Marmouset, Arch. Fr. (monkey). A grotesque figure introduced into architectural decoration in the 13th century.
Marouflage, Fr. (maroufler, to line). A method of house-painting in France, upon a lining of prepared canvas fixed upon the surface to be decorated.
Fig. 442. Marquess’s coronet.
Marquess, Marquis, Her. The second order of the British peerage, in rank next to that of duke, was introduced into England in 1387 by Richard II. The coronet, apparently contemporary in its present form with that of the dukes, has its golden circlet heightened with four strawberry-leaves and as many pearls arranged alternately.
Fig. 443. Shaft ornamented with Marquetry.
Marquetry. Inlaid-work of ornamental woods and stones of various colours put together and mixed with metals. The art has existed from the earliest ages; but no nation has brought it to a higher degree of perfection than the Italians of the 15th century. The Florentines especially have produced work of this kind which is unapproached; the Medici chapel at Florence may be particularly instanced. Figs. 443 and 444 represent specimens of antique work. The Venetian marquetry, derived from Persia and India, is a fine inlay of ivory, metal, and woods, stained to vary the colour. This work is in geometric patterns only. In France, in the early marquetry designs, picturesque landscapes, broken architecture, and figures are represented. Colours are occasionally stained on the wood. Ivory and ebony are the favourite materials. In England, it is an art imported from Holland in the reign of William and Mary. The older designs on Dutch marquetry represent tulips and other flowers, foliage, birds, &c., all in gay colours, generally the self colours of the wood used. Sometimes the eyes and other salient points are in ivory and mother-of-pearl. (Compare Boule, Certosina Work, Emblemata, Musivum Opus, Reisner-work, &c.)
Fig. 444. Marquetry.