The task of ornamenting this noble building was in great part intrusted to the young girl, whose genius had already exhibited itself in modeling. Her sculptured groups, and especially those on the portal of the southern aisle, are of remarkable beauty, and have been admired by visitors during the lapse of ages. Here are allegorical figures representing the Christian Church and Judaism; the first of lofty bearing and winning grace, with crowned heads, bearing the cross in their right hands, and in their left the consecrated host. The other figures stand with eyes downcast and drooping head; in the right hand a broken arrow, in the left the shattered tablets of the Mosaic Law. Besides many other groups are four bas-reliefs representing the glorification of the Virgin; her death and burial on one side, and on the other her entrance into heaven and triumphant coronation. It may well be said that in these works are embodied the ideal and supernatural elements that pervade the sculpture of the Middle Ages; and it seemed most appropriate that the taste and skill of woman should develop in such elements the purity and depth of feeling which impart a charm to these sculptures acknowledged by every beholder. On one of the scrolls, held by the Apostle John, the following lines are inscribed in Latin: “The grace of God be with thee, O Sabina, Whose hands from this hard stone have formed my image.” An old painting at Strasburg represents this youthful sculptress kneeling at the feet of the archbishop, to receive his blessing and a wreath of laurel, which he is placing on her brow. This painting attests the popular belief in a tradition that Sabina, after seeing her statues deposited in their niches, was met by a procession of priests who came, with the prelate at their head, for the purpose of conferring this honor upon her. CHAPTER II. THE FIFTEENTH CENTURY.