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Although marquetry is a technique separate from inlay, English marquetry-makers were called "inlayers" throughout the 18th century. In Paris, before 1789, makers of veneered or marquetry furniture (ébénistes) belonged to a separate guild from chair-makers and other furniture craftsmen working in solid wood (menuisiers).
Detail of an Iranian jewel box decorated by khatam. Khātam (Persian: خاتم) is an ancient Persian technique of inlaying.It is a version of marquetry where art forms are made by decorating the surface of wooden articles with delicate pieces of wood, bone and metal precisely-cut intricate geometric patterns.
The start of the practice dates from before the seventh century AD. The technique of intarsia inlays sections of wood (at times with contrasting ivory or bone, or mother-of-pearl) within the solid wood matrix of floors and walls or of tabletops and other furniture; by contrast marquetry assembles a pattern out of veneers glued upon the carcass.
Intarsia inlay in wood furniture differs from marquetry, a similar technique that largely replaced it in high-style European furniture during the 17th century, [2] in that marquetry is an assembly of veneers applied over the entire surface of an object, whereas inlay consists of small pieces inserted on the bed of cut spaces in the base ...
Boulle's inlay materials included tortoiseshell, brass, pewter and even animal horn. For contrasting woods, he often used rosewood, ebony, kingwood, and other dense, dark-toned tropical species. Boulle's marquetry technique was to make two contrasting sheets of intricate inlay that were cut from a single sandwich of materials.
It was designed to stand against a wall, and appeared in about 1750. It often featured a marquetry in a geometric pattern resembling cubes of dark and light wood, a design very popular in the last years of the Louis XV period. The Bonheur-du-jour was a small desk with cabinet which appeared in about 1760. Following the new style of the late ...