaper but duller colour is to be obtained
+from steeped French berries, then dried, with weak alum water brushed
+over it. Thin pieces are dipped in it. The solution of French berries
+may be made thus--Take 1 lb. of French berries, and a gallon of water
+with 1/2 oz. of alum; boil for an hour in a pewter vessel, and filter
+through paper. Evaporate till the colour appears strong enough. Another
+receipt says 4 oz. of French berries put to steep in a pint of water is
+to have added to it 1 oz. of hazel nuts and as much alum. Wood may also
+be stained yellow with _aqua fortis_, used warm, and then immediately
+placed near the fire. The _aqua fortis_ must not be too strong, or the
+wood will go brown or black. This is apparently the same thing as Vasari
+calls "oil of sulphur," used in his time for colouring wood. A Nuremberg
+receipt book says that the plant Tournesol (croton tinctorium) may be
+steeped in water, and this solution mixed with yellow colour and glue
+may be spread over the wood warm, and finally polished with a burnisher.
+Holtzapffel gives the following:--A bright yellow stain may be obtained
+from 2 oz. of turmeric allowed to simmer for some hours in 1 quart of
+water in an earthen vessel, water being added from time to time to
+replace evaporation. Sparingly applied cold, it stains white woods the
+colour of satin wood. A canary yellow results from immersing the wood in
+the liquid, which can be rendered permanent without polishing by a
+strong solution of common salt. Washing the stained surface with
+nitro-muriate of tin for about a minute changes the colour to orange.
+The work should then be well rinsed in plain water to check the further
+action of the acid. Treating the canary yellow with 2 oz. of sulphate of
+iron dissolved in 3 quarts of water, after it has been allowed to dry,
+dyes a delicate olive brown. A tincture of 1/4 oz. of turmeric to 3 oz.
+of spirits of wine, allowed to stand for some days and well shaken
+daily, gives a rather higher colour.
+
+Red may be produced by (No. 1) taking a pound of Brazil wood, with some
+rain water, a handful of unslaked lime, and two handsful of ashes; soak
+all for half an hour in water, "cook" it, and pour it out into another
+pot, in which is a measure of gum arabic. The wood to be coloured must
+be cooked in alum water, and then brushed over with the warm colour; the
+result is a splendid scarlet red. If the wood was first grounded with
+saffron water and then had the Brazil decoction applied, the result was
+orange; a spoonful of lye made a browner colour, with a little alum. If
+whiter wood was taken the colour was correspondingly brighter. (No.
+2.)--Orcanda or Akanna root powdered, with nut oil, gives a fine red.
+(No. 3.)--Put lime in rain water, strain it, scrape Brazil twigs in it,
+then proceed as in No. 1. You can also soak the Brazil in tartar. The
+same colour with Tournesol steeped in water gives a fine purple when
+spread on the wood. Lebrun gives the same receipt, adding that the
+beauty of the colour is increased by rubbing with oil, and that pear
+wood is the best to use. Another receipt says:--Make a strong infusion
+of Brazil wood in stale urine or water impregnated with pearl ash, 1 oz.
+to a gallon; to a gallon of either of which put 1 lb. of Brazil wood.
+Let it stand for two or three days, often stirring it. Strain the
+infusion, and brush over the wood boiling hot; then, while still wet,
+brush over with alum water, 2 oz. to a quart of water. A less bright red
+may be made with 1 oz. of dragon's blood in a pint of spirits of wine,
+brushed over the wood.
+
+Holtzapffel gives for red stains the following:--Dragon's blood, an East
+Indian resin, gives a crimson with a purple tinge. Put a small quantity
+in an open vessel, and add sufficient linseed oil to rather more than
+cover it; it will be fit for use in a few days, when the oil may be
+poured off and more added. This dissolves more readily in oil than
+spirit. The colouring matter of Alkanet root, from which another red
+may be obtained, is contained in the rind, so that small pieces are the
+most useful. A deep red of a crimson character may be made with 1/2 oz.
