IV. NOTES Otf EARLY CHRISTIAN SYMBOLISM. By J. ROMILLY ALLEN, F.S.A. SCOT.

The history of Christian Symbolism covers so wide a field for archteo- logical research, bot s 'regarda h s spac d time d dealan e an , s with works of art executed in so many different materials and applied to such a variety of uses, that it would be quite impossible to discuss the subject as a whole within the limits of a short paper The following notes are therefore confine e symbolisth o t de sculpture th f mo d stonewore th f ko Norman period in Great Britain, such as tympana of doorways, fonts, capital f columnso s d othean , r ornamental detail f o ecclesiasticas l buildings. This particular clas f remaino s s beeha s n chose investigatior nfo n ni preference to any other, because it follows directly in order of time after e Celtith c crosse f Scotlando s d thuan , s fonn e connectinth s g link between the abstruse symbolism of the pre-Norman period and that of the thirteenth to the sixteenth centuries, the meaning of which is made clear by the descriptions in the MSS. of the Middle Ages. Dr J. Anderson, who has so ably discussed the symbols on the Scottish stones Rhinds hi n i Lectures, says with regar them—o t d cleas i t "I r thae th t absolute mastery of the whole field of knowledge that lies round about them must preced e master eth e profounde th f yo r secret f theiso r special character and significance." 1 n additioI possible th o nt e ligh throwe meanine b t th y than no ma t g e earlieoth f r syste f symbolismo e latewhice e studth th on r f y o hmb 1 Scotland in Early Christian Times, 2nd series, p. 176. NOTES ON EARLY CHRISTIAN SYMBOLISM. 381

immediately succeeded it, the sculptures of the Norman period have a o tellt stor f thein ,o y fraughow r t witvere th hy highest intereso t t thosshalo ewh l rea t darighti . onle Th y reliable metho f arrivindo a consisten t ga satisfactord an t y explanation of the ideas intended to he conveyed by the sculptures in question is to arrange and classify the whole series, and then compare them with similar representations, whose meaning is well known either by traditio r writteno n history. . Symbolism may be defined as a means of expressing ideas and facts by representations, which are in the first instance pictorial, but by frequent repetition gradually assume certain stereotyped forms. System f symbolisso m existe n Pagadi n times previou introe th o -t s duction of Christianity, as is shown by the fact that the phonetic alphabet e Greekth d f Romanso an s s were originally developef o t dou a primitive kind of picture writing. Christian symbolism will conse- quentl e s founearlieyb it n i d r stage o containt s som elemente 'oth f s e Pagath of n symbolism which precedes centurieA . it d s rollen o d Christian nations progresse civilisationn i d d theian ; r ideas changen di many ways with regard to spiritual matters, and the symbolism, which was the outcome of these ideas, altered also. This process of change was, however, only partial, for although some symbols have been lost entirely, others remai s the a e samynw th e thireno werth dn ei century have A.Dw e; . thus four classe f Christiao s n symbols, namely— (1) Those which have survive e destructivth d e effect f timeo d s an , ar epresene useth t da t tim expreso et s their original meaning. (2) Those which, although they have cease usee b thi n di o d t s country, foune b ar o et de abroad us stil n i l . (3) Those which have ceased to be used both in this country and else- where, but whose meaning is known, by inscriptions upon the objects, or by written descriptions about them. (4) Those which have ceased to be used both in this country and elsewhere, and about whose meaning nothing is known either from histor r inscriptionsyo . Many uninscribed e symbolunderstoob y ma s y comparisob d n with those belonging to class 3, whose characterstic features are similar. The 382 PROCEEDING E SOCIETYTH F O S , JUN , 18849 E .

meaning of symbols of the fourth class can only be arrived at by guess- work. Often a group of figures is so diamatically arranged, and cor- responds so well with the description given of some striking incident, in Bible th r elsewhereeo , thae interpretatioth t t difficultno s ni . Ther s alsei generaoa l syste f symbolismmo r picturo , e writing, where the idea conveyed is some distinctive quality of the thing represented (as, for instance, a horse, to signify swiftness). Lastly, there are absolutely arbitrary symbols, such as the Greek letter TT, whic s usei h mathematician y b d o indicatt s e e ratith th e f oo diamete a circls circumference it f o ro et . Oncf o e meanin th y e an f go these arbitrary symbols is lost, there is no conceivable method by which agaie b n n ca recovered t i . The chief sources of the materials for the study of early Christian art are as follows :—

Frescoe Catacombe th n si t Koinesa . Sarcophagi from the Catacombs. Mosaics in the Churches of Italy. 3rd to 8th Century. Glass Vessels from Tombs in Italy. Belt Clasps from Burgundian Graves. Ivories.

8th to llth Century. \ IrishI™h, Saxon, anandd other MSS. _ ( Sculptured Crosses in Great Britain.

( Medieval MSS. Sculptured details of Churches. llth to 13th Century. Painted Glass Window Churchesf so . Frescoes in Churches. Pavements in Churches. Enamels.

• Some of the above sources have been thoroughly explored, whereas others have scarcely receive attentioe dth n they deserve Catacombe Th . s of Borne r instancefo , , have been fully describe d illustratean d a y b d variet f differenyo t authors . ,e KossiB d G suc. . s Bosioa A h, , . MA . Boldetti, P. Aringhus, E. Garucci, &c. In the South Kensington Museum there is an admirable collection of ivories available for purposes NOTE EARLN O S Y CHRISTIAN 3 SYMBOLISM38 .

of studye BritisMSSe th Th n i ..h Museum have been written about chiefly fro historican ma r pateographicao l l poin almose f viewth o tt thu , inexhaustible store f sacreo s d legendaran d t containeyar then i d - mre main still untouched.1 The sculptures found in connection with our ancient cathedral d churchesan s , although thee manar y f theo y m described separately in the Proceedings of Antiquarian Societies, have not, as far as I am aware, been treated of as a whole. One of the most able . KeyserA . C e subjecpaper ,r th F.S.A. M n s tha i o sty e b tth , n "O Tympanum of a Doorway in the Church of South Feniby in Lincoln- shire," in vol. xlvii. of the Archceologia; and I now take the opportunity of expressing my thanks to this learned author for the kind assistance he ha s n e makin lisi givef sculpture th o te t nm ou g d Norman fontd an s tympana of doorways, which will be found at the end of this paper. The list referred to is brought before this Society in the hope that the publicity thus given to it will induce members to make it more perfect by adding fresh examples. The numbers of sculptures already included e listh t n shoi w what ample material thero fort ms a Museui e f mo Christian Archeology haviny b , g casts take f themo n thao s , t then yca be placed togethee galleryon n s thui ra , s alon n the compareca e y b d satisfactorily, and made to yield any scientific result. At present these sculptures are so scattered over the face of the country that it is quite e individuaimpossiblon e publiy f th theman o visio d r t l cl fo al an e,t generally remain in almost entire ignorance of the great wealth of art- workmanship whic e alreadw h y possesn s withiow r e limitou th n f o s islands without going to Greece or Borne for copies. As far as actual execution is concerned, no doubt many of our early sculptures are exceedingly rude when compared with examples of classic art, but it must not be forgotten that in almost all cases the ideas which inspired the Christian sculptor were far purer and nobler than those of Pagan times, and they were expressed with a vigour which is often wanting in the more refined productions of the artistic culture of the older civilisation. The rudeness of some of the early sculptures in this country has 1 Mr W. de Grey Birch, of the MSS. Department of the British Museum, has publishe admirabln da e classified inde f subjectsxo . 384 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

caused them in many cases to be classed as of. pre-Christian origin, and their meanin s beegha n entirely misunderstood, because sufficient allow- t bee no t anctraininne ar s wan th mad ha ef d educatioo r t an gfo e n existing in remote places and times. In order to have any chance of explaining satisfactorily the meaning e systeoth f f earlmo y symbolism t wili , e necessarb l t asidpu l eal o yt ideas which are the result of modern culture, and endeavour to look at things fro mmediaevaa l poin f viewo t , remembering that politicad an l religious changes have entirely altered the cast of the national mind, and that advances in knowledge have revolutionised science and art. r instanceFo familiaw no , s everi re wit yon e appearanc hth f foreigeo n animals, suc lionss ha , tigers elephantsd an , , fro face havinf mth o t g seen menagerie d illustratean s d book n naturao s l history; whereae th n i s Middle Ages these sources of information were unknown, and hence grotesque manth f yo e shapes these animals assum ancienn ei t sculptures, and the extraordinary stories told of them, the imagination often supply- e placth f actuaeg o in l knowledge. The only possible method of finding out why animal forms occur so frequently in ancient sculptures, and what they were intended to symbolise a carefu y b s li , stud f contemporaryo y MSB. mord an , e espe- ciall e bestiarieth ye Middl th f o se Ages. Besides being unacquainted with the appearance of foreign animals, the mediaeval artists had not sufficient archaeological learning to be able to represent Scripture character e costumth n i s e e countrypropeth o t r , wher e eventth e s recorde Bible th n edi too e dat kth t whic a eplace o t r ho , these events occurred, and they consequently fell back upon what came within the range of their actual experience, and portrayed figure subjects in the dres y witf n theicountro sda h ow rd n thei correspondinan yow r g accessories.1 This custo f portrayinmo g figure subject e dresth f n so i s the day has proved a stumbling-block to many an archaeologist, and has caused Scripture scenes to be mistaken for representations of contem-

1 A notable instance of this is to be seen on a tombstone in the churchyard of Logierait, in Perthshire (mentioned by Dr J. Anderson in his Scotland in Early Christian Times, seriesd 2n . 138)p , , dated 1774, where Isaac appear kilt-ana n si d Abraham in the dress of a gentleman of the eighteenth century (fig. 14, p. 418). XOTE EAKLN O S Y CHRISTIAN 5 SYMBOLISM38 . porary events t I o cannoclearlto . e yb t pointe t thasystee dou th t f mo early Christian symbolism was a general one, and dealt either with scenes from the Bible, which were intended to inculcate some vital truth r wito , h emblems typica f somo l e special virtue whic Cliristiae hth u should possess, or vice that he should avoid, and not with the doings of privat r publieo c individuals, however celebrated. With regard to the question of the costume of the figure subjects of the Middle Ages t i mus, e noticeb t s generalld wa tha t i t n remoti y e districts far away from the centres of learning that the dress of the day founs i sculpturen di mose Th t. usual dres Scripturr sfo e character lons si g flowing drapery, probably copied originally from the Eomaii dress, and handed dow meany nb miniaturef so MSSn si . fro centure mon anothero yt . e subjectTh f Christiao s n symbolis classee b y follows mda ma s :— Go Fathere dth . Jesus Christ. Hole Th y Ghost. Trinitye Th . Heaven and the Angels. Virgie Th n Mary. Foue Th r Evangelists. Twelve Th e Apostles. Disciplese Th . Prophetse Th , Saints Martyrsd an , . Scene d TestamensOl froe mth t (typica Christiae th f o l n lif r doctrines)o e . Scene Testamenw s Ne fro e mth t (chiefly fro e liff mth o e Apocalypse)e Christh d an t . Scenes from the Apocryphal Gospels and Legends. Churche Th s Officerit , Kitesd an s . Hell, the Devil, and hia Angels. The Christian Life. The Soul. Death. The Conflict between Good and Evil. Virtues and Vices. The Seasons. The Sun, Moon, and Stars. Personfications of Winds, Eivers, &c. Animals, Birds, Fishes, Trees Flowersd an , . Fabulous Beasts. YOU XVIII. 2 B 386 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

Early Christian symbolism , Catacombe beguth n i n t n Romi a s d ean s firsit t stages, show a considerabls e admixtur f Pagao e n ideas. Thus Christ appears under the guise of Orpheus surrounded by the beasts s s e lyrealluresounwhichi th ha f ,e y o dh b dbein g typicae th f o l manner in which the souls of sinners are drawn towards Christ by the teaching of the gospel.1 He is also shown as the Good Shepherd tending his flock or bearing e losth s tshoulders hi shee 1 e reaso01 p Th f .theso n e scenes from heathen mythology being use Christias a d n symbol probabls swa y that the early persecutions made it dangerous to display the doctrines of Christianity more l caseopenly al Savioue sth n I .representes i r a s da youn n witgma h pleasing feature d destitutan s f beard o escarceld an , y instancey an se heaoccuth df o r being surrounde nimbus.a y e b d Th 2 chief symbol s e Saviou e Catacombth use th r e crossdfo n i th re e th , ar s Agnus Dei, the Labarum of Constantine, or abbreviation of XPS for Xpioros, and the vine. The Holy Spirit is represented by a dove as early as A.D. 359.3 Firse Th t Perso e Trinitth f n o symbolises yi hana y ddb emerging from a cloud ofted an , n holdin gbooka . The four Evangelists are indicated by four scrolls or books, and it is not unti fifte sixtr th lo h h century tha symbolicae th t l beast used."e sar * Two doves drinkinvasa f eo t mea gou e huma nth n soul drinking the water f salvationo s e palth ; m branch stands e martyrdofoth r a f mo Christian; the peacock indicates the resiirrection, and so on. The most striking feature of the frescoes of the Catacombs, however, is the frequency with which scene d TestamenaOl froe mth usee ar types t da s of those in the New, for instance :—

Temptatioe Th . 1 Adaf no Eved man , typifyin necessite gth Savioua f yo r to wash away the effects of the fall of man with His blood. 2. Arke Noath ,n hi wher aie kth e symbolise Churce th s whicn hi n hme ma savee yb d fro destructioe mth surroundine th f no g world.

1 Twining's Symbols of Early Christian. Art,34 . p 2 Professor Westvvood Earlyn O , Christian Sculptures, 3 Twining. 49 . p , 4 . Ibid.,90 . p NOTE EAKLN O S Y CHKISTIAN 7 SYMBOLISM38 .

3. Abraham's Sacrifice of Isaac, which typifies the sacrifice of Christ for the sins of the world. 4. Moses striking Water froe Bockmth , typifying Chris e spirituath t l roc sourcd kan livinf eo g water. 5. Daniel in the Lions' Den, 6. The Three Children in the Fiery Furnace, 7 Jonah thrown up by the Whale,— All typical of God's promise to deliver the true believer. chiee Th f New Testament subjects are—* Virgie 1ChildTh d . nan . 2. The Adoration of the Magi. . Chris3 t Disputing wit Doctorse hth . 4. Christ Healing the Paralytic. 5. The miracle of changing the Water into Wine. 6. The miracle of the Waves. miracle Sighe 7Th .th f eto restore Blinde th o dt . 8. The Raising of Lazarus. 9 .Apostles e Christh d an t . The sufferings of Christ and the crucifixion do not occur on frescoes or sculpture e Catacombsth n si . The next oldest source of the materials for the study of early Christian art tho t , e Catacomb t Bornee sa sculpture th s i , d Celtic crosse Greaf so t Britain. The subjects represented are generally scenes from the Bible; and the cross at Clonmacnois, in Ireland, is called the " cross of the Scriptures, Annale entrn a th n n y"i i f Tigernac so h dated 1060.2 r AndersoD n give a complets e lisf theso t e subject s Rhinhi n i ds Lectures,3 from which it appears that they are mostly the same as those Catacombse inth t wit followine bu , hth g additions :— 1. The Crucifixion. 2. Davi Samueld dan . 3. David rending the Jaws of the Lion. 4. David playin Harpe th n g.o 5. St Michael weighing the Souls. 6. The Harrowing of Hell. 1 Pape "n o rEarl y Christian Art," rea Professoy db r "Wustwood befor Oxfore eth d Architectural and Historical Society, 1862. Petrie's Irish Architecture, . 273p . 2 3 Scotland Earlyn i Christian Times, seriesd 2n . 163p , . 8 38 PROCEEDING E SOCIETYTH F O S , JUN , 18849 E .

Lastly e sourccome th w ,o f t earleo e y Christian art, with whice hth present paper deals exclusively, namely e sculpturedth , 1 fontd an s tympan e Normath f ao n perio Grean di t Britain. tympane Th a are generally found ove principae rth l doorway parisf so h churches in remote districts. In cathedrals and other large churches, sculptured tympana are not nearly so common as is the case on the Continent. This is probably due to the rapid transitions which took plac Gothin ei c architecture, whe e rounth n d arch stylgivins y ewa gwa e pointedth e larg o t th d mos f an e, o t churches were completel- re y modelled. In out-of-the-way country parishes the church which was large enough for the wants of the people in the twelfth century, is equally e presenth st oa t dayd consequentlan , s escapeha yt e i alteration dth s which were require town di n churches suio e increast , th t f populatioeo n and more rapid variations of taste and fashion in architecture. Sculptured fonts of jSTorman date appear to be less common than tympana. Beside e tympansth e ISforma fontd th an af o s n period, there varioun i e ar s places miscellaneous piece f sculpturo s e capitalth n eo f so columns, in medallions on mouldings of arches, on jambs of doorways or corbels, and lastly on slabs, more or less rectangular built into walls of churches t whosbu , t ealway originano s i se certainus l . All the above sources of early Christian art will now be examined and classified according to the various subjects which are represented on the different sculptures. e lis f subjecto tTh generaf o s l Christian symbolism wil e adhereb l o dt as muc possibles ha e firsTh t . step towards interpretin e meaningth g of the unknown is to separate them off from those which are known. There probably always residua wil o b l e whic neven hca understoode rb , but by careful comparison and investigation this will. be reduced to a minimum. With regard to such symbols as those which occur on the Sculptured Stones of Scotland, illustrated by Dr Stuart, I cannot help thinking tha classifiea t d lisf subjecto t f Christiao s n symbolism would be of some use in unravelling their meaning, because, after all, the total number of human ideas is limited, and those referring to a special 1 Sculptured means in all cases in this paper, sculptured with figures of men, animals trees, &c., and does not include geometrical ornament. NOTE EAKLN O S Y CHRISTIAN 9 SYMBOLISM38 .

subject , Christiasucthe has n religion stilare , l mor unleseso, s therefore ideaf o t entirelconnection n si a se w yne n with Christianit inventes ywa d sevente th n i h centur n yScotlani d (whic extremels hi y improbable)e ,w can apply the tentative process, and try how the symbols suit each known Christian idea one after the other, and perhaps by a happy guess solve the problem which has so long baffled our most learned antiquaries. GodFather.the Representations of the First Person of the Trinity in early Christian art are by no means common. Several reasons have been suggeste accouno dt thisr tfo , amongst which are followineth g :—(1) tha d reverenct an feelinge aw ef o sdeterre e dth artist from approachin o sacres g a subjectd ) thae Christia(2 th ;t n Church, although allowing greater e keepin laxite th stric th n i yo t t g letter of the second commandment than was the case amongst the Jews, yet feared to allow the Creator to be embodied in any work of man, lest idolatry might thereby be encouraged ; (3) that the Gnostics viewed with dislike the stern unpitying characteristics of the Jehovah of the Old Testament, as contrasted with the loving and merciful ones ascribed to Jesus Christ in the New, and therefore, when their heresies spread, there was a tendency to exalt the Second Person of the Trinity at the expens Firste th ) tha e identitf e(4 o ;th t y betwee e Fathee th n th d an r Son, founde textn do s from Scripture, rendere dseparata e symbo eacr lfo h unnecessary. d TestamenOl e sphere th e Th th s n whici i etd e poweGo th h f o r Almighty is chiefly exhibited, whereas in the New it is the Son, the Saviour of the world, who occupies the principal place, God the Father only appearing at rare intervals. Thus it is in scenes from the Old Testament tha e symbolith t c representatio e Firsth f to n Persoe th f no Trinity occurs most frequently instancr fo s a , e creatin e worldgth , giving Moseso t w la , tablee e stayinth th f so hane g th Abrahaf do m when about sacrifico t Testamenew IsaacNe e ,th &c.t t scenebu ; e th whicn s i d hGo Father appear e fewar s e Baptis, th suc s a h m of Christ e Transth , - figuration Agone Gardene Crucifixione th ,th th n yd i an , . 390 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

