Intarsia and Marquetry

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.

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.

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.

WORKSHOP RECEIPTS

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 ½ 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 ¼ 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 ½ 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 ½ 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 ¼ 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 ¼ 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, ½ 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
•  
• Œben, 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
• Zanetto da Bergamo, 72, 73