Cupboards in the thickness of the wall are also to be seen in the frontispiece (fig. 154) to a copy of a French translation of Valerius Maximus[544], written in Flanders in 1479 for King Edward IV. The writer--probably intended for the author or the translator of the book--is seated at a desk, consisting of a plank set at an angle and capable of being turned aside by means of a central bracket, like that used by the Carmelite (fig. 136). Observe the two weights hanging over the edge of the desk and the ends of the two horns, intended to hold ink, projecting through it. The window, as in the picture representing the author of the Chronicles of Hainault at work, is glazed in the upper part only, while in the lower are two framed trellises of wire-work. Behind the writer are two cupboards in the thickness of the wall. One of these is open, and shews books lying on their sides, upon which are some pomegranates. I cannot suggest any reason for the introduction of these fruits, except that from their colour they make a pleasing variety; but I ought to mention that they occur very frequently in miniatures representing a writer at work. On the other side of the window is a small hanging cupboard. Here again a fruit is introduced on the lowest shelf. Round the room is a settle, raised above the floor on blocks at intervals. The seat is probably a chest, as in the settles described above in the Vatican Library. The last picture (fig. 155) in this series of illustrations represents what I like to call a scholar's room, at the beginning of the fifteenth century[545]. The owner of the apartment is busily writing at a desk supported on a trestle-table. He holds a _stylus_ in his left hand, and a pen in his right. The ink-horn he is using is inserted into the desk. Above it are holes for two others, in case he should require ink of different colours. Above the inkstand is a pen stuck in a hole, with vacant holes beside it. The page on the desk is kept flat by a weight. Above this desk is a second desk, of nearly equal size, on which lies an open book, kept open by a large weight, extending over two-thirds of the open pages. Behind the writer's chair is his book-chest. The background represents a well-appointed chamber. The floor is paved with encaustic tiles; a bright fire is burning on the hearth; the window, on the same plan as that described in the last picture, is open; a comfortable--not to say luxurious--bed invites repose. The walls are unplastered, but there is a hanging under the window and over the head of the bed. With this simple room, containing a scholar's necessaries and no more, I will contrast the study of the Duke of Urbino.