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 Museé de Souverains, Paris. Originally as a folding chair said to be