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BACK COPIES OF THE JOURNAL |
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CHURCH MONUMENTS - VOLUME I PART 1
1985 |
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Paul Binski: The Coronation of the Virgin on the Hastings
Brass at Elsing, Norfolk.
Examines the role of the image of St George – a fashionable
Windsor-based cult. Discusses other 14C tombs with Marian
imagery. The brass’s images are all derived from Continental
models. Examines particularly the Coronation of BVM images
which use perspective otherwise absent on rest of brass.
Suggests connection with paintings of Jean Pucelle active in
Paris in 1320s. Shows Pucellian originals influencing style
in other media.
A.V.B.Norman: Two Early Fourteenth Century Military
Effigies.
Discusses military brasses at Stoke D’Abernon and their
revised dating. Describes the armour on the effigy of Sir
Henry de Cobham d. c.1316 at Shorne, Kent and Sir Richard de
Westcote d. 1333 at Binsted, Hants. Comments on the nature of
the armour particularly the coifs worn by
these effigies, their sword belts and spurs. |
Adam White: Classical Learning and the Early Stuart
Renaissance.
Early 17C memorial sculpture saw introduction of classical
learning in design. Pattern of patronage changed, key
monument is Elizabeth Russell d. 1600 in Westminster Abbey.
Her seated effigy is placed on a copy of a Roman sepulchral
altar published in 1602 – probably by Cure workshop of
Southwark. Design possibly influenced by her mother Lady
Russell who was familiar with recent continental
innovations. Also discusses monument to Francis Holles by
Nicholas Stone 1624-7 in Westminster Abbey. Traces Inigo
Jones monumental work and his influence on Stone. Discusses
William Camden’s d. 1623 monument in Westminster Abbey.
Suggests Inigo Jones’ classicism not understood by Stone so
soon died out.
Tessa Murdoch: Roubiliac's Monuments to Bishop Hough and the
Second Duke and Duchess of Montagu. Discusses monument of John Hough, Bishop of Worcester d.
1743 in Worcester Cathedral. Also monument to Duke of Argyll
and Greenwich installed in Westminster Abbey in 1749. The
monuments of to the Duke and Duchess of Argyll at Warkton,
Northants 1753-4 and to the Viscount and Viscountess Shannon
at Walton on Thames c.1755 and George Lynn at Southwick,
Northants 1759-60 are also considered.
Julius Bryant: The Church Memorials of Thomas Banks.
Discusses, among others, monuments to Isaac Watts 1779
at Westminster Abbey, Bishop Newton at St Mary le Bow
d.1782, Sir Eyre Coote at Westminster Abbey 1783-9, Anne
Martha Hand at St Giles Cripplegate d.1784, Anne
Pakenham at Meath, Eire 1791. Suggests Banks saw
memorial sculpture as the medium by which he could
produce work of gallery quality for which his training
in Rome had prepared him. |
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| CHURCH MONUMENTS -
VOLUME I PART 2 1986 |
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Anne Brodrick & Josephine Darrah:
The Fifteenth Century Polychromed Limestone Effigies of
William Fitzalan, 9th Earl of Arundel, and his
wife, Joan Neville, in the Fitzalan Chapel, Arundel.
Studies the conservation of the effigies of the Earl and
Countess of Arundel at Arundel in 1980. V & A analysed the
paint of the painted raised wax decoration. Describes the
two effigies and the careers of the two subjects. Analyses
the polychrome decoration.
John Lord: Patronage and Church
Monuments 1660-1794: a Regional Study.
Looks at patronage of monuments in Lincolnshire. Mainly from
London workshops.
Ben Stocker: Medieval
Grave Markers in Kent.
Examines a group of 66 medieval grave markers in SE Kent.
John Physick & Nigel Ramsey: Katharine
Ada Esdaile 1881-1950. A short account of the work of expert on post Reformation
British sculpture with a bibliography of her publications
1904-1956 |
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CHURCH MONUMENTS - VOLUME II
1987 |
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A. V. B. Norman: An Unpublished Fourteenth Century
Alabaster Fragment .
Discusses the armour and active pose of the remains of an
alabaster military effigy at Bingham, Nottinghamshire
c1335-50. Comparison is made with the limestone military
effigy at Walsall, Staffordshire
Leslie Southwick: The Armoured Effigy of Prince John of
Eltham in Westminster Abbey and Some Closely Related
Military Monuments.
Discusses armour of effigy. Further discusses effigies at
Ifield, Sussex, Waterperry, Oxfordshire, Spilsby,
Lincolnshire and brasses at Westley Waterless,
Cambridgeshire and Stoke D’Abernon, Surrey which share
similarities with the Westminster effigy. Discusses the
armour called “a pair of plates”, the cyclas, spurs,
gauntlets and sword belts of the Eltham group which dates
from around the 1340s. |
Terry Friedman: Nost at Bothwell.
Discusses Nost’s monument to 2nd Duke of Queensbury at
Durisdeer church, Dumfriesshire c.1695-1711 and that of 3rd
Duke of Hamilton by James Smith at Bothwell, Lanarkshire
1694-1702. Though Nost’s original design for the Hamilton
monument was rejected as too expensive, the author suggests
he was responsible for certain features of the completed
monument.
Sally F. Badham: Richard Gough and the Flowering of Romantic
Antiquarianism.
Gough and his circle were the first to study monuments as
works of art. The author examines Gough’s career and work at
Society of Antiquaries. Discusses background collaboration
with fellow antiquaries in evidence gathering for his
Sepulchral monuments which is described and evaluated.
Describes divergent views among antiquaries in late 18C and
tells of Gough’s disagreement with and departure from
Society of Antiquaries in 1797.
John Physick: Royal Monuments in the Nineteenth Century
The tombs of Henry IV and Black Prince at Canterbury were in
poor condition in 1844 – Richard Westmacott was asked to
investigate - £1600 the estimated cost of restoration. Scott
reported on state of Westminster royal effigies – to repair,
restore or replace? King John’s effigy at Worcester was
gilded – this was later decided to be a mistake. Recounts
the arguments at Gloucester between Cathedral architect and
Office of Works over quality of work on tomb of Edward II.
Gives a history of State payment for repair of monuments
prior to Ancient Monuments Act.
John Physick: The Story of a Monument: A Tale of Religious
Intolerance
Records the history of a proposed monumental tablet to Canon
Henry Riddell Moody d.1873 at Chartham Kent designed by his
architect son Francis to complement the Burgey tablet of
1596 in the chancel. The new rector objected to its proposed
position and design. He was supported by the Archbishop of
Canterbury. The article traces the resulting case through
its hearing at Lambeth revealing the underlying proposed
Gothic Revival restoration of the chancel. |
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CHURCH MONUMENTS - VOLUME III
1988 |
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Harry Tummers: The Medieval Effigial Tombs in Chichester
Cathedral.
Reviews the accepted identification of medieval effigies in
the cathedral. Uses 17C plan as base. Considers the evidence
identifying the tombs of several medieval bishops some of
which have been removed from their original locations. Also
examines three tombs brought to Chichester from Lewes at the
Dissolution and identifies them.
Carol Galvin & Phillip Lindley: Pietro Torrigiano's Tomb for
Dr Yonge. Discusses tomb of John Yonge d. 1516 at the Rolls Chapel –
the first fully developed Renaissance tomb in England.
Probably designed by Pietro Torrigiano, the effigy is of
polychromed terracotta. Comparison is made with tomb of
HenryVII and Elizabeth of York at Westminster by Torrigiano.
Describes the analysis of paint layers on the effigy and
reconstructs the original polychromy.
Mark Stocker: The Church Monuments of Joseph
Edgar Boehm. |
| Examines the eclectic church monuments of Queen Victoria’s
Sculptor in Ordinary. He produced 57 monuments including
Earl of Cardigan 1868-70 at Deene, Northamptonshire
commissioned by his widow, Princess Alice 1878-80 at
Frogmore, Duchess of Westminster d. 1880 at Eaton Hall which
has 15C Renaissance antecedents. More famous because of its
location and subject was Boehm’s monument to Arthur Stanley,
Dean of Westminster 1882-4. Also examines Howard tombs at
Lanercost Priory, Frank Holly 1888-93 at St Paul’s Cathedral
and Benjamin Disraeli at Westminster Abbey. |
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CHURCH MONUMENTS - VOLUME IV 1989 |
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Freda Anderson: Three Westminster
Abbots: A Problem of Identity.Gives the conflicting
evidence provided by antiquarian sources describing the
early tombs of abbots now in the south cloister of
Westminster Abbey and identifies them as monuments to
Crispin, Gervase and Laurence. Argues for 12C date for all
three.
Adam White: Westminster Abbey in the
Early Seventeenth Century: A Powerhouse of Ideas. Shows
that tombs at Westminster, which showed many stylistic
innovations, had become a regular tourist attraction in the
early 17C which resulted in their being copied or adapted by
those who saw them for regional use. The article traces the
influence the Westminster originals had on provincial tomb
sculpture.
John Physick:
Westminster Abbey: Designs for Poet's Corner and a New
Roubiliac in the Cloister. |
| Notes the early 18C
condition of the S transept of the abbey which contained a
vestry. Describes two monuments by James Gibbs in Poets
Corner and proposed monument by Rysbrack. Identifies a
monument in S cloister as by Roubiliac 1748. |
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CHURCH MONUMENTS - VOLUME V 1990 |
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Sally F. Badham: London
Standardisation and Provincial Idiosyncrasy: The
Organisation and Working Practices of Brass-Engraving
Workshops in Pre-Reformation England. Much that has
been written and said about brasses over the past fifteen
years has been concentrated on stylistic analysis. Published
work has focused on the identification of the products of
individual workshops through analysis of their
distinguishing features and on the documentary evidence
relating to the craftsmen. However, these studies also
provide information about how the monumental brass industry
was organised and about the working practices employed,
though little has been written specifically on these
aspects. This paper attempts to fill the gap by surveying
the evidence available to date and comparing and contrasting
the practices apparently employed in different parts of the
country and at different times. |
Pamela M. King: The
Cadaver Tomb in England: Novel Manifestation of an Old Idea.
Cadaver tomb phenomenon was orthodox, even reactionary
– novel only in the manner of its plastic expression.
Early15C cadaver tombs exceptionally inscrutable. Examines
intellectual and philosophical basis of elaborate tombs,
funerals and mortality.
Jon Bayliss: Richard Parker "The Alabasterman".
By the beginning of the sixteenth century, Burton-upon-Trent
had established itself as the centre of the alabaster tomb
industry in England. Although an alabaster tomb could be
ordered from a Nottingham workshop as late as c. 1495, work
of the first three decades of the sixteenth century in a
recognisable Burton style can be found throughout England
and Wales. For a talented young sculpture working in Burton
in 1530, the future must have looked very bright. Yet, when
that same sculptor died in 1570, the Burton tomb industry
was left in the hands of incompetents and it was only the
arrival of a Netherlandish refugee in the mid-1580's that
saved it from extinction in face of a revived challenge from
Nottingham. The aim of this paper is to trace the career of
Richard Parker from the 1530's to 1570, looking at both his
life and work.
Jean L. Wilson: Holy Innocents: Some Aspects of
the Iconography of children on English Renaissance Tombs.
Examines the use of the palm to indicate association
with Holy Innocents. Also roses and other flowers. Considers
infant’s tombs in 16 & 17C.
John Lord: A Pugilist's Monument: The Parkyns
Tomb at Bunney, Nottinghamshire. Discusses monument to
Sir Thomas Parkyns (d. 1741) at Bunny, Notts. His monument
shows him as a wrestler, his favourite exercise. Suggests
Edward Poynton as possibly the sculptor responsible for the
overall design and considers other monuments by him
Ilene D. Lieberman: Sir Francis Chantrey's
Early Monuments to Children, and Neoclassical Sensibilities.
