Thus he has portrayed in one and the same image, the Mother of Sorrows and the Mother of Joy--has, without knowing it, embodied the prototypes of the Virgin of La Salette and the Virgin of Lourdes.
"And yet all this is inferior to the living and dignified art, so full of individuality and mystery, that we see in the royal porch of Chartres!" "I will not contradict you," said the Abbe Plomb.

"Now that we have studied the series of types placed on St.Anne's left hand, let us consider the prophetic series on her right.
"First we see Isaiah; the pedestal on which he stands represents Jesse sleeping.

The familiar stem, rooted in him, passes between the prophet's feet, and the branches of the Virgin's ancestry according to the flesh and the spirit, as they rise, fill the four courses of moulding in the central arch.

By his side is Jeremiah, who, meditating on the Passion of Christ, wrote this lamentable passage which is read in the fifth lesson of the second Nocturn on Easter Eve: 'All ye that pass by, behold and see if there be any sorrow like unto my sorrow.' Next Simeon holding the Infant whose Birth he had foreseen, at the same time with the sorrows of the Virgin and the anguish of Golgotha; Saint John the Baptist, and finally Saint Peter, whose dress is an interesting study since it is copied from that of the thirteenth-century Popes.
"With what care is every detail wrought! Admire the treatment of the sandals, the gloves, the broidered amice, the alb, the maniple, the dalmatic, the pallium marked with six crosses, the triple crown, the conical tiara of brocaded silk, the pontifical breastplate, everything is chiselled, pierced, and patterned as if by a goldsmith." "Very true.

But how superior altogether is the Saint John to his fellows on this front.