Pub Date : 2022-06-08DOI: 10.1080/00681288.2022.2033012
N. Hill
Little direct evidence remains for the original 1090s roof structure of Westminster Hall. The prevailing view has been that, until its replacement in the 1390s, the interior must have been divided by aisles to support the very wide span of the roof. This view was challenged by Roland Harris and Daniel Miles in 2013, with a proposal for a clear-spanning roof structure, which would be quite exceptional for the period. This article uses evidence from both Westminster and comparable buildings to explore the feasibility of alternative structural forms in some detail, with reconstruction drawings. Significant problems are encountered with all of the alternative forms, leading to a strong affirmation of the theory proposed by Harris and Miles. The Norman hall at Westminster was planned and roofed without internal arcades or piers, whether of timber or masonry. Westminster Hall thus played no part in the development of the English aisled hall.
{"title":"The Romanesque Roof Structure of Westminster Hall","authors":"N. Hill","doi":"10.1080/00681288.2022.2033012","DOIUrl":"https://doi.org/10.1080/00681288.2022.2033012","url":null,"abstract":"Little direct evidence remains for the original 1090s roof structure of Westminster Hall. The prevailing view has been that, until its replacement in the 1390s, the interior must have been divided by aisles to support the very wide span of the roof. This view was challenged by Roland Harris and Daniel Miles in 2013, with a proposal for a clear-spanning roof structure, which would be quite exceptional for the period. This article uses evidence from both Westminster and comparable buildings to explore the feasibility of alternative structural forms in some detail, with reconstruction drawings. Significant problems are encountered with all of the alternative forms, leading to a strong affirmation of the theory proposed by Harris and Miles. The Norman hall at Westminster was planned and roofed without internal arcades or piers, whether of timber or masonry. Westminster Hall thus played no part in the development of the English aisled hall.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"175 1","pages":"67 - 107"},"PeriodicalIF":0.5,"publicationDate":"2022-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47473242","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 : 2022-06-08DOI: 10.1080/00681288.2022.2035932
J. McNeill
Between 1909 and 1915, the former Iron Age hill fort at Old Sarum was excavated under the aegis of the Society of Antiquaries of London. These excavations were abandoned in 1915, and although the findings of individual seasons were published in the Proceedings of the Society of Antiquaries, the principal interpreter of the archaeology, William St John Hope (1854–1919), died before the promised final report could be written. The absence of a final report complicates understanding of the constructional phases of the medieval castle and cathedral, while the lack of a detailed record of the find sites for the 11th- and 12th-century carved stonework hinders attempts to reconstruct the appearance of the cathedral. The following paper reviews the early-20th-century excavations and asks whether what was found is susceptible to alternative interpretation.
1909年至1915年间，在伦敦古文物协会的赞助下，老塞勒姆的铁器时代前山堡被挖掘出来。这些挖掘工作于1915年被放弃，尽管个别季节的发现发表在《古物学会学报》上，但考古的主要解释人威廉·圣约翰·霍普(William St John Hope, 1854-1919)在承诺的最终报告撰写之前就去世了。最终报告的缺失使人们对中世纪城堡和大教堂的建设阶段的理解变得复杂，而11世纪和12世纪雕刻石雕的发现地点的详细记录的缺乏阻碍了重建大教堂外观的努力。下面的文章回顾了20世纪早期的发掘，并询问这些发现是否容易受到其他解释的影响。
{"title":"Bishop Roger, St John Hope, and Old Sarum Cathedral","authors":"J. McNeill","doi":"10.1080/00681288.2022.2035932","DOIUrl":"https://doi.org/10.1080/00681288.2022.2035932","url":null,"abstract":"Between 1909 and 1915, the former Iron Age hill fort at Old Sarum was excavated under the aegis of the Society of Antiquaries of London. These excavations were abandoned in 1915, and although the findings of individual seasons were published in the Proceedings of the Society of Antiquaries, the principal interpreter of the archaeology, William St John Hope (1854–1919), died before the promised final report could be written. The absence of a final report complicates understanding of the constructional phases of the medieval castle and cathedral, while the lack of a detailed record of the find sites for the 11th- and 12th-century carved stonework hinders attempts to reconstruct the appearance of the cathedral. The following paper reviews the early-20th-century excavations and asks whether what was found is susceptible to alternative interpretation.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"175 1","pages":"108 - 148"},"PeriodicalIF":0.5,"publicationDate":"2022-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41676273","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 : 2021-08-20DOI: 10.1080/00681288.2021.1964799
G. Turner
This article gives notice of an important illuminated prayer roll linked to Bromholm Priory in Norfolk, a popular pilgrimage destination during the Middle Ages thanks to its miraculous relic of the Cross. Known hitherto only from its brief appearance on the market in the 1960s and 1970s, the roll has never before been closely examined or published in its entirety. Identification with John, bishop of Chalcedon, fixes a date for the roll between 1505 and 1535. It includes two images of the relic, and another with Christ nailed to the Cross. A fourth miniature shows the Three Nails to scale, the Crown of Thorns and the Five Wounds, and thus relates the Bromholm roll to Arma Christi rolls. Votive antiphons in Latin and English separate the illuminations, together with papal and episcopal indulgences and the amuletic Seven Gifts. The roll sheds new light on late medieval devotion, pilgrimage and the cult of the Cross at Bromholm.
