es were generally carved with a scene
from some love-story, such as two lovers playing chess, or going
a-hawking, or some detail from the favourite romance of Tristan and
Isolde. Possibly amongst these treasures was a saddle-bow, with a
wondrous wealth of carving, or chess-men finely modelled, and inlaid
with mother-of-pearl, or a triptych with scenes from the Passion,
represented under Gothic arches of most superb and delicate
workmanship. But it is perhaps in the Chapel that we must seek the
finest work, for here both Mahaut and her father, Count Robert, were
lavish with unsparing hand. One Jean le Scelleur, of Paris, a carver
of combs and toilet articles as well as of crucifixes and Virgins, is
named as her principal craftsman. Mention is made of a Cross carved by
him in cedar-wood with an ivory figure of the Christ, and of two ivory
figures of the Virgin, one under a canopy, and the other with the Holy
Child poised upon the hip, that sublime motive belonging more
especially to the thirteenth century. The chapel itself was beautified
with carved work in stone. Over the Altar, and in front of it, were
painted panels, enriched with gold, and translucent enamel over
colour. If we could picture to ourselves the manner of the sculptor's
work we may recall the "Vine-Capital" in Rheims Cathedral, where the
very stone itself seems to have been metamorphosed into tender foliage
by the unknown artist.

Of wood-carving, the accounts tell of Choir-stalls, presses for
vestments and various vessels and ornaments, and also of Angels,
gilded and painted and bearing the emblems of the Passion, for
standing round the High Altar. These are described as being raised on
slender columns, connected by a bar on which were laced fringed silk
curtains, thus forming a recess for the Altar. We can get some idea of
the simple beauty of this arrangement from a drawing, still preserved
in the sacristy of Arras Cathedral, of the High Altar in the old
Cathedral, and fortunately made before the latter, with all its
contents, was destroyed in the sixteenth century. It accords in every
detail with the inventory record of the Chapel of Hesdin. We may also
compare a picture (No. 783, "The Exhumation of St. Hubert") in the
Flemish room in the National Gallery, where a somewhat similar scheme
is shown.

Of the MSS. and Illuminations only brief mention can be made.
Surviving examples, and the records of the time, testify to the
splendour and the sum of t