Intarsia and Marquetry Informative Summary

Overview:

Intarsia and marquetry are both forms of wood inlay, but with distinct methods and historical trajectories. Intarsia, derived from the Latin “interserere,” refers to the ancient practice of sinking spaces into wood and filling them with precisely cut pieces of contrasting woods. This technique, with roots in ancient Egypt and Greece, became prominent in Italy during the medieval and Renaissance periods.

Marquetry, a later evolution from the French “marqueter,” involves the cutting of multiple thin wood veneers glued together, then sawn to create complex patterns that are then glued onto a base. This technique rose to prominence in France during the 17th and 18th centuries, characterized by intricate designs and the use of materials like tortoiseshell, ivory, and metal.

Key Findings:

The art of inlay has a rich history stretching back to ancient civilizations, with both Egyptians and Greeks employing sophisticated techniques.
Siena was a key center for intarsia in Italy, with notable figures like Domenico di Nicolò and Antonio Barili creating remarkable works for churches and palaces.
The Olivetan and Dominican orders played a significant role in the development of intarsia, with monks like Fra Giovanni da Verona and Fra Damiano of Bergamo achieving renown for their mastery of the craft.
The French marqueteurs of the 17th and 18th centuries, notably André Charles Boulle and J. Henry Riesener, pushed the boundaries of marquetry, using exotic materials and intricate designs to create stunning pieces of furniture.
While intarsia was initially a labor-intensive art form, later innovations like the fret-saw enabled more efficient production and led to its wider adoption in furniture making.

Learning:

The History of Inlay: This text provides a detailed historical overview of intarsia and marquetry, highlighting key figures, movements, and geographical centers.
Intarsia Techniques: The reader will learn about the traditional techniques of intarsia, including the process of sinking and filling spaces with wood, as well as the use of stains, dyes, and scorching to enhance color and texture.
Marquetry Techniques: The text explains the methods of creating marquetry designs, including the cutting of multiple veneers, the use of counterchange patterns, and the gluing process.
Materials Used: The text explores the various woods and materials commonly used in both intarsia and marquetry, including ebony, ivory, tortoiseshell, and metals, and discusses their unique qualities and applications.
Evolution of Design: The reader will gain an understanding of how design styles evolved over time, from the simple geometric patterns of the medieval period to the more complex and naturalistic designs of the Renaissance and the Baroque eras.
Limitations and Capabilities: The text delves into the limitations of intarsia and marquetry, particularly in terms of the use of color and the challenges of achieving realistic representations. It also explores the artistic capabilities of the craft, showcasing its potential for creating intricate patterns, perspectives, and even figure studies.

Historical Context:

The text was written in 1903, a period of great interest in historical arts and crafts. The author, F. Hamilton Jackson, aimed to revive appreciation for these traditional techniques and to provide guidance for contemporary designers and craftsmen. This context is evident in the author’s emphasis on the historical figures and movements that shaped intarsia and marquetry, as well as his concern for maintaining the artistic integrity of the craft.

Facts:

The word “intarsia” originates from the Latin “interserere,” meaning “to insert.”
The oldest known examples of inlay date back to the 8th and 10th centuries BC, found in Assyrian and Egyptian artifacts.
The Greeks and Romans used inlay for furniture and ornamental sculpture, with notable examples like the throne of Jupiter at Olympia.
The wood “citron,” highly prized by the Romans, could fetch exorbitant prices for a single slab.
Siena is widely recognized as the cradle of Italian intarsia and carving.
Domenico di Nicolò, a prominent Sienese intarsiatore, was so skilled that his family name was changed to “Del Coro” in recognition of his achievements.
Fra Giovanni da Verona, a celebrated Olivetan monk, is credited with the invention of acid solutions and stains for wood, which significantly expanded the artistic possibilities of intarsia.
The choir stalls of the Certosa of Pavia, a masterpiece of intarsia, were designed by the painter Borgognone and executed by Bartolommeo Poli.
The Canozii family of Lendinara was renowned for its intarsiatori, with members like Lorenzo Genesino and Cristoforo da Lendinara creating notable works in several cities.
Fra Damiano of Bergamo, a Dominican monk, was considered the most talented intarsiatore of his time, achieving extraordinary realism with his wood inlays.
André Charles Boulle, a French ébéniste, achieved fame for his “Boulle work,” characterized by intricate inlay of tortoiseshell and brass.
The use of the fret-saw in marquetry enabled the creation of multiple copies from a single cutting, leading to greater efficiency and commercialization of the craft.
In the 17th century, the German town of Augsburg became a significant center for ebony and ivory inlay, producing cabinets and other furniture sought after throughout Europe.
The use of satin wood in inlay gained popularity in England toward the end of the 18th century, ushering in a period of delicate and refined designs.
The Spanish Escurial, a royal palace, features four rooms entirely decorated with marquetry, a testament to the extravagance of Spanish royal patronage.