{"title":"An Early-16th-Century Prayer Roll and the Holy Rood of Bromholm","authors":"G. Turner","doi":"10.1080/00681288.2021.1964799","DOIUrl":"https://doi.org/10.1080/00681288.2021.1964799","url":null,"abstract":"This article gives notice of an important illuminated prayer roll linked to Bromholm Priory in Norfolk, a popular pilgrimage destination during the Middle Ages thanks to its miraculous relic of the Cross. Known hitherto only from its brief appearance on the market in the 1960s and 1970s, the roll has never before been closely examined or published in its entirety. Identification with John, bishop of Chalcedon, fixes a date for the roll between 1505 and 1535. It includes two images of the relic, and another with Christ nailed to the Cross. A fourth miniature shows the Three Nails to scale, the Crown of Thorns and the Five Wounds, and thus relates the Bromholm roll to Arma Christi rolls. Votive antiphons in Latin and English separate the illuminations, together with papal and episcopal indulgences and the amuletic Seven Gifts. The roll sheds new light on late medieval devotion, pilgrimage and the cult of the Cross at Bromholm.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"174 1","pages":"16 - 33"},"PeriodicalIF":0.5,"publicationDate":"2021-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43744193","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 : 2021-07-21DOI: 10.1080/00681288.2021.1957269
Reginald Taylor, Lord Fletcher
The Reginald Taylor Essay Prize was first awarded in 1934 for the best unpublished essay submitted on any subject of art-historical, archaeological or antiquarian interest within the period from the Roman era to AD 1830, whenever such an essay was adjudged of sufficient merit. With the aid of a bequest from the late Lord Fletcher, the prize was re-established in 1996 as the Reginald Taylor and Lord Fletcher Essay Prize with a bronze medal, and now carries a prize of £500. Details of the competition, which is not restricted to members of the Association, can be obtained from the Honorary Editor. The winning essay may be read at a meeting of the Association and will be considered for publication in the Journal at the discretion of the Editorial Committee. The competition is held once every two years.
{"title":"Reginald Taylor and Lord Fletcher Essay Prize","authors":"Reginald Taylor, Lord Fletcher","doi":"10.1080/00681288.2021.1957269","DOIUrl":"https://doi.org/10.1080/00681288.2021.1957269","url":null,"abstract":"The Reginald Taylor Essay Prize was first awarded in 1934 for the best unpublished essay submitted on any subject of art-historical, archaeological or antiquarian interest within the period from the Roman era to AD 1830, whenever such an essay was adjudged of sufficient merit. With the aid of a bequest from the late Lord Fletcher, the prize was re-established in 1996 as the Reginald Taylor and Lord Fletcher Essay Prize with a bronze medal, and now carries a prize of £500. Details of the competition, which is not restricted to members of the Association, can be obtained from the Honorary Editor. The winning essay may be read at a meeting of the Association and will be considered for publication in the Journal at the discretion of the Editorial Committee. The competition is held once every two years.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"174 1","pages":"215 - 217"},"PeriodicalIF":0.5,"publicationDate":"2021-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45615781","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 : 2021-07-21DOI: 10.1080/00681288.2021.1957270
Ochs Scholarships, Maud Lilian Ochs, G. Chitty, J. Ruskin, J. Cannell, Lydia Carr, Tessa Verney, Stefania Gerevini, E. Guerry, Eleanor McCullough
Maud Lilian Ochs died on 24 June 1991. In her will she left the residue of her estate to the British Archaeological Association. The bequest amounted to approximately £112,000 and was topped up so as to create a starting fund of £120,000. At its meeting on 4 May 1994, the Council resolved to use the fund to provide scholarships for students in the final year of a postgraduate degree, and independent scholars engaged in the writing-up of discrete research projects. The annual sum set aside for scholarships is £7,000. This maintains the capital base of the fund as adjusted for inflation. It was also decided that scholarships should be awarded each April, and are tenable for a maximum of one year, though successful candidates may defer taking up the scholarship if they would prefer it to run from October-October. The scholarship fund is kept as part of the Association’s investments, and on 31 December 2020 stood at £208,634 The administration of the scholarship is a duty of the Hon. Secretary.
