Proc SocAntiq Scot, 125 (1995), 793-812

Jedburgh church: the Romanesque fabric Malcolm Thurlby*

ABSTRACT The choir of the former Augustinian abbey church at has often been discussed with specific reference to the giant cylindrical columns that rise through the main arcade to support the gallery arches. This adaptation Vitruvianthe of giant order, frequently associated with , hereis linked with King Henry foundationI's of . unusualThe designthe of crossing piers at Jedburgh may also have been inspired by Reading. Plans for a six-part rib over the choir, and other aspects of Romanesque Jedburgh, are discussed in association with , Lastingham Priory, MagnusSt and Cathedral, Kirkwall. The scale church ofthe alliedis with King David foundationI's Dunfermlineat seenis rivalto and the Augustinian Cathedral-Priory at .

formee e choith f Th o rr Augustinian abbey churc t Jedburgha s oftehha n been discussee th n di literature on Romanesque with specific reference to the giant cylindrical columns that rise through the main arcade to support the gallery arches (illus I).1 This adaptation of the Vitruvian giant order is most frequently associated with Romsey Abbey.2 However, this association s problematicai than i e gianl th t t cylindrical pie t Romsea r e th s use yi f o d firse y onlth ba t n yi nave, and almost certainly post-dates Jedburgh. If this is indeed the case then an alternative model for the Jedburgh giant order should be sought. Recently two candidates have been put forward. Richard Fawcett suggests that the architect of Jedburgh may have come from the Benedictine abbey church of (Fawcett, Jedburgh Abbey, 15), while Richard Halsey sees Reading Abbey, whic foundes hwa Kiny db g Henr immediat1121e n i th yI s a , e sourc Jedburgr efo h (Halsey 1985 ; 198828 , , 157). Consideratio f thio n s matter leadfullea o t s r examinatio originae th f no l form of the Romanesque elevation at Jedburgh and its sources and, concomitantly, to a more complete understanding of its place in . At first sight the link between Romsey and Jedburgh has a certain appeal on documentary and stylistic grounds. Jedburgh was founded in about 1138 by King David I, whose aunt, Christina, t Romsea n nu Hampshire n yi a s wa whosd an , e sister, Matilda stayed ha , t Romseda y beforr ehe marriage to Henry I in 1100.3 In addition, on the first pier of the south nave arcade (SI) at Romsey, the outer order of the main arcade towards the aisle springs from a capital set two full courses higher than the capitals that carry the inner order of the arch and the aisle ribs, while the outer order of the arch towards the nave springs from a capital set three-and-a-half courses higher than the soffit-roll capital (illus 2 & 3). An analogous principle is witnessed in the springing of the sub- arches from the central column of the arch from the south transept to the nave gallery (illus 4).

* 2 Cooper Court, Brantford, Ontario, Canada N3T 6G2 794 SOCIET ANTIQUARIEF YO SCOTLANDF SO , 1995

ILLU 1 S Jedburgh Abbey: choir, interio north-easo rt t

Als thin oi scounterpars bayit n i , norte th hn i t transept frod an m, pie westward2 r navee th e n th ,si gallery enclosing arc articulates hi giana s da t order with nook shafts rising fro groune mth d (illus 2). At Jedburgh this latter motif is combined with the giant cylindrical columns in the east responds of the choir and the outer responds of the arches from the transepts to the choir and nave aisles, while the different springing levels of separate orders of an arch at Jedburgh are expressed with capital impostd an s s place t differenda t heights (illus 5-6) t identicadetaie no e Th . s th i l n i l two buildings but the design principles are the same. The combination of these unusual motifs suggests a link between Romsey and Jedburgh, but it is unlikely that this was direct. Traditionally the start of Romsey Abbey is placed around 1120 and work on the nave seems to have begun between 1140 and 1150. Even if it is argued that the giant cylindrical piers were

designe outsee th t dt woula i t hare db explaio dt thesy nwh e piers, rather tha compoune nth 4 d piers of the choir, served as the model for Jedburgh.5 Therefore, we may be virtually certain that direce Romseth t t no sourc s yi r Jedburghefo t thiA . s poin t makei t s good sens examino et e Halsey's hypothesis that the giant order at Romsey and Jedburgh both reflect the influence of THURLBY: JEDBURGH ABBEY CHURCH ROMANESQUE :TH E FABRIC 795

