Pub Date : 2023-08-21DOI: 10.1080/00681288.2023.2236458
S. Harrison, John Phillips
Drawing on close archaeological examination, a study of masons’ marks and especially new dendrochronological data, this article defends and develops Christopher Norton’s argument, published in 2009, that Gothic construction at Beverley Minster commenced soon after a well-documented fire in 1188. This dating was widely accepted until the 1860s, but since then there has been widespread consensus amongst scholars that Gothic construction at Beverley began no earlier than 1220. This radical re-dating disassociates Beverley with Lincoln Cathedral, and instead locates its design in relation to early Gothic construction at the abbeys of Fountains, Byland and Jervaulx, together with a wider group of ‘northern’ Gothic churches. New documentary and dendrochronological evidence also provide a more secure dating for Beverley’s 14th-century nave.
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Pub Date : 2023-08-17DOI: 10.1080/00681288.2023.2234762
Giosuè Fabiano
sites like Thorney Abbey and Bromholm Priory, which housed relics brought ‘home’ from the Holy Land (p. 162). Some of the range of ‘Objects in Focus’ made more sense in the exhibition than in the book—little, for example, can be gleaned from an architectural fragment with a griffin, perhaps originating from V ezelay. Chosen because of its resemblance to textiles, the fragment provided welcome visual context among the other objects in the exhibition space, while the connection seems somewhat tenuous in the text. Perhaps one of the best and most illustrative ‘Objects in Focus’ essays is that on the Morgan Picture Bible, collaboratively written by eight students from Boston College. Here, the authors choose to highlight the long life of this familiar object, focusing on diplomacy between Safavid Iran and Europe through the book’s role as a diplomatic gift. The Persian glosses that surround the original text and illuminations are explained, and the visual appeal of the manuscript to the Safavids is discussed in relation to their own image traditions. This volume is lavishly illustrated, with plentiful full-page colour images. The text and images are very carefully laid out, and it is seldom necessary to turn more than one page to locate the object being cited—by no means a given, especially with such numerous images. Thoughtful linking statements occur throughout to connect essays and objects with other related themes. Considering the inclusion of objects spanning at least three continents, a map, or series of maps, to orient readers would have been a welcome addition. This catalogue forms a worthy adjunct to the Bringing the Holy Land Home exhibition at Holy Cross, but holds up on its own as a useful and thought-provoking volume. Specialists will appreciate the focus on the visual impact of the Crusades on medieval England; the short, accessible essays are also excellent candidates to form the backbone of undergraduate reading lists on the topic. Finally, this is a testament to Luyster’s efforts in gathering a truly admirable group of authors from all phases in their careers and education; most impressive are the ‘Objects in Focus’ written by individual and groups of undergraduates, which are as well researched and clearly written as the specialist contributions.
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Pub Date : 2023-08-16DOI: 10.1080/00681288.2023.2234736
M. Henig
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Pub Date : 2023-08-15DOI: 10.1080/00681288.2023.2234744
Nigel Saul
Since the great fire in the late Queen’s annus horribilis of 1992, Windsor Castle has become the most thoroughly investigated royal residence in England. In the Upper Ward, where the fire started, the destruction of so much of Sir Jeffry Wyatville’s early-19th-century work in the state apartments made possible, for the first time, the systematic investigation of Edward III’s extensive rebuilding of 500 years earlier, which made Windsor the grandest royal residence of its day. In more recent times, since the ending of works in the Upper Ward, the spotlight has turned to its lower counterpart, where the need for urgent refurbishment of the canons’ cloister created the opportunity for comparable analysis of the accommodation of the canons and vicars attached to Edward’s new college of St George. For over a decade John Crook, the consultant archaeologist to the dean and canons, enjoyed unrivalled access to the buildings as plaster was stripped, roof tiles removed and floorboards