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J Brit Archaeol Ass 150
Title
The title of the publication or report
Title:
J Brit Archaeol Ass 150
Series
The series the publication or report is included in
Series:
Journal of the British Archaeological Association
Volume
Volume number and part
Volume:
150
Publication Type
The type of publication - report, monograph, journal article or chapter from a book
Publication Type:
Journal
Editor
The editor of the publication or report
Editor:
Martin Henig
Publisher
The publisher of the publication or report
Publisher:
Maney Publishing
Year of Publication
The year the book, article or report was published
Year of Publication:
1997
Source
Where the record has come from or which dataset it was orginally included in.
Source:
BIAB (The British & Irish Archaeological Bibliography (BIAB))
Created Date
The date the record of the pubication was first entered
Created Date:
10 Jun 2008
Please click on an Article link to go to the Article Details.
Article Title
Access Type
Author / Editor
Page
Start/End
Abstract
Gloucester and the Herefordshire School
Ewa Chwojko
Malcolm Thurlby
17 - 26
The documented gift of Kilpeck church to St Peter's Abbey (now the Cathedral), Gloucester, is taken as the starting-point for the examination of sculptural and architectural links between Gloucester and Gloucestershire churches, on the one hand, and Kilpeck and Herefordshire churches, on the other. Technical aspects of the so-called Dymock School of Sculpture emphasise its importance in the formation of the Herefordshire School. Aspects of Roman and Anglo-Saxon heritage are also considered.
Sculpture and patronage in a Shropshire manor: a group of 12th-century sculptures from Alveley
John Hunt
Michael A Stokes
27 - 47
Within the building and grounds of the Bell Inn, Alveley (Shropshire) there is preserved a group of sculptures, the style of which is that of the Herefordshire School. Thought to derive from a twelfth-century church in Alveley, the group is the product of at least two hands and includes zoomorphic and other interlace, together with figural scenes of `Samson and the Lion', `St Michael and a Serpent', and a `Man in Foliage'. The sculpture is indicative of a lavish decorative scheme and may be dated to the period 1155 to early 1160s, the likely patron being Guy Lestrange, sheriff of Shropshire. It is argued that the role of aristocratic affinities in artistic patronage has been over-emphasized and that neighbourhood was a more influential factor.
Previously undetected wooden ribbed vaults in medieval Britain
Millard F Hearn
Malcolm Thurlby
48 - 58
Wooden ribbed vaults have been associated with mature Gothic architecture in Britain. The circumstances for their detection in twelfth- and early thirteenth-century churches are presented. Documentary evidence suggests that wooden ribbed vaults were considered a viable form of ceiling even at the highest levels of patronage. They could be erected more quickly than their stone counterparts and offered great flexibility for hollow-wall structures without the need for elaborate buttressing.
Medieval and later woodwork from the choir in Ely Cathedral
Kate Fearn
59 - 75
In the choir of Ely Cathedral are forty-six complete stalls from a set of seventy made in c.1340 and originally positioned in the Octagon. James Essex moved these from the Octagon to the east arm in c.1770 and also designed new fittings for the choir, including a west screen to carry the organ, a reredos and a set of substalls. When Scott restored the choir in the mid-nineteenth century the stalls were moved to their present position; parts of ten others were re-used and the remaining fourteen put into storage elsewhere in the cathedral. The paper reports some of the findings resulting from the recent completion of a catalogue of the remains of this collection of choir furniture. New evidence for the design and construction of the earlier thirteenth-century choir-stalls, represented by two fragments of arcading; the fourteenth-century, and the eighteenth-century stalls, is discussed in relation to the history of their treatment and relocation.
Choir-stalls from the 14th-century Whitefriars Church in Coventry
Charles Tracy
76 - 95
After the Reformation most of the choir-stalls made for the Whitefriars Church in the late-fourteenth century were moved to the city's Free School, where they were used for over 300 years as desks. Although the furniture is in a badly abraded state, many of the surviving misericords are well preserved and the generally high quality of craftsmanship can still be recognized. In this account special emphasis is given to the heraldry of the misericords, which includes the arms of the mayors of London and Coventry. On the basis mainly of style the stalls must have been made at about the same time as those at Lincoln Cathedral; however the archaeological evidence suggests that this dating needs to be pushed on by a decade. Includes
Appendix I: the misericords of the Whitefriars Church, Coventr...
89 - 93
with notes on the heraldry by John A Goodall
Appendix II: A note by John A Goodall on BL Lansdowne MS 209ff....
93
The Lincoln Stonebow and the flattery of princes
David Stocker
96 - 105
The paper takes as its starting point the relatively unusual form taken by Lincoln's gatehouse-cum-guildhall, which was rebuilt in 1520. It is argued that the Stonebow's elevation bears a superficial similarity to the contemporary royal palace at the Field of the Cloth of Gold. The local political background suggests that the two buildings are connected through the city council's efforts to renegotiate the terms of their fee-farm with their feudal lords. The new building and its iconography were intended to be understood at several levels of symbolic meaning, all of which referred to the city's relationship with its various lords. Consequently the Stonebow is in fact a multi-faceted political statement, and a good example of the complexity sometimes achieved in early Renaissance architectural iconography.