Published by Maney Publishing (c) The British Archaeological Association aeeue ao oorpi td,adtemjrt fatnino the on attention of majority the fac and west the study, of on all instead monographic in focused ments. has them major sculpture for early a parallel cathedral’s ready eluded no is have there church, cathedral a architecture. of Gothic body English main late the the of of interiors embellished art richly medieval most the early of and one complete, when forming, eto ffiua pnrl omryaondte‘aycae ytecloister’, the by chapel ‘Lady the adorned formerly spandrels figural of lection h neiro h cathedral adorned that the sculpture animals apparent of (Fig. visually interior above most the capitals o the only the which however, in angles, was, designs with sculpture sculpted the support capital individual in cruciform and central and continuous a of termination by range each formed at design shafts pier sophisticated triple highly a upon sit aiaso h ae rnet,adnrhprho h al ohccuc are church inhabit that Gothic trades early the of the representations of to porch prophets, human-animals, Testament north sti hybrid from Old ranging and The and sculptures art. figural transepts, dragons, of medieval the array English rich of nave, a in one with cycles the being ornamented image of of studied honour dubious least capitals the but has published Cathedral frequently Wells most of sculpture capital THE introduction 72 been have might imagery the how of discussion Possible to whole. leads a clerical and as di cathedral lay to cathedral in capitals meaningful the the the of for of distribution scheme The considered. spaces original are right. an images own the of cathedral’s for their the sources part of in products than the imagery rather likely were introduced ecclesiastical masons and were campaigns of capitals building the cycle the that through suggests important mid-way evidence component an archaeological a the as either of the as or Consideration to examination building integral close eluded Although the hitherto cathedral. of Wells have they in fabric, capitals Gothic sculpted early the considers paper This Fernie Eric For REEVE M. MATTHEW Architecture Gothic English of Margins the and Patrons Masons, Cathedral Wells of Sculpture Capital The C odt,tecptl aebe osdrdfo di from considered been have capitals the date, To la oig,wihwr rgnlyhglgtdwt an (Figs paint with highlighted originally were which foliage, -leaf 4 ; h otclbae xmlso h aiasapa ntemjrsre texts survey major the in appear capitals the of examples celebrated most The grlcresonmn h etwl ftetransepts the of wall west the ornament corbels figural 13 hcnuis u h aiasepcal tn sacrosone-o curious a as stand especially capitals the But centuries. th : nterrmral yaimadpatct,adi hi ornamentation their in and plasticity, and dynamism remarkable their in C rn uine nete ieo h hi screen. choir the of side either on audiences erent : h aetioimsadesfaueflaefrsand forms foliate feature spandrels triforium nave the C rn esetvs lhuhthey although perspectives, erent rts rhelgclAssociation Archaeological British © o:10 doi: C ¸ rdtepsiiiyfra for possibility the ered d n ueaymonu- funerary and ade . 1179 ; JBAA / 174767010 n an and 1 , vol. , 2 ). 1 163 h capitals The x C xsitu ex 12747977921047 : ( nEnglish in 2010 3 ). ), 3 2 72 12 thus The col- – 2010 109 th Published by Maney Publishing (c) The British Archaeological Association oeo eoainada‘ohc oeo pta riuain n aggressively one articulation, spatial of mode retrospective ‘Romanesque’ and ‘Gothic’ classicising a other between a the fabric and and approach very in its modernist decoration in read- imbedded of some tension by a mode and with ‘Roman- building decisively a a a inherits between was building. what disjunction ‘Gothic’ within modern a definitively decoration ings sensed sculptural architectural have of their capitals mode and esque’ the themselves on capitals Commentators the first setting. between pamphlet, antagonism stylistic Gardner’s perceived Arthur remains however, capitals, the in published of study thorough n uhr aecatdteriflec nbidnsfo eo oDublin. Masons’, to of Devon from School buildings Country in ‘West influence the Country, their of West charted English monument have the central authors in and the sculpture as of stands development Wells examples. the where of ‘The Gothic context on the and in chapter Romanesque considered Camille’s French to Michael controversial his contrast including in Cathedral’ sculpture, the of capital Margins and ‘marginalia’ on n esnwytesupueo el a aesee nulkl oi sa is topic unlikely an seemed have may Wells of sculpture the why reason One 1956 o h ahda itshop. gift cathedral the for 8 olwn hs tde,cretscholarship current studies, these Following 7 mg nteEdge the on Image h aia cltr fWlsCathedral Wells of Sculpture Capital The acl Thurlby Malcolm 1. Fig. 5 h aiashv lobeen also have capitals The el cathedral Wells hr hyapa in appear they where , ; n emnl based seemingly one : nave 6 h most The 73 Published by Maney Publishing (c) The British Archaeological Association 74 depth in capitals the of all consider to paper single a of bounds the itself beyond cathedral the far of the and contexts in the play physical within they the did role to overall? what cathedral contrary importantly, the which of most only questions reception the pose, and not asking to the formation avoids seem is of resolutely themselves it architecture dismissal capitals but The their the building, the modes. have to of would architectural character ‘other’ it and structural that an unlikely sculptural highly as in is it disjuncture capitals composed of a ever impressions their such was recording one decoration. noted viewer if of medieval but system a random capitals, from Wells more statement a the no upon have other we the course, and design Of of system overall an on reeve m. matthew mgr,adapcso t tl n cngah,cno aiyb nesoda the as the understood of be easily arrangement cannot the iconography, and that capitals’ style below the significant its concerning argue of broadly, issues still aspects I of more and range interpretation. are and, imagery, a English, and on there in focuses archaeology instead and origins facture, paper and unidentified This sources art. remains their European about capitals questions many unresolved of iconography hspprwl o will paper This C rarneo epne oti usinb osdrn h capitals the considering by question this to responses of range a er : rhelgcl aoi,promtv.I is It performative. masonic, archaeological, acl Thurlby Malcolm transept 2. Fig. el cathedral Wells : north ; the Published by Maney Publishing (c) The British Archaeological Association et spicplydpneto nudrtnigo h arco h cathedral the of fabric the of understanding an on con- performative dependent and physical principally date, is their — — capitals texts Wells the of understanding OUR and architectural date, meaning. n itra fsinehscle h msyntr’o h eeomn fGothic or e of human did development the frequently the exploring and thereby of planning, could nature’ and that ‘messy conception factors the of artistic what stage called into the has ornament at architectural science architecture integrate discourses of to various further within historian masonic The aim capitals the one I cathedral. the within production, the locating understood and In of facture interestingly, workshop. on that most cathedral think extension, the I by of and practices and readily, production, be and can capitals facture capitals’ the of su’supue ned usigete fteenraie em o nyimpossible whether only not ‘programme’, ‘Roman- seems o narratives its overall evidence these or of the an building either on ‘Gothic’ pursuing toward the Indeed, within working sculpture. narratives esque’ intelligence programmatic such single locates one a of product i.3. Fig. 9 napni ealn h aiasflosti paper. this follows capitals the detailing appendix An el cathedral Wells acl Thurlby Malcolm n piers and C rdb h ok hmevs u al ogaptecuilcontext crucial the grasp to fails but themselves, works the by ered : aecapitals nave rhelgclcontexts archaeological C i.4. Fig. h aia cltr fWlsCathedral Wells of Sculpture Capital The 12 c infiatcagst einand design to changes significant ect hcnuyacdsand arcades th-century el cathedral Wells euligabove rebuilding acl Thurlby Malcolm : hi,showing choir, 14 th-century 75 Published by Maney Publishing (c) The British Archaeological Association ao’ he-a hi tece atadbtentecorsre n h eastern the and screen choir the between eastward crossing stretched western the choir of three-bay west bay canon’s one o piers thereby nave the piers, between positioned were pulpitum hmwt ennsseict hi function their to endowed this specific which to ornament allegorical. meanings According and architecture. imagery with by religious articulated them medieval were in spaces spaces individual tradition sacred of elaboration the fac loci west the and nave the halted phase likely of works parts building western when c Interdict, The Papal slowed. the with or coincided have may break la etcldvso ptetasp emnlwlsdw otefis v aso the of bays five first a the from to transepts down the walls porch, of terminal north parts transept the including the western nave, up the division of vertical completion clear the involved appear, capitals osrcin sJrySmsnhsrcnl hw,tefis n eodpae of phases second and arm and between building’s eastern transepts the first bay the three in of the the half chapel, breaks shown, first Lady with eastern the recently the precisely comprised has Wells corresponds at Sampson nave construction Jerry the the As of when bays construction. nave, eastern the the down and bays designs. five foliage continue still-leaf only and predominantly to transepts contain back the which turns again of piers, sculpture parts crossing western dragons. eastern two the The and the sanctuary. in foliage the on amidst adorn heads to located carved it intended is small that not suggest were sculpture to capitals figural figural reason that no earliest clear is seems there it and — — did sculpture figural bore originally sti termination restrained late- only any (Fig. bear crossing destroyed ornament the of figural east bays no two the in capitals 76 and crossing the of east (Fig. bays levels clerestory three and arcading triforium choir the the of walling to early outer confined the the now in is building building arm original the the eastern of the much of obscured expansion The itself. reeve m. matthew . 1215 nahrn opae ntecterlscntuto,rte hnt pcfi liturgical specific to than rather construction, cathedral’s the in phases to adhering In ti infiatta h ou ftesupuei h etr ilso h transepts the of aisles western the in sculpture the of focus the that significant is It uha h hi,nv rcose,tesupuesad ncnrs oataiinin tradition a to contrast in stands sculpture the cloister, or nave choir, the as such c – . 40 1184 . 13 12 – el’ avdcptl hsocrams nieywti h hr building third the within entirely almost occur thus capitals carved Wells’s sS onHp one u,teoiia hi cen odlf and rood-loft screen, choir original the out, pointed Hope John St As 1210 B ilydmraigtelyadceia pcsi h building. the in spaces clerical and lay the demarcating cially 12 (Fig. hcnuyfiua cltr ntebidn.Uls h eastern the Unless building. the in sculpture figural th-century 6 ). 5 .I svr nieyta the that unlikely very is It ). c . 1184 c . – : 1175 1210 h extant the – thsln ensgetdta hslatter this that suggested been long has It . 84 : h hr hs,i hc h figural the which in phase, third The . hs ennscudb iea or literal be could meanings these 11 12 h auefiua aiasbegin capitals figural mature The acl Thurlby Malcolm capital arcade 5. Fig. hcnuyfbi nti atof part this in fabric th-century 14 hcnuyhsdsrydor destroyed has century th 4 14 ). ¸ el cathedral Wells d hnfloe from followed then ade 10 hcnuyremodelling th-century h eann arcade remaining The C la aiaswith capitals -leaf : choir 14 The Published by Maney Publishing (c) The British Archaeological Association ylyadceia n hslreyiltrt n ieae—adecso ihrside either on audiences — literate consumed and long-standing screen. be illiterate to largely choir A destined thus the and screen. manifestly — of of was choir books clerical Wells the and at as the lay sculpture served by images the of that although posits line illiterate, buildings religious the the of the decorum the breached until in sculpture tradition promiscuously and, capital the chapels, rather spaces, these around transept across thus Scattered built library. east-facing and chapter-house four was cathedral held chapter-house transepts Decorated The piers. crossing hc hw oovosteai rioorpi ra ttepito h choir the of point the itself, at imagery break audiences the of iconographic clerical nature or and the thematic match lay obvious well screen. to no not shows suited does hypothesis which ‘languages’ a iconographic such respectively, and stylistic specific i.6. Fig. 16 el cathedral Wells 15 hl tmgtb ugse htteiaeywscddwith coded was imagery the that suggested be might it While : rudpa fthe of plan ground a n. (as 13 14 hcnuybidn fe Church, after building th-century ) 1300 h aia cltr fWlsCathedral Wells of Sculpture Capital The h ot rnethue the housed transept north the , Chapters 77 Published by Maney Publishing (c) The British Archaeological Association a u akt lo h aiast tnal oehr eod tmasta each that means it Second, together. neatly foliage fit or to imagery capitals where capitals, the the allow of to joins back the cut for of around was carving importance disposition rough fundamental the frequent standardised the from of and carved was is sculptors carved sculpture That be This the that could meant of itself. this and First, blocks methods pier building. the working the in imagery the of both centre understanding the from arising ehdlg ntetaspsadnv.Tecptl r opsdo oridentical capital four set of diagonally never composed a (Fig. and are was right capital capitals its cardinal-facing — The a to comprising nave. cathedral each fac and pieces, the west transepts L-shaped in the the in sculpture that methodology of meant curia, statement elsewhere. work Roman major pursued masons the its next and in completed the in dispute changes — dramatic lengthy gramme dictated a the circumstance by been historical have caused or not must funding would established workshop This workshop that cathedral’s already nave. the the time the the from of last in sculpture formation the capital capitals of the be carving disappearance to the of in changes capable factor case, deciding onsite executed either then perhaps In men or after, mode. two installed and or break one the before by executed been have well might ewe h on ftebekof break building the when of site point exception the to the possible returned between the again. or that with site indicate on began stage, maintained marks this either works masons’ at were who dispersed The masons largely workshop. two was of Wells Wells would the at alone This of workforce building. the dissolution in halt the a meant caused have have eventually must which interdict, papal 78 around was phase third the of end The patronal logic. overall an of whole. part a as as about than building came rather the practices sculpture of masonic the cathedral’s vision that the suggests he of evidence stage. result that the a any balance meaning as on Wells, at work, at new work were work the is attribute Lock’s decades there capitals begun of since Bristol, figural proven, beginning have Augustine’s, be the the now could and St for cannot that atelier, this evidence at possible below), documentary trained employed (see entirely no designs a possibly similar is perhaps was reproduce it to and who later While portfolio, Lock, stage. or by this book in introduced at model Norreys work a the Thomas on with begun in working by Wells was frequently replaced who at Lock, were was arrived Adam (deans Master he of change until career the the cathedral of Wells). beginnings advocated the at have mark works may could change building a who of by dean explained the charge easily in or be it sculpture bishop of figural dean mentioned to of the is change new to nothing the or the can since masons Nor authoritatively, the of documentation. answered to development be fell decision cannot powerful a this chapter most Whether the and was campaign. represents arm, new now is this evidence eastern that to fabric The testament and cathedral’s rather transepts. the chapel the but of in part Lady beginning inception, a phase as the its conceived in was from sculpture Wells’s campaigns ornamentation that two unlikely very first is it the means from ornament figural reeve m. matthew shpaada h aia cltr a em twsfre yaconsistent a by formed was it seem, may sculpture capital the as haphazard As hscoecneto ihtehsoyo h arc n h nxetdasneof absence unexpected the and fabric, the of history the with connection close This h eieo aia cltr ntemdl ftenv per oflo h same the follow to appears nave the of middle the in sculpture capital of demise The xsitu ex avn a h omlpoeuefrteWlssupuei ugse by suggested is sculpture Wells the for procedure normal the was carving 7 .Teefu -hpdpee eepstoe rudasur core square a around positioned were pieces L-shaped four These ). 