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Art of East Anglia (Medieval Studies)

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  1. Introduction
  2.  
  3. East Anglia derives its name and one of the definitions of its extent from the Anglo-Saxon kingdom that was effectively ended by the Viking invasion of 869. Within the context of medieval cultural history, it is best defined as comprising the dioceses of Norwich and Ely, effectively the same as the pre-1974 counties of Norfolk, Suffolk, and Cambridgeshire. However, there are cultural links across administrative boundaries. The churches of the Stour valley have to be considered as a group, whether situated in Suffolk or Essex. Similarly, there are links between manuscripts produced at Ely and Thorney and those emanating from Fenland monasteries beyond Cambridgeshire.
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  5. Introductory Works
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  7. An excellent introduction to the late-medieval art of the region, although some of its details have been modified by subsequent research, is provided by the catalogue of a major exhibition at the Castle Museum: Lasko and Morgan 1974. M. R. James, whose scholarly activity was rooted in East Anglia, provides a lively introduction to the counties of Suffolk and Norfolk in James 1987.
  8.  
  9. James, M. R. Suffolk and Norfolk: A Perambulation of the Two Counties with Notices of Their History and Their Ancient Buildings. Bury St. Edmunds, UK: Alastair, 1987.
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  11. Originally published in 1930 (London: J. M. Dent). Intended for the general reader, James’s scholarship makes this book a very useful source of information about churches and their fittings, particularly the iconography of wall paintings, screens, and stained glass, with several references to lost art.
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  13. Lasko, Peter, and N. J. Morgan, eds. Medieval Art in East Anglia, 1300–1520. London: Thames and Hudson, 1974.
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  15. Originally published in 1973 (Norwich, UK: Jarrold). The perceptive entries in this exhibition catalogue provide the best introduction to the range of art in late-medieval East Anglia.
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  17. Regional Studies
  18.  
  19. Standard introductions to the architecture of the region, including information about wall and panel paintings, stained glass, and other church fittings, are the relevant volumes in the Buildings of England series; see Pevsner 1970 on Cambridgeshire, Pevsner 1975 on Suffolk, and Pevsner and Wilson 1997 on Norfolk.
  20.  
  21. Pevsner, Nikolaus. Cambridgeshire. 2d ed. Buildings of England. Harmondsworth, UK: Penguin, 1970.
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  23. First published in 1954.
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  25. Pevsner, Nikolaus. Suffolk. 2d ed. Revised by Enid Radcliffe. Buildings of England. Harmondsworth, UK: Penguin, 1975.
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  27. First published in 1961.
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  29. Pevsner, Nikolaus, and Bill Wilson. Norfolk 1: Norwich and North-East. Buildings of England. London: Penguin, 1997.
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  31. Continued in Norfolk 2: North-West and South (London: Penguin, 1999). The two Norfolk volumes are much more comprehensive than their predecessors in the Buildings of England series, published in 1962.
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  33. Cambridgeshire
  34.  
  35. Much of Cambridgeshire has been covered by the Royal Commission on Historical Monuments. Their volumes, Royal Commission on Historical Monuments 1959, Royal Commission on Historical Monuments 1968, and Royal Commission on Historical Monuments 1972, provide thorough, well-illustrated assessments of buildings, both ecclesiastical and secular, and their fittings and furnishings.
  36.  
  37. Royal Commission on Historical Monuments. An Inventory of Historical Monuments in the City of Cambridge. 2 vols. and portfolio of plans. London: Royal Commission on Historical Monuments, England, 1959.
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  39. Covers the University of Cambridge, its colleges, and the city of Cambridge.
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  41. Royal Commission on Historical Monuments. An Inventory of Historical Monuments in the County of Cambridge. Vol. 1, West Cambridgeshire. London: Royal Commission on Historical Monuments, England, 1968.
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  43. Covers thirty-seven parishes in the west of Cambridgeshire.
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  45. Royal Commission on Historical Monuments. An Inventory of Historical Monuments in the County of Cambridge. Vol. 2, North-East Cambridgeshire. London: Royal Commission on Historical Monuments, England, 1972.
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  47. Covers ten parishes in northeast Cambridgeshire, including Burwell, Swaffham Bulbeck, and Swaffham Prior.
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  49. Norfolk
  50.  
  51. Cautley 1949 provides a useful photographic appendix to Pevsner and Wilson 1997 (cited under Regional Studies). Nichols 2002 is an invaluable iconographic survey. Nichols 2003 demonstrates the use of iconographical analysis to illuminate a historical question. For bibliography relating to Norfolk, see Darroch and Taylor 1975.
  52.  
  53. Cautley, H. Munro. Norfolk Churches. Ipswich, UK: Norman Adlard, 1949.
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  55. Useful collection of 274 photographs, with 53-page commentary arranged according to types of church fittings and furnishings.
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  57. Darroch, Elizabeth, and Barry Taylor. A Bibliography of Norfolk History. Norwich, UK: University of East Anglia, Centre of East Anglian Studies, 1975.
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  59. See also Barry Taylor, A Bibliography of Norfolk History, II, 1974–1988 (Norwich, UK: University of East Anglia, Centre of East Anglian Studies, 1991). Comprehensive bibliographies, particularly useful for information about minor publications dealing with individual monuments.
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  61. Nichols, Ann Eljenholm. The Early Art of Norfolk: A Subject List of Extant and Lost Art Including Items Relevant to Early Drama. Early Drama, Art, and Music Reference Series 7. Kalamazoo, MI: Medieval Institute Publications, 2002.
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  63. A thorough survey of the iconography of art in Norfolk, with useful extended discussions of certain iconographic themes.
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  65. Nichols, Ann Eljenholm. “The East Anglian Lollards Revisited: Parochial Art in Norfolk.” The Ricardian 13 (2003): 359–370.
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  67. Looks at the imagery to be found in the parish churches of known Norfolk Lollards and explores the background to their rejection of images.
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  69. Suffolk
  70.  
  71. Cautley 1982 is an excellent introduction to the medieval art and architecture of the county, to be used in conjunction with Pevsner 1975 (cited under Regional Studies). Steward 1979 is a comprehensive county biography.
  72.  
  73. Cautley, H. Munro. Suffolk Churches and Their Treasures. 5th ed. Woodbridge, UK: Boydell, 1982.
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  75. First published in 1937, this survey of 505 medieval Suffolk churches and their fittings and furnishings is a valuable visual resource. A commentary on the various aspects of church art and architecture is followed by brief gazetteer entries.
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  77. Steward, A. V. A Suffolk Bibliography. Suffolk Records Society 20. Ipswich, UK: Boydell, 1979.
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  79. A comprehensive bibliography, particularly valuable for information about minor publications dealing with individual monuments.
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  81. Antiquarian Studies
  82.  
  83. All three counties were well served by early antiquaries, although much of their work is still available only in manuscript form. Most published material is limited to a particular county, but the record of Dowsing’s iconoclasm published by Cooper (Dowsing 2001) ranges over Cambridgeshire and Suffolk.
  84.  
  85. Dowsing, William. The Journal of William Dowsing: Iconoclasm in East Anglia during the English Civil War. Edited by Trevor Cooper. Woodbridge, UK: Boydell, 2001.
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  87. An important antiquarian source, albeit a highly peculiar one, is the diary kept by the iconoclast William Dowsing in the 1640s. This record of much lost art has been edited in an exemplary way, with extensive commentary, by Trevor Cooper.
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  89. Cambridgeshire
  90.  
  91. In Cambridgeshire the preeminent antiquary is William Cole (b. 1714–d. 1782). Gray 1912 provides an invaluable index to Cole’s manuscripts, extracts from which were published in Palmer 1932. Blomefield 1750 provides some details about now-lost works of art.
  92.  
  93. Blomefield, Francis. Collectanea Cantabrigiensia, or Collections relating to Cambridge, University, Town, and County. Norwich, UK: Francis Blomefield, 1750.
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  95. Chiefly of value as a record of monuments and their inscriptions.
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  97. Gray, George J. Index to the Contents of the Cole Manuscripts in the British Museum. Cambridge, UK: Bowes and Bowes, 1912.
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  99. Useful guide to one of the most important antiquarian resources for Cambridgeshire, particularly valuable as a record of the pre-19th-century state of church and for Cole’s notes on stained glass and monuments.
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  101. Palmer, W. M., ed. Monumental Inscriptions and Coats of Arms from Cambridgeshire. Cambridge, UK: Bowes and Bowes, 1932.
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  103. The notes of John Layer, c. 1632, and William Cole, between 1742 and 1782. The extracts from Cole’s notes cover stained glass as well as monuments.
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  105. Norfolk
  106.  
  107. Any student of art in Norfolk will have to refer at some point to the work of the 18th-century antiquary Francis Blomefield, of which the best edition is Blomefield 1805–1810. Ingleby 1929 gives an idea of the range of antiquarian records generated in the 18th and early 19th centuries. The work of an anonymous 17th-century antiquary is presented in Hood 1938.
  108.  
  109. Blomefield, Francis. An Essay towards a Topographical History of the County of Norfolk. 11 vols. London: William Miller, 1805–1810.
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  111. Essential reference for anyone working on the medieval art of Norfolk. An index nominum by John Nurse Chadwick was published privately in King’s Lynn in 1862.
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  113. Hood, Christobel M., ed. The Chorography of Norfolk. Norwich, UK: Jarrold and Sons, 1938.
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  115. The work of an as-yet-unidentified early-17th-century antiquary, chiefly useful for details of monuments.
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  117. Ingleby, Clement, ed. A Supplement to Blomefield’s Norfolk. London: Clement Ingleby, 1929.
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  119. A collection of antiquarian articles illustrated mostly by watercolor drawings by the Reverend S. C. E. Neville Rolfe. Individual articles are noted under the appropriate subject headings.
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  121. Suffolk
  122.  
  123. Much of the early antiquarian record for Suffolk remains in manuscripts. A valuable introduction to these is provided in Blatchly 1988. Two important early sources are covered in MacCulloch 1978, MacCulloch 1976, and MacCulloch 1980.
  124.  
  125. Blatchly, John. The Topographers of Suffolk, 1561–1935: Brief Biographies and Specimens of the Hands of Selected Suffolk Antiquaries. 5th ed. Ipswich, UK: Suffolk Record Office, 1988.
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  127. Useful introduction to the range of manuscript antiquarian material available for Suffolk.
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  129. MacCulloch, Diarmaid. “The Chorography of Suffolk: Addendum and Corrigendum.” Proceedings of the Suffolk Institute of Archaeology and History 34.4 (1980): 283–284.
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  131. Brief additions to MacCulloch 1976.
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  133. MacCulloch, Diarmaid, ed. The Chorography of Suffolk. Suffolk Records Society 19. Ipswich, UK: Boydell, 1976.
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  135. The work of an early-17th-century antiquary, valuable for its record of monuments, including many now-lost inscriptions.
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  137. MacCulloch, Diarmaid, ed. “Henry Chitting’s Suffolk Collections.” Proceedings of the Suffolk Institute of Archaeology and History 34.2 (1978): 103–128.
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  139. The notes of the herald Henry Chitting (d. 1638), transcribed here, are valuable for information about monuments and stained glass mutilated or destroyed in the 1640s.
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  141. Paintings
  142.  
  143. This bibliography separates Wall Paintings and Panel Painting, with further subdivisions by county and subsections devoted to specific works. Fox 1975 provides a survey that, unusually, covers both wall and panel painting in Norfolk.
  144.  
  145. Fox, George E. “Mediaeval Painting.” In The Victoria History of the County of Norfolk. Vol. 2. Edited by William Page, 529–554. Folkestone, UK: Dawson, 1975.
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  147. Useful antiquarian survey of examples of wall and panel painting and of documentary evidence relating to painters in Norfolk. First published in 1906 (London: Constable).
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  149. Wall Paintings
  150.  
  151. Much of the literature on wall paintings in East Anglia consists of descriptive pieces written on the occasion of the discovery or conservation of individual examples. Much of the older literature is still of value, especially in cases where the paintings have deteriorated, for providing full descriptions and transcribing inscriptions. This section is divided by county, with subsections for Cambridgeshire, Willingham, Norfolk, Horsham St. Faith, Norwich, and Suffolk.
  152.  
  153. Cambridgeshire
  154.  
  155. A useful conspectus is provided in Tudor-Craig 1997. Park 1987 and Park 2001 set two early cycles into their wider artistic context. The international importance of the fragments in Prior Crauden’s Chapel is signaled in Binski and Park 1986. Older studies of individual monuments, focusing on the iconography, are Benton 1908, Brindley 1925–1927, Brindley 1928–1930, and Gray 1908. Chippenham is well covered in Keyser 1890.
  156.  
  157. Benton, G. Montagu. “A Fourteenth Century Wall-Painting in Lolworth Church, Representing the Incredulity of S. Thomas.” Proceedings of the Cambridge Antiquarian Society 12.3 (1908): 148–151.
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  159. Brief description of recent discovery.
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  161. Binski, Paul, and David Park. “A Ducciesque Episode at Ely: The Mural Decoration of Prior Crauden’s Chapel.” In England in the Fourteenth Century: Proceedings of the 1985 Harlaxton Symposium. Edited by W. M. Ormrod, 28–41. Woodbridge, UK: Boydell, 1986.
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  163. Study of the wall paintings in Prior Crauden’s Chapel, focusing on an Annunciation of c. 1330 that is one of the earliest instances of the influence of Italian Trecento art in England.
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  165. Brindley, H. H. “A Recently Discovered Mural Painting in Bartlow Church, Cambs.” Proceedings of the Cambridge Antiquarian Society 28–29 (1925–1927): 80–82.
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  167. Remains of a St. George and the Dragon. Also gives details of a St. Christopher.
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  169. Brindley, H. H. “The Mural Paintings in Kingston Church, Cambridgeshire.” Proceedings of the Cambridge Antiquarian Society 31 (1928–1930): 146–149.
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  171. Description of wall paintings uncovered by E. W. Tristram in 1928.
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  173. Gray, T. D. “A Wall-Painting in Babraham Church.” Proceedings of the Cambridge Antiquarian Society 12.3 (1908): 253–256.
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  175. Description of the image of a king.
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  177. Keyser, C. E. “On Mural Paintings and Other Coloured Decorations at Chippenham Church, Cambridgeshire.” Cambridge Antiquarian Society Communications 6.3 (1890): 321–329.
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  179. Detailed description of mid-15th-century wall paintings uncovered in the 1880s, which Keyser suggests were commissioned by Prior Robert Botyll of the Hospitallers. Appendices cover instances of juxtaposition of SS. Christopher and George, St. Erasmus, and St. Michael weighing souls.
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  181. Park, David. “Romanesque Wall Paintings at Ickleton.” In Romanesque and Gothic: Essays for George Zarnecki. Edited by Neil Stratford, 159–169. Woodbridge, UK: Boydell, 1987.
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  183. Important scheme with Passion cycle and apostles’ martyrdoms of the second quarter of the 12th century.
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  185. Park, David. “The Duxford Master: A Thirteenth-Century Painter in East Anglia.” In New Offerings, Ancient Treasures: Studies in Medieval Art for George Henderson. Edited by Paul Binski and William Noel, 312–324. Stroud, UK: Sutton, 2001.
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  187. Identifies the Passion cycle and scenes from the life of St. Margaret, at Duxford, Cambridgeshire, as by the same workshop as the wall paintings at Risby, Suffolk. Dates c. 1210–1220 and suggests likely patrons.
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  189. Tudor-Craig, Pamela. “Wall Paintings.” In Cambridgeshire Churches. Edited by Carola Hicks, 320–339. Stamford, UK: Paul Watkins, 1997.
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  191. A detailed survey of surviving wall paintings in Cambridgeshire (and Huntingdonshire), with interesting comments on location and function.
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  193. Willingham
  194.  
  195. The wall paintings at Willingham, Cambridgeshire, dating from the 13th to the 17th centuries, are notable for their iconographic and stylistic range. The most recent accounts are Chittock 1992 and Fawcitt 1980, but James 1896 and Keyser 1896 still retain value, particularly for their iconographic observations.
  196.  
  197. Chittock, Julie. “The Medieval Wall Paintings of St Mary and All Saints, Willingham.” Proceedings of the Cambridge Antiquarian Society 81 (1992): 71–80.
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  199. Description and stylistic analysis of a range of paintings, 13th to 15th centuries.
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  201. Fawcitt, Alan. The Wallpaintings of Willingham. Willingham, UK: Alan Fawcitt, 1980.
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  203. A well-illustrated, well-informed local guide, drawing on the work of Keyser and James.
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  205. James, M. R. “On the Wall Paintings in Willingham Church.” Proceedings of the Cambridge Antiquarian Society 9.1 (1896): 96–101.
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  207. Iconographic commentary on the Willingham wall paintings.
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  209. Keyser, C. E. “On Recently Discovered Mural Paintings at Willingham Church, Cambridge, and Elsewhere in the South of England.” Archaeological Journal 53 (1896): 160–192.
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  211. A thorough account of the Willingham wall paintings, uncovered in the early 1890s. Also lists other recent discoveries in Cambridgeshire.
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  213. Norfolk
  214.  
  215. As David Park notes in Pevsner and Wilson 1997 (cited under Regional Studies), “Norfolk is richer than any other county in medieval wall painting” (p. 67). The major Romanesque scheme at Houghton-on-the-Hill, discovered in 1996, awaits publication. Much of the literature consists of brief descriptive reports published shortly after the uncovering of the paintings. Examples of these are Baker 1966, Bardswell 1925, and Bardswell 1926. Primarily iconographic studies of particular interest are Brindley 1929, James 1929a, and James 1929b. Much of the 19th-century literature is valuable because it records examples that are now lost or faded. Examples of these are Husenbeth 1859, Minns 1864, and Turner 1847.
  216.  
  217. Baker, Eve. “The Adoration of the Magi at Shelfanger Church, Norfolk.” Norfolk Archaeology 34.1 (1966): 90–92.
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  219. Description of a late-13th-century wall painting, possibly related to the Reliquary Chapel murals, discovered in 1965.
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  221. Bardswell, Monica. “Some Recent Discoveries at Paston.” Norfolk Archaeology 22.2 (1925): 190–193.
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  223. Includes description of 14th-century wall paintings.
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  225. Bardswell, Monica. “Wall Paintings Recently Uncovered at Seething and Caistor by Norwich.” Norfolk Archaeology 22.3 (1926): 338–340.
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  227. Description of wall paintings from c. 1400 at Seething, including a St. Christopher, and a 15th-century figure of St. John Evangelist discovered at Caistor.
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  229. Brindley, H. H. “Mural Paintings of St. Christopher.” In A Supplement to Blomefield’s Norfolk. Edited by Clement Ingleby, 297–315, 341. London: Clement Ingleby, 1929.