ILLUS 2 Romsey Abbey (Hampshire): nave, interio southo t r - west

Reading Abbey. The case for the giant order at Reading is not conclusive but circumstantial evidence speaks strongly in its favour. The choir arcade piers were cylindrical with single attached shafts towards the aisles; a base of the south choir arcade is still in situ (Halsey, 1985, 27; 1988, 156). Halsey has demonstrated that the plan and dimensions of the Reading choir were similar to Tewkesbury and, given the use of the giant order with columnar piers in the Romanesque choir at Tewkesbury, it is likely that Reading had one too (Halsey 1985, 27-8, 34 n 86; 1988, 156-8). Other element t Readinsa comparee gh s with (Halsey 1988, 156) and, seeing that both Romanesque Glouceste Tewkesburd an r higd yha h vaults logicas i t i , suggeso t l higa t h vaulr fo t the Reading choir.6 This in turn would serve as a model for the choir of St Frideswide's at Oxford. Romsey doe t havsno higea possibls hi t vauli t bu et thadiagonalle th t y placed vault respondn si the south nave aisl westere e th ther n southi e neth - SIangley n i - ,ba d throughouf so an 2 S y ba t east angle of bay S3 - reflect Reading. Buckler recorded a diagonally placed vault respond in the south-west Founder'e anglth f eo s Chapesoute th f h of ltransep t Readina t g Abbey. detaie Th 7 s i l 796 SOCIET ANTIQUARIEF YO SCOTLANDF SO , 1995

ILLU S3 Romsey Abbey (Hampshire): nave, detail pier SI from south-east

different from that at Romsey but diagonally placed vault responds are sufficiently unusual in English Romanesque architecture to suggest that the two works may be linked.

Reading/Jedburge Th h connection seemconfirmee b crossine foro e th st th f m o y db g piers. 8 The crossing piers at Reading were elongated on the east/west axis in the manner of Tewkesbury but, unlike Tewkesbury, they had semi-cylindrical terminations to both the east and west ends.

This unusual design - otherwise paralleled in only at - seems to9 supply the inspiration for the singular arrangement at Jedburgh. The design of the Jedburgh crossing piers evolves from Reading to create a fusion between four unequally sized cylinders: three allotowardo aisle T choie th . we t th o maie 6) t (illu se rsth e & stalle n b on 1 s spa o d st nan back as far as possible within the crossing area, and at the same time to continue the curved section choie oth f r piers, the central sectio eastere th f no n crossing pier finishes swa d wit hsegmentaa l section rather than a flat area of wall as at Reading.10 The Reading piers are known only in plan and it is possible that a segmental section, analogous to the middle section of the Jedburgh pier, THURLBY: JEDBURGH ABBEY CHURCH: THE ROMANESQUE FABRIC I 797

ILLUS 4 Romsey Abbey (Hampshire): south transept, elevation souto t h nave aisl gallerd ean y

might have been corbelled out above the choir stalls. In this connection it is interesting that in 1

Winchester Cathedral a segmental central section flanke1 d by half-shafts articulate the crossing piers toward maie sth n span (illu. s7) Immediately to the east of the north springer of the eastern crossing arch at Jedburgh there projects a somewhat weathered angled corbel which is framed above and to the west with a simple mouldin . Thig 8) (illu s & mouldin1 s g almost touche chevronex si e sth d voussoir soffie th f o f ts o the crossing arch. Above this the arch is of 15th-century date. The angled corbel and its top moulding continu capitale linee th e easth e f abac d so th tsan f respono i northere th f do n crossing arch which suggests that the e congruousyar anglee Th . d placemen corbee th alsy f e o b ma tl associated with the angled vault-rib supports at Romsey and Reading. But even more specific parallels are with the choir, crossing and transepts of Lindisfarne Priory (illus 8 & 9). In each of these space t Lindisfarnsa Romanesque th e e high vaul carries i t corbellen do d capitals whice har angle-set. A similar use for the Jedburgh corbel would seem to be a distinct possibility. Each of the 8 79 SOCIET ANTIQUARIEF YO SCOTLANDF SO , 1995