pulled up; and it is the fruits of his meticulous recording which are the subject of this comprehensive and beautifully illustrated study, which offers significant revisions to Sir William St John Hope’s account in his monumental history of the castle over a century ago. The significance of the canons’ cloister can easily be overlooked when so much of the original 14th-century fabric has been overlain with later additions and accretions. Yet, this unassuming-looking block of buildings not only constitutes the earliest surviving timber-framed collegiate accommodation in England; remarkably, its construction is also documented in what is perhaps the fullest surviving set of medieval fabric accounts. The space occupied by the cloister is a small and awkwardly shaped one, squashed between the dean’s cloister and warden’s quarters immediately to the south, and the castle’s curtain wall to the north, resulting in a strangely elongated garth, much narrower north–south than east–west. Around this space are grouped dwellings which originally accommodated both canons and vicars, each house occupying a bay, and each one comprising two storeys with a single room upstairs and downstairs, with the upstairs room both rising to the roof and oversailing the cloister walkway. A useful cut-away artist’s reconstruction by Stephen Conlin (fig. 3.41) gives an idea of the dwellings’ likely appearance when completed. Among the most fascinating of the recent findings has been the clear evidence that in the first-floor room, which constituted the main living room of the house, fireplaces were provided, each with a wooden smoke hood above and a plaster-lined flue carrying the smoke up to the chimney. It had earlier been supposed that heating had been provided only by flues inserted into the stone walls immediately to the north and south. The use of such a fireplace in a timber-framed building obviously constituted a major incendiary hazard, but there is no evidence that any of
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Pub Date : 2023-08-15DOI: 10.1080/00681288.2023.2234747
L. Milner
recent study has shown, by the packing between the rafters of straw daub, small patches of which have survived. Among the wealth of original fittings that have been uncovered are areas of tiled floor (the purchase of Penn tiles is documented in the accounts), plaster facing on the walls and, most remarkably of all, rich polychromatic decoration in at least a few rooms. In the house which occupied bay three, on one wall between the studs there were stylized trees on mounds, and on the wall opposite fictive studs to which were attached alternating paper quatrefoils and cinquefoils. Crook speculates that this may well be the earliest paper decoration in England and, perhaps, the earliest occurrence of paper put to any use at all. From an archaeological point of view, the most invaluable findings in the book are those relating to the 14th century. For the reader, however, one of the book’s major strengths is the way that it carries the story down to the present day. In the 15th century, as the author shows, overcrowding in the cloister was eased by the provision of completely new accommodation for the vicars further down the Lower Ward in the present-day Horseshoe Cloister, allowing the canons to double-up the houses and give themselves more space. With the arrival of married clergy in the 16th century, yet more space was needed again, and additions were made to the houses, either upwards through the construction of new floors, or even, in some cases, sideways, by punching out extensions into the cloister garth, producing the characteristic higgledy-piggledy appearance we appreciate today. As more information about the occupants becomes available from the 17th century, so the wealth of enjoyable anecdotage increases. We learn, for example, of Dr Keate, the headmaster of Eton— known as ‘Flogger Keate’ for having flogged no fewer than eighty of his pupils in one day—who, having constructed a watch-tower on the roof of his house, then needed also to construct a speaking-tube, to communicate with his servants four storeys below. In recent times the process of constant adaptation of the houses has continued, as the enlargements needed to accommodate large families have been replaced by sub-divisions to create flats for lay clerks, vergers and other staff. What Crook has given us here is a major work of record, an authoritative account of the canons’ cloister which will be the point of departure for all future discussions of the architectural history of the jumble of buildings to the north of St George’s Chapel. What is lacking, however, is any attempt to place the cloisters’ timber-framed construction in the wider context of developments in claustral architecture in the 14th century, or to assess the possible influence of the Windsor model on the numerous late 14th-century collegiate foundations that were to follow in its wake. The author’s exemplary study poses many questions for future research. It is to his credit, however, that he has given us a firm
