"... A remarkable instance of the liturgical application and perpetuation of such an error of translation is afforded by the picture of the princes carrying gates, which is more particularly made use of in Byzantine art, and in the celebration of the Ascension in the oriental church. The psalter of St. Albans also contains the illustration of a man, designated as a prince by a golden wreath on his cap, who carries a couple of gates to Christ. If it were not for the translations, who could imagine that this was intended to be an illustration of Psalm 24:7? The psalmist, in giving poetical life to dead matter, bids the gates to lift their heads in order that the king of glory might make his entry with head erect. The lintels of the gates were, in Jewish antiquity, evidently movable so that they could be raised. In consequence of an error in the text of the Septuagint, or by the carelessness of the translator, the splendid verse was transmitted into the art and the liturgy of the church in a garbled manner. The gates which raised their heads were turned into heads that raised their gates. Jerome repeated only too faithfully the error of the LXX, as will be seen from a comparison of the texts ..."

Kaufmann, David Errors in the Septuagint and the Vulgate from which Illustrations and Sculptures Derived their Origin (pp. 163-166) The Jewish Quarterly Review, 1898