unfrequently led to archæologists giving varied explanations of the same sculpture. Thus, according to Lysons', "on the north side of the nave in the church of St. Michael, Carhayes, is a small doorway with a plain semicircular arch, with the figure of a man on horseback carved on the transom stone" (Cornwall, p. 228). On a later examination by A. G. Langdon, it proves to be an Agnus Dei of the ordinary type (Reliquary, vol. iv, New Ser., 1898, p. 92, with illustration). Again, the two fabulous animals carved on the stone preserved in Darley Church are described by Mr. Suckling, "as a wolf attacked by a 'pelican or some such bird of prey'." (Quoted by Dr. Cox, vol. ii, p. 168).

Owing to decay of the surface, aided by the indifferent drawing and execution of the sculpture, it is not surprising that opinions frequently differ as to the species of many of the animals represented.

That some of the carved tympana have either been defaced intentionally, or have even been destroyed, is painfully certain. As late as 1863, one containing the figure of a dragon was known to occupy the north doorway of Tremaine Church, Cornwall, but was defaced at a later period; and not only are the marks of effacement still plainly visible, but a hole has been made through its centre for the passage of a flue pipe (Reliquary, vol. iv, New Ser. (1898), pp. 94-6). One at Swarkeston, Derbyshire, was swept away when the church was restored in 1828. According to Hutchins (Dorsetshire (1861), vol. i, p. 700), one over the south door of North Matravers Church was mutilated, "probably during the war of the Puritans against superstitious emblems;" but there appears to be an equal probability that in this instance the cause was due to ordinary weathering.

Mr. Langdon is of opinion they are at the present date more frequently found over the north entrance to the church, and this appears to be the case in Cornwall; but from the notes of a large number throughout England, I have reason to believe the greater proportion to be connected with the south one, the north being the next in frequency. A few are found surmounting the west door (Mylor, Cornwall), as well as the chancel and belfry

doors (St. Clement's, Sandwich). Their preservation during a former period may, as at the present time, have depended on accident, chance, or caprice on the part of the architect. The Decorated period was apparently less fatal to them than was the Perpendicular. It is somewhat remarkable that so many have descended to us, seeing that in many instances they form almost the sole evidence of a Norman church having preceded the existing structure, of which the churches of Ashford-in-theWater, Derbyshire, Down St. Mary, Devonshire, and Stoneleigh, Warwickshire, may be cited as examples. On this point Mr. Bloxam remarks: "There appears to have been a custom prevailing among the architects who succeeded the Normans, of preserving the doorways of those churches they rebuilt or altered, for doorways in the Anglo-Norman style," [or the tympana that adorned them]" still exist in many churches, the other portions of which were erected at a much later period." His explanation is that it "may have proceeded from a laudable wish to retain some visible remembrance of the piety of the founder by whom the original work was designed" (vol. i, p. 91). If this was the reason of their preservation by the architects and church officials of the fourteenth and fifteenth centuries, it is to be deplored that those of recent times have not thought fit to follow so praiseworthy an example. It is but fair to note one exception in the case of the modern church of St. Ebbe's, Oxfordshire, into the vestry wall of which the doorway and window of the former Norman church has been built (Parker, Glossary, vol. ii, p. 28, and Pl. 72).

One point remains to be noticed, viz., the marked difference in the character of the sculptures on the tympana of the south and north doors respectively. Although very few churches possess both at the present time, the following striking examples have happily descended to us, and will amply demonstrate the different kind of lesson each was intended to convey to the worshippers.

That the leading idea of the subjects carved on Norman tympana is borne out by the tradition that lingers in many churches, of their being placed over the

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Devil's door," appears to be the probable one, associated as it was in many places with its being the entrance set apart for lepers, cagots, and other proscribed races. To the same cause may possibly be attributed the fact of so many of these doors being walled up at a later period. Akin to the same association was the prevailing feeling against burials on the north side of the church. Occasionally, similar subjects were found over the north door to those of the south one: thus an Agnus Dei is carved on the Norman tympanum of St. Michael Carhayes, Cornwall, and also on those of Preston and Uplesdon Churches, etc. (Bloxam, vol i, p. 90).