{"title":"The Ochs Scholarships","authors":"Ochs Scholarships, Maud Lilian Ochs, G. Chitty, J. Ruskin, J. Cannell, Lydia Carr, Tessa Verney, Stefania Gerevini, E. Guerry, Eleanor McCullough","doi":"10.1080/00681288.2021.1957270","DOIUrl":"https://doi.org/10.1080/00681288.2021.1957270","url":null,"abstract":"Maud Lilian Ochs died on 24 June 1991. In her will she left the residue of her estate to the British Archaeological Association. The bequest amounted to approximately £112,000 and was topped up so as to create a starting fund of £120,000. At its meeting on 4 May 1994, the Council resolved to use the fund to provide scholarships for students in the final year of a postgraduate degree, and independent scholars engaged in the writing-up of discrete research projects. The annual sum set aside for scholarships is £7,000. This maintains the capital base of the fund as adjusted for inflation. It was also decided that scholarships should be awarded each April, and are tenable for a maximum of one year, though successful candidates may defer taking up the scholarship if they would prefer it to run from October-October. The scholarship fund is kept as part of the Association’s investments, and on 31 December 2020 stood at £208,634 The administration of the scholarship is a duty of the Hon. Secretary.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"174 1","pages":"218 - 219"},"PeriodicalIF":0.5,"publicationDate":"2021-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41629570","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 : 2021-07-08DOI: 10.1080/00681288.2021.1949828
J. Naya, Manuel Castiñeiras
This article discusses the paintings of the chapter-house of Sijena, most of which were destroyed by fire in 1936. To this end, the paper makes use of earlier photographic material, proposes a new reading of the biblical cycle, reconstructs the architectural and ornamental setting of the chapter-house and examines the historical and largely unknown liturgical context that lay behind the selection of images. The striking correspondence between the New Testament cycle at Sijena and the prefatory cycle of miniatures in the Melisende Psalter (1131–43), as well as the use in the nunnery of a liturgy based on that of the canons regular of the Holy Sepulchre and the presence of a Lignum crucis in the chapter-house, sheds light on Sijena’s links to the art and liturgy of the Latin Kingdom of Jerusalem and on Queen Sancha’s motives as patron of this Hospitaller foundation. Thus, we hope to present a holistic interpretation of the chapter-house in relation to queenship, pious devotion and the evocation of the Holy Land. This ultimately points up the cross-cultural interests of the Kingdom of Aragon and its developing projection into the Mediterranean.
