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. B. The return to Nazareth. These two last quatrefoils join the beautiful C and D of Amos. Then on the opposite side, under the Queen of Sheba, and joining the A and B of Obadiah-- 40. A. Solomon entertains the Queen of Sheba. The Grace cup. B. Solomon teaches the Queen of Sheba, "God is above." 39. Under Solomon-- A. Solomon on his throne of judgment. B. Solomon praying before his temple-gate. 38. Under Herod-- A. Massacre of Innocents. B. Herod orders the ship of the Kings to be burned. 37. Under the third King-- A. Herod inquires of the Kings. B. Burning of the ship. 36. Under the second King-- A. Adoration in Bethlehem?--not certain. B. The voyage of the Kings. 35. Under the first King-- A. The Star in the East. B. "Being warned in a dream that they should not return to Herod." I have no doubt of finding out in time the real sequence of these subjects: but it is of little import,--this group of quatrefoils being of less interest than the rest, and that of the Massacre of the Innocents curiously illustrative of the incapability of the sculptor to give strong action or passion. But into questions respecting the art of these bas-reliefs I do not here attempt to enter. They were never intended to serve as more than signs, or guides to thought. And if the reader follows this guidance quietly, he may create for himself better pictures in his heart; and at all events may recognize these following general truths, as their united message.