+of raspings of Brazil wood macerated in 3 oz. of alcohol. A wash of
+logwood (see below) given with the brush, and when dry followed with a
+wash of Brazil, produces a deep, full colour, and when the two are
+applied in the reverse order a more brilliant colour of the same kind. A
+decoction of Brazil (4 oz.) allowed to simmer for some hours in 1 quart
+of water yields a rather brown-red stain. Treating light woods so
+stained with nitro-muriate of tin gives a brilliant crimson of a purple
+tinge.
+
+A brown red is made from a decoction of 2 oz. of logwood dust in 1 quart
+of water, or 1/2 oz. of logwood in 3 oz. of alcohol. Nitro-muriate of
+tin used on it gives a deep, dusky crimson purple. The same treated with
+alum solution yields a medium purple, darker and bluer than that from
+Brazil.
+
+White wood stained with Brazil and then treated with alum (4 oz.
+dissolved in a quart of water) acquires a light pink tinge. Another
+receipt for pink or rose red says:--1 gallon of infusion of Brazil wood,
+with 2 oz. additional of pearl ash; but it is necessary to brush the
+wood often with alum water. By increasing the proportion of pearl ash
+the red may be made still paler, in which case make the alum water
+stronger.
+
+For purple one brushes the wood over several times with a strong
+decoction of logwood and Brazil, 1 lb. of logwood and 1/4 lb. of Brazil
+to a gallon of water boiled for an hour or more. When the wood is dark
+enough let it dry, and then lightly pass over with a solution of 1
+drachm of pearl ash to a quart of water. Use this carefully, as the
+colour changes quickly from brown red to dark purple.
+
+Jet black may be made by using the logwood stain, followed by a solution
+of iron, 1 oz. sulphate of iron to 1 quart of water, and a less intense
+black by the same mixture about three times diluted. The Italian receipt
+books are well provided with receipts for producing black, which
+suggests that most of the ebony used in inlay was factitious. A 15th
+century MS. says:--"Take boxwood, and lay in oil with sulphur for a
+night, then let it stew for an hour, and it will become as black as
+coal." Evidently this means what Vasari calls oil of sulphur, _aqua
+fortis_. Others are founded upon the application of a solution of
+logwood, followed by one of iron. "Stew logwood till the liquid is
+reduced to one-third of its bulk, mix with stone alum, and leave for
+three days. Mix iron filings with very strong wine, and let it stand for
+twenty-four hours. On the quantity of iron filings the depth of the tone
+depends. Lastly, ox-gall is dissolved in this mixture, and the whole is
+three times worked over." An English receipt says:--"Brush the wood over
+several times with a hot decoction of logwood; take 1/4 lb. of powdered
+galls, and set in the sun or other gentle heat in 2 quarts of water for
+three or four days; brush the wood over with it three or four times,
+and, while wet, with a solution of green vitriol in water, 2 oz. to a
+quart; or use a solution of copper in _aqua fortis_, then the solution
+of logwood, and repeat until black enough." A German receipt
+says:--"Take half a measure of iron filings and a pennyweight of sal
+ammoniac, and put into a pot of vinegar; let it stand for twelve days at
+least. In another pot put blue Brazil and 3 measures of bruised gall
+apples in strong lime lye, and let it stand for the same time. The wood
+must be first washed over with lye, and then with hot vinegar, and
+finally polished with wax." "Pear wood may be grounded with Brazil
+steeped in alum water, then coloured with the black which the
+leather-stainers use, twenty times." Another says:--"Take a pennyweight
+of fine silver, with a pound of _aqua fortis_; add a measure of water,
+and soak the wood with it." The best wood for imitating ebony is holly;
+also, box cooked in olive oil is good for it, or well-planed pear soaked
+with _aqua fortis_, and then coloured with ink several times; or stew
+the wood in lamp-black, and soak with oil.
