ury, a cathedral was built which was
one of the most splendid examples of a union of the two styles that
could be produced. The sculptures show the effect of the new French
manner in their life and ease of grouping and attitude, while they are
still crowded and over-decorated, as in the earlier days, and the fixed
architectural frame of the German style is preserved throughout. (Fig.
76.)

[Illustration: FIG. 76.--FROM THE WEST FACADE, STRASBURG CATHEDRAL.]

There is reason to believe that the relief of the Death of the Virgin,
at Strasburg, was the work of Sabina von Steinbach, a daughter of the
architect of the west facade of the cathedral. The grouping is fine, and
the transparent drapery, which reminds us of the same effects in
antique sculpture, is beautifully executed.

In the Cathedral of Freiburg, the nave of which was completed in 1270,
there are some very fine sculptures, which are like the Rheims works in
spirit and execution; a figure of the Madonna is one of the best statues
of the time in any country. There is much to admire in the whole of this
cathedral. Here and there in Germany there are some tomb-sculptures of
the thirteenth century, which are simple, noble, and individual; but the
progress of art here was much less rapid than in France.

Another marked event in the art history of the thirteenth century was
the introduction of sculpture into England. The few pieces of plastic
art which existed in that country before this date were not sufficient
in number or excellence to merit the name of English sculpture.

[Illustration: FIG. 77.--DUKE ROBERT OF NORMANDY.]

The first important step was made about the end of the twelfth century,
when Guillaume de Sens, a French architect, was employed to build a new
choir to Canterbury Cathedral. Not long after this the Temple Church was
erected; then Westminster Abbey followed, and at length, under Henry
III., all the arts were rapidly advanced in his kingdom. This king
summoned artists and skilled workmen from different countries, and
portrait-sculpture received especial attention in the England of that
day. By comparing English tomb-sculpture with that of other countries,
it is seen that the aim of the artists was to make the statues resemble
those whose memories they honored, far more than other nations had
done. The illustration given here, with its air of life--almost of
motion--is a good example of what I mean (Fig. 77).

The sculptures upon the Englis