The art of wood-carving was developed principally in the production of choir-stalls and altar-pieces. The building of a beautiful temple to the glory of God was usually begun by some pious founder from motives of gratitude or repentance. It was dedicated to some patron saint, and the work was carried out under the supervision of some abbey or other religious house. Often the church or cathedral was originally the abbey church itself. In early Mediaeval days, the arts and sciences were confined to the cloister, and the embellishment of the Holy House was a labour of love. Many an obscure monk put all that was beautiful and fanciful in his nature into the production of carvings in stone and wood that have never been surpassed. The precise date at which choir-stalls were introduced into churches is not known; but it is certain that they were in general use as soon as the Pointed Style was finally established, that is to say, not later than the thirteenth century. When the sanctuary was railed off from the rest of the church, the priests, in their light garb, naturally wanted to be protected from cold, damp and draught by woodwork, which, like the high back of a settle, enclosed the choir. The stall is composed of several parts: the socle, the tablet, or seat, half of which can be raised, as it turns on hinges, the half thus raised, called the _miséricorde_, serves as a support for a person resting, half standing, half sitting; the _paraclose_, or sides that separate it from the adjoining stalls [the forward extremities of these are called _museaux_ (snouts)]; the arm rest; the high back; the daïs, or baldaquin; and, lastly, the woodwork at each end of a set of stalls, called _jouées_ (cheeks). With the exceptions of the socle and seat, every part of the stall in all the great Gothic churches has received very richly carved ornamentation, which is often remarkable for its profusion of detail.