Part 17 (1/2)

There is first the Madonna Dolorosa; the Byzantine type, and Cimabue's. It is the n.o.blest of all; and the earliest, in distinct popular influence.[68]

[Footnote 68: See the description of the Madonna of Murano, in second volume of 'Stones of Venice.']

Secondly. The Madone Reine, who is essentially the Frank and Norman one; crowned, calm, and full of power and gentleness. She is the one represented in this porch.

Thirdly. The Madone Nourrice, who is the Raphaelesque and generally late and decadence one. She is seen here in a good French type in the south transept porch, as before noticed.

An admirable comparison will be found inst.i.tuted by M. Viollet le Duc (the article 'Vierge,' in his dictionary, is altogether deserving of the most attentive study) between this statue of the Queen-Madonna of the southern porch and the Nurse-Madonna of the transept. I may perhaps be able to get a photograph made of his two drawings, side by side: but, if I can, the reader will please observe that he has a little flattered the Queen, and a little vulgarized the Nurse, which is not fair. The statue in this porch is in thirteenth-century style, extremely good: but there is no reason for making any fuss about it--the earlier Byzantine types being far grander.

50. The Madonna's story, in its main incidents, is told in the series of statues round the porch, and in the quatrefoils below--several of which refer, however, to a legend about the Magi to which I have not had access, and I am not sure of their interpretation.

The large statues are on the left hand, reading outwards as usual.

29. The Angel Gabriel.

30. Virgin Annunciate.

31. Virgin Visitant.

32. St. Elizabeth.

33. Virgin in Presentation.

34. St. Simeon.

On the right hand, reading outward,

35, 36, 37, The three Kings.

38. Herod.

39. Solomon.

40. The Queen of Sheba.

51. I am not sure of rightly interpreting the introduction of these two last statues: but I believe the idea of the designer was that virtually the Queen Mary visited Herod when she sent, or had sent for her, the Magi to tell him of her presence at Bethlehem: and the contrast between Solomon's reception of the Queen of Sheba, and Herod's driving out the Madonna into Egypt, is dwelt on throughout this side of the porch, with their several consequences to the two Kings and to the world.

The quatrefoils underneath the great statues run as follows:

29. Under Gabriel-- A. Daniel seeing the stone cut out without hands.

B. Moses and the burning bush.

30. Under Virgin Annunciate-- A. Gideon and the dew on the fleece.

B. Moses with written law, retiring; Aaron, dominant, points to his budding rod.

31. Under Virgin Visitant-- A. The message to Zacharias: ”Fear not, for thy prayer is heard.”

B. The dream of Joseph: ”Fear not to take unto thee Mary thy wife.” (?)

32. Under St. Elizabeth-- A. The silence of Zacharias: ”They perceived that he had seen a vision in the temple.”

B. ”There is none of thy kindred that is called by this name.”

”He wrote saying, His name is John.”

33. Under Virgin in Presentation-- A. Flight into Egypt.

B. Christ with the Doctors.

34. Under St. Simeon-- A. Fall of the idols in Egypt.