Fredrik B. AVallem. [No. 13 



panel, and the two npper side panels, the colour is red, of a trans- 

 parent carmine tint which permits the gilding to shine through. 

 In both middle panels, as well as in the surrounding surfaces, the 

 ground is black. 



The Frontal is executed in the same technique as the other 

 Norwegian frontals. The ground being covered, first, by a rather 

 thick layer of chalk, was overlaid with silver; then the outlines 

 were graved into it, and the lines followed in black. The black, 

 red, and golden tints were produced by varnish of similar colours.^) 



I now turn to the various representations. 



The subject of the large c entre panel is the Coronation of 

 the Yirgin. This explanation is given by Professor Dieteichson,^) 

 whereas Mr. B. E. Bendixen describes it as a figure kneeling be- 

 fore the Blessed Yirgin. The Virgin is seated on the right side 

 of Christ on the throne. She lifts her bended arms to shoulder- 

 hight, and receives the crow^n which Christ places on her head 

 with his right hand. In Mediæval art this gesture of extended 

 palms before the breast commonly signifies joyous emotion, and 

 is generally seen with persons on whome some benefit is conferred. — 

 The most favourite subject of the centre panels of the Norwegian 

 frontal tables is certainly the Virgin Mother with the Child, where- 

 as the Coronation of the Virgin is not frequently treated in our 

 Mediæval art, this theme appearing rather late in the whole field 

 of Mediæval art. Fe. Keaus (Geschichte der Christlichen Kunst 

 I. 1. p. 430 — 431) mentions as the oldest known example a Coro- 

 nation on a Romanesque bronze of the llth — 12th centuries. But 

 in this most ancient form the Virgin is represented as standing. 

 On the other hand in the Roman mosaics of the 12th — 13th cen- 

 turies she sits on the throne by the side of Christ. 



The Coronation of the Virgin in the centre panel is inclosed 

 by a border in 8 volutes, flanked by the symbols of the Evangelists. 



wounds of the dismembered man are painted red. The lower panel on 

 the same side sliows a hlack sbield with white cross mark. The shield de- 

 vices, as well as the blood marks, appear mostly to have been painted over in 

 oil at a later time; the painting has, however, been r-arefuUy exeouted, and 

 the drawing is conscientiously followed. 



^) I owe these details to the kindness of Mr. H. Schetelig, of the „Ber- 

 gens Museum". 



2) ,.Norske Stavkirker' p. 22.5. The author consitlers the frontal from 

 Kaupanger to contain scenes from the legend of St. Olav now injured to the 

 degree of being nearly unrecognizable. 



