Julian of Vézelay,a Twelfth-Century Critic of his Monastery's Worldly Success

Abstract

This article analyses the sermons of the Benedictine monk Julian (c. 1080 – 1165) from the small Burgundian monastery of Vézelay in the context of the other contemporary sources issuing from this monastery. It argues that Julian was a reformer who criticized his monastery for an unhealthy attachment to its newfound wealth and neglect of proper monastic practice. The themes in his preaching may further be reflected in some of the capitals of the cathedral Sainte-Madeleine at Vézelay. More broadly, his sermons provide a striking illustration of one monastery's struggle to come to terms with an influx of money in the twelfth 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.     

On Crystals of Augury

Abstract

Salisbury cathedral is usually seen as a ‘one period’ building, a ‘complete’ 13th-century cathedral. As a result, the later medieval work at Salisbury has rarely been considered in its own right. This neglect has been compounded by the subsequent loss of many of its most important elements: the two eastern chantry chapels, St Osmund’s shrine and half the library. The aim of this paper is to redress this imbalance. Salisbury’s original appearance was transformed dramatically in the early 14th century by the construction of the high tower and spire, and in the later 15th century, following the canonisation of St Osmund, when the east end was substantially remodelled. As at other great churches, the interior was continuously adapted to enable the cathedral to meet the spiritual needs of late medieval society. These were principally the performance of the liturgy, the commemoration of the dead, the augmentation of devotional cults and the promotion of learning. These themes are explored in the discussion of the new library, major monuments, the shrine of St Osmund and the construction of four new chantry chapels. Thus the cathedral evolved significantly in the two and a half centuries after Bishop Ghent’s consecration in 1297.     

Compton Castle

Abstract

One of the perennial problems in the study of medieval architectural sculpture is the lack of identifiable patrons. At the church of St Michael, Horwood (North Devon), however, the north aisle and chapel of c. 1400 can be firmly associated with the patronage of the Pollard family, in particular John Pollard and his wife Emma. This includes the north arcade of five bays with its four freestanding and two engaged columns, all of which bear carved capitals. It is likely that the building of this extension was intended to establish the Pollard family at Horwood as well as to commemorate the patrons. Thus the work carries a funereal/monumental air that is reflected in the choice of sculptural imagery which includes a skull, angels and hybrid monsters. This context provides new insight into the ways in which architectural images were perceived and used in the later Middle Ages, particularly with regards to the image of the mermaid.     

Pilgrimage and tourism: Cathedral visiting in contemporary England

Abstract

This paper examines the role of cathedral visiting in contemporary England. It highlights the importance of cathedrals to the tourism economy and also considers the issue of the commercialisation of heritage within cathedrals and the difficulties posed for cathedral authorities in contrasting perceptions of visitors as tourists and pilgrims. The issue of pilgrimage is examined through the results of a survey of the experiences and attitudes of eight hundred visitors to four English cathedrals. It is suggested that the tension between tourism and pilgrimage is not as great as might be expected and that experience of visiting a cathedral can engender a sense of pilgrimage in the tourist     

A Compaignye of Sondry Folk: Mereology,Medieval Poetics and Contemporary Evolutionary Narrative in Richard Dawkins’ The Ancestor’s Tale

Abstract

Thus far, certainly in English, most engineering history has been based on the lives of engineers or the chronologies of particular enterprises, with the two often woven together. Much of this work, as conventional biography or narrative history, has been well done, in many cases is a good read, and frequently is valuable as a basis for further study. But its preoccupation with who, when and where too often leaves unaddressed questions of how and why. Attempting to understand the intellectual and creative components of engineering's history, especially its early history for which written records are rare or nonexistent, is exceptionally difficult. In this short survey the possibilities of retrospective analysis are discussed, and some of the potential pitfalls are identified by considering the particular case of cathedral building. Over the last twenty or thirty years cathedral studies have generated more publications in the field of retrospective analysis, in this case structural analysis, than possibly any other. Whether or not very much has been learned about the history of the engineering of cathedrals, however, is a good question, and is part of what follows.     