{"title":"Treasure, Memory, Nature: Church Objects in the Middle Ages","authors":"L. Milner","doi":"10.1080/00681288.2023.2234747","DOIUrl":"https://doi.org/10.1080/00681288.2023.2234747","url":null,"abstract":"recent study has shown, by the packing between the rafters of straw daub, small patches of which have survived. Among the wealth of original fittings that have been uncovered are areas of tiled floor (the purchase of Penn tiles is documented in the accounts), plaster facing on the walls and, most remarkably of all, rich polychromatic decoration in at least a few rooms. In the house which occupied bay three, on one wall between the studs there were stylized trees on mounds, and on the wall opposite fictive studs to which were attached alternating paper quatrefoils and cinquefoils. Crook speculates that this may well be the earliest paper decoration in England and, perhaps, the earliest occurrence of paper put to any use at all. From an archaeological point of view, the most invaluable findings in the book are those relating to the 14th century. For the reader, however, one of the book’s major strengths is the way that it carries the story down to the present day. In the 15th century, as the author shows, overcrowding in the cloister was eased by the provision of completely new accommodation for the vicars further down the Lower Ward in the present-day Horseshoe Cloister, allowing the canons to double-up the houses and give themselves more space. With the arrival of married clergy in the 16th century, yet more space was needed again, and additions were made to the houses, either upwards through the construction of new floors, or even, in some cases, sideways, by punching out extensions into the cloister garth, producing the characteristic higgledy-piggledy appearance we appreciate today. As more information about the occupants becomes available from the 17th century, so the wealth of enjoyable anecdotage increases. We learn, for example, of Dr Keate, the headmaster of Eton— known as ‘Flogger Keate’ for having flogged no fewer than eighty of his pupils in one day—who, having constructed a watch-tower on the roof of his house, then needed also to construct a speaking-tube, to communicate with his servants four storeys below. In recent times the process of constant adaptation of the houses has continued, as the enlargements needed to accommodate large families have been replaced by sub-divisions to create flats for lay clerks, vergers and other staff. What Crook has given us here is a major work of record, an authoritative account of the canons’ cloister which will be the point of departure for all future discussions of the architectural history of the jumble of buildings to the north of St George’s Chapel. What is lacking, however, is any attempt to place the cloisters’ timber-framed construction in the wider context of developments in claustral architecture in the 14th century, or to assess the possible influence of the Windsor model on the numerous late 14th-century collegiate foundations that were to follow in its wake. The author’s exemplary study poses many questions for future research. It is to his credit, however, that he has given us a firm ","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"176 1","pages":"333 - 335"},"PeriodicalIF":0.5,"publicationDate":"2023-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48810275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-11DOI: 10.1080/00681288.2023.2234743
P. Díaz
1. See also V. Ivanovici, G. Herea and A. I. Sullivan, ‘Space, Image, Light: Toward an Understanding of Moldavian Architecture in the Fifteenth Century’, Gesta, 60 (2021), 81–100, with useful diagrams and a more extensive bibliography. 2. S. C. McCluskey, ‘Analyzing Light-and-Shadow Interactions’, in Handbook of Archaeoastronomy and Ethnoastronomy, ed. C. L. N. Ruggles (New York 2015), 434. 3. For this approach, see B. Pentcheva, ‘Glittering Eyes: Animation in the Byzantine Eik on and the Western Imago’, Codex Aqvilarensis, 32 (2016), 209–36.
