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Published online by Cambridge University Press: 15 November 2011
Three chief subjects are dealt with in the sculptures of medieval portals: Christ in Judgment, the Virgin Enthroned with the Infant Christ, and the Coronation of the Virgin. Of these the first is the most important.
page 380 note a Cf. what was said of the sculptured door of St. James of Compostella in the description of the Imagery at Wells (Archaeologia, lix. 174, note a).
page 380 note b G. Durand.
page 380 note c An additional point, unknown to Sir Gilbert Scott, is the fact that there were at Westminster narrow blank arches on either side of the clerestory windows just like those of the clerestory of Lincoln.
page 381 note a All three are set in separately.
page 381 note b The treatment of the subject should be compared with the painted glass of the rose window in the north transept, where Hell (now lost) was evidently at the bottom of the circle. See Archæological Journal, xiv. 211–220Google Scholar, and Journal of the British Archæological Association, xi. 89–94.Google Scholar
page 381 note c By Messrs. Hadley and on of Lincoln.
page 382 note a The west door at Holyrood was also very probably an early member of the group derived from Westminster. The whole style and the frieze of angels suggests so much.
page 382 note b There is nothing uncommon in having a short series. See Revue de l'art Chrétien, 1906, 3rd part.
page 383 note a Representations of the Wise Virgins appear as early as the fourth century in Roman cemeteries. In the twelfth century they are found on the arches of many sculptured doors in France. Hermann of Tournay says that the shrine of St. Piat in that city had the Wise and Foolish Virgins represented on it.
page 383 note b So at St. Denis, Chalons-sur-Marne, Sens, Paris, Amiens, Lincoln, Strasburg, Freiburg, Nuremburg, etc.
page 384 note a So also the figure in the feretory at Winchester.
page 385 note a Add. 29925. Both heads were lost, all hands were perfect. Church held building and part of staff; Synagogue inverted tables and part of staff. In some foreign examples the Church carries a chalice, in others a building. In the glass at Bourges the Church is figured as at Lincoln.
page 385 note b Plate XII. p. 175.
page 386 note a Viollet le Due notes that at Bamberg there is a figure of Christ under the Church and of a Jew under the Synagogue. At Crowland the corbel sculptures are: under where the Church was ‘an angel searching the Scriptures”; under the Synagogue, the Temptation in Eden.
page 387 note a See Emile Mâle, L'Art Religieux (ed. 1898), 248Google Scholar.
page 387 note b Keepe, 1683, says the Twelve Apostles were at the Westminster portal. At Lichfield they filled the spaces “between three large and small doors.” (John Jackson, junior, 1805.)
page 388 note a In the cast stores at the Victoria and Albert Museum I have found a cast of the king's figure taken before it was tampered with; this is a valuable record.
page 388 note b Those at present on the king and queen are probably based on Carter's etching. That on Etheldreda looks like a good copy. What is its origin ?
page 389 note a This figure is the more valuable as being the most perfect Christ in Judgment we have. Cockerell published beautiful lithographs of all the spandrels mostly from drawings by the sculptor, Alfred Stevens. Casts of about half are at the Architectural Museum, and Messrs. Prior and Gardner have published several in photography.
page 389 note b This is curious. Wild says it is an ornamental form of bagpipes ! Is it a symbol of sight or swiftness ? or of the delights of Heaven !
page 390 note a These sculptures shew traces of colours and gilding, the decay of which is not to be regretted; time has spread a warm mellow tone over the whole, and long may it remain untouched by any presumptuous attempt to restore or beautify it.” Britton, John, The Architectural Antiquities of Great Britain (London, 1820), v. 239.Google Scholar