We are inclined to the belief (as already said) that the manufacture of geometrical work of this kind was originally imported from Persia by the Venetians. There are in the Kensington museum some very interesting old chairs made for the castle of Urbino, and part of the furniture of Guidobaldo II., whose court, like that of Réné, king of Provence, was the resort of troubadours, poets, and philosophers. These chairs are covered with geometric marquetry of white and stained ivory, &c., the very counterpart of the Bombay work now brought to this country. That manufacture, in the opinion of Dr. Birdwood, was also of Persian origin and thence found its way to Bombay. The Persians continued long into the last century the inlaying of ivory in walnut wood, and their geometric marquetry is still made. The forms of chairs in use in Italy early in the fifteenth century were revivals of the old Roman folding chair. The pairs of crosspieces are sometimes on the sides, sometimes set back and front, and in that case arm and back pieces are added. Generally we may say that the fine Italian furniture of that day owed its beauty to inlaying, surface gilding, tooling and painting. Gilt chests and marriage trays, inlaid tables, and chairs are also to be seen at South Kensington. As in Italy, so in England, France, Germany, and later in Spain, the splendour hitherto devoted to the glory of ecclesiastical furniture, utensils, or architectural decoration was gradually adopted in the royal and other castles and houses. State rooms, halls of justice, sets of rooms for the use of the king or his barons were furnished and maintained. The large religious establishments also demanded the skill of artists and workmen, and to a greater extent north than south of the Alps. Many monastic houses in the north of Europe were seats of feudal jurisdiction. These communities executed great works in wood, stall-work, presses, coffers, &c., as large and continuous societies alone are able to carry through tasks that want much time for completion. All this helped to encourage the manufacture of woodwork of the finest kind. Hence the mediæval semi-ecclesiastical character maintained sway in every art connected with architecture and furniture longer in northern countries than in Italy, where both old traditions and monumental remains recalled rather the glories of antique art, and where the revival of classic learning had begun. As regards English art it is certain that, partly from the influence of foreign queens, partly from foreign wars, and partly from the incessant intercourse with the rest of Europe kept up by religious houses, many of the accomplishments of other countries were known and practised here by foreign or native artists.