ILLU S5 Jedburgh Abbey: choir, interior elevatio souto nt h

Lindisfarne vault capital s maidirectioe it th ribe s nn th i ha s. fac t f Applyinno se e e g th thi o t s Jedburgh corbel leads to a somewhat unexpected result. The face of the corbel to the choir is not set in the direction of the next pier along on the south side, but towards the next but one. Therefore unlikels i t i , y tha Jedburge th t h high vaul plannes wa t quadripartits da e over single bays. Rather it would have been quadripartite or sexpartite over the double bay of the choir. In either case this woul vaula e db t builsquara n o t e plan quadripartitA . e vault ove doubla rs i y eba unparalleled in British Romanesque architecture but it is a common feature of Imperial churches theid an r successors, suc s Speyeha r Cathedra Germann i lMariakere th d yan t Utrechka e th n i t Netherlands.12 The domical trajectory of these vaults results in the setting of the clerestory windows well abov gallerye eth . This arrangement coul t havdno e existe t Jedburgda h because eth top of the Romanesque wall is defined by an arched corbel - of the same type as those on the east and west crossing piers - at the west end of the present clerestory, and this is too low for the Imperial design. The choir clerestory at Jedburgh belongs to the Early Gothic remodelling but there is THURLBY: JEDBURGH ABBEY CHURCH: THE ROMANESQUE FABRIC 799

ILLUS 6 Jedburgh Abbey: north choir aisle from north-east

norte evidencth exterioe f h o th wes e choi d n th e o en t t ra r that speak favoun si Romanesqua f o r e clerestory at the same level as the present one (illus 10). To the right (west) of the westernmost window there is a break in the regular coursing of the stonework which suggests that the masonry t contemporarbreae righe no th t oth s f k i o t y wit Earle hth y Gothic windowe righe th th f o to T . break fourte th , h course abov clerestore eth y strin anothes gi r string which continue lengte th r hsfo of one stone on to the east wall of the north transept. Seven courses higher up on the choir clerestory there is a similar string which also continues for a short distance on the adjacent transept wall. In the fourth and fifth courses above this there is the single Romanesque arched corbel at the very west end of the choir clerestory, and once again this ashlar continues on to the transept wall for about 0.3 m. Immediately above the arched corbel the vertical break continues to the top of the wall e chamfereTh . uppeo dtw profile r th strin f o e g course s simplei s r tha clerestore nth y string and conforms happil Romanesqua o yt e type.13 Therefore s plausibli t i , suggeso et o ttw thae th t strings mark the base and springing point of a Romanesque arcade which should be associated with the sill and the arch springers of windows in the manner of the Romanesque clerestories of the at Durham and at Kirkwall (illus 11). The continuation of these stringcourses at Jedburgh ont ease oth nortte walth f ho l transept suggests tha clerestora t s alsyowa used there. This is confirmed by details on the interior of both the east and west walls of the north transept. On the east wall two vertical breaks on the inner plane of the clerestory wall indicate the central placemen Romanesqua f o t e clerestory window abov archee giane eth th f ts o order (illus 12)e Th . south jamb of this former window is opposite the stepped plain jamb of the former clerestory windo wese th tn wo wal l (illus 13) fora , m parallele transepte th t Magnun dS i f o s s Cathedral, Kirkwall (illu14)& 3 . s1 The reconstruction of this Romanesque clerestory in the choir of Jedburgh allows the 800 SOCIETY OF ANTIQUARIES OF , 1995

ILLUS 7 Cathedral, north-east crossing pier

equation of the planned high vault there with the two sexpartite vaults in British Romanesque architecture: in the easternmost bay of the choir at Lilleshall Priory (Shropshire) and in the chancel of the church at Tickencote (Rutland). Of these Tickencote is the more interesting in that the vault is constructed over an approximately square chancel, and its segmental diagonal ribs would be an appropriate design for the Jedburgh high vault (illus 15). There remain two snags with the reconstruction of a Romanesque high stone vault in the Jedburgh firschoire th t n placeI . , althoug secone hth d eastere ordeth f o rn crossing f arc15tho s hi - century date probabls i t i , e tha Romanesqua t e second order originally sprang fro same mth e point (illus 8). Therefore the crossing arch and rib springers would have overlapped. This may seem awkward but this very overlapping occurs in the south-west rib springers of the choir and north transept vaults at Lindisfarne (illus 9).14 Secondly, the seven courses of ashlar above the angle-set breae wese th th f k o to corbe t wit presene d hth an l t clerestory arcade appea e Romanesqub o t r e f thi(illuI . s 8) sstonewor k belong originae th o t s l fabric the e absence tracy nth th an f eo f o e THURLBY: JEDBURGH ABBEY CHURCH: THE ROMANESQUE FABRIC 80 1