• The earliest symbolic' representation of God the Father is a hand emerging from a cloud, which occurs on the tomb of Junius Bassus in e Catacombth f Eomeso , dated A:D., 359.hane intendes Th dwa 1e b o dt typical of the sovereign power of the Almighty, who fashions man as a potter doe s e MajestclayTh . f Godyo coul,n whicma d o beholn h d dan live, was supposed to be invisible and hidden behind the cloud, the hand alone being exposed. There are many variations of the hand symbol; s showi t i n holdin book a gwreata a r bundl o ,n o h f arrowso e s i t i ; shown surrounded by a cruciferous nimbus, or with rays issuing from it; s showi t i n facin n differeni g t direction d froan sm different pointf o s view shows i t i ; n wit e fingerth h s outstretched r witraiseo o , tw hn i d the act of blessing. I ninte nfresca th f ho century' e Creatoth 2 representes i r d undee th r outward appearance of Christ with a cruciferous nimbus, but the upper portio same e figurl thath th al e han s n shownf i s ti th ni e o s di d an , position (turned downwards) as in the earlier examples, where the whole of the rest of the body is hidden behind the cloud. There is no doubt e intentioth e ascene creatioe o artistst th th th s r f i e no f Adamfo , o n , initiale th d f Chrisso an writtee ar t eacn no he Almighty sidth f eo . In the thirteenth century God the Father is represented as a full- length figur mann i e y cases, undistinguishable from tha Christf o t . In the sixteenth century God the Father is shown as a full-length figur pontifican i e l robe tiarad an s . f theso t eou varioue onle Th on y s way f symbolisino s e Firsth g t Person of the Trinity, which occurs on Norman sculpture, is the hand. A good example exists above the head of the crucified Saviour, built int e exteriooth r wal f Komseo l y Abbey Hampshire,n i , t occuri d n 3an o s the font at Lenton, Notts (figs. 1, 2, and 3), both over the head of the crucified Saviour d ovee representatioan ,th r s baptise Hi th f o nn m i Jordan. nots i t I , however, foun Norman o d n tympan n thii a s countryt bu , instances occur abroad over the doorways of the church of St Peter in

1 Twining's Symbols of Early Christian Art, p. 4. Didron's IconocjrapMe Chretienne, p. 178. 2 3 Twining, p. 6. NOTES ON EABLY CHRISTIAN SYMBOLISM. 391

Vienne,1 and of the cathedral of Ferrara,2 in Italy ; also on the Bayeux tapestry, it appears above the church of St Peter,3 and in several MSS. of the tenth, eleventh, and twelfth centuries. The hand symbol belongs to that class, which has ceased to be used at the present time, but its meaning is fully established by the follow- ing evidence, viz., it occurs in the miniatures of MSS. of the Bible,

Fig. 1. Font at Lenton, near Nottingham, north side. illustrating scenes wher holdd eGo s direct intercourse with man, sucs ha giving the tables of the law to Moses, in positions which leave no doubt awha o intendes t i t i t represento dt Divine th ; e cathedraHane th t da l of Ferrara, before mentioned siirroundes i , cruciferoua y db s nimbus, which shows tha t symbolisei tThree th f eo Persone Trinitye on se th th f sd o an ; examples of St Peter's, Vienne, is inscribed with the Alpha and Omega.

De Caumont's Aldcidaire d'Anhiologic, p. 20.

1

3 2 Didron . 212p , . Vetusta Momtmenta, vol . pi.vi . vii. 392 PBOCEEDING THK O SE SOCIETY, JUN , 9 1884E .

Jesus Christ. The Second Person of the Trinity is represented in early Christian art pictorially, both as a 'youth and as a bearded man, and symbolically as Orpheus, as the Good Shepherd, as the Lamb of God,-as the Lion, by Alphe e Cross th th Omegad y aan b , monogramy b , abbreviationd san f so the name Jesus Christ, and by the fish.

Fig. 2. Font at Lenton, near Nottingham, west side.

Fro tente thire mth th o hdt century Chris representes wa t d sometimes asa yout d sometimehan a bearde s a s d man, t subsequentlbu ' e th s ya latter only. Orpheus charming the beasts of the forest with his lyre was a type of Christ drawing the souls of men towards him by the preaching gospele e osymboth e fGoo Th th .f do l Shepher s foundei de th n o d r Lorwordou df o himselfs e Gooth , d"m a Ie Shepherd, th n o d an " parable of the lost sheep. Christ appears as Orpheus and as the Good NOTES ON EARLY CHRISTIAN SYMBOLISM. 393

Shepherd in the Catacombs at Rome during the first three or four centuries t afterwardsno t bu , . Christ symbolise a f Liover o y s yb dni rare occurrence, the known examples varying in date from the eighth to the thirteenth centuries, and the scene being that in the Apocalypse, in •which the Lion'is described as having prevailed to open the book with the seven seals. The Cross and the Lamb of God and the Greek letters Alpha and Omega have been used as symbols of Christ from the third

Fig.' 3. Font at Lenton, near Nottingham, east side. century e dowpresenth o nt t day d thei,an r meanin welo to l s gi know n to need explanation e monogramTh . s which symbolis r Lore ou ear d forme combininy b d e letterfirso e Greegth th tw t f sko word XPICTOC. The earliest form is that which occurs on the coins of Constantine; this was altere a syno y db d hel n A.Ddi t .i cease e use 319b d n i do an t d, this country aftee tentth r h century e abbreviationTh . namee th f o s Jesus Christ used as symbols are as follows; namely, XPC, being the first 394 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

two and last letters of the word XPICTOC; IHS or IHC, the first two and last letters of the word IH2OT2 or IHCOTC. The earliest of these abbreviations is XPC, which, superseded the monogram of Constantine in e twelftth h century s founi d n Frenco dan , h e Renaissancecointh f o s . IHS was introduced in the thirteenth century, and is still in use. The fish appears in Christian art as a symbol of Christ, but in an inferior sense to that in which the Agnus Dei and other symbols are applied; for the latter have the cruciferous nimbus, whereas the fish never has. The origin of the fish symbol is supposed to be that of the first letters of the Greek words for " Jesus Christ, the Son of God, the Saviour," from the e samwor th fisr en dfo hi language. e differenth l al Ou f t o t symbole Seconth r fo ds Perso e Trinitth f no y which have just been enumerated onle th , y ones which occu Norman o r n sculpture in this country are the Cross, the Lamb of God, and the abbreviation IHC. The Cross. e symboe CrosTh th s f i founso l n Normai d n sculpturee th n o , dedication stones of churches, above the principal doorways of churches, o nn sepulchra o fonts d an , l slabs. Ver dedicatiow yfe n crossee th f o s Norman period, however, remain.1 Crosses over doorways are common e eleventth n i twelftd han h centuries d usuallan , y occup e centryth f o e the tympanum. The form of the cross is generally that known as the Maltese, having equal limb d expandean s d ends s enclosei t i ; d within a circle in most cases, and the remaining portion of the tympanum filled in with geometrical ornament consisting of chequerwork or diapers. Good examples exist at Findern, Derbyshire; "Wold Newton, Yorkshire, and elsewhere.2 The cross was purposely placed over the principal doorway, as being the place where it would be most readily seen by ever enterine yon e sacregth d edifice wherd an , t woulei d cale attenth l - tion of every worshipper to the central doctrine of Christianity. The cross, as the symbol of Christ, placed thus may perhaps also be explained by the text "I am the Door," and also by Exodus xii. 22. In the 1 See list given by 0. E. Keyser, in Anhzeologia, vol. xlvii. p. 165. 2 Ibid. NOTE EARLN O S Y CHRISTIAN 5 SYMBOLISM39 .

Eastern Church the custom of having a cross over the doorway exists at the present day. The Eev. E. L. Cutts, in describing the Nestorian Churc t Kochaneha Asin si a Minor, says:— " "We tak e porcshoeoffthe our hsin before enterin churchgthe , pausinga moment to examine the bas reliefs with which its lintel is ornamented. The ornaments consist of a central cross of knot work, and the side ornaments of the same style, very like the carvings on a Saxon churchyard cross."1 Early examples exist over doorways of Coptic churches in Cairo.2 Dr Petrie illustrate doorwasa churce t Eechinth S f f yo ho t Forea , , county Westmeath, of the seventh century, which has a cross on the lintel, referred to in the life of the saint.3 - The Bound tower at Antrim has also an early form of cross above the lintel.4 The cross symbol does not occur frequently on fonts of the Norman period. Early examples are to he found at Llanfair y Cymwd, and at Llan Jestyn, in Anglesey,5 also at Kea, in Cornwall. Instance f crosseo s s ove e doorwayth r f primitivo s e Christian cells and oratories in Ireland, formed by building rounded waterworn pieces of white quartz into walls composed of dark slate, are described by Miss Stokes.6 LambThe God.of Wit exceptioe hth e cross th oldese f mosth nd ,o an t t popular Christian symbol, even at the present day, is the Agnus Dei. The earliest representations of Christ as the Lamb of God are to be found in the Catacombs at Home; and in the seventh century this symbol had so far superseded all others that the Church began to fear the tendency to- wards idealis goins far mo wa d decree to g, an councia tha2 t 69 a td n i l it should be no longer used. The effect produced by this decree, how- ever, appears to have been but slight, as is shown by the frequency with whic forbiddee hth n symbol occur laten si r times. 1 Christians under the Crescent in Asia, p. 216. Building News, April 4, 1884. 2 Petrie's Architecture of Ireland, p. 174. 3 4 Ibid, . 403p . 5 Archaeological Journal, vol. i. p. 126. 6 Early Christian Architecture in Ireland, p. 35. 396 PKOCEEDINGS OK THE SOCIETY, JUNE 9, 1884.

e explaineb frequene o t th s Agnue i origie y e db th i Th us f t no De s Testamentd Lame mad typOl a th s f f e Chrisba eo o th mord n an ,i t e whicn i e t JohS he on nth e th especiall s a w sucy yb Ne he textth n i s Baptist cries, " Behold, the Lamb of God," and the one in the Apoca- lypse describin e openin e th gboo th kf o gwit e seveth h ne th seal y b s -Lamb with the seven horns and the seven eyes. e chieTh f variation e Agnuth i symbof followo s s De a e ar l s :-^-

e Catacombth n I ) e Lamth (1 s b without nimbus shown performine gth miracl e raisinth f eo Lazarusf go d thuan , s know e intendeb o t n d for Christ, as on the tomb of Junius Bassus, dated 359. e Catacombsth (2n I ) e Lamth , b without nimbus t having'bu , a crosr o s the monogram of Constantine on the top of the head, generally shown standing on the " Mountain of Paradise," from which flow the four rivers, the Tigris, the Euphrates, the Pison, and the 1 Gihon, being typical of the four Evangelists. (3) In the Catacombs and in Norman sculpture, the Lamb with nimbus holdind an Resurrectione crose th g th f so . (4) In the twelfth and thirteenth centuries, the Lamb with nimbus, cross, d chalican e receivin blooe gth e d th sine whic f th shes so r hwa dfo world. twelfte th thirteentd (5n I an )h h centuries e Lamth , b with nimbud an s cross with banner flying from it to symbolise victory. (6) In the thirteenth century rare examples of the Lamb with ram's horns. (7) In the fifteenth century, the Lamb with nimbus resting on a closed hook. (8) In the thirteenth century, the Lamb of the Apocalypse with seven horns and seven eyes opening the book with the seven seals.

Out of the above the only ones which are found on Norman sculpture are Nos. 3, 5, and 6. Probabl e earliesth y t exampl n whici e e Agnu th hi occur De s n i s sculpture, in this country, is on a slab dug up at "VVirksworth Church, .Derbyshire yeae th buil rw n i ,1824 no t d inte wallan ,th o o preservt s e it (fig. 4). The carving is rudely executed, and may possibly be Saxon. nimbuo Lame n s Th s placer bcrossi e centrha s o t th a plai f bu n d,i e o n Latin cross, with equal limbs, in the four corners of which are the emblems e fouth of r Evangelists. Immediately e beloAscensionth n s wi o d an , NOTES ON EARLY CHRISTIAN SYMBOLISM. 397

3 O -d

a ,0 398 PROCEEDINGS OF THE SOCIETY. JUNE 1884.

the left Christ washing the Disciples' feet. There are other groups of figures on this most remarkable stone, which will be referred to later on. Wit above hth e exception Agnue s almosi th ,i sDe t invariably repre- sented in Norman sculpture, with the nimbus and the cross. This form of cross M. Didron calls the " Cross of the Resurrection," in contra- distinction to the " Cross of the Passion," the latter being the real cross on whic e Saviouhth r suffered; wherea forme e e symbolicasth th s i r l cross e han th helf Christ o dn i d n suci , h e Ascensiosceneth s a s r tho ne Descent into Hell, wher t appeari e instrumenn a s sa f poweo t n overi r - coming the Devil. The cross carried by the Lamb of God varies in

Fig . Tympanu5 . t Parwiehma , Derbyshire.

shape; the most common kind being a plain Latin cross, as on the tympanu mt Stoke-sub-Hamdona , Somersetshire (see fig e fon. th 20) tn o , at Kirkburn, Yorkshire, and on the sepulchral slab at Bishopstone, Sussex. Sometimes the head of the cross is surrounded by a circle, as e tympanonth t Parwiea d Hognastonhan (fig, 5) . n Derbyshirei , d an , Selwoodn Pe t a , iii Somersetshire. Sometimes crose e heas th th f sha d o expande e tympanuth d n endso s t a mAstona , n Herefordshirei , n i ; other cases the ends terminate in knobs, as at Adel, in Yorkshire. The banner attached to the cross occurs at Adel, in Yorkshire, and Tetsworth, Oxfordshiren i ; als fontn oo t Helpringhaa s Colsterworthd m an (fig , 6) . , NOTE EARLN O S Y CHRISTIAN SYMBOLISM. 399

in Lincolnshire. At Adel the Agnus Dei is placed over Christ in Glory, seate thronea n o d , havin e emblemg th e fouth rf so Evangelist e th t a s sides. e fon t Helpringhaa Th t ms veri y late Normane carvinth d s i gan , extremee rud th Agnuher e s i n ei i Th e .s De show n with horns, which is most unusual, as M. Didron knew of only one instance, at the Cathedral of Troyes (thirteenth century).1 In the latter case both the

Fig. 6. Font at Helpringham, Lincolnshire.

earhornd indicatede san ar s t Helpringhaa t bu , horne mth s only appear; and bad as the. execution is, the curved form shows them to be liorns and not ears. In connection with the present subject by far the most remarkable series of representations are those which show the Agnus Dei associated with animal forms, as on the tympana, at Parwich and Hognaston, in

1 Didron . 332p , . 400 PROCEEDING E SOCIETYTH F O S , JUN , 1S849 E .

Derbyshire d Stoke-sub-Hamdouan , n Somersetshirei , n fonto t a d s an , Hutton Cranswic kd Kirkburn an (fig ) 7 . n Yorkshirei , t ParwicA . h tympanume appear d e Lamth lefe f th (figGo th o t) f b5 n o .si , treadinn go two serpents, whose neck twistee ar s d together; e ovee th hea th rf o d Lamb is a bird, and in front are three animals, a unicorn or stag, a wild beasa boar d tan , bitin s taigit l which terminate n threi s e leavest A. .

Fig . Fon7 . t from Hutton Cranswick, Yorkshire.