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  231. Analytical survey of Norfolk representations.
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  233. Husenbeth, F. C. “On Some Mural Paintings Discovered in Limpenhoe Church, Norfolk.” Norfolk Archaeology 5 (1859): 221–225.
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  235. St. Catherine cycle, discovered in 1852 and no longer extant.
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  237. James, M. R. “The Wall Paintings in Brooke Church.” In A Supplement to Blomefield’s Norfolk. Edited by Clement Ingleby, 14–25. London: Clement Ingleby, 1929a.
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  239. Early-15th-century wall paintings, now lost, including the Seven Deadly Sins and the story of the Prodigal Son.
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  241. James, M. R. “The Wall Paintings in Wickhampton Church.” In A Supplement to Blomefield’s Norfolk. Edited by Clement Ingleby, 123–142. London: Clement Ingleby, 1929b.
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  243. The Three Living and the Three Dead and the Corporal Acts of Mercy, with other examples cited.
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  245. Minns, G. W. W. “Notice of Mural Paintings at Witton.” Norfolk Archaeology 6 (1864): 42–49.
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  247. Notice, with illustrations, of what were at the time (1864) recently uncovered, but now-lost, wall paintings at Witton-by-Walsham, including the image of Henry VI.
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  249. Turner, Dawson. “Mural Painting in Catfield Church.” Norfolk Archaeology 1 (1847): 133–139.
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  251. Description of wall paintings, now much faded, including Tree of Seven Deadly Sins, with identification of subjects by F. C. Husenbeth.
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  253. Horsham St. Faith
  254.  
  255. The refectory of the Benedictine priory at Horsham St. Faith contains one of the finest wall painting schemes of the mid-13th century, uncovered in the 1920s and 1970 and described in Tristram 1926 and Purcell 1973.
  256.  
  257. Purcell, Donovan. “The Priory of Horsham St. Faith and Its Wallpaintings.” Norfolk Archaeology 35.4 (1973): 469–473.
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  259. Includes description of wall paintings of foundation history of priory and a female royal saint, of the mid- to late 13th century, found in 1970.
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  261. Tristram, E. W. “The Wall Painting at Horsham St. Faith, near Norwich.” Norfolk Archaeology 22.3 (1926): 257–259.
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  263. Description of 13th-century Crucifixion in Refectory.
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  265. Norwich
  266.  
  267. For a general survey of wall painting in Norwich Cathedral, see Park and Howard 1996. The important and well-preserved scheme in the Ante-Reliquary Chapel is analyzed in Binski 2010. Other fragments and lost wall paintings in the cathedral are described in Husenbeth 1864, Park 1994, and Whittingham 1985. A valuable pre-restoration record of the important St. George mural in St. Gregory’s church is in King 1934.
  268.  
  269. Binski, Paul. “The Ante-Reliquary Chapel Paintings in Norwich Cathedral: The Holy Blood, St. Richard, and All Saints.” In Tributes to Nigel Morgan: Contexts of Medieval Art; Images, Objects and Ideas. Edited by Julian M. Luxford and M. A. Michael, 240–261. Harvey Miller Tributes 5. London: Harvey Miller, 2010.
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  271. A detailed consideration of the function of the chapel for display of a relic of the Holy Blood acquired c. 1170 and others acquired after the 1272 fire; the date, style, and iconography of the wall paintings; and their relationship to cults at Norwich.
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  273. Husenbeth, F. C. “Mural Paintings in Norwich Cathedral.” Norfolk Archaeology 6 (1864): 272–276.
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  275. Report on mural paintings of St. Wulfstan and other saints, when briefly uncovered in 1864.
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  277. King, Ernest A. “The Mural Painting of St. George in St. Gregory’s Church, Norwich.” Norfolk Archaeology 25.2 (1934): 167–169.
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  279. Color reproduction of a watercolor of the painting, done before its “restoration.”
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  281. Park, David. “Simony and Sanctity: Herbert Losinga, St. Wulfstan of Worcester and Wall-Paintings in Norwich Cathedral.” In Studies in Medieval Art and Architecture Presented to Peter Lasko. Edited by David Buckton and T. A. Heslop, 157–170. Stroud, UK: Alan Sutton, 1994.
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  283. Discusses the style and iconography of the late-12th-century scenes from the life of Bishop Herbert Losinga and the lost 13th-century scene from the life of St. Wulfstan.
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  285. Park, David, and Helen Howard. “The Medieval Polychromy.” In Norwich Cathedral: Church, City and Diocese, 1096–1996. Edited by Ian Atherton, Eric Fernie, and Christopher Harper-Bill, 379–409. London, and Rio Grande, OH: Hambledon, 1996.
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  287. Valuable conspectus of all evidence of wall painting in Norwich Cathedral.
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  289. Whittingham, A. B. “The Erpingham Retable or Reredos in Norwich Cathedral.” Norfolk Archaeology 39.2 (1985): 202–206.
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  291. Description of badly damaged late-15th-century wall painting of the Persons of the Holy Trinity, with angels and saints.
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  293. Suffolk
  294.  
  295. The literature on Suffolk wall paintings concentrates mainly on iconography. Curteis 2008, Rouse 1953, and Tristram 1927 cover extensive schemes. Theodora 1910, Gill 1995, Girling 1956, and Long 1937 describe single subjects. Dunlap 1859 is a useful record of lost paintings. Unfortunately, Harris 1927 is totally unreliable as a general survey.
  296.  
  297. Curteis, Tobit. “A Unique Wheel of Fortune in Suffolk: The Discovery and Conservation of the Wall Paintings at the Parish Church of Ilketshall St Andrew.” Proceedings of the Suffolk Institute of Archaeology and History 41.4 (2008): 427–446.
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  299. Early-14th-century Wheel of Fortune including elements of Last Judgment, representing move toward Christocentric Wheel of Life image. Other discoveries include a Romanesque church image from c. 1130.
  300. Find this resource:
  301. Dunlap, Arthur Philip. “Paintings on the Wall of Bardwell Church.” Proceedings of the Suffolk Institute of Archaeology 2 (1859): 41–50.
  302. Save Citation »Export Citation »E-mail Citation »
  303. Valuable illustrated record of wall paintings uncovered briefly in 1853. Reproduces commentary by John W. Burgon on style of paintings and notes patronage of Sir William Berdewell.
  304. Find this resource:
  305. Gill, Miriam. “The Saint with a Scythe: A Previously Unidentified Wall Painting in the Church of St Andrew, Cavenham.” Proceedings of the Suffolk Institute of Archaeology and History 38.3 (1995): 245–254.
  306. Save Citation »Export Citation »E-mail Citation »
  307. Image of St. Walstan with devotees, from c. 1465–1485, found in 1967. Other evidence of cult.
  308. Find this resource:
  309. Girling, F. A. “Wall Painting in Boxford Church.” Proceedings of the Suffolk Institute of Archaeology 27.1 (1956): 57–58.
  310. Save Citation »Export Citation »E-mail Citation »
  311. Description of 15th-century Christ in Majesty and censing angels.
  312. Find this resource:
  313. Harris, H. A. “Medieval Mural Paintings.” Proceedings of the Suffolk Institute of Archaeology and Natural History 19.3 (1927): 286–312.
  314. Save Citation »Export Citation »E-mail Citation »
  315. Bizarre survey and interpretation of Suffolk wall paintings, including on pp. 304–312 a list based on the work of C. E. Keyser.
  316. Find this resource:
  317. Long, E. T. “The Stanningfield Doom.” Burlington Magazine for Connoisseurs 70.408 (March 1937): 128–129.
  318. Save Citation »Export Citation »E-mail Citation »
  319. Short notice, with plate, of an important Doom of the third quarter of the 15th century.
  320. Find this resource:
  321. Rouse, E. Clive. “Wall Paintings in Risby Church.” Proceedings of the Suffolk Institute of Archaeology 26.1 (1953): 27–34.
  322. Save Citation »Export Citation »E-mail Citation »
  323. Full description of remains of wall painting, including an early-13th-century Nativity cycle and scenes from saints’ lives.
  324. Find this resource:
  325. Theodora, A. F. “A Fresco in Ickworth Church.” Proceedings of the Suffolk Institute of Archaeology and Natural History 14.1 (1910): 57–58.
  326. Save Citation »Export Citation »E-mail Citation »
  327. Description of early-14th-century wall painting of St. Gabriel.
  328. Find this resource:
  329. Tristram, E. W. “Hoxne and Kentford Wall-Paintings.” Apollo 5 (1927): 33–35.
  330. Save Citation »Export Citation »E-mail Citation »
  331. Description of late-14th-century wall paintings, including Corporal Acts of Mercy, Seven Virtues, and Seven Deadly Sins.
  332. Find this resource:
  333. Panel Painting
  334.  
  335. In addition to the literature on the Thornham Parva Retable and Despenser Retable, Norwich Cathedral, discussion of 14th-century panel painting can be found in Borenius 1937 and Park 1988. Tudor-Craig 1956 sets Norwich painting in its wider artistic setting. A major survival of the 15th-century Bury school is considered briefly in Fletcher 1974. The paintings discussed in Alexander 1994 can be linked stylistically and iconographically with rood-screen panels.
  336.  
  337. Alexander, Jonathan. “The Pulpit with the Four Doctors at St James’s, Castle Acre, Norfolk.” In England in the Fifteenth Century: Proceedings of the 1992 Harlaxton Symposium. Edited by Nicholas Rogers, 198–206. Stamford, UK: Paul Watkins, 1994.
  338. Save Citation »Export Citation »E-mail Citation »
  339. Argues that the Four Doctors of the Church depicted on this pulpit, from the 1440s, signifies orthodoxy of doctrine emanating from the hierarchy of the church.
  340. Find this resource:
  341. Borenius, Tancred. “Medieval Paintings from Castle Acre Priory.” Antiquaries Journal 17.2 (1937): 115–121.
  342. DOI: 10.1017/S0003581500038488Save Citation »Export Citation »E-mail Citation »
  343. Fragments of early-14th-century panel painting, possibly depicting scenes from the life of St. Eustace.
  344. Find this resource:
  345. Fletcher, John. “Four Scenes from the Life of St. Etheldreda.” Antiquaries Journal 54.2 (1974): 287–289.
  346. Save Citation »Export Citation »E-mail Citation »
  347. Tree-ring dating points to the period between 1445 and 1460, supporting identification as the work of Robert Pygot, painter of Bury, documented in 1455. Paintings probably were intended for the shrine of St. Etheldreda or a nearby altar.
  348. Find this resource:
  349. Park, David “A Lost Fourteenth-Century Altar-Piece from Ingham, Norfolk.” Burlington Magazine 130.1019 (February 1988): 132–136.
  350. Save Citation »Export Citation »E-mail Citation »
  351. Carter drawings made in 1787 of scenes from the life of St. Nicholas, datable to the 1390s.
  352. Find this resource:
  353. Tudor-Craig, Pamela. Exhibition of Medieval Paintings from Norwich (St Michael at Plea). London: Victoria and Albert Museum, 1956.
  354. Save Citation »Export Citation »E-mail Citation »
  355. Stimulating essay on the stylistic affinities of the St. Michael-at-Plea paintings, in an unillustrated exhibition catalogue.
  356. Find this resource:
  357. Thornham Parva Retable
  358.  
  359. The Thornham Parva Retable is the most important survival of 14th-century East Anglian panel painting. The fullest accounts of the painting and the related Cluny Frontal are provided in Norton, et al. 1987 and Massing 2003. Technical aspects are most fully covered in Massing 2003, but Bucklow 2001 provides further information. Most writers, including the author of King 2010, accept Thetford as the most likely provenance, but Rogers 2010 argues for Norwich.
  360.  
  361. Bucklow, Spike. “The Use of Metals in a Fourteenth-Century East Anglian Painters’ Workshop: The Thornham Parva Retable.” In New Offerings, Ancient Treasures: Studies in Medieval Art for George Henderson. Edited by Paul Binski and William Noel, 445–456. Stroud, UK: Sutton, 2001.
  362. Save Citation »Export Citation »E-mail Citation »
  363. Discusses the properties and contemporary status of the metals used in the retable.
  364. Find this resource:
  365. King, David. “John de Warenne, Edmund Gonville and the Thetford Dominican Altar Paintings.” In Tributes to Nigel Morgan: Contexts of Medieval Art; Images, Objects and Ideas. Edited by Julian M. Luxford and M. A. Michael, 293–306. Harvey Miller Tributes 5. London: Harvey Miller, 2010.
  366. Save Citation »Export Citation »E-mail Citation »
  367. Argues that there are heraldic allusions to the patronage of John de Warenne.
  368. Find this resource:
  369. Lillie, W. W. “The Retable at Thornham Parva.” Proceedings of the Suffolk Institute of Archaeology and Natural History 21.2 (1932): 153–165.
  370. Save Citation »Export Citation »E-mail Citation »
  371. First full notice of the retable, with discussion of provenance, iconography, and style.
  372. Find this resource:
  373. Massing, Ann, ed. The Thornham Parva Retable: Technique, Conservation and Context of an English Medieval Painting. Painting and Practice 1. London: Harvey Miller, 2003.
  374. Save Citation »Export Citation »E-mail Citation »
  375. Full technical analysis, with superb photographs. Commentary by Paul Binski on the stylistic context of the retable supplements, developing his observations in Norton, et al. 1987.
  376. Find this resource:
  377. Norton, Christopher, David Park, and Paul Binski. Dominican Painting in East Anglia: The Thornham Parva Retable and the Musée de Cluny Frontal. Woodbridge, UK: Boydell, 1987.
  378. Save Citation »Export Citation »E-mail Citation »
  379. Full discussion of the style, iconography, and provenance of the Thornham Parva Retable. Demonstrates that it belonged to the same ensemble as the Cluny Frontal and proposes that both were made for the Thetford Blackfriars.
  380. Find this resource:
  381. Rogers, Nicholas. “The Provenance of the Thornham Parva Retable.” In The Friars in Medieval Britain: Proceedings of the 2007 Harlaxton Symposium. Edited by Nicholas Rogers, 185–193. Harlaxton Medieval Studies 19. Donington, UK: Shaun Tyas, 2010.
  382. Save Citation »Export Citation »E-mail Citation »
  383. Argues that the iconography indicates that it was made for the Norwich Blackfriars.
  384. Find this resource:
  385. Despenser Retable, Norwich Cathedral
  386.  
  387. The most detailed study of an important late-14th-century altarpiece, made for Bishop Henry Despenser, remains Hope 1898. For technical aspects, see Plummer 1959. Although erroneous in its conclusions, Waller 1898 contains some interesting observations.
  388.  
  389. Hope, W. H. St. John. “On a Painted Table or Reredos of the Fourteenth Century, in the Cathedral Church of Norwich.” Norfolk Archaeology 13.3 (1898): 293–314.
  390. Save Citation »Export Citation »E-mail Citation »
  391. Detailed description of Despenser Retable and panels at St. Michael-at-Plea.
  392. Find this resource:
  393. Plummer, Pauline. “Restoration of a Retable in Norwich Cathedral.” Studies in Conservation 4.3 (1959): 106–115.
  394. DOI: 10.2307/1505071Save Citation »Export Citation »E-mail Citation »
  395. Technical analysis of the Despenser Retable.
  396. Find this resource:
  397. Waller, J. G. “On the Retable in Norwich Cathedral and Paintings in St. Michael-at-Plea.” Norfolk Archaeology 13.3 (1898): 315–342.
  398. Save Citation »Export Citation »E-mail Citation »
  399. Wayward stylistic analysis, arguing for an Italian origin for the artist of the retable.
  400. Find this resource:
  401. Wenhaston Doom, Suffolk
  402.  
  403. The early-16th-century Doom painting at Wenhaston, which was uncovered in 1892, is most fully discussed in Keyser 1894 and Whale 1999. Becker 1925 provides a brief note concentrating on the whitewashing of the Doom at the Reformation.
  404.  
  405. Becker, M. Janet. “The Wenhaston Doom.” Proceedings of the Suffolk Institute of Archaeology and Natural History 19.1 (1925): 80–81.
  406. Save Citation »Export Citation »E-mail Citation »
  407. Brief description of Wenhaston Doom and discussion of date of whitewashing.
  408. Find this resource:
  409. Keyser, Charles E. “On a Panel Painting of the Doom Discovered in 1892, in Wenhaston Church, Suffolk.” Archaeologia 54.1 (1894): 119–130.
  410. DOI: 10.1017/S0261340900006512Save Citation »Export Citation »E-mail Citation »
  411. Detailed description, citing other examples of the combination of rood and Doom. Notes other instances of panel paintings of the Last Judgment.
  412. Find this resource:
  413. Whale, Kathleen. “The Wenhaston Doom: A Biography of a Sixteenth-Century Panel Painting.” Proceedings of the Suffolk Institute of Archaeology and History 39.3 (1999): 299–316.
  414. Save Citation »Export Citation »E-mail Citation »
  415. Description and compositional and iconographic analysis of early-16th-century Doom.
  416. Find this resource:
  417. Rood Screens
  418.  
  419. There is an extensive literature on East Anglian rood screens, as variable in quality as the paintings on the screens themselves, which provide important evidence about stylistic trends in the late 15th and early 16th centuries. Constable 1929 is a reliable regional study. Mitchell 2000 sets the screens in the context of Continental artistic influence, and Duffy 1997 puts them in their social context and considers their religious function.
  420.  
  421. Constable, W. G. “Some East Anglian Rood Screen Paintings.” Connoisseur 84 (1929): 141–147, 211–220, 290–294, 358–365.
  422. Save Citation »Export Citation »E-mail Citation »
  423. Important, well-illustrated survey identifying relationships among various screens.
  424. Find this resource:
  425. Duffy, Eamon. “The Parish, Piety, and Patronage in Late Medieval East Anglia: The Evidence of Rood Screens.” In The Parish in English Life, 1400–1600. Edited by Katherine L. French, Gary G. Gibbs, and Beat A. Kümin, 133–162. Manchester, UK: Manchester University Press, 1997.
  426. Save Citation »Export Citation »E-mail Citation »
  427. A useful study of the social and religious context of the patronage of East Anglian rood screens and their iconographic programs.
  428. Find this resource:
  429. Mitchell, John. “Painting in East Anglia around 1500: The Continental Connection.” In England and the Continent in the Middle Ages: Studies in Memory of Andrew Martindale, Proceedings of the 1996 Harlaxton Symposium. Edited by John Mitchell, 365–380. Stamford, UK: Shaun Tyas, 2000.
  430. Save Citation »Export Citation »E-mail Citation »
  431. Looks at the degree to which the styles of East Anglian rood screens were influenced by Continental artistic developments. Cites cases where the artists copied specific Netherlandish or German prints.
