A Post-Roman Sequence at Carlisle Cathedral

Excavations in 1988 revealed a stratigraphic sequence extending from the later Roman period to the twelfth century. Of particular interest and importance is a collection of Viking-Age metalwork which, with other material, sheds light on settlement in Carlisle before the arrival of the Normans in 1092.     

Behind the Romanesque Frieze at Lincoln Cathedral

The purpose of this short article is to put on record the archaeological observations made between 1990 and 2002 during the decade of stonework conservation on the northern run of the frieze panels on the west front of Lincoln Cathedral. It is not concerned with the frieze sculpture itself but with its stones and the spaces behind the stones. Equally, this article is not an assessment of the sculpture and its dating but is an archaeological investigation which potentially has wider implications for the sequence of construction and carving of the Romanesque frieze now visible at Lincoln.     

On Salisbury Cathedral

Abstract

In his last will and testament, dated January 1514, Sir Henry Vernon detailed his intent that a chapel should be founded at the collegiate church of St Bartholomew at Tong, as a final resting place for himself and his wife, and as a chantry for the souls of his family. Completed, it seems, by early 1519, the form of the chapel and its decoration indicates that Sir Henry was commemorated in the artistic language of the very finest contemporary chantry projects. Indeed, a number of the chapel's features are directly copied from the most illustrious of all late medieval chantries: Henry VII's chapel at Westminster Abbey. The chapel, physically and institutionally, also offers insight into the nature of late medieval piety. Unusually, the foundation makes no explicit charitable provision, long established as a central element of the contemporary doctrine of salvation. Yet the chantry-chapel was a physical and institutional appendage to a 'family' mausoleum, whose collegiate function had a strong charitable element. As such, the chapel suggests that, although chantries and tombs were themselves intensely personal, spiritual legacies were viewed in the same way as territorial interests: as inherited familial institutions, which could and should be augmented, rather than enterprises by, and limited to, individuals. In short, through its location, form and decorative scheme, the chapel demonstrates that, whilst numbering in their hundreds by the Reformation, such chapels were far from simply formulaic expressions of piety. Rather, they could serve as the vehicle for the creation of a very specific identity for the chapel's founder.     

The Anglian Cathedral of North Elmham,Norfolk

DISPERSED REFERENCES to weights and balances in England dating to the late Saxon period (9th to 11th centuries) are collated and assessed. A classification of types is presented, and comparisons drawn with Irish and Scandinavian material.     

A Fifteenth-Century Painted Sermon at the Door of the Cathedral of Bressanone

Abstract

This article argues that a portion of the fifteenth-century frescos at the entrance door from the cloister to the cathedral of Bressanone can be seen as a painted sermon. The analysis draws on the frescos of two vaults and the interaction between words and images. In the first vault, just above the entrance of the church, the frescos present not only the contents of a sermon, but also its structure, namely an episode from the Gospel, a catechetical pattern, the quotation of auctoritates and a social goal to be achieved. The frescos of the second vault represent the contrast between virtues and vices using the pairs presented in Matthew 24. 40–41. This text was read by the medieval exegetical tradition as a scheme for the different status of Christian life, thus this vault could be seen as an elaborate catechetical pattern with a large system of biblical quotations. Moreover, the structure of the frescos of the second vault can be read as a sermo modernus based on the divisio of Matthew 24. 40–41. Finally, the comparison with a portion of a sermon by Bernardino da Siena on the theme of avarice confirms that the elements represented in Bressanone were really used both by preachers and painters.

In this way, the images of the cloister are a sermon, which continually preaches to anyone entering or leaving the church, thus organizing the public space as a 'theatre of memory' and offering a message readable at different levels.     

Marble Pieces in the Romanesque Portal of Glory of the Santiago de Compostela Cathedral. New Data through a Multi-Analytical Approach

ABSTRACT

Probably the most important Romanesque artwork in Spain, the Portal of Glory of Santiago de Compostela is essentially made in granite, the most abundant stone in the NW of Iberia, with the only exception of five marble pieces. Different hypothesis on the origin of these marbles have previously been proposed based on visual assessment or by directly assuming a local source. To shed light on their quarry provenance, a multi-analytical study was performed combining polarized-light optical microscopy, cathodoluminescence microscopy, XRPD, SEM-EDS and stable C and O isotopes. The comparison of the results with the available databases reveals the use of marbles from the Estremoz Anticline (Portugal) in the three exquisitely carved columns strategically placed in the central arcade, whereas the other two pieces are local marbles, illustrating a more complex consumption of this noble material than that initially expected.     

徐州新征集的汉画像石研究

徐州汉画像石馆新征集到一批画像石,包括扳手腕、出行、舂米、宴饮杂技等图像,有的图像在本地区是首次发现。这批画像石的发现,为我们研究汉代这一时期的社会生活与汉代文化提供了新的实物资料。