E RELATED TITLES n CONTENTS g The Art of Anglo-Saxon England l Introduction: What Lies Beneath i CATHERINE E. KARKOV s Two particular perspectives inform this wide-ranging Misericord carvings present a fascinating h 1 A Fair Field of Folk and richly illustrated survey of the art produced in corpus of medieval art which, in turn, 2 Doctrine and Debate England, or by English arists, between c.600 and M complements our knowledge of life and 3 Influence and Invention c.1100. Firstly, from a post-colonial angle, it examines the way art works both to create and to narrate belief in the late middle ages. Subjects range from e 4 Masculinity and Power national and cultural identity over the centuries during the sacred to the profane and from the fantastic d 5 Exemplary Animals which England was coming into being, moving from Romano-Britain to Anglo-Saxon England to Anglo- to the everyday, seemingly giving equal weight to ie 6 The Monsters at the Margins Scandinavian England to Anglo-Norman England. the scatological and the spiritual alike. Focusing v wSeocroknsd tlhy,a itt htarevaet sb oAtnhg alon- Saaexstohne taicr ta ansd w aonr ekms ooft ioarnta,l specifically on England – though with cognisance a Conclusion: Looking Both Ways value, rather than as simply passive historical or of broader European contexts – this volume offers l archaeological objects. This double focus on art as an Gazetteer an analysis of misericords in relation to other M aesthetic vehicle and art as an active political force Bibliography allows us to ask questions not only about what makes cultural artefacts of the period. Through a series of something a work of art, but what makes it endure themed ‘case studies’, the book places misericords i Index s as such, as well as questions about the work that art firmly within the doctrinal and devotional milieu e does in the creation of peoples, cultures, nations and histories. in which they were created and sited, arguing that r i even the apparently coarse images to be found c Medieval Wall Paintings beneath choir stalls are intimately linked to the o ROGER ROSEWELL devotional life of the medieval English Church. r d Now available in paperback The analysis is complemented by a gazetteer of the s Praise for Hardback edition: most notable surviving examples. A well-written and handsomely presented book, certain DR PAUL HARDWICK is Reader in English, Leeds to appeal to a wide readership. ... The great strength of P the book is in its wonderful colour pictures: of both Trinity University College. A familiar and unexpected subjects, and usually of higher quality than published before. BBC HISTORY MAGAZINE Jacket illustration: St Mary, Swine misericord. Photograph by U A splendid book ... Mr Rosewell knows what he is Elaine C. Block, ©Misericordia International. L talking about, and explains how the paintings were made, what they mean, who paid for them, and how H they’ve fared since. CHRISTOPHER HOWSE, A DAILY TELEGRAPH My Easter book of the year ... a magisterial R compendium of this most elusive English vernacular D form. SIMON JENKINS, THE GUARDIAN English Medieval BOYDELL STUDIES IN MEDIEVAL W The Madonna of Humility ART AND ARCHITECTURE I BETH WILLIAMSON C [A] substantial and meticulously researched study. ... K Misericords Far from closing debates on the Madonna of Humility, Beth Williamson has opened up the reading of the image type in its devotional context in a stylish, beautifully written and thought-provoking study. THE MEDIEVAL REVIEW THE MARGINS OF MEANING an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF and 668 Mt Hope Ave, Rochester NY 14620, USA PAUL HARDWICK www.boydellandbrewer.com This content downloaded from 155.69.24.171 on Thu, 12 May 2016 18:24:12 UTC All use subject to http://about.jstor.org/terms Eng Medieval Misericords prelims_Med Art & Architecture series 10/04/2011 15:00 Page 1 ENGLISH MEDIEVAL MISERICORDS The Margins of Meaning This content downloaded from 155.69.24.171 on Thu, 12 May 2016 18:24:12 UTC All use subject to http://about.jstor.org/terms Eng Medieval Misericords prelims_Med Art & Architecture series 10/04/2011 15:00 Page 2 BOYDELL STUDIES IN MEDIEVAL ART AND ARCHITECTURE ISSN 2045-4902 Aims This