The statues of the _Pórtico de Gloria_ are most of them engaged in animated conversation; each face wears an expression in accordance with the particular turn his conversation is taking, “yet each at the same time wears a look of repose, such as could only arise from a pure mind and a tranquil conscience.” The whole, the combined effect of this astonishing piece of work, is powerfully dramatic; a series of deeply interesting events is depicted; each statue is a human being whose entire mind is concentrated upon these events; on one face there is a look of wonder, on another a look of joy, on another a look of contentment. “The dramatic element,” says the above-mentioned writer, “is introduced in exactly the right proportion. In Christian artists of greater note than Mateo--even in Nicolas of Pisa, there is something earthly, frivolous, profane; but in Mateo all is serious, spiritual, without any loss of the human element. As we contemplate the _Pórtico_ the figures almost seem to move, to sit, to talk. You seem to hear the murmur of their lips. The same discreet realism manifested in the heads is shown also in the limbs. The arms, the hands, and even the fingers seem to move with flexibility and delicacy.” This writer goes on to point out that the heads of the apostles are rather large, and in accordance with the rule of the Greek monk Dionisius,[160] who laid it down as a law that the head must be as large as a tenth part of the whole statue. The heads of Mateo’s apostles are equal to one-seventh part of the entire height, but the position of these statues must be remembered; they are raised more than three yards from the ground, consequently the heads diminish in size and reach exactly the right proportions.