  432. Find this resource:
  433. Cambridgeshire Rood Screens
  434.  
  435. Surviving rood-screen paintings are much rarer in Cambridgeshire than in the other two counties of East Anglia. A reliable guide to what survives is provided in Bond 1908.
  436.  
  437. Bond, F. Bligh. “On the Rood Screens in Cambridgeshire.” Proceedings of the Cambridge Antiquarian Society 12.4 (1908): 285–295.
  438. Save Citation »Export Citation »E-mail Citation »
  439. Continued in Proceedings of the Cambridge Antiquarian Society 13.1 (1909): 31–75. Survey of types of screen work and of stylistic grouping, discussion of painted decoration, and gazetteer of surviving and lost examples.
  440. Find this resource:
  441. Norfolk Rood Screens
  442.  
  443. The best surviving painted rood screens are to be found in Norfolk, particularly in the northeast of the county. The screen at Ranworth is covered separately. Briggs 1934 provides a stylistic grouping. Camm 1929 and Williamson 1956 are good iconographic surveys. Gunn 1869, Hart 1872, and Strange 1912–1913 provide descriptions of particular screens. Luxford 2010 is an excellent study of the unusual imagery on the Sparham screen. Cotton 1987 is a valuable collection of documentary evidence relating to rood screens, but care should be used in employing this material for dating purposes.
  444.  
  445. Briggs, Olive M. “Some Painted Screens of Norfolk.” Journal of the Royal Institute of British Architects Journal, 3d ser., 41.19 (1934): 997–1015.
  446. Save Citation »Export Citation »E-mail Citation »
  447. Stylistic grouping, with detailed description of twenty-eight screens in what are designated the Ranworth, Coast, and Central Norfolk Groups.
  448. Find this resource:
  449. Camm, Bede. “Some Norfolk Rood-Screens.” In A Supplement to Blomefield’s Norfolk. Edited by Clement Ingleby, 237–295. London: Clement Ingleby, 1929.
  450. Save Citation »Export Citation »E-mail Citation »
  451. Detailed iconographic survey, incorporating much useful antiquarian evidence.
  452. Find this resource:
  453. Cotton, Simon. “Mediaeval Roodscreens in Norfolk: Their Construction and Painting Dates.” Norfolk Archaeology 40.1 (1987): 44–54.
  454. Save Citation »Export Citation »E-mail Citation »
  455. Valuable collection of references, mostly from wills, relating to the construction and decoration of parish church screens in Norfolk.
  456. Find this resource:
  457. Gunn, John. Illustrations of the Rood-Screen at Barton Turf. Norwich, UK: Norfolk and Norwich Archaeological Society, 1869.
  458. Save Citation »Export Citation »E-mail Citation »
  459. Detailed description of the rood screen, with C. J. W. Winter’s lithographs of the panels. Includes notes on Norwich painters and stainers, supplied by John L’Estrange.
  460. Find this resource:
  461. Hart, Richard. Illustrations of the Rood-Screen at Fritton. Norwich, UK: Norfolk and Norwich Archaeological Society, 1872.
  462. Save Citation »Export Citation »E-mail Citation »
  463. Detailed description of the early-16th-century rood screen, with C. J. W. Winter’s lithographs of the panels. Also includes notes on the wall paintings in Fritton church.
  464. Find this resource:
  465. Luxford, Julian. “The Sparham Corpse Panels: Unique Revelations of Death from Late Fifteenth-Century England.” Antiquaries Journal 90.4 (2010): 299–340.
  466. DOI: 10.1017/S0003581509990473Save Citation »Export Citation »E-mail Citation »
  467. Detailed contextual study of the death imagery on the late-15th-century screen at Sparham, Norfolk.
  468. Find this resource:
  469. Strange, Edward F. “The Rood-Screen of Cawston Church, Norfolk.” Annual of the Walpole Society 2 (1912–1913): 81–87.
  470. Save Citation »Export Citation »E-mail Citation »
  471. Description of screen, with notes on techniques and decorative details.
  472. Find this resource:
  473. Williamson, W. W. “Saints on Norfolk Rood-Screens and Pulpits.” Norfolk Archaeology 31.3 (1956): 299–346.
  474. Save Citation »Export Citation »E-mail Citation »
  475. Analytical survey of saints depicted, and gazetteer listing all saints.
  476. Find this resource:
  477. Suffolk Rood Screens
  478.  
  479. Lillie 1929 provides an excellent guide to the range of surviving rood-screen paintings in Suffolk. Smith 1923 provides a brief account of the screen at Nayland.
  480.  
  481. Lillie, W. W. “Screenwork in the County of Suffolk, Part I: Development and Types.” Proceedings of the Suffolk Institute of Archaeology and Natural History 20.2 (1929): 214–226.
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  483. Still the most comprehensive survey of all aspects of Suffolk rood screens and their decoration. Continued in “Part II: Colour Decoration,” 20.3 (1930): 255–264; “Part III: Panels Painted with Saints,” 21.3 (1933): 179–202; “Part IV: Southwold; with Additional Notes on Remains at Barningham, South Elmham St. Margaret and Rattlesden,” 22.1 (1934): 120–126.
  484. Find this resource:
  485. Smith, H. Clifford. “Fifteenth-Century Painted Panels from the Rood Screen of Nayland Church, Suffolk.” Antiquaries Journal 3.4 (1923): 345–346.
  486. DOI: 10.1017/S000358150001502XSave Citation »Export Citation »E-mail Citation »
  487. Description of eight late-15th-century panels, all showing male saints.
  488. Find this resource:
  489. Ranworth Rood Screen
  490.  
  491. This is arguably the finest of the surviving Norfolk rood screens. The most important discussion of all aspects is provided in Plummer 1980. Strange 1902 and Winter 1867 still retain some value.
  492.  
  493. Plummer, Pauline. “The Ranworth Rood Screen.” Archaeological Journal 137 (1980): 292–295.
  494. Save Citation »Export Citation »E-mail Citation »
  495. Notes constructional similarities with the Attleborough screen, which has a memorial inscription of 1446. It is an early member of a group of ten screens in Norfolk and north Suffolk. Notes use of Continental models for iconography. Summarizes conservation history and provides technical notes on pigments.
  496. Find this resource:
  497. Strange, Edward F. The Rood-Screen of Ranworth Church. Norwich, UK: Jarrold, 1902.
  498. Save Citation »Export Citation »E-mail Citation »
  499. Description of the screen. Presents arguments for its being the work of an English artist, influenced by German prints, and dating from the very late 15th century.
  500. Find this resource:
  501. Winter, C. J. W. Illustrations of the Rood-Screen at Randworth. Norwich, UK: Norfolk and Norwich Archaeological Society, 1867.
  502. Save Citation »Export Citation »E-mail Citation »
  503. Valuable description with lithographs (one a chromolithograph) of the screen, including ground plan, elevation, and plates of each panel.
  504. Find this resource:
  505. Imported Panel Paintings
  506.  
  507. There is documentary evidence for the importation of works of art from the Low Countries. Two survivors are discussed in Martindale 1989 and Massing 1991.
  508.  
  509. Martindale, Andrew. “The Ashwellthorpe Triptych.” In Early Tudor England: Proceedings of the 1987 Harlaxton Symposium. Edited by Daniel Williams, 107–123. Woodbridge, UK: Boydell, 1989.
  510. Save Citation »Export Citation »E-mail Citation »
  511. Description of altarpiece, now in the Castle Museum, Norwich, painted by the Magdalen Master for Christopher Knyvett and his wife, Catherine(?) van Assche, possibly in 1519. Discusses iconography of the Seven Sorrows of the Virgin.
  512. Find this resource:
  513. Massing, Jean Michel. “Three Panels by the Master of the View of Ste-Gudule in the Chapel of Queens’ College, Cambridge.” Burlington Magazine 133.1063 (October 1991): 690–693.
  514. Save Citation »Export Citation »E-mail Citation »
  515. Identifies panels in the chapel at Queens’ College, Cambridge, as work of the Brussels artist called the Master of the View of St. Gudule, datable to the 1480s, and proposes that they were the wings of an imported Netherlandish altarpiece.
  516. Find this resource:
  517. Manuscripts
  518.  
  519. For many East Anglian manuscripts the most-reliable sources of information are the volumes of the Harvey Miller survey by Kauffmann, Morgan, Sandler, and Scott (Alexander 1975–1996). It is through the medium of manuscript illumination that the particular characteristics of East Anglian styles and their relation to metropolitan and Continental art can best be studied. A convenient introduction to the East Anglian styles of the 14th century is Dennison 1998. Aspects of the “East Anglian school” are discussed in Michael 1981, Michael 1988, and Pächt 1943. See also the subsections on individual manuscripts and Dennison 1986 (under Cambridge Illuminators). The question of monastic patronage in the 14th century is raised in Dennison and Rogers 2002. Watson 1974 provides some useful information, but the author’s conclusions are erroneous. Barker 1988 and Parkes and Beadle 1979–1980 provide facsimiles with commentary of three late-medieval East Anglian books.
  520.  
  521. Alexander, J. J. G., ed. A Survey of Manuscripts Illuminated in the British Isles. 6 vols. London: H. Miller, 1975–1996.
  522. Save Citation »Export Citation »E-mail Citation »
  523. See Vol. 3, Romanesque Manuscripts, 1066–1190, by C. M. Kaufmann (1975); Vol. 4, Early Gothic Manuscripts,by Nigel Morgan (1988, 2 vols.); Vol. 5, Gothic Manuscripts, 1285–1385, by Lucy Freeman Sandler (1986, 2 vols.); and Vol. 6, Later Gothic Manuscripts, 1390–1490, by Kathleen L. Scott (1996, 2 vols.).
  524. Find this resource:
  525. Barker, Nicolas, ed. Two East Anglian Picture Books: A Facsimile of the Helmingham Herbal and Bestiary and Bodleian MS. Ashmole 1504. London: Roxburghe Club, 1988.
  526. Save Citation »Export Citation »E-mail Citation »
  527. Facsimile of two related early-16th-century East Anglian model books, possibly made for the Tollemaches of Helmingham Hall, Suffolk.
  528. Find this resource:
  529. Dennison, Lynda. “‘East Anglian School’ of Illumination.” In Medieval England: An Encyclopedia. Edited by Paul E. Szarmach, M. Teresa Tavormina, and Joel T. Rosenthal, 262–264. New York: Garland, 1998.
  530. Save Citation »Export Citation »E-mail Citation »
  531. Provides a historiography of the concept of an East Anglian school.
  532. Find this resource:
  533. Dennison, Lynda, and Nicholas Rogers. “A Medieval Best-Seller: Some Examples of Decorated Copies of Higden’s Polychronicon.” In The Church and Learning in Later Medieval Society: Essays in Honour of R. B. Dobson, Proceedings of the 1999 Harlaxton Symposium. Edited by Caroline M. Barron and Jenny Stratford, 80–99. Donington, UK: Shaun Tyas, 2002.
  534. Save Citation »Export Citation »E-mail Citation »
  535. Paper focuses on two groups of manuscripts: one produced in an East Anglian center, possibly Barnwell, and the other produced principally by the Holkham Psalter Artist, who worked for Norwich Cathedral Priory and other monastic houses.
  536. Find this resource:
  537. Michael, Michael A. “The Harnhulle Psalter-Hours: An Early Fourteenth-Century English Illuminated Manuscript at Downside Abbey.” Journal of the British Archaeological Association 134 (1981): 81–99.
  538. Save Citation »Export Citation »E-mail Citation »
  539. Description of Downside Abbey MS 26533, and an analysis of the styles of the two artists and their links with other “East Anglian” manuscripts.
  540. Find this resource:
  541. Michael, Michael A. “Oxford, Cambridge and London: Towards a Theory for ‘Grouping’ Gothic Manuscripts.” Burlington Magazine 130.1019 (February 1988): 107–115.
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  543. Important study of interrelationships among workshops in late 13th and early 14th centuries. Includes discussion of evidence for production in Oxford and Cambridge.
  544. Find this resource:
  545. Pächt, Otto. “A Giottesque Episode in English Mediaeval Art.” Journal of the Warburg and Courtauld Institutes 6 (1943): 51–70.
  546. DOI: 10.2307/750422Save Citation »Export Citation »E-mail Citation »
  547. Discusses Italian influence in the additions to the Gorleston Psalter, the Ormesby Psalter Crucifixion, and the Douai and St. Omer psalters.
  548. Find this resource:
  549. Parkes, M. B., and R. Beadle, eds. “Poetical Works.” In Geoffrey Chaucer: A Facsimile of Cambridge University Library MS Gg.4.27. 3 vols. By Geoffrey Chaucer. Cambridge, UK: Brewer, 1979–1980.
  550. Save Citation »Export Citation »E-mail Citation »
  551. Codicological and iconographic commentary on a manuscript executed in East Anglia in the early 15th century.
  552. Find this resource:
  553. Watson, Bruce. “The East Anglican Problem: Fresh Perspectives from an Unpublished Psalter.” Gesta 13.2 (1974): 3–16.
  554. DOI: 10.2307/766701Save Citation »Export Citation »E-mail Citation »
  555. “East Anglican” rather than “East Anglian” in article title. Discussion of style of the Longleat Psalter (Longleat MS 11). Links with the Psalter of Richard of Canterbury and localizes it in London rather than East Anglia.
  556. Find this resource:
  557. Bury St. Edmunds
  558.  
  559. Gransden 1998 and James 1926 provide general surveys of manuscripts belonging to Bury St. Edmunds Abbey. For early book production at Bury, see Webber 1998 and Thomson 1972. Gunther 1925 presents a facsimile of one of the most important early products of the Bury scriptorium. The main authority on the scriptorium in the mid-12th century is Elizabeth Parker McLachlan: see McLachlan 1978a, McLachlan 1978b, McLachlan 1980, and McLachlan 1986. See also the sections on Pembroke College, Cambridge, MS 120, the Bury Bible (Cambridge, Corpus Christi College, MS 2), and the Bury St. Edmunds School.
  560.  
  561. Gransden, Antonia. “Some Manuscripts in Cambridge from Bury St Edmunds Abbey: Exhibition Catalogue.” In Bury St Edmunds: Medieval Art, Architecture, Archaeology and Economy. Edited by Antonia Gransden, 228–285. British Archaeological Association Conference Transactions 20. London: British Archaeological Association, 1998.
  562. Save Citation »Export Citation »E-mail Citation »
  563. Revised and enlarged version of a catalogue of an exhibition of Bury manuscripts, including an introductory essay on the development of the abbey library.
  564. Find this resource:
  565. Gunther, Robert T. The Herbal of Apuleius Barbarus, from the Early Twelfth-Century Manuscript Formerly in the Abbey of Bury St. Edmunds (MS. Bodley 130). Oxford: Roxburghe Club, 1925.
  566. Save Citation »Export Citation »E-mail Citation »
  567. Facsimile edition of Bodleian MS Bodley 130, executed in Bury St. Edmunds c. 1100, with commentary on its relationship to other herbals.
  568. Find this resource:
  569. James, M. R. “Bury St. Edmunds Manuscripts.” English Historical Review 41.162 (April 1926): 251–260.
  570. DOI: 10.1093/ehr/XLI.CLXII.251Save Citation »Export Citation »E-mail Citation »
  571. List of manuscripts that can be identified as having belonged to the abbey, replacing that published in 1895.
  572. Find this resource:
  573. McLachlan, Elizabeth Parker. “The Scriptorium of Bury St. Edmunds in the Third and Fourth Decades of the Twelfth Century: Books in Three Related Hands and Their Decoration.” Mediaeval Studies 40.1 (1978a): 328–348.
  574. Save Citation »Export Citation »E-mail Citation »
  575. Grouping of families of manuscripts from Bury, according to scribal and decorative characteristics. Notes that scribes were aesthetically conservative, and miniatures were the work of professionals from outside the abbey.
  576. Find this resource:
  577. McLachlan, Elizabeth Parker. “The Bury Missal in Laon and its Crucifixion Miniature.” Gesta 17.1 (1978b): 27–35.
  578. DOI: 10.2307/766710Save Citation »Export Citation »E-mail Citation »
  579. Investigation of the individual eucharistic iconography of the Te Igitur illustration in a missal from the 1120s, noting Continental precedents.
  580. Find this resource:
  581. McLachlan, Elizabeth Parker. “Possible Evidence for Liturgical Drama at Bury St Edmunds in the Twelfth Century.” Proceedings of the Suffolk Institute of Archaeology and History 34.4 (1980): 255–261.
  582. Save Citation »Export Citation »E-mail Citation »
  583. Suggests a link between the Officium Stellae and the Adoration of the Magi historiated initial in Cambridge, Pembroke College MS 16.
  584. Find this resource:
  585. McLachlan, Elizabeth Parker. The Scriptorium of Bury St. Edmunds in the Twelfth Century. New York: Garland, 1986.
  586. Save Citation »Export Citation »E-mail Citation »
  587. Reprint of the author’s 1965 Courtauld Institute thesis, a seminal work in the study of book production in the Romanesque period. Although many of McLachlan’s findings were published in revised versions, chapter 3, devoted to Pierpont Morgan MS M.736, represents material not published elsewhere. Appendix B is a list of surviving 12th-century manuscripts from Bury. A useful bibliographical supplement reviewing published research since 1965 is included.
  588. Find this resource:
  589. Thomson, R. M. “The Library of Bury St. Edmunds Abbey in the Eleventh and Twelfth Centuries.” Speculum 47.4 (October 1972): 617–645.
  590. DOI: 10.2307/2856632Save Citation »Export Citation »E-mail Citation »
  591. Study focusing on the extensive program of acquisition and copying under Abbot Anselm (1121–1148).
  592. Find this resource:
  593. Webber, Teresa. “The Provision of Books for Bury St. Edmunds Abbey in the 11th and 12th Centuries.” In Bury St. Edmunds: Medieval Art, Architecture, Archaeology and Economy. Edited by Antonia Gransden, 186–193. British Archaeological Association Conference Transactions 20. London: British Archaeological Association, 1998.
  594. Save Citation »Export Citation »E-mail Citation »
  595. Uniformity in handwriting and presentation of texts indicates continuity of book production in the scriptorium at Bury St. Edmunds for much of the 12th century. Following this on pp. 194–203 is a preliminary study by Jennifer M. Sheppard, on the 12th-century bindings from Bury.
  596. Find this resource:
  597. Ely
  598.  
  599. Greatrex 2003 and Ramsay 2003 provide discussions of the contents and organization of the library at Ely. For books produced for Ely patrons, see also Dennison 1986, cited under Cambridge Illuminators.
  600.  
