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other sources of injury. This covering of whitewash we removed bit by bit with the 

 greatest caution and deliberation in the winter of 1872, when the existence of the 

 paintings first came to light. The pictures are painted on a single coat of stucco 

 laid on the rubble wall, which in places is scarcely covered by it, and I think 

 there can be little doubt that they are contemporary with the building itself, i.e. 

 somewhere near the year 1100 a.d. 



PROCESS. 



With regard to the technical process by which these paintings are executed, 

 I am convinced that they are not true frescoes, that is, that they were not painted 

 on the wet stucco with purely earth pigments and a lime medium, one reason 

 being that the colour is little more than superficial, and has not sunk into and 

 become incorporated with the stucco as is the case \vith true fresco. Another is 

 the absence of fresco edges, as they are called, that is, the scarcely perceptible 

 edges that separate the patch of stucco laid one day from that of the next day. 

 For as it was necessary that the colours should be applied to perfectly wet and 

 unset stucco, it was of course needful that no more should be applied to the wall 

 than the artist could cover with one day's work, or in some cases even less. This 

 being the case then, that the paintings were executed on the finished and dry 

 surface of the plaster, they must be in some form of distemper, probably with a 

 medium of egg and vinegar, or perhaps size. 



SUBJECTS. 



In the middle of the ceiling is a figure of Christ, more than life size, seated 

 upon a curved red object, no doubt intended for a rainbow, and enclosed in a 

 frame or glory of the usual three-lobed shape ; a cruciform Nimbus surrounds the 

 head, and resting on the left knee is a book or tablet with the Greek letters 

 which represent the name of the Saviour. Unfortunately the right side of the 

 figure is too much injured to make out distinctly. The feet are towards the east, 

 and below them just outside the frame, the border of which is continued round it, 

 is a large circle much damaged by the crack. This represents the earth made the 

 footstool of our Lord. Right and left of the circle are two six-winged nimbed 

 Seraphs, each bearing a scroU. On either side of the principal fig^ire stand the 

 Evangelistic beasts, the bull and the eagle on the south side, and the lion on the 

 north, holding open books. The fourth beast is rather indistinct ; he appears to 

 be issuing from a cloud and to be without a book. All are nimbed. Next, west- 

 wards, above the head of Christ are seen the sun and moon. The sun a yellow 

 roundel with white rays all round it, and the moon a blue crescent with a small 

 roundel inside it which looks very much as if it had been a head. At the sides of 

 these great lights are seven candlesticks, four on the N. and three on the S. They 

 are blue with white knops, and have tapering candles. Next are two more 

 Seraphs holding books in one hand or small flags or lances with pennons in the 

 other. Beyond these and close to the chancel arch we find on the S. side St. 

 Peter, nimbed, with a key in his right hand and a book in his left, and on the 

 N. side a figure of the Blessed Virgin carrying a book. She seems to have no 



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