Cases A, B

Case B

the Child, with the benignant and caressing suggestion so distinctive of such groups of the fourteenth century; on a lower shelf a strange and almost unique representation, at least in ivory, of the same subject, in which the Virgin holds on her knees a carved wooden cradle, or crêche, while she raises the Infant with her left arm and wraps him in swathing-bands with her right. This interesting and unusual representation is thought to be probably of South French origin, possibly from Auvergne, and the disfiguring narrowness of the shoulders and ungracefulness of the head, so strangely inconsistent with the ample draperies and well-managed lower part of the figure, to be attributable to the awkward shape and size of the ivory with which the artist had to work. Beside it is another grave and well-modeled representation of the same group, in which the Child is sitting on His Mother's knee as on a throne, and raising His Hand in Blessing. In the same case, on the top shelf, is a small spirited carving of the thirteenth century, one of a set of chessmen, representing a mounted knight encountering a dragon.

Against the wall between Cases A and B is a remarkable WOODEN STATUETTE of the Virgin, crowned as a Queen, the features strangely elongated, it is true, but the whole figure noble and gracious, and the draperies preserving the best traditions of art.

In Case B is a small ALTAR-PIECE, mainly of ivory,

set in a frame of CERTOSINA WORK, that is, wood inlaid with minute, and generally geometric, designs, in ivory, bone, mother-of-pearl, etc., and consisting of small plaques, each representing a particular scene and forming part of a narrative sequence. The three compartments represent, respectively, in the center, scenes from Our Lord's Life, from His Conception to His Crucifixion; and on either side, the lives of the two St. JohnsSt. John Baptist's at the right of the central group, and St. John the Evangelist's at the left. Unfortunately several of the panels have been displaced, and in one the figure of the Virgin is missing.

In Case C is an extraordinary RELIQUARY, which perhaps better than some more showy pieces exhibits the amazing facility of the Medieval craftsman and his absolute mastery over his material. It represents, when closed, the Madonna and Child: opened, as displayed, it reveals a three-quarters figure of Our Lord, supporting on His palms His Cross, which is almost of the tau-shape. On the inside of the doors, which necessarily follow more or less the modulations of the figure of which they form part, at the right of the Cross, are enameled six scenes from Our Lord's Childhood: the Annunciation; the Nativity; the Adoration by the Wise Kings: at the left, the Announcement to the Shepherds; the Presentation in the Temple; Our Lady and St. Joseph, evidently seeking Our Lord on their return from His

Case C

Case D

first Passover. If the group were of some plastic substance, it might not be so wonderful, but when we think that it is carved from wood, and overlaid with enameled copper, and consider the difficulties of such work on an irregular surface, our wonder can only be equaled by our admiration. It is French work of Limoges of the thirteenth century.

In the same case is a large IVORY PLAQUE of the Descent from the Cross, of the same type as that in the great enameled shrine which we first noticed, but a century later, and none the better for that.

In the same case is another amazing object, A SMALL IVORY representing a shepherd-boy asleep on top of a terraced hill on which stand exactly balanced sheep; and birds drink from formal fountains, as in some Byzantine mosaic. It is somewhat startling to find that this is a naïve Indo-Portuguese representation of the sixteenth century, of the youthful St. John Baptist.

In Case D, most noteworthy is A CARVED AND PAINTED WOODEN GROUP, FRENCH FIFTEENTH CENTURY, of the Visitation of the Virgin Mary to St. Elizabeth. The figures are noble and graceful, as well as tenderly affectionate, and each bears inserted on her breast a long cabochon crystal, the traditional Mediæval treatment, to recall the Gospel narrative that the younger Mother bore at that moment in her bosom the Lord of Life, and the elder His Forerunner, St. John