Another fine piece of Flemish wood-carving is preserved in the old _Salles des Gardes_ of the Palace in Dijon, where it forms a decoration of the chimney-piece. This is a panel of carved wood, the last remnant of the choir-stalls in the ducal chapel. The centre of the panel was the back of John the Fearless’s seat. The upper part terminating in a pointed arch and bordered with festoons ornamented with foliage surrounds the Duke’s shield, which is supported by two angels. The arms of eight dependent provinces are carved in the lower part of the panel, enlaced in a trellis of mouldings decorated with chicory leaves, and further enriched by four angels playing various instruments. The Dijon Museum contains another splendid piece of wood-carving of the same date in the seat or _forme_ for the accommodation of the priest, deacon, and subdeacon of the Chartreuse. This was carved in 1395 by John of Liège, a carpenter, for the sum of two hundred and fifty francs, to which another hundred were afterwards added in recognition of the excellence of the work. The _forme_ is a species of _banc_ divided by arms into stalls like choir-stalls. The _forme_ always had a back which grew larger about the end of the twelfth century, and at a later date, it was surmounted by a daïs. The _forme_ was always considered to be a seat of honour. John de Marville set to work on the Duke’s tomb in 1383, and in 1388 was succeeded by Claus Sluter, who also executed much important work. In the chapel of the Chartreuse at Dijon, he represented Philip the Bold and the Duchess Margaret kneeling at the feet of St. Anthony and St. Anne. In 1404, he retired to the monastery of St. Etienne de Dijon, and was succeeded in his post of “_imagier_ and _valet de chambre_” to the Duke of Burgundy by his nephew Claes, or Nicholas, van de Werve. In 1393, Philip the Bold sent his painter, Jehan de Beaumetz, and his sculptor, Claus Sluter, to see the works that his brother, the Duke of Berry, had had André Beauneveu make at the Château Mehun-sur-Yèvre. Burgundy was especially famous among French provinces for its woodwork. Many masterpieces were created by the Dukes of Burgundy. There were, however, other patrons of this art, the great Abbeys of Clairvaux, Citeaux, Cluny and Vézélay. Numerous schools of workmen gathered around these monasteries, faithfully preserving the traditions of the master-sculptors of the past and bequeathing them to their successors of the Renaissance. A great deal of their most ornate and skilful work was naturally upon the choir-stalls. Those in the Abbey of Charlieu with figures of saints painted on wooden panels (later in the Church of Charolais), and the old Abbaye de Montréal (Yonne) are especially notable.