Gyulai Éva - Viga Gyula (szerk.): Történet - muzeológia : Tanulmányok a múzeumi tudományok köréből a 60 éves Veres László tiszteletére (Miskolc, 2010)

GYŰJTEMÉNYEK - IPARMÜVÉSZET-TÖRTÉNET - Vadászi Erzsébet: Reneszánsz bútordíszítő eljárások

ÉBER László 1905 A bútormüvesség emlékei Magyarországon. In: RÁTH György (szerk.): Az iparművészet könyve II. 430-505. Magyar Iparművészeti Társulat. Budapest KOVALOVSZKI Júlia 1980 Gótikus és reneszánsz bútorok. A Magyar Nemzeti Múzeum kincsei. Magyar Helikon-Corvina. Budapest SCHUBRING, Paul 1915/1923 Cassoni: Truhen und Truhenbilder der italienischen Frührenaissance. Ein Beitrag zur Profanmalerei im Quattrocento I

—II. Hiersemann. Leipzig (Supplement) TÁTRAI Vilmos 1979 II maestro della storia di Griselda e una famiglia senese di mecenati dimentica. Acta históriáé artium Academiae Scientiarum 25. 1-2. 27-66. TINTI, Mario 1928 II Mobilio Fiorentino. Bestetti e Tumminelli. Milano-Roma VASARI, Giorgio 1978 VAYER Lajos (szerk.): A legkiválóbb festők, szobrászok, építészek élete, ford.: ZSÁMBOKI Zoltán. Magyar Helikon. Budapest VOIT Pál 1961 Műhely a Via dei Servin. Művészettörténeti Értesítő X. 2-A. sz. 97-130. WINDISCH-GRAETZ, Franz 1982 Renaissance und Manierismus. Vom 15. Jahrhundert bis in die 1. Hälfte des 17. Jahrhunderts. (Möbel Europas, Bd. 2.) Klinkhardt-Biermann. München Decorative techniques used in the manufacture of Renaissance furniture The arts of classical Antiquity were revived from the perspective of Humanism in Italy from the 1420s. The main driving force behind the preoccupation with homemaking among the consolidated wealthy burghers was love of creature comforts, and a taste for luxury and elegance. Similarly to other branches of Renaissance art, craftsmen strove for simple lines, purity and moderation in embellishments. The proportioning of furniture with architectural elements, columns, half-columns, pilasters and hernias was a general practice. The art of Renaissance furniture was born in Florence in the Quattrocento, blossomed in Rome in the early Cinquecento and culminated in Lombard Mannerism after the sack of Rome in 1527. The homes of Renaissance Italy contained relatively few pieces of furniture. The most important of these was the bridal chest. Often bearing the owner's coat-of-arms, monogram or name, storage furniture of this type has survived in great numbers in part owing to their ornateness, and in part to their being family heirlooms. Furniture was at first decorated with painting, later with marquetry and carving, often with a combination of all three decorative techniques. In addition to achieving a leading role in architecture, marble carving, bronze casting, painting and the art ofbookbinding, Florence also excelled in making marquetry in the Quattrocento. According to Benedetto Dei, a contemporary chronicler, there were eighty-four bottegas specialising 210