  601. Greatrex, Joan. “Benedictine Observance at Ely: The Intellectual, Liturgical and Spiritual Evidence Considered.” In A History of Ely Cathedral. Edited by Peter Meadows and Nigel Ramsay, 77–93. Woodbridge, UK: Boydell, 2003.
  602. Save Citation »Export Citation »E-mail Citation »
  603. Includes discussion of surviving liturgical and devotional books.
  604. Find this resource:
  605. Ramsay, Nigel. “The Library and Archives 1109–1541.” In A History of Ely Cathedral. Edited by Peter Meadows and Nigel Ramsay, 157–168. Woodbridge, UK: Boydell, 2003.
  606. Save Citation »Export Citation »E-mail Citation »
  607. Mostly organizational history.
  608. Find this resource:
  609. Norwich
  610.  
  611. The main study of the library at Norwich is Ker 1949. Both this and Beeching 1915 look at evidence for book production.
  612.  
  613. Beeching, H. C. “The Library of the Cathedral Priory of Norwich; with an Appendix of Priory Manuscripts now in English Libraries, by Montague Rhodes James.” Norfolk Archaeology 19.1 (1915): 67–116.
  614. Save Citation »Export Citation »E-mail Citation »
  615. Includes discussion of evidence for book production in Norwich.
  616. Find this resource:
  617. Ker, N. R. “Medieval Manuscripts from Norwich Cathedral Priory.” Transactions of the Cambridge Bibliographical Society 1.1 (1949): 1–28.
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  619. Important survey of surviving books from collection from after the 1272 fire, with discussion of documentary evidence for purchase and production of books. Includes extracts from Obedientary Rolls, 1272–1317.
  620. Find this resource:
  621. Pembroke College, Cambridge, MS 120
  622.  
  623. Pembroke 120 (Kauffmann no. 35), a Gospel book of the second quarter of the 12th century with an important prefatory New Testament cycle, is most fully discussed in Parker 1970. Bateman 1978 contributes further stylistic analysis, and Kidd 2006 makes significant codicological observations.
  624.  
  625. Bateman, Katherine R. “Pembroke 120 and Morgan 736: A Reexamination of the St. Albans Bury St. Edmunds Manuscript Dilemma.” Gesta 17.1 (1978): 19–26.
  626. DOI: 10.2307/766709Save Citation »Export Citation »E-mail Citation »
  627. Examines the relationship of the artist of Pembroke 120 to the Alexis Master and sees the manuscript as intermediary between the Albani Psalter and Morgan M.736, all products of the same workshop.
  628. Find this resource:
  629. Kidd, Peter. “Cambridge, Pembroke College MS 120: Overlooked and New Observations.” Transactions of the Cambridge Bibliographical Society 13.3 (2006): 289–299.
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  631. Following Heslop, argues that the picture cycle was intended for the New Testament with which it is bound, and presents codicological evidence for three missing leaves of miniatures.
  632. Find this resource:
  633. Parker, Elizabeth. “A Twelfth-Century Cycle of New Testament Drawings from Bury St. Edmunds Abbey.” Proceedings of the Suffolk Institute of Archaeology 31.3 (1970): 263–302.
  634. Save Citation »Export Citation »E-mail Citation »
  635. Codicological and iconographic study of the prefatory cycle in Cambridge, Pembroke College MS 120, in the style of the Alexis Master.
  636. Find this resource:
  637. Bury Bible (Cambridge, Corpus Christi College, MS 2)
  638.  
  639. Perhaps the most important monument of English Romanesque illumination, the Bury Bible (Kauffmann 1975, no. 50), the first volume of a two-volume Bible illuminated at Bury by Master Hugo, has been the subject of detailed codicological and stylistic analysis in Heslop 1998, Thomson 2001, and Thomson 2010. Thomson 1971 looks at its relation to Morgan MS M.736. Kauffmann 1966 sets it within its English Romanesque context, thereby revealing its uniqueness. Parker 1981 looks at the relationship between Master Hugo’s activities as illuminator and sculptor. For Master Hugo as a metalworker, see also Campbell 1998 under Metalwork.
  640.  
  641. Heslop, T. A. “The Production and Artistry of the Bury Bible.” In Bury St Edmunds: Medieval Art, Architecture, Archaeology and Economy. Edited by Antonia Gransden, 172–185. British Archaeological Association Conference Transactions 20. London: British Archaeological Association, 1998.
  642. Save Citation »Export Citation »E-mail Citation »
  643. Detailed examination of the production of the Bible and the choice of subject matter, which indicates artistic intervention in the iconography. Publishes a fragment of the lost second volume.
  644. Find this resource:
  645. Kauffmann, C. M. “The Bury Bible (Cambridge, Corpus Christi College, MS. 2).” Journal of the Warburg and Courtauld Institutes 29 (1966): 60–81.
  646. DOI: 10.2307/750709Save Citation »Export Citation »E-mail Citation »
  647. Important study of the stylistic and iconographic roots of the Bury Bible. Notes links between the work of Master Hugo and earlier English Romanesque artists, and also the originality of Master Hugo’s oeuvre.
  648. Find this resource:
  649. Parker, Elizabeth C. “Master Hugo as Sculptor: A Source for the Style of the Bury Bible.” Gesta 20.1 (1981): 99–109.
  650. DOI: 10.2307/766832Save Citation »Export Citation »E-mail Citation »
  651. Argues that the stylistic achievement of the Bury Bible is based on Master Hugo’s skill as a sculptor. Accepts the Cloisters Cross as a work that can be assigned to Bury St. Edmunds on stylistic grounds.
  652. Find this resource:
  653. Thomson, Rodney M. “The Dates of the Pierpont Morgan Vita S. Edmundi and the Bury Bible.” Viator 2 (1971): 211–215.
  654. Save Citation »Export Citation »E-mail Citation »
  655. Examination of the documentary evidence for the date of Morgan MS M.736.
  656. Find this resource:
  657. Thomson, Rodney M. The Bury Bible. Woodbridge, UK: Boydell and Brewer, 2001.
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  659. Description of the book and commentary on its context and the artist, Master Hugo, and his oeuvre. Color facsimile of principal pages and full-color initials. Black-and-white plates of comparative material. There is an important discussion of stylistic questions raised by this facsimile in the review by Ursula Nilgen, Kunstchronik 56.5 (2003): 227–232.
  660. Find this resource:
  661. Thomson, Rodney M. “The Bury Bible: Further Thoughts.” In Tributes to Nigel Morgan: Contexts of Medieval Art; Images, Objects and Ideas. Edited by Julian M. Luxford and M. A. Michael, 175–184. London: Harvey Miller, 2010.
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  663. Reconsideration of some of the views in Thomson 2001, in the light of the review by Ursula Nilgen. Examines the circumstances of the Bible’s manufacture, the exceptional reputation of Master Hugo at Bury, and the question of Byzantine influence upon the artist.
  664. Find this resource:
  665. Subsidiary Queen Mary Group
  666.  
  667. The relationship between artists in London and East Anglia in the first quarter of the 14th century is examined in Dennison 1990. One product of this workshop based in East Anglia is studied in Harper 1997.
  668.  
  669. Dennison, Lynda. “‘Liber Horn,’ ‘Liber Custumarum’ and Other Manuscripts of the Queen Mary Psalter Workshop.” In Medieval Art, Architecture and Archaeology in London. Edited by Lindy Grant, 118–134. British Archaeological Association Conference Transactions 10. London: British Archaeological Association, 1990.
  670. Save Citation »Export Citation »E-mail Citation »
  671. Includes discussion of the East Anglian connections of the Subsidiary Queen Mary Artist.
  672. Find this resource:
  673. Harper, Sally. “The Bangor Pontifical: A Pontifical of the Use of Salisbury.” Welsh Music History 2 (1997): 65–125.
  674. Save Citation »Export Citation »E-mail Citation »
  675. Mainly textual study, but includes some discussion of East Anglian links. See pp. 100–125 for a Welsh version of the article.
  676. Find this resource:
  677. Brescia Psalter (Brescia, Biblioteca Queriniana, MS A.V.17)
  678.  
  679. The Brescia Psalter (see Sandler’s 1986 volume, no. 109, in Alexander 1975–1996, cited under Manuscripts) is most usefully discussed in Dennison 1986 (cited under Cambridge Illuminators), but Guerrini 1926 is, however, still of value for the author’s textual observations.
  680.  
  681. Guerrini, Paolo. “Il salterio inglese miniato della Queriniana di Brescia.” Rivista di Archeologia Cristiana 3 (1926): 287–296.
  682. Save Citation »Export Citation »E-mail Citation »
  683. Description of manuscript, with observations on Ely liturgical connections.
  684. Find this resource:
  685. Douai Psalter (Douai, Bibliothèque Publique, MS 171)
  686.  
  687. The Douai Psalter (see Sandler’s 1986 volume, no. 105, in Alexander 1975–1996, cited under Manuscripts) was one of the main artistic casualties of World War I. Fortunately, enough survives to enable scholars to appreciate its importance in the “East Anglian school” of illumination. The crucial question of its dating is addressed in Hull 2001.
  688.  
  689. Hull, Caroline S. “Abbot John, Vicar Thomas and M. R. James: The Early History of the Douai Psalter.” In The Legacy of M. R. James: Papers from the 1995 Cambridge Symposium. Edited by Lynda Dennison, 118–127. Donington, UK: Shaun Tyas, 2001.
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  691. Dates the Douai Psalter to the late 1330s and interprets a lost inscription as recording the gift of the book by Thomas of Popely, vicar of Gorleston, to the abbot of Bury between 1371 and 1393.
  692. Find this resource:
  693. Gorleston Psalter (Bl Add. MS 49622)
  694.  
  695. Cockerell 1907 provides a partial facsimile and careful analysis of this central manuscript of the “East Anglian school” (see Sandler’s 1986 volume, no. 50, in Alexander 1975–1996, cited under Manuscripts). Nishimura and Nishimura 2007 reexamines the heraldic decoration.
  696.  
  697. Cockerell, Sydney C. The Gorleston Psalter: A Manuscript of the Beginning of the Fourteenth Century in the Library of C. W. Dyson Perrins; Described in Relation to Other East Anglian Books of the Period. London: Chiswick, 1907.
  698. Save Citation »Export Citation »E-mail Citation »
  699. Facsimile of principal pages and examples of comparative manuscripts. Seminal work in the history of the study of the “East Anglian school.”
  700. Find this resource:
  701. Nishimura, Margot M., and David Nishimura. “Rabbits, Warrens, and Warenne: The Patronage of the Gorleston Psalter.” In Tributes to Lucy Freeman Sandler: Studies in Illuminated Manuscripts. Edited by Kathryn A. Smith and Carol H. Krinsky, 205–218. London: Harvey Miller, 2007.
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  703. Argues that heraldic decoration points to the patronage of John, 8th Earl of Warenne (b. 1286–d. 1347).
  704. Find this resource:
  705. Macclesfield Psalter (Fitzwilliam Museum, MS 1-2005)
  706.  
  707. A measure of the importance of this manuscript is the quantity of literature devoted to it that has appeared since its discovery in 2004. The most-important and wide-ranging studies are Dennison 2006 and Panayotova 2008. Sandler 2007 provides a view of the relationship between text and image. Montagu 2006 addresses a specific aspect of the iconography. Michael 2007 is a less significant contribution.
  708.  
  709. Dennison, Lynda. “The Technical Mastery of the Macclesfield Psalter: A Preliminary Stylistic Appraisal of the Illuminators and Their Suggested Origin.” Transactions of the Cambridge Bibliographical Society 13.3 (2006): 253–288.
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  711. Detailed analysis of the hands in the psalter, examining links with the Gorleston and Douai psalters. Argues the psalter was executed toward 1340, most probably in Norwich.
  712. Find this resource:
  713. Michael, M. A. “Seeing-In: The Macclesfield Psalter.” In The Cambridge Illuminations: The Conference Papers. Edited by Stella Panayotova, 115–128. London: Harvey Miller, 2007.
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  715. A strongly theoretical and somewhat incoherent contextualization of the Macclesfield Psalter.
  716. Find this resource:
  717. Montagu, Jeremy. “Musical Instruments in the Macclesfield Psalter.” Early Music 34.2 (2006): 189–204.
  718. DOI: 10.1093/em/cal001Save Citation »Export Citation »E-mail Citation »
  719. Technical commentary on representations of musical instruments, with notes on performance practice.
  720. Find this resource:
  721. Panayotova, Stella. The Macclesfield Psalter. London: Thames and Hudson, 2008.
  722. Save Citation »Export Citation »E-mail Citation »
  723. Comprehensive study of all aspects of the manuscript. Includes a complete facsimile.
  724. Find this resource:
  725. Sandler, Lucy Freeman. “In and Around the Text: The Question of Marginality in the Macclesfield Psalter.” In The Cambridge Illuminations: The Conference Papers. Edited by Stella Panayotova, 105–114. London: Harvey Miller, 2007.
  726. Save Citation »Export Citation »E-mail Citation »
  727. Reflections on the interaction of marginal decoration and text, and the function of marginalia as a reading tool.
  728. Find this resource:
  729. Ormesby Psalter (Bodleian MS Douce 366)
  730.  
  731. The Ormesby Psalter (see Sandler’s 1986 volume, no. 43, in Alexander 1975–1996, cited under Manuscripts) is studied in detail in Cockerell and James 1926, where Cockerell identifies and attempts to date the various campaigns. Sandler 1985 is concerned with an iconographic detail.
  732.  
  733. Cockerell, Sydney Carlyle, and Montague Rhodes James. Two East Anglian Psalters at the Bodleian Library, Oxford: The Ormesby Psalter, MS. Douce 366; the Bromholm Psalter, MS. Ashmole 153. Oxford: Oxford University Press, 1926.
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  735. Facsimile of principal pages and other details. Important commentary, mostly by Cockerell, on these manuscripts and their relationship to others of the “East Anglian school.”
  736. Find this resource:
  737. Sandler, Lucy Freeman. “A Bawdy Betrothal in the Ormesby Psalter.” In Tribute to Lotte Brand Philip. Edited by William W. Clark, 154–159. New York: Abaris, 1985.
  738. Save Citation »Export Citation »E-mail Citation »
  739. Literary sources reveal erotic undertones of betrothal image in bas-de-page on f. 131.
  740. Find this resource:
  741. St. Omer Psalter (Bl Yates Thompson MS 14)
  742.  
  743. The least studied of the major East Anglian psalters of the first half of the 14th century is the St. Omer Psalter, which was completed in the 1430s for Humphrey, duke of Gloucester. Thompson 1900 provides an introduction, and further discussion is to be found in Sandler’s 1986 volume, no. 104, cited here under Alexander 1975–1996 (see Manuscripts).
  744.  
  745. Thompson, Henry Yates. Facsimiles in Photogravure of Six Pages from a Psalter Written and Illuminated about 1325 A.D. for a Member of the St. Omer Family in Norfolk. London: Chiswick, 1900.
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  747. Full-scale facsimiles of six leaves, with descriptions by George Warner.
  748. Find this resource:
  749. Cambridge Illuminators
  750.  
  751. Dennison 1986 is of fundamental importance for an understanding of the chronology and geography of artistic developments in East Anglia in the second quarter of the 14th century. Rogers 1986 looks at the international connections of art produced in a university town. Rogers 2007 looks at the documentary evidence for illuminators in a center that still requires further research.
  752.  
  753. Dennison, Lynda. “‘The Fitzwarin Psalter and Its Allies’: A Reappraisal.” In England in the Fourteenth Century: Proceedings of the 1985 Harlaxton Symposium. Edited by W. M. Ormrod, 42–66. Woodbridge, UK: Boydell, 1986.
  754. Save Citation »Export Citation »E-mail Citation »
  755. Discusses the Fitzwarin Psalter (BNF MS lat. 765) and related manuscripts. Examines the evidence for Cambridge as a center of illumination in the 1340s. One of the earliest artists in the Vienna Bohun Psalter (Vienna Hand A) worked on books with an Ely diocese or specifically Cambridge provenance. The evidence suggests a move of artists from Oxford, Norwich, and London to Cambridge around 1340.
  756. Find this resource:
  757. Rogers, Nicholas J. “The Old Proctor’s Book: A Cambridge Manuscript of c. 1390.” In England in the Fourteenth Century: Proceedings of the 1985 Harlaxton Symposium. Edited by W. M. Ormrod, 213–223. Woodbridge, UK: Boydell, 1986.
  758. Save Citation »Export Citation »E-mail Citation »
  759. Discusses the stylistic context of the drawings in Cambridge University Archives, Collect. Admin. 3, and posits a link with German art.
  760. Find this resource:
  761. Rogers, Nicholas. “From Alan the Illuminator to John Scott the Younger: Evidence for Illumination in Cambridge.” In The Cambridge Illuminations: The Conference Papers. Edited by Stella Panayotova, 287–299. London: Harvey Miller, 2007.
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  763. Discusses evidence for illumination, both professional and amateur, in Cambridge. Notes that, with the possible exception of the 1340s, Cambridge did not establish a distinctive local character as a center of manuscript production. An appendix lists all known Cambridge illuminators.
  764. Find this resource:
  765. Bury St. Edmunds School
  766.  
  767. In the 15th century, a distinctive school of illumination developed at Bury St. Edmunds. Much of its work is to be found in illustrated copies of the poems of John Lydgate. Edwards 2004 provides a convenient facsimile of the Bury illuminators’ most fully illuminated book, BL Harley MS 2278 (see Scott’s 1996 volume, no. 78, in Alexander 1975–1996, cited under Manuscripts). Iconographic aspects of Harley 2278 are considered in Rogers 1998. The origins of the distinctive style are discussed in Rogers 1987, and an early product of the Bury St. Edmunds school is described in Dewick 1895. Scott 1982 looks at later products of the Bury school, and Edwards 1983 considers the evidence for localization.
  768.  
  769. Dewick, E. S. “On a MS. Psalter Formerly Belonging to the Abbey of Bury St. Edmund’s.” Archaeologia 54.2 (1895): 399–410.
  770. DOI: 10.1017/S0261340900018099Save Citation »Export Citation »E-mail Citation »
  771. Description of psalter (Bury St. Edmunds Grammar School), giving liturgical evidence for use in Bury St. Edmunds Abbey. Brief discussion of iconography of initials, four of which are illustrated. Litany printed in an appendix.
  772. Find this resource:
  773. Edwards, A. S. G. “Lydgate Manuscripts: Some Directions for Future Research.” In Manuscripts and Readers in Fifteenth-Century England. Edited by Derek Pearsall, 15–26. Cambridge, UK: D. S. Brewer, 1983.
  774. Save Citation »Export Citation »E-mail Citation »
  775. Addresses questions of scribal attribution, evidence for the localization of manuscripts to Bury St. Edmunds, and the range of patronage.
