Montereau, who at one time as military architects, at another as sculptors of sacred subjects, were at the command of St. Louis, and produced some extraordinary works both of construction and sculpture. Alsace manifested no less enthusiasm than France for the new architectural system, and sculpture was also subject to a similar development. From Basle to Mayence, the slopes of the Vosges and the long valley of the Rhine, became full of edifices enriched with sculpture and peopled with statues. Erwin of Steinbach (who died in 1318), assisted by Sabina, his daughter, and William of Marbourg, were the most renowned masters in these parts. [Illustration: Fig. 285.--Bas-relief formerly over the Doorway of St. Julien le Pauvre, Paris, representing St. Julien and St. Basilissa, his wife, conveying in their boat Jesus Christ under the figure of a Leper. (Thirteenth Century.)] The extraordinary advance that French sculpture made in this age was assisted--if not as regards the higher style of work, which could do without this help, at least in respect to the minor details of the art--by the institution of the fraternities of the _Conception Notre-Dame_. In many towns the sculptors of images and the painters, the moulders, the _bahutiers_, or carvers in wood, horn, and ivory (Fig. 286), were all united under the same banner. In Germany and Belgium also existed _hanses_, or guilds, which were in direct communication with those of Alsace, and who accepted as guides French artists of known ability; as, for instance, Volbert and Gérard, architect-sculptors, who were simultaneously engaged in the construction of the Church of the Holy Apostles, Cologne. [Illustration: Fig. 286.--Fragment of a small Reredos, in carved Bone (Fourteenth Century). Presented by Jean, Duc de Berry, Brother of Charles V., to the church of the ancient Abbey of Poissy. (Museum of the Louvre.)] With respect to the works commenced or finished in the fourteenth century, the only difficulty is to make a choice among these wonderful monuments of Art; which, however, must be looked upon as the last manifestations of Christian art, properly so-called. We must, however, point out the polychrome sculptures of Chartres, of St. Remy, Rheims; St. Martin, Laon; St. Yved, Braisne; St. Jean des Vignes, Soissons; of the Chartreux, Dijon. In this ducal city we find, in 1357, Guy le Maçon, a celebrated [Illustration: Fig. 287.--“Le Bon Dieu,” in the old Chapel of the Charnier des Innocents, Paris. (Fifteenth Century.)]