On Roman Remains Recently Discovered at Headington near Oxford

Plans to redisplay the Bayeux Tapestry raise anew the questions as to where and how it was originally intended to be displayed. Analysis of the linen fabric provides new insights into the tapestry’s design and manufacture, and enables its original length to be calculated. Re-examination of the (largely destroyed) 11th-century cathedral at Bayeux and of its liturgical layout demonstrates that the tapestry would have fitted neatly into the nave west of the choir screen. Its narrative falls into three discrete sections that reflect the way in which it would have been hung within the building, and the arrangement of the scenes takes account of the uneven bay-spacings of the nave arcades and the positions of the doorways. It can therefore be concluded that the tapestry was designed for a particular location within the nave of Bayeux cathedral. The cathedral’s liturgical traditions shed light on the way in which the tapestry would have been viewed in the Middle Ages, and the wider implications for the way in which it could and should be viewed today are briefly considered.     

The Godwins of Lugwardine,and the Other Hereford Tile Makers

Abstract

Tiles were made in Hereford in Roman and in Medieval times, and the manufacture of plain quarry tiles from plastic clay maintained the tradition and technique of tile-making. During the nineteenth century the Gothic Revival stimulated the production of decorated tiles and Godwins began to make them. The firm is not as well known as some of its competitors such as Maw and Minton, but its tiles were much admired and widely used, and can still be seen in good condition in a surprisingly large number of churches. Standard reference books, give 1861 as the starting date for Godwin tiles, but the writer noticed that they had been used in 1857 in Giles Gilbert Scott's restoration of Hereford cathedral, and is attempting in this paper to give an outline of the rather complicated history of the Godwins and the other Hereford tile makers. The tile industry which began in 1850 has been an important source of employment in the Hereford area until the present day.     

Obituary Notice

Abstract

St Vitus’s Cathedral, founded in 1344, is a prime example of 14th-century cathedral Gothic, a product of the cooperation between the ingenious architect Peter Parler and his patron, Emperor Charles IV. The unusual layout consisted of a pair of choirs set side by side in the eastern section of the cathedral, an arrangement inspired by the earlier Romanesque double-choir basilica. One was dedicated to St Vitus and was used by the canons, the other to the Virgin Mary and operated by the mansionars. The royal and imperial necropolis was placed in the latter of the two choirs, with Charles IV’s tomb-chest protected by a sculptured canopy and surrounded by the cenotaphs of deceased family members and later kings and queens. The form of two choirs is probably the result of an extensive rearrangement of the earlier project completed in the 1350s, when initial plans to locate the royal burial ground in the canons’ choir were abandoned. The main choir contained a tabernacle of remarkable design, dating from c. 1365. There may originally have been plans for a third choir to be built around the tomb of St Adalbert located in the middle of the nave, the work on which was initiated in 1392.     

Corona Remotely-Sensed Imagery in Dryland Archaeology: The Islamic City of al-Raqqa,Syria

Abstract

Satellite remote sensing has seen some use in archaeological research, although its effectiveness has been restricted by the low spatial resolution and the high cost of available imagery. In 1995 the United States declassified 860,000 high-resolution Corona satellite photographs, acquired for intelligence purposes between 1960 and 1972. Corona offers global coverage with an emphasis on areas of strategic significance to the United States. The imagery has been released into the public domain at low cost of acquisition. In this paper we explore the potential of Corona imagery in archaeological investigations using as an example the topography and cultural landscape of the early Islamic city of al-Raqqa in northern Syria.     

From conflict archaeology to archaeologies of conflict: remote survey in Kandahar,Afghanistan

ABSTRACT

Emerging from research with the Afghan Heritage Mapping Partnership, a multi-year project using satellite imagery to detect, record and manage archaeological heritage, this paper examines the potentials of remote-sensing to not only monitor archaeological material culture, but also contemporary materiality as it is violently (re)assembled through conflict. Through systematic remote-sensed archaeological survey using diachronic imagery in Kandahar, Afghanistan, this work expands archaeological understanding of an under-surveyed region while exploring the impact of the region’s expansive military infrastructural footprint on cultural heritage. Further, this research considers the long history of landscapes of control and successive military occupations. Remote survey allows for continued generation of archaeological data during conflict, thereby enabling more thorough heritage management. Finally, this survey demonstrates that, although remote aerial technologies have been criticized as tools of violence, surveillance and control, satellite imagery can be used analytically to generate new understandings of and challenges to military infrastructural reach.     