  776. Find this resource:
  777. Edwards, A. S. G., ed. The Life of St Edmund King and Martyr: John Lydgate’s Illustrated Verse Life Presented to Henry VI, a Facsimile of British Library MS Harley 2278. London: British Library, 2004.
  778. Save Citation »Export Citation »E-mail Citation »
  779. Full facsimile of one of the most important products of the Bury St. Edmunds school of illumination, produced for presentation to King Henry VI following his visit in 1433–1434, with a brief introduction setting the manuscript in its literary context.
  780. Find this resource:
  781. Rogers, Nicholas J. “Fitzwilliam Museum MS 3-1979: A Bury St Edmunds Book of Hours and the Origins of the Bury Style.” In England in the Fifteenth Century: Proceedings of the 1986 Harlaxton Symposium. Edited by Daniel Williams, 229–243. Woodbridge, UK: Boydell, 1987.
  782. Save Citation »Export Citation »E-mail Citation »
  783. Demonstrates the Bury St. Edmunds origins of Fitzwilliam Museum MS 3-1979, an early work of the atelier that produced BL Harley MS 2278, and discusses the stylistic sources of that atelier.
  784. Find this resource:
  785. Rogers, Nicholas. “The Bury Artists of Harley 2278 and the Origins of Topographical Awareness in English Art.” In Bury St Edmunds: Medieval Art, Architecture, Archaeology and Economy. Edited by Antonia Gransden, 219–227. British Archaeological Association Conference Transactions 20. London: British Archaeological Association, 1998.
  786. Save Citation »Export Citation »E-mail Citation »
  787. Looks at realistic depiction of the shrine and other objects associated with the cult of St. Edmund in BL Harley 2278, in the context of topographical representation in medieval England.
  788. Find this resource:
  789. Scott, Kathleen L. “Lydgate’s Lives of Saints Edmund and Fremund: A Newly-Located Manuscript in Arundel Castle.” Viator 13.1 (1982): 335–366.
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  791. Important discussion of the decoration and illumination of a manuscript produced in Bury in the 1460s (after 1461), and its relationship to other copies of the same text.
  792. Find this resource:
  793. Architecture
  794.  
  795. Cherry 1978 provides an important regional study of Romanesque architecture. Other architectural studies are noted under their respective counties.
  796.  
  797. Cherry, Bridget. “Romanesque Architecture in Eastern England.” Journal of the British Archaeological Association 131 (1978): 1–29.
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  799. Examines common features of buildings in East Anglia and Fenland, focusing in particular on regional varieties of pier forms.
  800. Find this resource:
  801. Cambridgeshire
  802.  
  803. Atkinson 1944 provides a useful analysis of regional types, which should be read in conjunction with the architectural studies in Hicks 1997. Willis and Clark 1988, first published in 1886, is of fundamental importance for an understanding of architecture in Cambridge. King’s College Chapel is also studied in Woodman 1986. Other Cambridge buildings are dealt with in Biddle 1960 and Oswald 1949. Fawcett 1979 examines the regional context of Sutton church.
  804.  
  805. Atkinson, T. D. “Local Character in the Ancient Architecture of Cambridgeshire.” Proceedings of the Cambridge Antiquarian Society 40 (1944): 24–55.
  806. Save Citation »Export Citation »E-mail Citation »
  807. Analyzes regional types, such as the octagonal steeple, and provides instances of the local copying of features.
  808. Find this resource:
  809. Biddle, Martin. “A Thirteenth-Century Architectural Sketch from the Hospital of St John the Evangelist, Cambridge.” Proceedings of the Cambridge Antiquarian Society 54 (1960): 99–108.
  810. Save Citation »Export Citation »E-mail Citation »
  811. Graffito of design of east window, c. 1280.
  812. Find this resource:
  813. Christie, Patricia M., and J. G. Coad. “Excavations at Denny Abbey.” Archaeological Journal 137 (1980): 138–279.
  814. Save Citation »Export Citation »E-mail Citation »
  815. Excavation report includes building sequence of surviving remains on site, occupied successively by Benedictine monks, Knights Templar, and Franciscan nuns. Includes discussion by Peter Newton of stained glass found on site (pp. 201–207) and description of floor tiles (both mosaic and relief), by Laurence Keen (pp. 212–219).
  816. Find this resource:
  817. Hicks, Carola, ed. Cambridgeshire Churches. Stamford, UK: Paul Watkins, 1997.
  818. Save Citation »Export Citation »E-mail Citation »
  819. A useful conspectus of research. Part 1 is devoted to essays on the architecture of Cambridgeshire churches (including the old county of Huntingdonshire). These include Martin Smith, “Romanesque Churches,” pp. 25–45; Hal Burton, “Transitional and Early English Churches,” pp. 46–56; Pamela Tudor-Craig, “Fourteenth-Century Churches,” pp. 57–94; and Simon Cotton, “Perpendicular Churches,” pp. 95–106.
  820. Find this resource:
  821. Fawcett, Richard. “Sutton in the Isle of Ely and Its Architectural Context.” In Medieval Art and Architecture at Ely Cathedral. Edited by Nicola Coldstream and Peter Draper, 78–96. British Archaeological Association Conference Transactions 2. London: British Archaeological Association, 1979.
  822. Save Citation »Export Citation »E-mail Citation »
  823. Description of late-14th-century work by the same architect at Sutton and in related churches in Norfolk. Architectural sources identified in Norwich Cathedral cloister and Ely Lady Chapel.
  824. Find this resource:
  825. Oswald, Arthur. “Andrew Doket and His Architect.” Proceedings of the Cambridge Antiquarian Society 42 (1949): 6–26.
  826. Save Citation »Export Citation »E-mail Citation »
  827. The work by Reginald Ely at Queens’ College.
  828. Find this resource:
  829. Willis, Robert, and John Willis Clark. The Architectural History of the University of Cambridge, and of the Colleges of Cambridge and Eton. 3 vols. Cambridge, UK: Cambridge University Press, 1988.
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  831. A comprehensive study of physical and documentary evidence. All subsequent work on the architecture of the university and college buildings is essentially a footnote to this publication. First published in four volumes in 1886; this edition includes a new introduction by David Watkin but lacks the volume of plans.
  832. Find this resource:
  833. Woodman, Francis. The Architectural History of King’s College Chapel and Its Place in the Development of Late Gothic Architecture in England and France. London: Routledge and Kegan Paul, 1986.
  834. Save Citation »Export Citation »E-mail Citation »
  835. Detailed analysis of the building campaigns, setting them in a wider architectural context.
  836. Find this resource:
  837. Norfolk
  838.  
  839. Haward 1995, Fawcett 1980, and Fawcett 1996 demonstrate design links among buildings in Norfolk. Fairweather 1929 indicates design links in the Romanesque period. Thurlby 1991 demonstrates the national importance of the 13th-century work at Binham Priory. Cattermole and Cotton 1983 illustrates the range of documentary evidence for dating parish churches. Macnaughton-Jones 1966, Martin-Jones 1910, and Woodman 1994 provide studies of particular buildings.
  840.  
  841. Cattermole, Paul, and Simon Cotton. “Medieval Parish Building in Norfolk.” Norfolk Archaeology 38.3 (1983): 235–279.
  842. Save Citation »Export Citation »E-mail Citation »
  843. Presents documentary evidence, mainly from wills, but also from other sources such as Norwich Cathedral account rolls and inscriptions, for building activity in Norfolk parish churches. It is arranged in the form of a gazetteer.
  844. Find this resource:
  845. Fairweather, F. H. “Additions to the Plans of Norman Priory Churches in Norfolk.” In A Supplement to Blomefield’s Norfolk. Edited by Clement Ingleby, 315–340. London: Clement Ingleby, 1929.
  846. Save Citation »Export Citation »E-mail Citation »
  847. Analysis, based on excavations, of the plans of Castle Acre, Binham, Wymondham, and Thetford.
  848. Find this resource:
  849. Fawcett, Richard. “A Group of Churches by the Architect of Great Walsingham.” Norfolk Archaeology 37.3 (1980): 277–294.
  850. Save Citation »Export Citation »E-mail Citation »
  851. Nine central Norfolk churches of the 1340s and 1350s, linked by window tracery and moldings.
  852. Find this resource:
  853. Fawcett, Richard. “The Influence of the Gothic Parts of the Cathedral on Church Building in Norfolk.” In Norwich Cathedral: Church, City and Diocese, 1096–1996. Edited by Ian Atherton, Eric Fernie, and Christopher Harper-Bill, 210–227. London, and Rio Grande, OH: Hambledon, 1996.
  854. Save Citation »Export Citation »E-mail Citation »
  855. Valuable study of the dissemination of architectural ideas and suggested identification of works by cathedral masons.
  856. Find this resource:
  857. Haward, Birkin. Norfolk Album: Medieval Church Arcades; A Measured Drawing Survey of Arcades with Lozenge Piers, with Notes and Other Church and Norfolk Drawings, 1983–1995. Ipswich, UK: Birkin Haward, 1995.
  858. Save Citation »Export Citation »E-mail Citation »
  859. A supplement to Haward 1993 (cited under Architecture: Suffolk), covering nearly fifty Norfolk church arcades, additional to the seventeen included in the Suffolk volume.
  860. Find this resource:
  861. Macnaughton-Jones, J. T. “Saint Ethelbert’s Gate, Norwich.” Norfolk Archaeology 34.1 (1966): 74–84.
  862. Save Citation »Export Citation »E-mail Citation »
  863. Well-illustrated architectural survey.
  864. Find this resource:
  865. Martin-Jones, S. “Notes on the Roof of the Nave of All Saints’ Church, Necton.” Norfolk Archaeology 17 (1910): 159–164.
  866. Save Citation »Export Citation »E-mail Citation »
  867. Brief architectural notice.
  868. Find this resource:
  869. Thurlby, Malcolm. “The West Front of Binham Priory, Norfolk, and the Beginnings of Bar Tracery in England.” In England in the Thirteenth Century: Proceedings of the 1989 Harlaxton Symposium. Edited by W. M. Ormrod, 155–165. Stamford, UK: Paul Watkins, 1991.
  870. Save Citation »Export Citation »E-mail Citation »
  871. Advances arguments to confirm documentary evidence that the west front of Binham Priory was built before 1244 and thus preserves the earliest surviving English bar tracery, perhaps reflecting a lost royal commission.
  872. Find this resource:
  873. Woodman, Francis. “Hardley, Norfolk, and the Rebuilding of Its Chancel.” In Studies in Medieval Art and Architecture Presented to Peter Lasko. Edited by David Buckton and T. A. Heslop, 203–210. Stroud, UK: Alan Sutton, 1994.
  874. Save Citation »Export Citation »E-mail Citation »
  875. Detailed analysis, based on records of the Great Hospital, Norwich, of rebuilding of Hardley chancel, 1457–1463.
  876. Find this resource:
  877. Suffolk
  878.  
  879. Haward 1993 is a valuable reference work covering the whole of the county. Analytical surveys of individual monuments are provided in Chitty 1951, Goodall 2003, and Woodman 2010. Patronage is the focus of MacCulloch and Blatchly 1986 and Middleton-Stewart 1992. Halliday 1992 looks at an aspect of Romanesque architecture, and Myres, et al. 1933 includes discussion of a major monument of the Decorated style, the gatehouse of Butley Priory.
  880.  
  881. Chitty, C. “Kessingland and Walberswick Church Towers.” Proceedings of the Suffolk Institute of Archaeology and Natural History 25.2 (1951): 164–171.
  882. Save Citation »Export Citation »E-mail Citation »
  883. Architectural similarities and documentary and structural evidence for dating. Reproduces the contract for the latter with Richard Russell and Adam Powle, master masons.
  884. Find this resource:
  885. Goodall, John A. A. “The Architecture of Ancestry at the Collegiate Church of St Andrew’s Wingfield, Suffolk.” In Family and Dynasty in Late Medieval England: Proceedings of the 1997 Harlaxton Symposium. Edited by Richard Eales and Shaun Tyas, 156–171. Donington, UK: Shaun Tyas, 2003.
  886. Save Citation »Export Citation »E-mail Citation »
  887. Describes the remodeling of Wingfield church by Alice de la Pole as a chantry in the 1460s and traces architectural links with Ewelme.
  888. Find this resource:
  889. Halliday, Robert. “The Norman Doorways at Wordwell and West Stow Churches.” Proceedings of the Suffolk Institute of Archaeology and History 37.4 (1992): 367–369.
  890. Save Citation »Export Citation »E-mail Citation »
  891. Identifies the Wordwell south tympanum as a scene from the life of St. Edward the Confessor and notes that the doorways at the two churches are related in design.
  892. Find this resource:
  893. Haward, Birkin. Suffolk Medieval Church Arcades, 1150–1550: A Measured Drawing Survey with Notes and Analysis. Ipswich, UK: Suffolk Institute of Archaeology and History, 1993.
  894. Save Citation »Export Citation »E-mail Citation »
  895. Important analytical survey, with attributions to known master masons and design links. Also includes related arcades in Cambridgeshire, Essex, and Norfolk.
  896. Find this resource:
  897. MacCulloch, D. N. J., and J. M. Blatchly. “Recent Discoveries at St Stephen’s Church, Ipswich: The Wimbill Chancel and the Rush-Alvard Chapel.” Proceedings of the Suffolk Institute of Archaeology and History 36.2 (1986): 101–114.
  898. Save Citation »Export Citation »E-mail Citation »
  899. Architectural history of St. Stephen’s, Ipswich, and the links of the church with the interrelated families of Wimbill, Rush, and Alvard.
  900. Find this resource:
  901. Middleton-Stewart, Judith. “Patronage, Personal Commemoration and Progress: St Andrew’s Church, Westhall c. 1140–1548.” Proceedings of the Suffolk Institute of Archaeology and History 37.4 (1992): 297–315.
  902. Save Citation »Export Citation »E-mail Citation »
  903. Analysis of architectural developments.
  904. Find this resource:
  905. Myres, J. N. L., W. D. Caröe, and J. B. Ward-Perkins. “Butley Priory, Suffolk.” Archaeological Journal 90 (1933): 177–281.
  906. Save Citation »Export Citation »E-mail Citation »
  907. Architectural history, based largely on excavations, but including full description of the gatehouse, built in the period 1311–1332, by W. D. Caröe.
  908. Find this resource:
  909. Woodman, Francis. “The Writing on the Wall: New Thoughts on Long Melford Church.” Proceedings of the Suffolk Institute of Archaeology and History 42.2 (2010): 185–197.
  910. Save Citation »Export Citation »E-mail Citation »
  911. Uses patronage evidence of exterior stone inscriptions and clerestory glass, testamentary evidence, and structural analysis to clarify the building history of the church.
  912. Find this resource:
  913. Castles
  914.  
  915. East Anglia has a wide variety of castles, some of which are architecturally important. Heslop 1994 and Brown 1978 set major Romanesque buildings in their architectural context. The construction of the innovative castle at Orford is discussed in Roberts 1930. Barnes and Simpson 1952 illustrates the importance of brick in late-medieval defensive architecture.
  916.  
  917. Barnes, H. D., and W. Douglas Simpson. “Caister Castle.” Antiquaries Journal 32.1–2 (1952): 35–51.
  918. DOI: 10.1017/S0003581500058388Save Citation »Export Citation »E-mail Citation »
  919. Brick castle built by Sir John Fastolf, begun in 1432. Affinities noted with Wasserburgen of lower Rhineland.
  920. Find this resource:
  921. Brown, R. Allen. Castle Rising, Norfolk. London: HMSO, 1978.
  922. Save Citation »Export Citation »E-mail Citation »
  923. Historical and architectural guide.
  924. Find this resource:
  925. Heslop, T. A. Norwich Castle Keep: Romanesque Architecture and Social Context. Norwich, UK: Centre of East Anglian Studies, 1994.
  926. Save Citation »Export Citation »E-mail Citation »
  927. Castle built between 1090s and c. 1121. Looks at architectural sculpture, stylistic links with the cathedral, and local influence on other buildings.
  928. Find this resource:
  929. Roberts, R. A. “Orford Castle.” Journal of the British Archaeological Society, n.s., 36 (1930): 33–58.
  930. Save Citation »Export Citation »E-mail Citation »
  931. Architectural history, with extracts from Pipe Rolls relating to construction.
  932. Find this resource:
  933. Flushwork
  934.  
  935. The devices and inscriptions incorporated in the distinctive flintwork decoration found in many late-medieval East Anglian churches provide invaluable clues to their patronage and building history, as is demonstrated in Blatchly and Northeast 2005 and Blatchly and Northeast 2011. Hart 2008 provides a more impressionistic general account.
  936.  
  937. Blatchly, John, and Peter Northeast. Decoding Flint Flushwork on Suffolk and Norfolk Churches: A Survey of More Than 90 Churches in the Two Counties Where Devices and Inscriptions Challenge Interpretation. Ipswich, UK: Suffolk Institute of Archaeology and History, 2005.
  938. Save Citation »Export Citation »E-mail Citation »
  939. Also covers March, Cambridgeshire. Two main workshops distinguished, one identified as that of the Aldryche family of South Lopham. Links are provided to textual evidence regarding building work and patrons.
  940. Find this resource:
  941. Blatchly, John, and Peter Northeast. “Addenda to Decoding Flint Flushwork.” Proceedings of the Suffolk Institute of Archaeology and History 42.3 (2011): 347–356.
  942. Save Citation »Export Citation »E-mail Citation »
  943. Additions and corrections to Blatchly and Northeast 2005.
  944. Find this resource:
  945. Hart, Stephen. Flint Flushwork: A Medieval Masonry Art. Woodbridge, UK: Boydell, 2008.
  946. Save Citation »Export Citation »E-mail Citation »
  947. More stylistic approach than Blatchly and Northeast, with woefully little information about the dates of buildings. Gazetteer on pp. 71–168.
  948. Find this resource:
  949. Secular Architecture
  950.  
  951. Much valuable information about secular architecture is to be found in the Royal Commission on Historical Monuments volumes on Cambridge (cited under Regional Studies: Cambridgeshire) and in the Buildings of England volumes (see Regional Studies for details). Sandon 1977 and Hill and Penrose 1967 cover domestic architecture in Suffolk. Statham 1969 is a detailed study of an urban building type.
  952.  
  953. Hill, P. J., and D. G. Penrose. “Medieval Timber Framed Houses in East Suffolk: An Essay in Classification.” Proceedings of the Suffolk Institute of Archaeology 30.3 (1967): 263–269.
  954. Save Citation »Export Citation »E-mail Citation »
  955. Provisional survey of domestic architecture, highlighting structural details indicative of chronological development.
