very unusual
treatment of the subject in the Middle Ages. It was brought from the
East, in all probability, by a returning warrior from the Crusades.

The foundation of Chartres was very early: the first Bishop St.
Aventin occupied his see as early as 200 A. D. The early Gothic type
in figure sculpture is always characterized by a few features in
common, though different districts produced varying forms and facial
expressions. The figures are always narrow, and much elongated, from
a monumental sentiment which governed the design of the period. The
influence of the Caryatid may have remained in the consciousness of
later artists, leading them to make their figures conform so far as
expedient to the proportions of the columns which stood behind them
and supported them. In any case, it was considered an indispensable
condition that these proportions should be maintained, and has come
to be regarded as an architectural necessity. As soon as sculptors
began to consider their figures as realistic representations of
human beings instead of ornamental motives in their buildings,
the art declined, and poor results followed.

The west porch of Chartres dates from the twelfth century. The church
was injured by fire in 1194. In 1226 certain restorations were made,
and an old chronicle says that at that time it was quite fire-proof,
remarking: "It has nothing to fear from any earthly fire from this
time to the day of Judgment, and will save from fires eternal the
many Christians who by their alms have helped in its rebuilding."
The whole edifice was consecrated by St. Louis on Oct. 17, 1260.
The King gave the north porch, and several of the windows, and the
whole royal family was present at this impressive function.

About the time of William the Conqueror it became customary to
carve effigies on tombstones, at first simple figures in low relief
lying on flat slabs: this idea being soon elaborated, however,
into canopied tombs, which grew year by year more ornate, until
Gothic structures enriched with finials and crockets began to be
erected in churches to such an extent that the interior of the
edifice was quite filled with these dignified little buildings.
In many instances it is quite impossible to obtain any view of
the sanctuary except looking directly down the central aisle; the
whole ambulatory is often one continuous succession of exquisite
sepulchral monuments.

[Illustration: TOMB OF THE SON OF ST. LOUIS, ST. DENIS]