History of mediæval art . e blocks for thearchitectural framework. The con-nection between architecture andsculpture was so intimate that adifferent material was but rarelyemployed for the latter; indeed,the decorative details, both of fig-ures and of conventionalized pat-terns, were commonly executed bythe same guild of artists. In thoseprovinces where brick was almostexclusively in use, the lack of stonenaturally led, in the few works ofsculpture, to the adoption of clayas a substitute. Sculptures of thismaterial are most frequent in NorthGermany. Of especial importanceamong them are the sta
History of mediæval art . e blocks for thearchitectural framework. The con-nection between architecture andsculpture was so intimate that adifferent material was but rarelyemployed for the latter; indeed,the decorative details, both of fig-ures and of conventionalized pat-terns, were commonly executed bythe same guild of artists. In thoseprovinces where brick was almostexclusively in use, the lack of stonenaturally led, in the few works ofsculpture, to the adoption of clayas a substitute. Sculptures of thismaterial are most frequent in NorthGermany. Of especial importanceamong them are the statues of theGolden Portal at Marienburg inPrussia, representing the Wise andthe Foolish Virgins,—allegorical ofthe Church and the in clay, colored andglazed, were more rare, and seemto have been produced only in Sax-ony ; some few examples are to beseen in the Museum of the GrosserGarten in Dresden, and in the Ger-manic Museum at Nuremberg. Until the close of the fourteenth century carvings in wood re-. Fig. 388.—Monument of the ArchbishopConrad II. von Weinsperg (d. 1396), inthe Cathedral of Mayence. 620 GOTHIC SCULPTURE. mained as subordinate in artistic respects as they had been duringthe Romanic epoch. Such works as the beautiful group of theCrucifixion at Wechselburg, which dates to the beginning of thetransitional period, and, according to Bode, originally surmountedthe roodloft, were not produced in this branch during the two sub-sequent centuries. Carvings in wood lost their all-important stylist-ic peculiarity by being covered with a thick priming of chalk, ap-plied either directly upon the kernel, or upon strips of linen clothglued over the wood, after which the whole was painted, — thistreatment having been devised in order to make them resemblestone sculptures as closely as possible. Works of this kind are tobe found in the Chapel of the Trausnitz, and upon the funeral mon-uments of Duke Louis of Kelheim (d. 1231), and his wife Ludmillaof Bo
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