Hognaston the Lamb of God is again placed in the left hand corner of the tympanum, and in front is a figure holding a pastoral staff in his right hand, and beyond three beasts, one of which looks like a fox or a wolf. At Stoke-sub-Hamdon (fig. 20) a tree with three birds upon it occupies the centrtympanume th e figur f th eo lef e f Sagittarius i o th et n o ; s shooting arron a t wLeoa , both names being inscribed .e Agnu th Abovs i so eLe t havini wit no e cross De hnimbuse t th g th bu th ,n O e fon. t Kirka t - NOTES ON EARLY CHRISTIAN SYMBOLISM. 401

.1 I o a" 'E I o

VOL. XVIII. 40.2 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884..

burn the Agnus Dei carries the cross, but has no nimbus; on the left is a man with a club over his shoulder, leading a beast with a collar round necks it , whic attaches hi e man'ay th b dcor o st d right e ankleth n o ; ove e s shoulderwitax n hi r n hma a righ a s i ,t followe a coile y b d d ser- pent birda , beasa , t treadin serpenta n go serpena , t knottiea d n di an , a geometrical pattern within a square. On the font at Hutton Crans- wick, now in the York Museum, are a series of ten figures, within arcading (figs. 7 and 8), amongst which is the Agnus Dei; and a man arme o compartmentd arrotw an dwn w i wit bo ha s nex o eact t h other. The Agnus Dei has no nimbus, but carries the cross, and above it are three pointed objects like spear heads. I have not met .with any other exampl f threeo e such objects associated wit e Agnuth h sn o Dei t bu , e Normath nt JameS fon t a ts Chapel, Pyle, Glamorganshire e somar , e similar devices. I do not attempt to explain the meaning of the sculptures on the tympana and fonts which have just been described, for to do so in the presen tr knowledg statou f eo e woul e merb d e guess-work I therefor. • e go no further than to call attention to peculiar features of these represen- tations e mosth , whicn ti curiouy Agnue hth i wa f e whicsDe o th s hi is placed in combination with figures of animals, and of Sagittarius and Leo, leavin o doubgn t that s donthiwa se intentionally thad an ,t some fact or doctrine of Christianity was at one time clearly conveyed to the minde peoplth f meany so b e f symbolo s s whose losimporw n i tno s i t the mists of past ages. presene th n I t instanc e comparativeth e metho dmoro faild o et s than show that several sculptures have particular features in common, but the advantag f collectino e e exampleth l al g s togethe t , soma thais rf i et future time one of the representations should be explained, the meaning othere th l osal f wil e rendereb l d intelligible also. Unfortunatele th y inscriptions merely giv e nameeth s Sagittariu Leod tha o e onls san , th t y way of throwing light on the matter is to compare the sculptures with miniaturee th descriptiond san contemporarn si y MSS. Olintee nth l ston doorwaa f eo f Penselwooyo d Church Somersetn i , - shire Agnue encloses i th ,i sDe d conventiona o withitw s ncirclea ha d an ,l beasts with their tails twisted over their backs on each side of it. NOTES EARLN O . Y CHRISTIAN SYMBOLISM. 403

Oe capita nth Normaa f o l n colum t LawrencS t a n e Church, York, the Agnus Dei is shown facing a winged dragon. At Tetsworth, in Oxfordshire, the Agnus Dei is also enclosed within a circle, and has a figure with a pastoral staff in the act of giving the benediction on one side, and a figure holding an open book on the other. At Tarrant Rushton, in Dorsetshire, the Agnus Dei has a figure on each side of it, one with an open book and the other armed with a sword. At Aston, in Herefordshire, the Agnus Dei is enclosed within a circle,

Fig. 9. Tympanum of South Doorway of Beokford Church, Gloucestershire. e Evangelistth f o e emblem th e ans n eacon o e sd ha f hth so n sideO . fon t Checkleya t Staffordshiren i , s whai , te Agnu appearth i e b sDe o t s without nimbus or cross, standing on a square block or altar (f). On the font at Raunds, in Northamptonshire, is a rani's head, which may possibly be meant for the Agnus Dei. The Lamb of God, as described in the Apocalypse with the seven horn seved san n eyes openin e sevee booth th g f n ko seals, does nots ,a far as I am aware, occur in Norman sculpture. The only distant resem- 404 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884. t Beckforda blancI knos i t i f w o o et n Gloucestershir i , e (fig , wher9) . e e tympanuonth e soutth f mho doorwa s carvei y centrada l cross with two animals, one on each side, having three horns. On one side of the e dovecrosth s si , which symbolise Hole othee sth th ye n th Spiritr o d an , round disc of the sun. n Garrucci'I s Storia l Artede Cristiana figuree ar 1 d early sculptures of crosses, exactl e samth f eyo shape, wit eacn Agnue o hth hi sidesDe , and the dove in a similar position to the one at Beckford,

Christ in Glory. e subjecTh t which occurs oftener thay othean n r sculpturee th n di tympana over Xornraii doorways, bot n thii he sth n countro d yan Continent s i Chris, n Gloryi t s describea , e Apocalypseth n i dr Ou . Lor representes di s humahi n di n form glorified, seate throna n do e and holding a book in the left hand, whilst the right is raised in the act of giving the benediction. Round the head of the Saviour is a cruciferous nimbus, and the whole figure is enclosed within an aureole in the shape of the vesica piscis. This vesica occupie e e tympanumcentrth th s e remaininf o eth d an , g

spaces on each side are filled in either (1) with the emblems of the

3 4 four Evangelists, ) wit angels,o ) wit(2 (3 hr tw o hr o 2 four angels. n somI e case e angelth s s alone remain e sculptur th e res f th ,o t e having disappeared.5 The meaning of these symbolic representations is well known, and at Essendine Kutlann i , d (fig. 10) figure th , e abbreviatio f Chriseo th s tha n IHC inscribed above it. Sometimes the figure of the Saviour seated o s vesicaplacee i thronon nth t s bu dha ,e withi a nnich e above th e doorway.6 1 Vol. v. pi. ecclxxxvii. 2 As at Adel, Yorkshire ; Pedmore, Worcestershire ; and Elkstone, Gloucester- shire ;.- Rochester Cathedral. 3 As at Prestbury, Cheshire; Water Stratford, Bucks; Essendine, Rutland, St Benehu's, Shropshir e; Littl e Barringto Siddingtond nan , Gloucestershire. 4 Shobdor t Peter'sS d an , , Rowlston, Herefordshire. 5 As at Worth Maltravers, Dorset, and Bradford on Avon, Wilts. r> As at Hadiscoe, Noifolk ; Lullington, Somersetshire. NOTES ON EAKLY CHK1STIAN SYMBOLISM. 405

1'onts with Chris Glorn i t y sculpture then do vere mar y rare.1 A late example, but preserving ancient characteristics, occurs on one of the capitals of the columns of loiia Cathedral, Argyllshire. Christ is within a vesica, only a portion of which is visible; on each side is an angel, the one on the right with a harp, which is unusual.

HolyThe Ghost. The Third Person of the Trinity is in a few instances represented as a human form, but the dove as the symbol of the Holy Spirit is the one

Fig. Tympanu10 . t mEssendinea , Rutland. which has existed with scarcely any variation from the earliest Christian times presene dowth o nt t day. The origin of the symbol is to be found in the text of the New Testament which describes the Spirit of God descending upon Christ in the shape of a dove at His baptism. The chief scene from the Old Testament, wher Hole eth y Spirit appearse creatioth t a s ni , movinn go

Ther :s iei very nide exampl t Kirkbnrnea , Yorkshire. 406 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884. e chiee waters th th e fac f d th o escene an , s fro e Nemth w Testamene ar t the haptism of Christ and the Annunciation. The seven gifts of the Spirit described by Isaiah, and in the Apocalypse, are generally symbolised by seven doves descending either on Virgine th Chrisn o .r o t nimbuA s often surround dove heae th s th f ed o symbol . I onl ye instance kno on e Hol f th wo f y o 1 Spirit being shown o n Normaa n tympanumf o thin (sei m sd ear casan e fig , t restei on .9) n so the cross. On Norman fonts the Holy Ghost above Christ at baptism is not uncommon.2 The Trinity. e TrinitTh symbolises yi n Christiai d t eithear n combininy b r e th g forms under whic he Thre eacth f heo Person representes si d singlyy b r ,o means of geometrical figures, founded on the equilateral triangle or by arithmetical conceptions based on the number three. The doctrine of the Trinity canno deducee b t Testamentd Ol de frotexth y d n man i an t, s onli y inferred from certain passages where God speake pluralth n s i a , at the creation, when he says, " Let us make man in our image." The three angels seen by Abraham were supposed by the commentators Trinitye picturen i th o s td representeoi b an e , sh prostrates da d before one of them, with the legend, " Tres vidit, unum adoravit." The texts referring to the Trinity in the New Testament are explicit enough, as where Christ tells his Apostles to baptize all nations in the name " of the Father, and of the Son, and of the Holy Ghost." The Trinity also manifest s baptis the itselLord,—th our at f mof e First Person by the voice crying from heaven, the Second by Christ being baptized dove Thire th th ey d db descendin an , g upon Him. worshie e Th Trinitth f po s ymanifestei servicee r morth fa d n ei f o s the Church and in the dedications of ecclesiastical buildings than in works o fTrinit e art t representeTh .no ys i Catacombse th n earliese di th d an ,t known example formerly existe mosaica e Basilicn do th n i , f Nolaao f o ,

t BeckfordA 1 , Gloucestershire. 3 As at Kirkburn, Yorkshire, and Rridekirk, Cumberland. NOTES ON EAKLY CHRISTIAN SYMBOLISM. 407

the fourth, century.1 Here Christ was shown as the Lamb, the Holy mosd DoveSpirie Go t th probabld s a an t,Hande th s ya . n eleventa n I . h centur e Britisth yn i hSaxo . Museum,MS n e th 3 Second Person of the Trinity is shown seated on the lap of the Virgin, whilst the other Two Persons are under the form of two identical human Hortue th f o s . DeliciaruMS figuresa e twelft th n I f mo . h century,3 the Trinity is symbolised by three identical human forms. The inscription above is " Sancta Trinitas," and the Three Persons hold a scroll on which is written " Faciamus honiinem ad imaginem et simili- tudinem nostram," showing the reason for choosing the human form to represent each PersoTrinitye th f no . From the twelfth to the sixteenth century the most common way of symbolising the Trinity was by a group in which the First Person in Iranian for me crucifie th hold m n fronsi Hi d f o Secont d Person, whilst the Third Person as the dove issues from His mouth. Sometimes the e showar n n humani So e Fathenth ford man r seated withando htw s joined across, and the outspread -wings of the dove issuing from the mouth geometricae th f each f so O . l method f symbolisinso e Trinitgth y variationsw fe ther a equilatera n e A ear . l triangle withi e ncircla th s ei simplest. Three circular rings interlaced, and inscribed " Trinitas," " unitas," is another. devicA e whic s veri h y commo painten o n d glasbrassed e an sth f so fourteenth century, especially in the eastern counties of England, consists of three circles at the corners of an equilateral triangle inscribed " Pater," " Filius," and Spiritus," and a circle in the centre of the triangle inscribed "Deus. e worTh d" " est s writte"i thren o n e bars which connect the three outer circles with the central one, and "non est" on the three bars connecting the three outer circles with each other. An example is given by Didron,4 where a symbolic Trinity in human form wit htripla e head holds this devic fronn i ef Him o sometimes i t t I . s madt intfi oshielda o et called "an e , Scutudth i Triangulum.mDe " e arithmeticaTh l way f representino s e doctrin gth e Trinit th e f eo ar y .by arranging detail f buildingso n groupsi f threeso t e mucth bu ; f ho 1 Didron, p. 558. 2 Titus, D., xxvii. 3 Didron, p. 565. 4 P. 575. 8 40 PROCEEDING SOCIETYE TH F ' O ,S JUN , 18849 E .

symbolis f thio m s kind whic s supposei h o havt d e guided mediaeval designers probably never existe realityn mandn i i d yan , case s capabli s e of being explaine muca n di h simpler manne arisins f cesthetira o t gou r co utilitarian considerations. Although the Trinity appears frequently in the MSS., brasses, and painted glass of this country, representations of it are almost unknown in Norman sculpture. onle Th y instance ove doorwaa r yI hav e beee nth n abl o fin o t s ei d pedimen t MargareS t ta t Cliffea t , near Dover Kentsymboln e i , Th . f i , such it be, consists of a group of three figures within arcading. It is repeated three times,—once at each side of the doorway, just above the springin ge arch d onclinth f an ,eo e ove e centrarche th rth f .e o Pairs of heads within semicircular arcading occu e rpoint th als t oa s where eth sloping e pedimensideth f o s t touc uppermose e archhth Th . t grouf po three figures are full length and have the nimbus round the head; the central figur s tallei e r tha e sidnth e lowee onesTh r. grou f threpo n eo e righ e th threar t e quarter length figures withou e nimbusth e t Th . lower group of three on the left show little more than the heads, and are withou e nimbusth t . Perhaps thi e three means th b latter y efo t ma r children in the fiery furnace. On the font at Lenton, Notts (fig. 3), are sculptured three figures in long robes with pointed sleeves, holding globes in their hands and having the nimbus round the head, which have been supposed to he intended Trinitye foth r t thibu ,s seem e threth s e doubtful b groue y th d pma an , Magi, or perhaps the three Marys going to the sepulchre.

The Virgin and Child. The representations of the Virgin Mary in Christian art may be looked on more in the light of portraits than as being symbolic, as there is 110 symbol foundetexy f Scripturan o t n o d e which stand n placi s f theo e actual huma thas y Agnue substitutei th i twa n e De sfigure th n di , for e Saviou th e appeareh s a r n earthe embleo d Th . m (i.e., e symboth l which stands for a quality or characteristic) most commonly associated wit Virgine hth , especiall Annunciatione scene th th f eo n yi Lilye th s ,i , NOTES ON EARLY CHRISTIAN SYMBOLISM. 409

which is typical of spotless purity. Representations of the Yirgin are so universa e Romath n i ln Catholic Churcpresene th thay t t a hda i tt s hardli y necessar o describt y e them. Ther s heeha e n scarcely an y variatio e generath n ni l appearanc f theseo e portraits fro elevente mth h centur e presenth o yt t time, excep s regarda t heade e crowth th s n .no Virgie Th n appears almost alway e characteth e Mothen si th f r o f Godro , with the Divine Child on her lap.

Fig. 11. Font at Walton-on-the-Hill, Lancashire.

earln A y exampl e Britiseth occurn i Saxoa h . n i Museus MS n f mo the eleventh century.l On Norman tympana the subject is not a common one; I only know of a single instance;2 and here the Virgin has a nimbus, and is sur- rounde conventionay b d l foliage, amongs t e sidwhic on birea t s a i dh 1 Titus , xxviiD. , . Founhopet A 2 , Herefordshire. 410 PROCEEDINGS OP THE SOCIETY, JDNE 9, 1884.

an wingeda dother.e lioth t na 1 Sometime Virgie th s n wear crownsa , t othea d r an timest Waltoii-on-the-Hilla s a , , Lancashire (fig. a 11)s ha , nimbus. On fonts it occurs more frequently. There is a rare example e tympanuonth soute th f mho doo Queningtof ro n Church Gloucestern i , - shire (fig. 12), of what seems to be intended for the coronation of the Virgin. Chris seates i tthron a n do e wit Virgie righs hth hi tn no han d side, above whose head He holds a crown. These two figures are in e middle tympanumth th f eo d e arounsymbol th e an ,fou th e rdf ar so Evangelists e Cherubith , Seraphimd me Churchan th d an ,.

The Four Evangelists. The chief ways of symbolising the four Evangelists in Christian art are as follows :— (1) By four books or by four scrolls (in the Catacombs at Rome). e fouth r y riverB ) (2 s issuing froe Mountaimth Paradisef no whicn o , h Catacombe standth n Agnue (i sth i t Rome)sa sDe . (3) By the four beasts of the Apocalypse (in the Catacombs at Borne and throughout mediaeval presene timeth o st t day). (4) By four human figures, having the nimbus and scrolls or books in the hands, each being distinguished by the symbolic beast placed . e Churcabov th t JohS n f e(i ho n Lateran, Rome, A.Dn .i 462d an , Celtic MSS. of the seventh century). fou(5y B )r human figures wit heade symbolie hth th f so c beast MSSn s(i . Saxod an n sculpture tente th f hso century). (6) By the tetramorph or four living creatures of Ezekiel's vision (in MSS. fro thirteente sixte th m th o ht h century). beasa y (7B t) havin foue gth r beaste headApocae th th feed f f so o an t - lypse n whico , h ride a ssymboli c e Churcfigurth f n MSSo e(i h . painted an d glass fro twelfte fourteente mth th o ht h century).

Out of these the only ones which occur in Norman sculpture are Nos. 3 and 5. The four symbolic beasts are those described in the fourth chapte f Revelationo r s beina s g regardliks a lionea n e calfa sth ,ma a , face, and an eagle, each having six wings, and being full of eyes before, behind, and within. In the Old Testament the " living creatures " seen in the vision of Ezekiel are similar, as far as the heads go, to those seen 1 At Sculthovpesa , Norfolk. NOTES ON EAELY CHRISTIAN SYMBOLISM. 411

by St John. These four beasts are taken as types of the four Evan- gelists, because St John says they were round the throne on which seates i d Chrisn Christian gloryi i d Go generall e d s w a tan , t ar n y find these four symbols arranged round either the Agnus Dei or the Saviour within the vesica. There appear e somb o est differenc e applicatio f opinioth o e o t s a n n symbole o th t f MattheS t Mark S o st d ,w an thoug h ther nons ei e with regard to the other two Evangelists. The most widely accepted inter- pretatio t S Jeromes thai n f o t , e foundebeginningth e n o th d f o s different Gospels e beas th n standin, ma t r a wite fo facgf th h o e Matthew e eagl t t MarkLuketh S r S lio e er fo d r e cal th ,nfo fo an th , f St John. a complet t Therno s i e e fouserieth rf o ssymboli c e beastth n i s Catacombs, but on a bas-relief of terra cotta of the fifth or sixth century s e showAgnui th ,i nDe s wit a hn winge o n dma figura f o e one side, and a winged bull on the other, both holding books. There completa s i e e datserieth ef o sA.D . 424 mosaia e Churcn th ,o n ci f ho S. Sabina, in Borne, where the beasts are shown with heads and wings only, and without books. Scrolls are often substituted for the books held by the beasts. The number of the wings and the eyes specified in the Apocalypse e representationsth f o y adheret aran ebeastno e n i th s o Christiadn t a s,i n t hav wingo ar etw s instea f six do havd ,an e onl yheade eyeth n .si . In Norman sculpture on the Continent the symbols of the four Evan- gelists are generally placed round the figure of Christ in Glory, on the west end of the cathedrals and churches or over the principal doorways— St Matthew being on the Saviour's right above, and St Mark on the right below, St John on the left above, and St Luke on the left below. Norman I n sculpture, over doorway Englandn si exampleo , thertw e ear s of the symbols of the four Evangelists surrounding the Agnus Dei,1 wherano dtw e the placee yar d round Chris n Glory.i t 2 e Theron s i e instanc e tympanuth n o e sout th f mho doorwa f Queningtoyo n Church, Gloucestershire, where the symbols are associated with the coronation of

Adelt A 1 Yorkshire n i , Astond an , , Herefordshire. - At Pedmore, Worcestershire, and Efkstone, Gloucestershire. 412 PBOCEEDING E SOCIETYTH F O S , JUN , 18849 E .

Virgie th n (fig. 12)thin I s. case, beside foue sth r beastso , thertw e ear very remarkable figures with human heads surrounded with the nimbus, d havinan g each four f thoswingso o e tw f ,belonginthe o e mon o t g being folded handacroso tw bodye sth d appearinan , g from underneath. Thes probable ear y intende cherubie th r dfo m describe tente th hn i d chapter of Ezekiel, as "having the form of a man's hand under their wings." e tetramorphsTh , in e twelftMSSth f o h. century e similaar , s a r

Fig. 12. Tympanum of South Doorway of Quenington Church, Gloucestershire.

regards the wings folded across the bodies, and the hands appearing beneath t thebu , y hav foue eth r symbolie headth f so c beasts, insteaf do one human head.1 examply t knoan no f wo o f d fh e o I e symbol e fouth rf o sEvangelist s occurrin JSTorman go e perpendiculanthosn th o fonts f t eo bu , r perion di eastere th n countie t uncommons no the e yar . The most curious series of the symbols of the four Evangelists is to be e sculpturefounth n do d stone r slabcoffio d , li npossibl f pre-Noryo -

1 See Twining, p. 102. NOTES ON EARLY CHRISTIAN SYMBOLISM. 413

daten Wirkswortn ma i , h Church, Derbyshire (fig , befor4) . e referre. to d The variation of the symbol is No. 5 in our list, the figures being human, heade th t s e fouthosbu th rf eo beasts thed an ,y surroun dplaia n Latin cross, on which is shown the Agnus Dei. The only similar instance in sculptured stonewore Saxoth r Celtin o no I kknos i c f croswo n i s 1 Ilkley Churchyard, Yorkshire, butx there are others in the Bible of William e LibrarRufusth n i f Wincheste,o y r Cathedral a tent n i h; centur e yeightBodleiane th MS. th f o hn i ,. cent Oxforda ,MS -a n i ; tury, from the south of France; and in a Latin MS. of the tenth century.2

The Twelve Apostles. Christian I n artApostlee th , representee sar thn di e following ways:— shees A ) p (1 issuing fro e gatemth f Jerusaleso Bethlehemd man , being grouped symmetrically on each side of the Agnus Dei (in the Catacombs at Rome). (2) As sheep, with the human figures of the Apostles by the side of each and Christ as the Good Shepherd in the centre (in early Italian Churches). humas A ) n(3 figures, each holdin a distinctivg e emblem ofted an , n with the nimbus round the head (twelfth to sixteenth centuries). Figure e Apostle e th tympant occuf th sno o n o o r sd f Norma ao n door- ways, probably on account of the shape not being suitable for filling in with a long row of figures. Above the arch of the doorway of Prestbury, f seveo Cheshiren w i n ro figures a e ar , , Christ bein centrae gth wite on lh cruciferoue th s nimbuse otherth d s an ,probabl Apostlese th y f beino x .gsi wesOe nth t fron Wellf o t s Cathedra completa s i l e Apostlee serieth f o s s with their emblems. On Norman fonts, especially those of lead, arcad- ing forms the ornament round the sides, each arch being filled, in with the figure of a saint, but it is difficult to identify them with the Apostles emblemthe as , generallare s y wanting. Ther copea eis d tomb- stone, possibly of pre-Norman date, in Peterborough Cathedral, with areading on two of the sides, with the figure of a saint under each arch. Ther e twelvar e e figure sf theo altogether s e mcertainli on d e an yth , 1 Jour. Brit. Archfeolog. Assoc., vol xx. p. 312. '2 Twining, p. 106. 4 41 PROCEEDING SOCIETYE TH F O S , JUN , 18849 E .

