Church Monuments Society
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THE JOURNAL of the CHURCH MONUMENTS SOCIETY
The latest journal, vol. 31 for 2016, is now out.
Members should have received their copies but there has been a hiccup with distribution. If your copy has not arrived, please contact the Editor (email address at http://www.churchmonumentssociety.org/councilmemberscontactdetails.html).
Volume 31 is another bumper number, 272 pages, with plenty of colour illustrations and a redesigned cover.
Abstracts of articles:
The rise to popularity of alabaster for memorialisation in England
Of the 339 known and recorded alabaster effigies in England and Wales belonging to the
period to 1500, only thirty-
from before c. 1370.1 We have undoubtedly lost many more examples which were set up in
monastic and friary churches and were subsequently destroyed during the serial monastic
Dissolutions. Nonetheless, much can be learnt about the early patronage of this material for
monuments from an examination of those individuals memorialised by surviving effigies,
together with a handful of other figures recorded in wills or antiquarian sources. Royalty
and churchmen were the first to see the attractions of this material. Most of the magnates
and knights who emulated them were veterans of the Crécy/Calais campaign.
The tabulae: Ephemeral epigraphy in the surroundings of medieval tombs
SONSOLES GARCÍA GONZÁLEZ
One of the most important aspects of the study of church monuments is epigraphy, including much lost as well as surviving material. Epitaphs provide information about the identity of the deceased, their family, the date of death and, occasionally, they include personalised aspects of devotion. A considerable body of medieval epigraphy has been lost, due to renovations within buildings, the expropriation of the church, wars, and liturgical reforms. Furthermore, there is one type of epigraphy which has been almost forgotten: the tabulae or tablets, that is, epitaphs written on vellum or paper and fixed to boards and wooden structures which were placed in close proximity to certain tombs. This kind of epigraphy, scarcely preserved, is known nowadays chiefly through the texts of early historians and chroniclers of monasteries and cathedrals. While recent work on English sites has begun to consider such material, elsewhere, as is the case in Spain, these inscriptions remain largely unnoticed. This article, therefore, attempts to understand and contextualise the existence of the Iberian tabulae as they relate to similar examples in England and France.
Winner of the CMS Essay Prize Competition 2016
Tombstones are rarely signed by their maker yet this practice was apparently not so
uncommon in the northern Dutch province of Friesland. One sculptor who often signed his
work was Vincent Lucas, who was active in the mid sixteenth century. Curiously, one of his
tombstones in Franeker which commemorates Gerardus Agricola is signed 1555, whereas
Agricola died in 1598, an unusual discrepancy of forty-
local archives can help explain. This article will discuss the commemorative output of Lucas
and his teacher Benedictus Gerbrandts, along with workshop practices, from producing
monuments ‘on spec’ and custom-
lifetime, to re-
Two contrasting seventeenth-
JAMES STEVENS CURL
This paper describes two little-
Painted remembrance: The drawings and paintings of the Dutch seventeenth-
SOPHIE OOSTERWIJK with ALICE ZAMBONI
This article discusses quintessentially personal expressions of commemoration, viz.
in painting and poetry, thereby offering a more nuanced notion of remembrance than
is implied by the conventional narrow scholarly focus on funerary monuments. The
collection of poems and drawings by the Dutch seventeenth-
‘Defunctus adhoc loquitur’. The monument to Archbishop Isaak Isakowicz in the Armenian Cathedral in Lvov
The mural monument to Archbishop Isakowicz (1824–1901) is one of three surviving
figurative memorials in the medieval cathedral of Lvov and was erected in 1905, during
a period when both the Armenian cathedral and the Armenian community of the city
were undergoing major transformations aimed at re-
Humphrey Llwyd of Denbigh: A musical monument
ANTHONY J. PARKINSON
The hitherto unidentified musical ‘epytaph’ of Humphrey Llwyd of Denbigh (d. 1568)
has been shown to be a psalm-
At 240 pages it is the largest volume to date and also contains the longest article in its history, viz. an overview paper of medieval monuments in precious metal (copper alloy or 'bronze', Limoges enamel, silver and gilt) across Europe.
The list of contents is as follows:
Probably the most prestigious monuments produced in the Middle Ages were those constructed
In order to resolve a number of apparent incongruities, this paper explores the exequies
and funerary monument of Edward the Black Prince (1330-
The viewer of early modern funerary monuments is expected to read a series of texts, some visual, some literary and some symbolic, which are interdependent and together make up the whole of the monumental commemoration. This paper examines the verbal element of these monuments and shows how the incorporation of text into the design means that it itself becomes part of the viewer/reader's visual experience of the memorial.
This essay focuses on the sculptor Giusto Le Court and four funerary monuments he
worked on in seventeenth-
This article relates Edward Onslow Ford’s monument to Percy Bysshe Shelley (1893)
to David d’Angers’s sculpture Le Jeune Barra (1838), arguing that biographic and
artistic affinities between the subjects and sculptors form the basis for a re-