Capitolo 91
it, and very of their statues to decorate has been him/it supposed. The
walls are flanked--the portico, in a religious sense it is busy--from
seven hundred figures, great and small all, in a way or
another, affectionate to the glory of the Regina of Sky. You will see
what one hundred years have converted the Byzantine empress in a
Regina French, as the same years had converted Alix of Savoy in
Blanche of Castile; but her note of majesty is the same one and the
affirmation of the power is, if possible, more emphatic.
The tallest note immediately is stricken, in the central bay, on the
door, where you consider the crowning of Mary Regina of Sky a,
favourites submit in art from very first durations and the dominant one
the idea of the church of Mary. You see Mary on the left, sat on her
throne; on the right, precisely sat on a similar throne, it is
Christ Che holds on apparently Your correct hand to bless since Mary
it already bears the crown. Mary that curves send, with its elevated hands
toward his/her Child, as if in gratitude or the adoration or prayer, but
certainly not in an attitude of feudal homage. On both side, a
archangel dangles a censer.
On the lintel under, on the left, the death of Mary is represented;
on the right, Christ brings, in the folds of Your mantle, the soul
of Mary in the form of a small child, and to the same duration it blesses
the body that is transported by angels--You Mary's Resurrection.
Under the lintel, sustaining him/it, and dividing the street of access in half,
it is the trumeau,--the central pier,--one new part of the portal that
it was unknown to the western door. Usually in he/she asked her of the Virgo,
as to Rheims or Amiens or Paris, the same Virgo, with his/her Child
in his/her arm, stands against this bench, stamping on on the dragon with
the woman's head. Here, not the Virgo with the Christ but her
Mother's Saint that Ann thinks, with the childish Virgo in his/her arm; while
under of it is, or it was, Saint Joachim, his/her husband, among his/her flocks,