Inlay

Incrustation ( from Latin crusta [ marmoreae ] "[ marble ] shell " ) refers to the large-scale architecture or even partially covering walls or other components lesser material with flat-cut, usually different colored marble slabs.

History

The Art of the cladding was highly developed by the Romans. The overall effect was based primarily on a large-scale use of different colors, mostly valuable rock types, the rings came from all the Roman provinces around the Mediterranean. Red Porphyry, the most precious of all stones, came exclusively from Egypt, green porphyry, also called serpentine, from Laconia, grüngeäderter serpentine from Thessaly, white Carrara marble, yellow marble ( giallo antico ) from Simitthu in Tunisia, or off-white onyx from Hierapolis Phrygia.

The art of incrustation was continued after the fall of the Roman Empire in the Byzantine Empire; However, in the west the skills were forgotten.

It was only in the Proto-Renaissance after 1000 - especially from Florence - this type of wall facing out to new heights ( Baptistery of San Giovanni, San Miniato al Monte). In the 12th century they are found in France, particularly in the regional Auvergnat Romanesque building school (eg: collegiate church of Notre- Dame du Port in Clermont- Ferrand or the priory St- Julien in Chauriat ), but also in some southern French churches ( eg at the Église Saint- Pierre -de- Rhèdes Lamalou -les- Bains ) ). In Italy this type wall coverings were very popular in the following art historical periods of Gothic (Santa Maria Novella ), Renaissance ( Cathedral of Santa Maria del Fiore ) and the Baroque. If the money was not for a panel of stone available, it was not such a rare simulated by stucco or wall painting.

Production

The production of the often only centimeters thick marble panels was extremely difficult in the ancient world and thus expensive. To produce thin slabs of marble, a groove is carved on the upper part of the marble block first, it was then filled with sand; with the help of a rope or a saw blade then a thin plate was sawed off. Per day could be cut in this way only about five centimeters. The production of smaller pieces of polished stone was mainly by means of grinding.

Attachment

Anchor holes were drilled in the wall for the attachment of panels to the wall, first, the metal serving for receiving hooks. In this hook, the plates were placed from bottom to top and filled the underlying cavities with plaster or mortar. For smaller ornaments this technique was unsuitable; they were a mosaic bonded onto the wall parts, or inserted into the existing brickwork.

Image examples

Wall coverings in Ostia Antica

San Miniato al Monte in Florence, ( façade from 1090 )

Interior of the Hagia Sophia in Istanbul (from about 530)

Part of the facade of the Cathedral of Pisa (late 12th century)

Lining of the Duomo of Siena ( 1380 )

Gable of Santa Maria Novella in Florence (facade 1470 )

Notre- Dame du Port, Clermont- Ferrand, apse (12th century)

Église Saint- Pierre -de- Rhèdes Lamalou -les- Bains (12th century)

India

Probably inspired by Byzantine models, created the architect of Indian tombs, especially in the time of Mughal architecture, a variety of surface - geometric, later extremely small-scale vegetable Steininkrustationen (eg Lodi Gardens, Humayun's Tomb, Itmad - ud- Daula 's Tomb, Taj Mahal ). In other regions of the Islamic architecture (Morocco, Turkey, Iran, etc.) decorative wall panels were prepared by tile mosaics.

Gate construction of Humayun's mausoleum

Itmad -ud- Daula 's Tomb, Agra (1622-1628)

Dto

Taj Mahal, Agra, mesh barrier ( 1670 )

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