We may select amongst other examples the following, which can be studied in the museum or referred to in that work. For instance, n^{o.} 368 (fully described in Mr. Maskell's "Ivories") is one leaf of a consular diptych of Anastasius Paulus Probus Sabinianus Pompeius. The consul is represented seated on a chair of very ornate character. It is like the old folding curule chairs of Rome, but with elements both of Greek and Egyptian ornamentation, such as belong to the massive marble seats, supported by lions or leopards, with the heads sculptured above the upper joint of the hind legs. In the mouths of these lions' heads are rings for the purpose of carrying the chair, and the top frame is ornamented with little panels and medallions containing winged masks and portrait heads of the consul and his family or of members of the imperial family. On each side of the seat are small winged figures of Victory standing on globes and holding circular tablets over their heads. These probably represent the front of the arms, and are supposed to have a bar stretching from the heads or the circular tablets to the back of the seat. This feature too is a continuation of types that are to be found on Greek vases and in the chairs of both Nineveh and Egypt. A low footstool with an embroidered cushion on it is under the feet of the consul, and another cushion, also embroidered, covers the seat. This represents a chair of the sixth century. A seat still more like the curule chair, but with a high back, is represented in another ivory, n^{o.} 270, in the South Kensington collection. This piece is a plaque or tablet with a bas-relief of two apostles seated. The chairs are formed of two curved and recurved pieces each side, which are jointed together at the point of intersection. One pair of these pieces is prolonged and connected by straight cross-bars, and forms a back. Two dolphins, with the heads touching the low front pieces and the tails sloping up and connected with the back, form the arms. This belongs to the ninth century. The lyre back, a form not unknown in old Greek and thence adopted among Roman fashions, is also to be seen in chairs on ivories and in manuscripts. Round cushions were hung on the back, others covered the seat. These are seen also figured in the mosaics of Venice, and later of Monreale in Sicily which retained much of the Byzantine spirit. The art of Sicily continued longer subject to Constantinople than that of most of its Italian provinces, and Venice preserved her old traditions far into the period of the European revival of art. The beds, as represented in manuscript illuminations, belong chiefly to religious compositions such as the Nativity, or visions appearing to saints in their sleep. They are couches in the old Roman form, or are supported on turned legs, from the frames of which valances hang down to the ground. Sometimes a curtain acts as a screen at the head or on one side, but testers are wanting.