Marquetry in the context of Intarsia

The Bosporan Kingdom, also known as the Kingdom of the Cimmerian Bosporus (Ancient Greek: Βασιλεία τοῦ Κιμμερικοῦ Βοσπόρου, romanized: Basileía tou Kimmerikou Bospórou; Latin: Regnum Bospori), was an ancient Greco-Scythian state located in eastern Crimea and the Taman Peninsula on the shores of the Cimmerian Bosporus, centered in the present-day Strait of Kerch. It was the first truly 'Hellenistic' state, in the sense that a mixed population adopted the Greek language and civilization, under aristocratic consolidated leadership. Under the Spartocid dynasty, the aristocracy of the kingdom adopted a double nature of presenting themselves as archons to Greek subjects and as kings to barbarians, which some historians consider unique in ancient history. The Bosporan Kingdom became the longest surviving Roman client kingdom. The 1st and 2nd centuries AD saw a period of a new golden age of the Bosporan state. It was briefly incorporated as part of the Roman province of Moesia Inferior from AD 63 to 68 under Emperor Nero, before being restored as a Roman client kingdom. At the end of the 2nd century AD, King Sauromates II inflicted a critical defeat on the Scythians and included all the territories of the Crimean Peninsula in the structure of his state.

The prosperity of the Bosporan Kingdom was based on the export of wheat, fish and slaves. As a result, the Kingdom became the economic center of the Black Sea and is often dubbed the ancient Jewel of the Black Sea. The profit of the trade supported a class whose conspicuous wealth is still visible from newly discovered archaeological finds, excavated, often illegally, from numerous burial barrows known as kurgans. The once-thriving cities of the Bosporus left extensive architectural and sculptural remains, while the kurgans continue to yield spectacular Greco-Sarmatian objects, the best examples of which are now preserved in the Hermitage Museum in St. Petersburg. These include gold work, vases imported from Athens, coarse terracottas, textile fragments, and specimens of carpentry and marquetry.

The Louis XIV style or Louis Quatorze (/ˌluːi kæˈtɔːrz, - kəˈ-/ LOO-ee ka-TORZ, -⁠ kə-, French: [lwi katɔʁz] ), also called French classicism, was the style of architecture and decorative arts intended to glorify King Louis XIV and his reign. It featured majesty, harmony and regularity. It became the official style during the reign of Louis XIV (1643–1715), imposed upon artists by the newly established Académie royale de peinture et de sculpture (Royal Academy of Painting and Sculpture) and the Académie royale d'architecture (Royal Academy of Architecture). It had an important influence upon the architecture of other European monarchs, from Frederick the Great of Prussia to Peter the Great of Russia. Major architects of the period included François Mansart, Jules Hardouin-Mansart, Robert de Cotte, Pierre Le Muet, Claude Perrault, and Louis Le Vau. Major monuments included the Palace of Versailles, the Grand Trianon at Versailles, and the Church of Les Invalides (1675–1691).

The Louis XIV style had three periods. During the first period, which coincided with the youth of the King (1643–1660) and the regency of Anne of Austria, architecture and art were strongly influenced by the earlier style of Louis XIII and by the Baroque style imported from Italy. The early period saw the beginning of French classicism, particularly in the early works of Francois Mansart, such as the Chateau de Maisons (1630–1651). During the second period (1660–1690), under the personal rule of the King, the style of architecture and decoration became more classical, triumphant and ostentatious, expressed in the building of the Palace of Versailles, first by Louis Le Vau and then Jules Hardouin-Mansart. Until 1680, furniture was massive, decorated with a profusion of sculpture and gilding. In the later period, thanks to the development of the craft of marquetry, the furniture was decorated with different colors and different woods. The most prominent creator of furniture in the later period was André Charles Boulle. The final period of Louis XIV style, from about 1690 to 1715, is called the period of transition; it was influenced by Hardouin-Mansart and by the King's designer of fetes and ceremonies, Jean Bérain the Elder. The new style was lighter in form, and featured greater fantasy and freedom of line, thanks in part to the use of wrought iron decoration, and greater use of arabesque, grotesque and coquille designs, which continued into the Louis XV style.

