Of course, in inferior houses life was still pretty rough; but, in taking the history of furniture as a chronicle of progress, we naturally turn to the castles of the pioneers of luxury - the rich. About this time the increased demand of a growing population for furniture is suggested by the sub-divisions in the names of artisans. At first the artist, sculptor, carpenter, were one man; now we hear of carpenters, huchiers or coffer makers, menuisiers or joiners, chessboard-makers, and wheelwrights (Mahier, a wheelwright, made in 1415 a wheeled chair in walnut wood for the Queen Isabeau de Baviere) - all probably distinct from the ymaigier, or regular sculptor, or the portreyour who contributed quaint Gothic paintings to the cathedral porch or niche or the monkish genius who carved or illuminated in his quiet cell for money for the Lord's sake.

Then probably it was the ambition of rich folks to possess the works of specialists like Petrot (1360) and Lucas (1496), the chess-board makers, Mahier the wheelwright, and many more, as we love to have a picture by Birket Foster or Landseer - something to point out to visitors, to chat about if not to worship. We hear of Giuliano du Maiano and his nephew Benedetto, 'sculptors and joiners,' devising novelties, inventing inlaid work and new kinds of marqiteterie - a development which speaks volumes for the change in social conditions.

It was not until the perils and vicissitudes of feudal conditions were at an end that native talent had a fair chance to perfect itself, wondrously as it had survived discouragement, like a flower uprising in the midst of frost and vicious influences.

There is very little doubt that originally carving was simply used as a foundation for painting; perhaps because the art of painted shading had not yet become as effective in variegated colour as natural shadows cast by raised figures. As the coloured shadows and intermediate tints were more appreciated, the relief of the carved ornament was certainly heightened, and the details more elaborated. Thus we can understand sculpture being more popular than painting, which could not yet produce so vivid an effect; and we may believe that painted sculpture offered all that roundness and chiaroscuro which flat colouring lacked till almost the period of Albert Durer and Holbein.