19 h e ctee xmlso grlsupuei h nave the in sculpture figural of examples scattered few The : ako udn in funding of lack a xsitu ex c . ntewrso ahrthan rather workshop the in 17 1210 thsbe luil ugse htti phase this that suggested plausibly been has It 18 iho ihu aet hc ecan we which to name a without or With n h einn ftews fac west the of beginning the and 1210 1242 hrl fe h elrto fthe of declaration the after shortly , 20 – 43 euto h nnilstrain financial the of result a , 1229 okcudwl have well could Lock . nsitu in ntepier. the on ¸ ade ¸ d pro- ade c . 1220 21 Published by Maney Publishing (c) The British Archaeological Association spoie ycneprr oka tAbnsudrAbtJh ( John Abbot under Alban’s St his in at Paris work Matthew a contemporary by as interior recorded by the provided of character is aesthetic the in in agreed change was elaboration major ornamental this new a not the whole. signalled or that doubt whether capitals no knowing the is there of more of chapter, way and either masons no dean significantly the the have was have by between we advance capitals not arrangements While would financial figural chapter. foli- the the and of the or and masons, introduction of operations, the day-to-day complexity the for the the that changed time-consuming Given doubtful more period. is the or the in it that expensive agree of profession to Wells, suggesting result appear the at in would the of this right age largely then know patron, am was we a I Wells what of intervention If with at role direct period. sculpture the the than Gothic of rather of early masons, disappearance illustrations the and illuminating in appearance exceptionally artists the as of understood pretensions be and can capitals the h rhelg ftecptl rterpaei h itr ftebidn)were building) the of history the therefore in capitals purpose’. the didactic place considering ‘without in and their ‘charming’ generation be their or to of of scholars capitals consideration of (without the typical who in nevertheless Stone of practices Lawrence archaeology its and Gardner and the Arthur generally by of profession suggested some the was ground to of valuable context is it the particular. discussion within this of observations centre these the at mason-craft locating IN and the workshop and The practices the capital. masonic in interchangeably. each pre-fabricated applied or on be narrative could linear decoration executed a capitals of suggest and the to zones sequentially planned that arranged possible is either necessarily this four was of for pair consequence allowing diagonal thus its together, and capital cardinal-facing lhuhtedcmnaina el ssln bu hsise nitiun parallel intriguing an issue, this about silent is Wells at documentation the Although 24 22 mnttefis ocnie h aiasamsnsivnin—s much so — invention mason’s a capitals the consider to first the not am I eeomn fstyle of development et Abbatum Gesta ate .Reeve M. Matthew capitals of position 7. Fig. 23 h aia cltr fWlsCathedral Wells of Sculpture Capital The iwdfo di a from Viewed ate ttsta bo John Abbot that states Matthew . lno aepe indicating nave-pier of Plan C rn perspective, erent 1195 – 1214 79 ), Published by Maney Publishing (c) The British Archaeological Association akrud smn uhr aentd h ahda cltr em ogrow to seems sculpture cathedral the its from noted, emancipated have and authors stylised east complex, many from increasingly progressed As becomes building late the background. foliage as the the block, of its west impro- arm to to and adheres eastern experimentation closely the constant that tech- in foliage of imagery, restrained process capitals of a the development of While suggestive the visation. is that style and even and sculptors, nique high-quality of group sculptors, dynamic nave of and atelier transepts the advanced in imagery technically carved sculpture cathedral. and the the the was ambitious see creativity of of to highly stroke intriguing master a nevertheless own is of whose it invention but before opulence, the creation own artistic as its of of topos account a on was fell anach- competition, Renaissance. secrets through gross the guarded craft beyond a closely known his of well and of be — arsenal progression not mason the an the or may and and sphere sculptor — of rivalry It Vasari the monastic of writing. of thrust the writings autonomy monastic the from the apparent through of the hails against that conventions have suggest the arguing now to ronism with we be laden evidence to is the seem and if dominated even not frequently personality intention, artistic thus which patronal in of would period, the for sports we evidence documentary patrons, these its introduced to long’. than so capitals, gradually countenanced Wells have [who] the to not of painters ought well-known iconography church of the the the which to fantasy, in presumption compared painters’ directly criminal be of ‘the can license which the of much ‘curb toppled, to eventually around attempt Also Carmine which an wall-painting. hazardous’, in of imagery context process. and of the discussions ‘wonderful in contemporary nave from was the erecting in of that structure much than destroying tower rather beauty with crossing concerned were a and cunning’ were they as entersl fouec yial oatcmrlsn ftemsncpro- masonic the of moralising monastic typically sca a the — from opulence fall of Icarus-like fession. own result Sens’ the Canterbury’s of been than of untrust- William rather Gervase famously, temperamental, agendas that Most creative are suggests patrons. own their masons their of to that visions working the refrain frequently and the duplicitous bears worthy, and mason-craft failure and in masons resulting building, in patrons. his decorum pomposity for artist’s of punishment the sense find and we shame prevailing Daedalus, Matthew ultimately an a of tale of fracture level, the hands excess to another Babel and the of Tower On to the from project builder. artist the building long-standing unreliable a a in ultimately and of here practice indulges control and building lost cunning, contemporary who of patrons ambitious, realities of the frustrations exposes the writing Matthew’s level, 80 the it’. ‘and saw ruin, who those to all fell to laughter capitals of and cause columns a was were the flowers walls season, The and out. images rainy run of to a wreck finances during the of and uncovered languish craftsman to left a work the but caused additions man, these unreliable and deceitful ( ( ‘a reputation Goldclif, de great Hugh Master hired reeve m. matthew caelaturis h cltr tefpoie opligeiec htteWlsaeirwsa was atelier Wells the that evidence compelling provides itself sculpture The rather masons cathedral’s the to primarily sculpture the of creation the assigning In ate’ asg sfrfo nqe nfc,cneprr ouetto on documentation contemporary fact, In unique. from far is passage Matthew’s 27 etCutyCseca sindteitouto fnnbbia imagery, non-biblical of introduction the assigned Cistercian Country West a , Around ,uncsay rfln,adbyn esr oty.Teetaaatcs of cost extravagant The costly’. measure beyond and trifling, unnecessary, ), 1200 praeelectus h aosa eelyhrdmsn h ee‘o sprudent as ‘not were who masons hired Beverley at canons the , 30 ’woeiflec asdt ebit‘avdwork ‘carved built be to caused influence whose )’ lal,teWlsmsn i o rc uligthat building a erect not did masons Wells the Clearly, topos : narneo lsia n ilclnraie on narratives biblical and classical of range a in 28 uhtesm tiuecnb deduced be can attitude same the Much 26 1170 n early and s C ligin olding 29 eCombustione De 1200 1180 25 1179 itrin Pictor none On nthe in , have s had Published by Maney Publishing (c) The British Archaeological Association hne ftesyeo netbihdpr fteacietrlesml part-way minor ensemble to architectural reference the in of particularly part art, established of an work campaign of a building specificity a of style close through commissioner such the indicates a of art of medieval changes part on documentation the little on since patron, a of oeso xmls h eeomn ftecptlsupuea el antsimply cannot Wells at sculpture capital earlier the outdoing of of development topos The classical is additions ultimately examples. such the It an that or — within models. within models period patrons earlier designed the their of by surpass ‘type’ elaborations conceived architectural to were pre-existing other sought with a as consciously of — sculptors possible revision that constant suggests a workshop, the by characterised each sprays, foliate of the screen question to horizontal seem a sculptors the into background, (Fig. materiality capital its very from capital’s the detached of floating seemingly face the dissolving practice’, experimental of ‘site a repertoire. ‘laboratory’, ornamental competition, showmanship, a atelier’s to the Turnbull, eventually leading of, of training, west. questioning ‘inflation’ of and to and place to, a east was revision here) from continual loosely a stages sti suggests successive original form in the capital themselves the of piers development the from organically ftecptl nadaai xml ntenrhnv il,todel undercut deeply capital two the aisle, of nave north properties the formal in the example reverse frame dramatic to the who a within threaten hybrids positioned In or hybrids being capital. birds nevertheless in of while the sculpture pairs foliage, of later bite positioned the or symmetrically part in a themselves feature mostly as preen — much located as nave — capitals capitals cathedral same the well, These of the as The form methodology. capitals aesthetic design abundance. desired historiated their the the disciplined of of of part highly was many it point but in that found suggesting breaking copious is the of composition symmetrical threatening sense laterally blocks, a criss-cross their providing stalks as metrical, from possibilities extend material daringly its (Fig. them of and as maximum another around the development one to examples stylistic pushed sculpture standing for see the impetus surpass significant art. their of to a statements superlative self-consciously was through atelier sought the sculptors within petition ti nrnial nieyta uhdvlpet eeahee ome h desires the meet to achieved were developments such that unlikely intrinsically is It eakbenwdsly fflaefrsaefudo ir N piers on found are forms foliate of displays new Remarkable i.8. Fig. 8 .Eaoaetog hs ipasmyb,te r eeteesrgdysym- rigidly nevertheless are they be, may displays these though Elaborate ). el cathedral Wells ate .Reeve M. Matthew C la ein iemn tles ao’ og atr sdvery used term (a lodge mason’s a ateliers, many Like design. -leaf : aecptlN capital nave . 9 ahr h eeomn fcptlsupuea Wells, at sculpture capital of development the Rather, ). i.9. Fig. 8 h aia cltr fWlsCathedral Wells of Sculpture Capital The 32 tws ntewrso David of words the in was, It el cathedral Wells ate .Reeve M. Matthew 33 nwihitra com- internal which in 8 : n N and yillusionistically by : aecapital nave 10 hr we where 31 The 81 Published by Maney Publishing (c) The British Archaeological Association eso fti cn per tBitli bay in Bristol at architectural 82 appears new scene into this of iconographies version existing expected adapting o be N carrying of might capital process than The Wells frames. a at of ‘sources’ suggestive original imagery. the cathedral’s author- the toward the of knowledge confirming direct thus with stylistically, masons related or Elder mason intimately the a is in of also ship animals, employed it prophets, imagery (employing but Wells of to etc.), similar range hybrids, iconographically the only not shown, is chapel has the Lady Thurlby as Virgin Malcolm the As to alludes phases. abbot the pillars’), seven her Sapientiae out hewn hath she house, mid- the in origins had that tradition of As masonic culmination a atelier. the Wells masons’, was 12 of the Wells may school article, with logic, Country important associated its ‘West an of monuments the in perhaps other established and the Brakspear Wells, Harold to at Sir reference employed by imagery of gleaned range be the of sense SOME artistic of the narrative of context a the sculptors. as of atelier but dynamic a elaboration’ manifestly, ‘increasing was, what of within ingenuity example and an competition as explained be reeve m. matthew ao dmLc)‘ohwottesvnplaso idm hti h hplo Our of Chapel the is that wisdom, of (possibly pillars ‘L’ seven servant his the of (Fig. out loan Lady’ hew the ‘to for asks Lock) Wells, Adam between of mason dean the to to Bristol, Datable Augustine’s, St Wells. more in at was build to Wells established sources at foreign of French situation range both a artistic but with of atelier point, the mode. awareness French foreign this that a a an address hiring suggesting indicates to simply imagery fully than thus complex the paper material, this for English of sources scope and the the of beyond discussion is this Noyon It the France. in fabric of Gothic early regions the range of the sources pro- the and for capital the artistic origin stone in the of of employed unknowns medium imagery the great of with period. comfortable the and Gothic formed of fully the early one atelier sculpture. Indeed, the Wells. constitutes figural at in workshop the sculpture building’s Wells duction for Gothic the us the styles early prepares the of new for that of origin England the said iconography Romanesque with or from be quality, sculpture inflected cannot dynamism, little were is same there which put, the traditions, Simply France, Country West in in prevalent part most the style new cathedral’s the of the influence during the region the reflect in construction England sculptors and its masons of for centre period major a was Wells workshops, ftesupuehsbe oe tEee n ulnCterl,ada igJohn’s King at and Cathedrals, Dublin and influence Exeter Dorset, the in and at Castle Bristol, noted Corfe in at been Augustine’s dwellings has St did sculpture as the masons, of its of some employed clearly hcnuyacietr fteEgihWs Country. West English the of architecture th-century iia huhteiae a e ti oal httemsn xrse esfidelity less expressed masons the that notable is it be, may images the though Similar apl,w aesm ouetr vdnefrtetaeso h tle once atelier the of travels the for evidence documentary some have we Happily, for located and studied carefully been have architecture Wells’s of origins the While C n rvdsa leoia edn fabidn hnol nteplanning the in only then building a of reading allegorical an provides and 10 os,wihi en use yafrhn (Fig. farmhand a by pursued being is which goose, a ). 40 eeecn h agaeo Proverbs of language the Referencing 9 el workshop wells tWls(fwihmr ilb adblw etrsafox a features below) said be will more which (of Wells at c . 1180 1175 .Ti a loe omnaost oi lc of place a posit to commentators allowed has This s. – 1240 c 37 . 1201 h el cltr em oeeg rman from emerge to seems sculpture Wells The ubro ulig ntesuhws of south-west the in buildings of number A . – 05 1218 . 35 – 1 22 ot,wihoistefarmhand the omits which south, etrfo ai,abtof abbot David, from letter a , 34 9 iemn uoencathedral European many Like : 1 : eryGatnuyAbbey Glastonbury nearby 38 ‘idmht ule her builded hath (‘Wisdom rSoissons/Champagne or : 11 h rso okis work Bristol the .A abbreviated An ). Sedes 36 39 Published by Maney Publishing (c) The British Archaeological Association i.11. Fig. el cathedral Wells ate .ReeMlomThurlby Malcolm Reeve M. Matthew okgoeN cock/goose : h o n the and fox the 9 i.12. Fig. h aia cltr fWlsCathedral Wells of Sculpture Capital The hpl o n okgoespandrel cock/goose and fox chapel, tAgsies Bristol Augustine’s, St acl Thurlby Malcolm interior chapel, Lady Elder 10. Fig. tAgsies Bristol Augustine’s, St : le Lady Elder : 83 Published by Maney Publishing (c) The British Archaeological Association o eemn,adi otatt uhcce stesandgasa atruy the Canterbury, cathedral, at Salisbury Malmesbury of glass at vaults sculpture stained painted porch the later south the as the can and Peterborough, cycles we abbey, at as such paintings far to stall As choir contrast churches. former great in Gothic and that English determine, grasp in to now attempt cycles crucial to image is now contemporary di it other important fundamentally be, to is is may Wells it it at context, though imagery in Miscellaneous the sculpture imagery. the its of of discussion exposition an a set to order IN sources its and imagery the and and designs workshop of the designs. dossier in subsequent a circulation the in of informed was existence have that could the model-book which posit loose-leaf a may perhaps we — masons, motifs Wells the by authored eko lotntigo h al tie ls ftebidn adabsolutely (and building the of glass stained early New the of the prophets. of nothing from number to almost a allusions directly and in know sculpture, only derived capital we found the are imagery from Testament absent Old of totally the are lack Testament New complete the from its for Testament. notable is Wells south the in atelier Wells found the is of work it the that to related significant closely is church it a (Fig. Devon, Wells, in at Hawkchurch paralleled of aisle be cannot image this n ntuet a rsiiu rcdn ntecptl ftecyto Canterbury of England. crypt in the me to of known capitals parallel possible the fabulist closest in the Roman precedent provides the which prestigious cathedral, by a writings had on instruments based ing (Fig. was instrument wind Boethius’s musicians a and animal holding the Phaedrus ape these in or of monkey imagery a wisdom The and The Wells. viol a at playing a ram paralleled since a employed be including workshop, cannot the demonstrably bay in Bristol images on at was for spandrel sculptures repository single atelier the the of as Wells number served vis-a have the workshop not the could of where itself practices the of buildings evidence positive other provides and date- Bristol ‘L’. significant of assistant the an by Given di executed apparent was work. work the of Wells Bristol and terms the the buildings, In the against front. between even west fashioned have seems range cathedral’s sculpture details old the Bristol architectural remarkably the on sculpture, its work more medieval new and for the criteria sculpture, style-based with Wells traditional, accord the in of updated execution been the after decades 84 is work Bristol the of quality the Wells, from the derives to Dating spandrels poorer. Bristol considerably the of style contemporary of manner the in caps Jews. pointed of long wearing representations be to appear and them behind (Fig. reeve m. matthew ot ncmaio ihacre ntesuhtasp tWls eetetwo-winged the bay sti Here on arcade Wells. of beast at dado hybrid transept background the the south a the of by in inhabit suggested space corbel is beasts triangular a work with the Wells comparison the within in of south fit ‘copy’ to closer scene A spandrels. the allowing thus viewer, hti oesgicn o yproe sta osdrto ftewr tWells, at work the of consideration that is purposes my for significant more is What h eainhpbtenWlsadBitli ope.Wieteioorpyand iconography the While complex. is Bristol and Wells between relationship The 14 12 ). .Hr h o rssteln-ekdgoe u un i edt aethe face to head his turns but goose, long-necked the grasps fox the Here ). 