Notices of New Publications

Abstract

This paper reviews an article by Francis Woodman confirming his conclusion that it was originally intended to extend the retrochoir one bay further west and to demolish the Norman apse but questioning whether this intention was carried out before the rebuilding of the presbytery in the fourteenth century. Some errors of fact and misleading indications in Woodman's diagrams are also corrected and his argument that the central vault of the retrochoir was rebuilt in the fifteenth century is refuted.     

Rutherford – Simple Genius

Abstract

From a superficial glance, it might be thought that men of science are barely represented in Westminster Abbey, among the kings, courtiers, naval and military men, poets, statesmen and heroes of Empire. This is not so. One of the most splendid works of sculpture of the 18th century is the monument, adjacent to his grave, to Sir Isaac Newton. Many Fellows of the Royal Society are there as well, though this might be coincidental as they were also bishops or deans. Not all might be buried in the Abbey, but physicians, astronomers, and engineers are commemorated by marble statues or tablets, in stained glass, by monumental brass, or, like the Herschels, only by their gravestones. It is true that some have had to wait a long time for a memorial: Edmond Halley's stylised comet appeared only four years ago. These are, however, in good company, for even Shakespeare (buried at Stratford-on-Avon) had no memorial in the Abbey until well over a century after his death. Nor should men of science feel that they have been overlooked, because of all the country's architects, only one or two are represented, and only one painter is commemorated, and he is not John Constable.     

A Multi‐Analytical Approach to the Study of the Mural Paintings in the Presbytery of Santa Maria Antiqua Al Foro Romano in Rome

This paper presents the results of analyses carried out on three decorative phases of the presbytery of the church of Santa Maria Antiqua al Foro Romano in Rome: the fourth‐century ad mosaics setting bed; the Adoration of the Cross, dated to the papacy of John VII (ad 705–7); and the paintings in the apse of the Pope Paul I (ad 757–68) phase. The research allowed the characterization of the painting techniques, pigments, organic compounds and degradation products by means of a video microscope, optical microscopy, and μ‐Raman and FT–IR spectroscopy, contributing to a better understanding of the changes in the techniques and materials used throughout the centuries in one of the most relevant medieval Christian monuments in Western Europe.     

W. B. Yeats,the Abbey Theatre,and the Cinema, 1909–1939

ABSTRACT

Given the significance of new technologies to the literary and visual cultures of the early-twentieth century, it is surprising how little has been written about W. B. Yeats and cinema. Viewed by some scholars as emphatically resistant to what he termed “the leprosy of the modern,” Yeats has long been a difficult writer to situate in relation the progressive impulses of modernity. Building on Kevin Rockett’s identification of the parallels between the work of Abbey Theatre and a nascent Irish cinema culture, this article argues that Yeats played a prominent role in early attempts to develop an indigenous film industry, and to cultivate representations of Ireland on screen abroad. During the period I consider, the Abbey Theatre and the film industry were similarly affected by state censorship programmes and various forms of cultural nationalism. Exploring the Abbey Theatre Minute Books and archival materials discovered in Trinity College Dublin, I suggest that Yeats’s Abbey was a shaping force in Irish cinema history, despite the fact that most attempts to create a national cinema met with limited success.     

Le Décor Peint de la Maison Médiévale: Orner pour signifier en France avant 1350

Abstract

The remarkable survival of considerable elements of a large rose window at Elgin Cathedral allows an accurate reconstruction of its form. The design can be shown to be from the mainstream of rose window tracery patterns in northern Britain and can be related to the pre-1390 west front of the cathedral. When reconstructed the design of the front shows close affinities with the west front of Arbroath Abbey which also featured a large circular window. Certain elements of the tracery also show similarities with the eastern rose window reconstructed at Fountains Abbey and indicate strong links with sources in northern England.     

Observations on the Ancient City Walls of Rochester

Abstract

A recent survey of the floor-tiles of Cleeve Abbey has revealed a much larger range of designs and fabric groups than had previously been assumed. The style of the earliest pavements derive from those laid at Clarendon Palace in the first half of the 13th century, and may have been made on site. In the late 13th century tiles of high quality were imported from the Gloucester region to pave the frater. The next group of tiles came from a Somerset tilery operating at the same time or just after the Gloucestershire tilery. By c. 1330 the entire church was paved along with the sacristy and chapterhouse, using tiles made by a local industry. There was no revival of tile-making after the mid-14th century.     

