: Intarsia and Marquetry by Jackson F Hamilton Frederick Hamilton - Marquetry Technology

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der Renaissance in Italien"; Demmin's "Studien ?ber die Stofflich-bildenden K?nste"; Von Falke's "Geschichte des deutsches Kunstgewerbes"; Scherer's "Technik und Geschichte der Intarsia"; Schmidt's "Schloss Gottorp"; Seeman's "Kunstgewerbliche Handb?cher"; Teirich's "Ornamente aus der Bl?thezeit italienischer Renaissance," and articles in "Bl?tter f?r Kunstgewerbe," and the "Kunstgewerbeblatt of the Zeitschrift f?r bildende Kunst," by such men as Teirich, Issel and Ilg.

In French--Asselineau's "A. Boulle, ?b?niste de Louis 14"; Burckhardt's "Le Cicerone"; Champeaux's "Le bois appliqu?e au mobilier," and "Le meuble"; Demmin's "Encyclop?die historique, archeologique, &c."; Luchet's "L'Arte industriel ? 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 "Wandt?felungen und Holzdecken"; Lacher's "Musterg?ltige holzintarsien der Deutschen Renaissance aus dem 16 und 17 Jahrhundert"; Lachner's "Geschichte der Holzbaukunst in Deutschland"; Lichtwark's "Der ornamentstich der deutschen Fr?hrenaissance"; Meurer's "Italienische Flachornamente aus der Zeit der Renaissance"; Teirich's "Ornamente aus der Bl?thezeit 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

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:

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