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Pub Date : 2023-08-11DOI: 10.1080/00681288.2023.2234742
Meg Bernstein
book, focus on effigial monuments of the 11th and early 12th centuries, organized according to the type of person commemorated. So, chapter 2 deals with monarchs (‘Rulers’), chapter 3 with secular aristocrats (‘Patrons’) and chapter 4 with religious women (‘Canonesses’). Each chapter focuses on detailed case studies of three or four monuments, often with one memorial foregrounded (Rudolph of Swabia, the Nellenburg effigies at Schaffhausen and the Quedlinburg abbesses) and the other examples used to elaborate, nuance or extend arguments first arising from its interpretation. Chapter 5 (‘Proliferation’) acts as a kind of epilogue, exploring the rising popularity of funerary effigies across western Europe in the second half of the 12th century. Although memorials from modern-day France, England and the Netherlands are discussed, the core examples that Fozi considers are from modern-day Germany and Switzerland. Romanesque Effigies is an important and innovative book that brings obscure memorials to light, as well as proposing persuasive new interpretations of betterknown effigies. It offers the first overarching history of Romanesque tomb sculpture, taking these monuments seriously on their own historical terms rather than collapsing them into broader teleological narratives, and paying close attention to the fine-grained details of their design and inscriptions. More broadly, Fozi presents an inspirational masterclass in navigating an issue that vexes almost every account of medieval art: how to deal with the gaps in the documentary and material record, especially the absence of any fixed coordinates regarding dating or patronage, without getting mired in the minutiae of these problems. Fozi manages to stay ever-alert to the unknowable, while, at the same time, not shying away from posing broader and more ambitious questions. In doing so, she reminds us of the power and primacy of the surviving object as historical witness.
{"title":"Bringing the Holy Land Home: The Crusades, Chertsey Abbey, and the Reconstruction of a Medieval Masterpiece","authors":"Meg Bernstein","doi":"10.1080/00681288.2023.2234742","DOIUrl":"https://doi.org/10.1080/00681288.2023.2234742","url":null,"abstract":"book, focus on effigial monuments of the 11th and early 12th centuries, organized according to the type of person commemorated. So, chapter 2 deals with monarchs (‘Rulers’), chapter 3 with secular aristocrats (‘Patrons’) and chapter 4 with religious women (‘Canonesses’). Each chapter focuses on detailed case studies of three or four monuments, often with one memorial foregrounded (Rudolph of Swabia, the Nellenburg effigies at Schaffhausen and the Quedlinburg abbesses) and the other examples used to elaborate, nuance or extend arguments first arising from its interpretation. Chapter 5 (‘Proliferation’) acts as a kind of epilogue, exploring the rising popularity of funerary effigies across western Europe in the second half of the 12th century. Although memorials from modern-day France, England and the Netherlands are discussed, the core examples that Fozi considers are from modern-day Germany and Switzerland. Romanesque Effigies is an important and innovative book that brings obscure memorials to light, as well as proposing persuasive new interpretations of betterknown effigies. It offers the first overarching history of Romanesque tomb sculpture, taking these monuments seriously on their own historical terms rather than collapsing them into broader teleological narratives, and paying close attention to the fine-grained details of their design and inscriptions. More broadly, Fozi presents an inspirational masterclass in navigating an issue that vexes almost every account of medieval art: how to deal with the gaps in the documentary and material record, especially the absence of any fixed coordinates regarding dating or patronage, without getting mired in the minutiae of these problems. Fozi manages to stay ever-alert to the unknowable, while, at the same time, not shying away from posing broader and more ambitious questions. In doing so, she reminds us of the power and primacy of the surviving object as historical witness.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"176 1","pages":"325 - 327"},"PeriodicalIF":0.5,"publicationDate":"2023-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42841764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-11DOI: 10.1080/00681288.2023.2234737
M. Vescovi
of the 4th century and especially the early years of the 5th, the military and civil administration was withdrawn. Unlike many smaller cities in the province, which were self-contained centres of civitates, in London there was no native gentry class living in villas clustered around the urban centre, so the city was more fully depopulated and, in consequence, its decline was more complete than elsewhere. Roman Britain can be viewed in two ways. In one interpretation, London is in every way Roman, and essentially exploitative, drawing in craftsmen from the Rhineland or from elsewhere in Britain (the Cotswolds in the case of sculpture). Local styles are not to be sought in the arts practised here. This view provides plenty of evidence for those who, like David Mattingly, take a ‘hard view’ of Britain’s place in the Roman Empire. However, as Perring so brilliantly shows, another interpretation is possible. London was different from anywhere else in southern Britain. As a provincial capital which remained without chartered status for years, it was an exception in the Empire as a whole. In marked contrast with Verulamium, let alone Silchester, Chichester and Winchester in the south, or Dorchester and Cirencester in the west, it did not have flourishing local cultures descended from pre-Roman tribal polities. It remained an artificial creation, and by its very nature it could never be a true part of the (only partly realized) Roman ideal of a benign commonwealth of self-governing cities and communities. It only remains to record that this book’s production is excellent in every way. With its list of excavated sites, full bibliography, excellent maps and indexes, the publication is a joy to read and to consult. Author and publisher deserve our profound thanks.
