The Original Placement of the Hereford Mappa Mundi

Although antiquarians, historians of cartography, palaeographers and art historians have written about the Hereford mappa mundi for more than three hundred years, we know little about its original placement or use. This paper relies on new masonry and dendrochronological evidence and the system of medieval ecclesiastical preferments to argue that this monumental world map was originally exhibited in 1287 next to the first shrine of St Thomas Cantilupe in Hereford Cathedral's north transept. It did not function as an altarpiece, therefore, but as part of what I call the Cantilupe pilgrimage complex, a conglomeration of items and images which was for a time one of England's most popular pilgrimage destinations. In this location, the map would have added to the complex's attractive power and served as a multi‐media pedagogical tool.

Bien que les amateurs d'antiquités, les historiens de la cartographie, les paléographes et les historiens de l'art aient écrit depuis plus de trois cents ans sur la mappemonde de Hereford, on connaît peu de choses à propos de son emplacement primitif ou de son utilisation. Cet article s'appuie sur des preuves tirées de la nouvelle maçonnerie et de la dendrochronologie pour affirmer que cette monumentale carte du monde était présentée à l'origine près du premier tombeau de Saint Thomas Cantilupe, dans le transept nord de la cathédrale de Hereford. Elle n'était donc pas utilisée comme un retable, mais comme un élément de ce que j'appelle le ‘système du pèlerinage de Cantilupe’, un ensemble d'objets et d'images qui constitua un temps l'une des destinations de pèlerinage parmi les plus populaires d'Angleterre. A son emplacement, la carte aurait ajouté au pouvoir d'attraction du système et servi d'outil pédagogique multimédia.

Obwohl Historiker, Kartographiehistoriker, Palaeographen und Kunsthistoriker seit über dreihundert Jahren über die Mappa Mundi von Hereford geschrieben haben, wissen wir wenig über ihren originalen Aufstellungsort und ihre Verwendung. Die Argumentation in diesem Beitrag basiert auf neuen Untersuchungen der Steinmetzarbeiten, der Dendrochronologie und des Systems der Beförderung in der mittelalterlichen Kirchenhierarchie, die nahelegen, dass diese monumentale Weltkarte 1287 ihren ersten Aufstellungsplatz neben dem ersten Schrein des Heiligen Thomas Cantilupe im nördlichen Querschiff der Kathedrale von Hereford erhielt. Sie diente dementsprechend nicht als Altarbild, sondern bildete einen Teil dessen, was der Autor den ‘Cantilupe pilgrimage complex’ nennt. Dabei handelt es sich um eine Gruppe von Bildern und Gegenständen, die für einige Zeit zum populärsten Pilgerziel Englands avancierten. An diesem Platz hätte die Karte die Attraktivität dieses Komplexes gesteigert und als ein multimediales pädagogisches Instrument gedient.

Aunque anticuarios, historiadores de la cartografía, paleógrafos e historiadores del arte han escrito sobre el mappa mundi de Hereford durante más de 300 años, conocemos poco acerca de su emplazamiento original o uso. Este artículo trata de la obra de la nueva sillería de la catedral, de evidencias dendrocronológicas y del sistema de preeminencias eclesiásticas medievales, para argumentar que este monumental mapa del mundo fue originalmente exhibido en 1287 cerca del primer sepulcro de Santo Thomas Cantilupe, en el crucero norte de la catedral de Hereford, y que no funcionó como retablo, sino como parte de lo que el autor denomina ‘el complejo de peregrinaciones Cantilupe’, un conglomerado de aditamentos e imágenes que fue en aquel tiempo uno de los mas populares destinos de peregrinación en Inglaterra. En este emplazamiento, el mapa podría haber añadido atractivo al complejo y servido como un instrumento de pedagogía multimedia.     

Taking the Hill: Archaeological Survey and Excavation of German Communication Trenches on the Summit of Mont St Quentin

The following presents the results of a limited programme of field investigation carried out on the site of German communication trenches running through woodland on the summit of Mont St Quentin, just outside the town of Péronne, in the Somme region of Picardy. The aim of the project was to assess the archaeological potential of features related to the Battle of Mont St Quentin, which took place in August/September 1918 and was co-directed by Tony Pollard and Iain Banks. The fieldwork, which consisted of topographic survey, metal detector survey and limited excavation, was carried out over ten days, between 29 August and 9 September 2011. The action, by men of the Australian Second Division, saw the Germans pushed off their strong position on the hill, and thereafter the recapture of Péronne. As a result, three Victoria Crosses were awarded, and General Rawlinson described the battle as the finest achievement of the war. Given its place in the history of Australian military endeavour on the Western Front, the Historial de la Grande Guerre in Péronne has taken out a fifty-year lease on an area of land within Mont St Quentin Wood, which is an initiative supported by the Australian government via the Department of Veteran’s Affairs. This ground includes a number of German communication trenches, along with other features such as shell holes. The intention is to include this area in a heritage trail (Australian Remembrance Trail), which will incorporate other sites of Australian activity, including Fromelles, Villers-Bretonneux and Hamel. In order to maximise the impact and educational value of the site it has been subject to archaeological investigation, an exercise that will add to our understanding of events there, and also provide information and material for a proposed interpretation centre.     

瓜亚基尔会谈再认识

玻利瓦尔与圣马丁的瓜亚基尔会谈,虽然在某些问题上存在过分歧,但也有意见一致的地方;经过磋商,彼此达成了谅解。这次会谈并没有失败,而是取得了积极的结果。     

‘The face of the one who is making for Jerusalem’: The Angel Choir of Lincoln Cathedral and Joy1

This paper examines the Angel Choir of Lincoln Cathedral (c. 1256–80) from the perspective of two interrelated concepts: the heavenly Jerusalem and joy. Building on previous scholarly discussions of the choir’s unusual creativity and profusion of organic and iconographic decoration, it traces connections between the choir and the rich corpus of writing on the joys of the heavenly Jerusalem. In juxtaposition with the hagiography of St Hugh, this opens a valuable seam of meaning and offers a possible explanation for the choir’s decorative intensity. It also reveals a number of ways, previously unnoted, in which Hugh of Avalon and his spirituality are recalled by the choir built to house his relics.     

Variety and Adventure in the Life of Carl Linden

Abstract

In his long life Carl Linden lived variously and wonderfully. For more than half a century he was a teacher and promoter of Great Books in the classroom and in the neighborhood. Great Books in his hands and mind transformed him into a kind of latter-day Socrates, always questioning, always smiling, sometimes teasingly. As a naturalist he was a hiker/biker on the C&O Canal towpath and promoter of it, as well. His scholarly pursuits took him to Eastern Europe, especially to Russia and Ukraine, about which he wrote and taught for four decades. Finally, he was a bon vivant whose Socratic ways won him laurels in the classroom and friends in the places where good fellows meet.