h advertises
naively, that it is an "Artistical Photograph Laboratory."

On the door of St. Germain l'Auxerrois in Paris, there is a portrait
statue of St. Genevieve, holding a lighted candle, while "the devil
in little" sits on her shoulder, exerting himself to blow it out!
It is quite a droll conceit of the thirteenth century.

Of the leaf forms in Gothic sculpture, three styles are enough to
generalize about. The early work usually represented springlike
leaves, clinging, half-developed, and buds. Later, a more luxuriant
foliage was attempted: the leaves and stalks were twisted, and
the style was more like that actually seen in nature. Then came
an overblown period, when the leaves were positively detached,
and the style was lost. The foliage was no longer integral, but
was applied.

There is little of the personal element to be exploited in dealing
with the sculptors in the Middle Ages. Until the days of the Renaissance
individual artists were scarcely recognized; master masons employed
"Imagers" as casually as we would employ brick-layers or plasterers;
and no matter how brilliant the work, it was all included in the general
term "building."

The first piece of signed sculpture in France is a tympanum in the
south transept at Paris, representing the Stoning of Stephen. It
is by Jean de Chelles, in 1257. St. Louis of France was a patron of
arts, and took much interest in his sculptors. There were two Jean
de Montereau, who carved sacred subjects in quite an extraordinary
way. Jean de Soignoles, in 1359, was designated as "Macon et Ymageur."
One of the chief "imageurs," as they were called, was Jacques Haag,
who flourished in the latter half of the fifteenth century, in
Amiens. This artist was imprisoned for sweating coin, but in 1481
the king pardoned him. He executed large statues for the city gates,
of St. Michael and St. Firmin, in 1464 and 1489. There was a sculptor
in Paris in the fourteenth century, one Hennequin de Liege, who
made several tombs in black and white marble, among them that of
Blanche de France, and the effigy of Queen Philippa at Westminster.

It was customary both in France and England to use colour on Gothic
architecture. It is curious to realize that the facade of Notre
Dame in Paris was originally a great colour scheme. A literary
relic, the "Voyage of an Armenian Bishop," named Martyr, in the
year 1490, alludes to the beauty of this cathedral of Paris, as
being ablaze with gold and c