The doorways are three in number, of which that in the centre opens into the nave, and those on either side into the aisles. In front of these doors is a western porch, of three groined divisions in width, the outer face of which has been built up and concealed by the modern western façade. The groining ribs of this porch are very richly decorated with sculpture of foliage in their mouldings. The general design of the doors will be best understood by reference to the engraving which I give of them. The bases are all very bold, and rest generally on monsters. That under the central shaft has a figure of a man with his arms round the necks of two open-mouthed winged monsters;[163] whilst on the other side is a figure of a person kneeling towards the east, in prayer, and about life-size. The central shaft is of marble, and carved all over with the tree of Jesse. The detail of this shaft is so delicate and characteristic of the whole work, that I give an engraving of a portion of it; nothing can be prettier or more graceful than the design, and the execution is admirable. The corresponding shaft in either jamb is also sculptured, but in these there is no story, the shafts being twisted with carving of foliage and figures in the alternate members. The capital of the central shaft has the figures of the Holy Trinity, with angels on either side censing; and above is a grand sitting figure of St. James, with a scroll in his right hand, and a palmer’s staff in the other. His nimbus is studded with large crystals; but as none of the other figures throughout the door have nimbi, I suspect it has been added in his case. The main capital of the central shaft, above the saint’s head, has on three sides the Temptation of our Lord, and on its fourth side angels coming and ministering to Him. The tympanum of this central door has a central seated figure of our Lord, holding up His open hands. Around Him are the four Evangelists, three of them with their emblematic beasts standing up on their hind legs, with their paws in the Evangelists’ laps. Beyond them are angels holding the various instruments of the passion, and above these angels a multitude of small figures worshipping--the hundred and forty-four thousand, many of them naked, _i.e._ free from sin. The archivolt is perhaps the most striking feature in the whole work, having sitting figures of the four-and-twenty elders arranged around its circumference, in a manner at once quite original and singularly effective. The skill and fancy shown in the treatment of this crowd of figures is beyond praise, and there is a certain degree of barbaric splendour about the profuse richness of the work which is wonderfully attractive. Traces everywhere remain of the old delicate colouring with which the sculpture was covered, and this just suffices to give a beautiful tone to the whole work.