Which porch is the more beautiful is a question for artists to discuss and decide, if they can. Either is good enough for us, whose pose is ignorance, and whose pose is strictly correct; but apart from its beauty or its art, there is also the question of feeling, of motive, which puts the Porche de Dreux in contrast with the Porche de France, and this is wholly within our competence. At the outset, the central bay displays, above the doorway, Christ, on a throne, raising His hands to show the stigmata, the wounds which were the proof of man's salvation. At His right hand sits the Mother,--without her crown; on His left, in equal rank with the Mother, sits Saint John the Evangelist. Both are in the same attitude of supplication as intercessors; there is no distinction in rank or power between Mary and John, since neither has any power except what Christ gives them. Pierre did not, indeed, put the Mother on her knees before the Son, as you can see her at Amiens and in later churches,--certainly bad taste in Mary's own palace; but he allowed her no distinction which is not her strict right. The angels above and around bear the symbols of the Passion; they are unconscious of Mary's presence; they are absorbed in the perfections of the Son. On the lintel just below is the Last Judgment, where Saint Michael reappears, weighing the souls of the dead which Mary and John above are trying to save from the strict justice of Christ. The whole melodrama of Church terrors appears after the manner of the thirteenth century, on this church door, without regard to Mary's feelings; and below, against the trumeau, stands the great figure of Christ,--the whole Church,--trampling on the lion and dragon. On either side of the doorway stand six great figures of the Apostles asserting themselves as the columns of the Church, and looking down at us with an expression no longer calculated to calm our fears or encourage extravagant hopes. No figure on this porch suggests a portrait or recalls a memory.