Heritage Crafts

Pietra Dura (Pietre Dure)

Pietra dura is a decorative technique involving the inlay of precisely cut, polished, and fitted stones into a surface to create intricate designs. These designs typically use hard, colourful stones like marbles and alabasters, and semi-precious stones such as lapis, malachite and many types of jaspers to produce detailed and durable artworks, commonly found in furniture, tabletops, and architectural elements. It is also known as “Florentine Mosaics”, ‘or less commonly “Marquetry in Stone”. It is essentially the art of ‘painting’ in stone.

This craft has been classified as RESURGENT. These are crafts that are currently experiencing a positive trajectory as a result of an upswing in new entrants. Just because a craft is considered resurgent does not mean that it cannot also be endangered, but rather that its decline has started to reverse and that its situation is likely to continue improving.
CRITICALLY ENDANGERED
Status
Critical
Craft category
Stone
Historic area of significance
The craft is generally associated with Florence, Italy but there is a distinctive ‘English’ style using native stones and marbles. There are also similar traditions in India (Parchin Kari) and Russia (Florentinskaya mozaika). In the UK the craft is historically associated with the Peak District and used a wide variety of local stones including Black Ashford marble, blue john, rosewood marble etc.
Area practiced currently
Northamptonshire
Origin in the UK
The technique was developed in Florence, Rome and Sicily during the Italian Renaissance in the late 16th century, but Florence was where it flourished under the Medici Grand Dukes patronage. It was first practised in the UK in the 18th Century and was at its height in the 19th Century. It generally fell out of use in the 20th Century. Thomas Greenaway trained in Florence and has reintroduced the craft to the UK.
Current No. of professionals (Main income)
1
Current No. of professionals (Side income)
1-5 There will also be some practitioners using it in a conservation or restoration setting.
Current No. of trainees
0 There are no trainees as such, but there a few people learning with an aim to practising professionally or incorporating it into their work.

History

Pietra dura began to be practiced in the United Kingdom during the 18th and 19th centuries, as the art form gained popularity across Europe through trade and cultural exchanges. Wealthy patrons and collectors in the UK sought Italian-made pietra dura works, particularly during the Grand Tour era of the 18th century, when young aristocrats travelled through Europe and brought back artworks and decorative pieces.

Through the 18th Century wealthy British travellers acquired pietra dura pieces from Italian workshops, particularly in Florence. Imported pietra dura furniture, tabletops, and decorative items became prized possessions in stately homes.

In the 19th Century British artisans began experimenting with pietra dura techniques and, whilst the UK never developed a significant tradition of pietra dura akin to Italy or India, a distinctive ‘English’ style developed that was influenced by Victorian fashions of the time. The stones used would have been a combination of locally available stones including various coloured marbles and Derbyshire Blue John, and imported Lapis Lazuli, Jasper, Malachite etc.

Techniques

To create the work:

  • Firstly, a detailed graphic design is drawn
  • Blocks of stone are sliced to 2-4mm using a diamond saw
  • Paper templates are created from the design that are applied to the stones
  • The stones are cut using a chestnut bow saw with the stones held in a bench vice.
  • Diamond files are used to shave off the edges of the stone so they fit precisely.
  • The pieces are backed with slate and glued using a pine resin and beeswax mixture
  • Polishing is done using an agate polishing stone, with increasingly fine grades of polishing compounds
  • Wax is applied to finally buff it up to mirror finish

The chestnut bow saw:

This is a specific tool used for cutting stones. It consists of a bent chestnut ‘bow’ that is strung with fine wire. A carborundum cutting paste is applied to the wire to assist with cutting the stone. The saws are made by the artisan for their own use.

Local forms

India – Parchin Kari is a form of intricate stone inlay art that developed during the Mughal era, particularly under Emperor Shah Jahan in the 17th century. It involves embedding semi-precious stones like lapis lazuli, carnelian, and turquoise into marble, creating floral, geometric, and calligraphic designs. The Taj Mahal is a renowned example of this craft, where it adorns walls, cenotaphs, and screens. Known for its delicate floral motifs symbolizing paradise, Parchin Kari continues to thrive in Agra.

Russia – Florentinskaya mozaika (Florentine mosaic) is the term is used to describe the intricate inlay work of hard and semi-precious stones, influenced by Italian traditions and a then adapted and advanced in Russia, particularly during the imperial period in the 18th and 19th Centuries. Russian pietra dura developed its own distinct style, often characterised by large-scale works and the use of native stones.

Sub-crafts

Allied crafts

  • Lapidary

Micro-mosaics and scagliola can be incorporated into pietra dura

Issues affecting the viability

Training and recruitment issues: The only training available in the UK is with Thomas, otherwise trainees would have to go to Europe or Russia

It is a slow craft that needs a high degree of patience and precision. This is a barrier to taking up the craft and finding people with the aptitude and skills.

Market issues: It is a high end product but there is a market for it as a luxury object

Supply of raw materials, allied materials and tools: Sourcing materials from around the world can be difficult and expensive, so starting up in business with a range of materials can be difficult.

Setting up with tools is expensive and they are very specialised. A lot of the tools come from overseas or makers have to create their own.

Small business issues: This isn’t so much of an issue initially, because it can be done at a small scale. However, to be commercially viable it is necessary to have access to modern equipment and workshop space.

Ageing workforce: There is only one current full-time practitioner but there is an increasing interest from younger makers

Global and geopolitical issues: Some stones can be considered conflict minerals, such as lapis lazuli from Afghanistan.

Support organisations

Training organisations

There are no formal training routes in the UK for Pietra Dura but Thomas Greenaway does teach short workshops.

Craftspeople currently known

References

  • Art of the Royal Court: Treasures in Pietre Dure from the Palaces of Europe (Fashion Studies), Annamaria Giusti & Wolfram Koeppe (Yale University Press, 2008)
  • Decorative Stone: The Complete Sourcebook, Monica T. Price (Thames & Hudson, 2007)
  • Corsi Collection of Decorative Stones: online resource
  • Gilbert Collection at the V&A

Anna Maria Massinelli has authored several works focusing on pietra dura. Notable publications include:

  • “Painted in Stone: Modern Florentine ‘Pietra Dura’ Mosaic” (2014):
  • “Hardstones: The Gilbert Collection” (2000)

Red List reviewers 2025

Our thanks go to our 2025 reviewers:

  • Thomas Greenaway Mosaics

We consult with a wide range of practitioners and organisations to review and update the Red List. Some choose to remain anonymous but all feedback is taken into account.

If you would like to suggest any changes or additions to this page please contact us here

 

National Lottery Heritage Fund
Swire Charitable Trust
The Royal Mint
Pilgrim Trust
Maxwell/Hanrahan Foundation
Hugo Burge Foundation

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