There were originally twenty-four of these statues, but five have disappeared and left no trace.
"They all wear glories excepting the three first, nearest to the new belfry, and all stand under canopies of pierced work, representing roofs or tabernacles, palaces, bridges--a whole town in little, Sion for children, a dwarfed New Jerusalem.
"They all are standing, each on a column with a guilloche pattern; on plinths carved over with lozenges, diamond points, fir-cone scales, with chain patterns, fretwork, billets, chequers like a chess-board of which the alternate squares are hollowed out; and paved with a sort of mosaic, inlaid patterns which, like the borders of the church windows, suggest a reminiscence of Mussulman goldsmith's work, and show the origin of the style brought from the East by the Crusaders.
"The three first statues in the recess to the left, nearest the new spire, do not stand on any pattern borrowed from the heathen; they are trampling on indescribable monsters.

One, a king whose head having been lost, has been fitted with the head of a queen, treads on a man entangled by serpents; another king stands on a woman who holds a reptile by the tail with one hand, and with the other strokes the plait of her own hair; the third, a queen, her head crowned with a plain gold fillet and her shape that of a woman with child, while her face is smiling but commonplace, has at her feet two dragons, a monkey, a toad, a dog, and a snake with an ape's head.

What is the meaning of these enigmas?
No one knows--no more, indeed, than we know the names of the sixteen other statues placed along the porch.
"Some believe that they represent the ancestry of the Messiah, but this assertion has no evidence to support it; others find here a mixed assemblage of the heroes of the Old Testament and the benefactors to the Church, but this hypothesis is no less illusory.

The truth is that, though all these personages have had sceptres in their hands, scrolls, ribands, and breviaries, not one of them displays the attributes which would serve to identify them in accordance with the religious symbolism of the Middle Ages.

At most might we venture to give the name of Daniel to a headless figure because a formless dragon writhes under his feet, emblematical of the Devil conquered by the prophet at Babylon.
"The most striking and the strangest of these figures are the queens.
"The first, the royal virago with the prominent stomach, is ordinary enough; the last, opposite to this princess at the furthest end of the front near the old tower, has lost half her face, and the remaining portion is not attractive; but the three others, standing in the principal doorway, are matchless.
"The first, tall, slender, and very straight, wears a crown on her brow, a veil, hair banded on each side of a middle parting, and falling in plaits on her shoulders; her nose turns up a little, is somewhat common; her lips firm and judicious; her chin square.