ILLU S8 Jedburgh Abbey, choir, north-west corbel

webbing of the Romanesque high vault is remarkable. The webbing of Romanesque vaults in Britain is usually bonded into the core of the wall; therefore in a ruinous state a former vault is marked by the arc of the vault web on the wall. This may suggest that the plan for the high vault over the Jedburgh choir was not executed or that it may have been constructed in wood in imitation of stone.15 However, ther e instanceear Englisn i s h Romanesque building high-vaula f o s b we t simply being built against wall surfaces, as in the south transept at , in , and the nave at Abbey, in , where evidence that the vault was actually constructed is supplied by traces of fire damage.16 Although we shall never know whether or not the Jedburgh choir vault was constructed, either woon i r stonedo t leas a ,intentio e th t ereco nt higa t h choie vaulth n ri t raise questioe sth f no the architectural context of the scheme. Given the probability of a high vault in the choir of Reading Abbey and the other links between Jedburgh and Reading, the inspiration for the Jedburgh choir vaulhavy ma te come from Reading. Readin s foundegwa Kiny b ds i gt i Henrd an yI reasonabl suggeso et t thae anglophilth t e King Davi s influencedwa thiy b d s s worhi f ko I SOCIET 2 80 ANTIQUARIEF YO SCOTLANDF SO , 1995

ILLUS 9 Lindisfarne Priory: choir, south-west vault corbel

counterpart Bordee soutth f ho r (Halsey 1985 ; 198828 , , 157) t northerBu . n work e equallar s y relevant. After their introduction in the main spans of , high rib-vaults are not generally associated with British Romanesque churches.17 However, high vaults, especially in the

eastern arm f majoo s r churches rathee ar , r more common thas hithertnha o been believed. 8

Especially relevant for Jedburgh is the development in the north of England1 . Ante-dating Durham there is clear evidence from North Yorkshire for high groin-vaults over the eastern arm of Lastingham Priory, and it is likely that both Whitby and St Mary's Abbey at York also had high

choir vaults. Following Durham, Lindisfarne Priory was completely vaulted with ribs. Like

9 0 2

Lastingham, 1 Whitby, and Lindisfarne, Jedburgh was a refoundation of an 'Early Christian' site, and in keeping with them and the great northern cathedral of Durham, Jedburgh was planned for a vaulted choir.21 The scale on which the Romanesque abbey church at Jedburgh was conceived is significant in the context of the development of Scottish architecture in the 12th century. On the one hand, it THURLBY: JEDBURGH ABBEY CHURCH ROMANESQUE TH : E3 FABRI80 I C

ILLUS 10 Jedburgh Abbey (exterior): north choir clerestory

is much larger than the earlier royal foundation of St Rule's at St Andrews. On the other, it is comparable with both Dunfermline Abbey, founde Daviy t Magnudb 1128S n i d I an , s Cathedral, Kirkwall, founde Eary db l Rognval 1137n di . While Jedburg stils hi l smal comparisoy b l n wite hth huge English abbeys and cathedrals such as St Albans, Winchester and Durham, which were conceived on the same vast scale as the great Early Christian basilicas of Rome,22 it is on a par with two later English foundations, Southwell and Carlisle, which King David may well have wished to rival. Southwell Minster was begun between 1108 and 1114 by Thurstan, , who was keen to secure the obedience of the Scottish church.23 In consideration of Thurstan's Scottish ambitions, the Augustinian priory at Carlisle, which had been founded by Henr ycitI aftee visis 1122n th y i hi elevates r o t t wa , cathedrao dt l statu 113n si 3 (Bulman, 1937; Dickinson, 1946) rivallinn I . e scalg th f Thurstan'eo s major foundation royae th d l Carlislan , e cathedral-priory, King David made a clear architectural proclamation of Scotland's ability to administe ecclesiastican ow s rit l affairs.