Looks at monument to Marianne Johnes 1815 formerly at
Hafod, Cards, and the Robinson children at Lichfield.
Discusses role of Thomas Stothard and influence of Thomas
Banks’ Boothby monument at Ashbourne Derby on the Lichfield
tomb. Also examines influence of James Northcote’s painting
of the murder of the princes in the Tower exhibited 1786. |
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CHURCH MONUMENTS - VOLUME VI 1991 |
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Claud Blair :The Conington Effigy: Fourteenth Century
Knights at Conington, Doddington and Tollard Royal.
Discusses Purbeck marble effigy of knight wearing a
Franciscan friar’s habit over mail armour at Conington,
Hunts. Discusses the bacinet worn over the coif and its date
implications. Also described and discussed are the Purbeck
knight at Dodford, Northants c.1344 and the stone knight at
Tollard Royal, Wilts. It is suggested that Corfe or
Salisbury workshops were the source of these 2 effigies;
London is the place of manufacture for the Conington effigy.
An appendix by Ron Firman discusses the Purbeck marble
industry post 1300. He also discusses the trade in alabaster
from Poole and other Southern ports.
Jon Bayliss: Richard and Gabriel Royley of
Burton-upon-Trent, Tombmakers. |
Around 100 monuments survive from the Royley workshop mid
1540s – late 1590s, also incised slabs. Describes and
illustrates the surviving work of this rather conservative
firm which continued to work in alabaster in the medieval
tradition. An appendix lists surviving tombs.
John Physick: The Sondes Monuments at Throwley, Kent
SE chapel dedicated to Sondes family. Series begins with
William d.1474 and ends Lewis Duras d.1709.
Pauline Sheppard Routh: Elegy in a Country Churchyard: The
Dunn Monument at Otley
Churchyard monument to Thomas Dunn d. 1857 at Otley, Yorks
featuring recumbent effigy of his widow Carolina. The
sculptor was Dennis Lee of Leeds.
Martin D. W. Jones: Gothic Enriched: Thomas Jackson's Mural
Tablets in Brighton College Chapel.
Churchyard monument to Thomas Dunn d. 1857 at Otley, Yorks
featuring recumbent effigy of his widow Carolina. The
sculptor was Dennis Lee of Leeds.
Richard Knowles: Tale of an Arabian Knight: the T. E.
Lawrence Effigy.
Describes the monumental effigy to T.E. Lawrence at
Wareham, Dorset carved by E.H. Kennington. Portland stone
14C style. Illustrated by series of photographs taken during
its creation 1936-39. |
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CHURCH MONUMENTS: VOLUME VII 1992 |
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Claude Blair: The Date of the Early
alabaster Knight at Hanbury, Staffordshire.
Investigates the alabaster military effigy at Hanbury
formerly considered to date from c.1300 and thus the
earliest alabaster effigy. Describes armour. Identifies
Henry de Hanbury d. c1347 as likely subject. Compares effigy
to similar examples in Shropshire, Nottinghamshire &
Staffordshire, three of which carry purses. A workshop at
Shrewsbury or Lichfield is proposed for them.
Harry Tummers: Medieval Effigial
Monuments in the Netherlands. Fifteen surviving
medieval tombs. No suitable local stone. Describes effigial
tombs and incised slabs 13-16C.
Adam White: England c.
1560 - c. 1660: A Hundred Years of Continental Influence.
Discusses Dormer monument at Wing, Bucks and Hoby tomb
at Bisham and points out French influence on
them. Also traces Netherlandish influence. Traces French and
Netherlandish influence |
in
monuments by Nicholas Stone. Looks at Italian influence
under James I and the availability of published
engravings of European monuments. An appendix tables
Netherlandish sculptors working in London under
Elizabeth I
Ingrid Roscoe: Flemish Sculptors and
Adjustments for the English Market: The Case of Peter
Scheemakers.
Examines the effect current English Protestant taste had on
immigrant sculptors from the Catholic Low Countries. Both
imagery and range of commissions were narrowed in England.
Compares the career of Peeter Scheemaeckers of Antwerp and
his son Peter who came to England c.1720.
John Lord: The Building of the Mausoleum at
Brocklesby, Lincolnshire Traces history of the
classical mausoleum by James Wyatt built 1786-94 to
commemorate Sophia Pelham d.1786. Three other monuments in
the mausoleum (which were commissioned in Rome in 1769), and
the identity of their sculptor, are investigated. |
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CHURCH MONUMENTS: VOLUME VIII 1993 |
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Claude Blair: The de Vere Effigy at
Hatfield Broad Oak
Freestone military effigy of Robert de Vere I d.1221.
Discusses the development of methods of attaching the
scabbard to its belt. Suggests date of c.1315 for the
monument and relates it to London School effigies at
Westminster.
Janet Arnold: The Jupon or Coat-Armour
of the Black Prince in Canterbury Cathedral. Describes
the jupon – its construction, materials and heraldry.
Compares it to contemporary garments at Chartres and Lyon
and two dimensional images of the 14C.
Philip J. Lankester:
Two Lost Effigial Monuments in Yorkshire and the Evidence of
Church Notes. Examines evidence for two lost late
medieval effigial monuments from church notes by heralds in
16 & 17C. Francis Thynne’s record of a 15C military effigy
formerly at Escrick, Yorks, possibly |
of a Lascelles, and
Henry Johnston’s record of an early 15C alabaster knight at
South Cave, Yorks. Discusses the existence of additional
copies of church notes made by Glover in Yorkshire at his
visitation in 1584.
Jon Bayliss: A Dutch Carver: Garrett Hollemans
l in England.
Traces Hollemans’ career, which probably
started at Burton-on-Trent. Several Midland tombs are
ascribed to him on stylistic grounds. The proximity of
sources of alabaster might account for his presence in
Burton rather than Southwark to which several other
immigrant carvers went.
Jean Wilson: The Memorial by Nicholas Stone to
Sir Thomas Bodley.
Analyses the iconographic programme
of the mural memorial in Merton College Oxford and draws
attention to similarities found on the tomb of Pope Sixtus
IV by Pollaiuolo.
Philip Ward-Jackson: The French Background of
Royal Monuments at Windsor and Frogmore
Traces the
influences bearing on the monuments to Prince Albert and
Queen Victoria commissioned in 1862. The monuments to
members of the Orleans family and their sculptors, who were
to work on the Windsor monuments, are discussed. |
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CHURCH MONUMENTS - VOLUME IX 1994 |
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Brian and Moira Gittos: The
Goldsborough Effigies.
Describes two early 14C military effigies detailing
their armour and the setting of the two monuments. The
genealogy of the Goldesburgh family is investigated and
the two effigies identified.
Claude Blair: The Wooden Knight at
Abergavenny.
Examines early referencess to effigy. Discusses
generally the bacinet worn under mail hood and the
poleyns. Confirms identification of John 2nd Baron
Hastings d. 1325. Identifies tomb-chest panel in the
church as belonging to original memorial and suggests
that the monument was in the form of a ciborium. An
appendix describes the paint found by conservators.
Pauline Routh: Yorkshire's Royal Monuments:
Prince William of Hatfield.
Discusses the date of the 14C monument and its various
locations in York Minster. |
Adam White: The Booke of
Monuments Reconsidered: Maximilian Colt and William
Wright.
Discusses the manuscript in the College of Arms which
was created to record the approval of heraldic and
genealogical information on proposed memorials. William
Wright is discovered as the probable designer of the
Hertford monument at Salisbury c.1621.
Terry Friedman: Modern Icarus, or
the Unfortunate Accident.
Recounts the death of Robert Cadman who fell while
performing on a rope stretched from the spire of St
Mary’s church, Shrewsbury in 1740.
Ingrid Roscoe: The Monument to the
Memory of Shakespeare.
Recounts the raising of funds to commemorate Shakespeare
in London through benefit performances. Installed in
1741, the monuments by Peter Scheemakers was popularly
received and inspired a Shakespeare revival and the
placing of his statue in theatres and other locations.
Scheemakers became most popular sculptor overshadowing
Rysbrack.
John Lord: Repairing and Cleaning
of the Said Burying Places.
Looks at repair of monuments in 17 and 18 C notably the
Anderson family tombs at Broughton, Lincs and the
Willoughby d’Eresby tombs at Spilsby, Lincs
John Physick: Prime Ministers in
Westminster Abbey
Gives an account of the commissioning and siting of
monuments to Disraeli, Gladstone, Salisbury and
Campbell-Bannerman paid for by Parliament. |
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CHURCH MONUMENTS: VOLUME X 1995 |
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John Blair: The Limoges Enamel Tomb
of Bishop Walter de Merton
An account of the tomb of
the Bishop of Rochester d.1277 in Rochester Cathedral which
originally had an effigy of Limoges enamel.
Mark Downing: Military Effigies with Breast
Chains
An analysis of the eleven surviving 14C military
effigies which feature breast chains
Paul D. Cockerham: The Early Treffry
Monuments at Fowey: A Reappraisal
Considers three
locally produced 16C incised slabs and four 15C brasses to
the Treffrys at Fowey and redates them
John Broome: Samuel
Baldwin: Carver of Gloucester
Baldwin was active 1603-45. He reworked designs of Southwark
immigrants. Gloucestershire, Herefordshire and
Worcestershire were the counties where his work is mainly
found. The paper reviews his output and lists 59 monuments. |
Marjorie Trusted: Moving Church Monuments:
Processional Images in Spain in the Seventeenth Century
Paso – processional groups of large scale carved sculptures
of early 17c Vallodolid by Rincón and Fernández for
confraternities. Carried or wheeled through the streets at
religious festivals
Jean Wilson: 'Two names of friendship, but one
Starre' Memorials to Single-Sex Couples in the Early Modern
Period Examines monument to Fulke Greville d.1628 at
Warwick and that to Thomas Baines d.1681 and John Finch
d.1684 at Christs College, Cambridge as commemorating
homosexual relationships.
Clive Easter: John Weston of Exeter and the
Last Judgement Weston flourished c1700-48.
Looks at his
monument to Thomas Northmore d.1713 in St Thomas, Exeter and
others at Whitchurch, St Blazey, Ashprington and St Petroc,
Exeter featuring depictions of the Last Judgment.
Malcolm Baker: Roubiliac and Cheere in the
1730's & 40's: Collaboration and Sub-contracting in
Eighteenth - Century English Sculptors' Workshops
Examines Roubiliac’s early career as a sculptor associated
with the workshops of Thomas Carter and Henry Cheere.
Analysis of his early monuments and the circumstances under
which they were produced reveals how Roubiliac progressed
within the workshops and business practices of notable
London statuaries.
Fritz Scholten: Canova in Delft, the Commission
for the Funeral Monument to Willem George Frederick, Prince
of Orange (1806) Reconstructed.
Gives history of
Canova’s monument to the Prince originally erected in the
church of the Eremitani in Padua in 1812. The monument was
removed to Delft in 1896 |
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CHURCH MONUMENTS: VOLUME XI 1996 |
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Mary Markus: 'An attempt to
Discriminate the Styles' - the sculptors of the Harrington
Tomb, Cartmel.
The Harrington tomb, in the south choir
aisle of the priory church at Cartmel, is a fascinating
mixture of iconographical ideas. At least three separate
hands can be identified in the tomb canopy and the effigies
of Sir John Harrington, d. c. 1347, and his wife Joan (née
Dacre). The tomb marks a culmination, in the north-west of
England, of evolving sculptural styles and expertise and
expertise, which can be traced through a series of
monuments, from the 1320's to c. 1345 including the shrines
of St William at York and St Werbergh's shrine at Chester.
