The whole most delicately and gracefully sculptured. Next, coloured stone relief of the Passion—French 14th century; subjects, from R to L: the kiss of Judas (observe Peter drawing the sword); Flagellation; Bearing of the Cross, with Simon of Cyrene; Deposition in the Tomb; Resurrection; and Christ in Hades, delivering Adam and Eve from the jaws of death, realistically represented here and elsewhere as the mouth of a monster; notice in this work the colour and the Gothic architecture and decoration of the background, which help one to understand features that are missing in many other of these reredoses. Then, stone relief of the Annunciation, Visitation, and Nativity, very simply treated: notice the usual ox and ass in the manger. Above it, =*=(4763), good mosaic of the Madonna and Child with adoring angels, by Davide Ghirlandajo, of Florence, placed by the President Jean de Ganay (as the inscription attests) in the church of St. Merri at Paris. =Wall C= (513–518), interesting alabaster reliefs of the Passion, French, 14th century. Between them, Coronation of the Virgin, French, 15th century. (725) Good wooden figure of St. Louis, covered with fleur-de-lis in gold, from the Sainte Chapelle. [Here is the door which leads to the Musée des Thermes. Pass it by for the present.] Beyond it, continuation of the alabaster reliefs (514 and 517), etc.: examine them closely. Between them (435), Circumcision, in marble, early 15th century, French, full of character. Beneath it (429, etc.), admirable figures of mourners, from the tomb of Philippe le Hardi, at Dijon, 14th century. =Wall D=, again (1291), terra-cotta, coloured: Madonna and St. Joseph, with angels, adoring the Child (child missing), ox and ass in background; R, Adoration of Magi; notice once more the conventional arrangement: L, Marriage of the Virgin, a high priest joining her hand to Joseph’s, all under Gothic canopies, 15th century, from the chapel of St. Éloy, near Bernay, Eure. I omit many works of high merit. The =centre= of this room is occupied by several good statues. Examine each; the descriptive labels are usually sufficient. (A noble =*=St. Catherine; St. Barbara with her tower; St. Sebastian, pierced with the holes where the arrows have been; a beautiful long-haired wooden Madonna; a fine [Pisan] Angel of the Annunciation, in wood, etc.) Also, several excellent figures of Our Lady. The large part played by the Madonna in this Room, indeed, is typical of her importance in France, and especially in Paris, from the 13th century onward. The church of Notre-Dame is partly a result, partly a cause, of this special cult of the Blessed Virgin.