hows signs of the transition to Gothic forms.
Large wooden crucifixes were carved in Germany in the eleventh and
twelfth centuries. Byzantine feeling is usual in these figures,
which are frequently larger than life.

Mediaeval wood carving developed chiefly along the line of altar
pieces and of grotesque adornments of choir stalls. Among the most
interesting of these are the "miserere" seats, of which we shall
speak at more length.

The general methods of wood carving resemble somewhat
those of stone carving; that is to say, flat relief, round relief,
and entirely disengaged figures occur in both, while in both the
drill is used as a starting point in many forms of design. As with
the other arts, this of carving in wood emanated from the monastery.

[Illustration: CARVED BOX-WOOD PYX, 14TH CENTURY]

The monk Tutilo, of St. Gall, was very gifted. The old chronicle
tells us that "he was eloquent, with a fine voice, skilful in carving,
and a painter. A musician, like his companions, but in all kinds
of wind and stringed instruments... he excelled everybody. In building
and in his other arts he was eminent." Tutilo was a monk of the ninth
century.

A celebrated wood carving of the thirteenth century, on a large
scale, is the door of the Church of St. Sabina in Rome. It is divided
into many small panels, finely carved. These little reliefs are
crowded with figures, very spirited in action.

Painted and carved shields and hatchments were popular. The Italian
artists made these with great refinement. Sometimes stucco was
employed instead of genuine carving, and occasionally the work was
embossed on leather. They were painted in heraldic colours, and
gold, and nothing could be more decorative. Even Giotto produced
certain works of this description, as well as a carved crucifix.

Altar pieces were first carved and painted, the backgrounds being
gilded. By degrees stucco for the figures came in to replace the
wood: after that, they were gradually modelled in lower relief,
until finally they became painted pictures with slightly raised
portions, and the average Florentine altar piece resulted. With
the advance in painting, and the ability to portray the round,
the necessity for carved details diminished.

Orders from a great distance were sometimes sent to the Florentine
Masters of Wood,--the choir stalls in Cambridge, in King's College
Chapel, were executed by them, in spite of the fact that Torregiano
alluded to them