MEDIAEVAL PAINTING Amen, ^od opus factum erat etjinitum Anno Domini Millesimo quingentesimo duo- decimo, sit gloria, laus, honor, et majestas Amen. The first five words of the inscription had been erased, but a modern restoration in paint supplies them as here given. All the rest of the lettering is perfectly to be made out. The work therefore dates from 15 12. A fragment of an inscription in painted letters, beginning with the usual formula and interesting only from its connexion with figures of the donors represented in the first two panels of the screen, is to be seen at Fritton. It refers to a certain John Bacun and his wife, the donors, whose portraits are painted beneath it, and who lived between 15 10 and 1520.^ Another similar example existed on the screen of a private chapel in the church of Edgefield, also over the figures of donors. It read : Orate pro animabus William Harstong et uxoris ejus. Anno Drii MCCCCCXXIIIIII. Fortunately in this case the date was preserved. ** Yet another, and the last which need be quoted, is to be found at North Burlingham. Each of the panels of the screen in this church has the name of its donor painted on it, and one bears the name of Robert Frennys, whose brass in the church records his death in 1528, about which date or somewhat previous to it the panels may have been executed.' Thus much for the periods at which the screens and their paintings were •made. These notes of remaining inscriptions may however serve in some sort as a guide in examining the undated examples which form the great majority of the Norfolk screens. As has been stated, little reliance can be placed on an examination of the paintings themselves, though style and costume may in rare instances aid in judging of their dates. As to the figures depicted in so many churches, it may be said that they fall into various classes, which have now to be treated of. From the extent of the subject only a brief description can be here given. To begin with, the effigy of our Lord is of very rare occurrence. He is however figured occa- sionally as an infant in the arms of the Blessed Virgin, and a series of pictures representing events in His life fill the panels of the screen at Loddon. The representations of the Apostles are exceedingly common, so much so that twenty-two out of sixty of the Norfolk screens which have been noted were devoted to them. In some of these which consist of only twelve panels they fill them all, in others where more than twelve panels are to be found they occupy the chief place. They are also associated with the Fathers of "the Church, these latter being usually painted on the panels of the doors, where such exist.* On some screens the Apostles bear, in addition to their usual emblems, scrolls with sentences from the Creed. ^ In a series, more or less, the prophets of the Old Testament are occa- sionally represented, though representations of them are far more uncommon than those of the Apostles. In one instance, if not in more, they are shown bearing scrolls with sentences inscribed." 1 Illustrations of the Rood Screen at Fritton (Norf. and Norw. Arch. Soc), 1 872, with notes by the Rev. Richard Hart. s Blomefield, Hist, of Norf., ix. 387. s Norf. Arch. (1852), iii. 19.
- Cawston, on the doors ; Gooderstone, Potter Heigham, Lessingham, Sail, Tunstead, Worstead, on the
panels. ' Mattishall, Ringland St. Peter, Thetford, Weston Longville.
- Harplcy (repainted). Poringland, Thornham.
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