J Brit Archaeol Ass 156

The study attempts to record the ancient `reredos' at Adisham Church, Kent, and to explain what its original provenance and function was, with the help of dendrochronological and polychrome analysis, as well as a rigorous examination of the joinery construction. Includes

For more than a century it has been seen as a possibility that the masons who built Scotland's late medieval churches, and the patrons who commissioned them, drew some of their inspiration from buildings of the twelfth and thirteenth centuries. In this paper an attempt is made to consider if this was indeed the case, to identify what those borrowings may have been, and to distinguish them from ideas that were being drawn from continental Europe in those same years.

George Forrest Browne was one of the nineteenth century's foremost clerics and archaeologists. These two roles came together in his interpretation of Anglo-Saxon crosses, including that at Bradbourne in Derbyshire. This monument was probably destroyed during the late-sixteenth to early-seventeenth century. Browne was responsible for recovering the fragments of the Bradbourne cross, which he then situated within a `reformationist' history of medieval England, charting the corruption of the English church and society under papal influence through to the `re-formation' of the Church of England in the sixteenth century.

Discussion and review of Wonder: painted sculpture from medieval England (Henry Moore Institute, Leeds, 3 October 2002 to 5 January 2003), an exhibition of medieval polychrome sculpture. The author considers the issues of iconoclasm, neglect and poor display which, he argues, devalue English and Scottish medieval sculpture. The article considers the use of colour on English medieval sculpture, the conservation and repainting of such works, and modern and nineteenth-century perceptions of medieval use of colour. Also discussed are the impact of twentieth-century values and perceptions on the display and interpretation of medieval sculpture, and its juxtaposition in various exhibitions with modern works of art.