44 45 ie h elcto fsm fteemtf cosarneo buildings of range a across motifs these of some of replication the Given aigahcliaeyfaue nafwpoietpae,btimages but places, prominent few a in features imagery Hagiographical 2 ot tBitl o ntne etrsarneo nmlmusicians, animal of range a features instance, for Bristol, at south 41 eCnoain Philosophiae Consolatione De C 1220 la foliage -leaf C ,teEdrLd hpli oetoo three or two some is chapel Lady Elder the s, rn ncaatr opsto n medium and composition character, in erent ; C hybt unterncst look to necks their turn both they rnei ult,i spsil that possible is it quality, in erence . 42 12 hsiaeyo essplay- beasts of imagery This 46 h n early- and th- tms eamte that admitted be must It ` vstersucs Wells sources. their -vis 13 th-century 43 While 13 ). 2 Published by Maney Publishing (c) The British Archaeological Association sraiyietfida aiik—afeun ersnaini h contemporary the in representation frequent a — basilisk (Fig. a space nave as (Fig. central bestiary the identified into readily dagger sculpture. or is stone sword non-specific a to with in model points N anchored which manuscript of face motifs from west mobility non-narrative the bestiary. On own illuminated as their the creatures suggests from these derived backgrounds of are which appearance of The some animal-humans, hybrid and Testament. New the from et eaoewssrn nuht udeteefirecetrs h sceenladcon- and coeternal is who his creatures, to subject fierce lie these will creatures subdue all to Lord divinity. his enough the in of hope father strong his coming the all with was glorious puts substantial the who alone looking venom at Christ simply his He of truly, with by soldier But, sinner man feet. the heedless […] a by the world kill creatures, kills harmful will the openly other he in who all And like devil, them. conquered, the kill is signifies things. will himself creeping basilisk of scent the king his […] the because them is flee, at he because him king’ see ‘little who means Those (regulus) Greek in name basilisk’s [T]he porch fac north west the the of of tiers sculpture lowest monumental the of former construction the the from the built await of capitals. and probably the to programme below) of a (see prominence have visual suggests programme we the evidence heightened Wells have present only At the can but which glass, wall-painting), grisaille its about nothing yfrtems infiatctgr frpeetto nteWlssupuei animals is sculpture Wells the in representation of category significant most the far By 16 .Temrlsto fteaia follows animal the of moralisation The ). 7 sabr ihasretn aladacondhmnha,and head, human crowned a and tail serpentine a with bird a is 1220 ,bfr ehv any have we before s, 48 hpl nmlmscasspandrel musicians animal chapel, acl Thurlby Malcolm capital musician 14. Fig. Thurlby Malcolm 13. Fig. h aia cltr fWlsCathedral Wells of Sculpture Capital The nsitu in akhrh(Devon) Hawkchurch Bristol Augustine’s, St : vdneo mgr derived imagery of evidence 15 .Tecreature The ). : : animal le Lady Elder ¸ ade, ; 85 he 47 Published by Maney Publishing (c) The British Archaeological Association ie spie iha ncnari h nlgu oiino S on in position motif analogous the common in theatre. life onocentaur and a dissolute music an including of was with world, women) the paired siren of sometimes (Fig. is pleasures left (or siren the the his men to in succumbed signifying literature, held have art, who fish classical Gothic a and and from shoulder Romanesque his ultimately over slung deriving club a with fish, 86 from culture, medieval of aspects many into poetry. entered and N heritage. had art complex visual based, to was sermons it which on sculpture. animal Wells suggestions’. poisonous make who on spirits evil ram pursue they The so poisons, source. bestiary a from derivation suggest also N animals other Several reeve m. matthew rdn e,crflsrat fgd uta trspru nksadda o draw and snakes pursue storks as Just god. of servants careful men, prudent (Figs tradition bestiary illustrated 7 h lutae etayws oee,ol h otovossuc o oeo the of some for source obvious most the only however, was, bestiary illustrated The Wadtesoketn rga N at frog a eating stork the and NW i.15. Fig. el cathedral Wells ate .Reeve M. Matthew 9 Efaue ie ihtetroo ooi n h alo a of tail the and homonid a of torso the with siren a features SE 50 ythe By : aiikcptlN capital basilisk 12 17 51 hcnuy t idm n hto the of that and wisdom, its century, th , 18 te nmlhbisaesgetv famore a of suggestive are animal-hybrids Other .Acrigt h etay h tr ‘signifies stork the bestiary, the to According ). 9 a lob oae qaeywti nthe in within squarely located be also can i.16. Fig. 7 ate .Reeve M. Matthew N capital frog eating spoonbill) 17. Fig. MS 764 (Barber, el cathedral Wells aiik xodBodleian Oxford Basilisk, 9 184 49 Bestiary (Fig. ) 19 Physiologus .Although ). 20 : a n. (as tr (or stork .As a Also ). C 52 9 their 47 The ), Published by Maney Publishing (c) The British Archaeological Association h euetpae fteln,adtehme hl efl fsrn n h osssalb ulof full be shall houses the in and and sirens cities of their full in be up shall sprout hamlet shall the nettles and land And land, the destroyed. the of be of rulers shall places no grandees securest be its the shall ravens and There and rulers there. ibises its dwell and and shall vipers, onocentaurs and and birds land, live deserted shall land the in And the to attentively gaze to body his bends a he of and torso foliage, and of head space. nave bunch the the and a of feet centre holds cloven he with left ass his an of legs the man has he creature, hybrid aeterhm hr,ada mt coi er ntehue.Srn aetheir have Sirens houses. the in in breed hedgehogs heard and is there, Isaiah and echo dwell halls’, Onocentaurs empty the dance. an demons Isaiah and and were there, the the there, habitation creatures to in home on these as source their for appearing art visual make sources lost Although Romanesque ultimate a the to representation. of the in much art bestiary, of as English paired owe in convention may rare frequently Wells However this at were cited. appearance be their onocentaurs can and source Continent and textual clear sirens a as period, far so in least i.19. Fig. ir N Piers ; ihhsrgthn ehlshstaiinlatiueo oldu coladwith and scroll rolled-up a of attribute traditional his holds he hand right his with 9 el cathedral Wells n S and ate .Reeve M. Matthew 9 ersn n fteol oia ot–ot arnso mgr,at imagery, of pairings north–south logical only the of one represent 34 : : 11 ie aia N capital siren – 14 : i.20. Fig. 9 h aia cltr fWlsCathedral Wells of Sculpture Capital The ; el cathedral Wells n hrssalb atit that into cast be shall thorns and ate .Reeve M. Matthew 131 (Barber, MS Bodleian Oxford, 18. Fig. aia S capital 13 ) : Physiologus 21 Bestiary 9 – tr n Frog and Stork 22 : onocentaur : Nwbeasts ‘Now ; a n. (as o t kings its for n the and 764 47 : ), 87 Published by Maney Publishing (c) The British Archaeological Association taes aia a lohv enbsdo current of on all based — been salvation sermon. have seek a also for and may basis steadfast, the capital be form stealers’ might sinning, Hugh, cease to to according which, being message explicit the Avibus ree h ri taescptlbgn ihaseeo ot odn akto grapes billhook of a basket a capital holds holding the who youth around a assistant of wraps scene an that a with narrative with begins accompanied single capital a stealers features fruit the that frieze, cathedral the in capitals of N arrangement The on could context. that doves performative images or a of in birds range orations. employed visual their malleable three and in formed a interpreted exegeses provided art selected, visual imagery of be as diverse works images the that the the perspective, in used suggest this expounded who to ideas preachers new exists by for influenced evidence stimuli be reciprocally, could art and, visual that sermon clear is himself’. ‘whoever It devil or capitals. the bush’, the to the equal in is eight kindness worth for is cruelty hand return the to in willing bird is ‘a the as such the to wisdoms, of proverbial points repertoire the the also into of it fables text featured beast and sources Latin The cathedral, moralising literary imagery. of the recent cathedral’s genre in of new the range representation of a for assimilation that possibilities suggests the it among representations. since visual significant, in enough is common reading was substitution its and traditions, okdb o by worked one represent must fox the pursuing figure the and cock, the the of stealing fox ball the and by rupted mallet the of representation (Fig. mouth its in goose from art a medieval with in fox common course a of of were pursuit cock’, the in the and right, fox his ‘the of in Representations mallet a and hand 88 the poem a Cloud’s only source Saint specific de not a Pierre represents from of derives representation sculpture it visual of Wells earliest but the the iconography, is this however, it of shown, example early has precociously Varty Kenneth As sources moral and didactic edge’ N ‘cutting Capital and fable. new beast have from Latin the also may as but onocentaur. such pairing bestiary, the as the this pier as same such the That the of by side dragons. supported other is the and conventions on artistic owl than demons an rather of Isaiah new presence ostriches, of the text of as vulgate echo the empty referenced well the replace as shu sounds and whose territory, changes owls, the also including version mentioned, to Jerome’s creatures pleasure. colouring of dwellings moral become dwellings particular sirens, a of of land coming adding the a with emerged purification desolation await this would From beast which blood. and Christ. monsters, man with other destroyed ran and Lord rivers the onocentaurs when the Edom until of destruction alike the describes here Isaiah themselves. in rest found have shall they for onocentaurs halt, with onocentaurs meet shall spirits And sparrows. reeve m. matthew h artvsfo sermon from narratives The ti infiatta el’ nmliaeyde rmntol salse sources established only not from drew imagery animal Wells’s that significant is It by interpretation their changes slightly Jerome texts, these of version vulgate the In c 13 . 1175 hcnuyowr,adapa ob ikdt ohltrr n rltraditions. oral and literary both to linked be to appear and onward, century th vilains hc ugssta h he oe ersn oh ai n hit with Christ, and David Noah, represent doves three the that suggests which , at hwdta h ieaytaiinwstepicplsuc o the for source principal the was tradition literary the that showed Varty . C rfrhns h usiuino os o okwslne ooral to linked was cock a for goose a of substitution The farmhands. or rn,o ntecs fsupue ehp,bign omn,arneof range a mind, to bringing perhaps, sculpture, of case the in or ering, 9 (Fig. W exempla 21 : Ysengrimus nthe in 9 ih egosdb uho Fouilloi’s of Hugh by glossed be might ) eeas nunili omn h mgr of imagery the forming in influential also were etrsafr adcryn ali i left his in ball a carrying hand farm a features ; n hysalcl oec other each to call shall they and Ysengrimus loci ehp ieisvsa translations, visual its like perhaps , fIaa’ ess uhta their that such beasts, Isaiah’s of ; ntescn cn labourer a scene second the in exempla aeof game a , 56 n ftoo three or two of One . h elkon‘fruit well-known The 54 coule ; hr hl the shall there Ysengrimus a inter- was 53 55 A Varty’s sthe es From 11 De ). : Published by Maney Publishing (c) The British Archaeological Association el a elhv enitne,a caiofmul ugse o mgsof images for supernatural suggested a to famously chiefly devoted art Schapiro an in as man of intended, activity earthly been ‘the reveal to have peasants, well may Wells church. and great economic the fostered and and populace urban goods the these fairs between accommodated expanding links leather- Quickly cathedral social economy. like the urban Labours Wells’s by representations. to generalised central sponsored more were butchery as and well making as city burgeoning the smc stegne ftelbue herself. labourer labour the of act of the One gender both women. signified the spinning to as woman exclusive a much task of as a image the was dista that life the perhaps and dista suggesting called and art has spindle medieval commentator her in a recent with spinning more is engaged spindle’, tie), woman the referenced iron seated to an have a the by with damaged behind to type indeed (Fig. hidden (and its appear largely chapel of others chantry example now Bubwith typical topical, instance, later the for and of spinner, cornices specific The been iconographies. traditional have to appear Wells the by implied temporal in overtly represented labour nothing of is iconography there labours. the good. calendars, common from liturgical the the borrowed for medieval often whereby necessary enough, iconography as changes seen important new sculptural Notably be with this Romanesque to coincided imagery. began of art trades’ visual ‘illicit variety religious in formerly a labourers with these in of appear intermixed appearance to the frequently began of peasants programmes, invention an working probably of were images labour after rural of vineyard representations and another vineyard rob a rob labourers afterward thieves shortly of but group a penance, sermon that a given to recounts confession. close he and very which is punished content in its are Vitry, but art, de medieval Jacques in right (Figs elsewhere of his ground found the aware, with on am grapes backward I his as pointing scatter and by hat place his lose cloak taking his is of it hood as theft the hand of farmer the tells ubro aiasi h aeadwsentaspsfaue mgso peasant of images featured transepts western and nave the in capitals of number A ; 26 h amrte prhnsteodrmnwoearni ulo rpsb the by grapes of full is apron whose man older the apprehends then farmer the .RfrnigProverbs Referencing ). 