Raised embroidery, when it was padded with cotton, was called Stump Work. This was made extensively by the nuns of Little Gidding in the sixteenth and seventeenth centuries. Decided changes and developments took place in the seventeenth and eighteenth centuries, in all forms of embroidery, but these are not for us to consider at present. A study of historic samples alone is most tempting, but there is no space for the intrusion of any subject much later than the Renaissance. CHAPTER VII SCULPTURE IN STONE (_France and Italy_) Sculpture is not properly speaking the "plastic art," as is often understood. The real meaning of sculpture is work which is cut into form, whereas plastic art is work that is moulded or cast into form. Terra cotta, which is afterwards baked, is plastic; and yet becomes hard; thus a Tanagra figurine is an example of plastic art, while a Florentine marble statuette is a product of sculpture. The two are often confounded. We shall allude to them under different heads, taking for our consideration now only such sculpture as is the result of cutting in the stone. The work of Luca Della Robbia will not be treated as sculpture in this book. Luca Della Robbia is a worker in plastic art, while Adam Kraft, hewing directly at the stone, is a sculptor. We have no occasion to study the art of the sculptor who produces actual statues; only so far as sculpture is a companion to architecture, and a decorative art, does it come within the scope of the arts and crafts. Figure sculpture, then, is only considered when strictly of a monumental character. In attacking such a subject as sculpture in the Middle Ages it is impossible to do more than indicate the general tendencies in different countries. But there are certain defined characteristics an observance of which will make clear to any reader various fundamental principles by which it is easy to determine the approximate age and style of works.