<P> Another revival of classical style is seen in the International Gothic work of Claus Sluter and his followers in Burgundy and Flanders around 1400 . Late Gothic sculpture continued in the North, with a fashion for very large wooden sculpted altarpieces with increasingly virtuoso carving and large numbers agitated expressive figures; most surviving examples are in Germany, after much iconoclasm elsewhere . Tilman Riemenschneider, Veit Stoss and others continued the style well into the 16th century, gradually absorbing Italian Renaissance influences . </P> <P> Life - size tomb effigies in stone or alabaster became popular for the wealthy, and grand multi-level tombs evolved, with the Scaliger Tombs of Verona so large they had to be moved outside the church . By the 15th century there was an industry exporting Nottingham alabaster altar reliefs in groups of panels over much of Europe for economical parishes who could not afford stone retables . </P> <Ul> <Li> <P> South portal of Chartres Cathedral (c. 1215 - 20). </P> </Li> <Li> <P> West portal at Rheims Cathedral, Annunciation group . </P> </Li> <Li> <P> Nicola Pisano, Nativity and Adoration of the Magi from the pulpit of the Pisa Baptistery . </P> </Li> <Li> <P> Claus Sluter, David and a prophet from the Well of Moses . </P> </Li> <Li> <P> Base of the Holy Thorn Reliquary, French (Paris), 1390s, a Resurrection of the Dead in gold, enamel and gems . </P> </Li> <Li> <P> Man of Sorrows on the main portal of Ulm Münster by Hans Multscher, 1429 . </P> </Li> <Li> <P> Panelled altarpiece section with Resurrection of Christ, English Nottingham alabaster, 1450--90, with remains of colour . </P> </Li> <Li> <P> Detail of the Last Supper from Tilman Riemenschneider's Altar of the Holy Blood, 1501--05, carved limewood, Rothenburg ob der Tauber, Bavaria . </P> </Li> </Ul> <Li> <P> South portal of Chartres Cathedral (c. 1215 - 20). </P> </Li>

The city of was a major center of book production in the gothic period