The best example of an =Early French Madonna= is the beautiful one which hangs by the R hand side of the door in the Salon Carré, leading into the Salle Duchâtel. This exquisite figure, a true masterpiece of its School, should be compared with later French developments in painting, as well as with the admirable collection of plastic works of this School in the Renaissance Sculpture Gallery down stairs. With these may also be mentioned, as a typical French example, the famous miracle-working Notre-Dame-de-Paris, a statue of the thirteenth or fourteenth century, which stands under a canopy against the pillar by the entrance to the choir in the south transept of Notre-Dame, and is popularly regarded as the statue of Our Lady to which the church is dedicated. The close connection between royalty and religion in France, well exemplified in the number of saints of the royal house at St. Germain l’Auxerrois, St. Germain-des-Prés, St. Denis, and elsewhere, is markedly exhibited in the extremely regal and high-bred character always given to French Madonnas. The Florentine, which form in this respect the greatest contrast, are often envisaged as idealised peasant girls, full of soul and fervour, but by no means exalted. Finally, note as far as is possible with the few materials in this collection, the round-faced, placid type of the =German Madonna=—placid when at rest, though contorted (as the Mater Dolorosa) with exaggerated anguish. The fine wooden statue in the room of the Limoges enamels at Cluny will help to strike the key-note for this somewhat domestic national ideal. The early German Madonna is as often as not just a glorified housewife.