Some early ambones are found in Ravenna, and in the south of Italy are many fine examples; the epistle ambo in the cathedral at Ravello (1130), which is perhaps the earliest, shows a Scandinavian influence in the design of its mosaic inlay, an influence which is found in Sicilian work and may be a Norman importation.
From like sources and from inlay-work we have also representations of palaces and houses.
Additional richness was given to Greek bronze-work by gold or silver inlay on lips, eyes and borders of the dress; one remarkable statuette in the British Museum has eyes inlaid with diamonds and fret-work inlay in silver on the border of the chiton.
Delicate pierced vessels of gilt brass, enriched by tooling and inlay of gold and silver, were among the chief specialties of the Persians.
New contrasts are formed by the juxtaposition of differently toned metals; or these with an inlay of haliotis shell, introduced by Alfred Gilbert; or of coloured wax, favoured by Onslow Ford; or enamelling, perfected by Professor von Herkomer; or stained ivory, pearls, or semi-precious stones.
The outsides of the principal doorways and their pointed arches are magnificently enriched with carving and coloured inlay, a curious combination of three styles - Norman-French, Byzantine and Arab.
A piece of a large tile, and part of a glazed vase, have the royal titles and name of Menes, originally in violet inlay in green glaze.
And a profusion of forms is shown by the moulds and actual examples, for necklaces, decorations, inlay in stone and applied reliefs on vases.
The further enrichment of the object by enamels and inlay of other metals was practised at a very early period by Assyrian, Egyptian and Greek metal-workers, as well as by the artists of Persia and medieval Europe.
These were worked by casting and hammering, and ornamented by inlay, gilding and enamels with the greatest possible skill.
His lacquer-ware is distinguished for a bold and at times almost eccentric impressionism, and his use of inlay is strongly characteristic. RitsuO (1663-1747), a pupil and contemporary of KOrin, and like him a potter and painter also, was another lacquerer of great skill.