It has been said that the medieval workman was a lively symbol of the Creator Himself, in the way in which he did his work. It mattered not how obscure the portion of the cathedral at which he was set, he decorated it as beautifully as he knew how, without a thought that his work would be appreciated only by the very few that might see it. Trivial details were finished with the perfection of important parts. Microscopic studies in recent years have revealed beautiful designs on pollen grains and diatoms which are far beneath the possibilities of human vision, and have only been discovered by lens combinations of very high powers of the compound microscope. Always these beauties have been there though hidden away from any eye. It was as if the Creator's hand could not touch anything without leaving it beautiful as well as useful. {opp105} [Illustration] CATHEDRAL (AMIENS) {105} To as great extent as it is possible perhaps for man to secure such a desideratum, the Thirteenth Century workman succeeded in this same purpose. It is for this reason more than even for the magnificent grandeur of the design and the skilful execution with inadequate means, that makes the Gothic Cathedral such a source of admiration and wonder. To take first the example of sculpture. It is usually considered that the Thirteenth Century represented a time entirely too early in the history of plastic art for there to have been any fine examples of the sculptor's chisel left us from it. Any such impression, however, will soon be corrected if one but examines carefully the specimens of this form of art in certain Cathedrals. As we have said, probably no more charmingly dignified presentation of the human form divine in stone has ever been made than the figure of Christ above the main door of the cathedral of Amiens, which the Amiennois so lovingly call their "beautiful God." There are some other examples of statuary in the same cathedral that are wonderful specimens of the sculptor's art, lending itself for decorative purposes to architecture. This is true for a number of the Cathedrals. The statues in themselves are not so beautiful, but as portions of a definite piece of structural work such as a doorway or a facade, they are wonderful models of how all the different arts became subservient to the general effect to be produced. It was at Rheims, however, that sculpture reached its acme of accomplishment, and architects have been always unstinted in their praise of this feature of what may be called the Capitol church of France.