Wood Sculpture
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Wood Sculpture Overview
This volume was published in 1911.
A short summary from the Preface:
Hardly any other division of the arts covers so wide a field as
that which is open before us in the study of the use of wood
in its I decorative applications of every kind. The history of
all the arts in all countries from the earliest Egyptian times;
the schools of painting, of engraving, and of sculpture in
other materials; the goldsmiths', metal-workers', and even
the potters' crafts; church lore and liturgiology; the varieties
of futniture of every description, ecclesiastical and domestic;
the science and art of coins and medals; symbolism, natural
history, botany, even heraldry -- these things and more,
perhaps, confront us from time to time, and present points
of contact which cannot be ignored. In endeavouring, there-
fore, to treat so comprehensive a subject, in a single volume,
I cannot but be aware that I lay myself open to the criticism
of specialists in all the many divisions with which I may have
the hardihood to connect it, and I can scarcely expect to
avoid the numerous pitfalls.
After about the twelfth century the quantity of available
material is so great that it seemed to me that the only plan
would be to restrict the general scope in the main to figure
sculpture and to certain decorative work in relief, and to
consider what examples could be selected which would best
illustrate the evolution of the art and the influences exerted
by one country on another. It may be asked why such and
such a figure or other work has been included, or why such
another one has been passed over. The only answer is that
a choice had to be made. It was necessary, also, to draw a
line somewhere, and I have done this -- generally speaking --
at the end of the Gothic period. Whole geographical divisions --
Russia, China, Japan, and the East have, perforce also, been
left untouched.
..............................................................................
Chapters:
Chapter I. Introductory — Prehistoric Art — Wood Sculpture in Ancient Egypt
Chapter II. Wood Sculpture in the early Middle Ages and Later
Chapter III. The Thirteenth, Fourteenth, and Fifteenth
Centuries -- Guilds and Corporations
Chapter IV. Retables in Flanders and Germany
Chapter V. Wood Sculpture in Germany in the Fifteenth and
Early Sixteenth Centuries
Chapter VI. The Franconian, Bavarian, and other German
Artists and Workshops of the End of the Gothic Period
Chapter VII. Veit Stoss — Riemenschneider — Pacher -- Multscher
-- Briggemann
Chapter VIII. Sculpture in Boxwood — Francesco da Sant' Agata
— Conrad Meit — Hans Wydz
Chapter IX. German Medallions iri Wood
Chapter X. Microscopic or Miniature Wood Sculpture
Chapter XI. Wood Sculpture in Spain — Some Spanish
Retables and their Makers
Chapter XII. Crucifixes and Madonna Figures
Chapter XIII. On some Examples of Wood Sculpture of the
Trecento and Quattrocento in Italy
Chapter XIV. On the Colouring of Wood Sculpture
Chapter XV. Wood Sculpture in England in the Thirteenth,
Fourteenth, and Fifteenth Centuries -- Coffers, Chest and
Panellings -- Sepulchral Effigies and Small Figure Work
Chapter XVI. Choirs and Choir Stalls
Chapter XVII. Symbolism in Church Woodwork -- Misericords --
Bench-Ends
Chapter XVIII. Chancel Screens and other Carved Woodwork
in Parish Churches in the West of England
Conclusion
Wood Sculpture Specifications
This volume was published in 1911.
A short summary from the Preface:
Hardly any other division of the arts covers so wide a field as
that which is open before us in the study of the use of wood
in its I decorative applications of every kind. The history of
all the arts in all countries from the earliest Egyptian times;
the schools of painting, of engraving, and of sculpture in
other materials; the goldsmiths', metal-workers', and even
the potters' crafts; church lore and liturgiology; the varieties
of futniture of every description, ecclesiastical and domestic;
the science and art of coins and medals; symbolism, natural
history, botany, even heraldry -- these things and more,
perhaps, confront us from time to time, and present points
of contact which cannot be ignored. In endeavouring, there-
fore, to treat so comprehensive a subject, in a single volume,
I cannot but be aware that I lay myself open to the criticism
of specialists in all the many divisions with which I may have
the hardihood to connect it, and I can scarcely expect to
avoid the numerous pitfalls.
After about the twelfth century the quantity of available
material is so great that it seemed to me that the only plan
would be to restrict the general scope in the main to figure
sculpture and to certain decorative work in relief, and to
consider what examples could be selected which would best
illustrate the evolution of the art and the influences exerted
by one country on another. It may be asked why such and
such a figure or other work has been included, or why such
another one has been passed over. The only answer is that
a choice had to be made. It was necessary, also, to draw a
line somewhere, and I have done this -- generally speaking --
at the end of the Gothic period. Whole geographical divisions --
Russia, China, Japan, and the East have, perforce also, been
left untouched.
..............................................................................
Chapters:
Chapter I. Introductory — Prehistoric Art — Wood Sculpture in Ancient Egypt
Chapter II. Wood Sculpture in the early Middle Ages and Later
Chapter III. The Thirteenth, Fourteenth, and Fifteenth
Centuries -- Guilds and Corporations
Chapter IV. Retables in Flanders and Germany
Chapter V. Wood Sculpture in Germany in the Fifteenth and
Early Sixteenth Centuries
Chapter VI. The Franconian, Bavarian, and other German
Artists and Workshops of the End of the Gothic Period
Chapter VII. Veit Stoss — Riemenschneider — Pacher -- Multscher
-- Briggemann
Chapter VIII. Sculpture in Boxwood — Francesco da Sant' Agata
— Conrad Meit — Hans Wydz
Chapter IX. German Medallions iri Wood
Chapter X. Microscopic or Miniature Wood Sculpture
Chapter XI. Wood Sculpture in Spain — Some Spanish
Retables and their Makers
Chapter XII. Crucifixes and Madonna Figures
Chapter XIII. On some Examples of Wood Sculpture of the
Trecento and Quattrocento in Italy
Chapter XIV. On the Colouring of Wood Sculpture
Chapter XV. Wood Sculpture in England in the Thirteenth,
Fourteenth, and Fifteenth Centuries -- Coffers, Chest and
Panellings -- Sepulchral Effigies and Small Figure Work
Chapter XVI. Choirs and Choir Stalls
Chapter XVII. Symbolism in Church Woodwork -- Misericords --
Bench-Ends
Chapter XVIII. Chancel Screens and other Carved Woodwork
in Parish Churches in the West of England
Conclusion
