[Illustration: DETACHING THE MURAL PAINTINGS BY PUVIS DE CHAVANNES DURING THE BOMBARDMENTS IN 1918.] [Illustration: "PRO PATRIA LUDUS" (FRAGMENT). (_Cliché LL._)] In those of the gallery, which are among the earliest of his great decorative compositions, the landscapes are a mere background of sombre hue, designed to bring out the light foreground figures. The latter are individualized, the personality of each being revealed in the lines of the face and general attitude. [Illustration: "PRO PATRIA LUDUS" (FRAGMENT). (_Cliché LL._)] [Illustration: "PRO PATRIA LUDUS" (FRAGMENT). (_Cliché LL._)] Conversely, in the latest works, and especially in _Pro Patria Ludus_, the landscape is of primary importance, enveloping as it does the whole composition in a clear, pure atmosphere. [Illustration: "PRO PATRIA LUDUS" (FRAGMENT). (_Cliché LL._)] On the other hand, individuality and detail are carefully suppressed; human beings are portrayed in their general aspect, with only the essential to characterize them. [Illustration: "AVE PICARDIA NUTRIX" (FRAGMENT). (_Cliché LL._)] The decorative art is here synthesized to the last degree. [Illustration: "AVE PICARDIA NUTRIX" (FRAGMENT). (_Cliché LL._)] [Illustration: PAINTING OF OUR LADY OF PUY (1518). "_Au juste poix véritable balance._"] II.--Paintings of our Lady of Puy The _Brotherhood of Our Lady of Puy_ was a religious, artistic and literary society founded in the _Middle Ages_ at Amiens, and which continued down to the 18th century. The _Master_, who was elected each year, was under the obligation of having a picture painted in honour of the _Virgin_. Several of these paintings, dating from the 16th and 17th centuries, still exist. All are similar in composition. In the centre, the Virgin surrounded by symbolical figures arrayed in sumptuous garments, and in the foreground, the donor with relations and friends. Near by, a scroll inscribed with the _device_ chosen by the Master for his term of office, and in the background, landscape of living waters and verdure. The four oldest of these panels, the =wood carving= of whose _frames_ is remarkable, are considered to be among the most interesting of the early 16th century French School. The _devices_ of these panels are as follows: 1. Painting (1518). No. 390 (1911 edition of catalogue): _Au juste poix, véritable balance_; fine Renaissance frame (_photo above_). 2. Painting (1519), No. 391: _Pré ministrant pasture salutaire_; Gothic-Flamboyant frame. 3. Painting (1520), No. 392: _Palme eslute du Seigneur pour Victoire_. In the fine landscape with river, which forms the background, the city of Amiens is seen with its cathedral. 4. Painting (1521), No. 393, greatly damaged: _Le vray support de toute créature_. The other panels are more modern and do not offer the same interest.