Saviour with the crossed nimbus, and the others are perhaps the Apostles. Figure e Apostleth f so s were frequently use ornameno dt handlee th t s of sets of twelve silver spoons in the sixteenth century, which are now know s "Apostlna e spoons." Saints. e earlieth n I r period f Christiao s t representationar n f saintso s t no , mentione Scripturese th n di , were almost unknown. Saint general!}e sar ' distinguished from less holy men by having the nimbus, and in later times they often have a pastoral staff. The sculptures on the Norman font at Winchester are supposed to represent scenes from the legendary life of St Nicholas. At Bobbing, in Kent, is the figure of a saint of Norman date, inscribed . "MarcialiS s Pius Patronus."

Scenes Testament. Old from the The variety of Scripture subjects which are illustrated in Christian art is so great that it will be impossible to do more than refer briefly to e mos th fea f two common e sceneTh Testamentd .s Ol fro e mth , which the early Christians chose in preference to all others, were the ones in which they recognise dtypa f someo e even r doctrino t e t fortth e se n i h New, such as— Temptatioe Th Fald Adaf nan o l Eved man . Noah in the Ark. Abraham's Sacrific Isaacf eo . Moses strikin rocke gth . •The Three Children in the Fiery Furnace. Daniel in the Lions' Den. Jonah ejected fro moute whalee mth th f ho . Most of these scenes arc represented after a set conventional pattern, wit t slighhbu t variations occurring chiefl minon i y r details.

The Temptation Fall Adamand of Eve.and The scenes of the Temptation and Fall of our first parents are to be found in every perio e Catacombsf th Christiao d n i t n Celtiar no , c NOTES ON EARLY CHRISTIAN SYMBOLISM. 415

crosses, on Norman sculpture, in mediaeval MSS., and on sixteenth century carved oake conventionaTh . l metho f representino d e th g Temptation is by a tree with a serpent coiled round it, and Adam and curioueacn A o hd unusua. e it an sids Ev f o e l departure froe mth usual custom is, however, to be seen on the Earnell cross in the Montrose Museum, wher o serpenttw e e placedn eaco ar s he sideon , , insteaf o d being coiled round the tree.1 The Temptatio s showi n severan o n l Celtic crosses, bot Scotlann hi d and Ireland. t I occur Norma2a n o s n tympanu instance,e on n mi d an 3 in three case Norman so n fonts. f thO e 4latte r muc finese hth s thai t t at East Meon. Other examples exist of this scene being sculptured on the fronts of cathedrals6 in Norman times, and also on the capitals of columns. n I som 6f theso e e case e Expulsioth s n from Paradise accompanie Temptatione sth . e chieTh f featuree Expulsioe scenth th f o f eo s n fro e Gardemth f no Eden are the angel holding a sword, Adam and Eve covering their nakedness, and the former receiving the spade and the latter the spindle and distaff.7 The instance mentioned on the capital of one of the columns of lona Cathedral is of post-Norman date, but preserves all the archaic characteristics of the earlier work. The contrast between the absence of shame during the Temptation, ane extremdth e desir o hidt e e their nakedness durin Expulsione gth , is forcibly rendere e crossin th e hands th y b df o g, which attitude also appears on one of the Celtic stones at lona and in the Catacombs. Sometimes Adam and Eve are shown covering their nakedness with singl leaves, g laten efi i t r bu 7time s they wear aprons leavemadg fi f eo s sewn together. e LogieraiTh 8 t tombstones (tig. 13), first remarked 1 Scotland Earlyn i Christian Times, seriesd 2n . 161 p , . t MoonA 2 e Abbey, county Kildare t lonaa d .an , t ThurleighA 3 , Bedfordshire. t "Walton-on-the-HillA , Lancashir e; Fiucham , Norfol Easd k an ;t Meon, Hamp- shire4 . t LincolA 5 n Cathedral Ardrnord an ; e Cathedral^ Ireland. " lona Cathedral. 7 As on the East Meon font. 8 As on an eighteenth century tombstone at Logierait, in Perthshire, and on a carve e seventeentchesk th doa f o t r eighteentho h centur t Rosslyya n Chapel. 416 PKOCEEDING E SOCIETYTH F O S , JUN , 18849 E .

upon by Dr J. Anderson, are most curious examples of the survival of archaic forms, but similar survivals are to be found in sixteenth century carved oak,1 whic havy hma e been copied from early woodcutse on n I . of the spandrils of the Angel's Choir "at Lincoln Cathedral is the gigantic

13. From an Eighteenth Century Tombstone in the Churchyard of Logierait, Perthshire.

figure of an angel with a drawn sword expelling Adam and Eve, who diminutiva n o e ar e scale, froe Gardemth f Eden.e no conceptio Th n e scen oa finth f s i e sculptur th one d s execute,an wa e d durine gth best period of Gothic art.

1 As on an oak chair brought from Germany, and now in the Church of St John the Evangelist, Sidenp ; see Building News, May 2, 1884. NOTES ON EAKLY CHRISTIAN SYMBOLISM. 417

Noah in the Ark. e Catacombth n I s Noah s representei , humaa s a d n figure with out- stretched arms standing alone in an actual box (area) with a lid, hasp, and keyhole, whils dova t e find restina s e gth s hand n plachi O n .o e high cross at Kells, the ark is shown as a boat with windows in the side, and wittop.e dove th hth 1n eo The only instance I knok occur f ar wherwo n e Normai s th e n e wessculpturth tn o fron s f i eLincolo t n Cathedral. Here there ear four other figures in the ark besides Noah. Above the ark is a roof, and the dove resting upon it; below are the animals. The 'building of the ark forms another of the same series of sculptures. thirteentA h centur foune b n o di t y s sculpturi k ar e f Noaeo th n hi the Chapter House of Salisbury Cathedral. supposes wa typica e Churche b k th ar o d t f e o lenteriny b Th , g which men might be saved from being overwhelmed by the temptations of the world. After the thirteenth century this symbolism ceases to be used, longeo n s i r k representear ane dth Christian di n art.

Abraham's Sacrifice Isaac.of Throughout all periods of Christian art Abraham's sacrifice of Isaac representes i beins a d typa g f Chriseo t sacrifice e cros th savo t sn o ed the world. t occurI Catacombse th n si Celtin o , c crosses, painten o 2 dn i glass d an , MSS. durin Middle gth e Ages therd t leas examplea e an ;s ei on t 3 retain- ing all the early features as late as the eighteenth century in Scotland, t kno instancy no wo an beins d it I f ego t founbu Norman do n sculpture thin i s country, althoug France.n i h e theron s 4ei scene Th conventionalls ea y treated shows Abraham wit upliften ha d sword in his right hand, preparing to sacrifice Isaac, whom he holds down

1 Scotland Earlyn i Christian Times, seriesd 2n . 144p , . t MoonA 2 e Abbey, county Kildare, Ireland. 3 On a tombstone at Logierait, Perthshire. 4 On the capital of a column at St Benoit-sur-Loire; see De Caumont's Ab/Scedaire d'Arehcologie, p. 213. D 2 VOL. XVIII. 418 PKOCEEDING E SOCIETYTH F O S , JUN , 18849 E .

on an altar with his left. An angel appears above either holding back swore th r endeavourindo o removgt e Isaac d belom an ,ra wsees i e th n provide substitutea s da , caughthickete th n i t . e thirteentth n I h centur fine yw d Isaac represente o beint s a dd le g

. FigFro14 .Eighteentn ma h Century Tombstont ea Logierait, Perthshire. sacrifice th Abrahamy b e d carryinan , sticko gtw s ove s shoulderhi r r fo , the fire on the altar, placed in the form of a cross,1 which was supposed to typify Christ bearing the cross of the Passion.

1 On a window at Bourges Cathedral. NOTE EARLN O S Y CHRISTIAN 9 SYMBOLISM41 .

In the eighteenth century tombstone at Logiorait (fig. 14), attention to which was first called by Dr J. Anderson,1 all the essential features e ancienoth f t conventionalised mod f representatioo e e preservedar n . Abraham wears the dress of the eighteenth century, and holds a knife in his hand, as described in our version of the Bible, and not a sword, as in the earlier examples. Isaac wears a kilt, and is bound on an altar. This stone is dated 1774, and bears inscribed on an open book "Abraham offering up Isaac is stayed by the angel, Genesis xxii." It is a most remarkable instance of the survival of the older symbolism in a remote district required an , s fuller investigatio t receivedye ns t I thaha .t i n may possibly have been copied from som woodcud eol brasr o t s collection plate. DanielLions'the in Den. In God's delivery of Daniel from the den of lions the early Christians sa wa foreshadowin e victorth f go y ove r resurrectione deatth n i h d an , strikina g instanc s powehi f o deliveeo t r faithfue th r l from e evilTh . conventional way of treating this subject is to show Daniel with his hands upraised in the ancient attitude of prayer, and lions roaring on each sid f himeo . The lions are generally arranged in pairs facing each other, the numbers varying from, two to seven. This scene is found in the Catacombs n belt-claspo , s from Burgundian graves, n Celtio 2 c crosses 3 n Normai d an n sculptur e tympanth n eo f Normao a n doorways, there are n standinginstancema a f o s betwee beastso tw n ,e b whic y ma h intende Danier e Lionsd fo th e bes n th i ltr ' examplDen,fa t o bu 4t s ei eleventfounn e a b n do h century sculptur thn o e west fron f Lincolo t n Cathedral. Here Danie shows i l n seated wit e han hbood a on dan n ki othee th r upraised; belo e threwar e lions' heads facing inwardsn o e on , e rightth n o ; whilso tw d leflione to an th abovttw se rampanear t facing outwards. This subject doe t occu sno Norma n o r n fonts.

1 Scotland Earlyn i Christian Times, scriud . 1382n sp . 2 Ibid., 2nd series, p. 147. 3 At Moone Abbey, Scotland in Early Christian Times, p. 149. t ShallfleetA 4 , Isl f Wighto e ; Dow t MaryS n , Devo n; Barto n le Street, York- shire. 420 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

Scenes from the Neiv Testament. The scenes from the New Testament which occur with the greatest frequenc Christian y i e takear t n ar neithe r fro e liff Chrismo th e r o t from the Apocalypse, such as — The Birth of Christ. Adoratioe Th Magie th f no . The Flight into Egypt. Baptise Th Christf mo . Raisine Th Lazarusf go . Crucifixione Th . The Resurrection. The Ascension.

The Four Beasts. The Twenty-four Elders. The Lamb and the Book with the even Seals. Michael and the Dragon. The Day of Judgment.

In early times the scenes hearing on the doctrines of Christianity and teachine th f ougo r Lord were chose preferencn i l othersal o et ; whereas, from the thirteenth to the fifteenth centuries, the sufferings of Christ and the divine character of the Yirgin were most dwelt upon. Scenes from the New Testament are very rare on Norman tympana; onle th crucifixion.e y th exampl f o e on eI kno s 1i f wo On Norman font scenee th s s which occur oftenescrucifixion,e th e ar t 2 e haptisth f Christ,mo e flighth 3 t into Egypt, d sometimean 4 e th s Nativity ;5 the adoration of the Magi,6 and the raising of Lazarus.7 On

Bolsovert 1A , Derbyshire. 2 At Lenton, Notts; Coleshill, Warwickshire; Lostwithiel, Cornwall; and Cottesmore, Eutland. Kirkburn, Yorkshire; Bridekirk, Cumberland ; West Haddon, Northampton- Lentond shir3an e; , Kotts.. 4 Walton-on-the-Hill, Lancashire, and West Haddon, Northampton. 6 Fincham, Norfolk. . . 6 Sculthorpe, Norfolk. 7 Lenton, Notts. NOTE EAHLN O S Y CHRISTIAN SYMBOLISM • . .421

capitale th f Normaso n column e baptissth f mChriso t (fige th . 15)d an , Crucifixion (fig. 16), are to be found in a few cases.1 There is one instanc e raisinth f ef o Lazarusg o slaa f perhapn bo o 2 s Saxon date.

The Church. The Church in Christian art is symbolised in a variety of ways, such as— arke enteriny Th ,b ) (1 g whic true hth e believer migh savee b t d froe mth surrounding destructio Catacombs)e th n n(i . (2) The ship, carrying the faithful safely over the troubles and dangers of the world, which are ever like the sea ready to swallow them up ; rudde e shie th th sometime s pi f ro f o s p hel to Sy tdb e Peterth d an , the mast is in the form of a cross (in the Catacombs and fifteenth, century). (3) A female figure holding a hook, to represent the " Spouse of Christ" (in the Catacombs). (4) A female figure crowned, holding the cross in one hand and a chalice or model of a building in the other (twelfth and thirteenth centuries). same (5Th )e figure place opposition di Synagoguee th o nt , symbolisey db secona d female figure, holdin gbrokea n spea r bannero r crowa , n falling from her head, and the broken tables of the Law from her hands shoo t , e doin wdispensationd th ol g e awath f yo e eyeth , s being sometimes bandaged (twelfth and thirteenth centuries). (6) The same figure riding on a beast having the heads and feet of each of the four symbolic beasts of the Apocalypse, the Synagogue in opposition being show s beforea n t s ridin a mulbu as , n r o go e (twelft thirteentd han h centuries). (7) A chariot drawn by the four symbolic beasts of the Apocalypse, con- taining sometimes the Apostles, and at others the female figure of Churce th h (twelft thirteentd han h centuries). Out of these the only one which occurs in Norman sculpture is No. 4, and is to be found on a font at Stanton Fitzwarren, Wilts. Here the churc symbolises hi crownea y db d female figure, holdine gcrosa on n si chalica treadins hanothere i d th d serpentda an n ean i , n go inscripe th , - tion being "Ecclesia Serpens occiditur." Seaford, Sussex. 2 Chichester Cathedral. to

W O

1

E/3 O

w1-3

O

Fig. Capita15 . Columf o l Chancef no l Arch, north side, Adel Church, Yorkshire. O H 02 O

K! o

o f

Fig. 16. Capital of Column of Chancel Arch, south side, Adel Church, Yorkshire.

to to '424 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

thn I e thirteenth century ther sculpturea s i e d exampl syme th f -eo bolic figures of the Church and the Synagogue on a doorway of Rochester • • • Cathedral • . RiteThe of Baptism. e e scenebaptisth th f n o I sf mChrist o , which have already been described,1 our Lord is shown with the crossed nimbus and other distinctive marks ;presumee b bu o t whers e casi th dt i e t e no thi s i s that baptism as a rite of the Church, without particularising any individual baptized, is' intended to be represented. This occurs on a few Norman font England.n i s 1

Bishop with Pastoral Staff. Figures holding pastoral staves are frequently to be seen both on Celtic crosses and also in Norman sculpture. In some cases, where the a nimbus,figur s s i verha e t i y2 probably intender Lordt ou bu r , fo d when this is -absent a missionary or ecclesiastic may be meant. On the Scottish sculptured stones ther severae ear l remarkable instance f figureso s holding pastoral staves, especiall a fragmen n yo t t VigeansfounS t a d , where the double disc symbol occurs also.3 tympanthe On Normaaof n doorways figures with pastoral stavesarc often found, sometimes wit hanhthe d raise givindin benediction,gthe 4 or associated wit Agnue th h s Ded animals,an i r wito 5 a ha kind gan priest holding a bell.6 On Norman forts there are also instances,7 the most curious being at Winchester Cathedral. Here the figure with the pastoral staff occurs in three different scenes, which are supposed to illustrate event st NicholaS froe liff mth o e f Myrao s d shoulan 8 e db compared with similar representation e fon f Zedelghemth o t n o s , near 1 At Darenth, Kent, nnd Thorpe Salvin, Yorkshire. Crose th t Ilkleyn sa o s Yorkshiren A 2i , . 3 Proc. Soc. Ant. Scot., vol." ix. pi. xxxiii. t SoutA 4 h Ferriby, Lincolnshire; Tetsworth, Oxfordshir Littld an e; e Langford, Wilts. 5 AtHognaston, Derbyshire. Priest'e th t A 6s Honse, Glendalough, Ireland. 7 At Kirktrarn, Yorkshire, and Cottesmore, Rutland. 8 The Reliquary, vol. x. p. 208. NOTES ON EAKLY CHRISTIAN SYMBOLISM. 425

Bruges.1 The headgear worn by the figures on the "Winchester font and tympanue figure th th n eo t mTetsworta e sameth e ,h ar bein g pointet da each side. Caps of somewhat similar form occur on the heads of figures holding croziers on the Bressay Stone, from Shetland, and on other Celtic stones in Scotland.2

Devil.the Helland In the Catacombs Hell is not represented, and the only form in which the Devil appears is as the serpent tempting Eve. From the tenth century onwards the Evil Spirit assumes all kinds of the most nonstrous hideoud an s shapes, generally havin a ghuma e boda th n f yo facd an e hairy beast, with claw r hoof so d ofte an s n a tailhorn d . an s Satas ni also shown as- a Dragon in the scene from the Apocalypse, where he is overcome by St Michael. Hell is represented in mediaeval times either as the open mouth of a monster, with flames issuing from it, or as a seething cauldron. e Moute Devith Th t f Hela o hl l e instance occuron th n n i so e tympanum of a Norman doorway, at Quenington, in Gloucestershire (fig thi.n i 17)sd casan , e Chris shows i t n trampling upo Evie nth l One, and e crosthrustinth f so e butdowd th gs throat en thi n , whilst three souls are coming up from the open mouth of hell towards the Saviour, with hands upraised in an attitude of prayer. The sun above is conventionally indicated by a human face, with rays issuing from it in l directionsal devil'e Th .s hand feee d hounar san t circulay b d r rings, through whic wriste hth ankled san interlacede sar . This scen illustration i s ei f Christ'no s descent into Hell describes a , d in the Gospel of Mcodemus,8 and as represented pictorially in many of the mediaeval MSS.4 and frescoes,5 and termed in the quaint language of the period, the Harrowing of Hell. speciae th l lAl features which occu t Queningto a re founb o t d e ar n