Thirty-First Annual Meeting,Bristol, 1874

Abstract

A new survey of Grey Abbey has identified hitherto unsuspected areas of restoration, especially around the sedilia and west front. Measurement of the surviving walls and study of the collection of architectural fragments has enabled outline reconstruction drawings of the church and monastic buildings to be made. Survey of the loose stonework identified substantial elements of the chapter-house, day room and cloister arcades. Comparison with material at Christ Church Cathedral Dublin shows that the chapter-house vault ribs at Grey were identical in profile to some thought to have originated in the aisles of the cathedral, a building strongly influenced stylistically by sources in the West Country of England.     

The Chiming of Crack’d Bells: Recent Approaches to the Study of Artefacts in Archaeology

Abstract

CROSS PENDANTS, decorated with a ring-and-dot motif and made out of Whitby jet, have been found as far away as Norway and Greenland. This paper catalogues this unique group of artefacts and discusses their context. Their distribution is centred in Yorkshire, suggesting that they were made at Whitby Abbey in the late 12th century. Combining the power of the Christian cross with the magical properties of jet, they were likely worn as protective amulets.     

Preliminary documentation of a chine-girder barge at Conway, South Carolina

The study of small flat-bottomed plantation craft in South Carolina began in 1983 with the discovery and study of a barge at Mepkin Abbey on the Cooper River. Since that date the author has documented a wide range of craft in contexts ranging from plantations and ferry crossings to marine phosphate mines (Newell. 1986; 1989). The flat which is the focus of this report is the first of its type observed during this 8-year study period. Its construction and hull profile indicate that the vessel is a late 18th century craft. Current research by the author into the origins of the unique design suggests eastern European or French sources for the use of iles or chine-girders, a constructional element of the craft used in conjunction with transverse planking not commonly seen in flats of English design.     

The Chronology of the Last Scandinavian Kings of York,AD 937–954

Abstract

The Cistercian Abbey of Holm Cultram was a twelfth-century royal foundation of Prince Henry, son of King David I when this part of northern England was under Scottish control. The abbey developed a successful network of benefactors spanning both sides of the Border. It was also effective in developing positive relationships with key ecclesiastical figures including Bishop Christian of Whithorn and bishops of Glasgow. The economic strength of the abbey was derived from wool, salt and fish production. In 1193, a daughter house named Grey Abbey was founded in Ulster. The benefits of the frontier location were cut short with the onset of the wars in the 1290s. Holm Cultram Abbey found itself on the path of the marching armies and had to provide supplies and lodgings. When the estates of the abbey and the precinct were attacked by the Scots on several occasions in the fourteenth century, the community turned to the English kings for compensation. On other occasions the abbots did not hesitate to pay ransom to prevent damages to the abbey. Not only the economic difficulties brought by the war, but also loss of contact with the mother house of Melrose and Scottish benefactors more generally, altered the character of Holm Cultram, which became a much more English institution when the cross-Border networks were cut off.     

On some Anomalies Observable in the Earlier Styles of English Architecture

Excavations in the south range of the cloister of Bordesley Abbey have produced an unusual sequence. The construction scheme of the buildings to the south of the cloister arcade—centring on the refectory and kitchen—was piecemeal and took over two hundred years, from the later twelfth to early sixteenth centuries. At an early stage the range included timber (which may have been part of the original temporary structures) and stone buildings. In the fifteenth century there was a major change of use: the refectory became a workshop and dumping area while the kitchen was used for non-ferrous metalworking: these activities probably continued to the Dissolution. The implications of the excavations are considered in the context of the development of the cloister and then the precinct. The important evidence for adaptation and innovation is discussed in the light of work elsewhere in order to argue that the results have a relevance for other Cistercian houses and monasteries in general.     

