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 A HISTORY OF NORFOLK in preference to all others. This, however, does not seem to have been the case, as there are only six instances known, namely at Castle Froome (Hereford), Bridekirk (Cumb.), Lenton (Notts.), West Haddon (Northants), Brighton (St. Nicholas), and Wansford (Northants).^ The introduction of the figure of a bishop into this scene on the Fincham font is an unusual feature. The Baptism of Christ first makes its appear- ance in Christian art on the mosaics of the sixth century at Ravenna and on the Gaulish sarcophagi of about the same period, and there is a pre-Norman representation of it on the cross-shaft in the churchyard at Kells,' County Meath. The labours of the twelve months of the year on the Burnham Deepdale font form a very interesting series, which has been fully discussed in the papers in the Archaeologia already referred to. The ideas connected with the passage of time and the changes of the seasons were used by the mediaeval writers for purposes of symbolism, but the reason why the labours of the different parts of the year were introduced into art in the first instance was probably with the more utilitarian object of illustrating the ecclesiastical calendars.' Having once become familiar with the appearance of the set of drawings which accompanied the months in the almanac the monkish artist was not slow to use them for purposes of decoration pure and simple. The only other Norman fonts in England, the subjects on which resemble those on the Burnham Deepdale font, are the one of stone at Thorpe Salvin, Yorks., and that of cast lead at Brookland, Kent.* The former has the labours and occupations of the four seasons sculptured upon it, and the latter those of the twelve months, together with the corresponding signs of the Zodiac. The names of the months on the Brookland font are given in French, and as there are other similar leaden fonts in Normandy,^ it is most likely that the whole group is of foreign origin. A very perfect set of the labours of the twelve months is to be seen sculptured on the tympanum of the twelfth century doorway of the church of St. Ursin, at Bourges, in Belgium,' and there are others less well-preserved in England on the arch-stones of Norman doorways at St. Margaret's extra Walmgate, York, and Calverton (Notts.). The decorative sculpture (as distinguished from the symbolical upon the Norman fonts of Norfolk) is particularly good and deserves attention, more especially the interlaced patterns, which may possibly be a survival from the preceding Anglo-Saxon period. The interlaced work is of two kinds, (i) patterns forming a border or wide band of ornament, and (2) patterns com- posed of rings of different shapes adapted to fill a nearly square or circular space. Amongst the first of these are three-cord plaits (at Castle Rising, Inglethorpe, Sculthorpe, and Shernborne) intersecting circular rings combined with straight bars (at Inglethorpe and Sculthorpe), and a twist and ring, the twist being composed of double strands and the rings single (at Shernborne). The second class of interlaced work is composed of circular rings, oval rings, square rings with four exterior loops, pentagonal rings with five exterior loops, and square rings with a Stafford knot at each of the four corners. Combi- nations of these rings are frequently to be met with. ' Also formerly at Portchester (Hants). » J. R. Allen, Early Christian SymboRm, 231. ' There are two very good illuminated Saxon calendars in the British Museum Library (Tiberius, B. v, and Julius, A. vi) ; see J. O. Westwood's Miniatures, 109, and Strutt's Horda, I, pis. 10 and 12. ' De Caumont, Abecedaire d'Jrcheclogie, Architecture Religieuse, 308. ' Ibid. 279. 562
 * J. R. Allen, Early Christian SymboFtsm, 322.