1 AbMdaire d'Archdologie, . 313p . 2 Scotland in Early Christian Times, 2nd series, p. 206. . Trollope'Bp e Se 3 s Account of Sculptures t Lincolna Cathedral. 4 Brit. Mus. (Tib., G. vi.) ; (Nero C. iv.); (An., 957). 5 At Chaldon, Surrey ; see Surrey Archceol. Coll., vol. v. p. 279. 426 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884. in a miniature of an eleventh century MS., in the British Museum,1 the inscription heing " XPS IKFEENV DESPOLIAT "2 • e mostTh interesting peculiarit e Queningtoth f yo n sculpture th s i e wa whicn yi e Devil'hth s hand feed bounde t an sar i affordt a s a ,s u s connecting link between the symbolism of the pre-Norman crosses and that of the eleventh and twelfth centuries. Satan with his hands and

Fig. 17. Tympanum of North Doorway of Quenington Church, Gloucestershire. feet bound thu sculptures si e crosth t Gosforthsa n do n Cumberlandi , , and on the fragment of a cross- shaft at Kirby Stephen, in Westmore- land. In the tenth century MS. of Csedmon's Metrical Paraphrase

of th3 e Scriptures, in the Bodleian Library at Oxford, several of the

. . . Tib.vi . C , 2 Compare witt Brudo'S hf o passage s on Homilies n ei , "Ilia horo Salvatoa qu , r noster inclinato capite spiritum emisir, corpore in cruce derelieto anima simul cum divinitate ad inferua spolianda descendit." 3 Prof. Stephen's Studies on Northern Mythology, p. 379. NOTE EARLN O S Y CHRISTIAN SYMBOLISM. 427 illustrations of the Devil bound exhibit this peculiarity, 'which, is described in the following graphic words by the first English poet:—

" Heavy ring clasps A merciless manacle, Mock nay weakness, Foil the struggles Of feet sore bounden Hands tied helpless."1

Fig. 18. Tympanum of North Doorway of Beckford Church, Gloucestershire. e scen Th f Christ'o e s descent into Hell t withoubu , e Devilth t s i , sculpture o tympantw n o df Norma ao n doorways, f whico e s herhi on 2 e shown (fig. 18) e nort,th h doorwa f Beckforyo d Church, Gloucestershire. A good example showing Christ trampling on the Devil, bound with ring-clasps, and soiils being saved from the jaws of Hell, is to be seen on one of the sculptured slabs, before referred to, on the west front of

1 Archceologie, vol. xxiv. 2 The other example is at Sholdon, Herefordshire. 428 PEOCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

Lincoln Cathedral, d anothean 1 r exista somewha n o s t similar slabt a , Bristol Cathedral.2 The Evil One, in Ms character of the Tempter, is carved on a Norman fon t Avingtona t , Berkshire Devie Th n thii l. s s i cashoofss d ha e an , whispering in the ear of a woman with her tongue out. In the scene of the Crucifixion, on the font at Lenton, Notts (fig. 1), impenitene e south f th o l t thie s showi f n issuing fro s moutmhi d an h being received into the jaws of Hell, whilst the soul of the other thief ascends into Heaven. The Soul. n ChristiaI n art, froe e twelftsixteentth mth o t h h centuriese th , commones f symbolisino a y diminutiv y wa tb e s south gwa le human figure, generally issuing from the mouth of a dying person. The soul s thui s represente e tympanuth n o da Norma f mo n doorwayn i w no , Yor kfone Museumt th Lento a tn o d n an jus, t described. t MichaeS l weighin favourita soul e s gth swa e subjec thirteente th n i t h instanc y t kno s occurrencan no it f w o centuryo f d eo I t Norman ei bu , n sculptur e twelfte founth b n Englando n et i o dh s i centur t I . y fresco at Chaldon, in Surrey, before referred to, and also carved on the capitals columne oth f lonn si a Cathedral.

The Conflict between Good and Evil. The conflict between Good and Evil, and the victory of the former over the latter, is symbolised in- a variety of ways, amongst which are— t Michae1Dragone S . th d an l. 2. St George and the Dragon. 3. Christ trampling on the Asp and the Basilisk. 4. Christ overcoming the Devil with the Cross. Virtuee 5Th . Vicesd san .

representatione Th e fighth f t so betwee t MichaeDragoe nS th d nan l have their origin in the passage in the Revelations which describes the

1 Jour. Brit. Archteolog. Inst., vol. xxv. p. 1. 2 Gent.'sMag., 1832, pt. 1, p. 489. NOTES ON EABLY CHEISTIAN SYMBOLISM. 429

Archangel leadin e hostth g f heaveso n against Satan. This suhjecs i t foun Italian di n churche e sixts earlth a s hs ya vera century s yi d an , commo n Normai e non n sculpture t MichaeS . s generalli l y portrayed awingea s d figure armed wit ha swor d shieldan d , attackin gdragona , which alswingss oha . Built into the walls of St Nicholas Church at Ipswich (fig. 19) is a rectangular slab with this scene sculpture dinscribedd upoan , nit — "HER SO [M]IHAEL FEHTIHD DANE DRACA—Here Sanctus Michael fightet Dragon.hthe "

. FigSculpture19 . d Slab t NicholaS , s Church, Ipswich.

The seal of the port of Hastings, in Sussex, bears upon it the same subject, inscribed—"Draco condeli vincee st t vis Micaelis." n thiI 1s latter case St Michael overcomes the dragon with the cross instead of a sword. Ther examplee ear f thio s s subjec Norman i t n sculpture lintee onth l odoorwaa f t Dintoya n Church smala , n Buckso l d slaan b, preserved in Seaford Church, Sussex. In all the above cases St Michael has

Stissex ArchcKol. Coll.,. 16 vol. p . .i 430 PBOCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

"wings, but there are others where this feature is omitted, and the figure cannot with certainty be said to represent the Archangel.1 Accordin o Gibbon,t g t S Georg2 f Cappadocio e a began lifs aa e fraudulent army contractor, and after succeeding to the throne of Athanasius, was killed, A.D. 361, by an infuriated mob, who would tolerat s iniquitiehi e o longer n s ssubsequen Hi . t popularite du s i y partly perhaps to his having supported the Arians against Athanasius, and thus become the champion of this particular sect. Dragoe t GeorgS th d nean becam n Englani e e conflic th dtypa f o e t between goo evild consequencdn an i , Richarf eo . dhavinarmI s hi t ygpu under the special protection of St George during the crusades in Palestine, which were undertaken in order that Christianity might conquer Paganism. St George is the patron saint of soldiers, and there are 162 churches in England dedicated to him. "In 122 s feass ordere 2hi holidakepe a wa b ts a to d t y throughout England e institutioth d e e OrdeGartean th ,th f f no o r133n i r 0 seems to have completed his inauguration as our patron saint."3 well-knowe Th n legend which t GeorgrelateS w sho e save beautifuda l woman from being devoure e dragoth y b dn account esteee th r mn fo i s which he was held in a chivalrous age. Several instances occur of St George and the Dragon being sculptured on the tympana of Norman doorway churchef o s s dedicate o thit d s saint. t GeorgS 4 s showei n no horseback, thrusting a spear down the throat of a dragon or serpent on which he is trampling. There is one case where St George appears thrusting his spear into the mouth of a prostrate warrior instead of that of a 'serpent; this pro- bably refertriumphe th o st Christianitf so y over Paganis crusades.e th mt a 5 linteln O s of doorway t BeesS t sa , Cumberland, and Ault Hucknall, Derbyshire; 1 capitae onth l o fcoluma t Steetleyna , Derbyshir a sepulchra en :o l sla t Coningsba - burgh Castle, Yorkshir a doorwae arc th f t Margaret'so hS n o t ea y; , Walmgate, York ; and on a font at Thorpe Arnold, Leicestershire. 2 Hist, of the Decline and Fall of the Roman Empire, vol. iii. p. 166 ; Dr Heylin's Life of St George ; Baring Gould's Curious Jfyths of the Middle Ages. Jameson's Mr s Sacred Legendaryd an Art, . 308volp . .ii 3 4 At Kuardean and Moreton Valence, Gloucestershire; Brins'op, Herefordshire ; and Pitsibrd, Northamptonshire. t FordingtonA 5 , Dorset Proc.e se ; Soc. Ant. Scot., vol. xvii . 334p . . NOTES ON EAELY CHRISTIAN SYMBOLISM. 431

e Basilisth d Chris s takei kan p tn tramplinAs fro e mth n tho ge Vulgate version of Psalm xci. Eepresentions of the scene occur on ivory carvings of the tenth century,1 but not in Norman sculpture, awarem a I .s a r asfa Christ overcoming the Devil with the Cross has been already described in our Lord's descent into Hell. In the twelfth and thirteenth centuries, the Virtues and' Vices, placed in opposition, was a favourite way of symbolising the contest, which in this worl always di s goin between go n bese goo evild Th tdan . exampl e of thi n Normai s n sculptur foune fona b t Stantona n o tt o d s i e , Fitz- warren Wiltsn cylindricai e , Th . lfone bows surroundeth i t f o l d with figuren te s within arcading, whicfollows a e har s :—

1. Figure with drawn sword, and six wings, two of which are folded round the body (inscribed " cherubym ").2 2. Symbolical figure of the Church crowned, and holding the chalice and cross, tramplin wingea n go d dragon (inscribed "Ecclesia Serpens occiditur "). . Crowne10 o t 3 d figures armed with shields d holdinan , g sceptres, to symbolis Virtuee th e s tramplin prostratn go e human, forms, which represent the Vices overcome, inscribed thus—

Virtues. Vices. Largitas. Avaritia. Humilitas. Superbia. Pietas. Discordia. Misericordia. Invidia. Modestia. Ebrietas. Temperancia. Luxuria. Paciencia. Ira. Pudicitia. Libido.

This is a rare instance of an inscribed font, and is specially important in the present investigation, as the whole of the symbolism is thus explained in a way that leaves no possible doubt as to the meaning.

1 West-wood's Miniatures, p. 150. Genesie Se 2Isaiad . 2 an s. , hiiivi 24 . 432 PKOCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

The Virtues and Vices are often represented by figures, whose actions t fort se particulae hth r for f goomo r evil.do 1

The, Seasons, Months, and Signs of the Zodiac. The passage of time, as symbolised by the agricultural operations which take place at the different seasons of the year and by the signs of zodiace th , althoug representet no h e Catacombsth n di commoa s i , n sub- ject in mediaeval painting and sculpture. The connection between the doctrine f Christianitso agriculturad yan l operation explainee b y sma y db e comparisonth sLord'r madou n sei teaching betwee nsowea r scattering s disciple hi s seed hi dan s spreading abroa wore dbetweeth d Godf do an , n worlde th d f o an , d en gatherin harvese e e soule th th th th t d f sa o an t n gi again between the disciples and labourers in a vineyard. The-rapid lapse of time also pointe shorth o t s spa f humano n life, which " fleeta s ha shadow, preparo t warnd n " an r thasme efo t other life endo whicn .s hha I do not know of any example of the months or zodiacs on the tympana of Norman doorways in England, but there is a very good one Continene onth t Ursin'S t a t s Church t Bourgesa , , with inscriptions.2 Zodiac d monthsan s occur together with inscription e leadeth n o ns Norman fon t Brooklanda t Kentn i , , whic probabls hwa y mad Francen ei , and is very similar to one at St Evroult de Montfort (Orne).3 The months occur on the font at Burnham Deepdale, in Norfolk, and the seasons on the font at Thorpe Salvin, in Yorkshire. Zodiacs exist roun archee th d Normaf so n doorway t MargaretS t sa s Walmgate, York, and Brinsop, Herefordshire. I have not described the representa- e monthtionth f so s and zodiac n detaili s s thesa , e subjects have been exhaustively treated already by the Rev. S. Pegge,4 Mr James Fowler, F.S.A.,6 and Mr E. Brown, F.S.A.6 1 See late sculptures at Eosslyn Chapel, and wall painting at Ingatestone, Essex Reliquary,n i ; als 9 o 21 Abecedaire . p vol. x .

The Sun, Moon, Stars.and d Mooan n appeaSu n Christia I e th r t mosar n t frequentle th n i y e Crucifixioscenth f eo eacn no he cross sidth f eo . Sometimes allegorical personifications of the Sun and Moon holding torches appear, inscribed " Sol " and " Luna," l or the actual heavenly bodies are shown, as on the sculptured pediment above the Norman doorway of Adel Church, in Yorkshire, where the Agnus .Dei takes the place of the crucified Saviour in the centre. The Sun, represented as a human face with rays issuing l roundfroal mt i , occurscene th f Christ'n eo si s descent intoe Helth n o l ]STorman tympanu t mQueningtoa n Church Gloucestershirn i , e (fig. 17).

Sagittarius. The sign of the zodiac Sagittarius is, as is well known, represented by a Centuar shootin arrowd an t besideg w bu wit; bo ha s occurrin conn gi - nection with all the other signs, it appears so frequently associated either with Leo alone or with different animals, that I feel certain some special significance mus givee , althougb tit o nt h perhaps som wele eon l versed in the legends of the Middle Ages may be able to unravel the mystery. On Norman tympana there are three examples in England,2 one in Ireland,3 and one in France.4 At Stoke-sub-Hamdon (fig. 20) there is a central tree with three birds o. nit Sagittariu righte lefe th th t n shootingn ,o o bot o s si hLe namet a - s being inscribed; above Leo is the Agnus Dei. t KencottA , Sagittarius, whose nam s inscribedi e , shoot n arroa s w dow e throa nth serpenta f o t . At Salford there is a central cross with a lion on one side and Sagit- tarius on the other. At Cormacs Chapel Sagittarius is shooting at a beast with a semi-

ivorn a n yo diptycs e tent1A th f ho h century e Christiath n i , n Museue th f mo Vatican. 2 Stoke-sub-Hamdon, Somersetshire, and Salford and Kencott, in Oxfordshire. s Cormac's Chapel Roc the Cashel kof on , . 4 LTrrille ; see Mem. ds la 8oc. des. Ant. de In Normandie, Atlas, 1825. VOL. XVIII. 2 ti 434 PROCEEDINGS E SOCIETYTH F O . , JUN , 1884.9 E . XOTES ON EARLY CHRISTIAN SYMBOLISM. 435 436 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

human face ,e intende b whic y a t lionUrvill A r ma h.fo d e thera s ei central tree, with Sagittarius on one side shooting at a stag on the other. On Norman fonts Sagittarius occurs occasionally, as at Darenth, in Kent, where he is within arcading next to a winged dragon; and at Hook Norton, Oxfordshire Huttoe th n o n; Cranswic Yorkn i fontw k no , Museum, is a human figure on foot, armed with a bow and arrow, next Agnue th o t s Dei. On the capitals of the. columns of the south door of Iffley Church, Oxfordshire, Sagittarius appears riding over a prostrate lion. Sagittariu s alssi e columno th sculpture f o e f capitae so th on n f o do l the doorway of Lullington Church, Somersetshire. e columnth f o Oe f capitaAdee o snth on lf o lChurch Yorkshiren i , , (fig. 21), Sagittarius is to be seen facing a dragon on the opposite column. The figure of a man in a cloak with a curious pointed hood, kneeling dow shootind nfoune an b arrowd e somn o an th t o d gf s w i eo ,wit bo ha Celtic sculptured stone Scotlandn si t Yigeans.S t a s a , 1

Tlio Dancing. Woman. A very curious dancing figure of a female is found sculptured on many Norman buildings e attitudTh . s peculiai e d alwayan r samee sth e th , body bein ge shap a horsth ben f n o ei et shoe, wit e heahth d down- e handwards th d fee d an st an , e restingroundth t Barfreston A o g . n Church Kentn i , , ther a medallio s ei soute th hn o ndoorwa y containing e figuree dancinth th f o s g womaaniman a d nan l playin harpa t n A go . Lichfield Cathedral this figure occurs. Wome attitude th n i e describefoune b o classican t di e dar l paintings and als Persian oo n brasswork whicf o , hI posses s specimens.2

1 Otlier examples occur of Sagittarius shooting at a lion, on an ivory casket of the thirteenth century (see Jour. Brit. ArcJissolog. Inst., 1876); shootin Centaura t ga n o , the sculptured cloisters at Zurich Cathedral (see Proc. Zurich Ant. Soc., vol. i. pi. vii.) ; shooting a stag, on sculptured crypt at Parize le Cliatcl, Nierre, France (see Abecidaire d'Arckdologie, . 272)p ; shootin Centaura t crose ga th t Kellssn a o , , Ireland (see Marcus Keane's Towers d Templesan of Ancient Ireland, . 150)p . 2 Other examples occur in the cloisters at Zurich Cathedral, before mentioned, wher womae eth n dance musie fiddlth a f o sct o sittin en playema a g y cross-leggeddb ; also at the Church of Avallon, France (see Abdctdaira d'ArcliAologie, p. 160. NOTES ON EARLY CIIE1STIAN SYMBOLISM. 437

Reversed Figures. Figures placed head downwards occur on Celtic crosses and in Norman sculpture, but the meaning attached to such representations has yet to be e explainedPsalmsth t S a f miniatur o t a n e ,. IrisI th . hMS f o e John's College, Cambridge, which shows David overcoming Goliathe th , latte upsids i r e down, eithe indicatins a r e prostratgth e figur perspecn i e - tive or as reversed to symbolise defeat. There are two instances of reversed figure Norman o s n fonts,—at Mitchel Dean n Gloucestershirei , , where the figures are human, and Melbury Bubb, Dorset, where the figure those ar se f impos animalse chanceo eth th n f o O t lt . arcS t ha Peter's, Eoulston, Herefordshire, figures of angels holding crosses are shown upside down, though in this case it is just possible the stone was accidentally placed with the wrong side up.1

Man between two Beasts. On several Norman s sculpturetympani n centree ma th aa n i d, with a beast on each side of him. In some cases perhaps it is intended for Danielionse th n 'i l den t thibu ;s doe t explai themf sno o l nal . t BuckleburyA Berkshiren shows i ,i n n ma wit a hands , hi h s resting o winge necke otw nth f o ds dragons t DowA .t MaryS n Devon i , n shire, the two beasts have tails terminating in foliage. On the Norman font at East Haddon, in Northamptonshire, a man appears holding two swans or long-necked dragons, with their heads under his arms.2

Tree with Beasts eachon side. Several instances occur on Norman tympana of a scene representing a conventional tree in the centre, with animals placed symmetrically 1 Examples of reversed figures on Celtic crosses occur at St Yigeaus, ForfarsMre ; Gosforth, Cumberland; Aycliffe, Durham; and Winwiek, Lancashire. 2 Other examples on tympana in France are given in the Abicedaire d'Archiologie, pp. 151 and 153—at Touncre, Yonne, and two other places, the names of which are not mentioned. A man between four serpents occurs on a font with a Runic inscrip- tion at Norum, in Sweden. 8 43 PROCEEDING E SOCIETYTH F O S , JUN , 18849 E .

facing each othe n eitheo r r side. Sometime e animalth s e showar s n devourin e tree e fruith gth f . o t e case treon th e e n I springs fro ma semi-huma n head.2 Generally the animals are identical in appearance, but now and then there are exceptions.3 Trees are continxially mentioned in the Bible, especially the Tree of Lif Genesin ei Kevelationsd san e gooevid th an dld treean , s knowy nb thei e Gospelsr th frui n i t . Ther , howeveris e , onle passagyon e where animals are referred to in connection with trees, namely, in Nebuchad- nezzar's dream in the book of Daniel, where it says " the beasts of the fielshado had dfowl the w heave of sunde and nit, r boughdwelthe in t s thereof."4 There are a few instances of trees with birds on Norman tympana associated with other figures,5 and some where the tree alone is represented.6

Birds, Beasts, Fishes, Reptiles.and speciae Th l qualities attribute tho dt o different animals storiee th d san , connected with their habits, caused largele theb o mt n i y f mado e eus Christian symbolism d onlan ,y a ful l knowledg e bestiarieth f o ed an s literature th e Middlth f eo e Ages wil throo t le wenablon lighy n ean o t the subject. instancee Th Norman si n sculpture where birds occu n treei r s have been already mentioned, but there are others in which they are found withou trees.e th t 7

1 As at Lathbury and Dinton, Bucks ; Lullington, Somersetshire ; and Fritwell, Oxfordshire. t LlanbadarA 2 n Vawr, Radnorshire. 3 As at Ashford, Derbyshire. s Jameson'Mr e Se 4 Lord, r s Hist,ou f o . 235vol p . i ,. wher illustration a e f no Nebuchadnezzar's dream, taken from a Speculum, is given as a type of the Crucifixion. t Littla s A e6 Langford, Wilts; Stoke-sub-Hamdon, Somersetshir d Lowean e; r Swell, Gloucestershire. 6 At Middleton Stoney, Oxfordshire, and Kempsley, Gloucestershire ; and on Norman fonts at Bridekirk, Cumberland; Helpringham, Lincolnshire; and Aston ' le Walls, Northamptonshire. 7 Parwich, Derbyshire ; Bundleigh, Devon ; and Kirkburn, Yorkshire. NOTE EARLN O S Y CHRISTIAN 9 SYMBOLISM43 .