I SOCIET 6 80 ANTIQUARIEF YO SCOTLANDF SO , 1995

ILLUS 15 Tickencote (Rutland): choir vault

Other aspects of the design of Jedburgh are significant in the evolution of Romanesque architecture in Britain. The multiple mouldings (illus 1 & 5) on the front of the choir arcade arches and the arches from the transepts to the choir aisles (especially the inclusion of what seems to be a second hood-mould), recall Anglo-Saxon stripworwese th tn o doorwa s ka f Earlyo s Barton tower (Ferniechancee th d an ,l ) 1983arc 87 Witterint ha g ,fi g (Northamptonshire).24 The grouping of shaft segments is characteristic of Anglo-Saxon building, as in the crossing and nave arcade pier t Greasa t Paxton (Huntingdonshire) bline th dd arcade an ,exterioe th n so f ro choie th t Bradford-on-Avora n (Wiltshire: Fernie, 1983 Jedburge scale th th 86) ,f t e& o fig 8 Bu .7 s h piers is much greater. The only pre-Conquest works that begin to approach the monumentality of Jedburg semi-cylindricae th e har l respond apse th ef so arche t Deerhurssa t (Gloucestershiret a d )an Worth (Sussex: Fernie, 1983, fig 90). It is as if we have the fusion of the two concepts at Jedburgh. Withi Romanesquna e context other tha crossinn ni g piers desige th , n does have parallels it n si concep scaled elongatee an t Th . d quatrefoil westere pierth f so nnave bayth f Tutburef o s o y Priory (Staffordshire: illus 16) seem to be the closest, but reference may also be made to the large

quatrefoil crype pierth Yorf n to si navke Minsteth Rochestef en o i d ran r Cathedra Kent.n li 5

The square-ended choir aisles presag2 e Early Gothic developments (as at St Andrews Cathedral-Priory possibla t bu ) e contemporary paralle choie s founi l th n rdi aislet MagnuS t sa s Cathedral, Kirkwall.26 Like St Magnus, the choir aisles at Jedburgh are rib-vaulted. The south aisle vaul largels i t y rebuilRomanesque th t tbu e ribpreservee sar d from north-eas south-weso t t e th n ti western bay frod ,an m centr north-easo et north-wesd tan eastere th n i t profilnb a ri bay s e eha .Th torus singlerold an l hollow ribe sidee th th . f sn Thio s o differens si t fro norte mth h aisl whicb eri h hasame sth e torus rolt witbu lh plain ribe sideth . Thero st chronologicao n s ei l significance th o et

difference; rathe conformt ri aesthetin a o st whicn ci h variet detain y i highl s lwa y esteemed.

7 2 THURLBY: JEDBURGH ABBEY CHURCH ROMANESQUE :TH E7 FABRI80 I C

ILLU 6 Tutbur1 S y (Staffordshire): north nave arcade pier

Differences in detail are also to be seen in the arches in the transepts, but here an alternative explanation of the diversity seems appropriate. The mouldings of the arches to the aisles and galleries of the choir repeat those in the choir elevation (illus 1 & 12). By contrast the arches to the nave aisle galleried san devoie sar f ornamendo havd an te just simple stepped orders (illus 13). Such differences do not necessarily indicate a change of plan. Instead, the richer decoration on the east side of the transept is visually connected with the adornment of the in the eastern churche arth wesf e mo Th visua.o t n wal s lha l association wit sanctuare hth thereford yan less ei s richly decorated. This east/west division occurs in the transepts of Durham Cathedral where the richly moulded arches of the eastern side continue the treatment of the choir while the west side of the transept is plain.28 At Jedburgh the principle is analogous, although here the second bay of the east side of the transepts is plain. Similarly the original eastern crossing arch at Jedburgh was carved with chevron ornament while the arch to the north transept is unadorned. In sum, the Romanesque abbey church of Jedburgh holds an important place in the evolution 8 80 SOCIET ANTIQUARIEF YO SCOTLANDF SO , 199!)

of Scottish . Like Dunfermline Abbey, also founded by King David, it was conceived on a far grander scale than earlier Romanesque churches in Scotland such as St Rule's at St Andrews. While its size does not compete with the largest Anglo-Norman churches in England, t doei s riva collegiate th l e foundatio f Archbishono p Thursta Yorf no t Southwellka newle th d y an , elevated . The motif of the giant order was probably inspired by the royal foundation of Reading Abbey, and the crossing piers and vaults may also reflect that source. In incorporating a choir high-vault, and in the richness and variety of decoration, Jedburgh Abbey dato t wa p e u swit latese hth t development architecture th n i s highese th f eo t leve f patronago l e e Bordersoutth f e revolutionaro hn thi I th . sr regarfo y t pavei dwa ye monumentath d l reconstruction of St Andrews Cathedral-Priory after 1160.