+
+Blue may be obtained by the use of a solution of copper brushed hot over
+the wood several times; then brush hot a solution of pearl ash, 2 oz. to
+a pint of water, until the wood becomes perfectly blue. The copper
+solution is prepared in this way:--"Take of the refiner's solution of
+copper made in the precipitation of silver from the spirit of nitre; or
+dissolve copper in spirit of nitre, or _aqua fortis_, by throwing in
+filings or putting in strips of copper gradually till all effervescence
+ceases. Add to it starch finely powdered, one-fifth or one-sixth of the
+weight of copper dissolved. Make a solution of pearl ash and filter it;
+put gradually to the solution of copper as much as will precipitate the
+whole of the copper. The fluid becomes colourless. Wash the powder, and
+when so well drained of water by means of a filter as to be of the
+proper consistence, grind well together, and lay out to dry. This makes
+dark verditer." Indigo may also be used, prepared with soap lees as when
+used by dyers; brush it over the wood boiling hot. With a solution of
+cream of tartar, 3 oz. to a quart of water, and boiled, brush over the
+wood copiously before the moisture is quite dried out. A German receipt
+says:--Put 4 oz. of Tournesol in three parts of lime water to cook for
+an hour and spread it on the wood. "Wood coloured green with verdigris
+can be made blue by using pearl ash." This is the process described
+first.
+
+For green verdigris dissolved in vinegar may be used; or crystals of
+verdigris in water, brushed hot over the wood. A 15th century MS. gives
+a traditional mode thus:--"Wood, bone, small leaves, and knife handles
+can be made green by strong, red vinegar and brass filings mixed
+together with a little Roman vitriol and stone alum in a glass vessel.
+When it has stood for a day the object is dipped in it, and steeps
+itself in the liquid. The colour will be very permanent." A German
+receipt says:--"Take walnut shells from the green fruit, and put in very
+strong lye with some copper vitriol and alum to stew for two or three
+hours. The wood must be put in strong wine vinegar for several days,
+then it is put in the above-mentioned mixture, to which ground verdigris
+mixed with vinegar is added. Or you can mix this ground verdigris with
+vinegar with some winestone, let it clarify, and spread the wood with
+the filtered stuff. The addition of saffron makes a grass green."
+
+A silver grey may be given to white wood by immersion in a decoction of
+4 oz. of sumach in 1 quart of water, and afterwards in a very dilute
+solution of sulphate of iron. A dilute solution of bichromate of potash
+is frequently employed to darken oak, mahogany, and coloured woods. This
+should be used carefully, since its effects are not altogether stopped
+by thoroughly washing the wood with water when dark enough. To bleach
+woods, immerse them in a strong, hot solution of oxalic acid.
+
+Since ivory is often used in inlaying and is sometimes stained, a few
+receipts for its staining will not be out of place. These come from
+Holtzapffel's book:--A pale yellow will be given by immersing the ivory
+for one minute in the tepid stain given by 60 grains of saffron boiled
+for some hours in half-a-pint of water. Immersion for from five to
+fifteen minutes produces a canary yellow brighter or deeper according to
+the time given, but all somewhat fugitive. A stain from 4 oz. of fustic
+dust and chips boiled in 1 quart of water produces similar but somewhat
+darker and more permanent results. Ivory subjected to either of these
+stains for fifteen minutes, and then placed for one to three minutes in
+Brazil water stain acquires an orange colour. If then treated with
+nitro-muriate of tin, an orange of a brighter, redder tone is produced;
+transfer to a clean water bath directly the required colour appears, as
+the nitro-muriate of tin acts very rapidly upon the ivory.
+
+Fine scarlet cloth is used for dyeing various tones of red. A piece
+about a foot square may be cut into shreds and boiled, with the addition
+of 10 grains of pearl ash, in half-a-pint of water from 5 to 6 hours.
+Immersion in the liquid for from three to ten minutes gives tones of
+pink; for one hour and subsequently for half-an-hour in an alum mordant
+gives a pink of a bright crimson character. When the ivory is from two
+to three hours in the tepid stain a crimson red results, and the
+addition of 1 part of sulphuric acid to 60 of stain gives billiard ball
+colour. Pinks of a different and duller full tone may be obtained by
+immersion for three minutes in Brazil water stain, followed by treatment
+with nitro-muriate of tin; when the Brazil is used for six minutes a
+deeper colour results. Fifteen minutes in Brazil, then treatment with
+nitro-muriate of tin and immediate washing gives a duller and deeper red
+than the first red-cloth stain. The depth of colour may be increased by
+longer immersion _or_ a higher temperature. A dull scarlet or brick red
+is made by the Brazil bath, followed by thirty to sixty minutes in an
+alum mordant.
