On the graceful supports of these four statues are allegorical representations of the arts and sciences: Agriculture, personified by Adam, Abel and Cain; Music, by Jubal, with his lyre; Metalwork, by Tubal-Cain; Medicine, by Hippocrates; Geometry and Architecture, by Archimedes; Painting, by Apelles; Philosophy, by Aristotle; Magic, by a wizard and a dragon. These, it will be seen, unlike those of the western porch, are not merely representations of the seven liberal arts taught since the sixth century. The artist of S. Louis’s day is breaking away from the old tradition. He invents new types; he is looking for a new system. Lastly, on the western side of the porch, are two very beautiful statues, the one of S. Potentian, the other of S. Modesta (_see_ p. 18). Below the former is a scene in which he, together with SS. Altin and Eodald are baptizing a neophyte, and another in which the Roman Governor, Quirinus, in spite of the intercession of his daughter Modesta, condemns him to be cast into chains. Below the graceful and impressive figure of Modesta are several bas-reliefs of incidents in her life. They are much worn and mutilated, but you can discern an angel rising from the Well of the Martyrs, the martyrdom of Modesta, and a pair of angels carrying her soul up to heaven. We will now walk round to the south side of the Cathedral, turning, as it were, the last leaf of the Bible of Chartres. And, indeed, the south porch[82] may well be regarded as a postscript to the story of the windows and the porches; not only because it is later in date--it was begun under Philippe-Auguste, at the expense of Pierre Mauclerc, Count of Dreux, and only finished in the reign of Philippe le Bel--but also because the subject of it is a variant of that of the Porte Royale. It is the Glorification of our Lord again, but here in His office as Supreme Judge and in the presence of His saints and elect.