Master Gerard was what might be called a carpenter, or cabinet-maker. He did not make doors or window-frames, or woodwork for house, because the great houses of that day were built almost entirely of stone. Neither did he make furniture such as chairs, tables, or bureaus, because it was not yet thought of. Kings' households and great families moved about from castle to castle, and carried with them by boat, or in heavy wagons over bad road, whatever comforts they owned. Modern furniture would have been fit for kindling-wood in a year, but ancient French luggage was built for hard travel. Master Gerard made chests of solid, well-seasoned wood, chosen with care and put together without nails, by fitting notch into notch at the corners. These were called huches, and Master Gerard was a master huchier.

These huches were longer and lower than a large modern trunk, and could be set one on another, after they were carried up narrow twisting stairways on men's shoulders. The lid might be all in one piece, but more often it was in halves, with a bar between, so that when the chest was set on its side or end the lids would form doors. Ledges at the top and bottom protected the bottom of the chest and made it easier to move about. The larger ones were long enought to use for a bed, and in these the tapestries that covered the walls, the embroidered bed-hangings, the cushions and mattresses to make hard seats and couches more comfortable, and the magnificent robes for state occasions, could be packed for any sort of journey. Huches were needed also for silver and gold state dishes, and the spices, preserved fruits and other luxuries needed for state feasts. It was desirable to make the chests beautiful as well as strong, for they were used as furniture; there might be a stage bedstead, a huge wardrobe and one or two other furnishings in the apartments used by great folk, but the table was a movalbe one made of boards on trestles, and the carved huches, decorated with the heraldic emblems of the owner, served innumerabel purposes. When one sees the specimens that are left, it does not seem surprising that when kings and queens went anywhere in the Middle Ages they went, if possible, by water. Luggage of that kind could be carried more easily by barge than by wagon.

After the first day, when he finished the small carved figure of Brother Basil for his master to see, Quentin did almost anything but carving. He ran errands, he sharpened tools, he helped a journeyman at his work, he worked on common carpentry which required no artistic skill. The work which Master Gerard undertook was not such as an apprentice could be trusted to do. Quentin, watching as closely as he could all that was done in the shop, saw that one sort of wood was chosen for one use, and another kind for a different job; he saw how a tool was handled to get a free, bold curve or a delicate fold of drapery, and he found out more about the trade in a year than most modern carpenters ever learn.

It was hot and uncomfortable in Amiens that summer. Life inside walls, among houses crowded and tall, was not like life in a country village, but it was not in Quentin to give up. When he felt like leaving the noisy, treeless town for the forest he would try to make a design of the flowers he remembered or carve a knotted branch with the tools that he was allowed to use. He knew that when he should be entrusted with the carving of a chest, if that time ever came, he would have to be able to make his own design, if necessary, for that was a part of the work.

Chests were carved on the lids and ends, which showed when they were set up, and sometimes they were covered with carving. Master Gerard had a chest of his own, full of patterns which he brought out to show his patrons now and then, but which no one else ever touched. These patterns, however, were rarely followed exactly. Each great family had its own heraldic device, and the leopard, the dragon, the dolphin, the fleur-de-lis, the portcullis, or whatever it might be, must form an important part of the decoration. Some of the patterns, while their proportions were perfect, were too simple for the taste of the one who ordered the chest, and had to be varied. Some were too elaborate for a small piece of work, and had to be made simpler. The wood-carver had very little chance of success unless he was also an artist, as he usually was.

One day a great piece of carving was finished, and Master Gerard himself went to see that the workmen carried it safely; it was a chest in the form of a half-circle, for the tapestries and embroideries of the cathedral, in which the state mantle and robes of the Bishop could be laid flat with all their heavy gold-work. The youngest journeyman, Pol, who was left to mind the shop, slipped out a few minutes later, charging Quentin strictly to stay until he came back.

Quentin had no objection. He wanted to try a pattern of his own for a small huche that was finished all but the carving. He had in mind a pattern of Master Gerard's, a border simple yet beautiful. It was copied from the inner wall of a Greek temple, although he did not know that. It was a running vine with leaves and now and then a flower, not like any vine that he had ever seen. The inclosed oblong on the lid was divided into halves by a bar, in the form of a woman's figure. Quentin thought that that was rather too stately a decoration for a small chest, and he decided to use a simple rounded bar, with grooves, which he knew that he could do well.

He was not sure how the border went. Of course, he might wait until Master Gerard came back and ask to see the pattern, but he did not quite like to do that. It might seem presuming. He wondered how it would do to try apricot twigs laid stem to tip in a curving line, a ripe fruit in place of the flower of the pattern, and blossom-clusters here and there. He tried it cautiously, drawing the outline first on a corner, and it looked so well that he began to carve the twigs.

He was finishing the second when he heard a voice in the doorway.

"Does Master Gerard do his work with elves? Or have the fairies taken him and left a changeling?" The voice was musical with laughter, and the boy looked up to see a lovely and richly-robed lady standing within the door. A little behind her was a young man in the dress of a troubadour, and servingmen stood outside holding the bridles of horses.

Quentin sprang to his feet and bowed respectfully. "Master Gerard is but absent for an hour or two," he said; "shall I run to the Cathedral and fetch him?"

"Nay," the lady answereed, sinking into the high-backed chair in the corner, "it is cool here, and we will await him. Ranulph, come look at this coffret. I maintain that the fairies teach these people to work in wood as they do. Saw you ever the like?" The troubadour bent over the just-begun carving. "This is no boy's play; this is good work," he said. "You have the right notion; the eye and the hand work together like two good comrades."

"My lord shall see this when he comes. I like the work" She touched the cheek of the apricot with a dainty finger. "Where did you get the pattern?"

Quentin looked down, rather shyly; he did not feel sure that he would be believed. "I had no pattern," he said. "I remembered one that Master Gerard made for a great house a month since—"

"And so do I!" laughed the lady. "Now I know where I saw that border. Therefore, not having the copy befoer you—"

"You invented this variation. Upon my word, the race of wood-carvers has not come to an end." laughed the young man. "I think that his Royal Highness will like this coffret well."

All in a flash it came to Quentin who this was. Some time before he had heard that Princess Margaret, the daughter of the French King, was in the city, with her husband, Prince Henry of England. It was for the Prince that Master Gerard had made that other chest. Things linked themselves together in this world, it seemed, like the apricots and blossoms of his design.

"Finish the chest," said the Princess after a pause. "I will have it for a traveling casket. Can you carve a head on the top—or two heads, facing one another, man and woman?" "Like this?" asked Quentin, and he traced an outline on the bench. It was the lady's beautiful profile.

Master Gerard came in just then, and Pol came slinking in at the back door. The next day Quentin was promoted to Pol's place, and finished his chest in great content and happiness. It was the beginning in a long upward climb to success.