Statistics:

The cost of the stalls for the Cathedral of Orvieto was 3152 lire.
Domenico di Nicolò received 42 lire for a tabernacle made of gesso, and 32 lire 10 soldi for 32.5 days’ work on a window above the pulpit.
The choir stalls at the Certosa of Pavia were constructed between 1486 and 1501.
The choir stalls of the Cathedral of Ferrara cost 2771 lire 8 soldi 2 denari.
The cost of the choir stalls of the Cathedral of Savona was 1132 scudi d’oro larghi.
The total cost of labor for the choir of S. Maria Maggiore, Bergamo, was 7000 lire Imperiali.
The cost of the decoration of four small rooms at the Escurial was 28,000,000 reals (equivalent to £300,000).
Pierre Boulle’s collection of drawings, paintings, and art objects was valued at 60,000 livres when his workshops were burnt.
The total loss sustained by Boulle in the fire was estimated at 383,780 livres.
J. Henry Riesener declared in his marriage contract that he was owed 504,571 livres by the King, the royal family, and other debtors.

Terms:

Intarsia: The art of inlaying wood with pieces of different colored woods, usually by sinking spaces in the base and filling them with fitted pieces.
Marquetry: The art of inlaying wood with thin veneers of different colored woods, typically cut with a fret-saw to create intricate patterns.
Boulle Work: A specific type of marquetry using tortoiseshell and brass, popular in the 17th and 18th centuries in France, named after André Charles Boulle.
Counterchange: A design technique in marquetry where the colors of the pattern are reversed, creating a “male” and “female” version of the same design.
Cauls: Wooden frames used to press and hold veneers in place during gluing, ensuring a smooth and even surface.
Ébéniste: A French term for a cabinetmaker or furniture maker, often specializing in intricate marquetry.
Mihrab: A niche in a mosque indicating the direction of Mecca for prayer.
Chinoiseries: A style of decoration incorporating Chinese motifs, popular in Europe during the 17th and 18th centuries.
Shepherd Games: A type of decorative motif often used in French marquetry, featuring pastoral scenes and figures.
“Einlegen” or “Furnieren”: German terms for inlay and veneering.

Examples:

The chair-back from S. Ambrogio, Milan, showcases a simple yet effective use of geometric inlays in a large-scale piece.
The panels in the sacristy of the Cathedral of Florence, featuring figures of prophets and biblical scenes, exemplify the use of intricate intarsia in a religious setting.
The choir stalls of the Cathedral of Perugia, designed by Giuliano da Majano and completed by Domenico del Tasso, demonstrate the impressive scale and detail that could be achieved in Italian intarsia.
The choir stalls at the Certosa, Pavia, with their graceful arabesques and figures of saints and prophets, exemplify the integration of carving and intarsia.
The panels from Monte Oliveto Maggiore, now in the Cathedral of Siena, showcase Fra Giovanni da Verona’s mastery of perspective, depicting buildings, landscapes, and everyday objects.
The choir stalls of S. Domenico, Bologna, are a testament to Fra Damiano’s extraordinary talent, featuring intricate figures and scenes executed with remarkable realism.
André Charles Boulle’s Cabinet of the Dauphin, now lost, was renowned for its elaborate marquetry of ebony, gold, and mirror panels, reflecting the grandeur of the French royal court.
J. Henry Riesener’s bureau secretary in the Wallace Collection, with its exquisite marquetry and delicately carved ormolu mountings, exemplifies the peak of French marquetry craftsmanship.
The “Kriegsstube” at Lübeck, decorated with intarsias by Antonius Evers, showcases the use of inlay in a public hall.
The “Hornzimmer” at Coburg, featuring intarsias based on designs by Lucas Cranach, demonstrates the influence of painting on marquetry design.

Conclusion:

Intarsia and marquetry, though distinct in their techniques, represent a rich tradition of artistic wood inlay spanning centuries and cultures. This text reveals the fascinating history of these crafts, highlighting the contributions of key figures and the evolution of design styles. From the ancient techniques of the Egyptians and Greeks to the intricate works of French ébénistes and the vibrant creations of Italian intarsiatori, the reader gains a profound appreciation for the artistry and craftsmanship involved in these beautiful forms of decorative art. The text reminds us that while technical advancements have transformed the production of inlay, the core principles of beauty, craftsmanship, and harmonious design remain timeless and continue to inspire contemporary artists and craftspeople.

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