The upper part of the face is innocent, the hair cropped round the head; the face is beardless and the expression monastic, but between the nose and mouth there is a broad slope, and the lips, parting in a straight gash, wear a smile, which as we look seems just a little impudent, just a little vulgar, and we wonder what manner of angel this may be. There is in this figure something of the recalcitrant seminarist, and also something of the virtuous postulant. If the sculptor took a young Brother for his model, he certainly did not choose a docile novice, such as he who no doubt served for the study of Joseph standing under the north door; he must have worked from one of the religious _Gyrovagoi_ who so tormented St. Benedict. A strange figure is this angel, who has a father at Laon, behind the cathedral, and who anticipated by many centuries the puzzling seraphic types of the Renaissance. "What a wind!" muttered Durtal, hastening back to the west front, where he went up the steps and pushed the door open. The entrance to this immense and obscure church is always coercive; we instinctively bend the head and advance cautiously under the oppressive majesty of its vault. Durtal stopped when he had gone a few steps, dazzled by the illumination of the choir in contrast with the dark alley of the nave, which only gained a little light where it joined the transepts. The Christ had the legs and feet in shadow, the body in subdued light, and the head bathed in a torrent of glory; Durtal gazed up in the air at the motionless ranks of Patriarchs, and Apostles, and Bishops, and Saints in a glow as of dying fires, dimly lighted glass, guarding the Sacred Body at their feet, below them; they stood in rows along the upper storey in huge pointed settings, with wheels above them, showing to Jesus, nailed to earth, His army of faithful soldiers, His legions as enumerated in the Scriptures, the Legends, the Martyrology; Durtal could identify in the armed throng of the painted windows St. Laurence, St. Stephen, St. Giles, St. Nicholas of Myra, St. Martin, St. George of Cappadocia, St. Symphorian, St. Philip, St. Foix, St. Laumer, and how many more whose names he could not recollect--and paused in admiration near the transept, in front of a figure of Abraham fixed for ever in a threatening gesture, holding a sword over a crouching Isaac, the blade shining brightly against the infinite blue. He stood admiring the conceptions and the craftsmanship of those thirteenth century glass-workers, their emphatic language, necessary at such great heights, the way in which they had made the pictures legible from a distance by introducing a single figure in each, whenever that was possible, and painting it in massive outline, with contrasting colours, so as to be easily taken in at a glance when seen from below.