NOTES 1 MacGibbon & Ross 1896, 401-3; Clapha 1934, 97n; Clapham 1949, 12, 13; Boase 1953, 152-3; RCAHMS 1956, 203; Webb 1956, 32-3; Fawcett 1985, 32; Halsey 1985, 28; Sharret, 1985, 243-51; Fawcett, Jedburgh Abbey, 14-15; Cruden 1986, 108-9. giane th n t O order Halsee se , 2 y 1985, 20-9 Romsey/Jedburge Th . h connectio s discusseni y db MacGibbo Rosn& s 1896, 401-3; Boase 1953, 153; Fawcett 1985 ; Halse,32 y 1985 ; Sharret,28 , 1985, 250; Fawcett, Jedburgh Abbey, 14-15. 3 Cowan & Easson 1976, 92. 4 There is no evidence to support the contention that the capitals of the north crossing arch were raised eight (RCAHMS 1956, 201) or 10 (Cruden 1986, 105) courses in the Romanesque period. 5 There are no documentary dates that apply directly to the building. The starting date has been expressed with referenc sculpture th capitale o et th f eo s whic bees hha n allied wit crype hth t capitalt sa Canterbury, formerly dated around 1115. It is now generally accepted that the Canterbury crypt capitals are contemporary with the building and therefore should be dated after 1096. Any temptation to move startine th g dat f Romseeo y earlie precludes ri numbea y db detailsf maie ro th nn arcadO .choi e th f reo at Romse channellee yth d chevro pastae th d - nlikan e filled roundel hooe th dn so deriv e fro arcade mth e e ringinoth f g chambe f Winchesteo r r Cathedral which post-date collapse th s e firsn 110ei th tf 7o Anglo-Norman crossing tower. Similarly choir-aislee vaule th profile th ribe f f th o ,th t so f o e , which has a relatively delicate soffit roll flanked by narrow hollow rolls, relates to the ribs introduced in the transept aisle towese afteth fal e f 1107n ri o th lr . This profile also appeare th n si 'sacristy soute e soutth th f hho o t transep' t CrosS f o ts Hospital church Winchestern i , , whics hwa founded by Henry of Blois in 1136. The volute capital with fanned reed-like leaves in the centr s closelei y parallele e soutth o hdt soffit capitachancee th f o l l arc f Porchesterho formea , r Augustinian priory founded by Henry I in 1133. A capital in the second bay of the south choir gallery ha recessea s d facdesige th e n witno uppen ha r rectangle abov centraea l semicircle somn i s a e, capitals from the of Reading Abbey which was founded by Henry I in 1121. At the other end of the dating scale, the details of the capitals of bay N5 in the main arcade relate intimately to St Cross probably started after Henr Bloisyof ' return from exil Cluneat 115yin significantl8and y completed before his death in 1171. Thus, even allowing for a quicker progression on the eastern arm than in the transepts and nave, a date for the giant cylindrical piers before 1140 seems unlikely and the traditional markthe dat115c .off eof 0 suggestefar be not Peer dby smay 6 On the former Romanesque high vaults at Gloucester, see Thurlby 1985b, 44-8; Wilson 1985, 52-83. BuckleC J r drawings7 , Add 36400As .M . 8 Elsewher Englann ei Walesd dan , diagonall t Romanesquyse supportb eri s crypte occut th S f n i rso Mar t Warwickya t NicholasS , ' Prior t Exeterya Berksweld an , l (Warwickshire) e presbyteryth n i ; , crossing and transepts at Lindisfarne Priory; in the chancels at Avening (Gloucestershire), Barnwell (Cambridgeshire), Elkstone (Gloucestershire), Ewenny (Glamorganshire), Heddon-on-the-Wall (), Rudford (Gloucestershire), Avington ( Beaudeserd )an t (Warwickshire)n ;i e sacristth t Hemeya l Hempstead (Hertfordshire) e westh f t o e soutrang y th t Rochesten hba ea i ; r THURLBY: JEDBURGH ABBEY CHURCH: THE ROMANESQUE FABRIC j 809

