[6] The panels of the high screen or back to the stalls in "La Certosa di Pavia" (a Carthusian Monastery suppressed by Joseph II.), are famous examples of early intarsia. In an essay on the subject written by Mr. T.G. Jackson, A.R.A., they are said to be the work of one Bartolommeo, an Istrian artist, and to date from 1486. The same writer mentions still more elaborate examples of pictorial "intarsia" in the choir stalls of Sta. Maria, Maggiore, in Bergamo. [7] Writers of authority on architecture have noticed that the chief characteristic in style of the French Renaissance, as contrasted with the Italian, is that in the latter the details and ornament of the new school were imposed on the old foundations of Gothic character. The Chateau of Chambord is given as an instance of this combination. [8] Dr. Jacob von Falké states that the first mention of glass as an extraordinary product occurs in a register of 1239. [9] "Holland House," by Princess Marie Liechtenstein, gives a full account of this historic mansion. [10] The following passage occurs in one of Beaumont and Fletcher's plays: "Is the great couch up, the Duke of Medina sent?" to which the duenna replies, "'Tis up and ready;" and then Marguerite asks, "And day beds in all chambers?" receiving in answer, "In all, lady." [11] This tapestry is still in the Great Hall at Hampton Court Palace. [12] [PG Note] The original text said "gods". [13] The present decorations of the Palace of Versailles were carried out about 1830, under Louis Phillipe. "Versailles Galeries Historiques," par C. Gavard, is a work of 13 vols., devoted to the illustration of the pictures, portraits, statues, busts, and various decorative contents of the Palace. [14] For description of method of gilding the mounts of furniture, see Appendix. [15] For a short account of these Factories, see Appendix. [16] Watteau, 1684-1721. Lancrel, _b_. 1690, _d_. 1743. Boucher, _b_. 1703, _d_. 1770. [17] The Court room of the Stationers' Hall contains an excellent set of tables of this kind. [18] The late Mr. Adam Black, senior partner in the publishing firm of A. and C. Black, and Lord Macaulay's colleague in Parliament, when quite a young man, assisted Sheraton in the production of this book; at that time the famous designer of furniture was in poor circumstances. [19] The word Baroque, which became a generic term, was derived from the Portugese "barroco," meaning a large irregular-shaped pearl. At first a jeweller's technical term, it came later, like "rococo," to be used to describe the kind of ornament which prevailed in design of the nineteenth century, after the disappearance of the classic. [20] Mr. Parker defines Dado as "The solid block, or cube, forming the body of a pedestal in classical architecture, between the base mouldings and the cornice: an architectural arrangement of mouldings, etc., round the lower parts of the wall of a room, resembling a continuous pedestal."