With emphasis on the stylistic development, this thesis deals with dating and the pattern of distribution, of some 215 wooden sculptures from the period c. 1300-1375 in the medieval Diocese of Linköping. More than half of the sculptures are on the island of Gotland, eleven on the island of Öland, and the remainder in the provinces of Östergötland and Småland.

The study shows that the sculptures from the first quarter of the 14th century reveal a restrained style. During the period c. 1325-1350 they become more realistic with elegant or stronger lines. Around 1350 expressive elements emphasize the realism, especially the crucifixes show these impulses. A certain degree of individualization characterizes the third quarter of the 14th century. The dating is based on stylistic grounds, which in some cases is confirmed by dendrochronology. In addition, a number of works have been connected with churches dated either by the year of dedication, or by dendrochronology. Stylistic compatibility is shown between the part of the diocese on the mainland, Öland and Gotland, which suggests that the workshops probably influenced each other. It seems that the plastic arts were influenced by France, Germany, and possibly even England.

There appears to be a connection between the pattern of distribution of the sculptures on the mainland and the ecclesiastical organisation Ecclesia lincopensis. Sculptures of a monumental nature can often be found in churches which at times had contacts with the cathedral. Additionally, many neighbouring churches have stylistically closely-related works which suggests that travelling sculptors worked in the area, or that there was some cooperation when the works were commissioned.

In the diocese there is similarity in the style of the High Gothic wooden sculptures and works of other artistic techniques such as stone carvings, murals, and stained glass, which probably means that the craftsmen cooperated with each other, or worked from the same prototypes.