Pietra Dura (Pietre Dure)

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 19^th 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.

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.

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 18^th and 19^th Centuries. Russian pietra dura developed its own distinct style, often characterised by large-scale works and the use of native stones.

Allied crafts

• Lapidary

Micro-mosaics and scagliola can be incorporated into pietra dura

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.

• Art Worker’s Guild
• International Network for Traditional Building, Architecture & Urbanism (INTBAU)
• King’s Foundation School of Traditional Arts
• Homo Faber – Michelangelo Foundation
• QEST
• British Association for Modern Mosaic (BAMM)

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

• Thomas Greenaway
• Matt Hurley – Hurley Marble
• Simon Grant – Grant’s Marble

• 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)

Our thanks go to our 2025 reviewers:

• Thomas Greenaway Mosaics

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