Mosaics were in vogue in Italy to the twelfth century, when painted decoration came into favour, and notable in the exploitation of this latter phase was the school of Giotto in the early part of the fourteenth century. Vaultings and spandrils were covered with painted subjects, strongly framed by ornamental borders, which served to strengthen the sense of construction in reinforcing the dividing ribs. With the advent of the Renaissance, these divisional bands became more architectural in treatment, and large areas, such as ceilings, were subdivided, the sub-divisions being based on a logical sense of construction. The name of Pinturrichio is associated with the Renaissance, among his works being the decorations of the Appartamenti Borgia in the Vatican, the Choir in Santa Maria del Popolo, Rome, and in Santa Maria Maggiore at Spello; contemporaneous was Perugino; another celebrated name is that of Gian Antonio Bazzi of Sienna, generally known as Sodoma. _Græco-Roman Influence_ Later exploiters of painted decoration, Raffaelle at the Vatican, Giulio Romano, Pierino del Vaga and Giovanni da Udine, were evidently influenced by the then recent discovery of late Græco-Roman decorations in the remains of the Baths of Titus. The same influence is found also in minor details--in the decoration of rooms and in the various pieces of furniture. Walls were panelled, sometimes enriched with carving, with inlaid patterns in intarsia, or with inlay of different woods in imitation of marble mosaic. Hangings of Genoese velvet or stamped and gilded leather were often used. Chairs were at first simple in form, having straight backs and legs, with broad, elaborately carved rails at the head of the back and between the front legs. Chests or cassone, called also marriage coffers, because it was customary to give them as wedding presents, generally took the form of the sarcophagus, supported on claw feet. In many instances they were decorated with gilt gesso, or were covered with exuberant carving. With the development of inlay, which degenerated into picture making, some later examples show attempts at perspectives, in which arches, doors, balustrades and paved floors were depicted. Cabinets were invariably raised on open supports and furnished with doors enclosing compartments and sets of drawers, the fronts of which were frequently decorated. [Illustration: No. 86. Venetian Table.] Tables were inlaid, carved and gilded. The prevailing form was a rectangular top, sometimes of marble, with wide, richly carved supports consisting of human and animal forms at either end; these were connected by a central stretcher at the base, from which sprang a series of arched forms reaching to the underside of the top. Walnut was commonly employed for constructive purposes, and ebony and many other woods were used both for veneers and inlay, as also were such materials as ivory, tortoiseshell and mother-of-pearl.