59 : tapasta h cltrswr neddt eeec pcfi aor in labours specific reference to intended were sculptures the that appears It olcmig pnig uces ao n ete okr Carved worker. leather a and mason a butchers, spinning, wool-combing, 57 ; h amrsrksteodrmnwt icfr,cuighmto him causing pitchfork, a with man older the strikes farmer the 31 : 19 Sept e ad otedista the to hands her puts ‘She , C n pnl a rhtp ftefeminine’, the of archetype ‘an spindle and 61 h aia cltr fWlsCathedral Wells of Sculpture Capital The h ersnain ftetae at trades the of representations The 22 ate .Reeve M. Matthew N capital birds/doves 21. Fig. – 25 .Teiaeyi o,a far as not, is imagery The ). el cathedral Wells 60 hl oeimages some While 12 hcnuy when century, th C n e hands her and , 9 58 : Although three 89 C Published by Maney Publishing (c) The British Archaeological Association 90 round- traditional the — attribute an by law identified the of are tablets Moses headed as such prophets Some capitals. the in represented contingency and morality human on meditations order’, reeve m. matthew a aehdaalbet hmamdlbo fsm oto hc obs ayof many base to which on sculptors sort Wells some the of that book model speculated a already them have to I available sources. had have of may variety a from both deriving of collection random. a at Wells instead taken the prophets represent minor to rather and but available major imagery, the were Testament Old sources of could illuminated such collection prophets of that tradition of unlikely the Images obviously is masons. unclear. most the it is sources, What although of prophets identified. number prophet-books, the any be for from cannot been derived thus have have and may texts), source painted original (Figs featuring scrolls originally their on (perhaps written names their by i.24. Fig. 22. Fig. nlctgr frpeetto a ag fsvnOdTsaetprophets. Testament Old seven of range a was representation of category final A hsdsrbd h el aiasaermral o hi he iest fimagery, of diversity sheer their for remarkable are capitals Wells the described, Thus 62 64 el cathedral Wells cathedral Wells hslctn hs ersnain fWlssliywti h rae rn of arena broader the within laity Wells’s of representations these locating thus ned h el rpesd o pert aedrvdfo n typical any from derived have to appear not do prophets Wells the Indeed, ate .ReeMthwM Reeve M. Matthew Reeve M. Matthew Reeve M. Matthew Reeve M. Matthew S S 13 13 WS NW ES SE : : futselr’capital stealers’ ‘fruit capital stealers’ ‘fruit 63 hl tessc sDne rHbku r identified are Habakkuk or Daniel as such others while — 27 i.23. Fig. i.25. Fig. , 28 .Ohrpoht erbakscrolls blank bear prophets Other ). el cathedral Wells el cathedral Wells 13 13 SW NE : : futselr’capital stealers’ ‘fruit futselr’capital stealers’ ‘fruit Published by Maney Publishing (c) The British Archaeological Association hi ein ttecterlada te ie.Ti okwudhv comprised have would book This concerning sites. texts Pliny’s ancient other or as medieval at such other from and animals perhaps and cathedral bestiary, the the from imagery at designs their ftesucs uha h aor n rpes a o aedrvdfo single a from derived have were not which may iconographies, existing prophets, of and transformations labours represent may the but as source, visual such sources, the of the like sources didactic and i.27. Fig. el cathedral Wells ate .ReeMthwM Reeve M. Matthew Reeve M. Matthew : oe aia,N capital, Moses itraNaturalis Historia Ysengrimus 3Fg 28. Fig. 13 n ag fhgorpia aeil Some material. hagiographical of range a and and ate .Reeve M. Matthew 26. Fig. eo’ Fables Aesop’s h aia cltr fWlsCathedral Wells of Sculpture Capital The el cathedral Wells el cathedral Wells swl snwmoral new as well as , : : pne aia,N capital, spinner ailcptl N capital, Daniel 10 10 91 Published by Maney Publishing (c) The British Archaeological Association 92 some had have may capital of cock chapter appearance the and The and fox the images. dean as specific such the literature, of the from didactic selection Latin that new and from possible composition representations the certainly in is involvement it imagery, sculpture. architectural of the tradition as lengthy such a images the from of derive Many manifestly site. pullers on needs specific to adapted reeve m. matthew uhas such tdtebidn ihu en neddt eoeseicddci rprogrammatic or didactic specific denote elabor- to materially intended that being decoration as without as simply building well suggesting functioned the as in have ated edificatory, simplification could and nor imagery pedagogical accordingly, were anachronism some of interpretations neither — that range our risk beauty a guide We serve its functions. must could value-neutral, we and imagery capitals, virtuosity that Wells expect technical the ecclesiast- and as complex its studying such — In suggesting images contemplation. by art of ical Denis worthy of St were appeal that of features Suger visual themselves Abbot sheer as the such commentators that of sentiments the echoes interpretability as radical possess their meaning, images their these of that instability authority the specific in the a lie culture, of to Indeed, in functions seems ecclesiastical spaces. liturgical signs resonate of its changing with products and could and other building life, Sculpture and to the imagery scholars. sermons the liturgy, brought earlier mind figuratively the the which by with in ways signified suggested and of viewer signifier variety or medieval image the stable and clear the that text of questioning be discourses between thereby relationship post-structuralist will sculpture, singular for current, It meanings and to of centrally. sympathetic multiplicity archi- the am featuring explored of I have capital consumption that or follows Romanesque reading what the the from with on focused sculpture, been tectural has attention scholarly MUCH a imagery of the re- imagination. reading possibility modern the The the the in after before. connected suggest so long seem portfolios not or existed do or generation that they books images a that of model range to likely of wide date The very character caution. have seems diverse great we it markably with that although done portfolios best sculpture, of is Wells sculptors books to model available earliest sources the Wells on the from Speculating input suggests and sculptor century u’ rprieapoc oteiaei eiiu ulig,wihcudteach could which buildings, ( religious ornamentation in of through Nicholas image delight as such and the texts, imitation, medieval to inspire of subsequent doctrine, approach number a profane’. in tripartite but in vain and clear Tuy’s only made tradition not however is are Bernardine that ornament pleasure ocular the by ‘caught an from be as to imagery functioned as that of such texts but Cistercian critiques accustomed idea, most negative are no specific not historians Art a had to did liturgy. the that communicate that during ornamentation or weariness images preventing as story distraction, and function specific positive desideratum, that a a important serve images tell an could any for ‘source’ from itself abstracted meanings textual in Beauty, obvious of referent. was textual plurality specific meaning, a a indexical to advocated tethered even necessarily not and were for allowed specifically study. recent one quote to meanings, of ‘surplus’ lhuhIhv tesdtesgicneo h cltrsati h raino the of creation the in art sculptor’s the of significance the stressed have I Although lhuhi sslo oe yathsoin,cneprr hoiso eiiu art religious on theories contemporary historians, art by noted seldom is it Although eAvibus De Ysengrimus ol emt tn a usd h ag feprec fthe of experience of range the outside far stand to seem would , h ri taescptl rpsil ersnain rmtexts from representations possible or capital, stealers fruit the , itri Carmine in Pictor nwihteee fadecsaeconsidered are audiences of eyes the which in , 67 eruditi raohrlandauthority. learned another or 68 h oiiefntosof functions positive The spinario c . 1230 rtemouth- the or ). 69 65 66 Nicholas : 12 their th- Published by Maney Publishing (c) The British Archaeological Association ti o eodo ouetlsupue h ot oc rgnlyhue an housed originally porch north (now the (Fig. the on walls positioned lateral sculpture, Christ with Although monumental Majesty, entry. in 14 of Christ of point of sacred ensemble devoid a sculptural as elaborate now it demarcate is to screen. a served choir it in sculpture, and with the bestial located porch, of porch through orgy was north the aisle an the through nave residence of north processed whose enrichment the canons canons, sculptural up The and the east porch church. amplifying the immediately for north cathedral to then the The by entry geared of there. used of were north performed point spaces precinct — liturgy main within cathedral porch the the decoration north provided of sculptural and aspects transepts the upon the of commenting namely aspects — that canons clear seems IT audience as canons Wells and motifs The perception. cannot while of same modes However, the specific institutionally hybrid. communities, and and the culturally for places or said new spinario be to not long-standing the should a transportable had as and Wells of is such at mobile problem interpretation employed art, were This motifs of monastic the environment. modes of in monastic same many a pedigree that the would within fact shared it the fostered they by like, texts exacerbated that would written we suggest or than to signs canons visual mistake Wells about less serious the much of a know di interests we be intellectual called While cathedral. and has urban literary new the Fish a within Stanley prebends lucrative what held — and with monastic perception between communities’. parallels made of be from ready must modes borrows distinctions necessarily citing important secular capitals scholars, Wells enclosure, these the of of study monastic work any the While the texts. and within liturgy music, practiced monastic cognition and ‘the and intellectual within specifically the monastique more within empreinte and reading(s) monastery, its enclosed mentalite the and the within of imagery sculpture cultures on the social brilliantly locating written have milieu, historiography Scholars lengthy monastic placed. a uneasily to been the has turn in ture necessarily capital we Romanesque sculpture, the Wells of the studying In itself. of side either on interpretation. and repertoire the di meaning interpreted the common shaped have how have a may and from examples audiences screen, lay speaking, choir These and the broadly actions. clerical derive, how liturgical geared which of were their question images, they and the that face suggest audiences do we respective images aside, some their screen, choir addressing the to of Located side audience. either on their images choir the is straddle capitals first the audiences. The that o seen meaning. that, have suggesting we of screen, phases, building plurality cathedral’s the apparent within an documentary and beyond material tion the both to suited well Wells. seems at evidence that conclusion a meanings, hcnuy rma n h wleeaglsslctdi h akn ihso the on niches flanking the in located evangelists twelve the and trumeau th-century) u h aiasps ute n oeisiuinlyseicpolm finterpreta- of problems specific institutionally more and further pose capitals the But nlpolmrltst h itrorpia rdtoso eivlsculpture medieval of traditions historiographical the to relates problem final A ´ ’, 70 71 hl hr sn biu hnei h eea omo cngah fthe of iconography or form general the in change obvious no is there While eeln httecdn n eoigo cltr wa Ma (what sculpture of decoding and coding the that revealing 73 h eua aoso el eefnaetlywrdyfiue who figures worldly fundamentally were Wells of canons secular The 29 ). 75 ) 72 h ot oc rgam uthv rvddamagnificent a provided have must programme porch north The B a nomdb pcfial oatcmdso perception of modes monastic specifically by informed was ilya es,te eese n osmdb w di two by consumed and seen were they least, at cially C rn ciiis—bt eua n iugcl—may — liturgical and secular both — activities erent 12 hcnuymnsey nowihteWlssculp- Wells the which into monastery, th-century ndelit en h aia cltr fWlsCathedral Wells of Sculpture Capital The hfs ycptdace and arches syncopated shafts, C rn ‘interpretive erent 74 ˆ ecle the called le h radical The C erent 93 Published by Maney Publishing (c) The British Archaeological Association 94 (Fig. reflects an chapel that transept side, accompanied adjacent south imagery is the the ear in her hagiographic On in chapels. whispering bear text dove transept the a transepts east-facing by with Katherine the the St in of representation of altars elegant the vault walls the to that west dedications been overlooked been have the the hitherto would has they on it where example, the screen, corbels For choir into canons. the Wells of entry the east by of choir, viewed the place flanking a transepts the as in porch Matthew the from of derived space (Figs God’) liminal Jerusalem of the Heavenly an upon blessedness and specifically the canon with menting into inscribed a scroll of thou a representations bears (‘enter canon have the trumeau, and the cathedral on Christ of archbishop the in image precedent former local the most its had sculpture capital which Malmesbury. Jerusalem, at Heavenly porch the south into entry of point reeve m. matthew ti nobel infiatta h aoiyo et ntesupuewr located were sculpture the in texts of majority the that significant undoubtedly is It : : ig a katerina sa: virgo h rlt asshshn eptal obestecnn neigit the into entering canons the bless to perpetually hand his raises prelate the : h aiasflnigteinrdo,t h meit etadrgtof right and left immediate the to door, inner the flanking capitals the 30 , 76 31 hsmsaefrtecnn a loatcltdi the in articulated also was canons the for message This ). hc inl h oiino h la oS Katherine St to altar the of position the signals which , 32 ). 77 h omo hscptlivtscomparison invites capital this of form The nrvtitrguimditui dei gaudium inter intravit acl Thurlby Malcolm interior porch 29. Fig. el cathedral Wells 25 : 23 hscom- thus , : north Published by Maney Publishing (c) The British Archaeological Association an,S nrw nwihteRmncnu ga sdsrydb eisfrordering for text devils the by destroyed bears seated is figure Egeas a the consul Roman (Fig. above bears the death abacus Andrew’s which which in The transept Andrew, ear. St north his saint, in the whispering in devil egeas corbel a with positioned figure analogously an with i.32. Fig. hc niae httecptldrvsfo h aigah fWlsspatron Wells’s of hagiography the from derives capital the that indicates which , el cathedral Wells ahrn oblEescorbel Egeas corbel Katherine ate .ReeMthwM Reeve M. Matthew Reeve M. Matthew 33 ). : ot rnet St transept, north 78 ate .Reeve M. Matthew scroll) with (canon 31. Fig. Reeve M. Matthew blessing) (archbishop 30. Fig. i.33. Fig. h aia cltr fWlsCathedral Wells of Sculpture Capital The el cathedral Wells cathedral Wells el cathedral Wells : : ot oc capital porch north capital porch north : ot transept, south 95 Published by Maney Publishing (c) The British Archaeological Association ewoefra‘i hoou itrtse rdn’i re otahmrlt and morality teach to order recent the of in years and prudens’ early the Lincoln) et litteratus (of theologus clerical Montibus was ‘vir audience of a sin. Alexander’s admonish Paris. for William of of wrote sermons schools of the he the lapidary, writings from the bestiary, speculations the fathers, theological the of Langton, writings the Stephen Bible, the on broadly Evangelia Super Moralia 96 suggest, may It content. and arrangement clerical Wells’s of how understand terms to in way meaningful them more a with however, common in much the Moralia of author the notably theology, didactic and the Becket. in Thomas lectures of of associate an course been a had turn boast in did who the Reginald, it of although account centre, an in later intellectual library provide Wells important could the an that of known not books is of little to library Unfortunately, like to canons. full the Wells should little a the we upon of ‘mentalities’, do tastes religious back they literary of fall to spaces studies and clerical to typical and seem signage able lay with the be line would of in In imagery arena capitals cathedral. of the collection broader these miscellaneous of a a However, of within picture activities. the signs change liturgical specific only canons’ represent the of not aspects Cathedral. endeavour, Salisbury sense of clerical this vaults contemporary the In on of respectively). successors parallels better-known Judgement represented their Last unlike have and anticipate may both Incarnation prophets since (the priesthood, the Christ Testament Old of the coming to the the successors per- canons typological during contemporary and the considered liturgy Christ be commentaries, through to liturgical with expressed in New thought, worshipper expounded medieval to and the in formance expectation of tradition Testament lengthy reunion and Old A altar, the eucharist. from high through passage the cathedral, toward spiritual fulfilment building the Testament and the of through temporal space passage physical implied sacred thereby the the the Christ, In likewise to Testaments. of alluded eastwards, New coming also shoulder and the they Old left of the prophecy his Testament together over Old knitting arm the signified (Fig. right prophets altar his Wells high with points the and signalling waist inscribed the law at the of tablets the holds (Fig. transept text north the the in with Moses of figure The themes. reeve m. matthew nlge ewe oe fitrrtto,sc ore ol aeas nomdthe images informed individual also have of could sources interpretation sug- such structural providing each interpretation, canons’ Beside cathedral, of a meanings. didactic modes the with and between interface in sources analogies possible for images of canons range of the a the through collection of prepared gestive Reading rhythmic have images. and would reading miscellaneous of text similarly mode the the of to hexameters analogy rhythmic an suggests bestiary) the Moralia imagery. the read h rpesi h aoia pcso h ahda ieiesgetliturgical suggest likewise cathedral the of spaces canonical the in prophets The lxne fBt,da fWlsadmme fReginald’s of member and