enormous height, or to adorn it with such a diversified multitude of statues. Although belonging more especially to the thirteenth century, it may be taken as the starting-point of the prodigious works executed by an association of freemasons, who have marked with their hieroglyphic signatures the stones of this edifice, as of all others executed by them in the valley of the Rhine, from Dusseldorf to the Alps. We are, however, led to believe that Germany also did not fail to be subject to the influence of this artistic school, for among contemporary monuments are several in a style which manifestly testifies to the effects of the neighbouring country of Alsace. Flemish art of that time is exemplified by the Church of St. Gudule at Brussels, the style of which is especially rich with decorations borrowed from churches on the banks of the Rhine, the Moselle, the Sarre, and the Upper Meuse. If we include in one comprehensive glance French, German, and Flemish sculptural works, we shall recognise in all, notwithstanding the predominance of any particular school, one original and special type. The characteristics of this are elongated faces with a calm, contemplative, and penitent expression; stiffness of attitude, and a kind of ecstatic immobility, rather than any glow of animation; draperies with small narrow folds and close-fitting, as if wetted; pearled fringes or ribbons, set off with gems (Fig. 280). We see statues of lofty proportions reared up; representations of various personages are multiplied on the tombs; Greek art is disappearing and its learned theories are giving way before Christian sentiment; thought is obtaining the mastery over mere form; symbolism makes its appearance and becomes a science. [Illustration: Fig. 280.--Statue said to be of Clovis I., formerly in the porch of St. Germain-des-Prés, Paris. (Twelfth Century.)]