Following the Romanesque principle of composing larger entities from relatively independent sections, each scene on Buvina’s doors has a double frame. The outer one, with vine tendrils twining round people plucking grapes, animals and birds, is the frame of the door, while the narrower inner one with interlaced and scroll ornamentation borders the scenes. Each individual scene is reduced to essentials, and the modelling is extremely concise, making them clear and easily understood. The originality of the work derives from the fact that Buvina draws equally on the iconographic sources of the West (The Good Samaritan) and the East (The Harrowing of Hell), using a variety of inspiration from the Byzantine ivory to the Romanesque miniature.