{"title":"Like a Psalter for a Queen: Sancha, Melisende and the New Testament Cycle in the Chapter-House at Sijena","authors":"J. Naya, Manuel Castiñeiras","doi":"10.1080/00681288.2021.1949828","DOIUrl":"https://doi.org/10.1080/00681288.2021.1949828","url":null,"abstract":"This article discusses the paintings of the chapter-house of Sijena, most of which were destroyed by fire in 1936. To this end, the paper makes use of earlier photographic material, proposes a new reading of the biblical cycle, reconstructs the architectural and ornamental setting of the chapter-house and examines the historical and largely unknown liturgical context that lay behind the selection of images. The striking correspondence between the New Testament cycle at Sijena and the prefatory cycle of miniatures in the Melisende Psalter (1131–43), as well as the use in the nunnery of a liturgy based on that of the canons regular of the Holy Sepulchre and the presence of a Lignum crucis in the chapter-house, sheds light on Sijena’s links to the art and liturgy of the Latin Kingdom of Jerusalem and on Queen Sancha’s motives as patron of this Hospitaller foundation. Thus, we hope to present a holistic interpretation of the chapter-house in relation to queenship, pious devotion and the evocation of the Holy Land. This ultimately points up the cross-cultural interests of the Kingdom of Aragon and its developing projection into the Mediterranean.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"174 1","pages":"55 - 96"},"PeriodicalIF":0.5,"publicationDate":"2021-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47887313","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 : 2021-05-08DOI: 10.1080/00681288.2021.1923812
Nick Holder
This article uses plans and other documentary evidence to examine two London houses of Thomas Cromwell, Henry VIII’s (in)famous first minster. In the 1520s Cromwell lived in a townhouse in Austin Friars that had recently been built in a revenue-raising project by the prior of the friary. In the 1530s Cromwell developed a much grander urban mansion next to the friary, spending over £500 on land and at least £1,000 on construction costs. The two houses and their gardens are analysed with supporting evidence presented in tables, reconstructed plans and an elevation. Details from an important early-17th-century survey are also shown. The mansion had many of the features of a Tudor status-house, including courtyards, oriel windows, long galleries and grand staircases; it may also have had some Italianate decorative features.
{"title":"Thomas Cromwell’s Home at the London Austin Friars","authors":"Nick Holder","doi":"10.1080/00681288.2021.1923812","DOIUrl":"https://doi.org/10.1080/00681288.2021.1923812","url":null,"abstract":"This article uses plans and other documentary evidence to examine two London houses of Thomas Cromwell, Henry VIII’s (in)famous first minster. In the 1520s Cromwell lived in a townhouse in Austin Friars that had recently been built in a revenue-raising project by the prior of the friary. In the 1530s Cromwell developed a much grander urban mansion next to the friary, spending over £500 on land and at least £1,000 on construction costs. The two houses and their gardens are analysed with supporting evidence presented in tables, reconstructed plans and an elevation. Details from an important early-17th-century survey are also shown. The mansion had many of the features of a Tudor status-house, including courtyards, oriel windows, long galleries and grand staircases; it may also have had some Italianate decorative features.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"174 1","pages":"154 - 185"},"PeriodicalIF":0.5,"publicationDate":"2021-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00681288.2021.1923812","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43573266","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 : 2021-05-07DOI: 10.1080/00681288.2021.1924984
I. Ciulisová, M. Henig
The present study explores a little-studied and reinterpreted early Roman Imperial cameo depicting Antonia Minor (36 bc–ad 37), which came into the possession of the Holy Roman emperor, Charles IV of Luxembourg (1316–78), a collector of ancient gems. It was presumably by his order that the ancient cameo was set in a splendid gold reliquary cross which he commissioned after his imperial coronation to house relics of the True Cross. Thus, in the new setting, the cameo could be perceived as the divine Antonia Minor; Helena, the mother of Constantine the Great, who allegedly discovered the True Cross; or Saint Catherine, Charles’ heavenly protectress. The cross is today preserved in the Treasury of Saint Vitus Cathedral, Prague.
{"title":"An Imperial Portrait Cameo of Antonia Minor in a 14th-Century Reliquary Cross in Prague","authors":"I. Ciulisová, M. Henig","doi":"10.1080/00681288.2021.1924984","DOIUrl":"https://doi.org/10.1080/00681288.2021.1924984","url":null,"abstract":"The present study explores a little-studied and reinterpreted early Roman Imperial cameo depicting Antonia Minor (36 bc–ad 37), which came into the possession of the Holy Roman emperor, Charles IV of Luxembourg (1316–78), a collector of ancient gems. It was presumably by his order that the ancient cameo was set in a splendid gold reliquary cross which he commissioned after his imperial coronation to house relics of the True Cross. Thus, in the new setting, the cameo could be perceived as the divine Antonia Minor; Helena, the mother of Constantine the Great, who allegedly discovered the True Cross; or Saint Catherine, Charles’ heavenly protectress. The cross is today preserved in the Treasury of Saint Vitus Cathedral, Prague.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"174 1","pages":"6 - 15"},"PeriodicalIF":0.5,"publicationDate":"2021-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48896735","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 : 2021-05-06DOI: 10.1080/00681288.2021.1923811
J. Munns
The so-called Henry of Blois enamels in the British Museum have received much attention over the years, but there is still no consensus as to their original function. This article reassesses the evidence, first in order to outline some fundamental doubts about the argument that has been championed most recently in the scholarship: that they were the terminals of a great cross; secondly, to offer new arguments, largely drawn from the nature and iconography of the plaques themselves, in favour of the claim that they belonged to an item of altar furnishing, most probably an altar frontal. A final section considers the evidence, such as it is, for that frontal belonging to the high altar of Winchester Cathedral.