series aims to provide a forum for debate on the art and architecture of the Middle Ages. It will cover all media, from manuscript illuminations to maps, tapestries, carvings, wall-paintings and stained glass, and all periods and regions, including Byzantine art. Both traditional and more theoretical approaches to the subject are welcome. Proposals or queries should be sent in the first instance to the editors or to the publisher, at the addresses given below. Dr Julian Luxford, School of Art History, University of St Andrews, 79 North Street, St Andrews, Fife, KY16 9AL, UK Dr Asa Simon Mittman, Department of Art and Art History, California State University at Chico, Chico, CA 95929-0820, USA Boydell & Brewer, PO Box 9, Woodbridge, Suffolk, IP12 3DF, UK ALREADY PUBLISHED The Art of Anglo-Saxon England Catherine E. Karkov This content downloaded from 155.69.24.171 on Thu, 12 May 2016 18:24:12 UTC All use subject to http://about.jstor.org/terms Eng Medieval Misericords prelims_Med Art & Architecture series 10/04/2011 15:00 Page 3 E N G L I S H M E D I E VA L M I S E R I C O R D S The Margins of Meaning Paul Hardwick THE BOYDELL PRESS This content downloaded from 155.69.24.171 on Thu, 12 May 2016 18:24:12 UTC All use subject to http://about.jstor.org/terms Eng Medieval Misericords prelims_Med Art & Architecture series 10/04/2011 15:00 Page 4 © Paul Hardwick 2011 All Rights Reserved.Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner The right of Paul Hardwick to be identified as the author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1998 First published 2011 The Boydell Press, Woodbridge ISBN 978 1 84383 659 9 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk, IP12 3DF, UK and of Boydell & Brewer Inc. 668 Mount Hope Ave, Rochester, NY 14620, USA website: www.boydellandbrewer.com The publisher has no responsibility for the continued existence or accuracy of URLs for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. A CIP catalogue record for this book is available from the British Library Papers used by Boydell & Brewer Ltd are natural, recyclable products made from wood grown in sustainable forests Designed and typeset by Tina Ranft, Woodbridge, Suffolk Printed in Great Britain by CPI Antony Rowe, Chippenham and Eastbourne This content downloaded from 155.69.24.171 on Thu, 12 May 2016 18:24:12 UTC All use subject to http://about.jstor.org/terms Eng Medieval Misericords prelims_Med Art & Architecture series 10/04/2011 15:00 Page 5 CONTENTS List of Figures 6 Acknowledgements 7 INTRODUCTION: WHAT LIES BENEATH 1 A FAIR FIELD OF FOLK 18 DOCTRINE AND DEBATE 44 INFLUENCE AND INVENTION 66 MASCULINITY AND POWER 85 EXEMPLARY ANIMALS 110 THE MONSTERS AT THE MARGINS 135 CONCLUSION: LOOKING BOTH WAYS 154 GAZETTEER 156 Bibliography 168 Index 183 This content downloaded from 155.69.24.171 on Thu, 12 May 2016 18:26:43 UTC All use subject to http://about.jstor.org/terms Eng Medieval Misericords prelims_Med Art & Architecture series 10/04/2011 15:00 Page 6 LIST OF FIGURES Fig. 1. Lincoln Cathedral misericord. 13 Fig. 2. St Lawrence, Ludlow misericord. 19 Fig. 3. Chichester Cathedral misericord. 21 Fig. 4. St Mary, Whalley misericord. 23 Fig. 5. Christchurch Priory misericord. 24 Fig. 6. Beverley Minster misericord. 26 Fig. 7. Manchester Cathedral misericord. 28 Fig. 8. St Lawrence, Ludlow misericord. 30 Fig. 9. Lincoln Cathedral misericord. 34 Fig. 10. St George’s Chapel, Windsor misericord. 47 Fig. 11. St Mary’s, Blackburn misericord. 51 Fig. 12. St Mary’s, Beverley misericord. 56 Fig. 13. Bishop Tunstall’s Chapel, Durham Castle misericord. 71 Fig. 14. Beverley Minster misericord. 73 Fig. 15. Beverley Minster misericord. 74 Fig. 16. Manchester Cathedral misericord. 80 Fig. 17. All Saints, North Street misericord. 81 Fig. 18. Limerick Cathedral misericord. 83 Fig. 19. Ripon Minster canopy detail. Illustration by Sibylle Zipperer. 86 Fig. 20. Great Malvern Priory misericord. 88 Fig. 21. St Mary, Nantwich misericord. 90 Fig. 22. Carlisle Cathedral misericord. 93 Fig. 23. Ely Cathedral misericord. 94 Fig. 24. St Mary, Minster-in-Thanet misericord. 98 Fig. 25. St Mary, Fairford misericord supporter. 101 Fig. 26. Bristol Cathedral supporter. 