  956. Find this resource:
  957. Sandon, Eric. Suffolk Houses: A Study of Domestic Architecture. Woodbridge, UK: Baron, 1977.
  958. Save Citation »Export Citation »E-mail Citation »
  959. Although covering buildings up to the 20th century, a significant portion of this book is devoted to medieval buildings. Sections are devoted to planning, structure, and design. These are followed by a gazetteer, subdivided by house type.
  960. Find this resource:
  961. Statham, Margaret. “The Guildhall, Bury St. Edmunds.” Proceedings of the Suffolk Institute of Archaeology 31.2 (1969): 117–157.
  962. Save Citation »Export Citation »E-mail Citation »
  963. Architectural and documentary history of the Guildhall, including 13th-century entrance arch and 15th-century kingpost roof and porch.
  964. Find this resource:
  965. Bury St. Edmunds Abbey
  966.  
  967. The fullest architectural account of Bury St. Edmunds Abbey is provided by the essays in Gransden 1998. Whittingham 1951 and Gilyard-Beer 1970 present architectural information gleaned from excavations. McAleer 1998 sets the west front in its regional context. The documentary evidence for the architectural history and fittings is conveniently presented and interpreted in James 1895.
  968.  
  969. Gilyard-Beer, R. “The Eastern Arm of the Abbey Church at Bury St. Edmunds.” Proceedings of the Suffolk Institute of Archaeology 31.3 (1970): 256–262.
  970. Save Citation »Export Citation »E-mail Citation »
  971. Assessment of plan recovered in excavations, 1957–1964.
  972. Find this resource:
  973. Gransden, Antonia, ed. Bury St Edmunds: Medieval Art, Architecture, Archaeology and Economy. British Archaeological Association Conference Transactions 20. London: British Archaeological Association, 1998.
  974. Save Citation »Export Citation »E-mail Citation »
  975. Important collection of conference papers, embodying much recent research into various aspects of the abbey. Papers particularly devoted to the architectural history are Eric Fernie, “The Romanesque Church of Bury St Edmunds Abbey,” pp. 1–15; Stephen Heywood, “Aspects of the Romanesque Church of Bury St Edmunds Abbey in their Regional Context,” pp. 16–21; J. Philip McAleer, “The West Front of the Abbey Church,” pp. 22–33; and John Crook, “The Architectural Setting of the Cult of St Edmund in the Abbey Church 1095–1539,” pp. 34–44.
  976. Find this resource:
  977. James, Montague Rhodes. On the Abbey of S. Edmund at Bury. Cambridge Antiquarian Octavo Series 28. Cambridge: Cambridge Antiquarian Society, 1895.
  978. Save Citation »Export Citation »E-mail Citation »
  979. A fundamental source for any study of the abbey of St. Edmund, bringing together all documentary evidence for the architectural history of the abbey and its furnishings, and providing a full list of known books from the library, as well as observations on the history of the library.
  980. Find this resource:
  981. McAleer, J. Philip. “The West Façade-Complex at the Abbey Church of Bury St Edmunds: A Description of the Evidence for Its Reconstruction.” Proceedings of the Suffolk Institute of Archaeology and History 39.2 (1998): 127–150.
  982. Save Citation »Export Citation »E-mail Citation »
  983. Reconstruction and analysis of the western structure, built between the 1120s and 1150s. Comparison with west transepts at Ely.
  984. Find this resource:
  985. Whittingham, A. B. “Bury St. Edmunds Abbey: The Plan, Design and Development of the Church and Monastic Buildings.” Archaeological Journal 108 (1951): 168–187.
  986. Save Citation »Export Citation »E-mail Citation »
  987. Chronological account of the architectural development of the church and claustral buildings, incorporating observations from excavations to date.
  988. Find this resource:
  989. St. Mary’s, Bury St. Edmunds
  990.  
  991. This large urban church is well covered in Tymms 1854. For the nave hammerbeam roof, see Tolhurst 1962 (cited under Woodwork).
  992.  
  993. Tymms, Samuel. An Architectural and Historical Account of the Church of St. Mary, Bury St. Edmund’s. Bury St. Edmund’s, UK: Jackson and Frost, 1854.
  994. Save Citation »Export Citation »E-mail Citation »
  995. Despite its age, this is the standard account of St. Mary’s, particularly valuable for extensive extracts from documents relating to the church and its fittings.
  996. Find this resource:
  997. Ely Cathedral
  998.  
  999. Bentham 1771, a landmark in the study of cathedral architecture, should still be referred to, as should Stewart 1868, which is a convenient source of documentary evidence for building activity. The most-recent surveys of the architecture are the essays in Coldstream and Draper 1979 and Meadows and Ramsay 2003. Aspects of the Romanesque building are covered in Fernie 1979, Hope 1919, and McAleer 1992. On the Gothic building, see Draper 1979 and Lindley 1986, as well as the works listed under Octagon and Lady Chapel.
  1000.  
  1001. Bentham, James. The History and Antiquities of the Conventual and Cathedral Church of Ely. Cambridge, UK: Cambridge University Press, 1771.
  1002. Save Citation »Export Citation »E-mail Citation »
  1003. Fundamental starting point for any study of the architectural history of Ely Cathedral.
  1004. Find this resource:
  1005. Coldstream, Nicola, and Peter Draper, eds. Medieval Art and Architecture at Ely Cathedral. British Archaeological Association Conference Transactions 2. London: British Archaeological Association, 1979.
  1006. Save Citation »Export Citation »E-mail Citation »
  1007. An important collection of articles on various aspects of Ely Cathedral and related buildings.
  1008. Find this resource:
  1009. Draper, Peter. “Bishop Northwold and the Cult of Saint Etheldreda.” In Medieval Art and Architecture at Ely Cathedral. Edited by Nicola Coldstream and Peter Draper, 8–27. British Archaeological Association Conference Transactions 2. London: British Archaeological Association, 1979.
  1010. Save Citation »Export Citation »E-mail Citation »
  1011. Assessment of liturgical considerations governing Bishop Northwold’s rebuilding of the presbytery, notably the need to provide a better setting for the shrine of St. Etheldreda.
  1012. Find this resource:
  1013. Fernie, Eric. “Observations on the Norman Plan of Ely Cathedral.” In Medieval Art and Architecture at Ely Cathedral. Edited by Nicola Coldstream and Peter Draper, 1–7. British Archaeological Association Conference Transactions 2. London: British Archaeological Association, 1979.
  1014. Save Citation »Export Citation »E-mail Citation »
  1015. Examines evidence for system of proportions at Ely.
  1016. Find this resource:
  1017. Hope, William St. John. “The Twelfth-Century Pulpitum or Roodloft Formerly in the Cathedral Church of Ely; with Some Notes on Similar Screens in English Cathedral and Monastic Churches.” Proceedings of the Cambridge Antiquarian Society 21 (1919): 19–73.
  1018. Save Citation »Export Citation »E-mail Citation »
  1019. Reconstruction of the pulpitum destroyed in 1770, from sketches by James Essex.
  1020. Find this resource:
  1021. Lindley, Phillip. “The Fourteenth-Century Architectural Programme at Ely Cathedral.” In England in the Fourteenth Century: Proceedings of the 1985 Harlaxton Symposium. Edited by W. M. Ormrod, 119–129. Woodbridge, UK: Boydell, 1986.
  1022. Save Citation »Export Citation »E-mail Citation »
  1023. Looks at the chronology and authorship of the major architectural works of the first half of the 14th century.
  1024. Find this resource:
  1025. McAleer, J. Philip. “A Note about the Transept Cross Aisles of Ely Cathedral.” Proceedings of the Cambridge Antiquarian Society 81 (1992): 51–70.
  1026. Save Citation »Export Citation »E-mail Citation »
  1027. Presents evidence for presence of a cross aisle in the south transept, subsequently removed. Compares with Winchester and with less exact Continental parallels.
  1028. Find this resource:
  1029. Meadows, Peter, and Nigel Ramsay, eds. A History of Ely Cathedral. Woodbridge, UK: Boydell, 2003.
  1030. Save Citation »Export Citation »E-mail Citation »
  1031. Important history of the cathedral, providing conspectus of research. Sections dealing with medieval architecture are Eric Fernie’s chapter “The Architecture and Sculpture of Ely Cathedral in the Norman Period,” pp. 94–111; and John Maddison’s “The Gothic Cathedral: New Building in a Historic Context,” pp. 113–141.
  1032. Find this resource:
  1033. Stewart, D. J. On the Architectural History of Ely Cathedral. London: John van Voorst, 1868.
  1034. Save Citation »Export Citation »E-mail Citation »
  1035. Detailed architectural history, incorporating much primary material. Several passages written by Professor Robert Willis.
  1036. Find this resource:
  1037. Octagon
  1038.  
  1039. The best discussion of the stylistic context of Ely’s most distinctive architectural feature is Coldstream 1979. Potts and Potts 2002 presents a stimulating examination of possible design sources. Lindley 1986 analyzes the decoration of the Octagon.
  1040.  
  1041. Coldstream, Nicola. “Ely Cathedral: The Fourteenth-Century Work.” In Medieval Art and Architecture at Ely Cathedral. Edited by Nicola Coldstream and Peter Draper, 28–46. British Archaeological Association Conference Transactions 2. London: British Archaeological Association, 1979.
  1042. Save Citation »Export Citation »E-mail Citation »
  1043. Detailed discussion of the dating and stylistic context of the Octagon and the Lady Chapel.
  1044. Find this resource:
  1045. Lindley, Phillip. “The Imagery of the Octagon at Ely.” Journal of the British Archaeological Association 139 (1986): 75–99.
  1046. Save Citation »Export Citation »E-mail Citation »
  1047. Investigation of the iconographic program of the Octagon, discussing both the surviving sculpture and paintings and the stained glass known from antiquarian records.
  1048. Find this resource:
  1049. Potts, W. T. W., and D. M. Potts. “The Architectural Background of the Ely Octagon.” Journal of the British Archaeological Association 155 (2002): 195–202.
  1050. Save Citation »Export Citation »E-mail Citation »
  1051. Discusses English and German Romanesque precedents for the idea of an octagonal central tower and suggests that the Norman church at Ely had such a feature.
  1052. Find this resource:
  1053. Lady Chapel
  1054.  
  1055. The best authority on the Lady Chapel is Nicola Coldstream, who places it in its wider architectural context in Coldstream 1985. Woodman 1984 should be read with caution. Dixon 2002 considers an aspect of the building’s function. On the Lady Chapel sculpture, see James 1895 (cited under Sculpture).
  1056.  
  1057. Coldstream, Nicola. “The Lady Chapel at Ely: Its Place in the English Decorated Style.” In East Anglian and Other Studies Presented to Barbara Dodwell. Edited by Malcolm Barber, Patricia McNulty, and Peter Noble, 1–30. Reading Medieval Studies 11. Reading, UK: Graduate Centre for Medieval Studies, Reading University, 1985.
  1058. Save Citation »Export Citation »E-mail Citation »
  1059. One of the fullest examples of the exploration of the possibilities of the Gothic style.
  1060. Find this resource:
  1061. Dixon, Philip. “Gateways to Heaven: The Approaches to the Lady Chapel, Ely.” Proceedings of the Cambridge Antiquarian Society 91 (2002): 63–72.
  1062. Save Citation »Export Citation »E-mail Citation »
  1063. Reconstruction of access routes.
  1064. Find this resource:
  1065. Woodman, Francis. “The Vault of the Ely Lady Chapel: Fourteenth or Fifteenth Century?” Gesta 23.2 (1984): 137–144.
  1066. DOI: 10.2307/766886Save Citation »Export Citation »E-mail Citation »
  1067. Controversial redating of the Ely Lady Chapel vault to the 1480s. Argues that the closest stylistic parallels are in the nave and choir vaults of Norwich Cathedral, 1463–1499.
  1068. Find this resource:
  1069. Monastic Buildings
  1070.  
  1071. The conventual buildings at Ely, preserved in part by their inclusion in the King’s School, are covered extensively in Atkinson 1933. Some of Atkinson’s observations and interpretations are corrected in Holton-Krayenbuhl 1997 and Holton-Krayenbuhl 1999, both of which are based on thorough architectural surveys.
  1072.  
  1073. Atkinson, Thomas Dinham. An Architectural History of the Benedictine Monastery of Saint Etheldreda at Ely. Cambridge, UK: Cambridge University Press, 1933.
  1074. Save Citation »Export Citation »E-mail Citation »
  1075. Magisterial survey devoted mainly to the monastic buildings, but also including valuable observations on the cathedral.
  1076. Find this resource:
  1077. Holton-Krayenbuhl, Anne. “The Infirmary Complex at Ely.” Archaeological Journal 154 (1997): 118–172.
  1078. Save Citation »Export Citation »E-mail Citation »
  1079. Analysis of the development and function of buildings in the infirmary complex.
  1080. Find this resource:
  1081. Holton-Krayenbuhl, Anne. “The Prior’s Lodging at Ely.” Archaeological Journal 156 (1999): 294–341.
  1082. Save Citation »Export Citation »E-mail Citation »
  1083. Architectural survey tracing the development of the buildings and examining their function.
  1084. Find this resource:
  1085. Norwich Cathedral
  1086.  
  1087. The best introduction to the architecture of Norwich Cathedral is Atherton, et al. 1996. The study of the Romanesque building and its aesthetic is dominated by the work of Eric Fernie: Fernie 1976, Fernie 1977, and, above all, Fernie 1993. Other contributions to the early building history are made by Cranage 1932 and Gilchrist 1998. Individual aspects of the building are studied in Gilchrist 2001 and Heslop 1994. The buildings in the close are analyzed in Gilchrist 2005.
  1088.  
  1089. Atherton, Ian, Eric Fernie, and Christopher Harper-Bill, eds. Norwich Cathedral: Church, City and Diocese, 1096–1996. London, and Rio Grande, OH: Hambledon, 1996.
  1090. Save Citation »Export Citation »E-mail Citation »
  1091. Major collection of essays on various aspects of Norwich Cathedral. Part II (pp. 45–227) includes studies of aspects of the cathedral’s architecture and its influence, by Eric Fernie, Stephen Heywood, Malcolm Thurlby, Francis Woodman, and Richard Fawcett.
  1092. Find this resource:
  1093. Cranage, D. H. S. “Eastern Chapels in the Cathedral Church of Norwich.” Antiquaries Journal 12.2 (1932): 117–126.
  1094. DOI: 10.1017/S0003581500047090Save Citation »Export Citation »E-mail Citation »
  1095. Plan of Herbert de Losinga’s eastern chapel, recovered in excavations, 1930–1931.
  1096. Find this resource:
  1097. Fernie, Eric. “The Ground Plan of Norwich Cathedral and the Square Root of Two.” Journal of the British Archaeological Association 129 (1976): 77–86.
  1098. Save Citation »Export Citation »E-mail Citation »
  1099. Study of system of proportions used at Norwich.
  1100. Find this resource:
  1101. Fernie, E. C. “The Romanesque Piers of Norwich Cathedral.” Norfolk Archaeology 36.4 (1977): 383–386.
  1102. Save Citation »Export Citation »E-mail Citation »
  1103. Describes the different 11th-century pier forms and discusses their function. Notes the association of spiral columns with sanctuaries and altars.
  1104. Find this resource:
  1105. Fernie, Eric. An Architectural History of Norwich Cathedral. Oxford: Clarendon, 1993.
  1106. Save Citation »Export Citation »E-mail Citation »
  1107. Standard study of the cathedral, begun c. 1109 and completed before 1145. After an introduction and historiography, chapters are devoted to “The Documentary History,” “The Archaeology,” “The Design,” “The Context,” and “The Additions and Alterations.”
  1108. Find this resource:
  1109. Gilchrist, Roberta. “Norwich Cathedral: A Biography of the North Transept.” Journal of the British Archaeological Association 151 (1998): 107–136.
  1110. Save Citation »Export Citation »E-mail Citation »
  1111. Archaeological and petrological survey of the north transept, with reconstruction of the original appearance of the gable.
  1112. Find this resource:
  1113. Gilchrist, Roberta. “Norwich Cathedral Tower and Spire: Recording and Analysis of a Cathedral’s Longue Durée.” Archaeological Journal 158 (2001): 291–324.
  1114. Save Citation »Export Citation »E-mail Citation »
  1115. Evidence for design and construction of Romanesque tower and late-15th-century spire, the latter probably commissioned by Bishop Goldwell.
  1116. Find this resource:
  1117. Gilchrist, Roberta. Norwich Cathedral Close: The Evolution of the English Cathedral Landscape. Woodbridge, UK: Boydell, 2005.
  1118. Save Citation »Export Citation »E-mail Citation »
  1119. Comprehensive archaeological and architectural survey of the buildings of the cathedral close, investigating their use in the period up to 1700.
  1120. Find this resource:
  1121. Heslop, Sandy. “The Easter Sepulchre in Norwich Cathedral: Ritual, Transience, and Archaeology.” In Echoes Mainly Musical from Norwich and Around: Local Studies for Michael Nicholas, Organist at Norwich, 1971–1994. Edited by Christopher Smith, 17–20. Norwich, UK: Solen, 1994.
  1122. Save Citation »Export Citation »E-mail Citation »
  1123. Presents architectural and textual evidence that the vault under the Ante-Reliquary Chapel served as an Easter sepulchre.
  1124. Find this resource:
  1125. Stained Glass
  1126.  
  1127. The most-significant contributions to the study of East Anglian stained glass are the publications of Christopher Woodforde and David King. Woodforde 1950, though modified in some details by King’s research, especially King 2006 (cited under St. Peter Mancroft, Norwich), is still the standard guide to the Norwich school of stained glass. Woodforde 1933a and Woodforde 1933b look at the documentary evidence for glass painters in East Anglia. These should be used in conjunction with King 2004 (cited under Stained Glass: Norfolk). King 2010 looks at one aspect of religious patronage throughout the region, and King 2008 teases out political references in East Anglian glazing schemes.
  1128.  
  1129. King, David. “Reading the Material Culture: Stained Glass and Politics in Late Medieval Norfolk.” In The Fifteenth Century. Vol. 8, Rule, Redemption and Representations in Late Medieval England and France. Edited by Linda Sue Clark, 105–134. Woodbridge, UK: Boydell, 2008.
  1130. Save Citation »Export Citation »E-mail Citation »
  1131. Examples of political propaganda, both Lancastrian and Yorkist, in East Anglian glazing programs.
  1132. Find this resource:
  1133. King, David. “Mendicant Glass in East Anglia.” In The Friars in Medieval Britain: Proceedings of the 2007 Harlaxton Symposium. Edited by Nicholas Rogers, 169–184. Donington, UK: Shaun Tyas, 2010.