Cathedral (Kent) transepe th n ;i t Buildwat sa s Abbey (Shropshire) chaptee th n ;i r hous Muct ea h Wenlock Priory (Shropshire t Augustine'S d an ) s (no cathedrale wth Bristoln i ) ; unde towee th r t a r Rising () and Sidbury (Devon); and in the of Castle. diagonaOe nth l placemen f supporto t vaulr sfo t ribFranke sse l 1960, 792-826; Frankl 1962, 10-14; Bony 1976; Clark 1977; Clark 1979. BuckleC J r 9 drawings, British Librar south-wese yth Addf o wes e 36400As d M .Th en t . t 4 & , fols3 , 1 . crossing pie stils ri situ. n i l 10 On the use of columnar piers in choirs of English Romanesque churches, see Hoey 1989, 264-7. Fernie (1977), observes that the apse chord piers at Norwich have a cylindrical section like the apse piers so disrupo t t liturgicaae sno th t l space thad an ,t this sectio alsy onma have bee nmaie useth nr dfo choi r respone ease th pier th d t n crossinsan do g piers alse se ;o Fernie 1993a. 67 , 11 Buckler, British Library, Add Ms 36400B, fol. lOv considers it possible that 'the massive lengthy (crossing) piers gave support to corbels in the manner, if not in the precise figure, of those examples so much favoured by the Cistercian builders.' Speyen O 12 r Cathedral e Kubacse , h Mariakere 1974th r Fo . t Utrechtka e Schwart se ,1990k Bo ,z& 130-47, with excellent illustrations. 13 Fawcett (1995, 164) observes that the two upper stringcourses do not have a quirk between the vertical and chamfered faces unlike the other Romanesque stringcourses in the choir. This leads him to suggest thaRomanesque th t e originae clerestor t th par f no o t s l ycampaignwa claia , e supportmh s with referenc ease th t o clerestoret soute th f hyo transept wher chalice eth e capital preclude datsa e before 1160. The omission of the quirk in the abacus of the north-west crossing capitals at Jedburgh (illus 13) leads one to question whether the absence or presence is sufficient evidence for separate campaigns of construction poina , t emphasise juxtapositioe th y db f unquirkedno doubld an ,singld ean e quirked- chamfered abaci through the south-east angles of pier 7 of the Romanesque north nave arcade at St Albans Abbey e inclusio Th .chalice th f no e capitaease th t n i clerestorl e soutth f hyo transept a t Jedburg explainee b y constructios it h ma y db n some time afte completioe th r choire th f no ; analogous completiodelae th n y i clerestor e th f no witnesses yi nave th t Selbea n d i Romseyd yan . 14 A more extreme version was intended in the west springers of the choir vault at Leonard Stanley (Gloucestershire). Analogous overlapping of a rib and the outer order of an arch is witnessed in the arch fro soute mth h nave sout e aislth ho et transep t AndrewS t a t s Cathedral. 15 Thirteenth-century wooden rib vaults still exist in the presbytery of St Albans Abbey and the nave of Warmington (Northamptonshire). Sexpartite wooden rib-vaults were constructed by Scott over the late 12th-century transept t David'S f so s Cathedral (Scott 1863, 93-4). Althoug Romanesquo hn e wooden vault extane sar t their former existenc surmisede b y ema clearese th ; t evidenc westere th n i ns ei bayf so the nave aisles at Tewkesbury Abbey in the form of corbels at the springing point of the former quadrant vaults. 16 Thurlby 1985a. On the behaviour of vault webs: Alexander, Mark & Abel 1977; Mark 1983, esp. 112. 17 On the Durham vaults, see Bilson 1922; Fernie 1993, 152-5; Thurlby 1993a; 1993b; 1993c; 1994. Representative of the perceptions of English architecture after Durham is Kidson 1979, 52; 'Although the vaults of Durham are its most celebrated feature, it is rather disconcerting to find that their immediate influenc Englisn o e h architectur wells ewa nigh negligible more th . l eThi al surprisin s si g becaus theme eth f ribbeeo d vaultin t onca s e gwa take seriouslp nu Normandyn yi transmitted an , d from e adjacentherth o et t part f France o sEnglandn i t bu ; , apart fro isolaten ma d case,e sucth s ha vaultin nave t unti th f Lincol no e o f g e 1140so ls th well wa n ni t i , int secone oth twelftde th hal f o fh century that it became at all common.' 18 Halsey 1988, 159 majon .I r English Romanesque cathedral abbeyd san case higr sth efo h e vaultb n sca followinge madth r efo : , choir (1072-92), nave (after 1141) t AlbanS ; s Abbey, choir (1077-88); Tewkesbury Abbey, choir, transep navd an te barrels; Gloucester (Abbey) Cathedral, choir barrel or groin, ribbed nave; , choir, transept and nave barrels; , choir groine ribbedr do ; Chepstow Priory, nave groine ribbedr do ; , ribbed choird Ol ; Sarum, ribbed choir; Lindisfarne Priory, ribbed choir, crossing, transept naved an s ; , apse and intended ribs in nave; Kirkstall Abbey, choir ribbed; , ribbed | SOCIET 0 81 Y OF ANTIQUARIES OF SCOTLAND, 1995