+
+The cloth stain for one hour, followed by pearl ash for half-an-hour,
+gives a bright purple; if iron is used instead of pearl ash a sombre
+purple results; if you add alkalies to the stain instead of sulphuric
+acid you obtain purple reds. Fifteen minutes in Brazil, and then three
+or four in pearl ash gives full red purples deepening to maroon. Five
+minutes in logwood water stain gives a good warm brown; half-an-hour, a
+chocolate brown. Ten minutes in logwood stain, washing, and one or two
+seconds in pearl ash, and instantly washing again gives a deep red
+brown, and if one minute in alum instead of pearl ash a deep purple
+brown.
+
+Blue stains may be made from sulphate of indigo, 1/2 drachm to 1 pint of
+previously boiled water, with 10 grains of carbonate of potash added.
+One to two minutes' immersion and immediate washing yields a delicate
+turquoise, five minutes a bright full blue; and ten to fifteen a
+considerable depth of colour. Blues are rather fugitive. Staining with
+saffron or fustic for five minutes, and then with indigo for the same
+time, produces a clear pea green; with indigo for ten minutes, a deep
+grass green. The greens from fustic are more permanent and yellower. The
+sequence of the stains also affects the green, the last used having most
+effect. Blue stain first for fifteen minutes, followed by fustic for
+thirty, 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 water.
+
+Before applying these stains the ivory must be prepared by first
+polishing with whiting and water and washing quite clean. Next immerse
+it for three to five minutes in acid cold water (1 part muriatic acid to
+40 or 50 of water, or the same proportion of nitric). This extracts the
+gelatine from the surface of the ivory. Extreme cleanliness and absence
+of grease or soiling is most important; the ivory is not to be touched
+by the fingers, but removed from one vessel to another by wooden tongs,
+one pair to each colour. After treating with the acid, place the ivory
+in clean, cold, boiled water for some minutes. Water stains are used,
+but strained or filtered and warm or only tepid, for fear of injuring
+the surface of the ivory. Increasing the temperature also sometimes
+deepens or changes the colour. The best temperature is 100 deg. Fahr.
+When sufficiently stained the ivory is well rinsed in water, and if
+there are two colours on top of each other always well rinsed before
+going into the second bath. After thoroughly drying, repolish by
+friction, first with a few drops of oil on a soft clean rag; continue
+with a dry clean rag till the oil disappears.
+
+An old Italian receipt for polishing wood blackened to imitate ebony
+runs thus:--"Is the wood to be polished with burnt pumice stone? Rub the
+work carefully with canvas and this powder, then wash the piece with
+Dutch lime water so that it may be more beautifully polished. Then it is
+to be cleaned with another cloth. Then the rind of a pomegranate must be
+steeped, and the wood smeared over with it and set to dry, but in the
+shade."
