typological reading of the Old Testament according to the revelation of the New Testament (concordantia veteris et novi testamenti - harmony of the Old and New Testament). The typological concordances presented on the Bernward doors are based for the most part on the theological writings of the Church Fathers, especially St. Augustine: Style and composition The doors are made up of a number of framed panels; unlike the Roman originals, however, the design at Hildesheim is not their design, but probably an imitation of the ancient Roman examples. Moreover, the impact of the frames is significantly reduced in favour of the figural scenes by their narrowness and the flat relief, so that they appear like the images of a contemporary illustrated manuscript, like the Codex Aureus of Echternach. Composition of the scenes The composition of the individual scenes is simple and effective. In contrast to the dramatic depictions of Carolingian art, the artists avoided richly decorated backgrounds. The scenery, consisting of plants (especially on the left leaf) and architectural elements (mostly on the right leaf) are depicted in low relief and kept to a minimum. They are only there at all where they are necessary for comprehension of the scene or for compositional reasons. Instead, vast empty spaces provide negative space around the figures in the panels, to great effect. identified the empty space as an "effective space of corresponding gestures." With their movement and individual gestures, each figure interacts with others – none of the figures can be understood on their own, independent of their counterparts, without losing their meaning. Figures As usual in medieval art, the figures are not individualized, but repeat a few stylised types. They have the disproportionately large, oval faces which are characteristic of Pre-Romanesque sculpture. Their very large, almond-shaped eyes sit in flat sockets with sharply delineated eyebrows. The hair is composed of parallel strands from a central parting. Nevertheless, the facial expressions of some figures are very individuated and match the figures' gestures. Especially relevant in this respect is the figure of Cain who looks up to the Hand of God in heaven with fearful, terror-stricken eyes and pulls his cloak tight around his body. A progressive feature of the figures on the Bernward Doors is their style of relief: the figures do not extend a uniform distance from the background, but 'lean' out from it, so that when seen side on they