That the tomb involved this team of at least three sculptors
is not surprising considering the large size of the monument
and its ambitious sculptural programme. The stylistic
sources these sculptors drew upon were both innovative for
the north-west of England and indicative of the aspirations
of the tomb patrons, who, like other patrons, were trying to
reflect their hopes for the after-life in the appearance of
their tomb. |
Amy Louise Harris:
Tombs of the New English in Late Sixteenth and Early
Seventeenth-century Dublin
Jean Wilson: I Dote on Death: The Fractured
Marriage in English Renaissance Art and Literature
Discusses a group of monuments from the first half of the
seventeenth century which give expression to the break-up of
a marriage, usually by death, and the extent to which some
of them incorporated Eros as well as Thanatos, using the
vocabulary of sexual love in a context of grief.
Andrew Jezzard: 'An All-round
Craftsman.' George Frampton's Church Monuments
Examines
Frampton's monuments and memorial plaques 1891-1905 and
discovers the effect his distinctive Arts and Craft style
had on prevailing neo-classical tastes. |
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CHURCH MONUMENTS : VOLUME XII 1997 |
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Brian and Moira Gittos with Lawrence Butler:
The Conservation of the Goldsborough Effigies A few
months after the article on the effigies at Goldsborough was
published, work began on their conservation. Both monuments
were suffering from the effects of damp which had caused
damage to the stone. In the case of the figure under the
arched recess, this was localised at the north-east corner
of the recess and the adjacent rear wall, where both the
figure itself and the corner of the integral base slab were
deteriorating. The figure on the tomb chest, on the south
side of the chancel, did not appear to be affected but the
tomb chest itself had already lost a great deal of its
surface on the long side, with the stone blistering and
flaking. This was of particular concern as it threatened the
surviving painted figures in the niches on the side panels,
the majority of which had already been lost.The conservation
was placed with Harrison Hill and, in the late autumn of
1995 both effigies, part of the plinth of the northern
figure and the tomb chest from the south side were taken to
their workshop at Brigstock (Northamptonshire) for
conservation. Dr Lawrence Butler of the |
Department of Archaeology, York University
carried out archaeological recordings during the dismantling
and removal. A copy of the interim report appears in
Appendix 1. The authors visited the workshop (December
1995)to see the conservation work in progress and
Goldsborough church (March 1996) to observe the evidence
afforded by the absence of the effigies and tomb chest. The
monuments were replaced later that year. The purpose of this
paper is to record, and comment upon, the additional
information which has become apparent as a result of this
work.
John Coales: The Drawings of Roger de
Gagnières: Loss and Survival
The drawings collected
together by the French antiquary Roger de Gaignières
(1642-1715) deserves to be better known by English scholars.
The many drawings now preserved cover French funerary
monuments and other objects of antiquarian interest. For us
the significance lies in the fact that they show French
medieval monuments, the vast majority of which were
destroyed or damaged in the Revolution of the late
eighteenth century. The drawings, or copies of them, are now
preserved in the collections of the Bodleian Library, Oxford
and the Bibliothèque Nationale, Paris. They have been
published in the Gazette des Beaux-Arts in a miniature
format which, whilst invaluable as a reference for students
of the subject, hardly does them justice nor allows their
full detail to be appreciated.
A study of the drawings shows that they are done by a number
of hands and that the qu laity varies. Nonetheless they are
of great value in determining the appearance of monuments in
pre-Revolutionary times and their accuracy and value will be
assessed in this paper. It will examine how they came to be
collected together and preserved, though the majority were
dispersed; what they show; how they were used in the
restoration of the French Royal monuments at Saint-Dennis;
and the copying of those in the Bodleian Library in the
nineteenth century.
As this paper covers events of some two centuries it is of
necessity much condensed. Those wishing to study the subject
in depth are referred to the bibliography from where much of
the information that follows has been obtained. To the best
of my knowledge nothing has been published regarding
Gaignières on this side of the Atlantic. This is a brief
outline of the history of the drawings and is capable of
being explained more fully by further research.
Willem Bergé: Sculptors on the Move: Thomas
Quellin in Denmark
Thomas Quellin delivered sculpture
to the King of Denmark and to many members of the nobility,
senior officers and rich merchants. The Czar of Russia even
owned work by him. Whilst based in Copenhagen, Quillin might
have seen himself as a temporary emigrant, an adequate
designation of his status outside his homeland.
Ingrid Roscoe and Kenneth Hempel: The
Refreshment of memory: Joseph Wilton's Byerley Monument,
Restored
Alain Jacobs: Joseph Wilton's Nivelles Years and the
influence of Laurent Delvaux
John Lord: Richard Hayward: An early
and some late Commissions
Describes projected monument
to the Massingberd family and the completed Carter-Thelwall
memorials at Redbourne, Lincs.
Joan Coutu: Carving Histories: British
Sculpture in the West Indies
Discusses the monuments to members of the planter
aristocracy erected in the West Indies but commissioned from
'home' in the eighteenth and early nineteenth centuries.
Louise Boreham: Louis Reid Deuchars -
Collaboration with Sir Robert Lorimer Deuchars
(1870-1927) supplied sculptural elements for numerous
Scottish monuments designed by the architect Lorimer
from 1911-17 |
|
|
CHURCH MONUMENTS: VOLUME XIII 1998 |
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Brian and Moira Gittos: Irish
Purbeck: Recently Identified Purbeck Marble Monuments in
Ireland
Since 1994 a survey of Purbeck marble coffin-shaped slabs
has been serialised in the Newsletter. Although only English
counties have been published to date, the Survey includes
slabs wherever they occur and a few are known from the
continent. During a visit to Dublin by the authors in March
1998, a check was made of the grave slabs preserved in the
crypt of Christ Church Cathedral. One of these was known
from previous observations to exhibit features recognisable,
from the Survey, as being characteristic of Purbeck marble
slabs. In the event, two of the slabs in the crypt were
found to be of this material. What was completely
unexpected, however, was the discovery, during the same
visit, that the .two of the medieval effigies at Christ
Church were also Purbeck marble, together with a third
figure in St Patrick's Cathedral and an excavated fragment
of a fourth from the collection of the National |
Museum of Ireland, on
exhibition in Dublin. A further visit, in July 1998,
added to this list a civilian effigy at St Audoen's, a
third coffin-shaped slab and a coffin (the latter two in
the churchyard of St Patrick's). The five Purbeck marble
effigies in Dublin are probably the largest
concentration outside London
Irish medieval figure sculpture has been the subject of a
very thorough study, including some petrological
identification, but none has previously been identifies as
being carved in this Dorset limestone. In 1970 D M Waterman
refuted earlier suggestions by Sir Thomas Drew that Purbeck
had been used extensively for shafts at Christ Church,
Dublin. More recently, a Purbeck slab with indents for a
monumental brass with a separate letter inscription has been
noted at trim. On the other hand, it is known that
indigenous sources of polishable limestone, eg from quarries
in the area of Kilkenny, was used both for architectural
elements and monuments. The availability of native
alternatives to Purbeck would have reduced the market for an
imported stone. Against this background, the recognition of
eight medieval monuments and a coffin in Purbeck marble is
highly significant in an Irish context and has important
consequences for the wider distribution of such products and
patterns of trade. This paper puts on record the new
evidence and briefly considers the implications.
Portia Askew: Early Medieval Purbeck Marble
Grave Slabs from Southwark
An excavation at 10-18
London Bridge Street was carried out by staff of the Museum
of London Archaeological Service in September/October 1997.
A sequence of deposits from the Roman to the medieval period
was discovered. The latest structure in the excavation was a
fifteenth century cellar/cesspit constructed from chalk,
flint and sandstone. Within the fabric of the remaining two
walls were two reused Purbeck marble grave slab fragments,
one of which was inscribed. Since the recent notification of
the find in April's Ecclesiology Today, some changes have
been made following further research by the author and
comments on the grave slabs by Sally Badham. Publication of
the site, including further refinements to the chronology
using cartographic and documentary sources is in preparation
for the London Archaeologist (P Askew with S Badham & S
Humphreys, 'Excavation at 10-18 London Bridge Street'
forthcoming.
Both are adult slabs and made from Purbeck marble carved at
or near one of the quarries of Corfe in Dorset and marketed
locally and through the marblers' workshops in London.
Mark Downing: Lions of the Middle ages:
A Preliminary Survey of Lions on Medieval Military Effigies
Examines similarities among lions supporters on English
military effigies of the fourteenth and fifteenth centuries
and assigns them to stylistic groups
Paul Cockerham: Sale of French Incised
Slab: Argument for its Attribution
A section of 'A
French (Normandy or Brittany) stone panel from a tomb -
early fifteenth century' was offered for auction by
Sotheby's in New York. The sale catalogue description
continues, '...carved in low relief with alternating male
and female saints, within trefoil pointed arches, a partial
inscription in French below, losses and extensive wear,
repaired crack, mounted on a later metal stand, 13.25" by
32.375".' Its presale estimate was $10 - 12,000 but
reportedly it was sold after the sale for $5,000.
Richard Knowles: French Excursions:
Charles Alfred Stothard and the Monumental Effigies of
France
Stothard toured France to draw monuments for his projected
Monumental Effigies in France in the years 1816-18. Two
albums of his unpublished drawings are described. Stothard's
journeys and explorations are recalled thought his widow's
memoirs and letters.
Amy Louise Harris: The Funerary
Monuments of Richard Boyle, Earl of Cork
Describes the
four Boyle tombs and interprets the messages relayed by them
about Boyle and his family to early seventeenth century
society both in England and Ireland.
Jean Wilson: Ethics Girls: The
Personification of Moral Systems on Early Modern English
Monuments
Analyses the significance of allegorical figures on early
seventeenth century monuments which replaced more
conventional representations of the Virtues.
Lawrence Butler: The Monuments in
Wakefield Cathedral
Obituary: A V B (Nick) Norman,
1930 - 1998 |
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|
CHURCH MONUMENTS VOLUME XIV 1999 |
 |
Sally Badham: Medieval Minor
Effigial Monuments in West and South Wales: An Interim
Survey
Although the sepulchral slabs and effigies of
the thirteenth and fourteenth centuries in north Wales were
comprehensively surveyed by Gresham, far less attention has
been paid to the equivalent monuments in south Wales. Many
of the carved high- relief effigies were described variously
by Williams, Allen and Westwood in the late nineteenth
century and by Law and Edwards in the early twentieth, but
references to minor effigial monuments are relatively few. A
thorough survey of brasses of this area revealed only a
handful of medieval examples. Whilst Greenhill compiled a near -complete
catalogue of effigial incised slabs in England and Scotland,
Wales remained largely unsearched at his death. Exploratory
trips in south Wales, mainly by his close friend and
collaborator, H A Beetlestone, revealed just four effigial
slabs, of which only two had the entire composition incised.
Similarly, few semi-effigial relief monuments have been
noticed in print other than fleetingly.
Overall, the impression created by the literature is that
there was a dearth of minor effigial monuments |
in this area,but this is far from true. Sample searching of some 120
churches in south-west Wales has revealed many effigies,
including some very unusual ones. A topographical catalogue
of the medieval minor effigies revealed by this preliminary
survey isat the appendix. Each item is numbered for ease of
cross-reference with the main text; the location of each
item is shown by this number on the distribution map
Harry Sunley: St Nicholas's Churchyard,
Kenilworth, Warwickshire: An Appropriated Monastic Slab.
John Coales: Stothard's French
Excursions Revisited: An Amendment.
Richard Knowles: A Further Album of
Stothard Drawings.
Christine Faunch: Constructing the
Dead: Late XVI and Early XVII Century Effigy Sculpture in
Devon.
