• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar
  • Skip to footer

Stuart King

Craftsman, artist, woodturner, and photojournalist

  • Stuart
  • Blog
    • Wildwood Blog
    • Folk art
    • Woodturning
    • Woodworking
    • Local history
    • Marquetry
  • Demos
  • Photos on Flickr
You are here: Home / Article / History of Marquetry (with Glossary)

History of Marquetry (with Glossary)

Marquetry inlays dating from the early 20th century

The earliest evidence that I am aware of for marquetry/inlay is a remarkable casket from the city or UR, in Mesopotamia dated c2600 BC. Much of the work is cut from ivory and set in bitumen and is a pictorial representation of a mixture of royal and daily life. Not until the European renaissance do we again encounter pictorial decoration using contrasting veneers in the form of intarsia. This inlay technique was originally centred in the Italian city of Sienna in the 11th century and much used to decorate church furniture and panels.

Homer was the first, in 700 BC, to describe the ornamentation of furniture with prized materials. Ulysses tells Penelope about the bridal bed that he made:

” Beginning from the bed post, I wrought at the bed head till I had finished it, and made it fair with inlaid work of gold, silver and ivory”.

Homer, In book 23 of the Odyssey

The early use of wood veneers for decorative purposes dates to ancient Egypt. The Pharaohs were familiar with chairs and chests that incorporated thinly sliced sections of contrasting woods and semi precious materials assembled in geometric patterns.

Decorated casket recovered from the royal graves at Ur in Mesopotamia. The ivory bone and stone inlay is embedded in bitumen and was created C2600 BC. From the British museum.

Decorated casket recovered from the royal graves at Ur in Mesopotamia. The ivory bone and stone inlay is embedded in bitumen and was created C2600 BC. From the British museum.

Marquetry and inlay are often confused. All marquetry can be described as inlay because each individual component can be said to be inlaid into each other. Conversely, true inlay can never be defined as marquetry as it is composed of segments in which a space is first chiselled into the solid ground to be then filled with a piece cut to fit. Intarsia panels come into this category.

Roman marquetry

” The wood of beech is easily worked – cut into thin layers of veneers, it is very flexible, but is only used for the construction of boxes and desks. The wood of the holme oak is cut into veneers of remarkable thinness, the colour of which is far from unsightly. The best woods for cutting into layers are the terebinth, varieties of maple, box, palm, holly, root of the elder and poplar. In order to make a single tree sell many times over, laminae of veneer have been devised; then after all this, man must go and seek his materials in the sea as well! For this purpose he has learned to cut tortoise (turtle) shell into sections; and of late, in the reign of Nero, there was a monstrous invention devised of destroying its natural appearance with paint, making it sell at a still higher price by successful imitation of wood. “

The Roman naturalist Pliny the Elder, writing in the first century AD, in book 16

So here we have the Romans nearly two thousand years ago, not only producing economically inspired veneered furniture, but also introducing imitation wood effects that out do the real thing.

Sorrento ware

Today, the Italian town of Sorrento, for the time being, is the centre of a thriving marquetry industry. I say at the time being because on a recent visit and talking to some of those involved, it appears that it is becoming more difficult to engage the young’s interest in following this traditional craft. Since the early 19th century highly skilled Sorrento practitioners have created a vast range of inlayed and marquetry work, it has even acquired its own descriptive title: Sorrento ware. This can range from huge marquetry wall panels like those in Sorrento Cathedral to delicately stunning musical boxes.

Nineteenth century marquetry panels above the alter in Sorrento Cathedral

History of marquetry in England and France

Until the last quarter of the 17th century the use of veneers in England was one of restraint, usually restricted to simple inlayed decoration on chests and dressers. All this was to change with the arrival to England of William of Orange to rule jointly with his wife Mary in 1689. Marquetry as a complete art form was introduced into England by the artisans who accompanied William and his court to London and made an immediate impact on chest/carcase type furniture and long case clocks in particular.

