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     Archaeologia Cantiana -  Vol. 45 1933  page 3
THE SCULPTURED ORNAMENT OF THE SOUTH DOORWAY OF BARFRESTON CHURCH. By the Rev. A. H. Collins, M.A.

variety of diverse forms is to be seen that it is more attractive to peruse the marbles than the books, and to spend a whole day in gazing on them, rather than meditating on the law of God."
   Again, the anonymous writer of Pictor in Carmine, a collection of types and antitypes for the use of painters, prefers the contemplation of the deeds of the patriarchs and of the ceremonies of the law to the use of representations of animal fables and curious monstrosities round the altar of God.1
   I am convinced that the sculptor’s object in carving these scenes was on the whole to ornament the fabric rather than to edify the congregation. He has no consistent educational plan. If he gives the signs of the Zodiac, he will usually be tired before he has carved them all. If he makes extracts from the Bestiaries, he will capriciously choose a few subjects, and then pass on to some other fancy. That he did use the Bestiary subjects has been conclusively proved. Yet even on the South doorway at Alne, Yorkshire, where some of the animals are inscribed with their Bestiary names, others are not so identified, while others again are not 

Bestiary subjects at all.
   The artist did not always care, perhaps did not always know, what he was carving provided that it filled the space to his satisfaction. I doubt whether anyone even of the craftsmen’s contemporaries, could fully interpret an elaborate doorway. Educationally the opportunity was largely lost; aesthetically, the opportunity was finely used. The Norman doorways are one of the glories of the country.
   If the above views are accepted, then the reader will look for no consecutive scheme of arrangement at Barfreston.
   The label above the whole is covered with foliage based on the acanthus. Below on the outer order, are beads which are discontinued on the top voussoir. Then on the same stones as the beadwork follow fourteen medallions all containing human figures. Each subject with its framework fills an arch stone, and the arch stones are fairly even
  1 I am indebted to the Provost of Eton for the foregoing
        quotations.

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