reparation of the Gospel of Peace;"
but Abbe Roze thinks it more likely that this figure represents
an unfrocked monk abandoning the church.

One of these displays the beasts in Nineveh, and a little squat
monkey, developing into a devil, is wittily characterized by Ruskin
as reversing the Darwinian theory.

The statues above these little quatrefoils are over seven feet
in height, differing slightly, and evidently portrait sculptures
inspired by living models, adapted to their more austere use in
this situation.

A quiet and inconspicuous example of exquisite refinement in Gothic
bas-relief is to be seen in the medallioned "Portail aux Libraires"
at the Cathedral in Rouen. This doorway was built in 1278 by Jean
Davi, who must have been one of the first sculptors of his time.
The medallions are a series of little grotesques, some of them
ineffably entertaining, and others expressive of real depth of
knowledge and thought. Ruskin has eulogized some of these little
figures: one as having in its eye "the expression which is never
seen but in the eye of a dog gnawing something in jest, and preparing
to start away with it." Again, he detects a wonderful piece of
realism and appreciative work in the face of a man who leans with
his head on his hand in thought: the wrinkles pushed up under his
eye are especially commended.

In the south transept at Amiens is a piece of elaborate
sculpture in four compartments, which are the figures of many saints.
There is a legend in connection with those figures: when the millers
were about to select a patron saint, they agreed to choose the saint
on whose head a dove, released for the purpose, should alight;
but as the bird elected to settle on the head of a demon, they
abandoned their plan! The figures in these carvings are almost
free of the ground; they appear to be a collection of separate
statuettes, the scenes being laid in three or four planes. It is
not restrained bas-relief; but the effect is extremely rich. The
sculptures in high relief, but in more conventional proportion
than these, which occur on the dividing wall between the choir and
the north aisle, are thoroughly satisfactory. They are coloured;
they were executed in 1531, and they represent scenes in the life
of the Baptist. In the panel where Salome is portrayed as dancing,
a grave little monkey is seen watching her from under the table.
The similar screen surrounding the sanctuary at Paris was the work
of the chief