§ 61. The actual development of the parish church comes to an end with the Reformation. The building of great churches, cathedral and monastic, ceased with the suppression of the monasteries. The suppression of the chantries, and the new doctrines which it symbolised, did away with one object which had been a powerful consideration with the lay benefactor of parish churches. Henceforward the best work of those English masons who, in every county, had for generations shaped the course of medieval art, and, with it, the best work of the wood-carvers and glaziers, is found in private houses. In the early part of the seventeenth century, under the influence of Laud, much restoration and rebuilding was done. Wood-carvers filled many churches with furniture of great beauty and historical value. Churches like St John's at Leeds, or the little chapel of Carlton Husthwaite in Yorkshire, are, in stone and woodwork alike, complete examples of the work of this period. Brancepeth, Sedgefield, and Eaglescliffe in Durham; Burneston in north Yorkshire; and, above all, Croscombe in Somerset, contain wooden furniture which one would not willingly exchange for medieval work. But, in spite of the richness and picturesqueness of seventeenth century woodwork, the art of the Laudian revival had no power to strike out new lines for itself. The chancels of Astley Abbots in Shropshire, Kelmarsh in Northamptonshire, and Barsham in Suffolk, interest us by their quaint adaptation of Gothic detail: they tell us nothing new. The art of the mason, as regards the parish church, is exhausted.