The earliest of the before-mentioned chairs, namely, the one at Ravenna, was made for the Archbishop about 546 to 556, and is thus described in Mr. Maskell’s “Handbook on Ivories,” in the Science and Art series:—­“The chair has a high back, round in shape, and is entirely covered with plaques of ivory arranged in panels carved in high relief with scenes from the Gospels and with figures of saints.  The plaques have borders with foliated ornaments, birds and animals; flowers and fruits filling the intermediate spaces.  Du Sommerard names amongst the most remarkable subjects, the Annunciation, the Adoration of the Wise Men, the Flight into Egypt, and the Baptism of Our Lord.”  The chair has also been described by Passeri, the famous Italian antiquary, and a paper was read upon it, by Sir Digby Wyatt, before the Arundel Society, in which he remarked that as it had been fortunately preserved as a holy relic, it wore almost the same appearance as when used by the prelate for whom it was made, save for the beautiful tint with which time had invested it.

Long before the general break up of the vast Roman Empire, influences had been at work to decentralise Art, and cause the migration of trained and skilful artisans to countries where their work would build up fresh industries, and give an impetus to progress, where hitherto there had been stagnation.  One of these influences was the decree issued in A.D. 726 by Leo III., Emperor of the Eastern Empire, prohibiting all image worship.  The consequences to Art of such a decree were doubtless similar to the fanatical proceedings of the English Puritans of the seventeenth century, and artists, driven from their homes, were scattered to the different European capitals, where they were gladly received and found employment and patronage.

It should be borne in mind that at this time Venice was gradually rising to that marvellous position of wealth and power which she afterwards held.

    “A ruler of the waters and their powers: 
    And such she was;—­her daughters had their dowers
    From spoils of nations, and the exhaustless East
    Pour’d in her lap all gems in sparkling showers;
    In purple was she robed and of her feasts
    Monarchs partook, and deemed their dignity increased.”

Her wealthy merchants were well acquainted with the arts and manufactures of other countries, and Venice would be just one of those cities to attract the artist refugee.  It is indeed here that wood carving as an Art may be said to have specially developed itself, and though, from its destructible nature, there are very few specimens extant dating from this early time, yet we shall see that two or three hundred years later ornamental woodwork flourished in a state of perfection which must have required a long probationary period.

[Illustration:  Dagobert Chair.  Chair of Dagobert, of gilt bronze, now in the Musee de Souverains, Paris.  Originally as a folding chair said to be the work of St. Eloi, 7th century; back and arms added by the Abbe Suger in 12th century.  There is an electrotype reproduction in the South Kensington Museum.]