The zenith of marquetry was in the late 17th and early 18th century France, where the craft reached the status of high art through generous royal patronage. André Charles Boulle was in the vanguard of the French movement. By 1672 he was ensconced in the royal workshops of Louis XIV. Boulle supplied much furniture to the palace of Versailles.

His name lives on today in ‘Boulle work’, intricate marquetry that includes the use of silver, brass, pewter, tortoise shell and ebony (see photo, right). Boulle’s technique was similar to that used all over Europe at the time, known as ‘cut and counter cut’. A packet was made up of, say, ebony veneer and sheet brass in equal amounts and was then cut using a marquetry horse and fret saw (later to become united and referred to as a donkey, see photo below) The packets were then separated, and the individual components reassembled to produce contrasting panels, e.g.; brass inlaid into ebony and ebony inlaid into brass, both panels would have been used but on different articles.

Boulle marquetry being restored, French 18th Century. Boulle work usually incorporates turtle shell and any of the following; brass, pewter, silver and occasionally other metals. Much of this work has suffered from the loss of surface material due to poor adhesion and damp.

Boulle marquetry being restored, French 18th Century. Boulle work usually incorporates turtle shell and any of the following; brass, pewter, silver and occasionally other metals. Much of this work has suffered from the loss of surface material due to poor adhesion and damp.

The history of marquetry is a long and complex one and I have only just scratched the surface in telling this tale. It is a journey I have enjoyed and wish you all a similarly fruitful trek through your chosen walk with wood.

More marquetry articles

Read my other marquetry articles: Marquetry and Me and Khokhloma Ware: Folk art for the masses. For more photos and illustrations from the history of  marquetry please visit my Marquetry Gallery.

An example of André Charles Boulle’s marquetry work

Glossary of marquetry terms

Bandings

Lengths of decorative strips made up of contrasting woods cut to various profiles and supplied in a variety of widths in one metre lengths. Used to frame or outline veneered panels. Producing bandings is the job of a specialist. (See cross-banding)

Boulle work

Marquetry consisting of a combination of materials e.g. chosen from pewter, brass, silver, tortoise (turtle) shell, ebony etc. French cabinetmaker André-Charles Boulle 1642-1732 perfected this art.

Book/Mirror matched

Using consecutive leaves of veneer turned over, as in opening a book.

Backing-off

Applying a backing tape to the reverse side of a veneer packet whilst cutting is in progress to give support to elements that may otherwise break-out from the back.

Cross banding

Wide strip of straight grained veneer applied at right-angles to the main panel, usually cut and applied by the veneer matcher. Used to frame the outer edge of veneered panels, often in conjunction with decorative bandings.

Cut and counter cut

Method of cutting marquetry using a fretsaw, usually via the marquetry donkey or horse. A packet of equal numbers of (for instance) light and dark veneers is fret-cut, the contents then dissembled and rearranged into a design of contrasting veneers.

Feather matching

Using straight grained veneer to produce a chevron effect.

Inlay

True inlay is where individual veneer sections are inserted into a solid wood ground or inlaid.

Intarsia

Early technique whereby thick saw-cut veneers are individually inlaid into a solid wood ground, developed during the Italian renaissance.  The term is used today in Italy to describe marquetry. It is also used today to describe designs (usually pictorial) made up of shaped solid wood permanently assembled jig-saw fashion.

Knife-cut

Veneer produced on a large machine where the solid log is sliced with a large knife, typically .7mm thick.

Log or Flitch

Term used to describe a complete log that has been converted into veneers where the veneer leaves are tied in bundles of 32 and remain in the order in which they were cut until ready for use.

Marquetry

The art of creating decorative designs using contrasting veneers.

Marquetry cutter’s donkey

Development of the marquetry horse dating to c1780, now incorporating a fixed arm to support the fretsaw frame and allowing more accurate work to be achieved.

Marquetry horse

Foot-operated pair of jaws incorporating a seat allowing the operator to fret-cut packets of veneers.

