Studies in Late Medieval Wall Paintings, Manuscript by Clifford Davidson

By Clifford Davidson

This quantity is an interdisciplinary attention of overdue medieval artwork and texts, falling into components: first, the iconography and context of the good Doom wall portray over the tower arch at Holy Trinity Church, Coventry, and moment, Carthusian experiences treating fragmentary wall work within the Carthusian monastery close to Coventry; the devotional photographs within the Carthusian Miscellany; and meditation for “simple souls” within the Carthusian Nicholas Love’s reflect of the Blessed lifetime of Jesus Christ. Emphasis is on such elements as reminiscence, participative theology, devotional photographs, meditative perform, and strategies of creating styles of sacred imagery.

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114 Jeremy Montagu, “The Restored Chapter House Wall Paintings in Westminster Abbey,” Early Music 16 (1988): 238–49. 115 Émile Mâle, Religious Art in France: The Late Middle Ages, trans. Marthiel Mathews, ed. Harry Bober, Bollingen Ser. 90, pt. 3 (Princeton, NJ: Princeton University Press, 1986), 434; Mâle’s source in St. Bernard’s writings is not identified. 118 This music, says Thomas Wimbledon in his popular Paul’s Cross sermon, is better “þan ʒellynge and wepynge” that “þou schalt crye in cumpany of deueles; .

166). Expenses for revelry on St. John’s Eve are noted, with musicians, torches, and processions, at Coventry; see REED: Coventry, passim. 85 It was quite usual for Doom paintings to include John the Baptist; see, for one instance among many, Wenhaston, discussed by Charles E. Keyser, “On a Panel Painting of the Doom discovered in 1892, in Wenhaston Church, Suffolk,” Archaeologia 54 (1894): 122; and also the web site “Painted Church” www. org for numerous examples. In manuscript illuminations, his presence at the Last Judgment is to be found at least as early as Herrad of Landsberg’s Hortus Deliciarum; see the edition of Rosalie Green, Michael Evans, Christine Bischoff, and Michael Curshmann (London: Warburg Institute, 1979), pl.

An aim of this excursus thus is to return to the question of how “mythic thought” could provide a process by which the form of an artistic work developed—that is, the kind of non-Darwinian evolution implicit to the discussion in the present chapter. When the Drapers’ pageant was revised and expanded or rewritten in c. 122 A prologue was added to the play—a feature that also had been provided for the Weavers’ and Shearmen and Taylors’ pageants123—and there were new provisions for music, adding both singing men and instrumentalists.

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