A Masterly Hand / Scientia Artis 9

285 Lucretia Kargère 15 284 ­ highlights the proximity of figural types generated in these carving centres, but also underscores the differences of execution. Short of bringing an imme- diate attribution, the careful technical study of these sculptures increases our understanding of the individuality of each workshop as well as their technical and stylistic connections. Acknowledgements I would like to thank Michael Rief and Anne Gold for their generosity in ­ sharing images and knowledge, Marc Peez for making every effort in helping to obtain a photograph of the St Helena, and Catherine Pimbert for accommo- dating my visit in Tours and providing images of their St Roch. I am also grateful to restorers Sophie Joigneau and Marie Louis for the use of their photographs of the Tours St Roch. My appreciations also go to my colleagues at the Metropolitan Museum of Art, Thom Vinton and Andrew Winslow, for logistical help.