Within the limits proposed to myself, I may here annex to my consideration of the painters in water colours and in oil, other less distinguished branches of the art. Among these is that species of inlaid work with wood of different colours, which was intended more particularly for the ornament of choirs where the divine service was chaunted. I can trace nothing of its inventors, whether of German or other origin;[40] though it is said to have taken its rise in an imitation of mosaic work, and of works in stone. No other coloured woods besides black and white were at first in use; nor any other objects beyond large edifices, temples, colonnades, and in short ornaments with architectural views, attempted to be represented. Brunelleschi at Florence gave instructions in perspective to architects, that edifices might be drawn according to good rules; and Massaccio in painting, greatly availed himself of his precepts, as well as Benedetto da Majano in his inlaid works. There remain at Florence, as well as other places in Italy, several ancient choirs very highly prized in that age, but afterwards despised, when the art of staining wood with boiled water colours and penetrative oils, came into use. Thus, after the imitation of buildings, easily drawn from the number of their right lines, that of figures began to be practised in an able manner, though it had formerly been tried with less success. The chief merit of such improvement, or rather perfection of the art, was due to the Venetian School. Lorenzo Canozio, from Lendinara, a fellow student of Mantegna, who died about 1477, inlaid the entire choir of the church of S. Antonio, even, as it would appear, with figures. The whole, however, having been consumed by fire, there is nothing remaining but the epitaph of the artificer, in which he is highly applauded for his labours. There likewise exist other works of the same kind, in the armadj, chests, or presses, of the sacristy, and, as it is supposed, also in some of the confessionals. Besides Lorenzo, his brother Cristofano, and his son-in-law Pierantonio, who assisted him in these labours, are equally applauded by Matteo Siculo, as worthy of vieing with Phidias and Apelles themselves. Tiraboschi likewise enumerates the two brothers among the artists of Modena, whose fellow citizens they were.