Animal e commoar s n Normai n n sculpture t thee oftebu ,ar yo s n rudely executed that it is difficult to identify them; however, the wild hoar1 is to be found in four cases on tympana, and dogs,2 horses,3 wolves, rabbitsd *an othersn 5i . 3?ish occur occasionall tympanan yo fonts.d an 6 7

Fabulous Beasts. n additioI e animalth o t ns the a s y exis n naturei t , many fabulous beast usee r purposesar dfo f Christiaso n symbolism, amongs e mosth t t common bein e wingeth g d dragon e griffin th ,e centaurth , (half man, half horse) e sireth , n (half woman, hal e unicornfth fish)d an ,. The characteristics of the dragon, as represented in mediaeval art, are, boda s ythaha coveret i t d with scales terminatin serpentina n i g e tail, which is twisted or knotted, two feet, a pair of wings, a head with two ears, and a long jaw armed with teeth, or a barbed sting to show its power of doing harm. Dragons are mentioned in the Bible in some remarkable passages in Isaiah8 and in the Revelations. In the bestiaries the dragon is described as the largest of animals, and the enemy of the elephant, who mt overcomei s wit tail.s hit 9 The griffin has the body of a beast, with four claws and wings, and a head and beak like that of an eagle.10 e centauTh sired e borrowean rar n d from classical mythologye Th .

Ashford and Parwich, Derbyshire ; Tutbury, Staffordshire ; and Little Langford, 1 Wilts. 2 Tutbury and Little Langford. 3 Kedlestone, Derbyshire. 4 Hognaston, Derbyshire. 6 Ault Hucknall, Derbyshire. 6 Stoneleigh, Warwickshire; Great Rollwright, Oxfordshire d Ribbesforilan ; , Worcestershire, 7 Burnsall, Yorkshire. 8 Chapconnection i , .22 xiii, 21 .n with satyrs. Le Bestiaire Divin—Mem de la Soc. des Ant. de la Normandie, 2nd series, 9 vol. ix. sculpturee 10Se inscribed dan d exampl t Souvignea y Church, Allier, France, illus- trated in the A bdcddairc d'Arclieologie, p. 273. 0 44 PROCEEDING E SOCIETYTH F O S , JUN , 18849 E .

siren is tlius referred to in the Divine Bestiary, previously mentioned:— " Whilst we allow ourselves to he enchanted by the world, and sleep hosoe pleasuree th th n f mi o s whic sirene t hth offeri , , us sayso that s ,ti the devil, falls upon us and kills us. Sailors, to escape the deceiving sirense voicth f eo , stop their ear orden i s o heat r n r nothingma e Th . who wishe o preservst s chastit ehi e worle mids th th f dn o y ti mus n i t s eyes. same closhi y th s eard ewa "ehi san The siren often has two tails which she holds up on each side with her hands.1 The unicorn, accordin Divinee th o gt Bestiary, onle th ys i anima l that dares to attack the elephant, whose belly it pierces with its horn. huntsmene "Th n ordei , o catct r h this formidable beast, sen younda g virgin int forese o th s lairit t s .wher ha Whe t e i unicor e th n n seer she it is softened, runs towards her, goes down on its knees, and allows itself to be caught by the hunters. Thus Christ, who assumed our human nature on the bosom of the Virgin Mary, was betrayed by the Jews, and handed over to Pilate." The unicorn is mentioned in the Bible in Deiiteronomy, Job Isaiahd ,an . Fabulous animals occur frequently in Norman sculpture, and also on Celtic crosses dragoe Th .n appear n connectiosi n wit t MichaelhS d an t GeorgeS scenen i , s previously described. Ther some ar e e curiou- sin stance tympane th f so Normaf ao n doorways with group fabulouf so s beasts sculptured on them. At Long Marion Church, Westmoreland, above the west door, are figures of a siren with knotted tail and uplifted hands, and a winged dragon also with -a knotted tail; above the south door are a winged dragon, a kind of centaur with wings, and a sword issuing from the mouth of a flying animal. (?) A text from Isaiah xxvii. 1 may perhaps have some connection with this subject. It says—" In that day the Lord, with his sore, and great, arid strong sword, shall punish leviathan the piercing serpent, even leviathan that crooked serpent; and shall sladragoe yth sea.e th n "than i s i t Over a doorway at Ault Hucknall Church, Derbyshire (fig. 22), is sculptured a centaur, witli a glory round the head, and holding a palm

t Puca s e1A Church, Gironde, Franc article se e; e " Melusina, Barinn "i g Gould's Curious Myths of the Middle Ages; also Abecedaire d'Archeologic, p. 272. NOTES ON EARLY CHEISTIAN SYMBOLISM. 441

I w 1 -4Ja> 3 442 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

branch in one hand and a cross in the other ; opposite this is a huge monster, wit wheeha l cross ove e middla smals backth rhi d f lan ,eo animal following at its heels. From the centaur having the nimbus roun e head d holdinth an , e crossth g t i woul, d seem that Chriss i t here symbolised. On the cross at Glamis Manse, in Forfarshire, is a centau eacn re crosi holdinth e h Meigln sn i ax hand o n d ga e an ;Church - yard Perthshiren i , centaua s i , r holdin crose gth e s th hande ind -on an , axe in the other.

Fig. 23. Fonts at the Cathedral, Lincoln, and St Peter's, Ipswich. t StoA w Longa Huntingdonshiren i , tympanua s i , m wit ha mermai d medallione th tympanume f o th e n on o s n i t Barfreston a ,d upoan ; nit , in Kent, is another. There are four very fine Norman fonts with fabulous animals, arranged in procession round square bowls, all of the same date and character of design, as at Lincoln Cathedral, and St Peter's, Ipswich (fig. 23). On the font at Darenth, in Kent, are some curious animals,—one with the head of a bearded man, and a beast's tail, walking on his hands. NOTE EARLN O S Y CHRISTIAN SYMBOLISM. 443

On the jambe chanceth f so l arch t Beckforda , , Gloucestershire, ia s centaur, with a spear placed upright in front of it. The unicorn doet occuno s n Normai r n sculpture n Englandi , t bu , therexampln a e Churcs ei th t Pierre S n ei f h o t Caena , Normandy.n i , 1

. FigFon24 .t Beltona t , Lincolnshire.

Bell-Ringing. Bell-ringing is a subject which occurs occasionally in Norman sculp- ture, and apparently has some symbolic meaning. In MSS. of the Middle Ages, King David playin hand-belln go s givei s illustration ni n of the Psalms. A figure ringing two bells with a ropo is carved on the fonts at Belton,

1 Twining's Symbols of Early Christian Art, p. 172. 4 44 PROCEEDING SOCIETYE TH F O S , JUN , 18849 E .

Lincolnshirn i e (fig t .Hutto a 24) d an ,n Cranswick n Yorkshirei , n I . the former case it has been suggested that a pun upon the name of the place is intended. Over the doorway of the Priests' House at Glen- • dalough, county Wicklow, Ireland s sculpturei , dcrownea d figure sitting o thronena , wit ecclesiastin ha c holdin gpastoraa sidee d l on stafan , n o f e otheonth priesa r t havin gsquara e hand-bel e usuath f lo lCelti c form e Celtith s handn chi O crosn .i t "Winwicksa n Lancashirei , e b o t s i , see a nfigur e holdinf theso e e on gbell e b n eaci y s hma t handi d an , remarked that a very similar representation of a man with a bell in each han de bie appearth e sid rth f eo whic y b s h carrie e bodth sf kinyo g Edward, on the Bayeux tapestry.1 Bell-ringing with a hand-hammer occurs on the capital of a column at St George de Bocherville, in Normandy.2

1 Vetusta Monumentct, vol . pivi .. vii. • Stoke'a Irish Architecture, p. 78.

[APPENDIX. NOTES ON EARLY CHRISTIAN SYMBOLISM. 445

APPENDIX I. CLASSIFIED LIST OF SUBJECTS OF EARLY CHRISTIAN SYMBOLISM ON SCULPTURED NORMAN FONTS, TYMPANA, &o., WITE HTH LOCALITIES WHERE THEY OCCUR. LIST OF SUBJECTS OCCURRING ON SCULPTURED TYMPANA, FONTS, &c., OF THE NORMAN PERIOD IN GREAT BRITAIN, WITH THEIR LOCALITIES.

Tym. Fonts. Miscell.

The Trinity, ..... 1 1 God the Father— The Hand, 1 1 Jesus Christ — e LamTh f Godbo , 19 6 4 In Glory, ..... 20 3 3 The Holy Ghost— The Dove, 1 4 Virgie Th Childd nan , 1 4 Coronation of the Virgin, 1 The four Evangelists, 6 1 Saints, ..... 1 Scenes Testament Old from the — Temptation of Adam and Eve, 2 3 3 Expulsion from Paradise. , 1 1 2 Arke Noath ,d han 2 Danie Lionse th n i l' Den. , 2 1 Scenes from the New Testament — e Birt Th f Christho , I 2 The three Kings, .... 1 e BaptisTh f Christmo , 6 1 The Flight into Egypt, 2 Raising of Lazarus, 1 1 The Crucifixion, .... 3 4 2 The Church...... 1 4 Bishop with Pastoral Staff. , 5 5 1 The Devil, ..... 2 'l 1 The Conflict between Good and Evil — Christ overcomin Devie gth l wit Crosse hth , 3 1 o t MichaeDragone S th d an l, 6 *j 4 Dragont e GeorgS th d ean , 6 Virtue Vicesd ,san ... . 1 Monthse Th , Seasons Zodiacsd an , . , 3 2 The Sun, Moon, and Stars, . 1 Beasts, Birds, and Fishes, 8 5 Trees, ..... / 2 Fabulous Beasts, .... 6 (i Sagittarius, ..... 4 :j 3 446 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

THE TRINITY—Tympana:—St Mary-at-Cliffe, Kent. Fonts:—Lenton, Notts. E FATHER—GOTH D Fonts:—Lenton, Notts. Miscellaneous Sculptures:— Romsey Abbey, Hampshire. JESUS CHRIST, THE LAMB OF GOD—Tympana:—Adel, Yorkshire; Hognaston, Parwich, and Normanton,' Derbyshire ; Tetsworth, Oxfordshire ; Aston Herefordshire ; Castle-Moreton, Worcestershire ; Upleadon and Preston, Gloucestershir e; Glouceste t Nicholas);(S r Patrixbourne, Kent; Stoke- sub-Hamdon, Penselwood d Langportan , , Somersetshire; Tamant, Rushton, Winford Eagle, Dorsetshire; Bundleigh, Devonshire ; St Michael, Carhayes, Cornwall; Thwing, Yorkshire. Fonts:—Hutton Cranswick and Kirkburn, Yorkshire ; Stottesden, Shropshire ; Checkley, Staffordshire; Helpringham and Colsterworth, Lincolnshire. Miscellaneous Sculptures:—Wirksworth, Derbyshire; Bishopstone, Sussex; Kilpeck, Herefordshir t LawrencS e; e Church, Yorkshire. CHRIS GLORY—N TI Tympana:—North Newbal d Adelan d , Yorkshir e; Prest - bury, Cheshire ; Essendine, Eutland; Water Stratford, Bucks ; Edstow, Bedfordshir e; Ely , Cambridgeshir e; Shobdo d Rowlstonan n , Hereford- shir e; Elkston d Siddingtonan e , Gloucestershire; Barfrestod an n Rochester, Kent; Malmesbury, Wiltshire; Lullington, Somerset; Hadiscoe, Norfol t Kenelni'S k; s Chapel, Shropshir e; Littl e Barringtoii, Gloucester- shire ; Betteshanger, Kent ; Worth Maltravers, Dorset. Fonts:—Kirk- burn, Yorkshire ; Colsterworth, Lincolnshire ; Orchardleigh, Somerset- shire. Miscellaneous Sculptures:—Wirksworth, Derbyshir e; lona , Argyll- shire ; Bradford-on-Avon, Wiltshire. THE HOLY GHOST—Tympana:—Beckford, Gloucestershire. Fonts:—Helpring- ham, Lincolnshire; St Germans, Cornwall; Kirkburn, Yorkshire; Bride- kirk, Cumberland. VIRGIN AND CHILD—Tympana:—Founhope, Herefordshire. Fonts:—Walton- on-the-Hill, Lancashire; Sculthorpe, Norfolk; Orchardleigh, Somerset; Perranzabuloe, Cornwall. CORONATION OF THE VIRGIN—Tympana:—Quenington, Gloucestershire. THE FOTTR EVANGELISTS—Tympana:—Adel, Yorkshire; Pedmore, Worcester- shir e; Queningto d Elkstonenan , Gloucestershire; Aston, Herefordshire; RochesterCathedral, Kent. Miscellaneous Sculptures:—Wirksworth, Derby- shire. SAINTS—Miscellaneous Sculptures:—Bobbing, Kent. TEMPTATIO ADAF EVE—NO D MAN Tympana:—Thurley, Bedfordshire; Bridge, Kent. Fonts:—Walton-on-the-Hill, Lancashire; Fincham, Norfolk; East Meon, Hampshire. Miscellaneous Sculptures:—Essendine, Rutland; lona, Argyllshire; Ardmore, Ireland. NOTE EARLN O S Y CHRISTIAN 7 SYMBOLISM44 .

F E PARADISE—O DRIVE EV T ADAD OU N AN M Tympana:—Bridge, Kent. Fonts:—East Meon, Hampshire. Miscellaneous Sculptures:—Lincoln Cathedral; lona, Argyllshire. NOATHD E HAN ARK— Miscellaneous Sculptures:—Lincoln Cathedral; Salis- hury Cathedral. LIONS'DEN—DANIEE TH N LI Tympana:—Shalfleet, Isl Wightf eo ; Barton-le- Street, Yorkshire. Miscellaneous Sculptures:—Lincoln Cathedral. THE BIRTH OF CHIRST—Fonts:—Fincham, Norfolk. Miscellaneous Sculptures: —Wirksworth Bolsoverand , Derbyshire. THE THREE KINGS—Fonts:—Sculthorpe, Norfolk. THE BAPTISM OF CHRIST—Fonts:—Kirkburn and Thorpe Salvin, Yorkshire; Bridekirk, Cumberland; West Haddon, Northamptonshire; Darenth, Kent; Lenton, Notts. Miscellaneous Sculptures:—Adel, Yorkshire. FLIGHT INTO EGYPT—Fonts:—Walton-on-the-Hill, Lancashire; West Haddon, Northamptonshire. THE RAISIN LAZARUS—F GO Fonts:—Leuton, Notts. Miscellaneous Sculptures : —Chichester Cathedral, Sussex. THE CRUCIFIXION—Tympana:—Normanton and Bolsover, Derbyshire ; Crox- dale, Durham. Fonts:—Lenton, Nottinghamshir e; Coleshill , Warwick- shire ; Coltesmore, Rutlandshire ; Lostwithiel, Cornwall. Miscellaneous Sculptures :—Seaford, Sussex ; Adel, Yorkshire. THE CHURCH—Tympana :—Quenington, Gloucestershire. Fonts:—East Meon, Hampshir e; Lenton , Nott s; Stanto n Fitzwarren, Somerset; Winchester Cathedral. BISHOP WITH PASTORAL STAFF— Tympana:—Hogriaston and Normanton, Derby- shire ; S. Feniby, Lincolnshire ; Tetsworth, Oxfordshire ; Little Langforcl, Wiltshire. Fonts:—Kirkburn, Yorkshire; Cottesmore, Rutlandshire; Warborough, Oxfordshir e; Wincheste r Cathedral, Hampshir e; Avebury , Wiltshire. Miscellaneous Sculptures :—Ault Hucknall, Derbyshire. THE DEVIL—Tympana:—York Museum; Quenington, Gloucestershire. Fonts: —Avington, Berkshire. Miscellaneous Sculptures:—Lincoln Cathedral. CHRIST OVERCOMING THE DEVIL WITH THE CROSS—Tympana:—Quenington, Gloucestershire; Shobdon, Herefordshire; Beckford, Gloucestershire. Miscellaneous Sculptures:—Bristol Cathedral. ST DRAGON—E MICHAETH D AN L Tympana:—St Bees, Cumberlan d; Dinton , Buckinghamshire; Ault Hucknall, Derbyshir e; Hallaton , Leicestershire; South-well, Notts. Fonts:—Thorpe Arnold, Leicestershire; St Malrube, Isle of Skye. Miscellaneous Sculptures:—Steetley Chapel, Derbyshire ; Coningsburgh, Yorkshire; St Margarets, Walmgate, York; St Nicholas', Ipswich. 448 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

E DRAGON—T S TH GEORS D AN E Tympana:—Ruardean, Gloucestershire; Pitsford, Northamptonshire; Brinsop, Herefordshire; Moretoii Valence, Gloucestershire; Fordington, Dorset; Linton, Roxburghshire. VIRTUE VICES—D AN S Fonts:—Stanton Fitzwarren, Wiltshire. MONTHS, SEASONS, AND ZODIACS—Fonts:—Tkorpe Salvin, Yorkshire; Bumham Deepdale, Norfolk; Brookland, Kent. Miscellaneous Sculptures:—St Margarets, Walmgate, York; Brinsop, Herefordshire. THE SUN, MOON, AND STARS—Tympana:—Add, Yorkshire. BIRDS, BEASTS, AND FISHES—Tympana:—Parwich and Asht'ord, Derbyshire ; Little Paxton, Huntingdonshire; Tuthury, Staffordshire; Little Langford, Wiltshire; Stoke-sub-Hamdou, Somersetshire; Ribbesford, Worcester- shir e; Lower Swell, Gloucestershire. Fonts:—Kirkburn d Burnsallan , Yorkshire; Tissington and Mellor, Derbyshire; Belton, Lincolnshire. TREES—Tympana: Little Langford, Wilts; Stoke-sub-Hamdon and Lullington, Somersetshire; Lower Swell, Gloucestershire; Lathbnr d Dintonan y , Bucks; Firtwell, Oxfordshire. Fonts:—Aston-le-Walls, Northampton- shire; Bridekirk, Cumberland. FABULOUS BEASTS—Tympana:—Ault Hucknall, Derbyshire; Long Marton. Westmoreland; Stoneleigh, Warwickshire; Barton Seagrave, Northampton- shire; Stow Longa, Huntingdonshire; Houghton le Spring, Durham, Fonts:—Lincoln Cathedral; St Peter's, Ipswich; Newenden, Kent; Darenth, Kent; Melbury Bubb, Dorset; Wilne, Derbyshire. SAGITTARIUS—Tympana:—Stoke-sub-Hamdon, Somersetshire; Salford and Kencott, Oxfordshire; Cormac's Chapel, Rock of Cashel, Ireland. Fonts: — Button Cranswick, Yorkshire; Darenth, Kent; Hook Norton, Oxford- shire. Miscellaneous Sculptures:—Adel, Yorkshire; Iffley, Oxfordshire; Lullington, Somersetshire NOTES ON EABLY CHRISTIAN SYMBOLISM. 449

APPENDIX II.

