48. And now, last of all, if you care to see it, we will go into the Madonna's porch--only, if you come at all, good Protestant feminine reader--come civilly: and be pleased to recollect, if you have, in known history, material for recollection, this (or if you cannot recollect--be you very solemnly assured of this): that neither Madonna-worship, nor Lady-worship of any sort, whether of dead ladies or living ones, ever did any human creature any harm,--but that Money worship, Wig worship, Cocked-Hat-and-Feather worship, Plate worship, Pot worship and Pipe worship, have done, and are doing, a great deal,--and that any of these, and all, are quite million-fold more offensive to the God of Heaven and Earth and the Stars, than all the absurdest and lovingest mistakes made by any generations of His simple children, about what the Virgin-mother could, or would, or might do, or feel for them. 49. And next, please observe this broad historical fact about the three sorts of Madonnas. There is first the Madonna Dolorosa; the Byzantine type, and Cimabue's. It is the noblest 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 instituted 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.