Wood carving, one of the oldest arts, mentioned in Exodus xxxi. 5, has been practised in all ages and countries even among savages. In mediaeval times the art revived and was flourishing in Venice in the eighth century. It gradually spread over Europe and by the fifteenth and early sixteenth centuries ecclesiastical carving had reached a perfection in England which has not since been excelled. During the latter period carving on what small amount of furniture was then in use followed closely ecclesiastical models and the decorative treatment of the panelled walls. During Tudor and Jacobean times, as wealth increased and conditions became more stable, articles of furniture in oak increased in number, including arm-chairs, chests, presses, tables, bedsteads, often of stately proportions and barbaric splendour, and these were carved in the Renaissance style. Meanwhile in France and Flanders the carving of cabinets and other pieces of furniture in walnut and other woods had increased in excellence, and it was not until the time of Grinling Gibbons, towards the end of the seventeenth century, that this country had anything to compare with it. The marvellous work which he and his school of realistic carving produced had, however, more to do with decoration than furniture, except in the case of articles such as mirror frames, etc. In the Queen Anne period the carving of furniture had to a considerable extent given way to veneer and marquetry, but with the advent of mahogany with its hard close texture and suitability to the work, carving again became popular and furniture was freely decorated with designs of shells, masks, human and animal, cabochons, foliage, ribbons, etc. Soon after the beginning of the Mahogany period, Chippendale came to London and is reputed to have been a master carver. Hepplewhite followed with his distinctive features, and also Sheraton, but by his time painting, veneering and inlaying had to some extent supplanted carving. See Carving.