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