Anglo-Norman Parks in Medieval Ireland

Abstract

Lincoln Cathedral's Angel Choir was built in the second half of the thirteenth century to house the shrine of St Hugh of Lincoln, canonised in 1220. Although he was never a major saint, the Dean and Chapter of Lincoln sought to emulate the settings newly created for more venerable saints by constructing a completely new building to house his shrine. Despite considerable study of the Angel Choir the site of the shrine has not been established, neither has the site of the original burial. This is perhaps the more surprising when it is considered that contemporary documentation survives to describe the events of St Hugh's death and burial. There is sufficient evidence within the cathedral to reconstruct the sites of the original burial and the later shrines and this is supported by documentary evidence, so far overlooked, that is presented here.     

A Lost Swaledale Vaccary and a Palimpsest of Place-Names

Abstract

The management of the large estates of the bishopric of Durham and the dean and chapter of the cathedral is examined, in particular with regard to agricultural improvement, and compared with the practice of some large secular landowners in the county. The ecclesiastical authorities did not farm any of their land themselves, but let it to a variety of tenants, important and small. The system of ecclesiastical leases is examined. Leaseholders enjoyed lower rents than most tenants of secular landowners, and a very high degree of security. The terms of the leases hardly changed over the century, and gave little scope for influence over the way the land was farmed. It was possible to abate renewal fines as a reward for improvements made by tenants. This was done, but not systematically. But the system cannot be described as a barrier to progress, as was sometimes charged. Leaseholders could make improvements, and profit at least as well as secular tenants. In the management of urban and industrial property, where the bishopric and the cathedral chapter could act and benefit directly, greater energy was shown.     

From appropriation to conservation: Mughal monuments,colonial tourism and the Dak Bungalow

ABSTRACT

The rise in colonial tourism in the post-uprising decades propelled the need for tourist infrastructure in the Indian Subcontinent. This need was met by appropriating historic monuments and reusing them as tourist rest houses, called Dak Bungalows – a common occurrence in Agra and Delhi, former Mughal capitals and popular tourist destinations. Even as the state established the Archaeological Survey of India to safeguard the Subcontinent’s monuments, the transformation carried out by colonial engineers undermined their historic worth in the absence of guidelines. Critical of the engineers’ undertaking, Viceroy Curzon, took up the challenge of ridding monuments, particularly Mughal monuments, of modern interventions. While being instrumental in providing monuments with statutory protection, Curzon appropriated these monuments to legitimize the colonial state’s authority. This paper examines the seventeenth century Mughal city, Fatehpur Sikri, a popular tourist destination in the nineteenth century, where three historic buildings were appropriated and transformed into Dak Bungalows prior to the building of a new Dak Buangalow at Curzon’s behest. Examining these developments against the backdrop of the colonial state’s post-uprising political dispensation, through the prism of monument conservation and colonial tourism, it argues that all forms of engagement with monuments operated within the colonial framework.     

Remarks on an Enamelled Tablet,Preserved in the Museum at Mans,and Supposed to Represent the Effigy of Geoffrey Plantagenet

Abstract

One of the most intriguing problems in the study of Gothic architecture in the Latin East concerns the network of interrelationships between the major architectural centres in the eastern Mediterranean, especially the Crusader states of the Levant, the kingdom of Cyprus and Hospitaller Rhodes. Although scholars have been aware of the artistic links between these areas for decades, the Cyprus-Rhodes connection remains to this day largely unexplored, despite the obvious interest it presents for the development of ecclesiastical architecture in the region. This article examines the architecture of the Carmelite church in Famagusta and its formal affinities with Rhodes cathedral, in order to identify the conditions and modes of transmission of architectural designs from Cyprus to Rhodes in the second quarter of the 14th century. It will also attempt to demonstrate that the same basic design had been employed for two buildings of radically different status and function, in a reflection of the circumstances, financial or ideological, surrounding their creation.     

The Church of Saint-Jouin-de-Marnes in the Eleventh Century

Abstract

One bay of the choir, the transepts and most of the nave survive from the eleventh-century church of Saint-Jouin-de-Marnes. Construction probably began in the first quarter of the century with the choir and transepts and proceeded, with a change of style, through a remodelling of the transepts to the nave. Completion might have been delayed until the third quarter of the century. The architecture and sculpture betray a transition from early medieval to Romanesque forms, the former in the choir and the latter in the nave. Early Romanesque Corinthian capitals and ornate archivolts exist alongside archaising block capitals, and all reveal new combinations of traditional forms, leading to Romanesque innovations.