On and off the line

Method of cutting marquetry using a fretsaw, usually via the marquetry donkey. This is the most skillful of techniques; it requires a number packets of veneers to be made-up representing all the different colours contained in the design. Duplicates of the paper design are printed to allow a section of each design element to be cut out and applied to the appropriate packet. Each of the adjacent edges of the design is then cut, one edge on the line of the design, the other just off the line, thus ensuring a perfect fit!

Paterea

Usually small self-contained marquetry elements of geometric outline, often containing a classical motif within, e.g. a shell, flowers, urn etc.

Packet

Sandwich of veneers held together using fine veneer pins and paper tape.

Quarter matched

A veneered panel made up of four consecutive veneers each aligned as in book matching but creating a panel consisting of a leaf of veneer at all four corners.

Rotary cut

Veneer produced on a large machine where the solid log is rotated against a large stationary knife, pencil sharpener fashion.

Saw cut

Veneer produced by sawing, originally by hand and subsequently sliced using circular saws. Saw-cut veneer is thicker than knife/rotary cut.

Stringing / lines

One metre lengths of small square section solid wood often used in conjunction with cross banding to provide a thin line of contrasting colour. Boxwood and ebony are the most commonly used woods.

Seaweed marquetry (also known as arabesque marquetry)

Very fine and delicately scrolled marquetry popular at the beginning of the 18th century; probably the most difficult of all marquetry forms to execute.

Sand shading

Dipping appropriate elements of a marquetry design into hot sand to scorch it, so achieving a three dimensional effect.

Veneer

A very thin sheet of wood

Veneer matching

Creating a decorative panel consisting of veneers held together using gummed paper tape prior to ‘pressing’ onto a board or ‘ground-work’. The completed veneer sheet is referred to as a ‘lay-on’.

Veneer hammer

Not really a hammer but a short handled tool with a head fixed at right-angles, used for squeezing out excess glue whilst hand-veneering.

Window method

Marquetry created using a ‘waster’ upon which the design is applied and from which each element of the design is individually replaced with a contrasting veneer.

Share this with your network: Share on FacebookShare on TwitterShare on LinkedinShare on PinterestShare on Reddit

Stuart King

I was born in the Buckinghamshire village of Holmer Green in 1942, and played as a child in the local Beech woods. The countryside and the trades and traditions of those that shaped it over centuries have always fascinated me and influenced my work.

I have spent a lifetime researching, recording and collecting anything about the rural past and today am a well-known artist craftsman, demonstrator, international lecturer and photo-journalist.

Primary Sidebar

Automaton in wood by Stuart King

I built an Automaton

An automaton can amuse and entertain using the simplest of mechanical technology and can be made by anyone using basic woodworking skills.

Wild wood Archaeology

The Wildwood is still giving up its secrets, albeit slowly. Exploration started rather late due to a wet spring but continued well into the autumn with each carefully dug and recorded trench revealing a little more of life from prehistory to the medieval period.

Mystery of the Moor—4000 years of woodturning

A Bronze Age burial chamber was discovered on Dartmoor, with the remains of a woman, and four lathe-turned ear studs. So began an archaeological experiment.

  • The BBC TV news visits the Wildwood
  • The Romans were here!
  • Beech Nuts in the wild
  • The Speckled Wood Butterfly
  • Hidden Wildwood Camera
  • Mary Rose — making a sailor’s boxwood hair comb
  • Spirit of the Wildwood
  • Wildwood flowers
  • The Wildwood Blog
  • Tree Felling in the Wildwood

Footer

Search this website

Recent Posts

  • I built an Automaton
  • Wild wood Archaeology
  • Mystery of the Moor—4000 years of woodturning
  • The BBC TV news visits the Wildwood
  • The Romans were here!

Blog

  • Archaeology
  • Automata
  • Folk art
  • Lacemaking
  • Local history
  • Marquetry
  • Wildwood Blog
  • Woodturning
  • Woodworking

Contact Stuart

Email: stuart@stuartking.co.uk
Phone: 01494 712027

This website uses the Maker Pro Theme for WordPress | Privacy Policy