The delicate colours and Arcadian landscapes on these charming panels are characteristic of 18th Century Florentine pietre dure production and reminiscent of panels from the Galleria dei Lavori. In particular, these plaques are closely related to two roundels depicting traditional coastal scenes, one which features a virtually identical lighthouse. Executed at the Galleria dei Lavori in the first half of the eighteenth century, they are in the collection of the Museo dell'Opificio delle Pietre Dure, Florence (illustrated F. Rossi, La Pittura di Pietra, Florence, 1984, pp. 104-105). In terms of stones, both sets of panels use a type of translucent alabaster to render the clouds, a comparable pale green stone - possibly diaspro di Sicilia - for the depiction of the sea and a similar verde antico to compose the surrounding landscape and trees.

The popularity of panels featuring rustic port scenes endured throughout the century as exemplified by the set of panels depicting related harbor scenes, incorporated on the superb commode à encoignures by Martin Carlin and Adam Weisweiler, formerly in the Rothschild Collection, Paris, and subsequently sold Christie's, Monaco, 11 December 1999, lot 30 (W. Koeppe and A. Giusti, Art of the Royal Court: Treasures in Pietre Dure from the Palaces of Europe, New York, 2008, pp. 334-335). Further known examples featuring similar harbor scenes include a George III cabinet in the Gilbert Collection, and the secrétaire-à-abattant executed by Martin Carlin circa 1780, now in the Louvre (A.M. Massinelli, The Gilbert Collection, Hardstones, London, 2000, cat. 6, pp. 44 - 46; A. Giusti, Pietre Dure and the Art of Florentine Inlay, London, 2005, pp. 210-211, respectively).

THE GRAND DUCAL WORKSHOPS
The Medici passion for hardstones and intarsia began under Cosimo I Medici (1519-1574) who acquired numerous works in pietra dura from Rome, the centre of lapidary production in the 16th century. While there were artisans of pietra dura in and around Florence from around 1550, it was only under Cosimo’s sons Francesco I (1541-1587) and Fernando I de Medici (1539-1609) that Florence was able to compete with and eventually exceed the output of the Eternal City. Fernando I founded the Grand Ducal pietre dure manufactory, known as the ‘Galleria dei Lavori’, in 1588. The workshops would provide works of art in hardstones and porphyry not only for Grand Ducal commissions but also for foreign princes and collectors and from its early stages it distinguished itself from the Roman lapidaries for its varied production and particularly its specialism in scenes uniting nature, art and science. While Florentine pietra dura utilised stones occurring naturally in Tuscany, such as pietra paesina and Alberese, the workshops also imported valuable and costly stones from across Italy and Europe, including Sicilian jasper, Bohemian agate and black marble from Flanders. Plaques to be incorporated into cabinets, caskets, clocks, tabletops and panels for display produced by the Florentine workshops depicted complex images including birds, vases of flowers, landscapes, narrative scenes and trophies which differed from the geometric patterns favoured in Rome. The Grand Ducal Workshops attracted skilled artisans and designers from across Italy and Europe including gem-cutters from Milan and cabinetmakers from Germany and the Low Countries. Superintendents of the Galleria dei Lavori included celebrated draughtsmen and designers like Jacopo Ligozzi (1547-1627) and Giovanni Battista Foggini (1652-1725), the latter who, under the auspices of Cosimo III (1670-1723), originated rich baroque designs often incorporating flowers and birds on black paragone grounds, the culmination of which can be considered the famous Badminton Cabinet. The death of Gian Gastone (d. 1737), the last Medici Grand Duke did not spell the end of the Grand Ducal Workshops but from the mid-18th century the baroque repertoire of the manufactory, now under Habsburg control, was exchanged for realistic figures and landscapes based closely on formal paintings by artists like Giuseppe Zocchi (fl. 1750-67) and eventually for neoclassical compositions with the approach of the 19th century, by which point the workshops were known as the Opificio delle pietre dure, the name it retains to this day.