sterly work, and was presented by Anton Tucher
in 1518. Veit Stoss was the leading figure among wood carvers of
the Renaissance, although Albrecht Duerer combined this with his
many accomplishments, as well.

Some of the carvings in wood in the chapel of Henry VII. at Westminster,
are adapted from drawings by Albrecht Duerer, and are probably the
work of Germans. Two of these, Derrick van Grove and Giles van
Castel, were working at St. George's, Windsor, about the same time.

The very finest example of Nueremberg carving, however, is the famous
wooden Madonna, which has been ascribed to Peter Vischer the Younger,
both by Herr von Bezold and by Cecil Headlam. It seems very reasonable
after a study of the other works of this remarkable son of Peter
Vischer, for there is no other carver of the period, in all Nueremberg,
who could have executed such a flawlessly lovely figure.

One of the noted wood carvers in Spain in the Renaissance, was
Alonso Cano. He was a native of Granada and was born in 1601. His
father was a carver of "retablos," and brought the boy up to follow
his profession. Cano was also a painter of considerable merit, but
as a sculptor in wood he was particularly successful. His first
conspicuous work was a new high altar for the church of Lebrija,
which came to him on account of the death of his father, who was
commencing the work in 1630, when his life was suddenly cut off.
Alonso made this altar so beautifully, that he was paid two hundred
and fifty ducats more than he asked! Columns and cornices are arranged
so as to frame four excellent statues. These carvings have been
esteemed so highly that artists came to study them all the way from
Flanders. The altar is coloured, like most of the Spanish retablos.
Cano was a pugnacious character, always getting into scrapes, using
his stiletto, and being obliged to shift his residence on short
notice. It is remarkable that his erratic life did not interfere with
his work, which seems to have gone calmly on in spite of domestic and
civic difficulties. Among his works at various places, where his
destiny took him, was a tabernacle for the Cathedral of Malaga.
He had worked for some time at the designs for this tabernacle,
when it was whispered to him that the Bishop of Malaga intended
to get a bargain, and meant to beat him down in his charges. So,
packing up his plans and drawings, and getting on his mule. Cano
observed, "These drawings are either to be given awa