+
+
+
+
+INDEX
+
+
+  A
+
+  Angelo di Lazzero, of Arezzo, 19
+
+  Anselmo de' Fornari, 77-78
+
+  Antique inlaid furniture, 2, 3, 6 (note)
+
+  Antonio da Melaria, 35
+
+  Antonio di Minella, of Siena, 10
+
+  Antonio Manetti, 19
+
+  Antonio Paolo Martini, 13
+
+  Assisi, 10, 46
+  ---- Stalls of the Upper church of S. Francesco, 46
+
+  Arezzo, S. Agostino and S. Michele, 41
+
+  Augsburg work, 85, 90
+
+
+  B
+
+  Baccio Albini, 40
+
+  Baccio d'Agnolo, 42-43
+
+  Barck, Klaus, 88
+
+  Barili, Antonio, of Siena, 37, 38, 39
+  ---- ---- Panel in K.K. Museum at Vienna, 37, 38
+  ---- ---- description of Chapel of S. Giovanni, Siena, 39, 40, 41
+  ---- Giovanni, 39
+
+  Bartolommeo Poli, surnamed dalla Polla, 35, 36
+
+  Beck, Sebald, 84
+
+  Belli, Giovanni and Alessandro, 73
+
+  Bencivieni da Mercatello da Massa, Antonio di, 46-51
+
+  Benedetto da Majano, Vasari's story of the reason of his giving up
+    working in tarsia, 20
+
+  Bergamo, Choir of S. Maria Maggiore, 79, 80
+  ---- Tassi's account of, 80
+  ---- Stalls in church of S. Stefano, 76
+
+  Bernardo di Tommaso di Ghigo, 19
+
+  Bernardino da Lendinara, 32
+
+  Brescia, Lectern from Rodengo in
+
+  Galleria Tosi, 64
+
+  Bologna, S. Domenico tarsie, by Fra Damiano, 70, 73, 75
+  ---- Sabba Castiglione's account, 74, 75
+  ---- Stalls in S. Giovanni in Monte, 66
+  ---- S. Michele in Bosco, stalls now in S. Petronio, 65, 66
+  ---- S. Petronio, 36
+
+  Boulle, Andre Charles, 96, 97
+  ---- Works by him, 97, 98, 99
+
+  Boulle, Pierre, 75-96
+
+
+  C
+
+  Canozio, of Lendinara, Lorenzo Genesino, 29
+
+  Capo di Ferro of Lodi, Zinino and Pietro, 80
+
+  Capo di Ferro of Lovere, Giovanni Francesco, 73, 79
+
+  Capra, Gabriel and Domenico, 54
+
+  Chapel of Palace, Siena, 13
+
+  Cecca, Il (Francesco d'Agnolo), 23, 24
+
+  Certosa, Pavia, 35
+
+  Cervelliera, Giovanni Battista, 22
+
+  Character of German inlays of late 16th Century, 85
+
+  Coburg, Hornzimmer, 86
+
+  Cornier, Conrad, 88
+
+  Cost of choir of S. Domenico, Bologna, 73
+
+  Cost of the stalls in Ferrara Cathedral, 34
+
+  Cost of stalls, Cathedral Orvieto, 10
+
+  Cremona, church of S. Sigismond, outside, 54
+
+  Cypress chest of 1350 in Victoria and Albert Museum, 104
+
+
+  D
+
+  Daniello di Neri Martini, 13
+
+  Danzig Sommerrathstube, 86
+
+  David of Pistoia, 41
+
+  Del Tasso, arms of the family, 24
+  ---- Chimenti di Domenico, 26
+  ---- Chimenti di Francesco, 25
+  ---- Domenico, 19, 25, 26
+  ---- Francesco, 27
+  ---- Francesco di Domenico, 24
+  ---- Giambattista called Maestro Tasso, 27, 28
+  ---- Lionardo, 25
+  ---- Marco, 26
+  ---- Zanobi, 25
+
+  Della Rocca, Andrea and Elia, 77, 78
+
+  Designs for intarsia made by Painters, 121
+
+  De' Marchi, Pantaleone, stalls in Museum at Berlin, 36
+
+  Domenico da Gajuolo, 42
+
+  Domenico di Mariotto, 21
+
+  Domenico di Nicolo of Siena, 10, 11
+
+  Domenico Tassi of Florence, 17
+
+  Dreyer, Hans and Juergen, of Schleswig, 87
+
+  Dutch work, characteristics of, 92
