in the "Sommerrathstube," shows intarsias and
decorations of 1596 in which the painter Vriedeman Vriese and a certain
Simon Herle, probably a local man, collaborated. Other similar works may
be seen at Brunswick and Breslau, at Ulm, in the Michel Hofkirche at
Munich, and in the Cathedral at Mainz. At Coburg, in the so-called
"Hornzimmer," are intarsias worked from the designs of Lucas Cranach and
others, at Rothenburgh, at Geminden, at Landshut, and in many places in
Tyrol and Steiermark, most of them much mixed with carving, too numerous
to describe. The intarsias at the Hofkirche at Innsbruck, begun in 1560
by Conrad Gottlieb, may, however, be mentioned as being remarkably fine.
Schleswig Holstein is full of intarsias of the end of the 16th and
beginning of the 17th century, of which perhaps the finest are in the
chapel of the Castle of Gottorp. The princes' prayer chamber or pew
is elaborately panelled, and the panels are all filled with inlays,
mostly arabesques. The door and wall panels have elaborate architectural
forms in relief with base, frieze, and pilasters; and are also fully
inlaid with arabesques, counterchanged bay by bay. The ceiling is
coffered, and the male and female patterns are counterchanged
diagonally. Bosses of lions' heads and rosettes project from the
surfaces of the beams, between which the intarsia panels are flat. The
central features in the several divisions are sunk, a central oblong
with an oval in centre bearing the subject of the Resurrection and two
side diamonds. The panels surrounding these have raised mouldings, so
that there is considerable variety of level, and the whole is raised on
a bracketed cornice, the flat surface of which has small panels inlaid
in the same fashion. It was put up in 1612 by Duke Johann Adolf of
Schleswig Holstein and his wife, Augusta of Denmark.

[Illustration: Plate 39.--_Panel from Church of S. Mary Magdalene,
Breslau._

_To face page 86._]

[Illustration: Plate 40.--_Pilaster strip from the Magdalen Church,
Breslau._]

In the State archives of Schleswig, in 1608, the names of Andreas
Sallig, court joiner; Jochim Rosenfeldt, carver; and others are noted.
Also in 1609, with the addition of the painter Herman Uhr and Hans and
Juergen Dreyer, of Schleswig; also the carver Hans Preuszen, and Adam
Wegener, the figure-cutter. In 1610 the names of Juergen Koningh,
joiner's workman, several carvers, and Herman Uhr, the painter, occur.
In 1611 Herman Uhr an