See also:

• MARQUETRY (Fr. marqueterie, from marqueter, to inlay, literally to mark, marquee)

MARQUETRY (Fr. marqueterie, from marqueter, to inlay, literally to See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark, marquee)  , an inlay of ornamental See also:

• WOODS, LEONARD (1774-1854)
• WOODS, SIR ALBERT (1816-1904)

woods, See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory, See also:

• BONE (a word common in various forms to Teutonic languages, in many of which it is confined to the shank of the leg, as in the German Bein)
• BONE, HENRY (1755-1834)

bone, See also:

• BRASS
• BRASS (O. Eng. braes)

brass and other metals, See also:

• TORTOISE

tortoise-See also:

• SHELL
• SHELL (O. Eng. scell, scyll, cf. Du. sceel, shell, Goth. skalja, tile; the word means originally a thin flake,. cf. Swed. skalja, to peel off; it is allied to " scale " and " skill," from a root meaning to cleave, divide, separate)

shell, See also:

• MOTHER

mother-of-See also:

• PEARL
• PEARL, THE

pearl, &c., in which shaped pieces of different materials or tints are combined to See also:

• FORM (Lat. forma)

form a See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design . It is a later development of the ornamental inlays of See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood known by the name of Intarsia, and though in the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main the latter was a true inlay of one or more See also:

• COLOURS, MILITARY

colours upon a darker or lighter ground, while See also:

• MARQUETRY (Fr. marqueterie, from marqueter, to inlay, literally to mark, marquee)

marquetry is composed of pieces of quite thin wood or other material of equal thickness laid down upon a See also:

• MATRIX

matrix with See also:

• GLUE (from the O. Fr. glu, bird-lime, from the Late Lat. gluten, glus, glue)

glue, there are'examples of Intarsia in which this mode of manufacture was evidently followed . For instance, the backs of the stalls in the See also:

• CATHEDRAL

cathedral of See also:

• FERRARA

Ferrara show the See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective lines of some of the subjects traced upon the ground where the marquetry has fallen off, but none of the sinkings in the See also:

• SURFACE

surface which would be there if the panels had been executed as true inlays . In the endeavour to gain greater See also:

• RELIEF

relief, shading and tinting the wood were resorted to, the shading being generally produced by scorching, either with a hot See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron or hot See also:

• SAND
• SAND, GEORGE (1804-1876)

sand, and the tinting by chemical washes and even by the use of actual See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, but the result is usually hardly commensurate with the labour expended . A See also:

• COMBINATION (Lat. combinare, to combine)

combination of tortoise-shell and See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal, the one forming the ground and the other the See also:

• PATTERN

pattern upon it, which may be classed as marquetry also appears in the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . The subjects of the 'intarsiatori are genera ally arabesques or panels with elaborate perspectives, either of buildings or cupboards with different articles upon the shelves seen through See also:

• HALF

half-open doors, which themselves are frequently of lattice-See also:

• WORK

work delineated with extraordinary perfection, though figure subjects occur also . The later marqueteurs used a freer form of design for the most See also:

• PART

part, and scrolls and bunches of See also:

• FLOWERS, ARTIFICIAL

flowers appear in profusion, while if architectural forms occur they are generally in the shape of ruins amid landscape . The greater portion of the examples in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England are importations, either from See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland (in which See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country very See also:

• FINE

fine work was produced during the latter half of the 16th and 17th centuries) or from See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France . The reputation of the Dutch marqueteurs was so See also:

• GREAT

great that See also:

• COLBERT, JEAN BAPTISTE (1619-1683)

Colbert engaged two, named See also:

• PIERRE

Pierre Gole and Vordt, for the Gobelins at the beginning of the 17th century . See also:

• JEAN

Jean See also:

• MACE (Fr. masse, O. Fr. mace, connected with Lat.'ntateola, a mallet)

Mace of See also:

• BLOIS

Blois, the first Frenchman known to have practised the See also:

• ART

art, who was at work in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris from 1644 (when he was lodged in the Louvre), or earlier, till 1672, as a sculptor and painter, learnt it in the See also:

• NETHERLANDS

Netherlands . His See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title was " menuisier et faiseur de cabinets et tableaux en marqueterie de bois "; but as See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early as 1J76 a certain Hans Kraus had been called " marqueteur du roi." Jean Mace's daughter married Pierre See also:

• BOULLE, ANDRE CHARLES (1642–1732)

Boulle, and the greatest of the See also:

• FAMILY

family, See also:

• ANDRE, JOHN (1751-178o)

Andre See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles Boulle (q.v.), succeeded to his lodging in the Louvre on his See also:

• DEATH

death in 1672 . The members of this family are perhaps the best known of the See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French marqueteurs .

Their greatest triumphs were gained in the marquetry of metal and tortoise-shell combined with beautifully chiselled ormulu mountings; but many See also:

• FOREIGN

foreign workmen found employment in France from the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of Colbert, and some of them See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

rose to the highest See also:

• EMINENCE (Lat. eminentia)

eminence . The names of Roentgen, under whom the later See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German marquetry perhaps reached its highest point, See also:

• RIESENER, JEAN HENRI (1734-1806)

Riesener and See also:

• OEBEN, JEAN FRANCOIS

Oeben, testify to their See also:

• NATIONALITY

nationality . A See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• DEAL

deal of marquetry was executed in England in the later See also:

• STUART, ARABELLA (1575-1615)
• STUART, GILBERT (1755-x828)
• STUART, JAMES EWELL BROWN (1833-1864)
• STUART, JOHN
• STUART, MOSES (1780-1852)
• STUART, SIR JOHN, COUNT

Stuart See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period, mainly upon See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long-See also:

• CASE
• CASE, JOHN (d. 1600)

case clocks, cabinets and chests of drawers, and it is often of real excellence . Marquetry in a shallower form was also extensively used in the latter part of the 18th century . The most beautiful examples of the art in See also:

• ITALY
• ITALY (Italia)

Italy are mainly panels of See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir stalls or See also:

• SACRISTY (through Fr. sacrist-le, from med. Lat. sacristies or sacristina)

sacristy cupboards, though See also:

• MARRIAGE

marriage coffers were also often sumptuously decorated in this manner . With the increase in luxury and display in the 17th and 18th centuries in F.See also:

• RANCE, ARMAND JEAN LE BOUTHILLIER DE (1626-1700)

rance and See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany cabinets and escritoires became See also:

• OBJECTS

objects upon which extraordinary See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent and See also:

• EXPENDITURE

expenditure were lavished . In See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South Germany musical See also:

• INSTRUMENTS

instruments, weapons and See also:

• BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

bride chests were often lavishly decorated with marquetry . The cabinets are of elaborate architectural design with inlays of See also:

• EBONY (Gr. E(3evos)

ebony and ivory or with veneers of See also:

• BLACK
• BLACK, ADAM (1784-1874)
• BLACK, JEREMIAH SULLIVAN (1810–1883)
• BLACK, WILLIAM (1841-1898)

black and See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white, the design counterchanging so that one cutting produced several repeats of the same pattern in one colour or the other . In See also:

• MODERN

modern practice as many as four or even six thicknesses are put together and so cut . When all the parts have been cut and fitted together See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face downwards See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper is glued over them to keep them in See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place and the ground and the See also:

• VENEER

veneer are carefully levelled and toothed so as to obtain a freshly worked surface . The ground is then well wetted with glue at a high temperature and the surfaces squeezed tightly together between frames called " cauls " till the glue is hard . There are several modes of ensuring the accurate fitting of the various parts, which is a See also:

• MATTER

matter of the first importance .