Of the smaller articles of furniture, the "bellows" and wall brackets of this period deserve mention; the carving of these is very carefully finished, and is frequently very elaborate. The illustration on page 51 is that of a pair bellows in the South Kensington Collection. In the famous Magniac Collection, which was sold in July, 1892, a pair of very finely carved Venetian bellows of this description realised the high price of 455 guineas. [Illustration: CARVED ITALIAN MIRROR FRAME, 16TH CENTURY. (_In the South Kensington Museum._)] The enrichment of woodwork, by means of inlaying, deserves mention. In the chapter on Ancient Furniture we have seen that ivory was used as an inlaid ornament as early as six centuries before Christ, but its revival and development in Europe probably commenced in Venice about the end of the thirteenth century, in copies of geometrical designs, let into ebony and brown walnut, and into a wood something like rosewood; parts of boxes and chests of these materials are still in existence. Mr. Maskell tells us in his Handbook on "Ivories," that probably owing to the difficulty of procuring ivory in Italy, bone of fine quality was frequently used in its place. All this class of work was known as "Tarsia," "Intarsia," or "Certosina," a word supposed to be derived from the name of the well-known religious community--the Carthusians--on account of the dexterity of those monks at this work.[5] [Illustration: A SIXTEENTH CENTURY "COFFRE-FORT."] Towards the end of the fourteenth century, makers of ornamental furniture began to copy marble mosaic work, by making similar patterns of different woods, and subsequently this branch of industrial Art developed from such modest beginnings as the simple pattern of a star, or bandings of different kinds of wood in the panel of a door, to elaborate picture making, in which landscapes, views of churches, houses, and picturesque ruins were copied, figures and animals being also introduced. This work was naturally facilitated and encouraged by increasing commerce between different nations, which rendered available a greater variety of woods. In some of the early Italian "intarsia" the decoration was cut into the surface of the panel, piece by piece. As artists became more skilful, veneers were applied, and the effect was heightened by burning with hot sand the parts requiring shading; and the lines caused by the thickness of the sawcuts were filled in with black wood or stained glue, to define the design more clearly.