FRANCE. The School of the Ile-de-France, which originated Gothic architecture, also began the use in the lower portals of statues, at first severely stiff. About 1210-20 statues of this character became freer and more artistic, though remaining part of the architecture. Among the best early examples are the portals of the Cathe dral of Laon and the western portal of Notre Dame (q.v.) at Paris (1225). During the thir teenth century the use of statuary grew to an extent never before nor since practiced. It was concentrated upon the exterior of the buildings, centred about the portals, both of those of the facade, which usually terminated in three great pointed arches, and those of the side, which were often double. In order to accommodate the multitude of statues the portals were extended into porches. They were lined by rows of statues, and the tympanums were filled with reliefs. Great cathedrals of the thirteenth century were decorated with several thousands of statues; like Notre Dame, Chartres, and Rheims, called the Parthenon of the Middle Ages because of the beauty and delicacy of the statuary; Amiens— where the majestic statue of Christ, "Le bon Dieu," is eminent among many of high excellence —is particularly celebrated. The subjects repre sented were usually biblical and allegorical cy cles, like the "Creation" and "Fall of Man ;" Old and New Testament history, usually terminating in the "Last Judgment," a favorite subject; allegorical figures of the trades and industries, of virtues and vices. They were, in fact, the
translation into stone of the religious and philo sophical ideas of the day—Bibles and sermons in stone. Occasionally the figures were executed after nature, hut more usually in accordance with geometrical canons, so comprehensive that even mediocre artists could do good work. The treatment of the nude was crude, but high suc cess was attained in draperies, which will even bear comparison with the products of Greek art. Though realistic, the figures are always of a deep religious feeling and lull of dignity. This, how ever, is lost in the late thirteenth and fourteenth centuries, when French sculpture aims increasing ly at realism, becoming naive and humorous. The centre of artistic activity shifts to Flanders and Northern Burgundy, where there was great ac tivity at Dijon, under patronage of the Bur gundian dukes. Since 1384 Claux Sluter de Orlandes was at the head of the works. His fresh, realistic manner is evident in the figures of the Fountain of Moses. The English Gothic, with few exceptions, was not adapted to sculptu ral decorations. The most important manifes tation of sculpture here is in sepulchral monu ments, funeral slabs and brasses, in which much realism is manifest.