where the stag, after leaping upon a rock, has turned, and shows a crucifix between his horns, the stag on one side balancing the horse on the other, while Placidas on his knees yields to the miracle of Christ.  Then Placidas is baptized as Eustace; and in the centre, you see him with his wife and two children—­another charming composition—­ leaving the city.  Four small panels in the corners are said to contain the signatures of the Drapers and Furriers.  Above, the story of adventure goes on, showing Eustace bargaining with a shipmaster for his passage; his embarcation with wife and children, and their arrival at some shore, where the two children have landed, and the master drives Eustace after them while he detains the wife.  Four small panels here have not been identified, but the legend was no doubt familiar to the Middle Ages, and they knew how Eustace and the children came to a river, where you can see a pink lion carrying off one child, while a wolf, which has seized the other, is attacked by shepherds and dogs.  The children are rescued, and the wife reappears, on her knees before her lord, telling of her escape from the shipmaster, while the children stand behind; and then the reunited family, restored to the Emperor’s favour, is seen feasting and happy.  At last Eustace refuses to offer a sacrifice to a graceful antique idol, and is then shut up, with all his family, in a brazen bull; a fire is kindled beneath it; and, from above, a hand confers the crown of martyrdom.

Another subject, which should have been placed in the apse, stands in a singular isolation which has struck many of the students in this branch of church learning.  At Sens, Saint Eustace is in the choir, and by his side is the Prodigal Son.  At Bourges also the Prodigal Son is in the choir.  At Chartres, he is banished to the north transept, where you will find him in the window next the nave, almost as though he were in disgrace; yet the glass is said to be very fine, among the best in the church, while the story is told with rather more vivacity than usual; and as far as colour and execution go, the window has an air of age and quality higher than the average.  At the bottom you see the signature of the corporation of Butchers.  The window at Bourges was given by the Tanners.  The story begins with the picture showing the younger son asking the father for his share of the inheritance, which he receives in the next panel, and proceeds, on horseback, to spend, as one cannot help suspecting, at Paris, in the Latin Quarter, where he is seen arriving, welcomed by two ladies.  No one has offered to explain why Chartres should consider two ladies theologically more correct than one; or why Sens should fix on three, or why Bourges should require six.  Perhaps this was left to the artist’s fancy; but, before quitting the twelfth century, we shall see that the usual young man who took his share of patrimony and went up to study in the Latin Quarter, found two schools of scholastic