Although usually assigned to the Norman period, Dr. Dodds believes those sculptured with an Agnus Dei to belong to a much earlier date, basing his opinion on the decision of the Council of Constantinople in 692, "that the direct human representation of the Saviour was to be preferred to the symbolical, namely, to that of the Lamb hitherto adopted." As, therefore, the Parwich tympanum contains a figure of the Agnus Dei, he affirms it "must be more than a thousand years old" (Reliquary, vol. xxi, pp. 203-4). This opinion has been successfully traversed by several leading authorities; thus, Mr. Keyser remarks it to "be sufficiently refuted by many of the examples" of tympana with the Agnus Dei sculptured upon them, "which are not earlier than the twelfth century" (Archaol. vol. xlvii, p. 169). Mrs. Jameson notes "though the prohibition probably led to more direct representation of Christ, it certainly failed, even in the Eastern Church, and far more in the Latin,

1 Illustrated Archaeologist, June 1894, 11-2.

2 Archæol., vol. x, p. 129, Pls. VII, VIII; Allen, pp. 278, 282,

to banish the favourite symbol of the Agnus Dei" (History of Our Lord ed. 1872, p. 337). Again, Didron, while recording the decree of the Council, "that in future the historic figure of Jesus Christ, the human countenance of the Son of God, should be substituted for the image of the Lamb," adds, that "notwithstanding this positive prohibition the Divine Lamb was painted and sculptured quite as frequently as before ("Christian Iconography, Bohn's ed., vol. i, p. 332-3).

All the dated examples of Norman tympana recorded in Parker's Glossary, are comprised within the years 1120 and 1160, and this probably includes the period when the majority of churches were so decorated.

We now pass on to consider, and in alphabetical order, the various tympana and carved lintels belonging to the churches of Derbyshire, which are either preserved at the present date, or of which we possess any record.

Ashford-in-the-Water.-The church is dedicated to the Holy Trinity, and amongst the scanty remains of the first Norman edifice, and the sole one of importance, is a carved tympanum. This for many years had remained fixed on the exterior of the south wall; but in the alterations to the building in 1869-70, it was relegated to its original and present position over the south entrance door, where, as formerly, it is protected by a porch.

It consists of a semicircular slab of fine gritstone—a true semicircle, as the sculptured portion measures 5 ft. long by 2 ft. 6 ins. in height-and occupies the space between the arch and the square head of the door. The surface is rudely carved in shallow relief, and although much eroded by its long exposure to all vicissitudes of weather, the presence of a fracture, and the carving being only about half an inch in depth, the subjects represented are unmistakeable as to their rendering.

The centre is occupied by a tree with a very straight stem, surmounted by large-leaved foliage, which "may fairly lay claim to the usually misapplied term of Romanesque" (Dr. Cox, vol. ii, p. 45). On either side of this, and facing each other, are two animals. The base of the stone is quite plain, but the semicircular portion has a shallow moulding formed of two flat curves. Inside

this is another, beaded in the centre, and projected inwards on either side above the backs of the animals, where they are confined by ligatures, passing which they expand into foliage of the same character as that on the tree. It has been suggested that birds are figured in the latter portion, but this is incorrect.

The animal on the left side is undoubtedly intended for a wild boar, but opinions vary as to the right-hand one. It has generally been regarded as a wolf, and is so recorded by Dr. Cox (vol. ii, p. 45), and also in Bateman's Antiquities of Derbyshire, p. 182. But Mr. Romilly Allen differs from this view, and appends the following explanation to a woodcut of the carved stone:-" Tree with wild boar on one side and a lion (?) on the other, on the tympanum at Ashford, in Derbyshire" (p. 377). Mr. Allen informs me it was made from a drawing and a rubbing. If, however, it be compared with the accompanying illustration, from a drawing by Mr. G. S. Ramsey, and verified by myself, an important difference will be observed in the animal's head; and whereas in the former the breadth is almost equal to the length, in the latter (as will be noticed) the length is much greater. A care ful examination of the sculpture in situ, on several occasions, has led me to believe that the animal was intended for a wolf.

Prior to the last alterations in the church, there was a lintel over the chancel door, containing in the centre a carving much weathered. S. Lysons (in Add. MSS. 9463) figured it as a head; but in examining it, circ. 1850, it appeared to me to be intended for a tree surrounded by a kind of garland. That it was Norman is fairly certain.

Bolsover Church, dedicated to St. Mary.-The chancel doorway is of the post-Reformation period, but above it is a tympanum, enclosed in its semicircular portion by an arch formed of several plain mouldings, apparently of a comparatively late date. The tympanum, like that of Ely, consists of stone blocks, and raised in relief is a figure of the Crucifixion, with a standing figure on either side. A beautiful woodcut of it will be found in the Journal of the Association, vol. vii, p. 318. On the