Wells of dean Bath, of Alexander guide and upon comment to geared thus were decoration sculptural the of Aspects h iclaeu olcino vdneadavc rmarneo ore nthe in sources of range a from advice and evidence of collection miscellaneous The 12 27 12 hadearly and th .TepohtDne,nwhde eidteBbihcatycae,pivots chapel, chantry Bubwith the behind hidden now Daniel, prophet The ). hcnuyadhl adu fipratfiue nthe in figures important of handful a held and century th antb osdrda‘ore o h el aias vni tde share does it if even capitals, Wells the for ‘source’ a considered be cannot mn fwihwr lomnda iulsucsfrtecptl,sc as such capitals, the for sources visual as mined also were which of (many 82 eedei lege The 13 Moralia hcenturies. th 13 n onssuhes oadtepsto ftehg altar high the of position the toward south-east points and , hcnuy(hsatrtebgnigo h cltr tef,the itself), sculpture the of beginning the after (thus century th iclaeu eto i n orcin hc drew which correction, and sin on text miscellaneous a , a ob nipratsuc o ae rtr fpastoral of writers later for source important an be to was 28 80 .Tpclo h oeo rpesi ohcat the art, Gothic in prophets of role the of Typical ). nieCnebr,Lnono aibr,Wlswas Wells Salisbury, or Lincoln Canterbury, Unlike : h ersnain faiasi the in animals of representations the nrn Wisse Ancrene 81 familia rbbywitnin written Probably . eruditi familia opsdthe composed , 79 ol have could fBishop of : Published by Maney Publishing (c) The British Archaeological Association od,teewspoal ohn odfsind bu hi cngah nthe in iconography other their In about theology. fashioned’ pastoral ‘old in contemporaries trends nothing clerical current of probably with minds was keeping capitals there Wells in the absolutely words, paper commentators, modern fact this to throughout in seemed made were have have may they I though point back-dated the the a of underlining of legacy in cultures interest the explication. and the harmonise study and on for organise accessible largely it gather, make to based to past sought authorities Christian authors classical which in and schools, religious cognition. to and approach reading of mode ol ie lhuhorkoldede nraeepnnilyi h ae Middle later the in exponentially increase does knowledge our Ages. although the in like, them would to available around images they years carved since the large-scale in sculptures, Wells only the of arm. the upon city eastern wonder been the with have for un- of gazed probably opportunities movements have same would must liturgical of the particular fixed variety in more with a viewers the them for Lay outside which allowed at imagery space, the festive, nave gazed at the and capitals looking of commercial, functions Wells the religious, the Indeed, be today. of could public lay public the of reason lay wonder every the informed is there that Nevertheless campaigns. suggest earlier to the in manifest that than cathedral were which pastoralia of collections The bestiary. h eiiu mgnto ftemnsey hr tsre sadvtoa etthat universe text natural devotional the a of meanings as The typological of served images. product manifold it a the the where was consider of it, monastery, to upon perceptions the monks based lay allowed of hybrids and informed imagination animals religious directly of the images bestiary sculptures, the the the unlike of not some that bestiary, for unlikely source the is provided have it must itself. bestiary cathedral illustrated the the of the While fabric the receive with to contact of kind visual city direct right mercantile medieval course, sermons, the through the of productions’ ‘just and, of its interaction were and study culture burgesses) his clerical its in to exposure us especially maximum or reminded (and spoken recently of citizens assimilators has its and Shaw Wells, and listeners Gary active ‘high’ As more for them texts. made seen models have well antiquated might seem Ages. laity the Middle now the and illiterate what in Ages and dissolves culture literate Middle problematising ‘low’ which later decades and viewing, past high the of the in deep modes published in the been doubt society has longer lay work no into much Historians cultures cultures. literary literate to of access penetrations no had they that suggest fac west the the on through salvation cathedral the of accessed have would fac laity west the canons, cathedral the UNLIKE audience as laity The moral and spiritual of range the the in recalled found have beasts these certainly of would meanings instance for capitals h oncinbtenteWlscptl n otmoayltrtr sas of also is literature contemporary and capitals Wells the between connection The notntl eko uhls bu h at fWlsi h eidta we than period the in Wells of laity the about less much know we Unfortunately ehv enarayta nmliaeycaatrsdmc ftenv space. nave the of much characterised imagery animal that already seen have We 85 ¸ lieaetog ayo h at rbbywr,i ol eamsaeto mistake a be would it were, probably laity the of many though Illiterate d n rnial sdtenv pc.Teiaeo ihyodrdhistory ordered highly a of image The space. nave the used principally and ade uigteItrocla eid( period Interconciliar the during ucourant au Moralia exempla a fcus nyoeo ag fpsil et,including texts, possible of range a of one only course of was oWells’s to n rvrs emnad n iatctetsspoue as produced treatises didactic and aids sermon proverbs, and ¸ d of ade 1200 86 83 ; eruditi ntecnrr,te eeecdcretdiscourses current referenced they contrary, the on ruby h lieaeo atal ieaesau of status literate partially or illiterate the Arguably, hs et r ugsieo late- a of suggestive are texts These c . . Moralia 1220 . 1179 – 50 ayo hc eecibdfo the from cribbed were which of many , eet eydi very a reflects – h aia cltr fWlsCathedral Wells of Sculpture Capital The 1215 hc a aesgetdthis suggested have may which ) 84 C : rn iinfrthe for vision erent Rmnsu’and ‘Romanesque’ 12 th-century 87 97 Published by Maney Publishing (c) The British Archaeological Association farneo atrliespeaetdrn h necniirpro,wihpromoted which period, translations Interconciliar plastic the as during prevalent understood ideas readily apparently pastoral be of was believe, range and a I sin of which on can, exegesis sculptures visual choir, The a providing correction. and apparently character, canons. nave in the didactic by overwhelmingly the appropriate nave deemed the was between than in often separation order more laity increasing rigid the demanded by breeched more also statutes statutes a The The taking laity. and spectacles, frequency. been the have games, some must by including mentioned, with clear, space nave, specifically place the were nave less they of the because uses is which, of ‘secular’ commerce, abuse It and the the on sculpture. prohibitions of new nave history impose a the on of Haselshaw’s commentary Dean didacticism ive sustained. was overt this that the however, interpreting for avenue later the during laity the at directed thought a and mission as art pastoral monastic state to in the interior able history man’s be to long may of a central you allegorisation had that was evil the God, and devil’), and of Ephesians good armour the between as the of battle daily on such deceits constant you himself the put scripture, defend .] against to . in [. stand imperative Lord ultimately the the Based and in of strengthened soul, assault. battle viewer’s the exterior of the allegories against within traditional as evil images versus these good interpreted have would viewer lay 98 e into cleansed was put that space was devotional endeavour a and commerce. as commercial cathedral of worshippers the house to of for a vision distraction into Reginald’s God a that of proven doubt House to had the selling make to and threaten buying had of tumult the para-liturgical because and liturgical of Before range contemporary a in as in well featured as period, it the since of texts laity, church. secular the the among of assumed context the in century for iconography Similar me’. save or a rescue like to soul my one seize no Job not is in might Moralia there they that when so time me Psalm a deliver and at me lion pursue who those from early the to Godhead. dates the bestiary of understanding an for reeve m. matthew nelctrfmla ihteBbewudidct htti mg eeecda referenced image this an that that likely indicate is it would instance, for Bible sermon, secular the a Psalm a of of with context pictorialisation within the responses familiar in lay explained with interlocutor be do to to image little this had probably S it cathedral. but they monastery, which ( the in nature to image art, mixed medieval monastic the of of on category allegories scholarship character. a as in hybrids, understood attention were been recent have creatures much these received of has many that seen, have church. we the As by as dictated meaning such a certainly productions almost was folk- it clerical as viewers, such lay through productions non-clerical di perhaps, mediated Put and, art, lore. certainly visual of almost works other sermons, was images these finished. were htvrteoiia sso h ae h hutbhn h mgr tWlswas Wells at imagery the behind thrust the nave, the of uses original the Whatever otntl hr ssm vdnefrhwtelysaeo h ahda a used. was cathedral the of space lay the how for evidence some is there Fortunately ayo h avdaiasaei ciecnitwt te esso ihhumans. with or beasts other with conflict active in are animals carved the of Many 7 1180 a mlydi oatcmnsrpssc steUrctPatradthe and Psalter Utrecht the as such manuscripts monastic in employed was 90 C ihpRgnl obd ar otk lc ihntecterlprecincts cathedral the within place take to fairs forbade Reginald Bishop , 9 sIhv rqetywre,hwvr hsprpciemyb elsuited well be may perspective this however, warned, frequently have I As rnl,i hs mgshdaseicmaigi h id findividual of minds the in meaning specific a had images these if erently, etrsamnwt o h satce rmbhn yalo.Were lion. a by behind from attacked is who hoe a with man a features 89 . 91 ssc,a h ieo hi xcto tlat a nesadn of understanding lay least, at execution their of time the at such, As ihu wrns fseictxs ti ehp oelkl htthe that likely more perhaps is it texts, specific of awareness Without 7 : 2 13 – 3 hcnuy rbbyaon h ieteWlscapitals Wells the time the around probably century, th : O odm o,Ihv u yhp nyu aeme Save you. in hope my put have I God, my Lord ‘Oh 88 h aleteiec o a wesi fthe of ownership lay for evidence earliest The C c.Ide,hspecitospoieone provide prescriptions his Indeed, ect. 92 pastoralia nweg fti ai otx a be can context basic this of Knowledge 1298 . 93 esn mixta persona tttspoiearetrospect- a provide statutes 94 hr sn reason no is There ftehuman the of ) 95 6 : 11 12 (‘Be th Published by Maney Publishing (c) The British Archaeological Association oae ihntenraie ftegetcuc tef ns on,ItutIhave I trust I doing, of so ensemble In unexplored itself. for hitherto but avenues church be famous some could great Wells’s it imagery. suggest complicated the carved which as to in of much ways only as narratives propose paper clarified to the the this and within of sculpture, in contexts capital located possible the social of been and aspects intellectual has interpreting the It nevertheless within sculpture church. the meaningful patrons, secular and its principally or intelligible designed suggested, Whether be have enclosure. I could appreciated monastic as and the masons, consumed within cathedral’s the was been the it have by in as not ways would inherent same Wells the anything at in sculpture than the that rather clear capitals. paradigms seems Wells the own ‘marginalised’ have our that is themselves monuments It ‘architecture’ the the of itself. as physicality much full building as assessment take traditions to any the and need idioms that of would its belief imagery, architecture’, building’s the Gothic the ‘early in of broadly account setting, sought more architectural has or that its cathedral, Wells Wells from on of scholarship sculpture existing the contexts the performative isolate against argued and to have masonic I architectural, cathedral. the the of within Wells of sculpture capital play. at were dynamics artistic and institutional nohrbidnsa h aiastesle r,weefnaetlydi fundamentally where are, themselves Wells capitals the di for the as here be as may presented sculptors case of buildings atelier specific dominant other The a of in style. product of in a homogeneity buildings as clear labels the sculpture increasingly medieval fragmenting formalist been thereby by to of has basis, imposed bring that institution-by-institution study we point an the on a that buildings reinforces in assumptions study the decades archi- This of and recent study. art many its medieval challenges of upon consistently historian bear the it for because building important tecture an is cathedral WELLS conclusions capitals. the of some to obscuring bays, sculptures commemorate nave capital to eastern need the original the in to the the inferior by be of to dead seen meanings the was significance the their whatever audience, lay Indeed, their suggest. to seem ugs oeso rprcmotetadsiiult,a the as e spirituality, this and have comportment not it proper did that so of either clergy it models the laity. that suggest to note the religiosity to and to care interesting passed pastoral of be regime could new a disseminated and mms rtflt h raieso hs vnsadt hi atcpns oal Professors notably participants, their to and events AVISTA these I special Champaign. of Urbana the organisers at at the Illinois presented of to University was Jill grateful the Professor paper most at to this and am Malcolm and Toronto, of University, me Professor in York version with Majeed, at A Kalamazoo Vancouver, text Risham reference. the at to in useful points grateful site very session on many a also me discussing for with am for material Mann I Whatley this discussing Laura afterward. for and kindnesses Sampson Thurlby Jerry many and Lindley for Phillip and Dr to indebted am I lhuhdrvn rmataiino raetleaoaini h oatr,it monastery, the in elaboration ornamental of tradition a from deriving Although the of role the understand to attempt to been has paper this of goal major the The 15 hcnuy hnteBbihadSgrcatycaeswr built were chapels chantry Sugar and Bubwith the when century, th 2008 tteCnda ofrneo eivlAtHsoin in Historians Art Medieval of Conference Canadian the at , ACKNOWLEDGEMENTS 96 fti a h neto ftesupue hni is it then sculpture, the of intention the was this If h aia cltr fWlsCathedral Wells of Sculpture Capital The : C c o og rta tfie to failed it that or long, for ect h motneo interpreting of importance the 1298 B tttswould statutes utt parallel to cult C erent 99 Published by Maney Publishing (c) The British Archaeological Association N N N N Nave N N N door Inner 100 Capitals Gardner, follow numbers All o who Ambrose Kirk Professor o to who indebted Murray, Stephen am and I Davis Thereafter, Michael Clark, Bill Bugslag, James reeve m. matthew N Fac porch figural North only lists catalogue side the north supplement brevity, to essay. only of the here of sake used body been the the have in Footnotes considered For designs. not foliage material sculpture. reference not individual does and the sculpture of capital the N N N N N N 3 3 2 1 4 4 3 4 5 5 5 6 6 7 ¸ West East West 5 ehp h oyo tEmn.Gdshn ecnsfo h lusi ino blessing. of sign a in clouds the from descends hand God’s Edmund. 6 St of body the perhaps 5 4 1 East nfoliage. in West East eso sheep. a of legs hoof its eats r iigflae etoewaigacono edrs n ih n ihwike aeand face wrinkled with one right and headdress or crown a wearing one hood. left foliage, biting are odn agr(rsete,pitn nonv pc.Pstoe meitl poiewest opposite immediately Positioned space. nave into pointing sceptre), door. (or dagger a holding S SW : : NW SW NE S N N S W d panels ade : asersodcapital) respond (aisle – asersodcapital) respond (aisle (inner) (outer) : : : foliage. foliage. (inner) dudswf cond tosoe n od i head. his holds and over stoops (crowned) wife Edmund’s 3 : : : rgn aigec te,etn evs ed onigdwwrs al pi nofoliage. into split tails downwards, pointing heads leaves, eating other, each facing dragons w id ymtial oiindbc obc ihhmnd(p? aebetween. face (ape?) homonid with back to back positioned symmetrically birds two aae gr ihha o lost. now head with figure damaged : w id aigec te ihhastre akt re igfeathers. wing preen to back turned heads with other each facing birds two w ua-eddhbis(aiik) h etfiuei aeadtergti female is right the and male is figure left The (basilisks). hybrids human-headed two : : : : : : aiikwt ua edadtebd fabr ihasretn al ern rw and crown wearing tail, serpentine a with bird a of body the and head human with basilisk : : : h martyrdom. the : eaeha mrigfo oig aigN pteaisle. the up NE facing foliage from emerging head female w-oidlo oiindo h onrloigdw nonv space. nave into down looking corner the on positioned lion two-bodied w ymtial oiindbrsfcn ahother. each facing birds positioned symmetrically two etdcnnbaigsrl with scroll bearing canon vested atro fSitEmn,kn n martyr. and king Edmund, Saint of martyrdom apo n h lion. the and Sampson ihpi otfiasmkn ino blessing. of sign a making pontificals in bishop foliage. igddao rgri or dragon winged w rgnhae id oiindsmercly akt ak ihtista terminate that tails with back, to back symmetrically, positioned birds dragon-headed two : : : agl etoe rgno iadta onstwr h ne door. inner the toward points that lizard or dragon destroyed largely a dudsha ure ytewolf. the by guarded head Edmund’s w e ne vrsmtignwdsrydb h oiino h omrdoor, former the of position the by destroyed now something over kneel men two ; ml a od nte of ohslf dog a left his to hoof, another holds man small a : APPENDIX : obebde inwt n ed(iia oN to (similar head one with lion double-bodied rmlf orgt a en vrada o n ag ua head human large a and cow dead a over leans man a right, to left from C el Capitals Wells nsadn nfoliage. on standing on : nrvtitrguimditui dei gaudium inter intravit CLTR CATALOGUE SCULPTURE a n. (as 7 .Tecmaspit ee otepsto on position the to refer points compass The ). 