In the context of this artwork, explore the Figures of the Style and composition.
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 almost give the impression of "roses on a trellis, with nodding heads." A particular apt example of this is the figure of Mary with the baby Jesus in the depiction of the Adoration of the Magi: while her lower body is still in low relief, her upper body and Christ project out further, and finally Mary's shoulders and head are cast in the round. This unusual style was used for artistic reasons, not because of technical limitations.
Jesus facial expression tin Romanesque Roman relief de Adoration of the Magi Pre-Romanesque Cain medieval art Hand of God