used for the production of ornament. 15th century In the mid-15th century, Venetian skilled workers developed a new type of external facing, called marmorino made by applying lime directly onto masonry. 16th century In the 16th century, a new highly decorative type of decorative internal plasterwork, called scagliola, was invented by stuccoists working in Bavaria. This was composed of gypsum plaster, animal glue and pigments, used to imitate coloured marbles and pietre dure ornament. Sand or marble dust, and lime, were sometimes added. In this same century, the sgraffito technique, also known as graffito or scratchwork was introduced into Germany by Italian artists, combining it with modelled stucco decoration. This technique was practised in antiquity and was described by Vasari as being a quick and durable method for decorating building facades. Here, layers of contrasting lime plaster were applied and a design scratched through the upper layer to reveal the colour beneath. 17th century The 17th century saw the introduction of different types of internal plasterwork. Stucco marble was an artificial marble made using gypsum (sometimes with lime), pigments, water and glue. Stucco lustro was another a form of imitation marble (sometimes called stucco lucido) where a thin layer of lime or gypsum plaster was applied over a scored support of lime, with pigments scattered on surface of the wet plaster. 18th century The 18th century gave rise to renewed interest in innovative external plasters. Oil mastics introduced in the UK in this period included a "Composition or stone paste" patented in 1765 by David Wark. This was a lime-based mix and included "oyls of tar, turpentine and linseed" besides many other ingredients. Another "Composition or cement", including drying oil, was patented in 1773 by Rev. John Liardet. A similar product was patented in 1777 by John Johnson. Widely used by the architect Robert Adam who in turn commissioned George Jackson to produce reverse-cut boxwood moulds (many of which to Adam designs). Jackson formed an independent company which still today produces composition pressings and retains a very large boxwood mould collection. In 1774, in France, a mémoire was published on the composition of ancient mortars. This was translated into English as "A Practical Essay on a Cement, and Artificial Stone, justly supposed to be that of the Greeks and Romans" and was published in the same year. Following this, and as a backlash to the disappointment felt due to the