107 Fig. 27. Saint-Maurille, Ponts-de-Cé misericord. 108 Fig. 28. St Helen, Abbotsham bench-end. Photograph by Paul Hardwick. 119 Fig. 29. Ely Cathedral misericord. 127 Fig. 30. St Andrew, Norton misericord. 136 Fig. 31. Limerick Cathedral misericord. 144 Fig. 32. Limerick Cathedral misericord. 152 Unless otherwise stated, all photographs are by Elaine C. Block and are © Misericordia International. This content downloaded from 155.69.24.171 on Thu, 12 May 2016 18:27:44 UTC All use subject to http://about.jstor.org/terms Eng Medieval Misericords prelims_Med Art & Architecture series 10/04/2011 15:00 Page 7 ACKNOWLEDGEMENTS t is customary to conclude the acknowledgements to books such as this by thanking the countless vicars, vergers, key-holders, caretakers and cleaners who have facilitated access to the material under discussion. Bucking this trend, I would like to place these people at the top of my list. However this present book may fare in contributing to the study of English misericords, it is the often voluntary custodians of our medieval churches who, through their dedication and willingness to share their time, knowledge and, on occasions, bafflement, will both preserve these fragile wonders and continue to connect the curious to this direct line to the world of our ancestors. Very many thanks. The road from my unimpressive and best forgotten encounter with Chaucer at school to this present book has been long, winding and largely unmapped. The guides have been many, but I should single out a number from my extended association with the University of York for particular thanks: Erica Davies and Karen Hodder, along with The Lords of Misrule, for revealing the beauty and vigour of medieval literature; Philip Lindley, Christopher Norton and Richard Marks for converting my enthusiasm for the medieval visual arts into something like scholarship (and managing to increase that enthusiasm on the way); and Nick Havely for exemplary postgraduate supervision. My own teaching is always approached in hope that I may be able to inspire my students in the same way. Particular thanks are owed to the late Elaine C. Block, whose expressions of enthusiasm for my early forays into the study of misericords amounted to a particularly charming form of press-ganging. The unstinting nature of this enthusiasm and support was such that it remains undimmed by her passing. Under her captaincy, I have certainly seen the world – or, at least, the undersides of its choir stalls – for which I am immeasurably grateful. Fellow crew members (to stretch the metaphor) have been a constant inspiration, always stimulating in conversation and unfailingly generous with their knowledge. Whilst the roll-call of shipmates is too long for rehearsal here, special thanks go to Sylvie Bethmont-Gallerand, Frédéric This content downloaded from 155.69.24.171 on Thu, 12 May 2016 18:28:53 UTC All use subject to http://about.jstor.org/terms Eng Medieval Misericords prelims_Med Art & Architecture series 10/04/2011 15:00 Page 8 viii ACKNOWLEDGEMENTS Billiet, Luuk Houwen, Naomi Kline, Adrian Tudor and Kenneth Varty, although countless colleagues encountered through the colloquia of Misericordia International and the International Reynard Society could extend this list. I know that I am far from alone in owing a great debt to the late Christa Grössinger and Brian J. Levy: along with Elaine, they were both inspiring scholars and wonderful people who are very much missed. My thanks go both to Elaine for allowing me to use her photographs, and to Welleda Muller for scouring Elaine’s archives for errant images. In preparing the final draft of this book, I am particularly grateful to Katie Lister, whose assistance has been invaluable. Away from the close-knit though far-flung community of misericordians, that I have been able to keep this book more or less on track is due in no small part to both the scholarship and friendship of Meredith Clermont- Ferrand, which has helped to keep meon track. At Leeds Trinity University College, the support of colleagues, in particular Joyce Simpson, has been invaluable in so many ways. The institution has also provided a period of Research Leave and a number of travel grants without which