he upper range of panels has a
few half-lengths of saints, landscapes, and the usual open cupboard
doors revealing objects on the shelves within. On the backs of the seats
below are arabesques, and the pilaster panels and divisions between are
also inlaid, as is the cornice. He also worked at Savona.

[Illustration: Plate 21.--_Stalls at the Certosa, Pavia._]

[Illustration: Plate 22.--_Detail of Arabesques, lower seats, Certosa,
Pavia._

_To face page 37._]

One of the best Sienese masters has not yet been mentioned, Antonio
Barili, much of whose work has perished, like that of many other
intarsiatori, an example of which the collectors for the Austrian K.K.
Museum at Vienna have picked up, however, where it may now be seen. He
was born in Siena, August 12, 1453. His first work on his own account
was the choir of the Chapel of S. Giovanni, in the Cathedral, Siena, of
which a few poor remains have escaped the carelessness of the last
century, and are in the Collegiate Church of S. Quirico in Osenna, 26
miles from Siena, on the old Roman road. The contract is dated January
16, 1483, and in it he engages to finish it in about two years. He was
to be paid 50 florins of 4 lire beyond what he expended, and was to go
on working at the rate of 10 florins a month. If he did not finish it in
the given time he was to forfeit 100 florins, except for cause of
infirmity, plague, &c. It was to be valued in the usual manner, and 100
florins was the penalty for the breaking of the contract on either side.
As a matter of fact it took him nearly 20 years to complete. On one of
the panels Barili made a portrait of himself at work, the one referred
to above, now in the K.K. Austrian Museum at Vienna, which shows the
very simple means used by the great intarsiatori. His tools consist of a
folding pocket-knife, a square-handled gouge, and a short-bladed,
long-handled knife, which he holds with the left hand and presses his
shoulder against, so as to use the push of the shoulder in cutting,
while in the right he holds a small pencil, with which he appears to
direct the knife edge. The panel upon which he is at work bears the
inscription, "Hoc ego Antonius Barilis opus c[oe]lo non penicello
excussi. Anno. D., 1502." He works in a window opening with panelled
framing, and behind him a tree spreads across a courtyard against the
sky, upon a branch of which a parrot is seated. Von Tschudi says that
the panel is about 2 feet 10 inches long by