|
|
Page 204:-
tributaries of the Lune,- stands a Norman Font - a venerable
relic of those byegone times, when men grudged neither the best
of their wealth nor of their work in honour of Him who is the
Head of the Church; and though long thrown aside to make room for
a nondescript pillar and basin, it is now restored to its former
sacred uses, and, as its value is more justly appreciated, it
will doubtless be carefully preserved.
The style of the work is of the later Norman period, and its date
may probably be referred to the middle of the twelth century. The
ornamental sculpture is of a rich and elaborate character; and
the sculptor's aim has been to represent some of the earlier
incidents of the Gospel narrative. In the central compartments,
as expanded in the print,[1] we see the Virgin seated with
the Infant Saviour on her knees,- Joseph with the
implements of his trade as carpenter, being on the right hand,-
and on her left the Eastern Magi are approaching with
their offerings. The massacre of the Innocents is then
represented,- with the cruel Herod giving his orders for
their destruction,- and Rachel weeping for her children,
with an expression of grief in her countenance very effectively
portrayed. The youthful figure on the side of Joseph may be
intended for the Baptist; but the remaining personages are
not so clearly distinguished, unless there be some reference to
the Purification of the Virgin.
These sculptures stand within a series of interlaced arches on
pillars of good character, the latter being cut away where they
would have interfered with the mounted figures which are
introduced. Over this arcade is a rich bold cornice of grotesque
heads alternating with reticulated knots of varied and intricate
design.
|