+
+
+  E
+
+  Eck, Adam, 85
+
+  Elfen, brothers, of S. Michael, Hildesheim, 84
+
+  Escurial, rooms in, decorated with inlays, 86
+
+  Evers, Antonia, master of joiners' guild at Luebeck, 86
+
+
+  F
+
+  Ferrara, stalls in Cathedral, 33
+
+  Fischer, N., and Johann Georg of Munich, 85
+
+  Florence, 16, 18
+  ---- stalls at S. Maria Novella, 42
+  ---- stalls at S. Miniato, 42
+  ---- tarsia in sacristy of the Cathedral, 18, 19
+
+  Flotner, Peter, 89
+
+  Folding seat of 14th century, 84
+
+  Fra Antonio Asinelis, 73
+
+  Fra Antonio da Lunigiano, Dominican, 73
+
+  Fra Antonio da Viterbo, Dominican, 76
+
+  Fra Bernardino, Dominican, 73
+
+  Fra Damiano of Bergamo, 69-76, 79
+
+  Fra Damiano of Bergamo, the Emperor Charles V., and the Duke of
+    Ferrara, 70, 71, 72
+
+  Fra Giovanni da Verona, 17, 57, 63
+
+  Fra Raffaello da Brescia, 63, 64
+
+  Fra Sebastian da Rovigno, 56, 57
+
+  Fra Vincenzo da Verona, called dalla Vacche, 67
+
+  Francesco di Lorenzo, Zambelli, 73, 77
+
+  Francesco Manciatto, 42
+
+  Francione, Il (Giovanni di Matteo di Firenze), 21
+
+  French Cabinets of 17th Century, 95, 96
+
+
+  G
+
+  Genoa, stalls in Cathedral, 77, 78
+
+  Geri of Arezzo, 41
+
+  German intarsiatori of 16th and 17th Century, 84, 85
+
+  Gilling Castle, near Wakefield, inlays, 93
+
+  Giovanni di Filippo da Fiesole, 45
+
+  Giovanni de Grassi (Giovanni de Melano), 14
+
+  Giovanni di Lodovico di Magno of Siena, 10
+
+  Giovanni Michele de Pantaleone, 77
+
+  Giovanni del Mulinella of Florence, 17
+
+  Giovanni Piccardo, 77
+
+  Giovanni di Ponteranica and his four sons, 80
+
+  Giovanni di Ser Giovanni detto Scheggione, 19
+
+  Giovanni Talini of Siena, 10
+
+  Girolamo della Cecca, 40
+
+  Giuliano di Salvatore, 21
+
+  Giusto di Francesco of Incisa, 45
+
+  Glastonbury Hall, Staircase, 94
+
+  Gole, Pierre, 92
+
+  Gottlieb, Conrad, 86
+
+  Gottorp, Castle of, Prince's prayer chamber in, 87
+
+  Gubbio, tarsia in study of Duke Guidobaldo, 52, 53
+
+  Guido da Seravallino, 21
+
+  Guido di Torino, 13
+
+  Guild of Painters, Siena, 16
+
+
+  H
+
+  Hans Schieferstein's Cabinet at Dresden, 90
+
+  Hardwick Hall, furniture at, 93
+
+  Herle, Simon, 86
+
+  Heywood Sumner, paper at Royal Institute of British Architects, 129, 130
+
+
+  I
+
+  Imitative processes, straw, wax, painting in Indian ink, &c., 129,
+    130, 131
+
+  Inlaid work, Greek and Latin names for, 3
+  ---- woods used for, by the ancients, 3, 5, 6 (note)
+  ---- wood, cost of, in ancient times, 4
+
+  Inlaying, antiquity of, 2
+
+  Innsbruck, Hofkirche, 86
+
+  Intarsia, derivation of, 1
+
+  Invention of stains for wood, by Fra Giovanni da Verona, 18
+
+  Ivory or metals in intarsia, 124, 125
+
+
+  J
+
+  Jacopo da Villa, 21
+
+  Joiners' tools, priced list of Perugian of 1496, 47, 48
+
+
+  K
+
+  Kellerthaler, Hans, of Dresden, 85
+
+  Kiening, Isaac, of Frissen, 91
+
+  Kraus, Hans, marqueteur du roi, 94
+
+
+  L
+
+  Lavoro alla Certosa, or tarsia alla Certosina, 9
+
