Carefully made games with marbles from Val di Fassa also belonged to the items exported from Val Gardena. The game 'Kakelorum' worked like roulette, with the marble being thrown into the turban or crown of the figurine hollowed out like a helter-skelter. The marble then rolls down the spiral to land in the numbered dents in the plate at its base. 

Katharina Kasslatter, known as Trina da Gustin, was one of the first students at the specialist school in Selva Gardena, opened in 1908. This small sculpture out of Swiss pine depicts her sitting on her work stool wearing her traditional costume. Kasslatter started learning wood carving from her mother when she was eight years old. She signed her works in order to set herself apart from anonymous domestic producers.

This carved, unvarnished sculpture shows Diana, the Roman goddess of hunting, with her right arm around a deer and a bouquet of flowers in her left arm. There is a bow and arrow in front of her. This small figurine is an expression of the stylistic renewal going on in the two Val Gardena art schools, which started to embrace art nouveau during the 1920s under the management of Guido Balsamo Stella. 

In 1925, both art schools in Val Gardena took part in the International Exhibition in Paris. Albino Pitscheider, a master in carving small works of art and art teacher in Selva Gardena from 1910 to 1924 as well as from 1919 to 1940, was awarded a gold medal along with his colleague Lusi Insam. The octagonal medal shows an allegory of spring on one side, while it has a bouquet of flowers on the other side. 

A woman with a basket on her back, a man with a sack slung over his shoulder: carved figurines of vagabonds and beggars were a speciality for Val Gardena artists from the last third of the 18th century. They usually come in pairs and are depicted in a very realistic manner: haggard, often crippled, with ragged clothes, walking stick and hat. Missing or worn-out shoes are another feature of Val Gardena figurines.  

Flagellation, a crown of thorns, hammer, nails, pliers, lances, vinegar-soaked sponge and ladder, dice and Jesus' garments: nothing connected with Christ's crucifixion was left out of this baroque crucifixion group from Val Gardena. The reason is simple: the Instruments of the Passion were considered powerful weapons in the fight against evil. The house that this devotional item originates from is not known.  

For a long time, dancing battle horses were children's favourite toys at the time of the Habsburg empire, with the items to be painted sent to Oberammergau at first. It was not until 1800 that the people of Val Gardena came up with the procedure for the right composition of colour and varnish. And even then, only certain items like doll's heads and rocking horses were painted, mainly by women.

Pinocchio and Fortunello demonstrate how political change, the vicissitudes of the market, as well as fashion and technology, taste and educational methods have influenced the development of wooden toys in Val Gardena. Vinzenz Senoner's (Vastlè, Selva Gardena) SEVI company managed to keep pace with the societal changes of the 20th century and adapt to new markets with a supply of high-quality products.

Mobile fish, red elephants, ducks to tow: designers from Italy and German were always developing new motifs commissioned by SEVI. New technology allowed the expansion of the product range and materials, too. This is how SEVI had the whole children's toy area covered. Yet the products still kept their originality and had artistic impact. 

Pulling toys like these fighting goats were called 'tica-taca' in the Ladin language. In its heyday before 1914, the Val Gardena range comprised up to 500 articles, including dolls, horses, carts, waggon, hampelmans, marble games, tightrope walking toys, acrobats and all kinds of figurines. There was no protection of designs, and items could be copied by other producers.