  1134. Save Citation »Export Citation »E-mail Citation »
  1135. Valuable survey of surviving remains of glass from friaries in East Anglia, including a tentative reconstruction of a window from the Norwich Greyfriars. There are discussions of the range of patronage and of iconographical peculiarities of mendicant glass, as well as a suggestion that some glass may have been manufactured by the friars themselves.
  1136. Find this resource:
  1137. Woodforde, Christopher. “Further Notes on Ancient Glass in Norfolk and Suffolk.” Journal of the British Society of Master Glass-Painters 5.2 (1933a): 57–68.
  1138. Save Citation »Export Citation »E-mail Citation »
  1139. Observations mostly on aspects of Suffolk stained glass. List of glass painters in Ipswich.
  1140. Find this resource:
  1141. Woodforde, Christopher. “Schools of Glass-Painting in King’s Lynn and Norwich in the Middle Ages.” Journal of the British Society of Master Glass-Painters 5.1 (1933b): 4–18.
  1142. Save Citation »Export Citation »E-mail Citation »
  1143. Stylistic and documentary evidence for glass painters working in King’s Lynn and Norwich.
  1144. Find this resource:
  1145. Woodforde, Christopher. The Norwich School of Glass-Painting in the Fifteenth Century. London: Oxford University Press, 1950.
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  1147. Standard work on the subject, though superseded in some details by David King’s work.
  1148. Find this resource:
  1149. Cambridgeshire
  1150.  
  1151. Apart from King’s College Chapel, Cambridge has very little medieval glass. Rackham 1952 and Rackham 1953 deal with the surviving glass at Christ’s College, and Chainey 1990 hints at what has been lost. Wayment 1993 describes a rare surviving scheme of mendicant glass, also discussed in King 2010 (cited under Stained Glass). For glass in the county outside Cambridge, see the Royal Commission on Historical Monuments volumes, cited under Regional Studies: Cambridgeshire, and Pevsner 1970, cited under Regional Studies.
  1152.  
  1153. Chainey, Graham. “The Lost Stained Glass of Cambridge.” Proceedings of the Cambridge Antiquarian Society 79 (1990): 70–81.
  1154. Save Citation »Export Citation »E-mail Citation »
  1155. Survey of documentary and antiquarian evidence.
  1156. Find this resource:
  1157. Rackham, Bernard. “The Ancient Windows of Christ’s College Chapel, Cambridge.” Archaeological Journal 109 (1952): 132–142.
  1158. Save Citation »Export Citation »E-mail Citation »
  1159. Surviving glass belongs to early in the reign of Henry VII, made for Godshouse, and from the glazing program executed between 1505 and 1510 for Lady Margaret Beaufort’s foundation.
  1160. Find this resource:
  1161. Rackham, Bernard. “Supplementary Note on the Windows of Christ’s College Chapel, Cambridge.” Archaeological Journal 110 (1953): 214.
  1162. Save Citation »Export Citation »E-mail Citation »
  1163. Interpretation of lost original central figure.
  1164. Find this resource:
  1165. Wayment, Hilary. “Ten Carmelite Roundels at Queens’ College Cambridge.” Proceedings of the Cambridge Antiquarian Society 82 (1993): 139–156.
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  1167. Discusses the original context of the roundels, with heads of Carmelites, from the Cambridge Whitefriars, now in the Old Library, Queens’ College.
  1168. Find this resource:
  1169. Norfolk
  1170.  
  1171. A useful introduction to the glass to be found in Norfolk churches is King 1974. Glazing schemes in particular churches are dealt with in Keyser 1907, Woodforde 1932, Woodforde 1934a, and Woodforde 1934b. Tracery lights, often the only element surviving, are studied in Keyser 1916 and King 1978. Ingleby 1929 looks at a set of roundels. Rose 2001 is an iconographical survey.
  1172.  
  1173. Ingleby, Clement. “Denton and Its Glass.” In A Supplement to Blomefield’s Norfolk. Edited by Clement Ingleby, 47–69. London: Clement Ingleby, 1929.
  1174. Save Citation »Export Citation »E-mail Citation »
  1175. Includes details of late-15th-century roundels.
  1176. Find this resource:
  1177. Keyser, Charles E. “Notes on Some Fifteenth-Century Glass in the Church of Wiggenhall St. Mary Magdalene.” Norfolk Archaeology 16.3 (1907): 306–319.
  1178. Save Citation »Export Citation »E-mail Citation »
  1179. Description of an iconographically rich series of saints, set in the context of a description of the church.
  1180. Find this resource:
  1181. Keyser, Charles E. “Notes on Some Ancient Stained Glass in Sandringham Church, Norfolk.” Norfolk Archaeology 19.2 (1916): 122–132.
  1182. Save Citation »Export Citation »E-mail Citation »
  1183. Discussion of iconography of early-16th-century saints in tracery lights.
  1184. Find this resource:
  1185. King, David J. Stained Glass Tours around Norfolk Churches. Fakenham, UK: Norfolk Society, 1974.
  1186. Save Citation »Export Citation »E-mail Citation »
  1187. Introductory chorographical survey of Norfolk glass, providing iconographic information and dating evidence.
  1188. Find this resource:
  1189. King, David J. “An Antiphon to St. Edmund in Taverham Church.” Norfolk Archaeology 36.4 (1978): 387–391.
  1190. Save Citation »Export Citation »E-mail Citation »
  1191. Antiphon on scrolls borne by angels in tracery. Evidence about glazing of main lights.
  1192. Find this resource:
  1193. Rose, Adrian. “Angel Musicians in the Medieval Stained Glass of Norfolk Churches.” Early Music 29 (2001): 186–217.
  1194. DOI: 10.1093/em/29.2.186Save Citation »Export Citation »E-mail Citation »
  1195. Iconographic commentary on representations of angel musicians, with an inventory of all known examples.
  1196. Find this resource:
  1197. Woodforde, Christopher. “The Medieval Glass in Elsing Church, Norfolk.” Journal of the British Society of Master Glass-Painters 4.3 (1932): 134–136.
  1198. Save Citation »Export Citation »E-mail Citation »
  1199. Description of surviving and lost glass at Elsing, associated mostly with Sir Hugh Hastings.
  1200. Find this resource:
  1201. Woodforde, Christopher. “Painted Glass in Saxlingham Nethergate Church, Norfolk.” Journal of the British Society of Master Glass-Painters 5.4 (1934a): 163–169.
  1202. Save Citation »Export Citation »E-mail Citation »
  1203. Description of 13th-, 14th-, and 15th-century work.
  1204. Find this resource:
  1205. Woodforde, Christopher. “The Mediæval Painted Glass in North Tuddenham Church, Norfolk.” Norfolk Archaeology 25.2 (1934b): 220–226.
  1206. Save Citation »Export Citation »E-mail Citation »
  1207. Detailed description of glass, including scenes from life of St. Agnes.
  1208. Find this resource:
  1209. East Harling
  1210.  
  1211. The glass, associated with the patronage of Anne Harling, is covered in Woodforde 1932 and Woodforde 1940.
  1212.  
  1213. Woodforde, Christopher. “Mediæval Glass in East Harling Church.” Norfolk Archaeology 24.3 (1932): 254–261.
  1214. Save Citation »Export Citation »E-mail Citation »
  1215. Compares and contrasts with the glass at St. Peter Mancroft, Norwich.
  1216. Find this resource:
  1217. Woodforde, Christopher. “The Medieval Stained Glass in East Harling and North Tuddenham Churches, Norfolk.” Journal of the British Archaeological Association, 3d ser., 5 (1940): 1–32.
  1218. Save Citation »Export Citation »E-mail Citation »
  1219. Stylistic and iconographic analysis of the glass. Also describes fragments at Welborne, Norfolk.
  1220. Find this resource:
  1221. Norwich (Other Than St. Peter Mancroft)
  1222.  
  1223. King 2004 is a valuable survey of medieval Norwich glaziers. The Guildhall glass is studied in Kent 1926 and Kent 1928, and the largely fragmentary remains of parochial glazing schemes are covered in Harford 1904,King 1907, King 1913, and Woodforde 1937.
  1224.  
  1225. Harford, Dundas. “On the East Window of St. Stephen’s Church, Norwich.” Norfolk Archaeology 16.3 (1904): 335–348.
  1226. Save Citation »Export Citation »E-mail Citation »
  1227. Description of remains of a Crucifixion with Old Testament types, datable to 1533, together with 15th-century fragments, as well as early-16th-century glass from Mariawald, Germany.
  1228. Find this resource:
  1229. Kent, Ernest A. “The Stained and Painted Glass in the Guildhall, Norwich.” Norfolk Archaeology 23.1 (1926): 1–10.
  1230. Save Citation »Export Citation »E-mail Citation »
  1231. Detailed description of fragments, with identification of subjects, reprinted in Kent 1928.
  1232. Find this resource:
  1233. Kent, Ernest A. Norwich Guildhall: The Fabric and the Ancient Stained Glass. Norwich, UK: Corporation of Norwich, 1928.
  1234. Save Citation »Export Citation »E-mail Citation »
  1235. Architectural history, followed by detailed description of surviving remnants of old glass, with identification of subjects, reprinted from Kent 1926.
  1236. Find this resource:
  1237. King, David. “Medieval Glass-Painting.” In Medieval Norwich. Edited by Carole Rawcliffe and Richard Wilson, 121–136. London: Hambledon, 2004.
  1238. Save Citation »Export Citation »E-mail Citation »
  1239. An account of Norwich glaziers and their products from the 12th to the 16th centuries.
  1240. Find this resource:
  1241. King, George A. “On the Ancient Stained Glass Still Remaining in the Church of St. Peter Hungate, Norwich.” Norfolk Archaeology 16.3 (1907): 205–218.
  1242. Save Citation »Export Citation »E-mail Citation »
  1243. Thorough account, with reference to Kirkpatrick and other antiquaries who saw the glass in a more complete state, of remains of glazing of church rebuilt by the Pastons in 1458–1460.
  1244. Find this resource:
  1245. King, George A. “The Pre-Reformation Painted Glass in St. Andrew’s Church, Norwich.” Norfolk Archaeology 18.3 (1913): 283–294.
  1246. Save Citation »Export Citation »E-mail Citation »
  1247. Description of glass, including panel from the Dance of Death and remains of glass of the 1520s by a Netherlandish glazier.
  1248. Find this resource:
  1249. Woodforde, Christopher. “The Medieval Glass in the Churches of St. John the Baptist, Mileham, and All Saints and St. Michael-at-Plea, Norwich.” Norfolk Archaeology 26.2 (1937): 164–177.
  1250. Save Citation »Export Citation »E-mail Citation »
  1251. Detailed description of recently conserved glass of the 14th and 15th centuries in three churches, noting links with other glass by Norwich glaziers.
  1252. Find this resource:
  1253. St. Peter Mancroft, Norwich
  1254.  
  1255. King 2006 demonstrates the centrality of the glass of this major urban church to any study of Norwich glass. King 1996 attempts an identification of two of the glaziers working at St. Peter Mancroft. King 1982 and King 2005 focus on particular windows. King 1909 is still of value for conservation history.
  1256.  
  1257. King, David. “New Light on the Medieval Glazing of the Church of St. Peter Mancroft, Norwich.” In Crown in Glory: A Celebration of Craftsmanship—Studies in Stained Glass. Edited by Peter Moore, 18–22. Norwich, UK: Jarrold, 1982.
  1258. Save Citation »Export Citation »E-mail Citation »
  1259. Evidence from notes made by John Kirkpatrick in 1712, regarding the original arrangement of scenes from the life of St. John Evangelist and the patron of the glass.
  1260. Find this resource:
  1261. King, David J. “A Glazier from the Bishopric of Utrecht in Fifteenth-Century Norwich.” In Utrecht, Britain and the Continent: Archaeology, Art and Architecture. Edited by Bièvre, Elisabeth de, 216–225. British Archaeological Association Conference Transactions 18. London: British Archaeological Association, 1996.
  1262. Save Citation »Export Citation »E-mail Citation »
  1263. Account of William Mounford, a Norwich glazier of Dutch origin, and his wife, Helen, also documented as a glazier. Tentative identification of William as the Passion Master at St. Peter Mancroft, and suggestion that the St. Margaret window there was painted by Helen.
  1264. Find this resource:
  1265. King, David. The Medieval Stained Glass of St Peter Mancroft, Norwich. Corpus Vitrearum Medii Aevi, Great Britain 5. Oxford: Oxford University Press, 2006.
  1266. Save Citation »Export Citation »E-mail Citation »
  1267. Magisterial survey of the glass of this important Norwich church, with detailed description of each panel. Introduction with history of the glass; analysis of iconography, style, and workshop practice; and overall survey of each window. Appendices include biographical survey of Norwich glaziers, c. 1400–c. 1540, and documentary evidence relating to the building, furnish, and liturgy of St. Peter Mancroft.
  1268. Find this resource:
  1269. King, David J. “Art in an Urban Context: The Toppes Window in St Peter Mancroft, Norfolk.” In Glasmalerei im Kontext: Bildprogramme und Raumfunktionen; Akten des XXII. Internationalen Colloquiums des Corpus Vitrearum, Nürnberg, 29. August–1. September 2004. Edited by Rüdiger Becksmann, 197–210. Nuremberg, Germany: Germanisches Nationalmuseum, 2005.
  1270. Save Citation »Export Citation »E-mail Citation »
  1271. Relates aspects of the iconography of the window given to St. Peter Mancroft by Robert Toppes, mayor of Norwich, to urban and national politics.
  1272. Find this resource:
  1273. King, George Alfred. “A Description of the Ancient Stained Glass in the Church of St. Peter Mancroft, Norwich.” Norfolk Archaeology 17.2 (1909): 194–220.
  1274. Save Citation »Export Citation »E-mail Citation »
  1275. Description and condition report.
  1276. Find this resource:
  1277. Suffolk (Other Than Long Melford)
  1278.  
  1279. Apart from Long Melford, studies of glass in Suffolk are confined to descriptive reports on individual churches, such as Wilkinson 1934, Woodforde 1932, and Woodforde 1933. There is also discussion of Suffolk glass in Woodforde 1950 (cited under Stained Glass). Warren and Carmichael 1911 publishes the evidence of an unusual lost window.
  1280.  
  1281. Warren, F. E., and Montgomery Carmichael. “Picture at Hardwick House of a Window Formerly in the Abbey of Bury St. Edmunds: The ‘Iconotypicon Buriense’ of Spelman.” Proceedings of the Suffolk Institute of Archaeology and Natural History 14.2 (1911): 275–279.
  1282. Save Citation »Export Citation »E-mail Citation »
  1283. Antiquarian copy of late-15th- or early-16th-century Antichrist window.
  1284. Find this resource:
  1285. Wilkinson, Horace. “Fifteenth-Century in Bardwell Church, Suffolk.” Journal of the British Society of Master Glass-Painters 5.4 (1934): 159–164.
  1286. Save Citation »Export Citation »E-mail Citation »
  1287. Reproduces 1825 Gentleman’s Magazine correspondence about members of the Drury family who worked in glass.
  1288. Find this resource:
  1289. Woodforde, Christopher. “The Mediæval Glass in Yaxley Church.” Proceedings of the Suffolk Institute of Archaeology and Natural History 21.2 (1932): 91–98.
  1290. Save Citation »Export Citation »E-mail Citation »
  1291. Reconstructs original scheme of glazing from 13th–15th-century fragments.
  1292. Find this resource:
  1293. Woodforde, Christopher. “The Fifteenth-Century Glass in Blythburgh Church.” Proceedings of the Suffolk Institute of Archaeology and Natural History 21.3 (1933): 232–239.
  1294. Save Citation »Export Citation »E-mail Citation »
  1295. Iconography of tracery lights, including obscure saints.
  1296. Find this resource:
  1297. Long Melford, Suffolk
  1298.  
  1299. Though much disarranged, the Long Melford glass is one of the most important glazing schemes in late-medieval Suffolk. The most important study, drawing on antiquarian evidence to reconstruct the original scheme, is Woodforde 1938 and Woodforde 1939. Particular iconographic aspects of the glass are studied in Woodforde 1931. See also the discussion of Long Melford in Woodforde 1950 (cited under Stained Glass). For earlier writers, such as the authors of Birch 1884 and Le Couteur 1927, the primary interest of the Long Melford glass was historical rather than art historical.
  1300.  
  1301. Birch, Walter de Gray. “The Lady Anne Percy’s Portrait in Stained Glass at Long Melford.” Journal of the British Archaeological Association 40 (1884): 400–408.
  1302. Save Citation »Export Citation »E-mail Citation »
  1303. Mainly heraldic and genealogical study.
  1304. Find this resource:
  1305. Le Couteur, John D. “Long Melford Church, Suffolk, and Its Portrait Glass.” Journal of the British Society of Master Glass-Painters 2.2 (1927): 74–77.
  1306. Save Citation »Export Citation »E-mail Citation »
  1307. Brief introduction to the persons represented in the glass at Long Melford.
  1308. Find this resource:
  1309. Woodforde, Christopher. “Two Unusual Subjects in Long Melford Church.” Proceedings of the Suffolk Institute of Archaeology and Natural History 21.1 (1931): 63–66.
  1310. Save Citation »Export Citation »E-mail Citation »
  1311. “Lily Crucifix” and “Trinity Rabbits,” with parallel examples.
  1312. Find this resource:
  1313. Woodforde, Christopher. “The Medieval Stained Glass of Long Melford Church, Suffolk.” Journal of the British Archaeological Association, 3d ser., 3 (1938): 1–63.
  1314. Save Citation »Export Citation »E-mail Citation »
  1315. Major survey and iconographic analysis of the glass, with notes on patrons.
  1316. Find this resource:
  1317. Woodforde, Christopher. “Further Notes on the Medieval Stained Glass of Long Melford Church, Suffolk.” Journal of the British Archaeological Association, 3d ser., 4 (1939): 193–196.
  1318. Save Citation »Export Citation »E-mail Citation »
  1319. Corrigenda and addenda to Woodforde 1938.
  1320. Find this resource:
  1321. King’s College Chapel, Cambridge
  1322.  
  1323. The great windows of King’s College Chapel, the most important surviving example of Anglo-Netherlandish glazing of the early 16th century, have been studied in depth, most notably by James, Harrison and Wayment. The standard catalogue is Wayment 1972, but James and Milner-White 1951 is still the best guide to the iconography, and Harrison 1952 provides a useful introduction to the stylistic trends manifest in the glass. Hicks 2007 provides an account of the background to the glazing. Harrison 1954 looks at design sources; Wayment 1979 and Wayment 1995, at workshop practice and division of hands. Thackeray and Warren 2005 focuses on a specific iconographic motif.
  1324.  