97 C rdsm sflinsights. useful some ered ; oddfiuehlstehind the holds figure hooded a C rdmc epu criticism. helpful much ered c.Matthew (cf. 3 SW). 25 : 33 ). ; each Published by Maney Publishing (c) The British Archaeological Association N 13 N N N N N poieN Opposite N N N N N N N N N N N N N N N N N N N N N N N N 13 13 13 13 12 12 12 12 11 14 14 7 7 10 10 10 7 7 7 7 9 9 9 9 9 9 8 10 9 10 NE eIaa,Jrma rElijah. hand or right Jeremiah his Isaiah, with be lap his across scroll a on replacement. a be to appears r onigt h rsigo h cathedral. the of crossing the to pointing are ‘ (first hand left sheep. h scmigabnl fwo nhrrgtknee. right her on wool of bundle a into combing hand is right She his with eastward shoulder his over points space. and crossing westward the looks He it. on written o broken door. ewe t esadoe t back. its over and legs its between nwhde eidcatychapel). chantry behind hidden (now ne,wt e ethn etn nhrke n h oltra nhrrgt h edhsbeen has head The right. her in thread wool the and knee her on resting hand left her with knees, the of representation earliest the shoulder. is This back. his over goose a with fox a natikgoe h nesadtubo h etgoecnb enbhn h ml box, small a the of attributes behind a French the wears seen of all number and has be a hem but with can packman ragged compared a be glove a as can with left and described encased mason been gown is the or has knee-length which stonecutter figure of hand, a The right thumb wears hat. his brimmed He and by shallow whetstone. held fingers shoulder, his The left holding his glove. possibly over thick axe an a has in He hand. left his with N NW SE NE E S SW SE NW NE NW W : asewl respond) wall (aisle S N NW SE SW SE E NE NE S E NE SW SW : N W foliage. : : : : : he heads three : : : : : igddaoswt al nigi oig aiggae/foliage. grapes/ eating foliage in ending tails with dragons winged : : w rgn akt akwt ogtisedn nflaewt rtsu edlostoward looks head grotesque with foliage in ending tails long with back to back dragons two : : : : a akn atwt os ne i arm. his under goose a with east walking man he id aprnl oe)etn nflaeadpenn themselves. preening and foliage in eating doves) (apparently birds three h rpe ao.H shligsrl ncie with inscribed scroll holding is He Aaron. prophet the : : w id ihaia ed,smerclypae akt ak ihaefc nbetween. in face ape with back, to back placed symmetrically heads, animal with birds two aefc ihdwtre mouth. downturned with face male reigbrsarne ymtial vr iia oN to similar (very symmetrically arranged birds preening rpe ern oddgretwt anro i a,wiigtefloigletters following the writing cap, his on banner a with garment hooded a wearing prophet yrdhmnwt s al(ie)hligafihi i ethn iloki i right his in billhook a hand left his in fish a holding (siren) tail fish a with human hybrid : : : : : : tnmsnwt lc fsoei rdeoe i ih hudr odn h strap the holding shoulder, right his over cradle a in stone of block a with stonemason a tr o pobl)etn rg(o idnb hnr chapel). chantry by hidden (now frog eating spoonbill) (or stork a : : : a seigyafrhn)cryn ali i ethn n tc nhsrgtchasing right his in stick a and hand left his in ball a carrying farmhand) a (seemingly man a intrigha olf okn akoe t oypenn isl ihhstnu,tail tongue, his with himself preening body its over back looking left to head turning lion rpe nteato writing of act the in prophet oa pnig ern ullnt onadhligadista a holding and gown full-length a wearing spinning, woman a eaefc oee navi,wihlae nyteee exposed. eyes the only leaves which veil, a in covered face female oe odn alt inscribed tablets holding Moses : a ihcre on rzn nflaefcn west. facing foliage on grazing horns curled with ram rkncptlta otistermiso epn’ rdao’ tail. dragon’s or serpent’s a of remains the contains that capital tail. broken dragon’s a or serpent’s a of remains the with capital broken a aefc ihcryhi n laatexpression. pleasant and hair curly with face male aefc ihrudhtadpesn expression. pleasant and hat round with face male ei raewt lvnfe,cocig ad nknees. on hands crouching, feet, cloven with ape or Devil h olcme,mdsl lte nafl-eghgown full-length a in clothed modestly wool-comber, the p’ edajcn oml edwaighle,muhawry. mouth helmet, wearing head male to adjacent head ape’s h rpe ail odn coli i ethn htsrthsoe i knees his over stretches that hand left his in scroll a holding Daniel, prophet the rpe ihbakscroll. blank with prophet C 12 u oteisrino nio stay. iron an of insertion the to due nasewall aisle on : a’ rtsu gr ihhmndwaigacowl a wearing homonid with figure grotesque u wyb ae clockworks). later by away cut : a akn at ern la,adcryn naia vrhis over animal an carrying and cloak, a wearing east, walking man a : l a ihsiko i hudrwliges n amrtnigto tending farmer and east walking shoulder his on stick with man old apa eedei lege nascroll a on : iah nhslf ad i ih adadidxfinger index and hand right His hand. left his in hr sahl ntetpo i od hsmay This hood. his of top the in hole a is There . : h aia cltr fWlsCathedral Wells of Sculpture Capital The osbya ro for error an possibly aron 5 ; N). ; pig a e edi oee ihascarf. a with covered is head her n od e rsyu nhis in stylus or pen a holds and ; 12 man. a hcnuyexemplars. th-century Ysengrimus C eueybtenher between securely abacuc h head The . . : daniel 101 98 is Published by Maney Publishing (c) The British Archaeological Association S S S S S S S S S S S Nave side south side South S S S S S side North wall) (west corbels vault transept North N N S N N N N S S N S S S 102 N reeve m. matthew S S S S S 12 12 12 12 6 6 5 4 3 2 1 12 8 8 7 6 12 11 11 11 9 9 12 10 9 9 9 19 18 17 16 16 15 14 14 N NW : SW : : : NE : SE N NW SW SW SE NE odadhshlighsrgthn ohscet ei ln nhsrgteye. right his in blind is He chest. his to hand right his holding his and hood ta rudlf neadrgtfo.Tedesadps iistewool-comber. the mimics pose and dress The foot. right and knee left around strap u t oge(basilisk). tongue its out (right). other ihln ears long with expression. sombre a one,cnclhtadelre oesget r eivlCrsinatiue fJews of attributes Christian medieval here. are registered suggests is nose anti-Semitism that enlarged possible and hat conical pointed, ooetu) h gr wsst okdw etaddw h ot aease(niechantry (inside aisle nave south the down westward down chapel). look to twists figure The (onocentaur). SE E NE N NW W N SW SE SW : foliage. foliage. foliage. foliage. foliage. : : : NE E : SW SE : foliage. asewall) (aisle : : : : : foliage. foliage. foliage. w id ymtial lcdetn foliage. eating placed symmetrically birds two w igddaosfihig n lf)hmni edpse tc notemuho the of mouth the into stick a pushes head humanoid (left) one fighting, dragons winged two : : : : : : : : : oddfiuewt andepeso eoe hr rmhsfo ( foot his from thorn a removed expression pained with figure hooded eta edwt ag as Smlrt gr nS on figure to (Similar ears. large with head bestial ua-eddcetr ihcu nhsrgthn n rpigflaewt i right his with foliage grapping and hand right his in club with creature human-headed : : aae gr rhead. or figure damaged etoe ythe by destroyed : : aefc ihcryhi n ad nfoto i chest. his of front in hands and hair curly with face male ml w ihwr nba isd hnr chapel). chantry (inside beak in worm with owl small : : a’ ae ul aradcensae,peigoto foliage. of out peering clean-shaven, and hair curly face, man’s inatcigmnfo rear from man attacking lion ete okrwt oko etke,waigcohsafaon edadci.Teei a is There chin. and head around scarf cloth wearing knee, left on work with worker leather yrdfre fawne idwt rtsu edadln epnieti,wihsticks which tail, serpentine long and head grotesque with bird winged a of formed hybrid rpe la ihbne nhske ncie with inscribed knee his on banner with Elias prophet ot ulrwt h ne ne fhslf adi i ot.Hsi ern pointed a wearing is His mouth. his in hand left his of finger index the with puller mouth igdbr ihgoeqeha n ogsretn al ern a bsls) The (basilisk). hat wearing tail, serpentine long and head grotesque with bird winged : : : eta edwt ag asfcn ontenave. the down facing ears large with head bestial idwt ogti nigi foliage. in ending tail long with bird aewt abdtongue. barbed with face rmcn aehead. male grimacing es’ edwt w et showing. teeth two with head beast’s he ae fo ih oleft) to right (from faces three on aepstoe oadtesanctuary. the toward positioned face young eta ednx owmnwt oighair. flowing with woman to next head bestial w ua heads. human two : : a odn ag rs nmcoacietrlsetting micro-architectural in cross large holding man ga n h ei ihtetext the with devil the and Egeas : ; iadcre afa ptepillar. the up halfway corbel lizard aefc ihcryhair. curly with face male a 14 hcnuysisrarches. scissor th-century ; h a assaheaoehsha.Lo’ edmissing. head Lion’s head. his above hoe a raises man the : a’ aewaigho ihmuhopen mouth with hood wearing face man’s a egeas avdo h abacus. the on carved 6 Wwt hat.) with NW la p elias : osbyS ee rS Dunstan. St or Peter St possibly n i ado i he with cheek his on hand his and spinario 101 ). ; 100 naesface ape’s an : tis it 99 Published by Maney Publishing (c) The British Archaeological Association ot side North ot side South wall) (west corbels vault transept South S S S S S S S rhelg nteMdea ics fLlanda of Diocese Medieval the in Archaeology Llanda of Fabric 1 S S S oens a orcl ense sa xeto o ahrta oe o,ohrbidnsi h West the in buildings other for, model a than rather to, exception an as seen Country. been correctly has modernism Centuries Sixteenth the to Eleventh the form England Series of South the in .Gardner, A. 1978 143 1948 S S Cathedral Society ( Cathedral’, David’s St of Architecture ‘The Stalley, R. Woodcock, A. in considered not is sculpture Wells Society Cathedral Wells at Bishops 2004 (London aldu eessi h ulig u hyrmi unpublished remain they but building, the in recesses walled-up Cathedral 1748 – 19 18 17 16 15 14 14 14 13 13 13 13 6 7 5 3 2 1 4 18 ihhsrgthn eas are billhook. a carries also he — hand right his with rcs.Tetifi agn ttekesdet h lw n ei plighsgrapes. his spilling is he and blow, the to due knees the at sagging is thief The process. hand right his in pitchfork a holds grapes. farmer The coat. his frdpitwt nodrmnhligablho nhsrgthn n uc fgae nhis in grapes of bunch a and hand right his in shoulder. billhook his a over holding looking man is He older left. an with paint red of – hscnetdrvsfo .Baser AWs onr colo Masons’, of School Country West ‘A Brakspear, H. from derives concept This . .Gardner, A. . .Camille, M. . Rodwell, W. in catalogue Sampson’s Precursors’, Its Jerry and Capital See Continuous Gothic . Early ‘The Cameron, Capitals’, B. J. More general ‘Some in See supplied), not . name (full R. D. R. . e otrcnl .Sampson, J. recently most See . : : SE : : NW NE NW SW NW NE capital) stealers grape (the SE ), ) – h infiatrcn coasi nte‘etCutysho’icue .Tuly TeEryGothic Early ‘The Thurlby, M. includes school’ Country ‘West the on scholarship recent significant The . 50 foliage. foliage. foliage. foliage. ; – 1993 386 10 ntecneprr ueaysupue e .M ev,‘h ersetv E Retrospective ‘The Reeve, M. M. see sculpture, funerary contemporary the on : 1817 , . : : : w ml rgn aigfoliage. eating dragons small two 92 142 : : : eta edajcn oa l a’ aewt osah n beard. and moustache with face man’s old an to adjacent head bestial rp taes scene stealers, grape – 1998 rp taescptlscene capital stealers grape : nmlsha ern cloak. a wearing head animal’s aefc ihuhpyexpression. unhappy with face male rp taes scene stealers, grape (Oxford 12 (London , : ) (Taunton Celebration A 2 : : ( . tKteieaddove and Katherine St 1999 otflml etdhligaflaesta foliate a holding seated male youthful os(London vols .RdeladG Leighton, G. and Rodwell W. ) nls eivlSculpture Medieval English ; .M Malone, M. C. C ), ahda n t lc nteWs onr colo aos,in Masons’, of School Country West the in Place its and Cathedral mg nteEdge the on Image el Capitals Wells 2005 235 1987 2006 – ). ), 59 d .S ocetr(hpo Mallet (Shepton Colchester S. L. ed. , 95 .Frmr usr ramns e .TdrCag WlsSupue,in, Sculpture’, ‘Wells Tudor-Craig, P. see treatments, cursory more For ). : . 2001 Reassessment’, A – 97 Fac ,I, ), 2 h aiasas etr ntemjrsreso eivlsupue uhas such sculpture, medieval of surveys major the in feature also capitals The . hwn aorrtligtefre ftivs epit backward points He thieves. of farmer the telling labourer showing , ¸ , 3 d sSpectacle as ade hwn h amrapeedn h le a yteho on hood the by man older the apprehending farmer the showing , 5 173 hen(Wells edn th : el ahda etFront West Cathedral Wells : ; scene ahrn od colwith scroll a holds Katherine h agn fMdea Art Medieval of Margins The – 77 4 hr h amrht h l a,lsn i a nthe in hat his losing man, old the hits farmer the where , ; II, 1 rhtcua eod fWlsb onCarter John by Wells of Records Architectural (Cambridge rceig fteSmre rhelgcladNtrlHistory Natural and Archaeological Somerset the of Proceedings hw ot odn akto rps hwn traces showing grapes, of basket a holding youth a shows 423 C d .Kenyon, J. ed. , iia Images Liminal : NOTES – 1978 iuladIelg tWlsCathedral Wells at Ideology and Ritual 39 ute pnrl aebe eetydsoee within discovered recently been have spandrels Further . el Cathedral Wells .Sm ftecptl eedanb onCarter John by drawn were capitals the of Some ). ni.J. Antiq. 1937 C nhsrgthand. right his in h aia cltr fWlsCathedral Wells of Sculpture Capital The ), : e eo,nn. below, see : el ahda red Report Friends Cathedral Wells : 1982 110 A Trans. BAA ; set fMdea rhtcua Sculpture Architectural Medieval of Aspects , osrcin cltr n Conservation and Sculpture Construction, h rp tae a narnfl of full apron an has stealer grape the 82 – (London rts rhelgclRprs British Reports, Archaeological British , ), 14 ig a katerina. sa: virgo ( : 2002 102 ; xaain n tutrlStudies, Structural and Excavations .Williamson, P. – ), 31 , 2003 42 13 xxix (at , – 45 45 ), 105 Cardi (Leeds , Archaeologia nwihWlsssleek Wells’s which in , 82 54 – B – . 07 83 iso Anglo-Saxon of gies C Lie n Boston and (Leiden ,adidem, and ), oestRecord Somerset , eakby the Remarkably, . : 2006 ohcSculpture Gothic Gesta rhtcueand Architecture ), 1948 , 60 , 81 15 – 85 ( ( (Wells 1931 1976 Wells Wells and , 103 ), ), Published by Maney Publishing (c) The British Archaeological Association rnstwr h ok hc e riaeRbno ocnie i h ao oc eidtewr during work ( the Savaric behind force bishop major absentee the 1921 him the consider of to between Robinson tenure Alexander Armitage Dean the led which of work, tenure the the toward with grants precisely agree not does ijnto ewe eivlato the of art medieval between disjunction a of capitals be with models would manuscript earliest ‘It transitional the certainly on that and based argued Gothic, sculpture form’ be combine Zarnecki Gothic necessarily .] George pure . must which [. buildings hands’. Cathedral naturalism Gothic Wells men’s and Early of freedom in into capitals sculpture gothic putting that new assume was the to and building wrong methods, cathedral semi-classic in old e on experience based laboured techniques the new between evolve new, the and old development. stylistic of evidence diagnostic as considered are capitals Binski, P. as art medieval NJ River, Saddle (Upper ceni ohcChurches’, Gothic in Screen Ely’, of Church Cathedral the in formerly Screen Quire n. (Gloucester h uligaoe onHre’ aosyntoaitcapaslo el osdrdi uoesfis truly traditions first Romanesque Europe’s previous it from included) considered not in Wells I’, (sculpture of Cathedral, itself ‘Wells appraisal emancipated nationalistic had which famously building, Harvey’s Gothic John alone, building the Gothic English of Formation The London and CT (Harmondsworth hw o xtracnuyltr aiasadbse eecre o carved were bosses and capitals later, century a Exeter for shown Sampson, d .HgmnadM otr (Turnhout Mostert M. and Hageman M. ed. in Illiterate’’’, the of ‘Book Cathedral Salisbury at Painting Cahn Walter of Honour in Essays Art ‘Romanesque fWlsi h etr at ftetasps h atr aso h aeadtenrhprh hsimplicating thus porch, north the and nave the of Sampson, bays See eastern sculpture. the figural transepts, the the in of him parts western the in Wells of 104 in Cathedral’, Wells and Bristol, Ages Augustine’s, St at Chapel 1140 reeve m. matthew hpesi h al itr fteCuc fWells of Church the of History Early the in Chapters Pevsner in addition. ‘tholus’ later a the is of that fall suggests the corbel earlier the to of addition archaeology this The transept. links north the in pier southernmost eoeln,seP rpr TeSqec n aigo h eoae oka Wells’, at Work Decorated the of Dating and Glastonbury has Sequence and Wells He ‘The at form. Architecture Draper, original its P. the of see understanding in our remodelling, account change brief significantly will a published published when which building, the of Knowledge Indigenous and 18 17 8 16 14 21 20 19 15 13 12 11 9 10 4 Gardner, . .Turnbull, D. . ,ch. ), ), – .H Harvey, H. J. . fabric Gothic early the of phases third and second the in executed was sculpture the which in period The . o eetdsuso fteeise,seJ ug Byn h Barrier the ‘Beyond Jung, J. see issues, these of discussion recent a For . Twelfth-Century the to Reference Special with Churches, English in Screens ‘Quire Hope, John St H. W. . e h apltb .A Wright, A. Sampson, G. . by pamphlet the See . hr svr itedcmnayeiec o otmoaysupua rdcin sJa ieshas Givens Jean As production. sculptural contemporary for evidence documentary little very is There . .G ugn WsAtRal h ‘oko h lieae’’ad‘eetoso ‘a r elythe Really Art ‘‘Was on ‘Reflections and Illiterate’’?’ the of ‘‘Book the Really Art ‘Was Duggan, G. L. . Reeve, M. M. see context, English an Sampson, in J. issues now these of is discussion Wells recent Gothic a early For of chronology . the of account through most The . daett h ot-atcosn ir h elkon‘iad obli oae ntees aeo the of face east the on located is corbel ‘Lizard’ well-known the pier, crossing north-east the to Adjacent . er apo a idysae i nulse eoto h rhelg fteesentermination eastern the of archaeology the on report unpublished his shared kindly has Sampson Jerry . d .Keen, L. ed. , 1300 : 54 .Pvnr B/E Pevsner, N. – 1 etFront West di A . 72 NwHvnadLondon and Haven (New 1986 . el Capitals Wells C ), etFront West 2004 rn nepeaino h eunei nMalone, in is sequence the of interpretation erent 1972 : A Trans. BAA 185 2000 aos rcses n Cartographers and Tricksters, Masons, .Zarnecki, G. ,wihfcssisedo h etfac west the on instead focuses which ), a n. (as apo,floigTuly a ugse hth a h atro h ale phases earlier the of master the was he that suggested has Thurlby, following Sampson, . nls eiea Architects Mediaeval English ), el Cathedral Wells : ot oestadBristol and Somerset North 103 onOtNto?,in Notion?’, Out Worn A 2006 ektsCrown Becket’s edn mgsadTexts and Images Reading 4 (Amsterdam r Bulletin Art a n. (as – ), 04 a n. (as , ), 20 : xix e loH utkuznadD ekr ed., Verkerk D. and Luttikhuizen H. also See . r,Ltry n Reform and Liturgy, Art, 396 tde nRmnsu Sculpture Romanesque in Studies . d .Huiae(Princeton Hourihane C. ed. , red fWlsCterlJournal Cathedral Wells of Friends : 4 ), rhtcueadIdentity and Architecture ( 7 1997 – ), 56 98 d .Clsra n .Draper, P. and Coldstream N. ed. , 1998 1 : – h aiasaentdsusdi uhipratsuiso English of studies important such in discussed not are capitals The . ugssta h capitals the that suggests , , History A 2000 ), 57 82 C etFront West : 31 rso h oaeqetaiinsrvn oepesisiesand ideas its express to striving tradition Romanesque the of orts . ), 1192 r n mgnto nGti England Gothic in Imagination and Art ( 2004 2000 12 aosMrso el ahda Church Cathedral Wells on Marks Masons – ), 106 40 1248 53 hcnuyadmdr emnlg,seW Sauerlander, W. see terminology, modern and century th – . ; ), ), 1205 – a n. (as .Stone, L. 88 63 lhuhtesyeo h aia ol emt erather be to seem would capital the of style the although , (Harmondsworth 622 Romanesque : (London : a n. (as . eivlIae n et sFrso Communication of Forms as Texts and Images Medieval – .J .Robinson, A. J. ). – 107 igahclDcinr onto Down Dictionary Biographical A 57 7 ), Wobig n e York New and (Woodbridge : . 4 and Archaeologia 52 oprtv tde nteScooyo Scientific of Sociology the in Studies Comparative ), ¸ cltr nBritain in Sculpture Ams h ihs City’ Richest the ‘Almost d n h ersetv e retrospective the and ade NwHvnadLondon and Haven (New 1894 – 49 2008 75 109 – : : 51 (at C Fac ), (London r n huh nteTefhCentury Twelfth the in Thought and Art ocp rniinlpsto ewe the between position transitional a ‘occupy – ), , ieadsipdi rmlclworkshops. local from in shipped and site 19 323 ¸ c 75 1958 53 2009 d sSpectacle as ade 40 . respectively. 1189 , – – – , 77 oestHsoia Essays Historical Somerset 55 24 A Trans. BAA 56 68 ), (Wells n .Tuly TeEdrLady Elder ‘The Thurlby, M. and , .Frarcn osdrto fthe of consideration recent a For ). 1979 . . 294 – : ( 1213 h nfigRl fteChoir the of Role Unifying The 1917 ndrsMdea Art Medieval Snyder’s . ), : 2009 h ideAges Middle The lxne aegenerous made Alexander . 152 ), 1170 hrenhCnuyWall Thirteenth-Century , 43 – a n. (as iv : 2008 .O the On ). 58 – B 2006 rso nteMiddle the in Bristol (Leeds 110 – omnigupon Commenting . is n .Draper, P. and gies, 1300 ), (Wells eivlAtand Art Medieval 4 ; ), ). 79 .M Church, M. C. 1550 122 etFront West – 1981 NwHaven, (New 14 103 hr the where , 1970 th-century , , , ), . (London 2 2 2 dedn nd 18 dedn nd dedn nd ,and ), – 29 (as . : : , Published by Maney Publishing (c) The British Archaeological Association ae,CT Haven, Artist ‘The Bulletin 1175 1994 469 yXnaMrtv,‘i udmfla tfliiu,sdatfxpraelectus artifex Altet, sed I falsidicus, et fallax quidem litte ‘Vir Muratova, Xenia by 1952 JBAA Woodcock, see sculpture, architectural English of creation the in n. (as sculptors of authority the of Practices’) Workshop basic in this tower. Period’, central to Romanesque original adhering the Although of weight right. the the support than to rather ribs vault left strengthened the on N attached piers Practice’, diagonals methodology, Sculptural with Medieval capitals of cardinal Record a of as Cathedral Exeter of ( Accounts Fabric ‘The Givens, A. J. eivlAtadAcietr tEee Cathedral Exeter at Architecture and Art Medieval 107 .ReeadM hrb,‘igJh’ lret tCreCastle’, Corfe at Gloriette John’s ‘King Thurlby, Historians M. and Reeve M. irr ako o hsreference. this for Jackson Dierdre database sca the Cantigas in the represented the from narrative knocked Devil’ is the Painter and ‘painter the the as such art, medieval Westminster’, of Church Abbey the of Design the in III Henry King of Involvement The Tune? the ‘Calling Hereford at Romanesque Chapel English Bishop’s ‘The Gem, R. 1987 diosadDsg tEwr ’ ate nWales’, in Castles I’s Edward at Design and Advisors nC .Mln,‘itrinDsg nteCoradTasp fWlsCterl,in Cathedral’, 58 Wells of Transept and Studies Choir Church the Medieval Kinder, in Design Solitude ‘Cistercian of Architecture Malone, M. C. in Blois of Henry Paper of Occasional Antiquaries in patronage of Sculpture’, Society the of Thompson, Patron with H. F. a associated and as Macready abbey Blois S. of Glastonbury ‘Henry from Zarnecki, capitals G. carved the perhaps 1991 no. , 31 36 25 23 33 32 37 26 22 35 34 30 29 28 27 24 40 39 38 ´ – – ar elatsea oe g’ in Age’, Moyen au l’artiste de raire ), ), ), – atclryeoaiehr sPvnr B/E Pevsner, is here evocative Particularly . h rnhsucsfrWlsaeepaie nC .Mln,‘etEgihGti Architecture Gothic English ‘West Malone, M. C. in emphasised are Wells for sources French The . Salzman, F. L. see text, the For . Gardner, . Turnbull, . Gombrich, H. E. from borrowed term A . Sampson, . Binski, see discussion, recent a For . the in ‘‘Sculptor’’ of Meaning ‘The Dodwell, R. C. to indebted am I mason-craft, contemporary On . .A tle,‘h eivlSupueo hitCuc ahda,Dublin’, Cathedral, Church Christ of Sculpture Medieval ‘The Stalley, A. R. n. (as School’ . Country ‘West Brakspear, . .Gteb TePitrsSecret Painter’s ‘The Gotleib, Carmine’, M. in ‘Pictor . James, R. M. . Salzman, . sca the from fall William’s . see architecture, medieval English in masons and patrons of roles the on speculations further For . hrb,‘h le ayCae’(sn. (as Chapel’ Lady Elder ‘The Thurlby, . emphasised are sculpture figural the than rather mouldings and architecture the for sources Soissonais n. . (as Sculpture’ ‘Wells Tudor-Craig, . 90 22 ), , 5 1250 65 376 49 ), 161 ; ; 36 112 3 , .Tae,‘aigteMsrcrsfo h hrenhCnuyCorSal tEee Cathedral’, Exeter at Stalls Choir Thirteenth-Century the from Misericords the ‘Dating Tracey, C. owl,‘enn f‘Supo’’(sn. (as ‘‘Sculptor’’’ of ‘Meaning Dodwell, . 31 os(Paris vols – 27 . – , 62 upbihdP..tei,Uiest fClfri,Berkeley, California, of University thesis, Ph.D. (unpublished ’ – ( : – 77 64 2007 2008 18 ( 32 ntttos riigadSau’ in Status’, and Training Institutions, ; 1945 . .G Lindley, G. P. ( h xeto htpoe h uei irN pier is rule the proves that exception The . . 2005 uligi England in Building el Capitals Wells ), ), aos Tricksters Masons, etFront West ), 141 59 1986 ), 46 d .Mced n .H hmsn(London Thompson H. F. and Macready S. ed. , – ; 12 – 168 93 – .KopadG .Jones, P. G. and Knoop D. : 65 68 : . ,I, ), oaeqeadGothic and Romanesque n S and http saso itrin,AtadAcietr nHnu fPtrFergusson Peter of Honour in Architecture and Art Cistercians, on Essays – . o ecpieoeve fatsi esnlt ntepro,seP .Lindley, G. P. see period, the in personality artistic of overview perceptive a For . 85 a n. (as 53 aigMdea Art Medieval Making : . //csm.mml.ox.ac.uk/index.php?p 12 – a n. (as 72 aeasih eito ntecptlfrsbcuete oetesrnigof springing the bore they because forms capital the in deviation slight a have C 11 4 . ligrclsanme fohr‘ciet’i h ouetr itr of history documentary the in ‘accidents’ other of number a recalls olding C ), a n. (as a n. (as (Turnhout l ytedvli erbto o aiga nemyiaeo i.See him. of image unseemly an making for retribution in devil the by old 7 74 ,adStone, and ), rits rias tPouto ritqea oe Age Moyen au Artistique Production et Artisans, Artistes, uligi nln onto Down England in Building : – Archaeologia neto n iar rmVsr oBalzac’, to Vasari from Rivalry and Invention 113 ektsCrown Becket’s 9 25 ), : 7 ), h oe fPto n rfse’ in Craftsmen’, and Patron of Roles the ), (esp. 55 377 6 da n dl,Esy nVle nHsoyadi Art in and History in Values on Essays Idols, and Ideas 102 18 2005 . ,adterfrne nnn. in references the and ), ot Somerset North h eiea Mason Mediaeval The : ,ctn (at citing ), – . 74 sasfrGog Zarnecki George for Essays h itr fBiihArt British of History The 22 cltr nBritain in Sculpture 78 (Donnington ), – ) . , d .Kelly, F. ed. , 351 80 ; 94 .Fak,‘h erto h eivlMasons’, Medieval the of Secret ‘The Frankl, P. rhtcua History Architectural .TecoetlclprlesfrteWlscptl are capitals Wells the for parallels local closest The ). – ( a n. (as r n arng nteEgihRomanesque English the in Patronage and Art 1951 67 13 31 ; h aia cltr fWlsCathedral Wells of Sculpture Capital The = ae,‘etEgih a n. (as English’ ‘West eadem, hc,frraosta r o la,i formed is clear, not are that reasons for which, ), odn rts irr,Cto hre IV, Charter Cotton Library, British London, ) 7 a n. (as poemdata_view&rec 2003 ), 141 46 1986 – A Trans BAA – 1540 ), ora fteSceyo Architectural of Society the of Journal 66 11 51 a n. (as 54 (Manchester . ), 1973 ), n atclrytesmnlarticle seminal the particularly and , – : 6 297 : 87 atgsd at Maria Santa de Cantigas 8 , 80 ouetr History Documentary A eaqe u ’mg oil et sociale l’image sue Remarques 35 (London 7 – ). , – ), d .Srtod(Woodbridge Stratford N. ed. , ‘ohcSculpture (‘Gothic 96 , 600 98 46 36 103 ; ., . .Clsra,‘Architects, Coldstream, N. . – ( 2003 xi Archaeologia – 1600 r n arng nthe in Patronage and Art 1949 04 = 1986 r Bulletin Art (Leeds o eetaccount recent a For . 74 ), d .Aes(New Ayers T. ed. , ). esetvsfran for Perspectives mgaeu to grateful am I . 36 19 ), 159 ), – iia Images Liminal 1991 36 135 d .Barral X. ed. , – ; : , 72 .Wilson, C. , tdoand Studio 106 – ), d .N. T. ed. , 84 nwhich in , 36 . Gesta (London (Oxford 180 , ( ( 2002 1979 150 ; – ed. , 105 , Art 87 see . 30 ), ), ; Published by Maney Publishing (c) The British Archaeological Association tHistoriae et Architecture and Art Manuscripts, Renaissance (London and Medieval Illuminated hrenhCnuyEgad,in England’, Thirteenth-Century Bestiary’, the and 35 tre rmteSroe ugrso ausd Vitry de Jaques of Vulgares Sermones the from Stories the For e iese e etue,e elu ail,dn ehu oe A Moyen haut le dans famille, leur de et centaures, des et sirens des (Oxford omto faNwIconography’, New a of Formation 106 Harp’, the and reeve m. matthew n. Age Moyen me civilisation NY now Kemp, the — W. upon Murray, Wells at see S. imagery in other sermon, Notably, explored Amiens medieval of been Mary a recently Saint in God, have With art Contract visual A Making and sermons between relationships hi nuneo clsatclDcrtv r (Parts Art Decorative Ecclesiastical on Influence their rmte‘aycae ytecose’ etrsacwpaigtebls hssgetn htaia musicians animal that suggesting thus bells, the playing cow a features Wells. cloister’, at the known were by chapel ‘Lady the from eat enetadOhrFxsi eivlEngland Medieval in Foxes Other and Reinaert Renart, ersnain fRmnsu cltr nTefhCnuyFac’ in France’, Twelfth-Century in Sculptors Romanesque of Representations lhuhtedt fti ic utb tlatmid- least at be must piece this of date the although in Malmesbury’, at ‘‘Frieze’’ (London ‘The Kalinowski, L. Bunker, P. and Binski P. nifrainaotoa rdtosvis-a Art traditions Visual in oral Tradition about information On 1999 2004 mgsadTxsa om fCommunication of Forms as Texts and Images h hi cltr tWretr( Worcester at sculpture choir The (Chichester E Worcester’, ‘The 10 and Thurlby, Wells M. of see Cathedrals Worcester, the and Wells between connections For – 52 51 58 57 49 59 43 42 41 53 56 55 54 50 45 44 47 46 48 5 ( ), 79 1986 1992 ), II, ), .J rvs O iesadOnocentaurs and Sirens ‘Of Travis, J. W. . .Baxter, R. . .L Go Le J. . Tubach, C. F. . Barber, . e npriua,R atl TeEryRpeettoso ra oit nRmnsu Sculpture Romanesque in Society Urban of Representations Early ‘The Bartal, R. particular, in See . Kahn, . n. Kahn, in (as D. Chapel’ Lady . Elder ‘The Thurlby, . .Varty, K. . .B lr d n trans., and ed. Clark B. W. . Illumination’, Marginal Gothic of Source a as ‘Exempla Ysengrimus’, Randall, the L. in Wisdom . ‘Proverbial Mann, J. . o h lsi ttmn fterlac fvsa r nbsir oes e .Due Bsire and ‘Bestiaries Druce, G. see models, bestiary on art visual of reliance the of statement classic the For . .Caviness, n. M. (as Chapel’ . Lady ‘Elder Thurlby, . eetydsoee pnrlfo h aycae ytecose etrsDne ntelos den, lions’ the in Daniel features cloister the by Ayers, chapel T. Lady . the from spandrel discovered recently A . .Barber, R. . 89 exempla . 184 exemplum – ), 2008 ), 2007 1992 108 416 o h e ulfciie e .d ae ed., Hamel de C. see facsimile, full new the For . 16 55 , 2007 (Brussels . . 45 . – ). atruyCathedral Canterbury ), ), ´ h Bestiary The 58 die n h etay ntesade,seRodwell, see spandrel, the On bestiary. the and C Speculum 323 85 ( h eivlSandGaso el Cathedral Wells of Glass Stained Medieval The , atruyCterladisRmnsu Sculpture Romanesque its and Cathedral Canterbury ), 2002 enr h Fox the Reynard ´ o oercn con,seU Engel, U. see account, recent more a For . etaisadterUesi h ideAges Middle the in Users their and Bestiaries ie ok utr nteMdl Ages Middle the in Culture & Work, Time, h etay en nEgihvrino h olinLbayM Bodley MS Library Bodleian the of version English an being Bestiary, The vale ultno h onRlnsLibrary Rylands John the of Bulletin – 211 rdto,seRnal Eepa a bv,ti note), this above, (as ‘Exempla’ Randall, see tradition, – 96 40 h al tie ls fCnebr ahda Circa Cathedral Canterbury of Glass Stained Early The ), ne Exemplorum Index 1997 , ; – . Reeve, 29 45 18 : eebruhCathedral Peterborough , – . h oaeqeTedrc,in Theodoric’, Romanesque The 25 .Fradsuso fsrn nEgihsupue e Woodcock, see sculpture, English in sirens of discussion a For ). ( 52 2002 a n. (as ( ; 1950 alPainting Wall .L lrqMr,‘uMnteandroce Monstre ‘Du Clercq-Marx, Le J. ), 48 : 55 ), 1224 h eivlBo fBirds of Book Medieval The rbtst oahnJ .Alexander G. J. Jonathan to Tributes td fteFxi eivlArt Medieval in Fox the of Study A ), 49 a n. (as – td Medievali Studi 131 67 – – 57 h artvso ohcSandGlass Stained Gothic of Narratives The rnatoso h ocsesieAcaooia Society Archaeological Worcestershire the of Transactions ; 32 – (Helsinki idem, . 18 42 32 lofaue cn rmRyad(Varty, Reynard from scene a featured also ) a n. (as xsitu ex ` ), ,fig. ), . vsrpeetto,Ia netdt .Crcmn,‘Oral Curschmann, M. to indebted am I representation, -vis 36 d .HgmnadM otr (Turnhout Mostert M. and Hageman M. ed. , aSrn asl esee asLAtd ’niut tdu et L’Antiquite de L’Art dans et Pensee la dans Sirene La : 2001 . 18 13 oaeqeAoays tMncaxl’Etoile’, Montceaux at Apocalypse Romanesque A 13 70 pnrlfauigtecee o uigbrs—wsbased was — birds luring fox clever the featuring spandrel 1981 ,fisVI n VIIF. and VIIE figs ), h oaeqeFiz n t Spectator Its and Frieze Romanesque The ). , hcnuy hsecuigi rmtepeetpaper. present the from it excluding thus century, th o.p.I.Arcnl icvrdsade,presumably spandrel, discovered recently A II. pl. col. , – 33 , (London (Berkeley 1 2006 : 39 ,no. ), h cngahcEvidence Iconographic the e ieayHistory Literary New and ( 1992 ( 1956 : rn.A odamr(Chicago Goldhammer A. trans. , edn eivlTxsadImages and Texts Medieval Reading rmDvsaint Restoration to Devastation From 2 ocse Cathedral Worcester oko Beasts of Book 5092 )’, ), , el Cathedral Wells (Stroud 1890 ), : 2 2004 109 JBAA uho Fouilloy’s of Hugh os opsVtermMdiAv (Oxford Aevi Medii Vitrearum Corpus vols, 146 ; ,no. ), .F Crane, F. T. – .Fra xml fteueo iulart visual of use the of example an For ). – 32 ˆ (London 70 ´ B n.s. , 1998 ee a et ge hl umntrhumanise monster au phale ; yo igJh n h cltr of Sculpture the and John King of gy 103 (Leicester ; .Kna-ea,‘noie Self- ‘Unnoticed Kenaan-Kedar, N. 298 r Bulletin Art .J ogn Pcue emn in Sermons ‘Pictured Morgan, J. N. : ol Art World d .LEgeadG .Guest B. G. and L’Engle E. ed. , ) ; 25 n fig. and : . ` h aigadMaigof Meaning and Making The , .Mro,‘nls Cistercians ‘English Morson, J. asml fM Bodley MS of Facsimile A 16 l’e a n. (as 1991 ( 1175 ´ 1919 h xml rIllustrative or Exempla The ou romane’, poque ( : (Cambridge 1984 (Amsterdam 1967 nAcietrlHistory Architectural An ), 4 – vau (Binghampton, Aviarum ), 3 , . : 1220 61 ,II, ), 39 ), 41 enr h Fox the Reynard hmso nt and Unity of Themes ), ; 93 ( – 37 .Aof TeAss ‘The Adolf, H. 1957 iia Images Liminal ohcSermon Gothic A 82 423 – (Princeton 764 ; 109 ; 2005 idem, 1982 (London ), d .Kahn D. ed. , n.s. figs , 1997 1999 (Woodbridge . 