Jeremy Maule: Thomas Carew's Epitaph
for Maria Wentworth at Toddington, Bedfordshire.
Peter D. Sherlock: Academic
Commemoration: Monuments at Corpus Christi College, Oxford
1517-1700.
Lynda Borean: John Bushnell in Venice.
Julian Litten: Tombs Fit For Kings:
Some Burial Vaults of the English Aristocracy and Landed
Gentry of the Period 1650-1850.
Norman Hammond: Outpost of Empire:
Church Monuments in Belize |
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| CHURCH MONUMENTS
VOLUME XV 2000 |
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Claude Blair, John Goodall, Philip Lankester:
The Winchelsea Tombs Reconsidered
As has been demonstrated several times in Church
Monuments, the redating later of the earliest English
military brasses has made it necessary to reconsider the
dating and identification of a number of stone and
wooden military effigies hitherto ascribed to the
thirteenth century. Our purpose here is to do this for
the three well-known Purbeck marble figures contained in
freestone tombs in the wall of the North Chapel of the
parish church of St Thomas Becket, Winchealsea, and to
further reconsider all the medieval tombs there in the
light of the conclusion reached.
Paula Frosch: Mind Thee to Die: The
Beresford Monument at Fenny Bentley
A careful survey of the Beresford Monument and an
in-depth comparison with a variety of other shrouded
effigies reveals it to be far more than a macabre
oddity. Possibilities are raised for a new
interpretation of its composition and intent. |
Sophie Oosterwijk:
Chrysoms, Shrouds and Infants: A Question of Terminology
The term 'crysom' has long been used to describe
effigies and weepers of swaddled infants on tomb
monuments yet the exact meaning of this word has seldom
been queried. It is doubtful that these figures portray
infants who died before their mothers' churching and who
were actually buried in their baptismal clothes, as has
often been claimed. Instead they are more likely to
represent infants who died in the swaddling stage, i.e.
within the first few months of their lives. As such they
illustrate a need on the part of parents and siblings to
commemorate the brief lives of those children who might
otherwise have been ignored by history.
Lawrence Butler: The Smithson Monument at
Stanwick, North Yorkshire
Conservation work on the late seventeenth table tomb of
Sir Hugh and Lady Smithson had provided details of the
original location and design of the monument. It has
also enabled the sculptor to be identified as (William)
Stanton of London.
Matthew Craske: Entombed Like an Egyptian:
An Eighteenth Century Surgeon's Extravagant Mausoleum to
Preserve his Mortal Remains
This article reviews a series of documents connected
with the construction of the pyramid monument to the
London surgeon, Francis Douce, which was completed in
the late 1740's. It discusses the general history of
Egyptology in the mid-eighteenth century, in particular
the interest of surgeons in the subject of Egyptian
embalming. As Douce's pyramid was built with the
declared purpose of preserving his remains until the
Last Trump, the article touches upon the issue of
corporeal resurrection. Beyond this it argues that a
belief in corporeal resurrection endured in educated
English society, despite the weight of rationalist
arguments concerning its practical feasibility.
Norman Hammond: Beyond the
Mexique Bay: Church Monuments in Belize, Part II
Monuments in St John's Cathedral and the adjacent
Yarborough Cemetery in Belize City, Central America,
span the nineteenth century and include wall tablets in
stone and brass, upright and various formats of
recumbent gravestones. There is no figured sculpture,
and the monuments commemorate the official and
mercantile class that ruled and modestly prospered in
the colony of British Honduras. Masons' names show that
some monuments were imported from London, others from
Scotland, the United States and Jamaica. Although the
Cathedral was arguably an Anglican preserve, the
cemetery was multi-denominational and multi-national.
Obituary: Walter Mendelsson, FSA |
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| CHURCH MONUMENTS
VOLUME XVI 2001 |
 |
Dirk Breiding: Dynastic
Unity:Fourteenth Century Military Effigies in the Chapel
of Castle Kronberg
This article is a result of research undertaken for a
thesis forming part of a Master's Degree in History of
Art at University College, London in 1999. Examining the
Chapel of the Castle of Kronberg near Frankfurt/Main,
the thesis argues that the former had been built with a
very distinct ideological and theological programme as a
burial and chantry chapel to be used by three different
branches of the same family, all resident in Kronberg
Castle. The article is a revised extract concentrating
on four military tomb effigies in the chapel. These four
effigies are not only interesting sources for the study
of late 14th century arms and armour but also show a
remarkable diversity in the artistic quality.
Jon Bayliss: An Indenture for Two Alabaster
Effigies
This paper concerns the discovery of a previously
unrecorded contract for the production of alabaster
effigies from theworkshop of Thomas Prentys and Robert
Sutton at Chellaston. |
Our
perceptions of medieval sculpture are all to often
coloured by the chance survival and prone to change with
the publication of previously unknown documentation.
Some works cannot be ignored, documentation or not, but
others come to prominence because they are documented,
whilst other contemporary work of equal merit is either
largely ignored or judged in the context of the
documented piece.
Jonathan Edis: Beyond Thomas Kirby:
Monuments of the Mordaunt Family and their Circle,
1567-1618
Thomas Kirby was once thought to have made a distinctive
group of Renaissance church monuments in the Midlands
during the 1570's. However doubts have been cast on his
existence in recent years. Closer examination of the
evidence reveals that the real sculptors were probably
long term employees of the Mordaunt family and their
close relations, and that they worked predominately from
the Totternhoe stone quarries in Bedfordshire.
Clodagh Tait: Irish Images of Jesus
1550-1650
In Ireland the post-Reformation production of images and
devises, in funerary sculpture and elsewhere, relating
to devotions to Jesus, demonstrates His centrality to
popular Catholic religiosity. This paper traces the
different motifs used, thereby throwing light on several
aspects of Irish Catholic piety during the 16th and 17th
centuries.
Stephanie Knoell: An eternal academic
community: Oxford Memorials, 1580-1680
In contrast to many other early modern universities, the
University of Oxford was (and still is) organised in
colleges. These created a very strong sense of belonging
among their members. It has been argued that funerary
monuments contributed to the way in which '...[the
college] understood and promoted itself.' In contrast to
previous studies which concentrated on the academics'
learnedness and their differences to the nobility, this
paper takes a close look at the ways in which academics
at Oxford represented themselves, and what roles the
college community played in their understanding of
themselves.
Clive J Easter: Notes on the Monuments and
Career of Thomas Green of Camberwell: Some Recent
Discoveries
It can be argued that church monuments in the 17th
century underwent such fundamental changes in the way
that monumental art was perceived as to mark the century
out as perhaps the most important in the development of
memorial sculpture at any time in British history. The
key to these changes and possibly the most important
aspect are those that affected the effigy and the way in
which it was viewed within a broader cultural and social
framework.
Philip Whittemore: Waller Fecit:
London
It is exactly one hundred and fifty years since the
Great Exhibition of 1851 and ninety-six since the death
of John Green Waller. He was one of the foremost
antiquaries of the Victorian era, as celebrated in his
time as Albert Way, Charles Roach Smith and F W
Fairholt. He was known variously as an artist, engraver
and knowledgeable antiquary, whose pronouncements at the
meetings of the Society of Antiquaries were always
illuminating. With his brothers Lionel and William
Augustus, he was responsible for a series of brasses
that rivaled those designed by Pugin. Today the Waller
brothers are remembered more for a A Series of Brasses
from the 13th to the 16th Century, published in eighteen
parts between 1840-1864, than the brasses they designed.
This paper looks at the Waller family and places in
context their contribution in the design and execution
of monumental brasses. It examines J G Waller's
antiquarian career in detail for the first time.
Gerardine M Mulcahy: An Eminent
Sculptor: William Day Keyworth Jun. of London & Hull.
Celebrated for his abilities in portraiture and
imaginative public sculpture, it is regretted that
Keyworth junior executed relatively few church
monuments. Nevertheless, alongside a brief biographical
note, this paper introduces two of Keyworth junior's
most successful works: the monuments to William Farquhar
Hook in Leeds Parish Church and Archdeacon Musgrave in
Halifax. Despite the lamentable absence of archival
material, an account of the Hook monument can be
construed from contemporary journals. Conversely a
wealth of archival material affords an enlightening
account of the monument to Archdeacon Musgrove including
the imaginative fund raising effort of the Memorial
Committee, their terms of agreement with the sculptor
and the eventual reception of the monument when placed
in the parish church |
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| CHURCH
MONUMENTS VOLUME XVII 2002 |
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Peter Ryder: St John's
Church, Stanwick, North Yorkshire: The Medieval
Cross Slabs.
Stanwick. 6km north of Scots Corner in North
Yorkshire is best known for its Iron Age
earthworks complex, at the centre of which St
John's parish church now stands alone, except
for the 17th century house of Kirkbridge. The
church is now in the care of the Churches
Conservation Trust; apart from its fine west
tower, south aisle and south porch, it was
heavily rebuilt in 1868 by Anthony Salvin. The
building does however retain one of the most
important collections of carved stones and
monumental remains in North Yorkshire. In
addition to many pieces of pre-Conquest
sculpture, four very weathered medieval
effigies, two brass inscriptions and the 17th
century Smithson monuments, there is a very rich
extensive collection of medieval cross grave
covers. This latter, probably the largest group
of such monuments in North Yorkshire, has never
been described in print.
Brian and Moira Gittos:The Ingleby
Arncliffe Group of Effigies: A Mid Fourteenth Century
Workshop in North Yorkshire. |
This study examines a tightly-knit group of
mid-fourteenth century effigies located in the former
North Riding of Yorkshire. Recognition of the output
from this local workshop provides a valuable insight
into the choices available to patrons, and the monuments
also demonstrate that differing forms were produced by
the same source. Previously published dates range widely
but it is now possible to demonstrate the group were
produced over a short span of time. The extremely poor
condition of some of the figures tends to obscure the
original intent and achievement of the carvers but
careful examination enables a much clearer picture to
emerge, with some unusual features present. The overall
impression is of a competent, local supplier exploiting
an expanding and developing market by catering for the
precise wishes of his clients. Full details of each
figure are contained in the appended catalogue.
Claud Blair and John Goodall: An Effigy at
Wilsthorpe: A Correction to Pevsner's Lincoln.
Nikolaus Pevsner is frequently criticized for
innacuracies in his 'Buildings of England' series.
Though the criticism is not unjustified, it nature has
often seemed to me to be unfair in the light of the
quite extraordinary personal achievement the series
represents, and the important role it has played in the
struggle to protect the nation's ancient buildings. The
following correction of one of the innacuracies is
therefore to be regarded as no more than that.
Mark Downing and Richard Knowles: A
Fifteenth Century Helmet Depiction at Gnosall,
Staffordshire.
It is perhaps surprising to discover an apparently
unpublished but significant feature on a medieval
monument. Here at Gnosall is just such an example.
Philip Whittemore: Monumental Brasses
Formerly in the Church of St Leonard, Shoreditch.
British Library Lansdowne Manuscript 874 is one of the
most important heraldic collections to survive from the
16th century, but curiously enough, although well known,
surprisingly little has been published concerning its
content. It contains an unrivalled source, not only of
drawings of monumental brasses, but also sepulchral
monuments and stained glass, much of which has since
disappeared. The manuscript lists 27 London churches,
not all of which are recorded as having monuments.
Nicholas Charles, who visited the majority of the
churches, does not specify exactly what type of monument
he is recording, but from the tenor of the inscriptions,
the appear to be, in most cases, brasses. It is a matter
of great regret that none of the London monuments in the
manuscript are illustrated. This paper looks at one
entry, that for St Leonard, Shoreditch and its
collection of brasses.