this book could not have been written. I have also benefited from a British Academy Overseas Conference Grant. At Boydell & Brewer I would like to thank Caroline Palmer for her enthusiasm for this project and her support during periods of temporary derailment. I am extremely fortunate in being blessed with an exceptionally supportive family. Thanks to Fred and Joan Hardwick, without whom …, and to Ruth, Roger and their ever-expanding dynasty. Finally, although she doesn’t exactly share my enthusiasm for crawling on the floors of ancient buildings, I would like to thank the most recent recruit to the clan – my wife, Sue – for displaying a reasonable degree of magnanimity regarding the lengthy periods I have spent locked away finishing this off. Part of chapter 1 has previously appeared in La Nature, rythme et danse des saisons dans les stalles médiévales, ed. Frédéric Billiet and Welleda Muller (Turnhout: Brepols, 2009); part of chapter 2 in Bible de bois du Moyen-Age: Bible et liturgie dans les stalles médiévales, ed. Frédéric Billiet (Angers: UCO, 2003); part of chapter 3 in Profane Images in Marginal Arts of the Middle Ages, ed. Elaine C. Block with Frédéric Billiet, Sylvie Bethmont-Gallerand and Paul Hardwick (Turnhout: Brepols, 2008); and parts of chapter 5 in Reinardus 15 (2002) and 17 (2004). This content downloaded from 155.69.24.171 on Thu, 12 May 2016 18:28:53 UTC All use subject to http://about.jstor.org/terms Eng Medieval Misericords txt2_Med Art & Architecture series 10/04/2011 14:58 Page 1 INTRODUCTION: WHAT LIES BENEATH Early in the twentieth century, Francis Bond devoted the first of his volumes on English ecclesiastical wood carvings to misericords, recognising their value in illuminating ‘a History of Social Life in England in the fourteenth, fifteenth and sixteenth centuries as it was lived by common folk’.1Whilst, as we shall see in the course of the present volume, this is one valuable aspect of misericord carvings for the modern viewer, Bond’s analysis – seminal though it is for subsequent studies – is restricted by the then current view of misericords which placed them very much in the category of ‘folk art’.2In consequence, Bond’s chapter dealing with the symbolism to be found on misericord carvings begins with the assertion that ‘[s]ymbolism is conspicuously rare on the misericords; they were carved by simple folk for simple folk’, and concludes its discussion a mere twenty- one lines later.3This view has gradually been superseded, particularly in the past twenty years. Books by Michael Camille, Christa Grössinger and Malcolm Jones, along with the journal Profane Arts of the Middle Ages, have been supplemented by a growing number of essay collections and discrete articles to reveal the rich symbolism to be found on choir stalls and, indeed, across the marginal arts of the later Middle Ages.4 The present book inevitably owes an immense debt to these studies. Where this study differs, however, is that rather than seeing the vigorous carvings to be found 1Francis Bond, Wood Carvings in English Churches 1: Misericords (London: Oxford University Press, 1910), p. vii. 2What constitutes folk art – or, indeed, folk anything – has itself become a contentious issue in recent years. For an interesting synoptic study of the debates on contemporary folk practices, which nonetheless has implications for the discussion of historical folk art and culture, see Bob Trubshaw, Explore Folklore(Loughborough: Heart of Albion Press, 2002). 3Bond, Wood Carvings in English Churches 1, pp. 157–8. 4Michael Camille, Image on the Edge: The Margins of Medieval Art(London: Reaktion Books, 1992); Christa Grössinger, The World Upside-Down: English Misericords(London: Harvey Miller Publishers, 1997); Malcolm Jones, The Secret Middle Ages: Discovering the Real Medieval World(Stroud: Sutton Publishing, 2002). Profane Arts of the Middle Ages, under the editorship of Elaine C. Block, was first published in 1993 by Misericordia International, details of which may be found at web.leedstrinity.ac.uk/english/misericordia_international/index.htm. This content downloaded from 155.69.24.171 on Thu, 12 May 2016 18:30:26 UTC All use subject to http://about.jstor.org/terms