LIS NORMAF TO N FONTS WITH FIGURE SCULPTURN EI GREAT BRITAIN. LIST SHOWING GEOGRAPHICAL DISTRIBUTIO SCULPTUREP NO D NORMAN FONTS IN ENGLAND. Name of County. No. of Fonts, Name of County. No. of Fonts Northumberland, Brough5 t 3 forward ' . , Durham, ..... Herefordshire, .... 1 Yorkshire, .... 5 Worcestershire, .... 2 Cumberland, ...2 . Gloucestershire, ..2 . Westmoreland, .... Monmouthshire, Lancashire, .... 1 Norfolk, ..... 3 Cheshire, ..... Suffolk, ....2 . Shropshire, .... 1 Hertfordshire, .... Staffordshire, ...2 . Essex, ..... Derbyshire, .... 5 Middlesex, .... Nottinghamshire, ..1 . Surrey, . . 1 Lincolnshire, .... 4 Kent, . . 3 Leicestershire, .... 1 Sussex, ..... 1 Warwickshire . . , .1 2 Berkshire . , Northamptonshire, . . 8 Hampshire, .... 3 Rutlandshire, ... .2 Wiltshire, ..... 2 Oxfordshire, .... 2 Somersetshire, .... 2 Buckinghamshire, 1 Dorsetshire . , Bedfordshire, .... Devonshire, .... 4 Huntingdonshire, . .1 . Cornwall2 . . , Cambridgeshire, Total, 76 Carry5 3 forward . ,

SCULPTUEED FONTS. YORKSHIRE. Eutton Orcmswick (no n Yorwi k Museum):—Conventional tree; animal rampant; winged dragon; bel wrestlingln ringerme o tw ; ; archer; Agnus Dei; two male figures; man holding human head by a rope. F2 VOL. xvin. 0 45 PROCEEDING SOCIETYE TH F O S , JUN , 18849 E .

Kirkburn:—Christ within aureole ; rite of baptism; Christ delivering the keys to St Peter ; Agnus Dei ; bird; serpent; man with axe, &c. Assoc. Architect. Soc. Rep., vol. iii. p. 232 ; Jour. Brit. Archceol. Assoc., vol. vii. p. 38. Thorpe Salvin:—Kite of baptism ; the four seasons. Archieologia, vol. xii. p. 207, and vol . Hunter';J . 0 xliv18 . .p s South Yarksh., 312. p vol .. i . Burnsall. Ingkton:—Christ with hand sshoo t raise s wa fivo ds e wounds. Archceologia, vol. xlvii. CUMBERLAND. Bridekirk.'—Baptism of Christ; Holy Spirit; conventional tree; winged dragons; fight between Centaur and t wo dragons. Archceologia, vol. xi p. 113. Dearham:—Dragons. Lyson's Magna Britannia.

LANCASHIRE. Walton-on-the-Hill(near Liverpool):—Flight into Egypt; Virgi Childd nan ; Adam and Eve; angel; beasts with interlaced tails; conventional foliage.

SHROPSHIRE. Stottesden:—Agnus Dei. Archceologia, vol. xlvii.

STAFFORDSHIRE. Oheckley:—Agnus Dei. Reliquary, vol. xxiv. p. 209. Armitage:—Pairs of figures inside arcading. K. Garner's Nat. Hist, of Co. of Staff., f. 153. DERBYSHIRE. Norton:—Winged dragon. Paley'A . F s. Baptismal Fonts. Youlgrave:—Dragon. Bateman's Vestiges, p. 241; Ord. Map, 84, S.E. Tissington. Mellor:—Three animals witn ridinhma centrn go e one. Cox's Churchesf o Derbysh., . 221p vol. .ii . Wilne:—Conventional beasts and interlacements. Cox's Churches of Derby sh.

NOTTINGHAMSHIRE. Lenton:—Crucifixion; baptis f mChristo ; Ascension; raisin f Lazarusgo ; Trinity (?) F. A. Paley's Baptismal Fonts. NOTE EARLN O S Y CHBISTIAN 1 SYMBOLISM45 . LINCOLNSHIRE. Lincoln Cathedral:—Winged dragons. F. Simpson's Baptismal Fonts. Belton (near Grantham):—Bell ringer; three_ecclesiastics; animal rampant; armed knight with sword; man and bird; conventional tree. F. Simpson's Baptismal Fonts; Rickman's Gothic Architecture, 6th ed., p. 129. Helpringham:—Agnus Dei; Dove emblem; conventional tree . Simpson'F . s Baptismal Fonts. Colsterworth:—Agnus Dei; head of Christ within vesica. LEICESTERSHIBE. Thorpe Arnold:—St dragonsMichaeo tw d an l; cross with humane heath n di centre. F. Simpson's Baptismal Fonts. WARWICKSHIRE. Goleshill:—The Crucifixio d fouan nr figure f saintso s . Parker's Glossaryf o Gothic Architecture, pis. Ivi. and Ivii. NORTHAMPTONSHIRE. Aston-le-Walls:—Conventional tree; head . t Paley'a cornersA s F s . Baptismal Fonts, Ord. Map , S.W,53 . East Haddon:—Man holdin o dragongtw -necky b s , with heads undes hi r . Paley'armsA . F s. Baptismal Fonts; Ord. Map , N.E,53 . West Haddon:—Flight into Egypt; baptism of Christ; animals' heads at corners. F. A. Paley's Baptismal Fonts; Parker's Churches of Northamptonsh., . 233p ; Ord. Map , N.E,53 . Irchester:—Man and animal; head of man and animal. F. A. Paley's Baptismal Fonts; Ord. Map, 52, N.W. .Wansford:—Two warriors with shields and spears; three male figures and one female. F. Simpson's Baptismal fonts; Ord. Map, 64. Finedon:—Seated figure holding up cross with kneeling figure in front. Parker's Churches of Northamptonsh., . 132p , Ord. Map , N.W,52 . Baunds:—Barn's head. Parker's Churches of Northampsh., p. 62; Ord. Map, 52, N.W. Crick:—Bowl of font supported by three dwarfs. Parker's Churches of Northampsh., p. 204 ; Ord. Map, 53, N.E. RUTLANDSHIRE. TicJcencote:—Human heads at corners. F. A. Paley's Baptismal Fonts. Cottesmore:—Crucifixion; Bishop with pastoral staff. Murray's Guide to Rutland, p. 230. 452 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884,

OXFORDSHIRE. Warborough:—Bishop wit hbenedictionf o crozie t ac n ri , repeated (font made of lead). F. A. Paley's Baptismal Fonts. Hook Norton:—Sagittarius witn hma ; battle-axe . Skeleton's Oxfordsh.

. HEREFORDSHIRE. Hereford Cathedral:—Figures f sainto s within arcading; font supportey db four lions. Building News, Octobe , 18775 r . WORCESTERSHIRE. Holt:—Grotesque heads. F. A. Paley's Baptismal Fonts. Chaddesley Gorlett:—Dragons and interlaced work. Rickman's Gothic Architecture, 6th ed., p. 147. GLOUCESTERSHIRE. Miehel Dean:—Figures upside down. Lyson's Gloucestersh. Frampton-on-Severn. NORFOLK. Fmcham:—The Nativity; Adam and Eye. F. A. Paley's Baptismal Fonts; Archceologia, vol. x. p. 190. Sculthorpe:—The three Kings; Virgin and Child; Joseph (!) giving the benediction. Norfolk Archceology, vol. vii . 338.p . Burnham Deepdale:—The months. Archceologia, vol. x. p. 177. SUFFOLK. Palgrave:—Human heads in hollows at corners. F. A. Paley's Baptismal Fonts. Ipswich t Peter'(S s Church):—Twelve beasts. Antiquarian Itinerary, vol. v.

SURREY. Walton-on-the-Hill. KENT. Newenden:—Winged drago d lionan n ; grotesque animals within circles. F. A. Paley's Baptismal Fonts; Ord. Map, 5. Darenth:—Eite baptismf o ; King Davi thronn do e playing harp; Saggitarius; king with sceptre; man driving beast; mythical animals. Ord. Map, 6. Brookland:—Font f leado , with month d sign an sf zodiac o s . Archceologia Cantiana, vol. iv. p. 87; Jour. Brit. Archceolog. Inst., vol. vi. p. 159; Ord. Map. 4 , NOTE EARLN O S Y CHEISTIAN 3 SYMBOLISM45 .

SUSSEX. Brighton:—Scenes from Scripture. Antiquarian Itinerary, vol. iii. BERKSHIRE. Avington:—Devil and other figures. Lyson's Magna Britannia, vol. i. part . 2073p , ; Antiquarian Itinerary, vol. iii. East Hanney (now in Architectural Museum, "Westminster):—Nude female with plaited hair; man. HAMPSHIRE. Winchester Cathedral:—Scenes supposed to be from life of St Nicholas. Reliquary, ; Vetusta6 20 . volp . Monumenta,.x vol . pi.ii . xl. East Mean:—Temptation of Adam and Eve ; Expulsion, from Paradise; Angel giving spad Adao t e wit Ev m h; distaf d spindlean f . Archceologia. . 186p vol . x .. Southampton. WILTSHIRE. Avebury:—Bishop with mitr d croziean e r holding closed book, with dragon on eac . Paley'hA side . F s. Baptismal Fonts. Stantori Fitewarren:—Crowned figure holding cross and trampling on dragon ; Cherubim with drawn sword; triump f Virtueho s over Vices, indescribed. . Paley'A . F s Baptismal Fonts. SOMERSETSHIRE. Locking:—Figures of men in armour at corners, with arms extended so as to meet; pair serpentf so s interlaced . Paley'A . F s. Baptismal Fonts. Saltford:—Eight human heads. Ilam. Anastatic Drawing Soc., 1873. DORSETSHIRE. Melbury Bulb:—Animals with interlaced tails placed head downwards. Ham. Anastatic Drawing Soc., 1879, pi. liii. DEVONSHIRE. Stolce Cannon:—Animals head downwards at corners, and four human figures supporting . Paley' bowA . fontf F o l s . Baptismal Fonts; Building News. Alphington:—Scrollwork foliage enclosing figure f archero s witn hma , spear, &c. F. A. Paley's Baptismal Fonts; Building News. Marychurch:—Jour. Brit. Archaeol. Assoc., vol. ii. p. 272. Hartland:—Sculptured faces. Murray's Guide. 4 45 PROCEEDING SSOCIETYE OTH F , JUN , 18849 E .

CORNWALL. St Germans:—Christian emblems, viz., the dove, the circle, and vesica piscis. . Paley'A . E s Baptismal Fonts. Launceston:—Human heads at corners. P. A. Paley's Baptismal Fonts. Perranzabuloe:—Three Persons of Trinity; Virgin and Child. F. A. Paley's Baptismal Fonts. Lostwithiel:—Crucifixion; hea bishopf do ; grotesque human head liono tw ; s passant; huntsma horsebackn no , with hawk, hound . Paley' hornA d . F an , s. Baptismal Fonts. Bodmin:—Angels' head wingd san t cornerssa ; animal foliagd san bowl n eo . . Paley'A . F s Baptismal Fonts. St Govan:—Human heads at four corners. P. A. Paley's Baptismal Fonts. Maker, Mount Edgcombe:—Four heads of angels with wings at corners. Building News, June 15, 1883. Kea:—Four human head t cornerssa ; cross. Building News, Jun , 1883e15 . St Sampson's:—Dragons. Reliquary, vol. xxiv . 213p . . South Hill:—Dragons. Reliquary, vol. xxiv. p. 213. •Luxulyan:—Dragons. Beliquary, vol. xxiv. p. 213. Tintagel:—Serpents; cross. Beliquary, vol. xxiv . 213p . .

SCOTLAND. t Malrube,S Loch Aoineard, Islef Skyeo (no wn Museumi , Edinburgh):— Crucifixion; Virgi Childd nan t Michaedragone S ; th d an l ; bishop. . Dryburgh Abbey:—Interlaced dragons.

WALES. Llanllwchaiarn, Cardiganshire:—Heads t foua r corners. Sketc . LongH y hb - ville Jones. Llanwenog, Cardiganshire:—Twelve human faces. Sketch by Worthington Smith. Llanarth, Cardiganshire:—Font supported by four beasts. Sketch by H. L. Jones. Llampeter, Cardiganshire:—Four winged dragons .. JonesL Sketc . H .y hb Llanfair y Cymwd:—Four heads and crosses. Sketch by H. L. Jones. NOTE EARLN O S Y CHRISTIAN SYMBOLISM, 455

APPENDIX III. LIS NORMAF TO N TYMPANA WITH FIGURE SCULPTURN EI GREAT BRITAIN. LIST SHOWING GEOGRAPHICAL DISTRIBUTION OF SCULPTURED NORMAN TYMPANA IN GREAT BRITAIN. ies No. of Localities XT f Localitieo c . n No 4s. Nam Countyf eo . Name of County. of Tympana.. of Tympana. Northumberland, Brought forward, . 92 Durham, 2 Monmouthshire . Yorkshire, 8 Norfolk, Cumberland, 2 Suffolk, . 2 Westmoreland, . 1 Hertfordshire, . Lancashire, Essex, Cheshire, 1 Middlesex, Shropshire, 4 Surrey, . Staffordshire, 1 Kent, . 7 Derbyshire, 11 Sussex, . Nottinghamshire, 2 Berkshire, 2 Lincolnshire, 2 Hampshire, 1 Leicestershire, . 2 Wiltshire, 3 Warwickshire, . 1 Somersetshire, . 4 Northamptonshire, 3 Dorsetshire, 4 Rutlandshire, 3 'Devonshire, 3 Oxfordshire, 8 Cornwall, 1 Buckinghamshire, 6 —— Bedfordshire, 2 119 Huntingdonshire, 3 Scotland, 1 Cambridgeshire, 3 Isle of Man, Herefordshire, . 8 Wales, . 3 Worcestershire, . 4 Ireland, . 3 Gloucestershire, 15 —— — Total, 126 Carry forward2 9 , 92

SCULPTUEED TYMPANA. DURHAM. Croxdale :—Crucifixion. Archceologia, vol. xlvii. 456 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

Hougfiton le Spring:—Two dragons interlaced. Perry and Henman's Anti- quities of the County of Durham, pi. xliv. \ YORKSHIRE. Danby Wiske:—Three nude figures. Whitaker's Bichmondsh.,; 5 22 . volp . .i Ord. Map, 96, N.W. North Newbald:—Saviour within vesica. Antiquarian Itin.; Ord. Map, 94, S.W. York Museum:—three demon prostratd san e human form. Add:—Saviour d mood an seatean " n; n n Thronsu o d ; d e; Lam Go f o b emblems of four Evangelists . Simpson'T . H . s Arch&ologia Adelensis. Austerfield Chapel:—Dragon with knotted tail. Notes taken by C. E. Keyser. Alne:—Two Evangelists (?) and interlaced work. Notes by C. E. Keyser. Barton le Street:—Tree and Daniel in. Lions' Den. Notes by G. E. Keyser. Thwing:—Agnus Dei. Sheahan and Whellan's Hist, of York', vol. ii. p. 490. CUMBERLAND. Kirkbampton :—Two beast d ecclesiasticsan . Hist, Topog.d an of Cumberland and Westmoreland, p. 173. St Bees :—St George(l Dragond )an ; bird within circl e; interlace d work. Cumberland and Westmoreland Ant. Soc. Trans., vol. ii. p. 7.

WESTMORELAND. Long Marion:—South door, two winged dragons ; cross; sword and shield ;—west door, winged drago n; sired crossan n . Cumberlandd an Westmoreland Ant. Soc. Trans., vol. v. p. 175 ; Ord. Map, 102, S.W.

CHESHIRE. Prestbury:—Saviour within vesica, with two kneeling figures of angels on each sid e; saintx Saviou si d s abovean r . Earwaker's East Cheshire, vol. ii . p. 188 ; Ord. Map, 81, N.W. SHROPSHIRE. Aston Eyre :—Figure on horseback, with hand raised in act of blessing ; in front, man seated on ground ; behind, figure leading animal. Eyton's Anti- quities of ShropA., vols. i. and ii. p. 208. St Kenelm's Chapel:—Christ within vesica, supported by two angels. Brit. Mus. MSS., No. 21,237, p. 399. NOTE EABLN O S Y CHRISTIAN 7 SYMBOLISM45 .

Stottesden :—Four animals. Jour. Brit. Archxolog. Assoc., vol. xxiv . 201p . . Linley .-—Winged figure. Brit. Mus. MSS., No. 21,011.