Teresa Grant: 'Devotional
Meditation': The Painted Ceiling at Skelmorlie Aisle.
Jean Wilson: Dead Fruit: The
Commemoration of Still-Born and Unbaptized Children in
Early Modern England.
John Lord: A Decade of Bertie
Memorials in Lincolnshire.
Examines the Bertie tombs at Edenham 1728-1738
Charles Smith: The Memorial Stone
Tomorrow: A Personal View.
The following article reflects the author's personal
comments to the Society's 2001 Symposium. The editors
feel that it makes an apt inclusion as a commencement
for further reflection and discussion. In view of that I
have included some illustrations of his craftsmanship in
gravestone cutting.
Norman Hammond: Church Monuments in
Belize: A Final Note. |
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CHURCH MONUMENTS VOLUME XVIII
2003 |
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Mark Downing: A Military Effigy
at Clyffe Pypard, Wiltshire
Examines the fourteenth century monuments and seeks to
identify its subject.
Sophie Oosterwijk: Madonnas,
Mothers, Mites and the Macabre: Three Examples of
Mother-and-Child Tomb Iconography
Double effigies commemorating a parent with a child were
relatively rare before the 16th century. This may
explain why some medieval sculptors turned to religious
motive for inspiration. The 13th century tombs effigy of
the Lady Constancia and her son John at Scarcliffe,
Derbyshire strongly resembles a Madonna and Child of the
period, resulting in a clash between the standing
posture of the Virgin and the recumbent character of the
effigy. Two German monuments at Unterreichenbach and
Oberwesel further illustrate how a religious theme might
influence other types of tomb iconography. |
Philip Whittemore:
Sir William Dugdale's 'Book of Draughts'
Sir William Dugdale's Book of Monuments is well known
but surprisingly little of its contents has been
published. This article looks at one aspect of this
work, monumental brasses. The manuscript was compiled
between 1640-1641 in anticipation of the forthcoming
Civil War for Sir Christopher Hatton, Dugdale's patron.
Although parts of the original manuscript are now lost,
enough remains to provide a tantalizing glimpse of
monuments that were soon to be swept away in the tide of
the war. A summary list of all brasses illustrated in
the manuscript forms an appendix to the paper. Also
listed are a number of manuscripts associated with the
Book of Draughts.
Paul Cockerham and Adam White:
Epiphanius Evesham in a French Court.
Identifies surviving monuments by Evesham produced
during his stay in Paris 1600-15
Jean Wilson: The Darling of the
Gods
Considers seventeenth century monuments to those who
died under 20 years of age.
Obituary: Dennis Corble |
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|
CHURCH MONUMENTS VOLUME XIX 2004 |
 |
Anne Norman A V B Norman
(1930-1998) and the Church Monuments Society
The study of arms and armour as art and the significance
of military monumental effigies in art-historical
research are two of the legacies inherited from the late
A V B (Nick) Norman. It was at his initiative that a
Society was established for the study of church
monuments, with related publications to encourage and
extend work in the field. His own research included many
volumes of his minutely detailed drawings and these,
together with his knowledge, enthusiasm, and genial
personality, inextricably linked with Scotland, will
long be remembered as keystones of the Society.
Sally Badham 'A New Feire Peynted
Stone': Medieval English Incised Slabs?
Incised slabs are commonly regarded as minor monuments,
lacking visual impact and chosen by patrons only when
they could not afford more conspicuous monumental types.
This paper challenges the assumption, presenting
extensive material and documentary evidence concerning
the use of polychrome and applied decoration on incised
slabs, and examines how this affected the way in |
which these monuments were perceived by
their intended audience. With such decoration, incised
slabs would have been eye catching even positioned on
the floor, and would therefore have fulfilled their
primary function of attracting the attention and the
prayers of the faithful.
Phillip Lindley 'Disrespect for the Dead?'
The Destruction of Tomb Monuments in Mid Sixteenth
Century England
This paper examines the destruction of tomb monuments
which took place on an unprecedented scale in England in
the middle of the Sixteenth Century. It analyses the
effects of the Dissolution of the Monasteries on tomb
monuments and on the attitudes to the dead, then
proceeding to consider the impact of the Reformation
under Edward IV, with its abrogation of the doctrine of
Purgatory, the dissolution of the chantries, and the new
onslaught on monuments of the dead. Throughout this
essay, attitudes to towards tomb monuments are situated
in the contemporary religious and political climate : it
is argued that the changed functions, styles,
iconography, locations and formats of monuments in the
second half of the Sixteenth Century must be directly
linked both to the massive destruction of tomb monuments
in the middle of the century and their continuing
contentiousness. This period id the most important in
the history of Christian tomb monuments in this country
and constitutes the critical division between 'medieval'
and 'early modern'. It is fundamental both to an
understanding of medieval monuments and to an
appreciation of those of the later sixteenth century and
beyond.
Léon Lock Tales of Seventeenth Century
Flemish Tomb Monuments, or How the Patron and Sculptor
Work Hand in Hand to Rewrite History
This article discusses two tomb monuments in the village
church of Modave (near Huy, in the former
prince-bishopric of Liège), erected for Jean-Gaspar,
comte de Marchin, in c. 1672. One is by Lucas Faydherbe;
the other is attributed to him, principally on account
of a comparison with a series of monuments in the
Southern Netherlands erected for other aristocratic
persons who knew the comte de Marchin and who copied
him. A complex design and production schedule is
suggested and placed in the context of a biography of
the comte de Marchin that is brought together here. This
shows the comte de Marchin's interest in raising his
social status by a number of devices, including the one
of erecting a bogus tomb monument to his grandparents
and having his (partly invented) family tree published
in a genealogical manuscript.
Nigel Llewllyn Horace Walpole and the
Post-Reformation Funeral Monuments: the Limits of
Antiquarianism
The twenty-fifth anniversary of the Society is an
appropriate occasion upon which to consider how
attitudes towards funeral monuments have changed over
time. Reflecting on the fundamental contribution made by
Horace Walpole to the study of English monuments of the
post-Reformation period, this article sets his work
within the context of mid-eighteenth-century
antiquarianism and seeks to reveal the aims and
limitations of that methodology by taking as a case
study a pair of early-seventeenth-century monuments in
Salisbury Cathedral.
Philip Ward-Jackson Carlo
Marochetti and the Tombs of Napoleon at the Dôme des
Invalides, Paris and the Duke of Wellington at St Paul's
Cathedral, London.
In quick succession, the French and British governments
of the mid-nineteenth century were faced with the task
of creating shrines for the greatest military heroes,
Napoleon and Wellington. This article examines the
inevitable parallels and the equally inevitable
differences between these two monumental projects, both
of which commanded space within hallowed baroque
ecclesiastical structures. Carlo Marochetti, who
attempted to win the commission for both monuments,
appears as a 'living link' between them, and it is
suggested that his abortive project for Napoleon's tomb
significantly affected the choice by Alfred Stevens of a
renaissance-style tiered structure for the tomb of
Wellington.
Sally Badham and Philip Lankester
Review Article
In reviewing Rachel Dressler's book Of Armour and Men in
Medieval England, the authors examine how the study of
medieval military effigies has progressed over the
twenty five years that have elapsed since the formation
of the CMS.
The validity of Dressler's stated aims and the extent to
which they are achieved are scrutinised in the light of
other recent publications and queries are raised about
some of her theories and conclusions. The book should be
read with caution, as the author's somewhat limited
knowledge of English military effigies, armour and the
status of knights in particular is thought likely to
mislead and confuse the non-specialist.
Book Reviews
Francis Cheetham, Alabaster Images
of Medieval England
Paul Binski, Becket's Crown, Art
and Imagination in Gothic England
Mike McCarthy and David Weston (eds),
Carlisle and Cumbria: Roman and Medieval
Architecture, Art and Archaeology |
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CHURCH MONUMENTS VOLUME XX 2005 |
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Matthew J. Silence The Two
Effigies of Archbishop Walter de Gray (d. 1255) at York
Minster
The tomb of Archbishop Walter de Gray is a rare example
of a freestanding, canopied tomb of the mid-thirteenth
century. Despite an in-depth archaeological study in the
late 60's, which revealed the hidden coffin lid with a
full-length painted image of the deceased, there has
been no subsequent questioning of the dating and purpose
of the superstructure that covered the original
monument. Recent research has contributed to a greater
appreciation of the scale and role of painting in
effigial monuments, and suggests that the painted coffin
lid was unlikely to have been considered as simply a
temporary measure. This article reconsiders the visual
and documentary evidence to support a new dating of the
monument and the circumstances surrounding its creation.
Julian M. Luxford 'Thys Ys To
Remember': Thomas Analby's Illustrations of Lost
Medieval Tombs |
Cambridge, Fitzwilliam MS 329, is
a mid-fifteenth-century secular cartulary written and
illustrated by Yorkshireman Thomas Anlaby. It contains
three coloured drawings of now destroyed tombs which
stood at Swine, Meaux and Driffield in the East Riding
of Yorkshire. This article describes and analyses these
drawings in their manuscript context, assessing why they
were added and how accurate they are. The drawing of the
most important tomb, that of Baldwin of Béthune, sixth
Count of Aumale (d. 1212), at Meaux, is examined
alongside other surviving evidence for the monument's
appearance.
Sophie Oosterwijk Food for Worms - Food for
Thought: the Appearance and Interpretation of the
'Verminous' Cadavers in Britain and Europe
Britain has many surviving examples of 'transi' or
cadaver tomb monuments and brasses, which range from
so-called 'double-decker' tombs juxtaposing an effigy of
the deceased 'au vif' with a representation of the
corpse below to single cadaver effigies, skeletons and
shroud effigies. One variety that appears to be much
rarer in Britain than elsewhere in Northern Europe is
the effigy infested with vermin, of which the brass of
Ralph Hamsterley (d. 1518) at Oddington is the most
obvious example. However, appearances can be misleading
and there is a risk of misinterpretation, partly due to
a lack of understanding of regional differences in
iconography. This paper aims to provide a wider cultural
context to the cadaver effigy in Europe, including the
'verminous' variety, whilst discussing four English
monuments at Lowthorpe, Oddington, Flamborough and
Tewkesbury that have previously been claimed as examples
of this particular type.
Sally Badham and Jon Baylis The Smalpage
Monument at St Batholomew the Great, London, Re-examined
The monument at St Bartholomew-the-Great, London
commemorating Percival Smalpage (d. 1559/9) and his wife
Agnes (d. 1588) was commissioned by the couple's son and
is attributed to Giles de Witte. A nineteenth century
restoration resulted in parts of the monument being
erroneously exchanged with those of another memorial in
the church. The memorial throws interesting light
on portraiture on monuments and the development of
cadaver restorations in the sixteenth century.
Stefanie Knöll The Ducal Burial
Place at Tübingen, Germany, 1537-93
The choir of the collegiate church at Tübingen, Germany,
houses an impressive but little known ducal burial place
which was in use for only a short period of time. Today
there are about fourteen free standing and ten hanging
monuments which commemorate members of the Württemberg
family as well as other princely persons. This article
will explore the institution of the burial place as well
as the reasons for its discontinued use. It will also
examine the most important tomb monuments to members of
the Württemberg family interpret them with regard to
their historical background.
