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 "Wandtaefelungen und Holzdecken"; Lacher's "Mustergueltige
holzintarsien der Deutschen Renaissance aus dem 16 und 17 Jahrhundert";
Lachner's "Geschichte der Holzbaukunst in Deutschland"; Lichtwark's "Der
ornamentstich der deutschen Fruehrenaissance"; Meurer's "Italienische
Flachornamente aus der Zeit der Renaissance"; Teirich's "Ornamente aus
der Bluethezeit 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

The word "intarsia" is derived from the Latin "interserere," to insert,
according to the best Italian authorities, though Scherer says there was
a similar word, "Tausia," which was applied to the inlaying of gold and
silver in some other metal, an art practised in Damascus, and thence
called damascening; and that at first the two words meant the same
thing, but after a time one was applied to work in wood and the other to
metal work. In the "Museo Borbonico," xii., p. 4, xv., p. 6, the word
"Tausia" is said to be of Arabic origin, and there is no doubt that the
art is Oriental. It perhaps reached Europe either by way of Sicily or
through the Spanish Moors. "Marquetry," on t