ARCHITECTURE - Karatunov.net

250 ENGLAND NORMAN PERIOD [CH. xxvra(stop. p. 70, Plate CVI) who is shootingat an innocentstag ; it would be difficult to draw any moral from that.The centaurs in Romanesque sculpture are among thebarbarous figures which S. Bernard ridicules 1 . It isclear he attached no symbolical value to them.Rochester The west doorway at ROCHESTER (Plate CLXII)west doormarks tk e highest level to which Norman architecturalChrist insculpture attained. The logical correspondence of jambto arch is recognized by the shafts below their respectiveorders, and the execution of the ornament shows the workof a skilled hand. The attenuated figures of Henry Iand his queen which serve as shafts to the inner orderresemble those of the western portalsat Chartres whichare a little later, and those in the chapter-house doorway atS. Georges de Boscherville in Normandy (sup. p. 152,Plate CXXVI) which would perhaps be contemporary.The tympanumisoccupied by a figure of Christ in animperfect vesica supported by an angel on each side andthe apocalyptic beasts. A frieze of little figures along thelintel resembles in miniature the arrangement at S. Gilles,V&zelay, and Aries.In Saxon architecture the representation of Christ onthe cross issculpture common, but m the earlier Norman sculptureof our Lord seems to have beenany direct representationas instudiously avoided. It occurs in later examplesthe two last illustrations, but for the most part in earlierwork Christ is represented by a symbol, a lamb carryinga cross, or even by a simple cross as for instance atHawksworth in Nottinghamshire, where on the twoextreme crosses are carved the figures of the thieves, butQuid ibi immundae simiae? Quid feri leones? Quid monstruosi1centauri? Quid semi-homines? Quid maculosae tigrides? Pro deo!si non pudet ineptiarum, cur vel non piget expensarum?Apologia adGuillelmum Theodorici abbatem^ Cap.XI I,