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.
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.
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.
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.