Sorrento (/səˈrɛntoʊ/ sə-REN-toh, Italian: [sorˈrɛnto]; Neapolitan: Surriento [surˈrjendə]; Latin: Surrentum) is a city and comune overlooking the Bay of Naples in Southern Italy. A popular tourist destination, Sorrento is located on the Sorrentine Peninsula at the southern terminus of a main branch of the Circumvesuviana rail network, within easy access from Naples and Pompei. The city is widely known for its small ceramics, lacework and marquetry (woodwork) shops.

The Sorrentine Peninsula has views of Naples, Vesuvius and the Isle of Capri. The Amalfi Drive, connecting Sorrento and Amalfi, is a narrow road along the high cliffs above the Tyrrhenian Sea.

Veneer refers to thin slices of wood and sometimes bark that typically are glued onto core panels (typically, wood, particle board or medium-density fiberboard) to produce flat panels such as doors, tops and panels for cabinets, parquet floors and parts of furniture. They are also used in marquetry. Unlike laminates, no two veneer sheets look the same. Plywood consists of three or more layers of veneer. Normally, each is glued with its grain at right angles to adjacent layers for strength. Veneer beading is a thin layer of decorative edging placed around objects, such as jewelry boxes. Veneer is also used to replace decorative papers in wood veneer high pressure laminate.

André-Charles Boulle (French pronunciation: [ɑ̃dʁe ʃaʁl bul]; 11 November 1642 – 29 February 1732), le joailler du meuble (the "furniture jeweller"), became the most famous French cabinetmaker and the preeminent artist in the field of marquetry, also known as "inlay". Boulle was "the most remarkable of all French cabinetmakers". Jean-Baptiste Colbert (29 August 1619 – 6 September 1683) recommended him to Louis XIV of France, the "Sun King" (r. 1643–1715), as "the most skilled craftsman in his profession". Over the centuries since his death, his name and that of his family has become associated with the art he perfected, the inlay of tortoiseshell, brass and pewter into ebony. It has become known as Boulle work, and the École Boulle (founded in 1886), a college of fine arts and crafts and applied arts in Paris, continues today to bear testimony to his enduring art, the art of inlay.

Boulle work (also known as buhl work) is a type of rich marquetry process or inlay perfected by the French cabinetmaker André-Charles Boulle (1642–1732). It involves veneering furniture with tortoiseshell inlaid primarily with brass and pewter in elaborate designs, often incorporating arabesques.

Although Boulle did not invent the technique, he was its greatest practitioner and gave his name to it. Boulle came from a well-known Protestant family of artists in France living primarily in Paris but also in Marseille. The first recorded payment to Boulle by the crown, from 1669, specifies ouvrages de peinture, suggesting that he was originally a painter. Boulle was awarded the title of master cabinetmaker around 1666; in 1672 he received the post of Premier ébéniste du Roi and was admitted to a group of skilled artists maintained by Louis XIV, in the Louvre Palace. In 1672 Boulle received a warrant signed by the queen, giving him the added title of bronzier as well as Ebeniste du Roi. One of Boulle's greatest masterpieces is his decoration of the dauphin's private study, created between 1681 and 1683. Boulle's masterpieces are now mostly in museums and have come to represent the wealth, luxury and finesse of the court of Louis XIV, the Sun King.

Certosina is a decorative art technique of inlaying used widely in the Italian Renaissance period. Similar to marquetry, it uses small pieces of wood, bone, ivory, metal, or mother-of-pearl to create inlaid geometric patterns on a wood base. The term comes from Carthusian monasteries (Certosa in Italian, Charterhouse in English), probably the Certosa di Pavia, where the technique was used in ornamenting an altarpiece by the Embriachi workshop.