There are several examples of thirteenth century work still extremely old-fashioned in style, as the three little pierced plaques in the Louvre, representing the twelve apostles, accompanied by the favourite French saints, Denis, Rusticus and Eleutherius. The style is still transitional, but the forms of the foliage are freer, and a considerable modification of type is visible. The Virgin in the Collection Fillon is seated full face with the Child sitting equally on both knees, the stiffness of the pose being only relieved by a little freedom in the turn of the Child’s head. The marvellous impulse of religious enthusiasm, which, arising in the thirteenth century, became evident by the passionate fervour of the worship of the Virgin, and the multiplication of her images for public and private devotion. One of the most ideally noble representations is that in the group of _The Coronation of the Virgin_ in the Louvre, (Fig. 28); it closely resembles the best sculpture in its severe lines, and was probably made about 1280. A hundred years later there is an entry in the Inventory of Charles V. which most probably refers to this group; it reads most quaintly in the old French. “_Item, ung courronnement de Nostre Seigneur à Nostre-Dame, d’yvire et trois angellotz de mesmes._” The earlier ivories were always painted, and much of the original colouring is preserved. The Virgin is dressed in rich robes, _semées de France_ (as much in honour of the Royal House as of her attribute the “lily”), but she is utterly unconscious of self as she humbly bows her head to receive the crown. The two little ecstatic angels form a part of every group of the Glorification of the Virgin, either bearing tall candles, or with their hands raised in adoration. [Illustration: A. GIRAUDON PHOTO.] [LOUVRE, PARIS 28. CORONATION OF THE VIRGIN End of thirteenth century]