{"title":"Il Duomo di Modena. Studi e ricerche per un approccio interdisciplinare","authors":"M. Vescovi","doi":"10.1080/00681288.2023.2234737","DOIUrl":"https://doi.org/10.1080/00681288.2023.2234737","url":null,"abstract":"of the 4th century and especially the early years of the 5th, the military and civil administration was withdrawn. Unlike many smaller cities in the province, which were self-contained centres of civitates, in London there was no native gentry class living in villas clustered around the urban centre, so the city was more fully depopulated and, in consequence, its decline was more complete than elsewhere. Roman Britain can be viewed in two ways. In one interpretation, London is in every way Roman, and essentially exploitative, drawing in craftsmen from the Rhineland or from elsewhere in Britain (the Cotswolds in the case of sculpture). Local styles are not to be sought in the arts practised here. This view provides plenty of evidence for those who, like David Mattingly, take a ‘hard view’ of Britain’s place in the Roman Empire. However, as Perring so brilliantly shows, another interpretation is possible. London was different from anywhere else in southern Britain. As a provincial capital which remained without chartered status for years, it was an exception in the Empire as a whole. In marked contrast with Verulamium, let alone Silchester, Chichester and Winchester in the south, or Dorchester and Cirencester in the west, it did not have flourishing local cultures descended from pre-Roman tribal polities. It remained an artificial creation, and by its very nature it could never be a true part of the (only partly realized) Roman ideal of a benign commonwealth of self-governing cities and communities. It only remains to record that this book’s production is excellent in every way. With its list of excavated sites, full bibliography, excellent maps and indexes, the publication is a joy to read and to consult. Author and publisher deserve our profound thanks.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"176 1","pages":"319 - 321"},"PeriodicalIF":0.5,"publicationDate":"2023-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42539872","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-27DOI: 10.1080/00681288.2023.2229147
M. Szyma, Anna Bojęś-Białasik, Jacek Czechowicz, Krzysztof J. Czyżewski, M. Walczak
The paper demonstrates how modern metric survey techniques and digital technologies can contribute to traditional methods of art-historical investigation. The original choir screen in the Dominican church in Cracow, spanning the width of the chancel arch, was built in the mid-13th century. An analysis of the laser scanning data of the existing church enabled a construction of a 3D model of the subsequent and larger choir screen, built in the second half of the 14th century, which extended across the nave and both aisles and encased the initial screen. A keystone decorated with a carved boss of unique iconography, interpreted as a symbol of St John the Evangelist, survives from the carved decoration of this screen. The 3D model of the choir screen helps to visualize the original location of particular altars, some tombs and surviving artworks within the screen porch. Its north bay housed the tomb of Hyacinth Odrowąż, the first Polish Dominican friar and future saint. In 1543 the north part of the screen’s loft was cut off with a grille and transformed into a chapel of St Hyacinth, accessible to lay people by stairs running from the north aisle. The most important part of the chapel was a shallow niche which accommodated a new tomb and an altar with Hyacinth’s relics. Construction from 1581 to 1583 of a new and more spacious chapel, located slightly higher than the old one, involved demolition of the choir screen.