+  Leipzig Museum, Cabinet in, 91
+
+  Lendinara, Cristophano d' Andrea da, 21
+
+  Limitations of the art of intarsia, 122, 123
+
+  Loblein, Sixtus, of Landshut, 91
+
+  Lodi, Stalls in S. Bernardino, by Fra Giovanni da Verona, 63
+
+  Louvre, 4 panels from S. Benedetto Novella, Padua, of Fra Vincenzo
+    dalla Vacche, 68
+
+  Luebeck, Kriegs Stube, 86
+
+  Lucca, panels in sacristy of Cathedral, by Christoforo da Lendinara, 32
+  ---- Stalls from Cathedral in Pinacotheca, 32
+
+  Luchet, M., Excursus on furniture in France, 1867, 113, 114
+
+  Lueneburg, Rathsaal, 86
+
+
+  M
+
+  Mace, Jean, of Blois, 92-95
+
+  Majano, Benedetto da, 19, 20
+
+  Majano, Giuliano di Nardo da, 18, 22
+  ---- Leonardo d' Antonio da, 19
+
+  Manuello, of Siena, 9
+
+  Marchi, of Crema, Family of, 6, 36
+
+  Mariotto di Mariotto, of Pesaro, 45
+
+  Marquetry, Derivation of, 1
+
+  Marti, Leonardo, 32
+
+  Masi, Antonio di Antonio, The Fleming, 46
+
+  Massari, Andrea, of Siena, 54
+
+  Mastei, Antonio, of Gubbio, 53
+
+  Mastro Crespolto, of Perugia, 26
+
+  Mastro Vanni di Tura dell' Ammanato, Sienese, 10
+
+  Matteo di Bernardino, of Florence, 17
+
+  Meo di Nuti, of Siena, 10
+
+  Michele Spagnuolo, 21
+
+  Milan, Cathedral, 15
+
+  Minelli, Giovanni and Cristoforo de, 45
+
+  Miniatures at Villanova, by Fra Giovanni da Verona, 59
+
+  Minnesinger's harp, of 14th Century, 8
+
+  Modern French marquetry, 125
+
+  Monte Oliveto, 55, 59, 60
+
+  Musee Cluny, wire-drawing bench made for Augustus, Elector of Saxony, 91
+
+
+  N
+
+  Naples, tarsia by Fra Giovanni da Verona in S. Anna dei Lombardi, 61, 62
+
+  Nicolo di Nicoluccio, 10
+
+  Nuremberg work in ebony and ivory, 90
+
+
+  O
+
+  [OE]ben, J. F., ebeniste du roi, 99
+
+  Orvieto, 10, 13
+
+
+  P
+
+  Padua, stalls in Church of S. Antonio, account by Matteo Colaccio, 30, 31
+
+  Paint and gilding added to intarsia work, 106
+
+  Paolo da Pesaro, 80
+
+  Parti of Siena, 9
+
+  Perugia, 10, 19, 26
+  ---- choir of the Cathedral, 19
+  ---- choir of S. Domenico, 26
+  ---- door in choir of S. Pietro in Casinense by Fra Damiano, 74
+  ---- Sala del Cambio, 26, 46
+  ---- stalls of S. Agostino, 44
+
+  Pier Antonio dell 'Abate of Modena, 29
+
+  Pietro Antonio of Florence, 17
+
+  Pietro di Maffeis, 73
+
+  Pietro di Miaella of Siena, 10
+
+  Pietro di Rizzardi, 33
+
+  Pisa Cathedral, 21, 22, 23
+
+  Polimante da Nicola, 26
+
+  Pontelli, Baccio, 21
+
+  Portuguese decorations with pierced metal plates, 83
+
+  Poverty of craftsmen, Domenico del Coro, 10, 12
+
+  Preuszen, Hans, carver, 87
+
+
+  R
+
+  Realism in intarsia panels, 105
+
+  Reasons for beauty in designs, 127
+
+  Reggio in Emilia, 35
+
+  Relief intarsia or Praeger arbeit, 85
+
+  Returns made by Sienese craftsman for taxation, 119, 120
+
+  Riesener, J. Henry, 99, 100
+
+  Roentgen, David, 102, 103
+
+  Rome, doors of St. Peter's, by Fra Antonio da Viterbo, 76, 77
+
+  Rosenfeldt, Jochim, 87
+
+
+  S
+
+  S. Mary Overie, Southwark, parish chest, 93
+
