this number was increased to five or even seven. The skilful manner in which the early artists composed so difficult a field with so few subdivisions, is worthy of all admiration (Ill. 267).

In the second half of the XIII century, Gothic sculpture became more realistic in character. The figures of the façade of Reims are as nearly perfect technically as any which the Middle Ages produced, but they are distinctly less architectural than those of the façade of Amiens. The great figures of the jambs are no longer arranged in rigid rows strictly subordinated to the vertical lines of the edifice, but are broken up into groups of two or three statues portraying persons engaged in conversation with each other, or even in action. Thus the visitation is represented by two perfectly delightful figures, Mary and Elizabeth, who stand talking together in the most easy and natural manner. Except for the sublimely beautiful face of Mary, this group is hardly idealized at all. The draperies, which are far richer than in the early Gothic period, fall in such soft clinging folds as to recall the Greek draperies of the V century. The folds of the garments are elaborate and minute; all attempt to accentuate their vertical lines has been abandoned. Similarly the posture of the figures has become freer; the weight is no longer distributed evenly on both feet, but one knee is usually bent, and the body, instead of holding itself rigidly upright, leans or bends to one side or the other. The faces, like the entire figure, have lost their heroic cast, and have become soft and tender. The growing love of realism had led the artists to abandon all effort to represent their saints as superior to human beings (Ill. 268).

Thus even in such exquisite compositions as the sculptures of the façade of Reims or of the south transept portal of Amiens, we feel that we are face to face with the first signs of decadence. The idealism and the architectural character which had given early Gothic sculpture its inimitable character have begun to yield to realism. It was only a question of time before the sublime Beau Dieu of Amiens should be transformed into a commonplace French bourgeois. Yet the first step in this descent to Avernus was full of seductive charm.

In the XIV century the decline was in full progress. Al