The Development of Hand Spinning Wheels

Abstract

It has long been noted that there was a decline in the standards of English embroidery from the mid-fourteenth century onwards. A combination of the Black Death, wars, overseas competition and economic stresses have all been recognised as possible reasons for the loss in quality of these embroideries. This article analyses the production techniques employed by artists/designers and embroiderers during the declining period of Opus Anglicanum, a style of embroidery typical of the late medieval period, which was almost always professional work. The discussion focuses on two lower panels of the pillar orphreys on the Whalley Abbey altar frontal, which date from around 1400 and belong to Towneley Hall Museum and Art Gallery, Burnley, UK. The article suggests that similarities in the design of the two panels provide a glimpse into the time-saving solutions developed by embroiderers to produce Opus Anglicanum as its manufacturing quality deteriorated.     

The early section of the Worcester chronicle

The Latin chronicle traditionally attributed to Florence of Worcester is examined, and it is suggested that its early portion, down to the end of the reign of Æthelred the Unready, was compiled at Ramsey Abbey in Huntingdonshire during the last two decades of his reign. The repercussions of this on the transmission of the vernacular texts of the Anglo-Saxon chronicle are explored.     

Textiles and Farewells: Revisiting the Grave Goods of King Alfonso VIII of Castile and Queen Eleanor Plantagenet

This paper commemorates the eighth centenary of the deaths of King Alfonso VIII of Castile and his Queen, Eleanor Plantagenet (d. 1214) who founded the Abbey of Santa María la Real de Las Huelgas (Burgos) and were buried there. It examines how their grave goods were categorised and aims to address recent misconceptions related to the original locations and functions of these textiles and the techniques with which they were made. The outcome of this analysis of original sources and the textiles themselves is a major reassessment of where these grave goods were located in the thirteenth century: seven textile items, including clothing, have been allocated to the King instead of only one, and thirty-eight have been allocated to the Queen instead of fourteen, while three have been removed from this category.     

Aristocratic patronage,political networking and the shaping of a private sanctuary: Countess Clemence of Flanders and the early years of Bourbourg Abbey (c.1103–21)

This article discusses the geopolitical manoeuvres of the comital House of Flanders, especially of Countess Clemence of Burgundy, to consolidate comital influence and power in the border region of western Flanders, specifically in the area of Bourbourg. By analysing and mapping the shifting patterns of interaction between alliances of both secular and ecclesiastical stakeholders in the charters issued for the abbey of Bourbourg, a female house, during the first decades of the twelfth century, it argues that the foundation and patronage of Bourbourg were engineered to create a symbolic and geo-strategic key site where the interests of the counts of Flanders and their local representatives, the abbot of Saint-Bertin, and members of the local elite converged, and alliances balanced each other. Moreover, through an anthropological approach in which the charters are also considered within the supra-institutional context of the reform movement, this study offers new insights into the dynamic role of Countess Clemence as a promoter and benefactor of Bourbourg Abbey, and also as a manager of her personal network of allies.     

The early section of the Worcester chronicle

The Latin chronicle traditionally attributed to Florence of Worcester is examined, and it is suggested that its early portion, down to the end of the reign of Æthelred the Unready, was compiled at Ramsey Abbey in Huntingdonshire during the last two decades of his reign. The repercussions of this on the transmission of the vernacular texts of the Anglo-Saxon chronicle are explored.     

Glastonbury Abbey: Archaeological Investigations 1904–79

Abstract

Netley Abbey began to attract visitors in the 18th century, of whom John Milner was amongst the first to leave an account of the ruins. Certain carvings he saw in the south transept led him to suppose that Richard Fox, bishop of Winchester (1501–28), had been a benefactor to the abbey church. Subsequent historians then followed Milner's supposition. This paper refutes Fox's patronage and reveals the true identity of the patron of Netley. It discusses the nature of the patron's gift to the abbey church and how his friendship with William Paulet, who was granted Netley after the Dissolution, preserved it. The article concludes by presenting details of some of the carved imagery from Netley that survives and other remains recorded in the 19th century which may have formed part of the final phase of building and ornamentation of the abbey church prior to its dissolution.     

On an Inscribed Stone Coffin-Lid in the Ancient Cemetery of the Temple Church,London

Excavations at Denny Abbey, Cambridgeshire, between 1968 and 1975, concentrated on the twelfth-century church and the area to the north. They revealed a remarkable building sequence on a site which was occupied successively by Benedictine monks, Knights Templars, and Franciscan nuns. After the Dissolution, the twelfth-century church was incorporated in a farmhouse. An examination of the foundations enabled a building sequence to be suggested for the upstanding remains.