+  Sallig, Andreas, 87
+
+  San Sevrino, Domenico di, 46
+
+  Savona, choir of, Cathedral, 78
+
+  Schieferstein, Hans, 85, 90
+
+  Scraping and polishing marquetry, operation of, 115, 116
+
+  Shading of subjects in marquetry, 112
+
+  Siena, 9, 10, 13, 16, 37, 60
+
+  Simone d'Antonio of Siena, 13
+
+  Sizergh Castle, panelling from, 93
+
+  South German Bride chests, 89
+
+  South German inlaid Musical Instruments, 88
+
+  Spanish inlaid work in Victoria and Albert Museum, 81, 82
+
+
+  T
+
+  Taddeo Bartoli's designs for chapel of Palazzo Pubblico, Siena, 11
+
+  Tassi, Domenico of Florence, 17
+
+  Tasso, Maestro, his practical joke on the Benedictine Abbot, 28
+
+  Technical description from German book of 17th century, 106
+
+  Thickness of veneers in the market, 112
+
+  Tommaso di Ceccolo, 10
+
+  Tonbridge ware, 9
+
+  To stain ivory blue, 144
+
+  To stain ivory green, 144
+
+  To stain ivory orange, 142
+
+  To stain ivory purple, 143
+
+  To stain ivory various kinds of red, 142, 143
+
+  To stain ivory yellow, 142
+
+  To stain wood black, 138, 139
+
+  To stain wood blue, 140
+
+  To stain wood green, 141
+
+  To stain wood pink, 137
+
+  To stain wood purple, 137, 138
+
+  To stain wood red, 135, 136, 137
+
+  To stain wood silver grey, 141
+
+  To stain wood yellow, 133, 134
+
+
+  U
+
+  Uhr, Herman, 87, 88
+
+  Ulriksdal Castle, doors of drinking room, 92
+
+  Union of the crafts in one guild, 14
+
+  Urbino, tarsia in palace of Frederic of Montefeltro, 49, 50, 51
+
+  Use of mother-of-pearl, ivory, tortoiseshell, silver, &c., 54
+
+
+  V
+
+  Vasari's opinion of tarsia, 17
+
+  Veneering, operation of, 108
+
+  Veneers for marquetry, thickness of, 109, 110
+
+  Venice, Sacristy of S. Elena, 57, 58
+
+  Venice, tarsia in Sacristy of S. Mark's, 67, 68, 69
+
+  Verona, Sacristy of S. Anastasia, 10
+
+  Volthurn Castle, near Brixen, 90
+
+  Von Soest, Albert, 86
+
+  Vordt, 92
+
+  Vriese, Vriedemann, 86
+
+
+  W
+
+  Wallace Collection, Cabinet by Claude Charles Saunier, 95
+
+  Wallace Collection, Cabinets by Oeben and Riesener, 99, 100
+
+  Wallace Collection, jewel box by Conrad Cornier, 88
+
+  Webb, Stephen, paper at the Society of Arts, 128
+
+  Wegener, Adam, figure cutter, 87
+
+  Weiskopf, Wolf, 84
+
+  Winkler, Simon, 85
+
+  Wood, exceptional scantlings used by the ancients, 6, 7
+
+  Woods, combinations of, for marquetry, 111
+
+  Woods in use in England for marquetry, 112
+  ---- used by the marqueteurs of Nice, 115
+  ---- used by Riesener, 101
+  ---- used in Barili's panel, 38
+  ---- used in the best period, 106
+  ---- used in stalls, Cathedral, Orvieto, 10
+  ---- used on the Continent for veneers, 111
+
+
+  Z
+
+  Zambelli, of Bergamo, Stefano di Antoniuolo de, 46, 73
+
+  Zampiero da Padova, 73
+
+  Zanetto da Bergamo, 72, 73
+
+
+_Willam Hodge & Co., Glasgow and Edinburgh_
+
+
+
+
+
+
+End of Project Gutenberg's Intarsia and Marquetry, by F. Hamilton Jackson
+
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