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 with some simple pattern, the other with heraldic designs of animals or other conventional forms copied from Oriental models. Hence the term "Saracenic" applied to both the workers and their handiwork.

In order to realise the Ivories which were probably to be seen in the Castle of Hesdin, we must go to the Louvre or the British Museum, where may be found a few rare examples of the work of the period, such as caskets carved with scenes from the life of Christ or the Virgin if they were to hold some sacred treasure, or with scenes from some Romance or from daily life if to contain jewels or other mundane objects. In addition to such caskets, often painted, Mahaut had, to hang from her girdle, as was customary with all ladies in the Middle Ages, a daintily wrought ivory writing-tablet, and a small mirror in an ivory case. These mirror-cases were generally carved with a scene from some love-story, such as two lovers playing chess, or going a-hawking, or some detail from the favourite romance of Tristan and Isolde. Possibly amongst these treasures was a saddle-bow, with a wondrous wealth of carving, or chess-men finely modelled, and inlaid with mother-of-pearl, or a triptych with scenes from the Passion, represented under Gothic arches of most superb and delicate workmanship. But it is perhaps in the Chapel that we must seek the finest work, for here both Mahaut and her father, Count Robert, were lavish with unsparing hand. One Jean le