one child, while a wolf, which has seized the other, is attacked by shepherds and dogs. The children are rescued, and the wife reappears, on her knees before her lord, telling of her escape from the shipmaster, while the children stand behind; and then the reunited family, restored to the Emperor's favour, is seen feasting and happy. At last Eustace refuses to offer a sacrifice to a graceful antique idol, and is then shut up, with all his family, in a brazen bull; a fire is kindled beneath it; and, from above, a hand confers the crown of martyrdom. Another subject, which should have been placed in the apse, stands in a singular isolation which has struck many of the students in this branch of church learning. At Sens, Saint Eustace is in the choir, and by his side is the Prodigal Son. At Bourges also the Prodigal Son is in the choir. At Chartres, he is banished to the north transept, where you will find him in the window next the nave, almost as though he were in disgrace; yet the glass is said to be very fine, among the best in the church, while the story is told with rather more vivacity than usual; and as far as colour and execution go, the window has an air of age and quality higher than the average. At the bottom you see the signature of the corporation of Butchers. The window at Bourges was given by the Tanners. The story begins with the picture showing the younger son asking the father for his share of the inheritance, which he receives in the next panel, and proceeds, on horseback, to spend, as one cannot help suspecting, at Paris, in the Latin Quarter, where he is seen arriving, welcomed by two ladies. No one has offered to explain why Chartres should consider two ladies theologically more correct than one; or why Sens should fix on three, or why Bourges should require six. Perhaps this was left to the artist's fancy; but, before quitting the twelfth century, we shall see that the usual young man who took his share of patrimony and went up to study in the Latin Quarter, found two schools of scholastic teaching, one called Realism, the other Nominalism, each of which in turn the Church had been obliged to condemn. Meanwhile the Prodigal Son is seen feasting with them, and is crowned with flowers, like a new Abelard, singing his songs to Heloise, until his religious capital is exhausted, and he is dragged out of bed, to be driven naked from the house with sticks, in this also I resembling Abelard. At Bourges he is gently turned out; at Sens he is dragged away by three devils. Then he seeks service, and is seen knocking acorns from boughs, to feed his employer's swine; but, among the thousands of young men who must have come here directly from the schools, nine in every ten said that he was teaching letters to his employer's children or lecturing to the students of the Latin Quarter. At last he decides to return to his father,--possibly the Archbishop of Paris or the Abbot of