What we have here is an object of unquestionable value from both an artistic and historical point ofview. This is an exceptional table, executed using a decorative technique known as “enconchado”, whichwould have adorned the “sala de estrado” (room with a raised platform on which furniture was arrangedin an oriental style) of some major Viceregal or Spanish palace.

If we pay attention to the work’s construction from a compositional perspective, we see a woodenstructure divided from top to bottom into four different parts. Firstly, we have the tabletop itself, whichis round with a 71-centimeter diameter. Next we come to the stem, made up of an octagonal cross-section, which widens at the bottom forming a semi-curved eight-sided foot. Finally, and serving as thebase, there is an ensemble of eight lion’s claw feet with balls located on the apex of each of the eight sidesof the bottom of the table.

With regard to its technique of construction, the most notable material aspect of the table we arepresenting here is its use of inlay. As such, the artist has chosen to employ a range of different exoticwoods and tortoiseshell to create shapes and backgrounds, and mother-of-pearl to generate attractivecontrasts and to trace out the ornamental motifs.

The marquetry adorning the entire visible surface of the table includes beautiful and abundantdecoration featuring geometric and highly idealised floral motifs that are perfectly symmetricalthroughout the composition.

As such, the viewer is first struck by the beauty of the tabletop, with its exquisite and abundant mother-of-pearl inlay on a tortoiseshell background. Respecting the round shape of the surface, the masterartisan has devised a perfectly-symmetrical decorative composition coming out of a fleuron located inthe middle which, in perfect harmony with the rest of the piece, comprises eight little petals. From here,another eight larger petals emerge, the insides of which are adorned with phytomorphic motifs arranged,once again in line with the overall decorative pattern, in a symmetrical fashion. This second series oflarger petals is crowned with scroll motifs and a little chain of semicircles concluding the compositionalforeground, giving way to the outer border of the tabletop, also featuring mother-of-pearl inlay. Thetabletop has a 10cm skirt running along the entire diameter, lending the composition further dynamismand sumptuous élan.

As we move down the stem, designed in the geometrical form of an octagonal prism, we find thateach of its eight sides is decorated with a sort of vertical garland made up of mother-of-pearl inlay.Finally, when we get to the bottom, in the continuation of the stem where it widens providing a senseof movement in its convex curving of each of its eight sides, we observe more symmetrical decorationmade up of phytomorphic mother-of-pearl motifs. Concluding the ornamental composition are theeight lion’s claw feet with balls, this time without any inlay decoration, leaving the wood exposed.

These types of pieces of furniture, known on account of their decorative inlay technique asenconchados,are the result of the cultural exchange that characterised the artistic panorama of the Latin Americanviceroyalties in the 17thand 18thcenturies, in particular that of Peru, where we can identifythis exceptional piece as having been executed.