CARVING, a subordinate branch of sculpture, is usually performed on ivory or wood. No was the favorite material for this purpose in the e. from an early period. Among the Babylonians, who likewise practiced gem-engraving to a great extent, carved heads for staves were executed in vast quantities, as every Babylonian carried a staff and a signet ring. During the palmy days of Grecian art, ivory was largely employed ; the nude portion of the colossal statues of the gods being composed of some solid material over laid with plates of ivory, while the remaining portions were of plate gold. At a later period, ivory was chiefly employed in small works, usually of a decorative character. During the earliest period, statues of the gods were generally of wood, painted, gilt, or draped with colored robes, different kinds of wood being appropriated to different divinities. Carvings in ivory form an important branch of early Christian sculpture. Among the most curious of these are the ivory tablets adorned on the outside with low reliefs, and in the inside coated with wax for the purpose of writing upon. The chair inlaid with ivory that belonged to archbishop Maximilian in the cathedral at Ravenna, is of this period (546-55). In the year 803, Charlemagne received two richly carved doors as a present from Constantinople, but works of the saine kind were executed at a much earlier period. Towards the end of the middle ages, the art of C. in wood was brought to a high degree of perfection in Germany. Altars were adorned with
carvings of this material, often of large size, and with numerous figures; in general, the nude portions were carefully and tastefully colored after nature, and the draperies gilt. Specimens are .to be seen in the churches at Altenberg, Erfurt, Prague, and in some churches in Pomerania. The finest and most perfect specimens are a series of reliefs relating to the doctrine of transubstantiation in the church at Tribsees. Many of the Belgian churches also possess very beautiful examples of wood-carving. Michael Wohl geinuth of Nuremberg, and after him Veit Stoss, were eminent carvers in wood. The wood-carving on the great altar of the cathedral at Schleswig by Hans Bruggernann belongs to the of the 16th century, Many graceful specimens of wood-carv ing, on a smaller scale, belonging to this period, are to be seen in museums. Nurem berg was celebrated for its wood-carvings; but only a few of the many works ascribed to him can be assigned with certainty to Albert IThrer. Portrait medallions, usually cut in box, were much in vogue during the early part of the 16th century. The first artist in this line was Hans Schwartz of Augsburg. During the 17th and 18th centuries, we find ivory again extensively employed in crucifixes, crosses, and goblets, with relief rep resentations. The most eminent artist is Franz de Quesnoy.