The four animals of the Evangelists seem with sonorous voice to swell the acclamations of the hosts of saints; the ox with his bellowing, the lion with his roar, the eagle with his cry, and the angel with his song, accompany the songs of the forty-six angels who fill the upper part of the window. At the head of the procession is an angel who leads the entire company, and, with a little cross which he holds in his hand, points out to all the Paradise they are to enter. Finally, twelve other angels, blue as the heaven into which they melt, join in adoration before the triumph of Christ.⁠ ⁠… “Dante has given a description of a similar triumph, but marked by some interesting differences. The Florentine poet formed his cortege of figures taken from the Apocalypse and Christian symbolism. At Brou, with the exception of the attributes of the Evangelists, everything is historical. In the sixteenth century, in fact, history began to predominate over symbolism, which in the thirteenth and fourteenth centuries had reigned supreme. Dante, who was a politic poet, drew the triumph, not of Christ, but of the Church; the triumph of Catholicism rather than of Christianity.