choi transeptsd an r ; Lilleshall Abbey, ribbed choi transeptsd an r ; Oxford Cathedral, ribbed choid an r transepts. 19 The present high vaults at Lastingham are the product of J L Pearson's restoration of 1879, but a citation and faculty of 1877 refer to the proposal to 'restore the ancient groining of the nave (ie square bay to the west of the presbytery) in place of the present plaster ceiling', and to 'restore the ancient barrel vaultin chancee th f go l includin Apsidae gth l East end' language Th . precises ei plano e t e Th . sar 'rebuild' the clerestory walls and 'insert new windows.' The chancel arch is to be taken down and onew replacewordine ne .Th a y db g 'to restor anciene eth t groinin nave,e th 'thd f an ego ' ancient barrel vaultin chancele th f go ' should therefor takee b e t facna e valu meao et n that evidenc r thesefo e vaults existed prior to Pearson's restoration (see Gem & Thurlby 1995). 20 McAleer (1986, 51) contends that the late 18th-century watercolours, sketches and sepia wash views of the Lindisfarne nave, along with the existing fabric, provide 'incontrovertible evidence' that the nave was groin-vaulted maintaines ha e h d dan , this opinio recens hi n ni t publicatio topie th cn no (McAlee r 1994). This is not the case. To rely on the studio products of late 18th-century artists as primary evidenc methodologicalls ei y unsafe sketchee t precisTh .no e esar representation f groinso t rendesbu r the vault springer sdef w witfe t hstrokea s which read more lik flae diagonae th t th fac n eo l tha stils i t l preserve north-wese th situn dr i fo t high-vault springer. Thi exactls si evidence same th yth s ea e lefy b t the falle nnorte ribth hn si nave aisle vault. Parallels with vault webs left after falle nkeee ribth t pa n s i Middleham Castle (North Yorkshire), transept chapel t Buildwaa s s undercrofte Abbeyth d e an ,th f o s infirmary and the 's Lodging at Netley Abbey (Hampshire), further suggest that the Lindisfarne springer shoul reae db connection di n wit higha vaultb hri . 21 Ecgred, Bishop of Lindisfarne (836-46), gave two villas at Geddeworde with their possessions to Lindisfarne (Arnold 1882, 52-3) build ,an churc a t Jedburgt ha h (Pertz 1866, 506). 22 On relationships between Anglo-Norman great churches and Early Christian basilicas in Rome, see Gem 1983; Fernie 1979; 1993, 135-6; Thurlby 1994. For an excellent discussion of the scale of , Kirkwall Cambridge se , e 1988, 122-4. Southwelln O 23 Thompsoe se , n 1911 t seemI . s probable thaRomanesque th t e presbyter Jedburgt ya d hha squara e easlikd een t Romanesque Southwell (Fawcett 1995, 160). continuite th n O y and/o4 2 r reviva f Anglo-Saxoo l n motifs afte Conqueste th r particulan i e se , r Bony 1981; Fernie 1986; Thurlby 1993a; Thurlby 1994. Yore th kr crypFo 25t piers Browne se , e 1847, pis XVI XIXI& . 6 2 Fawcett (1988 ) suggest89 , s thaRomanesque th t e choi enclosen ri aisled en t Kirkwal a st d no d di l apses, 'since the decorative string courses on the eastern respond of the south arcade extend further east than woul expectee db therf di e sufficienwere b o et t enclosespacn a r efo d apse.' 7 2 Differen profileb ri t s use singln di e building campaign usee sar t Sto da w (Lines) chancel; Oxfordt S , e EastPeteth n ,i r chancel; Bristol t Augustine'S , s Abbey (now Cathedral), housd an e gatehouse; Winchester, St Cross, choir and aisles; Dalmeny (Midlothian), choir and apse. On design variety in general, see Thurlby & Kusaba 1991. 28 Bony 1954, 44-5; Thurlby, 1993a, figs , 18-219 . . 25 ,

ACKNOWLEDGEMENTS I should lik thano et r RicharkD d Fawcet r sendin fo ttypescripa e s papegm hi Jedburgn f o ro t h Abbey before publication Professoand , r Eric Ferni discussinefor substancgthe thieof s paper with sitn Jedburght o e a e m .

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