97 , ), : air de Cahiers ), : 26 – 3 A ), Medieval Reynard, 177 442 dseries, rd ` 107 58 ), Artibus propos ( 72 36 1920 – 1977 2007 , – The . : , 70 – – 444 205 The 37 764 73 (as 38 . ), ). ) ) . ; . . : ; . Published by Maney Publishing (c) The British Archaeological Association mgso oe pnigi h otenRenaissance’, Northern the in ( Spinning Women Studies of Renaissance Images and Medieval of ASaeeto h etei tiuearound Attitude ( Aesthetic the of Statement ‘A drmn n euyol ... o h os fGdms hn ihvre osi ota t outward its that so present worship are varied who with those shine on weariness must inflict God not of and it, house Gothic to the men early For lead on .] will . itself [. order is beauty only Cistercian it closest beauty the that and of the suggests adornment architecture provides alone the observation Wells of n. This criticism. (as influence Design’ authority. significant his ‘Cistercian Cistercian Malone, any for (see Wells candidate a Wells was likely source the most from there the ornament that and a church revised secular ‘improper’ who unlikely description as new author, of ambitious the author’s mind the that critique making possible the in Dore, for very Abbey is between to cathedral it ensemble cock’), Wells connections image the significant and had the fox the and critique, of intrigues date, Bernard’s originated) fabled have ‘the to of as thought (such is coincidence sculpture text the the (where Wells, Dore Abbey and between connections stylistic and geographical close ohael hns ersnigtebat ftehael oeb tiigfrisbeauty’ its for striving by home heavenly the of beauty the representing things, heavenly to TeRpbi tWork at Republic ‘The (Turnhout L ( XLV Triumphs Rider A Tumbles, ‘Synagoga York eeto fteSuhPra cltr tSnig eCompostela’, in de Paris’, Santiago at Sculpture Portal South the of Reception 2001 in Art’, Ho K. in figured clasp the notably metalwork, Mosan contemporary to prophets Prophets Minor and Century Twelfth the of End the to in Street’, Medieval the of Life 151 (ca. Ages Middle l’Antiquite de Representation ‘La Lord Labor’, Peasant of Representations Ideological laı PA Park, Diversity Limestone Mentalite Monastic the (Michigan Frieze Romanesque Art Jewish Repre S lu,MN Cloud, (St Silos’, in Romanesque to Mozarabic ‘From study classic Schapiro’s Panel emnshnAtrusud n Philologie und Altertumskunde Hermanischen 1992 1985 ¨ 61 60 69 70 65 64 62 68 67 71 63 66 que’, – ). .M icgi,‘‘npn’Heroes ‘‘‘Unspun’’ Biscoglio, M. F. . .Shaw, G. . Teeaei h hrhpitdfrso nml,brsadsret n te hnswihaefor are which things other and serpents and birds animals, of forms painted church the in are ‘There . o eetshlrhpo eivlsupueadadecs see audiences, and sculpture medieval on scholarship recent For . Meanings and ‘Mouths Camille, M. see pullers, mouth On . Lowden, J. example, For . Webster, C. J. of review Schapiro’s Meyer . ae,‘itri amn’(sn. (as Carmine’ in ‘Pictor James, . Surplus the and Signs ‘Gothic Camille, M. . h coasi snwetnie orwteprs rmL edl Mdea litrCrigand Carving Cloister ‘Medieval Seidel, L. from phrase the borrow I extensive. now is scholarship The . Mellinko R. . .W Scheller, W. R. . 70 : ´ : ), ), 1970 etto el’Antiquite de sentation 2006 h luha n h oilOdri h utelPsalter’, Luttrell the in Order Social the and Ploughman The h pnroadteSno Heresy’, of Sin the and Spinario The . 6 136 cngah tteCrossroads the at Iconography air el iiiainMedievale Civilisation la de Cahiers – 1989 : 19 ), edn eivlImages Medieval Reading : , ), cso h XIhItrainlCnrs fteHsoyo Art of History the of Congress International XXVIth the of Acts 2002 2002 – aau,Gseets n h ahda fAutun of Cathedral the and Gislebertus, Lazarus, 1 95 ; 37 15 ( ,II, ), .Cmle A h ino h ‘pnigSow’’ ‘‘Spinning the of Sign the ‘At Camille, M. 1974 – e usqety idem, subsequently, See . – ), ), 96 1988 h raino Community a of Creation The 42 900 103 249 . 487 C ; ), TeRudTpe alt fteLaw the of Tablets Round-Topped ‘The , .Dvs CnnclViews ‘Canonical Davis, M. ), – 28 a n. (as – – Uiest ak PA Park, (University – ca. 16 76 1 : 93 Exemplum ´ – – .MrosRleso h eeinTrades’, Venetian the of Reliefs Marco’s S. ,in ’, 43 . . 1450 16 ; ae,‘e oiln eSitnee uPio om aietto el culture la de manifestation comme Poitou du et Saintonge de Modillons ‘Les eadem, . oeo h otsgicn usqetshlrhpicue eadem, includes scholarship subsequent significant most the of Some . 45 ´ h eivlMonastery Medieval The ) ) uMynAge Moyen au (Amsterdam ; itr n Images and History luiae Prophet-books Illuminated ´ .R ates RaigRmnsu Sculpture Romanesque ‘Reading Matthews, R. K. : asl cltr oaee n grto classique figuration une et romane sculpture la dans oe-okDaig n h rcieo ritcTasiso nthe in Transmission Artistic of Practice the and Drawings Model-Book : (Princeton , d .Csiy(Princeton, Cassidy B. ed. , h r itra n h Object the and Historian Art The : 25 lrclVeesadteFu the and Viewers Clerical 29 h ans he esn o anig nChurches in Paintings for Reasons Three Saints’ The : 1988 ), aet e eu Arts Beaux des Gazette ( cngah fteSinn oa nteMdl Ages’, Middle the in Woman Spinning the of Iconography 1995 1995 39 141 : , 1230 : )). r Bulletin Art ce uClou des Colloque du Actes 20 .TdrCag WlsSupue a n. (as Sculpture’ ‘Wells Tudor-Craig, ). 29 el nteLtrMdl Ages Middle Later the in Wells : ). ), 1938 . h aoso h otsi niu n eivlThought Medieval and Antique in Months the of Labors The : h hohlsSoyadteCorRlesa Notre-Dame, at Reliefs Choir the and Story Theophilus the (Vienna Pictor h iso h Cathedral’, the on Kiss The ( 163 ’, : 1986 oad e Iconology New a Towards erwUiest tde nLtrtr n h Arts the and Literature in Studies University Hebrew ,in ), – d .Mces,Mdea tde tMinnesota at Studies Medieval Macleish, A. ed. , 84 ), a eo pca neeti hscnet ie the Given context. this in interest special of be may ; 1982 , Speculum 311 eu ’r aaineCnda r Review Art canadienne/Canadian d’art Revue : 72 .Gee SaigRaiytruhteFictive the through Reality ‘Shaping Grewe, C. (Chicago td fBznieMnsrpso h Major the of Manuscripts Byzantine of Study A : h aia cltr fWlsCathedral Wells of Sculpture Capital The : – ardSmo n mlmo Evil’, of Emblem and Symbol Sacred ( h ‘te’ hrrsadIae fEveryday of Images and Chartres ‘‘Other’’ the ) 1990 30 ; .So-mt,‘rnlecisCompetititon ‘Brunelleschi’s Snow-Smith, J. : .J .Aeadr Lbu n Paresse and ‘Labeur Alexander, G. J. J. . , 1993 oad nAt-cngah fMedieval of Anti-Iconography an Towards ¨ r Bulletin Art r Bulletin Art r History Art 113 sepra fBmegCathedral’, Bamberg of rstenportal ), , 16 436 1999 26 ), ( 1989 – 43 ( – Gesta 1941 28 ne alia inter d .SasadT .Thomas K. T. and Sears E. ed. , ) 52 – ; 57 ), .Rthc,‘cltr Programs ‘Sculpture Rutchick, L. Mars d .Lavin, I. ed. , ; , , .Cmle Lbuigfrthe for ‘Labouring Camille, M. 159 ), aeFec Studies French Yale , (Oxford nthe On . , 21 90 d .Bli n .Lindley P. and Bolvig A. ed. , 10 C 131 39 mann, – ; ( ( ( 1981 1939 2008 69 tsol lvt h mind the elevate should it 1987 h sasi Kahn, in essays the ; ( : 2000 . olwn lsl from closely following : h cngah and Iconography The 1993 7 spinario eTru d’E Tireur le enrAbie zur Arbeiten Weiner , ), ), ), ), h Year The 312 54 ), 423 105 3 ). – 3 – 75 – os(University vols – oprsthe compares , 74 12 54 e .Fossi, G. see , . : . Ihc,NY (Ithaca, ; ; .Gilbert, C. , 1200 eed in Legends .Rosen, M. ora of Journal .Rowe, N. ´ 80 pine’, Journal ( Gesta 1991 (New 107 The , , La 13 19 ), 2 : : , Published by Maney Publishing (c) The British Archaeological Association eivlEngland Medieval hrh Rgnl,Bso fBt ( Wells’, Bath of Bishop ‘Reginald, Church, Becket’, Thomas St. of n al Life Daily and 153 easac n eea nteTefhCentury Twelfth 1991 the in Renewal and Renaissance alinMS Harleian tSmre Libraries’, Somerset at (IV)’, Catalonia ol r Studies Art World Europe Northern in Gothic Bulletin Art ( Collections Proverb fidei Psalter’, 108 Imagination Medieval in Chimera Institutes Courtauld and Warburg n. (as Sermons’ 1215 Studies Hunt William Mediaeval Richard of Institute Anglicanum Pontifical the] [of III Alessandro Papa Bandinelli, Rolando before Kalendars cathedral the of processions liturgical the mirror represent figures these that possible is canons. It sacks. or Spectator’, the animals and Sculpture ‘Romanesque Cahn, W. in context this Frieze in discussed and cited Cloister Moissac the in reeve m. matthew ( Chicago, of University thesis, Ph.D. rahr,Foiei n Sermons and Florilegia Preachers, 1992 2002 83 82 81 91 86 85 80 79 78 90 84 94 93 89 88 87 77 76 75 74 73 92 72 – ), ,in ’, .J Dobson, J. E. . ihpRgnl vnondrlc fS Thomas St of relics owned even Reginald Bishop . o h mgr fti sl nthe in Psalm this of imagery the For . n. (as Really’ Art ‘Was Duggan, . Shaw, G. D. . .Bre,‘h ahda irr’ in Library’, Cathedral ‘The Birley, R. . Reeve, . di very A . e otrcnl .Dl,‘oses opra eomte,adPatssi h litro Cuxa’, of Cloister the in Phantasms and Deformities, Corporeal ‘Monsters, Dale, T. recently most See . .H os n .A os,‘ Rouse, A. M. and Rouse H. R. . hrh Rgnl,Bso fBt’(sn. (as Bath’ of Bishop ‘Reginald, Church, n. (as Period’ . Inter-Conciliar ‘The Boyle, . .Bxe,‘ aoilBestiary Baronial ‘A in Baxter, R. ‘Introduction’, Hamel, . de C. see issues, these On . Shaw, . Period Inter-Conciliar ‘The Boyle, L. . calendar Anglo-Saxon Wells the to addition later a was Katherine n. Saint (as Malmesbury’ at . ‘‘Frieze’’ ‘The Kalinowski, . carrying some west, Sampson, and east . progressing figures of range a feature arcade nave north the in capitals The . Fish, S. . .Oesa,‘epn nteDiyBattle Daily the in ‘Weapons Openshaw, K. . .Ma E. . a neryapaac nthe in appearance early an had 68 ), ), a n. (as 201 . Archaeologia 19 71 r Bulletin Art nl-omnStudies Anglo-Norman – – – 35 93 28 ˆ , : 45 le, eesr Conjunctions Necessary 83 . .Ambrose, K. . t rgn otn,adIflec’ in Influence’, and Content, Origin, Its alPainting Wall 3244 esp. , : steeaTx nti ls?TeAtoiyo nepeieCommunities Interpretive of Authority The Class? this in Text a there Is ), edn,At n oeisi h Citeaux the in Polemics and Art, Reading, 51 eiiu r nFrance in Art Religious r Bulletin Art ( C 46 etFront West 2001 a rn eso fti cn srpeetdi .S ok TeEris ane aesof Panels Painted Earliest ‘The Cook, S. W. in represented is scene this of version erent ). ’, d .Gle,BiihAcaooia eot,ItrainlSeries International Reports, Archaeological British Golden, L. ed. , NwYork (New . . d raino Community a of Creation 201 : ora fteWrugadCutudInstitutes Courtauld and Warburg the of Journal oaiiso h Gospels the on Moralities , , . ) 50 h etErpa Tradition’, European West the 75 1100 d .J .AeadradM .Gbo (Oxford Gibson T. M. and Alexander G. J. J. ed. , oestAcaooyadNtrlHistory Natural and Archaeology Somerset . 402 : Gesta ( eeitn utr,Mmr ytm,adLtria Practice’, Liturgical and Systems, Memory Culture, Benedictine ( 1887 1993 h er rdhwSociety Bradshaw Henry The , – a n. (as h aeSupueo Ve of Sculpture Nave The , 36 a n. (as d .Rdlh(adn MA (Malden, Rudolph C. ed. , 8 ), 2005 ), ; ( ( 1956 1926 dm TeMntos,in Monstrous’, ‘The idem, 295 XI,e.C .Lws(Woodbridge Lewis P. C. ed. XXXIX, , 17 13 , : : 4 ). 50 – tde nthe on Studies ), tAsl’ rp tCanterbury’, at Crypt Anselm’s St 1174 oai ue Evangelia Super Moralia – ), ), ), 38 1991 360 77 : 85 ( a n. (as 195 28 1987 : ; eadcEiec o h arng fM Bodley MS of Patronage the for Evidence Heraldic ttminvenire Statim . 15 h wlt Century Twelfth The .W vn,‘nIlsrtdFamn fPeraldus’s of Fragment Illustrated ‘An Evans, W. M. – – . – ) 90 1191 – ; d .Lot (Siena Liotta F. ed. , ,esp. ), 29 .H ost,‘artv tMoissac at ‘Narrative Forsyth, H. I. 234 ), 1179 oai nJob in Moralia 84 , h uls con fRgnl’ ieadcre ssilC M. C. still is career and life Reginald’s of account fullest The . el Cathedral Wells 109 196 ), a n. (as ) : . : 83 e oreof Source New A 81 – 22 i psoae n i hr nteBidn fteCuc of Church the of Building the in Share his and Episcopate, His – 102 – d ..Bno,G osal n .D ahm(Toronto Lanham D. C. and Constable G. Benson, R.L. ed. , 1215 ). 14 aiuu Florum Manipulus 200 ), . 59 311 : – . 47 ´ zelay 03 . eivlLann n Literature and Learning Medieval mgso h oqeto vli h al Medieval Early the in Evil of Conquest the of Images : ) n h einnso atrlMnas,in Manuals’, Pastoral of Beginnings the and ora fteWrugadCutudInstitutes Courtauld and Warburg the of Journal ; col,Peces n e tiue otePg’ in Page’, the to Attitudes New and Preachers, Schools, appendix , 45 ; : (Toronto idem, e .P .Hvn,‘ el icvrdReliquary Discovered Newly ‘A Hoving, F. P. T. see .M hms LyPeyi nln from England in Piety ‘Lay Thomas, M. H. 72 oai nJb(Princeton Job in Moralia ). : opno oMdea Art Medieval to Companion A n h teh sle,seC Rudolph, C. see Psalter, Utrecht the and h oko Beasts of Book The h r fMnsi Viewing Monastic of Art The . (London rn.M ates(Princeton Matthews M. trans. , a n. (as 2006 eesr Conjunctions Necessary 1985 nrn is (Oxford Wisse Ancrene , 1979 c ), 129 7 . ), fToa fIreland of Thomas of 253 ), 1934 , asn h Eyebrow the Raising 204 ,esp. ), 45 ( 2006 45 1985 – 1976 ), – ( 73 – 1982 11 56 ), 110 ; ), n .P aly Jh Leland ‘John Carley, P. J. and , 3 ; 179 ), .A elp ‘Contemplating Heslop, A. T. 141 : – : . ), .RueadM .Rouse, A. M. and Rouse R. a n. (as caiosLegacy’, Schapiro’s 66 90 e .Wraded., Wormald F. see – 14 – – ; 92 54 1997 114 – ie,‘The eidem, . 46 Cmrde MA (Cambridge, . 48 : ; oal the Notably . : h oilSl nLate in Self Social the ), ) .Tyo,‘Medieval Taylor, B. 1975 ; (Toronto 996 sasPeetdto Presented Essays 2 764 36 : tde n Texts and Studies , ogn ‘Pictured Morgan, : os(unpublished vols h Romanesque The oaeqeand Romanesque onOin and Onians John – Summa ’, 1978 ), (Oxford 37 ora fthe of Journal 101 . Miscellanea ), Floriligium . 2006 364 Gesta Violence fVice of 1066 English scutum 2001 1980 . ). , , 41 55 to ), ) : ; Published by Maney Publishing (c) The British Archaeological Association 82 Aesop? or ‘Marcolph Curschmann, M. in of recently Contexts’, type Visio-Verbal common most in a see Identity represent art, of to medieval Question appears The in figure the Marcolph and representing Wells, of at appropriate traditions clearly less is it above, 1958 ihpBto,woejydsm oa aea elro toothache of healer a as fame local some enjoyed who Bitton, Bishop the On literature. previous at to references Solomon of sculpture jamb the below thorn-puller the of identification Kidson’s Camille, Marcolf. Peter with of Chartres basis the on Wormald, Cathedral’, Ely in Northwold de Hugh of rmnn oiina h ot ori nla,atog entrlyfaue nWells’s in features naturally he although unclear, is door north the at position prominent Natio Tudor-Craig Cathedrals Pamela ‘Enclosures of Medieval Draper, Honour P. in English see Papers churches, in medieval English Entrances in enclosures and and screen to related evidence documentary ; 95 101 100 99 98 97 96 uo-ri,‘el cltr’(sn. (as Sculpture’ ‘Wells Tudor-Craig, ), Church, . uo-ri,‘el cltr’(sn. (as Sculpture’ ‘Wells n. Tudor-Craig, (as Self-Representations’ . ‘Unnoticed Kenaan-Kedar, Cf. . h cngah a ecoeycmae otefloigS dudcycles Edmund St following the to compared closely be can iconography n. The (as Period’ . Inter-Conciliar ‘The Boyle, . : ail a ihl iptdtecamta h aia srflcieo h ial-okn obof tomb miracle-working the of reflective is capital the that claim the disputed rightly has Camille . apparently Solomon, with words mixed who trickster the Marcolf, with capital the identified Camille . 63 h lutae ieo tEmn,Kn n Martyr’, and King Edmund, St of Life Illustrated The n. nls Kalendars English 25 hl nalso oMrofmyhv enrlvn tCate u oteSlmnfigure Solomon the to due Chartres at relevant been have may Marcolf to allusion an While . hpesi h al History Early the in Chapters a n. (as mg nteEdge the on Image 77 ), 110 spinario 7 d .Bchue(Donington Backhouse J. ed. , ), ulntnMagazine Burlington . 7 105 ), 105 . 83 a n. (as : nmdea r,seaoe n. above, see art, medieval in cesadScrt’ in Security’, and Access ). . a n. (as tde nIconography in Studies 14 ), 324 5 Gesta ), h aia cltr fWlsCathedral Wells of Sculpture Capital The – 82 , 25 130 59 ; , o ute icsino hsadother and this of discussion further For . .Kidson, P. 30 ). : ( 1988 f Camille, cf. ( 1991 2003 ), h nls eivlCathedral Medieval English The ), ), 77 , 119 65 76 21 cltr tChartres at Sculpture – . 84 – – ( 88 2000 mg nteEdge the on Image 39 h esnfrEdmund’s for reason The . : . ; .Hh,‘eirntoet ‘Perigrinatio Hahn, C. .Rbrs TeE ‘The Roberts, M. ), 11 1 hcnuycalendar th-century – 45 hc includes which , spinario (London a n. (as For . B 109 5 gy ), : :