{"title":"The Choir Screen in the Dominican Church of the Holy Trinity in Cracow: Form and Function","authors":"M. Szyma, Anna Bojęś-Białasik, Jacek Czechowicz, Krzysztof J. Czyżewski, M. Walczak","doi":"10.1080/00681288.2023.2229147","DOIUrl":"https://doi.org/10.1080/00681288.2023.2229147","url":null,"abstract":"The paper demonstrates how modern metric survey techniques and digital technologies can contribute to traditional methods of art-historical investigation. The original choir screen in the Dominican church in Cracow, spanning the width of the chancel arch, was built in the mid-13th century. An analysis of the laser scanning data of the existing church enabled a construction of a 3D model of the subsequent and larger choir screen, built in the second half of the 14th century, which extended across the nave and both aisles and encased the initial screen. A keystone decorated with a carved boss of unique iconography, interpreted as a symbol of St John the Evangelist, survives from the carved decoration of this screen. The 3D model of the choir screen helps to visualize the original location of particular altars, some tombs and surviving artworks within the screen porch. Its north bay housed the tomb of Hyacinth Odrowąż, the first Polish Dominican friar and future saint. In 1543 the north part of the screen’s loft was cut off with a grille and transformed into a chapel of St Hyacinth, accessible to lay people by stairs running from the north aisle. The most important part of the chapel was a shallow niche which accommodated a new tomb and an altar with Hyacinth’s relics. Construction from 1581 to 1583 of a new and more spacious chapel, located slightly higher than the old one, involved demolition of the choir screen.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"176 1","pages":"178 - 215"},"PeriodicalIF":0.5,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48217895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-25DOI: 10.1080/00681288.2023.2234731
J. Wilcox
In the north-east corner of the nave of Lincoln Cathedral is a tomb slab made of Tournai marble emblazoned with the iconography of the Tree of Jesse. A Victorian inscription proclaims that it belongs to the building’s founder, Bishop Remigius de Fécamp (r. 1072–92). Since its ‘rediscovery’ in the cloister in 1857 scholars have examined the tomb slab’s material significance and its placement within the greater network of incised funerary monuments of the 12th century. This article re-examines the tomb’s possible patron and occupant, challenging earlier assumptions about its date and placing it within the context of Saint Hugh’s reconstruction of the cathedral’s east end. In so doing, it reassesses the importance of the Lincoln tomb slab and the iconography of the Tree of Jesse in medieval England.
在林肯大教堂中殿的东北角，有一块由图尔奈大理石制成的墓碑，上面装饰着杰西之树的肖像。一个维多利亚时代的铭文宣称它属于这座建筑的创始人Remigius de f坎普主教(1072-92年)。自1857年在修道院里被“重新发现”以来，学者们一直在研究这块墓板的物质意义，以及它在12世纪雕刻的丧葬纪念碑的更大网络中的位置。这篇文章重新审视了坟墓可能的赞助人和居住者，挑战了之前关于它的日期的假设，并将它置于圣休重建大教堂东端的背景下。在这样做的过程中，它重新评估了林肯墓板和中世纪英格兰杰西树的肖像的重要性。
{"title":"A Reattribution of the Tree of Jesse Tomb Slab in Lincoln Cathedral","authors":"J. Wilcox","doi":"10.1080/00681288.2023.2234731","DOIUrl":"https://doi.org/10.1080/00681288.2023.2234731","url":null,"abstract":"In the north-east corner of the nave of Lincoln Cathedral is a tomb slab made of Tournai marble emblazoned with the iconography of the Tree of Jesse. A Victorian inscription proclaims that it belongs to the building’s founder, Bishop Remigius de Fécamp (r. 1072–92). Since its ‘rediscovery’ in the cloister in 1857 scholars have examined the tomb slab’s material significance and its placement within the greater network of incised funerary monuments of the 12th century. This article re-examines the tomb’s possible patron and occupant, challenging earlier assumptions about its date and placing it within the context of Saint Hugh’s reconstruction of the cathedral’s east end. In so doing, it reassesses the importance of the Lincoln tomb slab and the iconography of the Tree of Jesse in medieval England.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"176 1","pages":"1 - 26"},"PeriodicalIF":0.5,"publicationDate":"2023-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45766819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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