STAFFORDSHIRE. Tutbury:—Boar hunt, with man 'on horseback and two dogs. Jour. Brit. Archceolog. Assoc., vol. vii . 393.p . DERBYSHIRE. Autt Hucknall:—Centaur and two fabulous beasts ; on lintel, St George Dragond an . Gentleman's Magazine, ; Ord 9 44 . . Map p 1799 , , S.W1 82 ,. ,pt . Ashford:—Tree, with "boad wol n eithean ro f r side. Bateman's Vestiges, p. 182 ; Ord. Map, 81, S.E. Parwich:— tramplind Lamb serpento Go f tw o n go s ; bir d; boa ; runicor n and beast bitin s tailgit . Ham Anastatic Drawing Soc., 1876, pi. iii.; Ord. Map, 72, N.E. Hognaston:— Agnus; figur i De e with crozier d threan , e animals. Cox's Churches of Derbysh., vol. ii. p. 491; Ord. Map, 72, N.E. Kedleston:—Huntsman horsebackn o . Lyson's Magna Britannia, vol. .iv p. 224 ; Ord. Map, 71, N.W. Swarkestone:—Bateman's Vestiges, p. 231; Ord. Map, 71, S.W. Normanton :—Crucifixion ; Agnu ; figur i sDe e with crozier . Reliquary,&c , vol. ii. p. 4. Finden :—Cross n centrfigurei o tw eacn e; o s h side. Reliquary, vol. iii. p. 191. Tissington:—Figure with arms akimbo, and check pattern. Cox's Churches of Derbysh., vol. ii. p. 449. Shirley:—Two animals and foliage. Cox's Churches of Derbysh., vol. iii. P. 274. Bolsover:—Crucifixion. Jour. Brit. Archcsolog. Assoc., vol. vii. p. 319.

NOTTINGHAMSHIRE. Everton:—Two dragons. Notes . KeyserE . takeC y n.b Southwell:—Man kneeling with hand lion'n i s s mout h; lam t MichaeS b; l and Satan. Dickinson's Antiquities of Notts, p. 80. LINCOLNSHIRE. . FerribyS :—Bishop with pastora f blessingo t l ac staff .n i , Archceologia, vol. xlvii. p. 160. Syston :—Nine figures within arcading. Notes . KeyserE . takeC y .nb 458 PEOCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

LEICESTERSHIRE. Stoney Stanton : — Dragons ; bird ; bishop with, crozier. Archaologia, vol. xlvii ; .Ord . S.W, Map63 ,. Hallaton:—St Michae Satand an l . Nicholl's Hist, of Leicestersh.

WARWICKSHIRE. Stoneleigh:—Two dragons ; fishes and serpents. Parker's Glossary (5th ed.), p. 74.

NORTHAMPTONSHIRE. Pitsford:—St George and Dragon. Baker's Northamptonsh.; Ord. Map, 52, KW. Barton Seagrave :—Bearded head between two monsters, one having human hea mouthn di . Parker's Glossary (5t h; Ord 4 ed.)7 . . N.W, Mapp , 52 , . Castor:—Christ in Glory. Archceologia, vol. xlvii.

EUTLANDSHIRE. Essendine:—Saviour within aureole, inscribe blessingf do t IHCac n i , with ange eithen o l r side. Parker's Glossary (5th ; Ord 1 ed.)7 . . . Mapp , 64 , Bidlington:—Two beast d smalan s l circular cross. Gentleman's Magazine, 1796, p. 187 ; Ord. Map, 64. Egkton:—Circular rose, with dragon on each side. Notes taken by C. E. Keyser. OXFORDSHIRE. .Tetsworth:—Agnus Dei; bishop with crozier figurd an , e holding open book. Archceologia, vol. xxxv. p. 487 ; Ord. Map, 13. Handtorough :—Daniel in Lions' Den(?). Britton's Architectural Antiquities, vol. v. pi. xvii. ; Ord. Map, 45, S.W. Middleton Stoney :—Tree. Parker's Glossary of Architecture (4th , ed.)47 . p , Newton Purcell:—Bird and foliage. . Notes taken .by C. E. Keyser. Fritwell:—Two , animals eating fruit off tree. Skelton's. Antiquitiesf o Oxfordsh. . . '•,•'•' Salford:—Circular cross in centre, with Sagittarius on one side and lion on other. Notes taken by C. E. Keyser. Kencott .-—Centaur (inscribed " Sagittarius ") shooting arrow down throaf o t serpent. Notes taken by C. E. Keyser. Great Bollwright:—Fish. Skelton's Antiquities of Oxfordsh. NOTE EARLN O S Y CHRISTIAN 9 SYMBOLISM45 .

BUCKINGHAMSHIRE. Dinton:—Two animal n eaco s h sid treef o e ; below, dragon rushint ga winged figure holding cross and book ; inscribed " Premia pro meritis si quis desperet habenda. Audiat hie percepta sibe sunqu i t retinenda." Archceo- logia, vol . pix . . xvii.; Ord. Map , S.W46 , . Water Stratford:—Saviour within vesica, and angel on each side. Lyson's Magna ; Ord Britannia,6 .48 Map. p , N.E, 3 ,48 . .volpt . i . Stewkley:—Two dragons. Lyson's Magna; 8 Britannia,48 . p , 3 . pt vol . i . Ord. Map , N.,46 W Raddive:—Agnus Dei. Sheeham's Hist, of Bucks, . 301p . Lathbury:—Tree in centre, and two animals on one side, and lion eating frui othern o t . Notes . KeyserE . takeC y n.b Leckhampstead:—Two dragon d demoan s n fighting. Lipscomb's Hist, of Bucks, vol. iii. p. 28. BEDFORDSHIRE. Thurley:—Temptation of Adam and Eve. Thos. Fisher's Hist. ofBedfordsh. Edstow:—Saviour within vesica. Bloxham's Gothic ; OrdArchit., 0 9 . . p Map, 52, S.E. HUNTINGDONSHIRE. Little Paxton:—Cross in centre ; figure holding cross, and animal on one side and two animals on other. Archceologia, vol. xlvii. p. 166. Stow Longa:—Mermaid and Lion. Archceologia, vol. xlvii. Covington:—Lion and Dragon fighting. Notes taken by C. E. Keyser. CAMBRIDGESHIRE. My Cathedral:—Saviour within vesica. Lyson's Magna Britannia. Pampisford:—Heads d figurean s within arcading. Notes. E . takeC y nb Keyser. Kirtling:—Christ in Glory within vesica. Barker's Eccles. Topog. of England. HEREFORDSHIRE. Moccas:—Elisha and the bears; (?). Bloxham's Gothic Archit. Shobdon:—(1) Saviour within vesica, surrounde fouy db r angel Christ') (2 s; s descent into hell. Jour. Brit. Archceolog. Inst., 233. volp . i . ; Ord. Map S.W, ,55 . Brinsop:—St George and Dragon ; signs of zodiac. Jour. Brit. Archceolog. Inst., . 27 volp 1. ; Ilam ii . Anastatic Drawing Soc., 1876, pi. x . Fownhope:—Virgin d Childan , surrounde foliagy b d d animalsan e . Jour. Brit. Archceol. Assoc., vol. ii. p. 268 ; Ord. Map, 43. 460 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

St Peter's, Eowlston :—Saviour within vesica, surrounded by four angels; reversed figures on jambs. Architectural Assoc. Sketchbook, vol. iii. Kilpeck:—Gentleman's Magazine, 1789 . 781,p ; Ord. Map. ,43 Stretton Sugwas. * Aston:—Agnus Dei and symbols of two Evangelists. Wrighfs Hist, of LuAlow, p. 101. WORCESTERSHIRE. Pedmore :—Christ and emblems of four Evangelists. Murray's Guide, p. 146. Castle Moreton:—Agnus Dei. Archceologia, vol. Ivii. Netherton:—Serpent. Notes . KeyserE . takeC y n.b BMesford:—Archer shooting fishanimad an , l running away. Ashby a del Zouche Anastatic Drawing Soc., 1859,. pixx .

GLOUCESTERSHIRE. Quenington:—North door, Christ's descent into hell;—south door, Coronation of Virgin; symbol fouf so r Evangelist s; cherubi seraphimd man . Archceologia, . 129p vol. x ;. Ord. Map. ,34 Buardean:—St George and Dragon. Jour. Brit. Archceolog. Inst., vol. ii. p. Mapd 23. Or ,043 ; Elkstone:—Saviour seate n throneo d , surrounde y emblemb d f fouo s r Evangelists. Lyson's Coll. of Gloucestersh. Ants.; Ord. Map, 44. Moreton Valence:—St George and Dragon. Lyson's Coll. ofGloiicestersh.Ants., p. 36; Ord. Map, 43. Siddington:—Christ holding key; two angels kneeling on each side. Lyson's Coll. of Gloucestersh. Ants., p. 38 ; Ord. Map, 34. Chalcot, Paris f Newingtono h , Bagpath :—Figur horsebackn eo , with shield, followe threy db e figure footn o s . Gentleman's Magazine, 1795 . 385,p . Upleadon:—Agnus Dei. Bloxham's Gothic Archit.; Ord. Map, 43. Preston (in Ledbury) :—Agnus Dei. Bloxham's Gothic Archit. Beckford:—North door, Triump Chrisf ho t ove ;—soutn si r h door, Cross with animals on each side ; bird and sun above. Gentleman's Magazine, 1843, p. 55; Ord. Map. ,44 Gloucester (St Nicholas Church):—Agnus Dei. Lyson's Gloucestersh. Ants., pi. viii. Stanley St Leonard:—Two animals, one presenting apple to other. Notes taken by C. E. Keyser. Kempsley :—Tree. Jour. Brit. Archceolog. Inst., vol. xxxiv. p. 270. Little Barrington :—Christ in act of blessing, with angel on each side. Jour. Brit. Archceolog. Inst., vol. xxxv . 285p . . NOTE EAKLN O S Y CHRISTIAN 1 SYMBOLISM46 .

Stratton:—Figures, &c., in low belief. Notes taken by C. E. Keyser. Lower Swell:—Tree, with bird pluckin t a fruitg . Notes. E . takeC y nb Keyser. SUFFOLK. Ipswich (St Nicholas):—Conventional beast; St Michael and Dragon. Jour Brit. Archxolog. Assoc., vol. i. p. 146 ; Ord. Map, 48, S.W. Wordwell:—South^door, Tree with anima n eitheo l r side ;—north door, Figure with both arms upraised, and another fignre holding circular object. Notes . KeyserE . takeC y n.b KENT. Barfreston:—Saviour within vesiea. King's Munvmenta Antiqua, vol . pi.iv . iv. ; Ord. Map, 3. Patrixbourne:—Agnus Dei; angels, &c. Arch. Assoc. Sketchbook, vol. iv. ; Ord. Map. ,3 St Margaret-at-Gliffe:—Trinity three times repeated ; pairs of heads twice repeated. Parker's Glossary of Gothic Architecture (5th ed.), pi. xliv. Ord. Map, 3. Bridge:—Temptation Adaf o Eve d . man Antiquarian &c , Itinerary, vol; . .ii Ord. Map. 3 , Bettesltanger:—Christ within vesiea. S. B. Glynne's Ghurches of Kent, . 169p ; Ord. Map. 3 , Sandwich t Clements):—(S Small figur stagf eo . Ord. Map. ,3 Rochester Cathedral:—Saviour within vesiea d fouan , r Evangelists. Ord. Map. ,6 BERKSHIRE. Bucklebury:—Human figure, in centre grasping two winged dragons on each sid necksy eb . Lyson's Magna Britannia, . 204p . Chamey Bassett:—Saviour betwee animalso tw n , s whokeepini e mH t ga bay. Notes . KeyserE . takeC y .nb

HAMPSHIRE. Shalfleet (Isl f Wighteo ) :—Daniel in. Lions' Den. Britton's Architectural Antiquities, vol . pi.v . xvii ; .Ord . Map. ,10

WILTSHIRE. Malmesbury:—Saviour within vesiea. King's Mwiimenta Antiqua, vol. iv. pi iv.; Ord. Map. ,34 2 46 PKOCEEDING SOCIETYE TH F O S , JUNE 9, 1884.

Knook:—Tree in centre, and on either side dragon and dog. Notes taken by C. B. Keyser. Little Langford :—St Nicholas(?), with budding pastoral staff; three birdn si tree; on lintel, huntsman with horn and spear, and wild boar attacked by three dogs. Hoare's Hist, of 8. Wilts, vol. ii. pi. iii. p. 19. SOMERSETSHIRE. StoTce-sub-Hamdon:—Tree with three birds ; Sagittariu d side an eon n o s Leo on other (their names being inscribed) ; also Agnus Dei. Building News, 1883, Aug. 17. Lullington:—Tree with dragon n eaco s h sid e; Saviou f o r t abovac n i e blessing. Selwoodn Pe beastso tw :— d .Agnus an i Phelp'De s Hist, of Somerset, vol. .ii p. 192. Langport:—Agnus i withiDe n aureole hel angelsy db . Somerset. Arch. Soc. Proc., vol. xvii56 . .p DORSETSHIRE. Fordington :—St Georg Pagansd ean . Parker's Glossary (5th ed.) . 73p , ; Proc. Soc. Antiq. Scot., vol. xvii . 332p . . Tarrant Bushton:—Agnus Dei, with figure eacn o s h side. Hutchin's Hist, of Dorset (3rd ed.), vol. iii. p. 105. Wingford fiagle:—Two animals fighting. Hutchin's Hist, of Dorset (3rd ed.) 407. volp . .ii Worth Maltravers:—Two angels holding scrolls. Hutchin's Hist, of Dorset (3rd ed.), vol. .i DEVONSHIRE. Down St Mary :—Human figure between two beasts. Gentleman's Magazine, . 209p , 18822 . . pt , Bundleigh :—Agnus Dei and two birds. Notes taken by C. E. Keyser. Bishop's Teignton:—Four figures within arcading. Antiquarian Itinerary, vol. v. CORNWALL. St Michael Carhayes:—Agnus Dei. Notes . KeyserE . takeC y n.b WALES. Penman, Anglesey :—Beast with tail in mouth. - Llanbadarn Vawr, Radnorshire:—Head f animao tred an el abov , witit e h beast on either side. Westwood's Lapidarium Wallim, p. 150. Lla/ndaff Cathedral, Glamorganshire:—Bishop with crozier. NOTE EARLN O S Y CHRISTIAN 3 SYMBOLISM46 .

SCOTLAND. Linton, Roxburghshire:—St e DragonGeorgth d an e. Proc. Soc. Ant. Scot., vol. xvii. p. 335 ; Ord. Map, 110, S.W. ISLE OF MAN. Kirk Maughold. IRELAND. 0-lendalough, county Wicklow :—Crowned figure seated on throne, with priests holding pastoral staff, and bell on each side. Petrie's Irish Architecture, p. 251. Cormac's Chapel, Rook of Cashel :—South door, Animal;—north door, Sagit- tarius shooting at lion. Petrie's Irish Architecture, pp. 295, 296.

APPENDIX IV. LIS MISCELLANEOUF TO S PIECE NORMAF SO N SCULPTUR SLABN EO S BUILT INTO WALLS OF CHURCHES, CAPITALS OF COLUMNS, &o. SCULPTURED CAPITALS OF COLUMNS. Seaford, Sussex:—Crucifixion. Guide, to Eastbourne. Steetty, Derbyshire:—St George and Dragon. Cox's Churches of Derbysh., vol. i. p. 400. Adel, Yorkshire:—Baptism Christf o ; Crucifixion; Warrior with shield dan spear; Sagittarius. H. T. Simpson's Archceologia Adelmsis, p. 281; Churches of YorTesh. lona,, Scotland:—Temptation of Adam and Eve ; Expulsion from Paradise ; Chris n Glori t t MichaeS y; l weighin . gGraham' D Souls . H . s Antiquitiesf o lona, pi. xli. Durham Castle :^Stag. Eickman's Gothic Archit., ed.h . 1386t , p . Lullington, Somersetshire:—Sagittarius. Iffley, Oxfordshire:—Sagittarius, Centaurs, &c. Britton's Arch. Ant. York {St Laurence's Church):—Agnus Dei and Dragon. Twinhig's Symbols of Early Christian Art, p. 160. SLABS OF SCULPTURE. W. front of Lincoln Cathedral:—Expulsion from Paradise; Building of Ark; Danie Lionsd an l ; Chris Devid tan l Bound . Assoc.&c , Arch. Soc. Rep., vol. viii. p. 279; Jour. Brit. Archceolog. Inst., vol. xxv. p. 1. 464 PROCEEDINGS OF THE SOCIETY, JUNE 9, 1884.

' Bristol Cathedral Chapter House:—Christ's descent into Hell. Pryce's Notes on the Architecture of Bristol, p. 12 ; Gentleman's Magazine, 1832, pi. i. p. 489. Chichester Cathedral:—Raising Lazarusf o . Jour. Brit. Archceolog. Assoc., vol. . xii . 408p . . Wirksworth, Derbyshire:—Christ washing Disciples'feet; Cross with Agnus Dei and emhlems of four Evangelists; Nativity; Ascension. Bateman's . Vestiges of the Antiquities of Derbysh., p. 238; Gentleman's Magazine, 1821. Bolsover, Derbyshire:—Nativity. Bateman's Vestiges, . 193p . Seaford, Sussex:—St Michae d Dragonan l . Sussex Archeeol. Coll. Ipswich Nicholast (S Church):—St Michae Dragod an l n; thre e Apostles. Hovingliam, Yorkshire .'—Figure n arcadingsi . Jour. Brit. Archosolog. Inst., vol. vi. Bobbing, Kent:—Figure f Sainto , inscribed . "MarcialiS s Pius Patronus." Jour. Brit. Arclueolog. Inst., vol. xxi . 246.p . Hinton Parva, Dorset:—Angel with book and cross. Proe. Soc. Ant. Scot., vol. xvii. p. 336. Bradford-on-Avon, Wilts:—Two Angela. . front W f Ardmoreo Cathedral, Ireland:—Temptation f Adao d Eveman ; Judgment of Solomon. M. Stoke's Irish Architecture, p. 121.

SCULPTURED ARCH MOULDINGS. St Margaret's, Walmgate, York:—Signs of Zodiac; Warrior fighting Dragon, &c. Drake's Eboracum. Ault Huclcnall, Derbyshire:—Figures with crozier crossesd san .

SCULPTURED SEPULCHRAL SLABS. Bishopstone, Sussex:—Agnus Dei Doveo tw ; s drinking fro mvasea . Coningsburgh:—St George and the Dragon. Carter's Ancient Painting and Sculpture; Jour. Brit. Archaiolog. Inst., vol. 354p . i ; Assoc. Architect. Soc. Rep., vol. ix. p. 70; Gough's Camden, vol. iii. p. 257. Bridlington:— Storke th d . an x Gentleman'sFo Fablee th f o Magazine, 1801, p. 797. SCULPTURED JAMBS OP DOORWAYS. Essendine, Rutland:— ; Stag e AdamEv . d Parker'an s Glossary of Architec- ture, pi. xliv. Iffley, Oxfordshire:—Centaurs, Siren, &c. Eickman's Gothic Archit., 6th ed., p. 132.