Simon Watney Sky Aspiring Pyramids:
Shakespeare and 'Shakespearan' Epitaphs in Early Stuart
England
Since the time of Sir William Dugdale (1605-86) the
memorial verses on the monuments to Sir Thomas Stanley
(d. 1576) and his wife Lady Margaret Stanley (d. 1596)
and their son Sir Edward Stanley (d. 1632) at St
Bartholomew, Tong, Shropshire, have been attributed by
some to William Shakespeare. It has not, however,
previously been noted that one of the verses appears in
a slightly variant form on the monument to Sir William
Gosteick (d. 1615) at St Laurence, Willington,
Bedfordshire. This article explores some of the issues
raised by these verses, and concludes that whilst the
poems are probably not by Shakespeare, they typify a
widely held attitude towards church monuments in the
early Stuart period which frequently contrast the
enduring reputation of the deceased to the vulnerability
of their physical remains and tombs. This outlook, and
the style in which it is often couches, are
understandably if rater misleadingly often considered
'Shakespearean'. This article concludes with some wider
observations concerning the relevance of epitaphs to our
understanding of the monuments and religion of the
period.
Book Reviews
David Gaimster and Roberta Gilchrist
(eds) The Archaeology of the Reformation 1480-1580)
Nigel Morgan (ed) Prophecy,
Apocalypse and the Day of Doom, Proceedings of the
2000 Harlaxton Symposium, Harlaxton, Harlaxton
Medieval Studies 12.
Richard Marks Image and Devotion in
Late Medieval England
Stephanie A Knöll Creating Academic
Communities: Funeral Monuments to Professors at Oxford,
Leiden and Tübingen 1580-1700
Frits Scholten Sumptuous Memories:
Studies in Seventeenth-Century Dutch Tomb Sculpture
Studies in Netherlandish Art and Cultural History 5
Terry Friedman The Georgian Parish
Church: Monuments to Posterity
Sandra Berresford and Robert Freidus
with contributions by James Stevens Curl, Fred S
Licht, Francesca Bregoli and Franco
Sborgi Italian Memorial Sculpture
1830-1940: A Legacy of Love |
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CHURCH MONUMENTS VOLUME XXI 2006 |
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Sally Badham 'Beautiful Remains
of Antiquity': the Medieval Monuments in the Former
Trinitarian Priory Church at Ingham, Norfolk. Part 1:
The Lost Brasses.
The former Trinitarian priory church at Ingham once
housed a magnificent collection of medieval monuments.
An important series of seven brasses to the Stapleton
family was sold for the value of the metal c. 1800,
although their former appearance can be reconstructed
from rubbings made in the eighteenth century and other
antiquarian sources.
John Richards Sir Oliver Ingham (d.
1344) and the Foundation of the Trinitarian Priory at
Ingham, Norfolk
The mural which was once visible in the recess of the
tomb of Sir Oliver de Ingham (d. 1344) at Ingham, and
which was published by C A Stothard in 1814, is open to
several possible interpretations. It is examined here in
the light of the refoundation of the church in which it
is sited as a Trinitarian priory in 1360. This
foundation itself may have been conceived as a memorial
to Sir Oliver. |
Phillip Lindley (with
an appendix by Carol Galvin) New
Paradigms for the Aristocratic Funerary Monuments around
1300: Reconstructing the Tomb of John, Second Baron
Hastings (1287-1325) at Abergavenny Priory,
Monmouthshire
This paper publishes hitherto unknown antiquarian
evidence for the tomb monuments of John, Second Baron
Hastings (1287-1325), in Abergavenny Priory church
(Monmouthshire). Sketches made in 1801 by the great
antiquarian draughtsman John Carter make possible a new
construction of the monument's original form and a
reconsideration of its location within the church. In
addition, an appendix by the conservator Carol Galvin
adds much to our understanding of the way the fourteenth
century timber effigy was produced, and how its surfaces
were originally decorated with polychromy.
Jennifer S Alexander, B W Hodgkinson & Sue A Hadcock
The Gylbert Monument in Youlgreave Church: Memorial
of Liturgical Furnishing?
The Gylbert monument is an unusual memorial that it does
not fit easily into the canon of alabaster tombs since
it also served a second purpose as the retable to the
Lady Chapel in Youlgreave church. The extent to which
this compromises the design of the monument, in
particular its inscription, demonstrates that this was
an unusual composition. The layout of the monument, with
the donors sharing the picture space with a sacred
image, invites comparison with imagery on tomb chests
although the difference between the Gylbert and these
monuments are apparent. The original form, function and
siting of the monument at Youlgreave are discussed and
its role in the church assessed.
Hadrien Kockerols The Lost Tomb
Monument of Cardinal de la Marck (d. 1538) at Liège
Cathedral Revisited
Cardinal Erard de la Marck, Prince-Bishop of Liège from
1482 to 1538, had his monument erected in the middle of
the choir of the cathedral of Saint-Lambert during his
lifetime in 1528. The monument was in 'gilt-bronze'
(gilt copper alloy) and had an unusual iconography; it
disappeared in 1794. Travellers praised it, but drawings
or prints illustrating it are rare and also contradict
each other. A recently discovered unpublished drawing
and an accompanying description form the basis for a new
reading of the monument as it was originally. The
critical examination of this material leads to the
conclusion that the monument was drastically altered at
least once.
Lawrence Butler The Monument to Sir
Robert Dormer (d. 1552) at Wing, Buckinghamshire: A New
Hypothesis
This paper argues that the tomb of Sir Robert Dormer
(d. 1552) in the north aisle of Wing church is not of a
single period , but it was developed in three stages
over thirty years. The first stage was a free standing
tomb chest located slightly further east with two
inscription plates on its lid. The second stage, here
dated to after 1571, was an elaborated tomb with a
canopy supported on Corinthian columns and with family
shields on the rear (north) wall that we see today. The
third stage, conceived in 1590, abandoned the idea of a
joint family commemoration when an ornate monument with
effigies to Sir William Dormer (d. 1575) and his second
wife Dorothy was erected in the chancel. The intended
inscriptions on the rear wall panel and upper frieze
were never painted.
David Wilson Roubiliac, The Earl of
Pembroke and the Chancellor's Discretion: Preservation
of the Nation's Heritage by the Consistory Courts of the
Church of England
This paper considers the Church of England's approach to
the controversial subject of removing monuments or part
of monuments from churches. Its starting point is the
renewed controversy over Roubiliac's celebrated bust of
the ninth earl of Pembroke (c. 1750), which was sold
from a church in Wiltshire in 1997 and then reappeared
in auction in 2005. While that case was preceded by
numerous consistory court cases where faculties had been
granted for the removal of monuments, or parts of them,
the trend of decisions in similar cases in more recent
years renders the prospects of success almost negligible
in future similar applications. This paper also examines
the wider context of the removal of important works of
art from specifically designed settings, often in listed
buildings (e.g. Canova's Three Graces ) , and
demonstrated how the consistory courts have developed a
more robust attitude to the matter than have the secular
authorities.
Book Reviews
Theme issue of Hortus Artium Medievalium
(Journal of the International Research Center for Late
Antiquity and Middle Ages) La Représentation de la
Morte de l'Antiquité Tardive à la Fin du Moyen Âge
Truus van Bueren and Andrea van Leerdam
(eds) Care for the Here and Hereafter: Momoria, Art
and Ritual in the Middle Ages
Julian M Luxford The Art and
Architecture of English Benedictine Monasteries,
1300-1540: A Patronage History
Kate Giles and Christopher Dyer (eds)
Town and Country in the Middle Ages: Contrasts,
Contracts and Interconnections 1100-1500
Peter Heseltine A Bestiary of Brass
A F Sutton and L Visser-Fuchs with R A Griffiths
The Royal Funerals of the House of York at Windsor
Justin E A Kroesen and Regnerus Steensma
The Interior of the Medieval Church/ Het
Middeleeuwse Dorpskerkinterieur
Frits Scholten and Monike Verber
From Vulcan's Forge. Bronzes from the Rijkmuseum,
Amsterdam 1450-1800.
Barbara Borngässer, Henrik Karge and Bruno Klein
(eds) Grabkunst und Sepulkralkultur in
Spanien und Portugal - Arte Funerario y Cultura
Sepulcral en Eapaña y Portugal
Dane Munro with photography by
Maurizio Urso Memento Mori: a Companion to
the Most Beautiful Floor in the World
Catharine Arnold Necropolis: London
and its Dead |
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CHURCH MONUMENTS VOLUME XXII 2007 |
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Sally Badham 'Beautiful Remains
of Antiquity': The Medieval Monuments in the Former
Trinitarian Priory Church at Ingham Norfolk. Part 2: the
High Tombs.
The former Trinitarian priory church at Ingham once
housed a magnificent collection of medieval monuments.
The surviving but damaged fourteenth-century sculptured
monuments to Oliver, Lord Ingham, and to Sir Roger and
Lady Margaret de Boys throw much light on the complexity
of painting technology used for medieval tomb sculpture
and the sophistication of the effects thus obtained. The
former is noted for its puzzling imagery, while the
latter has unique Trinitarian iconography relating to an
elite parochial guild, of which Sir Roger was a
co-founder.
Mireille Madou The Tomb of Doña
Maria Urraca López de Haro (d.1262) in the Abbey of
Cañas, Spain
This paper discusses the impressive monument to a
medieval abbess in the small village of Cañas in the
Rioja valley in Spain and identifies it as that of Doña
Maria Urraca López de Haro, who died in |
1262. A Castilian
noblewoman who from early childhood grew up in the local
Cistercian nunnery at Cañas, she is likely to have met
St Francis of Assisi in person and also may have been,
according to a local legend, a childhood friend of St
Dominic, founder of the Dominican order. Her life and
family history will help explain the highly
individualised iconography of her monument and how it
came to be commissioned.
Jean Wilson Go for Baroque: The Bruce
Mausoleum at Maulden, Bedfordshire
The Bruce or Ailesbury mausoleum at Maulden
(Bedfordshire) was intended to present the monument to
Diana, Countess of Elgin and Oxford, surrounded by a
circle of effigies of her husband's descendents.
Although the original intention was never fully
realised, and the building altered during the nineteenth
century, recent restoration makes it possible to
consider the monument in the context of contemporary
works and to question whether it should be properly
designated a mausoleum, or simply as an interesting
example of Baroque art executed during the Cromwellian
era.
Vikki Coltman Commission by
Correspondence: John Flaxman's Monument to William
Murray, 1st Earl of Mansfield
This article offers a commentary on the correspondence
and two related sketches that document the commissioning
of and design for a monument to William Murray, 1st Earl
of Mansfield. In the eighteenth century, such
negotiations are frequently conducted on paper, in an
epistolary dialogue between artist and patron. In this
instance, the dialogue is between the British sculptor
John Flaxman and Mansfield's nephew and heir, David
Murray, 6th Viscount Stormont and 2nd Earl of Mansfield.
The letters involve a third correspondent in the
negotiations, Sir William Hamilton, who initiated the
contact between patron and sculptor. He is shown to have
superintended the entire commission, from recommending
Flaxman to his relative Mansfield to selecting the
preferred design. The correspondence was not only
tripartite, but also what one of Flaxman's letters
refers to as 'distant', with Mansfield's address being
given as Portland Place, London; Flaxman 'bound by the
almost everlasting operations of sculpture' in Rome; and
Hamilton 'being on so respectable a footing' as the
British Envoy at the court of Naples.
Barbara Tomlinson The Explorers of
the North-West Passage: Claims and Commemoration
This article will look at the way in which Victorian
Arctic explorers were commemorated and how their
memorials promoted rival claims to the discovery of the
North-West Passage. These monuments are characterised by
a developing polar iconography largely based on the
sketches made by expedition members, and they reflect
the influence of contemporary social, religious and
scientific attitudes.
George Thomson Small Gravemarkers
at Temple Balsall, Warwickshire: A Remarkable
Coincidence?
