The cut-away seat of this chest-bench also known as cassapanca rests on a moulded base. The lower part comprises two sections divided by a moulded element. First five oblique panels enriched with a geometrical inlaid decor then five straight panels with a lozenge and star decor.
The seat is highlighted by a glyph frieze and opens like a chest.
The back is flanked by two fluted Corinthian pilasters and is divided in three registers. Concentric frames alternate light wood lines, moulded reliefs and braid frames.
The entablature standing on the pilasters features a checkerboard inlaid architrave enriched by a palm-leaf frieze, a fusarole frieze and an egg-and-dart frieze. A final dentil cornice carved with lunula glyphs tops the cassapanca.
This inlaid decor is called certosina. It is made from very small elements and is used to create geometrical motifs, framings, swirls and other polygonal friezes. Etymologically certosina designates a work made by Carthusian monks. Disciples of Saint Bruno have spent centuries devoting themselves to manual works, challenging patience to give a unique embellishment to ecclesiastical furniture with wood, bone, ivory, mother-of-pearl and tin inlays. Soon the technic of certosina spread beyond Carthusian monasteries and was found in Florentine workshops amongst others.