Walk down the centre of the Galerie d’Apollon, on the side towards the windows, passing the tawdry crown jewels, and the many exquisite Classical or Renaissance works in the cabinet beyond it, all of which you can afterwards examine at your leisure. (Some of the antique busts in precious stones come from Abbey Treasuries, where they were preserved and sanctified during the Middle Ages.) But in the last case save one, observe, near the centre, a very quaint little figure of St. Lawrence, lying comfortably on his gridiron, and holding in his hands a tiny reliquary, almost as big as himself—a finger with a nail on it, intended for the reception of a bone of the Saint’s own little finger. This odd little reliquary, French 14th cent., when compared with that for the arm of St. Louis of Toulouse, will help you to understand many similar reliquaries, both here and elsewhere. The martyr is put there as a mode of signifying the fact—“This is a bone of St. Lawrence.” Above it, note again five charming crosiers, containing respectively representations of the Madonna enthroned, the Annunciation, the Coronation of the Virgin, again the Annunciation, and a decorative design of great beauty. Note their date and place of origin on the labels. When once your attention has been called to the occurrence of such definite scenes in similar objects, you will be able to recognise them at once for yourself in many like situations. In the Annunciation to the L, observe once more the very odd way in which the usual lily is carefully obtruded between the angel Gabriel and Our Lady. Some obvious barrier between the two was demanded by orthodoxy: here, the decorative device by which the difficulty has been surmounted is clever and effective. Between this crosier and that of the Coronation, look again at a queer little reliquary, held by the Madonna and Child, with a glass front for the exhibition of the relic. Another Madonna, close by to the L, similarly holds on her lap a charming little reliquary basin. The same case contains several coffers and reliquaries in _champlevé_ enamel, the most interesting of which is the Coffer of St. Louis, with decorative designs showing Romanesque tendencies. At the far end of the case, two charming silver-gilt angels, 14th cent., also bearing reliquaries. Examine in detail all the objects in this most interesting case. They will help, I hope, to throw light upon others which you will see elsewhere.