A detailed study was made of the morphology of a set of
small gravemarkers known as Dames' Stones at Temple
Balsall (Warwickshire), with a particular reference to
discoid and ringed cross forms. These headstones were
made from 1850 over a period of more than a hundred
years to a similar range of designs. The period of use
and the frequency of the various forms are detailed and
analysed. The discoid headstones have a remarkable
similarity to some Templar markers in the Languedoc and
elsewhere in southern Europe. This paper presents
evidence for the probably source of design and discusses
the coincidence if similar artifacts in Templar sites,
which are separated considerable both geographically and
in time.
Book Reviews
Jerome Bertram (ed) The Catesby
Family and their Brasses at Ashby St Ledgers.
Paul Cockerham Continuity and
Change: Memorialisation and the Cornish Funeral Monument
Industry 1497-1660
Ronald Van Belle Vlakke
Grafmonumenten en Memorietaferelen met
Persoonsafbeeldingen in West Vlaanderen: een Inventaris,
Funeraire Symboliek en Overzicht van het Kostuum
Clive Burgess and Eamon Duffy
(eds) The Parish Church in Late Medieval England
John R Kenyon and Diane M Williams
(eds) Cardiff. Architecture and Archaeology in the
Diocese of Llandaff
Sven Hauschke Die
Grabdenkmäler der Nürnberger Vischer-Werkstatt 1453-1544
J Guillaume (ed) Demeures d'Éternité: Églises et
Chapelles Funéraires aux XVe et XVIe siècles.
Andrea Baresel-Brand
Grabdenkmäler Nordeuropäischer Fürstenhäuser im
Zeitalter der Renaissance 1550-1650
Stafanie A Knöll Die
Grabmonumente der Stiftskirche in Tübingen
Obituary John Coales OBE FSA
(1931-2007) |
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CHURCH MONUMENTS VOLUME XXIII
2008
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Andrew Sargent, A Re-Used
Twelfth-Century Grave Cover from St Andrew's, Cherry
Hinton, Cambridge.
The church at Cherry Hinton houses a
late-twelfth-century cross slab grave cover which was
converted into a semi-effigial slab in the late
thirteenth or early fourteenth century. This paper
explores the motivations behind the initial creation and
later re-use of this slab, and suggest that both actions
may have formed part of attempts to manipulate social
status.
Sally Badham, The de la More
Effigies at Northmoor (Oxfordshire) and Related
Monuments at Winterbourne (Gloucestershire).
This paper examines two groups of mid-fourteenth-century
monuments, comprising three military effigies and two
associated ladies, at Northmoor (Oxfordshire) and
Winterbourne(Gloucestershire).The armour shown on the
three military figures is unusual but virtually
identical, and all five monuments are evidently from the
same workshop.Yet petrologic analysis shows that the
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stylistic group transcends the
material employed. The effigies appear to be the work of
a single group of well-trained sculptors who came to the
church site to work, using locally available stone
rather than carving the figures at a central urban
workshop before transporting them to Northmoor and
Winterbourne.
Douglas Brine, The Indulgenced Memorial
Tablet of Jean de Libourc (d 1470), Canon of Saint-Omer.
Canon Jean de Libourc (d. 1470) had a sculptured relief
memorial tablet installed above his grave in the
collegiate church of Saint-Omer (France) which featured,
unusually, the image of the Mass of St Gregory and an
accompanying inscription detailing a substantial
indulgence that was available to its viewers. The
tablet, recently attributed to the sculptor Jean Martin,
can be shown to have been based on an extant
contemporary Mass of St Gregory woodcut. This essay
assesses the reasons for the choice of imagery of
Libourc's memorial, the significance of its original
physical setting, and the effectiveness of the
strategies it employs to attract the prayers of the
living for the canon.
Sophie Oosterwijk, 'For No Man Mai
Fro Dethes Stroke Flee': Death and Danse Macabre
iconography in memorial art.
The personified figure of Death occurs frequently on
tomb monuments from the fifteenth century onwards: a
famous late example is Louis-François Roubiliac's
dramatic monument in Westminster Abbey, which shows Lady
Elizabeth Nightingale (d. 1731) being assailed by Death.
The aggressive personification of Death is very
different from the recumbent cadaver figures found on
transi tombs from the late fourteenth century on,
although both types may engage in a dialogue with the
living. In some cases, the image of Death confronting
and even attacking the living was directly inspired by
the danse macabre, in which metaphors about dialogue,
dance and violence are curiously mixed. Evidence from
commemorative art thus helps us reassess the importance
of this medieval theme even after the Reformation. This
essay furthermore aims to show how prints may have
influenced tomb design and how patrons chose not only
tomb monuments to be remembered by, but also other forms
of memorial.
Jean Wilson & E J Kenney, The Monument to
Gerard Legh (d 1563) in St Dunstan-in-the-West, Fleet
Street, London.
The monument to Gerard Legh (d 1563) in St
Dunstan-in-the-West is sophisticated in both its visual
design and in its Latin inscription in the form of a
dialogue between a Citizen of London and a Stranger. The
artistic design has a bearing on Legh's life. The high
quality of the monument, together with Legh's family
connections and those of his friend Richard Argall,
makes it possible that Argall commissioned the monument
from the Cure atelier.
Dane Munro, St John's Conventual Church in
Valletta, Malta: the Dynamism of a Church Floor.
The floor of St John's Co-Cathedral in Valletta, Malta,
is in many ways exceptional. The quality and quantity of
its polychrome marble intarsia sepulchral slabs deserve
our attention as much as the remarkable story of the
floor's survival and revival. Its culture of memory,
initiated by the Order of St John during its stay on the
island, has been preserved and nurtured. The floor and
its commemorative character have thus become an integral
part of Malta's heritage.
Clive Easter, New Attributions and
the Identification of Some Lost Monuments.
Of the surviving early-eighteenth-century monuments in
Devon and Cornwall only a small number can be associated
either directly or indirectly with an identifiable
artist. According to Rupert Gunnis, John Weston was one
of the most remarkable of the provincial statuaries
working at that time; he was certainly the foremost
monument maker in the region. A preliminary article,
recording the known documentary evidence of Weston's
life and focusing on his Last Judgement panels, was
published in Church Monuments, X (1995) . The paper
presented here argues that a number of other monuments
should be attributed to Weston, including an important
example that has received little previous attention. Due
to the lack of documentary evidence, the attribution to
Weston of previously monuments must be based on
stylistic comparisons with his signed or otherwise
attributed works. This paper also discusses a number of
lost monuments that, from the descriptions or surviving
fragments , can be identified as Weston products.
Paul Cockerham Review Article:
Phillip Lindley, Tomb Destruction
and Scholarship - Medieval Monuments in Early Modern
England. 3
Book Reviews
Christopher Starr, Medieval
Mercenary, Sir John Hawkwood of Essex
Steffen Krämer,
Herrschaftliche Grablege und Iokaler Heiligenkult.
Architektur des Englischen Decorated Style
Margaret Scott, Medieval Dress
and Fashion
Susie Nash, with
contributions by Till-Holger Borchert
and Jim Harris, 'No Equal in Any Land'
André Beauneveu, Artist to the Courts of France and
Flanders.
Mathew Davies & Andrew Prescott
(eds) London and the Kingdom. Essays in Honour
of Caroline M Barron.
Richard Marks (ed)
Late Gothic England: Art and Display
Roberta Panzanelli with
Eike
Schmidt
and
Kenneth Lapatin
(eds), The Color of Life: Polychromy in
Sculpture from Antiquity to the Present Day
Peter Sherlock, Monuments and
Memory in Early Modern England.
K Finch and N Tyacke, Altars
Restored: the Changing Face of English Religious Worship
1547-c. 1700.
Wannabe Rickets, The English
Country House Chapel. Building a Protestant Tradition.
J P G Taylor, A Fair Gate to Oblivion, A Celebration of
the English Epitaph.
Mathew Craske, The Silent
Rhetoric of the Body: a History of Monumental Sculpture
and Commemorative Art in England 1720-1770.
Robert Dunning (ed),
Somerset Churches & Chapels: Building, Repair and
Restoration.
Margaret Pullan, The Monuments of the Parish Church of
St Peter-at-Leeds.
Toria Forsyth-Moser (ed), So Who Do You Think They Were? The Memorials of
Ripon Cathedral.
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CHURCH MONUMENTS VOLUME XXIV
2009 |
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Julian M. Luxford,
Tombs as forensic evidence in medieval England.
This article presents examples of the use of tombs
as legal evidence (actual or potential) in medieval
England. Clearly, not all tombs served or were designed
to serve forensic functions, but the examples presented
here suggest that the phenomenon was more pervasive than
is currently acknowledged. The focus is on historical
rather than literary evidence: the canonisation
proceedings, laws devised with reference to tombs, and
the use of tombs in later medieval property and
privilege disputes and court of chivalry proceedings are
all considered, along with the small quantity of
surviving monumental and artistic evidence known to the
author. The primary intention is to widen the frames of
reference according to which the function of tombs can
be considered.
Hadrien Kockerols, Defensor fidei:
the iconography of the knight with a drawn sword on
twelfth- and thirteenth- century monuments of the low
countries.
Twelfth- and thirteenth-century tomb monuments in
the Low Countries demonstrate a particular type of tomb
iconography; viz: that of a knight brandishing a drawn
sword. |
This
imagery contrasts with the more conventional effigy,
depicted in an attitude of prayer, which can be seen on
non-military monuments, especially those of women. This
type of representation seems to be specific to the
region, although it is popularity had waned by the end
of the thirteenth century. The present study
concentrates on the iconography of tomb monuments in the
Low Countries, although examples will be quoted from
further afield.
Elizabeth Freeman, The tomb as a
political narrative at the turn of the fourteenth
century: reassessing the funerary monument and statue of
Berardo Maggi, bishop of Brescia (d. 1308).
The funerary monument of Berardo Maggi, Bishop of
Brescia, has been unjustly neglected in the discussions
of medieval tomb sculpture. Yet there is no other
contemporary Italian episcopal tomb to rival its
sophistication and complexity. Although the theme of
exequies belongs to standard iconography, the imagery of
oath-swearing, also represented here , is innovative
within the context of Italian episcopal tomb sculpture.
Furthermore, while this monument has occasionally been
cited alongside a fresco in the Broletto in Brescia,
little has been made - despite its analogous iconography
- of a statue of Bishop Maggi, erected in recognition of
his services to the local Augustinian community, which
now stands in Brescia's Santa Giulia museum. Examination
of the tomb and the statue, which are here juxtaposed
for the first time, provides an insight into Maggi; a
prelate esteemed in his own lifetime and beyond for the
historically significant role as peace negotiator that
he played in hid feud-riven native city.
Rhianydd Biebrach, 'Our
ancient blood and our kings': two
early-sixteenth-century heraldic tombs in Llandaff
Cathedral, Wales.
Owing to the under-representation of medieval Welsh
funerary monuments in the standard works on the subject,
we have little general appreciation of the monuments
themselves or their place in the wider British artistic
and cultural context of the Middle Ages. This essay
seeks to remind the reader on this imbalance by
exploring two pre-Reformation Tudor monuments to the
Matthew family in Llandaff Cathedral, Cardiff. While
superficially very similar, the monuments in fact
project two quite different visions of the family via
their locations in the church and, most importantly, the
heraldry on the tomb chests. The latter concern raises
the question of whether it is possible to identify a
specific type of 'Welsh tomb' in the late Middle Ages
and early Tudor period.
Sally Badham, A painted canvas funerary
monument of 1615 in the collections of the Society of
Antiquaries of London and its comparators.
A painting in the collection of the Society of
Antiquaries of London, which has formerly been regarded
as a memento mori, is shown here to be a funerary
monument painted on canvas. There are few other extant
examples on canvas, but similar compositions to the
Antiquaries' painting can be found painted on stone and
wood panels and even painted directly onto plaster on
the walls of churches. Few are similarly portable in
character, however, which suggests that the Antiquaries'
painting may have been commissioned for a reason other
than as a permanent church fixture and that it may even
have functioned in a broader commemorative capacity.
