"He rises enthroned, almost sorrowful in His triumph, unamazed as He blesses, with pathetic resignation, the generations of sinners who for seven centuries have gazed up at Him with inquisitive, unloving eyes as they cross the square; and all turn their back on Him, caring little enough for this Saviour unlike the head familiar to them, recognizing Him only with sheep-like features and a pleasing expression; such, in short, as the foppish image at the cathedral at Amiens before which the lovers of a softer type go into ecstasies.
"Above this Christ are the three windows invisible from outside, and over them again the huge dead rose window, looking like a blind eye, and lighting up, like the windows, only when seen from within, when they glow with clear flame and pale sapphires set in stone; then, higher yet, above the rose, is the gallery of French kings, under the great triangular gable between the towers.
"And the two belfries fling up their spires; the old one carved in soft limestone, imbricated with scales, rising in one bold flight to end in a point, and send up a vapour of prayer among the clouds; the new one, pierced like lace, chiselled like a jewel, wreathed with foliage and crockets of vine, rises with coquettish dalliance, trying to make up for lack of the inspired flight and humble entreaty of its senior by babbling prayer and ingratiating smiles; to persuade the Father by childlike lisping.
"But to return to the west portal," Durtal went on, "in
spite of the importance of its grand decoration, displaying the Eternal Triumph of the Word, the interest of artists is irresistibly attracted to the ground storey of the building, where nineteen colossal stone statues stand in the space that extends from tower to tower; part against the wall, and part in the recesses of the door-bays.
"The finest sculpture in the world is certainly that we find here. There are seven kings, seven saints or prophets, and five queens. There were originally twenty-four of these statues, but five have disappeared and left no trace.
"They all wear glories excepting the three first, nearest to the new belfry, and all stand under canopies of pierced work, representing roofs or tabernacles, palaces, bridges—a whole town in little, Sion for children, a dwarfed New Jerusalem.
"They all are standing, each on a column with a guilloche pattern; on plinths carved over with lozenges, diamond points, fir-cone scales, with chain patterns, fretwork, billets, chequers like a chess-board of which the alternate squares are hollowed out; and paved with a sort of mosaic, inlaid patterns which, like the borders of the church windows, suggest a reminiscence of Mussulman goldsmith's work, and show the origin of the style brought from the East by the Crusaders.
"The three first statues in the recess to the left, nearest the new spire, do not stand on any pattern borrowed from the heathen; they are trampling on indescribable monsters. One, a king whose head having been lost, has been fitted with the head of a queen, treads on a man entangled by serpents; another king stands on a woman who holds a reptile by the tail with one hand, and with the other strokes the plait of her own hair; the third, a queen, her head crowned with a plain gold fillet and her shape that of a woman with child, while her face is smiling but commonplace, has at her feet two dragons, a monkey, a toad, a dog, and a snake with an ape's head. What is the meaning of these enigmas? No one knows—no more, indeed, than we know the names of the sixteen other statues placed along the porch.
"Some believe that they represent the ancestry of the Messiah, but this assertion has no evidence to support it; others find here a mixed assemblage of the heroes of the Old Testament and the benefactors to the Church, but this