turning round. Three men are kneeling or bending down beneath the shrine
as it passes; cripples, they are, all three have beautiful faces, the one
who is apparently the worst cripple of the three, (his legs and feet are
horribly twisted), has especially a wonderfully delicate face, timid and
shrinking, though faithful: behind the shrine come the people, walking
slowly together with reverent faces; a woman with a little child holding
her hand are the last figures in this history of St. Honore: they both
have their faces turned full south, the woman has not a beautiful face,
but a happy good-natured genial one.

The cornice below this division is of plain round-headed trefoils very
wide, and the spandrel of each arch is pierced with a small round
trefoil, very sharply cut, looking, in fact, as if it were cut with a
punch: this cornice, simple though it is, I think, very beautiful, and in
my photograph the broad trefoils of it throw sharp black shadows on the
stone behind the worshipping figures, and square-cut altars.

In the triangular space at the top of the arch is a representation of our
Lord on the cross; St. Mary and St. John standing on either side of him,
and, kneeling on one knee under the sloping sides of the arch, two
angels, one on each side. I very much wish I could say something more
about this piece of carving than I can do, because it seems to me that
the French thirteenth century sculptors failed less in their
representations of the crucifixion than almost any set of artists; though
it was certainly an easier thing to do in stone than on canvas,
especially in such a case as this where the representation is so highly
abstract; nevertheless, I wish I could say something more about it;
failing which, I will say something about my photograph of it.

I cannot see the Virgin's face at all, it is in the shade so much; St.
John's I cannot see very well; I do not think it is a remarkable face,
though there is sweet expression in it; our Lord's face is very grand and
solemn, as fine as I remember seeing it anywhere in sculpture. The
shadow of the body hanging on the cross there, falls strangely and
weirdly on the stone behind--both the kneeling angels (who, by the way,
are holding censers), are beautiful. Did I say above that one of the
faces of the twelve Apostles was the most beautiful in the tympanum? if I
did, I retract that saying, certainly, looking on the westernmost of
these two angels. I keep using t