Atis V. Antonovics, The tomb of
Lady Frances Waldegrave at Chewton Mendip (Somerset):
new documentation on a late-Victorian sculptural
commission.
The extant diaries of Lord Carlingford, forth
husband of Frances Waldegrave (1821-79), which are held
in the British Library, throw fresh light on the
memorial chapel and tomb portrait in the parish church
at Chewton Mendip (Somerset). They enable us to chart
the detailed sequence of the negotiations between
sculptor and patron, as well as the providers of the
stained-glass window and metal grave enclosure. At the
same time a parallel commemorative tablet was ordered
for the church at Navestock (Essex). Contemporary
reactions to the monuments are also recorded.
Cameron B. Newhan, Towards an
inventory of church monuments in England.
The vast majority of the tens of thousands of
monuments in English churches are undocumented and
unrecorded. For the past twelve years a project that is
photographically recording the majority of pre-1900
churches in England has been addressing this deficiency.
The project had already completed over half the rural
churches in the country and as part of the process has
photographed a large number of monuments ranging from
obscure brass inscription plates through to large,
well-known displays by the greatest sculptors. The
resulting photographic archive will form the basis for a
database which will allow searches to be made on the
building and their fittings. The database will include
many aspects of church monuments including type, design
features and the people associated with them.
Book Reviews
Nigel Saul, English church
monuments in the middle ages: history and representation.
Sally Badham and Geoff Blacker,
Northern rock: the use of Egglestone marble for
monuments in medieval England.
Eva Leistenschneider, Die
französische Königsgrablege
Saint-Denis. Strategien monarchischer Repräsentation
(1223-1461).
Antje Fehrmann, Grab und Krone.
Königsgrabmäler im mittelalterlichen England und die
posthume Selbstdarstellung der Lancaster.
Simon Roffey,
Chantry chapels and medieval strategies for
the afterlife.
Danielle Westerhof, Death and
the noble body in medieval England.
John McNeill (ed.), King's
Lynn and the Fens: medieval art, architecture and
archaeology.
Steven Gunn and Linda Monckton (eds),
Arthur Tudor, Prince of Wales. Life, death
& commemoration.
Scott L. Newstok, Quoting
death in early modern England: the poetics of epitaphs
beyond the tomb.
Oliver Meys, Memoria und
Bekenntnis. Die Grabdenkmäler evangelischer Landesherren
in Heiligen Römischen Reich Deutscher Nation im
Zeitalter der Konfessionalisierung.
Simon Marsden, Memento mori:
churches and churchyards of England.
David Meara, Modern memorial
brasses.
Sally Badham with photography and
illustrations by Martin Stuchfield,
Monumental brasses. |
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CHURCH MONUMENTS VOLUME XXV 2010 |
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Oliver D. Harris
'Une tresriche sepulture' The tomb and chantry of
John of Gaunt and Blanche of Lancaster in Old St Paul's
Cathedral, London
This paper examines the history and design of the
lost tomb and chantry chapel of John of Gaunt (d. 1399)
and his first wife Blanche of Lancaster (d. 1368) in St
Paul's Cathedral, London. The tomb was erected between
1374 and 1380 to the design of Henry Yevele, and the
separate chapel added between 1399 and 1403. Both were
destroyed in or shortly before 1666, but they are
documented in records relating to their commissioning,
construction and devotional setting, and in a succession
of antiquarian notices of the sixteenth and seventeenth
centuries. A feature of the two effigies was that they
were portrayed joining hands: the monument's place in
the dissemination of this pose and theories of its
meaning are considered in an appendix.
Christian Steer 'better in
rememberance' Medieval commemoration at the Crutched
Friars, London |
This essay is
intended to fill a gap in the study of medieval church
monuments in the city of London and in particular those
from a former religious house, the Crutched Friars. The
foundation of this house, and its appeal to particular
social groups, will be discussed and compared with the
foundation of the other four orders of friars in the
city. Comparisons will be made to examine how, and why,
the Crutched Friars appealed to Londoners and
non-Londoners, and why they wanted to be buried and
commemorated there. The popularity of this convent as a
place of burial is also discussed, particularly the
years leading up to its dissolution in 1538. Written
records and testamentary instructions will be used to
discussed the types of monuments that were requested and
eventually commissioned. From these, suggestions are
made on how the 'commemorative landscape' at the
Crutched Friars may have looked and how the deceased,
their families and executors influenced this. This
'landscape' is also reflected in the decisions made to
exhume a number of the dead from the Crutched Friars and
removal of their monuments.
Mark Duffy Two fifteenth-century
effigies in Burghfield church and the Montagu mausoleum
at Bisham (Berkshire)
Bisham Priory (Berkshire) was one of many English
aristocratic mausolea destroyed after the Dissolution.
At its height it housed the remains of seven earls, six
countesses and a marquis; the males were almost without
exception leading political and military figures, most
notably Richard Neville, earl of Warwick, 'The
Kingmaker'. Examination of the effigies of Richard
Neville, earl of Salisbury (d. 1460) and an unidentified
female aristocrat in Burghfield church (Berkshire)
is the starting-point for a reconstruction of the
mausoleum and its monuments; a task made possible by an
exceptional number of contemporary monuments, including
two of the handful of surviving English medieval tomb
contracts and an image of the church. The concluding
impression is of a mausoleum which must have rivalled
the finest in England outside London, and in which at
least two monuments appear to have had almost regal
aspects.
Kelcey Wilson-Lee Dynasty and
strategies of commemoration: knightly families in
late-medieval and early modern Derbyshire, part 1
An unusually complete mausoleum of late-medieval and
early modern monuments to members of the Cokayne family
survives at Ashbourne (Derbyshire). This article
examines those monuments and supplementary commemorative
features such as stained glass, alongside documentary
sources related to the family, to demonstrate how
successive generations of Cokaynes constructed an
elaborate advertisement of dynastic authority within the
public sphere of the parish church. While the prestige
associated with individual monuments varied according to
the situation of the family, the consistent pattern of
burial location and the creation of posthumous monuments
suggest a conscious association between public
perception of dynastic stability and cohesive sepulchral
programmes.
Katharine Eustace Before of after?
A model of the monument to Mary Thornhurst (1549-1609)
in St Michael's Chapel, Canterbury Cathedral
The recent appearance on the London art market of a
small model of an early-seventeenth-century church
monument has raised considerable interest. The model,
identified by the present author as related to one of
the group of Thornhurst monuments in Canterbury
Cathedral, is a rare survival. If it was made for the
patron or client in the process of commission, and dates
from the time of the commission, c. 1609-16, it is an
extraordinary and - as far as is known - unique
survival, and adds a piece to the jigsaw of what we know
of the practice of seventeenth-century sculpture. If, as
is also possible, it is a model made subsequent to the
commissioning and erection of the monument, it remains
unique and of antiquarian and socio-historical interest.
This article addresses the many questions raised by this
curious object and considers the motives in its making.
Jon Bayliss 'What stronger circle
can Art-magick find?' Thomas Skippe, the
seventeenth-century Skippe monuments at North Tuddenham
(Norfolk), and Thomas Heywood
The identity of a bust of a man enclosed in a circle of
books on a mural monument in North Tuddenham (Norfolk)
with only a verse epitaph as an inscription has long
been obscure. However, Thomas Heywood's publication of
the same verse epitaph in 1637 reveals that it is to
Thomas Skippe. Reasons for the failure to identify the
monument earlier are discussed below. Before his early
death, Skippe had provided monuments to his daughter
Frances and to his first wife Katharine, and probably a
tomb chest over the family vault. Reasons for not
attributing Thomas and Katharine Skippe's monument to
Heywood's collaborators of the 1630's - the Christmas
family of sculptors - are examined. Thomas Heywood also
provided a verse epitaph for Katharine Skippe, but it
was not used on her mural monument although the verse
that was substituted for it is evidently also from his
hand. The latter relates not only to an elegy on Mary
Littleboyes and an epitaph for an unnamed young woman,
both by Heywood, but also to the verse epitaph on the
brass to Alice Bateman at Kendal. However, the Bateman
epitaph additionally includes adaptations of verse by
other contemporary poets.
Clare Walcot 'Time ennobles, or
degrades each Line' Monuments to James Craggs, father
and son, c.1721-27
This article addresses one well-known
early-eighteenth-century monument in conjunction with
another related family commemorative commission, in
order to explore what they reveal about the management
of posthumous reputations in the period. It focuses on
the circumstances surrounding the production of the
monument to James Craggs in Westminster Abbey, and
considers it in to the commemoration of his father in
the parish church of St Luke's, Charlton (Kent).
Although both men died within weeks of each other in
1721 while under intense government scrutiny for their
involvement in the South Sea Scheme, attempts to secure
their lasting posterity were entirely different. In
contrast to the modest memorial to Craggs Snr in St
Luke's churchyard, which was placed among other family
monuments sited there, the commemoration of his son was
a grand public statement invested in by many
individuals, not the least the poet Alexander Pope.
Sarah Burnage A 'mere massy
monument' The contested monument to John Howard
(1786-96) at St Paul's Cathedral, London
This essay explores the anxiety and controversy which
surrounded the commissioning of the monument to the
famed philanthropist and prison reformer John Howard
(1726-90). It was hoped that the monument, which had
been awarded a prime location under the dome of St
Paul's Cathedral, would stand for generations as a
testament to Howard's heroic charitable deeds. John
Bacon Snr R.A. had secured the important and lucrative
commission in 1791 and accordingly designed a monument
which eloquently articulated Howard's philanthropic
character. However, this emotive and seemingly innocuous
design received heavy criticism from contemporaries and
quickly became entangled in a series of long running
debates regarding the legislative reach of the Royal
Academy, the aesthetic of sculptural decorum and the
politicisation of monumental art.
John Richards Review Article:
Ettore Napione, Le arche Scaligere
di Verona
Jean Wilson Review Article:
Ingrid Roscoe, Emma Hardy and M. G. Sullivan,
A biographical dictionary of sculptors in Britain
1660-1851
Book Reviews
Sally Badham and Sophie Oosterwijk (eds),
Monumental industry: the production of tomb
monuments in England and Wales in the long fourteenth
century
Kathleen Nolan, Queens in stone and
silver: the creation of a visual imagery of queenship in
Capetian France
Paul Binski and Ann Massing (eds) with Maries
Louise Sauerberg, The Westminster Retable:
history, technique, conservation.
Hadrien Kockerols, Les gisants du
Brabant Wallon
Mark Downing, Medieval
military monuments in Lincolnshire
Peter Coss, The foundations of
gentry life. The Multons of Frampton and their world
1270-1370
Julia Boffey and Virginia Davis (eds),
Recording medieval lives
Sophie Jugie, The mourners, Tomb
scuptures from the court of Burgundy
Françoise Baron, Sophie Jugie and
Benoî Lafay, Les tombeaux des ducs de Burgogne.
Création, destruction , restauration.
Inga Brinkmann, Grabdenkmäler,
Grablegen und Begräbniswesen des lutherischen Adels
Mark Girouard, Elizabethan
architecture. Its rise and fall 1540-1640
Karen Hearn and Lynn Hulse (eds),
Lady Anne Clifford: culture, patronage and gender in the
seventeenth-century Britain
A. V. Grimstone, Building Pembroke
Chapel: Wren, Pearce and Scott
Erika Naginski, Sculpture and the
Enlightenment
G. Thomson, Inscribed in
remembrance. Gravemarker lettering: form, function and
recording
Obituary Claude Blair CVO OBE MA
LittD FSA (1922-2010)
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