in English, in which any information at all-and still less, illustrations-are to be found on many details which are here discussed. My indebtedness is great to such writers as Bode, in the case of German art, Fabriczy, Fogolari, and D'Achiardi for Italy, Molinier for France, Destrée for the Netherlands, and Habich for the German medallion carvers. Were it not for limitations of space, I should no doubt have availed myself still more largely of the learning and research of these writers. A word must be said in excuse of imperfections in the quality of some of the illustrations which may not be thought, in every case, entirely satisfactory. The photographing of the objects themselves, in museums, has often been attended with considerable difficulty, from their position in obscure corners, and from the practice of placing under glass. Others have had to be copied from poor photographs in books, or obtained from abroad, and, in the case of some important pieces, it has not been found possible to procure any photographs at all. In some instances, also, there has been the unsurmountable difficulty of adequately rendering the colouring of the sculpture. But in the matter of the illustrations, generally, my warmest thanks are due to several friends for their very kind and disinterested assistance. Amongst them I must especially mention Mr. George C. Druce,_Mr. Francis Bond, Mr. F. L. S. Houghton, M.A., Dom Bede Camm, the Rev. J. W. Banke, Mr. E. W. Smith, Mr. A. G. Thompson, Mrs. George Wilson, Mr. Frederick Evans, Mr. F. H. Crossley, Mr. Aymer Vallance, and Mr. Herbert Read, of the Woodcarving Works, Exeter, who has so ably restored many of the Devonshire chancel screens. To all these I am indebted for valuable aid by the loan of collections of photographs of English carved work, such as screens, misericords, and bench-ends, and, where I have been able to avail myself of it, by leave to reproduce from them. In addition, my publishers desire recognition of permission from the respective publishers or owners to make use of their copyright photographs for plates :Messrs. Alinari, Florence; Amsler and Ruthardt, Berlin; F. Bromhead, Clifton, Bristol; Carl Ebner, Stuttgart; M. Frankenstein, Vienna; A. Giraudon, Paris; Neue Photographische Gesellschaft, Steglitz-Berlin; Neurdein Frères, Paris; G. Schwartz, Berlin; Karl Teufel, Munich; W. Zink, Gotha. April 1911. A. M. CONTENTS CHAPTER II. Wood Sculpture in the early Middle CHAPTER III. The Thirteenth, Fourteenth, and PAGE CHAPTER V. Wood Sculpture in Germany in the Fifteenth and Early Sixteenth Centuries, CHAPTER VI. The Franconian, Bavarian, and CHAPTER VII. Veit Stoss-Riemenschneider- CHAPTER VIII. Sculpture in Boxwood-Fran- cesco da Sant' Agata-Conrad Meit-Hans CHAPTER XII. Crucifixes and Madonna Figures, CHAPTER XIII. On some Examples of Wood Sculpture of the Trecento and Quattrocento III. 1. Retable at Dijon. 2. CArved Letters: M. and F. of Margaret of Austria, IV. ALTARPIECE in Victoria and Albert Museum. 20 48 50 70 72 Lübeck. 88 V. RETABLE OF CLAUDE DE VILLA. Flemish. Fifteenth century, VI. RETABLE in Marienkirche, Flemish. Early sixteenth century, VII. ALTARPIECE at Cracow. German. By Veit VIII. HANGING ROSARY WREATH. By Veit Stoss. IX. GROUP. St. Anne and St. Joachim. Vic- XI. SHRINE by Riemenschneider. Veit Stoss, 102 104 114 116 Reliefs by 118 |