{"title":"The Henry of Blois Enamels: A(nother) Reassessment","authors":"J. Munns","doi":"10.1080/00681288.2021.1923811","DOIUrl":"https://doi.org/10.1080/00681288.2021.1923811","url":null,"abstract":"The so-called Henry of Blois enamels in the British Museum have received much attention over the years, but there is still no consensus as to their original function. This article reassesses the evidence, first in order to outline some fundamental doubts about the argument that has been championed most recently in the scholarship: that they were the terminals of a great cross; secondly, to offer new arguments, largely drawn from the nature and iconography of the plaques themselves, in favour of the claim that they belonged to an item of altar furnishing, most probably an altar frontal. A final section considers the evidence, such as it is, for that frontal belonging to the high altar of Winchester Cathedral.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"174 1","pages":"34 - 54"},"PeriodicalIF":0.5,"publicationDate":"2021-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00681288.2021.1923811","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41522124","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 : 2021-05-05DOI: 10.1080/00681288.2021.1920729
J. Luxford, Lucy J. Wrapson
Two fragments of a screen painted c. 1500 in the parish church of St Michael and All Angels at Hamstall Ridware in Staffordshire are analysed with reference to their imagery, handling and original setting. Although now mounted on a modern reredos, the panels were made for use in the church, and probably formed part of the rood screen. Unusually, they were painted on the interior, east-facing sides of the screen they occupied: this can be established by analysis of the panels’ structure and the extent of the painting. The iconography is unusual in various ways. Notably, one of the panels is devoted to a cycle of images which constitute the seven sheddings of Christ’s blood. While the seven sheddings is a recognised phenomenon of late medieval devotional literature, no other image cycle of the sort is known from England. The implications of this are briefly discussed in relation to Continental evidence, and the sheddings rehearsed using an English version of about the same date as the panels in order to suggest why the parish might have wanted a painted version of the cycle and how it could have been used. The way the artist handled his subject matter is also discussed as an illustration of the fact that aesthetically undistinguished work was perfectly acceptable for solemn imagery at the ritual heart of an imposing church. While this may occasion no surprise, the fact has been very little discussed to date, despite its importance for a holistic grasp of English art of the period.
{"title":"Two Fragments of a Painted Screen from Hamstall Ridware, Staffordshire, with Passion Imagery Including the Seven Effusions of Christ’s Blood","authors":"J. Luxford, Lucy J. Wrapson","doi":"10.1080/00681288.2021.1920729","DOIUrl":"https://doi.org/10.1080/00681288.2021.1920729","url":null,"abstract":"Two fragments of a screen painted c. 1500 in the parish church of St Michael and All Angels at Hamstall Ridware in Staffordshire are analysed with reference to their imagery, handling and original setting. Although now mounted on a modern reredos, the panels were made for use in the church, and probably formed part of the rood screen. Unusually, they were painted on the interior, east-facing sides of the screen they occupied: this can be established by analysis of the panels’ structure and the extent of the painting. The iconography is unusual in various ways. Notably, one of the panels is devoted to a cycle of images which constitute the seven sheddings of Christ’s blood. While the seven sheddings is a recognised phenomenon of late medieval devotional literature, no other image cycle of the sort is known from England. The implications of this are briefly discussed in relation to Continental evidence, and the sheddings rehearsed using an English version of about the same date as the panels in order to suggest why the parish might have wanted a painted version of the cycle and how it could have been used. The way the artist handled his subject matter is also discussed as an illustration of the fact that aesthetically undistinguished work was perfectly acceptable for solemn imagery at the ritual heart of an imposing church. While this may occasion no surprise, the fact has been very little discussed to date, despite its importance for a holistic grasp of English art of the period.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"174 1","pages":"130 - 153"},"PeriodicalIF":0.5,"publicationDate":"2021-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47899181","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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