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Perhaps it is allowable to add here that marquetry, or marqueterie, its French equivalent, is the more modern survival of "Tarsia" work to which allusion has been made in previous chapters. In considering the design and manufacture of furniture of the present day, as compared with that of, say, a hundred years ago, there are two or three main factors to be taken into account.
The superintendent of maids replies, "Let the maid here present be dressed up with every care, let a name-ticket be written for her, and the fellow who deflowers Tarsia shall pay half a libra; afterwards she shall be at the service of the public for one solidus per head." "Aes" in the latter should be understood to mean what we would call "the coin," and not necessarily coin of low denomination.
The wood carver contributes tarsia like that of Fra Giovanni da Verona. The worker in wrought iron welds such screens as guard the chapel of the Sacra Cintola at Prato. The Robbias prepare their delicately-toned reliefs for the lunettes above the doorways.
One of the more important of the Olivetan Monasteries was St. Michele in Bosco, where the noted worker in tarsia, Fra Raffaello da Brescia, made some magnificent choir stalls. In 1521 these were finished, but they were largely destroyed by the mob in the suppression of the convents in the eighteenth century.
Nor did he refrain from teaching it even to those who worked in tarsia, which is the art of inlaying coloured woods; and he stimulated them so greatly that he was the source of a good style and of many useful changes that were made in that craft, and of many excellent works wrought both then and afterwards, which have brought fame and profit to Florence for many years.
All this class of work was known as "Tarsia," "Intarsia," or "Certosina," a word supposed to be derived from the name of the well-known religious community the Carthusians on account of the dexterity of those monks at this work.
The study is panelled in tarsia of beautiful design and execution. Three of the larger compartments show Faith, Hope, and Charity; figures not unworthy of a Botticelli or a Filippino Lippi. The occupations of the Duke are represented on a smaller scale by armour, bâtons of command, scientific instruments, lutes, viols, and books, some open and some shut.
He made two large inlaid chests or cassoni, adorned with all the skill of a worker in tarsia, or wood-mosaic, and carried these with him to King Matthias Corvinus, of Hungary. Part of his journey was performed by sea. On arriving and unpacking his chests, he found that the sea-damp had unglued the fragile wood-mosaic, and all his work was spoiled.
Wherefore, almost before he was known, various designs with most beautiful and imaginative fantasies were seen to issue from his hand, executed for the most part at the request of M. Francesco Guicciardini, at that time Governor of Bologna, and for others of his friends; which designs were afterwards put into execution in tinted woods inlaid after the manner of tarsia, by Fra Damiano da Bergamo, of the Order of S. Domenico in Bologna.
Heroic Epic Poetry; Tasso. 5. Lyric Poetry; Bembo, Molza, Tarsia, V. Colonna. 6. Dramatic Poetry; Trissino, Rucellai; the Writers of Comedy. 7. Pastoral Drama and Didactic Poetry; Beccari, Sannazzaro, Tasso, Guarini, Rucellai, Alamanni. 8. Satirical Poetry, Novels, and Tales; Berni, Grazzini, Firenzuola, Bandello, and others. 9. History; Machiavelli, Guicciardini, Nardi, and others. 10.
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