  1325. Harrison, Kenneth. The Windows of King’s College Chapel Cambridge: Notes on Their History and Design. Cambridge, UK: Cambridge University Press, 1952.
  1326. Save Citation »Export Citation »E-mail Citation »
  1327. Useful biographical studies of glaziers, and essay on the diffusion of Renaissance ornament in England in stained glass and other media.
  1328. Find this resource:
  1329. Harrison, Kenneth. “Designs from Dürer in the Windows of King’s College Chapel, Cambridge.” Burlington Magazine 96.620 (November 1954): 348–349.
  1330. Save Citation »Export Citation »E-mail Citation »
  1331. Brief note on two obvious borrowings from Dürer woodcuts, one in a window probably designed by Derick Vellert of Antwerp, who entertained Dürer in 1520–1521.
  1332. Find this resource:
  1333. Hicks, Carola. The King’s Glass: A Story of Tudor Power and Secret Art. London: Chatto and Windus, 2007.
  1334. Save Citation »Export Citation »E-mail Citation »
  1335. A general account of the social, political, and religious context of the creation of the King’s College Chapel glass.
  1336. Find this resource:
  1337. James, Montague Rhodes, and Eric Milner-White. A Guide to the Windows of King’s College Chapel, Cambridge. 3d ed. Cambridge, UK: King’s College, 1951.
  1338. Save Citation »Export Citation »E-mail Citation »
  1339. The latest edition of M. R. James’s description of the windows, first published in 1899. A useful guide to the iconography, with full transcriptions of all the inscriptions.
  1340. Find this resource:
  1341. Thackeray, J. Francis, and Judith Warren. “Unicorns in Stained Glass Windows in King’s College Chapel, Cambridge: Comparisons with Late Medieval Art.” Journal of Stained Glass 29 (2005): 24–29.
  1342. Save Citation »Export Citation »E-mail Citation »
  1343. Discusses unicorn imagery in window 3 (and also windows 36 and 37, installed in the 20th century).
  1344. Find this resource:
  1345. Wayment, H. G. “The Great Windows of King’s College Chapel, and the Meaning of the Word ‘Vidimus.’” Proceedings of the Cambridge Antiquarian Society 69 (1979): 53–69.
  1346. Save Citation »Export Citation »E-mail Citation »
  1347. Looks at terminology of indentures from 1526. Designs attributed to Adrian van den Houte (d. 1521) and Dierick Vellert.
  1348. Find this resource:
  1349. Wayment, Hilary. The Windows of King’s College Chapel, Cambridge: A Description and Commentary. Corpus Vitrearum Medii Aevi, Great Britain, Supplementary 1. London: British Academy, 1972.
  1350. Save Citation »Export Citation »E-mail Citation »
  1351. The standard account of the glass, with black-and-white plates of each window, comparative material, and color plates of selected details. Includes sections by Kenneth Harrison on “Glazing in England: The Southwark School” and “The Contracting Glaziers” (pp. 9–15).
  1352. Find this resource:
  1353. Wayment, Hilary. “The Late Glass in King’s College Chapel: Dierick Vellert and Peter Nicholson.” Proceedings of the Cambridge Antiquarian Society 84 (1995): 121–142.
  1354. Save Citation »Export Citation »E-mail Citation »
  1355. Identifies the work of James Nicholson, Dierick Vellert, and Peter Nicholson.
  1356. Find this resource:
  1357. Side-Chapel Glass
  1358.  
  1359. Some of the first campaign of glazing at King’s College survives in the side chapels and is discussed in James 1896 and Wayment 1988.
  1360.  
  1361. James, M. R. “On Some Fragments of Fifteenth Century Painted Glass from the Windows of King’s College Chapel, with Notes upon the Painted Glass in the Side Chapels.” Proceedings of the Cambridge Antiquarian Society 9.1 (1896): 3–12.
  1362. Save Citation »Export Citation »E-mail Citation »
  1363. Description of old glass used as stopgap in the chapel, restoration history of chapel glass, and description of various side-chapel panels, with comments on their original context.
  1364. Find this resource:
  1365. Wayment, Hilary. King’s College Chapel Cambridge: The Side-Chapel Glass. Cambridge, UK: Cambridge Antiquarian Society and the Provost and Scholars of King’s College, 1988.
  1366. Save Citation »Export Citation »E-mail Citation »
  1367. Catalogue of glass, introduced mostly in the 20th century by Dean Milner-White and others, but including remains of original glazing. Notes a uniquely varied collection of quarries. Gives evidence regarding the identity of the glazier of figures of apostles, prophets, and saints, from c. 1500.
  1368. Find this resource:
  1369. Imported Stained Glass
  1370.  
  1371. The King’s Chapel Glass is largely the work of Netherlandish craftsmen resident in England. Two cases of imported stained glass are discussed in Wayment 1986–1987 and Woodforde 1934.
  1372.  
  1373. Wayment, Hilary. “The Foreign Glass at Hengrave Hall and at St James, Bury St Edmunds.” Journal of Stained Glass 18.2 (1986–1987): 166–179.
  1374. Save Citation »Export Citation »E-mail Citation »
  1375. Identifies the glass at Hengrave Hall, imported in 1527, and the remains of two windows at St. James, Bury St. Edmunds, inserted c. 1533, as products of Troyes glaziers.
  1376. Find this resource:
  1377. Woodforde, Christopher. “The Stained and Painted Glass in Hengrave Hall, Suffolk.” Proceedings of the Suffolk Institute of Archaeology and Natural History 22.1 (1934): 1–16.
  1378. Save Citation »Export Citation »E-mail Citation »
  1379. Continued in 22.3 (1936): 243; description of glass, including that in the chapel, identified by Woodforde as being by an Anglo-Netherlandish workshop.
  1380. Find this resource:
  1381. Sculpture
  1382.  
  1383. Most of the studies of sculpture in East Anglia focus on works in the major cultural centers, but Johnson 1997 provides a county survey of Romanesque sculpture for Cambridgeshire, and studies of particular Romanesque sculptures have been provided in Galbraith 1969, Galbraith 1974, Rigold 1971, and Shelley and Heywood 2005. Scarfe 1974 presents the case for the Cloisters Cross as a Bury St. Edmunds product. Cave 1935 provides a description of parochial roof bosses. Ellis 1912 and Salmon 1971 are iconographical in focus.
  1384.  
  1385. Cave, C. J. P. “The Roof Bosses in the Chancel of Salle Church.” Norfolk Archaeology 25.3 (1935): 368–372.
  1386. Save Citation »Export Citation »E-mail Citation »
  1387. Description, with photographs.
  1388. Find this resource:
  1389. Ellis, H. D. “The Wodewose in East Anglian Church Decoration.” Proceedings of the Suffolk Institute of Archaeology and Natural History 14 (1912): 287–293.
  1390. Save Citation »Export Citation »E-mail Citation »
  1391. Examples on external sculpture and fonts. Suggests a link with the Low Countries.
  1392. Find this resource:
  1393. Galbraith, K. J. “Early Sculpture at St. Nicholas’ Church, Ipswich.” Proceedings of the Suffolk Institute of Archaeology 31.2 (1969): 172–184.
  1394. Save Citation »Export Citation »E-mail Citation »
  1395. Figure panels in unusual style datable c. 1120 and showing continued influence of Scandinavian art after the Norman Conquest.
  1396. Find this resource:
  1397. Galbraith, K. J. “Further Thoughts on the Boar at St. Nicholas’ Church, Ipswich.” Proceedings of the Suffolk Institute of Archaeology 33.1 (1974): 68–74.
  1398. Save Citation »Export Citation »E-mail Citation »
  1399. Boar symbolism.
  1400. Find this resource:
  1401. Johnson, Faith. “Romanesque Sculpture.” In Cambridgeshire Churches. Edited by Carola Hicks, 233–250. Stamford, UK: Paul Watkins, 1997.
  1402. Save Citation »Export Citation »E-mail Citation »
  1403. A thorough stylistic assessment both of figural and decorative sculpture in the period c. 1090–1170.
  1404. Find this resource:
  1405. Rigold, S. E. “A Face Carved on a Capital on Orford Church.” Proceedings of the Suffolk Institute of Archaeology 32.1 (1971): 90–91.
  1406. Save Citation »Export Citation »E-mail Citation »
  1407. Late Romanesque work.
  1408. Find this resource:
  1409. Salmon, John. “A Carving on the Porch at Badingham Church.” Proceedings of the Suffolk Institute of Archaeology 32.1 (1971): 88–90.
  1410. Save Citation »Export Citation »E-mail Citation »
  1411. Identified as tiger and mirror. Other examples cited.
  1412. Find this resource:
  1413. Scarfe, Norman. “The Bury St. Edmunds Cross: The Work of Master Hugo?” Proceedings of the Suffolk Institute of Archaeology 33.1 (1974): 75–85.
  1414. Save Citation »Export Citation »E-mail Citation »
  1415. Puts forward historical arguments for identifying it as a cross documented as made by Master Hugo between 1148 and 1156.
  1416. Find this resource:
  1417. Shelley, Andy, and Stephen Heywood. “A Norman Stone Cross from Thetford.” Norfolk Archaeology 44.4 (2005): 726–727.
  1418. Save Citation »Export Citation »E-mail Citation »
  1419. Brief report on a stone cross of probable 11th-century date, set into a wall at Thetford, possibly from the minster church of St. Mary the Great.
  1420. Find this resource:
  1421. Ely
  1422.  
  1423. Zarnecki 1958 sets the Romanesque sculpture at Ely in its national and European context. James 1895 is a masterly analysis of the Lady Chapel sculpture. Further work by the Lady Chapel sculptors is examined in Coldstream 1983. Thorough coverage of the roof bosses is provided in Cave 1932 and Cave 1937.
  1424.  
  1425. Cave, C. J. P. “The Roof Bosses in Ely Cathedral.” Proceedings of the Cambridge Antiquarian Society 32 (1932): 33–46.
  1426. Save Citation »Export Citation »E-mail Citation »
  1427. Detailed description of figural and foliage bosses in the presbytery, choir, and Lady Chapel.
  1428. Find this resource:
  1429. Cave, C. J. P. “A Note on Some Further Roof Bosses in Ely Cathedral.” Proceedings of the Cambridge Antiquarian Society 37 (1937): 50–51.
  1430. Save Citation »Export Citation »E-mail Citation »
  1431. Bosses in north transept and octagon.
  1432. Find this resource:
  1433. Coldstream, Nicola. “Fourteenth-Century Corbel Heads in the Bishop’s House, Ely.” In Studies in Medieval Sculpture. Edited by F. H. Thompson, 165–176. London: Society of Antiquaries of London, 1983.
  1434. Save Citation »Export Citation »E-mail Citation »
  1435. Stylistic analysis of a group of naturalistic corbels in the former Great Hall, almost certainly carved by the sculptors of the Lady Chapel.
  1436. Find this resource:
  1437. James, Montague Rhodes. The Sculptures in the Lady Chapel at Ely. London: D. Nutt, 1895.
  1438. Save Citation »Export Citation »E-mail Citation »
  1439. Exemplary, well-illustrated iconographic analysis of the sculptural program of the Lady Chapel arcades.
  1440. Find this resource:
  1441. Zarnecki, George. The Early Sculpture of Ely Cathedral. London: Alec Tiranti, 1958.
  1442. Save Citation »Export Citation »E-mail Citation »
  1443. Important, well-illustrated study, focusing on the Prior’s Doorway and two other Romanesque doorways at Ely and examining their stylistic and iconographic sources and influence.
  1444. Find this resource:
  1445. Norwich Cathedral
  1446.  
  1447. The various groups of sculpture represented in the cathedral are the subject of Borg, et al. 1980. Franklin 1983 and Franklin 1996 deal with the Romanesque sculpture; Sekules 1996, with the Gothic sculpture.
  1448.  
  1449. Borg, Alan, Jill Franklin, Veronica Sekules, Tony Sims, and David Thomson. Medieval Sculpture from Norwich Cathedral. Norwich, UK: Sainsbury Centre for Visual Arts, University of East Anglia, 1980.
  1450. Save Citation »Export Citation »E-mail Citation »
  1451. Catalogue of an exhibition held at the Sainsbury Centre, March–April 1980.
  1452. Find this resource:
  1453. Franklin, Jill A. “The Romanesque Cloister Sculpture at Norwich Cathedral Priory.” In Studies in Medieval Sculpture. Edited by F. H. Thompson, 56–70. London: Society of Antiquaries of London, 1983.
  1454. Save Citation »Export Citation »E-mail Citation »
  1455. Stylistic assessment of the capitals and other surviving sculptural fragments from the Romanesque cloister undermines the concept of a homogenous East Anglian school of carving.
  1456. Find this resource:
  1457. Franklin, Jill A. “The Romanesque Sculpture.” In Norwich Cathedral: Church, City and Diocese, 1096–1996. Edited by Ian Atherton, Fernie, Eric, and Harper-Bill, Christopher, 116–135. London, and Rio Grande, OH: Hambledon, 1996.
  1458. Save Citation »Export Citation »E-mail Citation »
  1459. Discussion includes investigation of the iconography of the capitals from the Romanesque cloister.
  1460. Find this resource:
  1461. Sekules, Veronica. “The Gothic Sculpture.” In Norwich Cathedral: Church, City and Diocese, 1096–1996. Edited by Ian Atherton, Fernie, Eric, and Harper-Bill, Christopher, 197–209. London, and Rio Grande, OH: Hambledon, 1996.
  1462. Save Citation »Export Citation »E-mail Citation »
  1463. Survey of sculpture other than the bosses.
  1464. Find this resource:
  1465. Bosses
  1466.  
  1467. A particular feature of Norwich Cathedral is the wealth of figure bosses, both in the church and in the cloisters. A convenient modern introduction is Rose 1996. Rose and Hedgecoe 1997 is a general study. For detailed catalogues and identifications of subjects of various groups of bosses, see Cave 1933, James 1908, and James 1911. Iconographical interpretations are presented in Mittuch 2007, Sekules 2006, and Smith 1958.
  1468.  
  1469. Cave, C. J. P. “The Roof Bosses in the Transepts of Norwich Cathedral Church.” Archaeologia 83 (1933): 45–65.
  1470. DOI: 10.1017/S0261340900005348Save Citation »Export Citation »E-mail Citation »
  1471. Fully illustrated catalogue, with iconographic notes, of the bosses of the vaults erected by Bishop Nykke after the 1509 fire.
  1472. Find this resource:
  1473. James, Montague Rhodes. The Sculptured Bosses in the Roof of the Bauchun Chapel of Our Lady of Pity in Norwich Cathedral. Norwich, UK: Norfolk and Norwich Archaeological Society, 1908.
  1474. Save Citation »Export Citation »E-mail Citation »
  1475. Architectural history of the chapel, by W. T. Bensly, followed by a detailed description by M. R. James of the iconographic program of the bosses, devoted mostly to the story of the falsely accused empress.
  1476. Find this resource:
  1477. James, Montague Rhodes. The Sculptured Bosses in the Cloisters of Norwich Cathedral. Norwich, UK: Norfolk and Norwich Archaeological Society, 1911.
  1478. Save Citation »Export Citation »E-mail Citation »
  1479. Architectural history of the cloister, by Frederic Johnson, followed by a detailed catalogue of the bosses, with full iconographic analysis, by M. R. James, illustrated by drawings of the bosses in the north alley, made by C. J. W. Winter.
  1480. Find this resource:
  1481. Mittuch, Sally. “Medieval Art of Death and Resurrection.” Current Archaeology 209 (2007): 34–40.
  1482. Save Citation »Export Citation »E-mail Citation »
  1483. Brief discussion of iconography of Norwich Cathedral bosses.
  1484. Find this resource:
  1485. Rose, Martial “The Vault Bosses.” In Norwich Cathedral: Church, City and Diocese, 1096–1996. Edited by Ian Atherton, Fernie, Eric, and Harper-Bill, Christopher, 363–378. London, and Rio Grande, OH: Hambledon, 1996.
  1486. Save Citation »Export Citation »E-mail Citation »
  1487. Useful survey of the various campaigns that resulted in over a thousand stone roof bosses, of which about seven hundred are historiated.
  1488. Find this resource:
  1489. Rose, Martial, and Julia Hedgecoe. Stories in Stone: The Medieval Roof Carvings of Norwich Cathedral. London: Herbert, 1997.
  1490. Save Citation »Export Citation »E-mail Citation »
  1491. General survey with well-illustrated selection of bosses.
  1492. Find this resource:
  1493. Sekules, Veronica. “Religious Politics and the Cloister Bosses of Norwich Cathedral.” Journal of the British Archaeological Association 159.1 (2006): 284–306.
  1494. DOI: 10.1179/174767006x147451Save Citation »Export Citation »E-mail Citation »
  1495. Choice of imagery suggests response of monastery to broader political and religious issues, in particular Lollard heresies.
  1496. Find this resource:
  1497. Smith, M. Q. “The Roof Bosses of Norwich Cathedral and Their Relation to the Medieval Drama of the City.” Norfolk Archaeology 32.1 (1958): 12–26.
  1498. Save Citation »Export Citation »E-mail Citation »
  1499. Proposes that iconographic details of depictions reflect the staging of a lost Norwich mystery cycle.
  1500. Find this resource:
  1501. Norwich (Other Than the Cathedral)
  1502.  
  1503. Lindley 1987 is an important study of a little-known but major piece of 14th-century architectural sculpture. Rose 2006 provides a preliminary guide to the bosses in the Great Hospital, which require further stylistic analysis.
  1504.  
  1505. Lindley, Phillip Graham. “The ‘Arminghall Arch’ and Contemporary Sculpture in Norwich.” Norfolk Archaeology 40.1 (1987): 19–43.
  1506. Save Citation »Export Citation »E-mail Citation »
  1507. Links archway from Carmelite Friary, now in Magistrates’ Court, Norwich, with contemporary sculpture in Norwich and proposes a date in the 1330s.
  1508. Find this resource:
  1509. Rose, Martial. A Crowning Glory: The Vaulted Bosses in the Chantry Chapel of St. Helen’s, the Great Hospital. Norwich, UK: Larks, 2006.
  1510. Save Citation »Export Citation »E-mail Citation »
  1511. Detailed description of late-14th-century bosses in south transept of St. Helen’s, Norwich, here misdated to after the death of Bishop Goldwell in 1480, with photographs by Bruce Benedict. Uncritical acceptance of traditional identification of some portrait bosses.
  1512. Find this resource:
  1513. Alabasters
  1514.  
  1515. The alabaster images produced mostly in Nottinghamshire were ubiquitous in late-medieval England. Middleton 1891 and Burrell and Benton 1934 give an idea of the iconographic range of alabasters. Bensly 1892 discusses a subject also found in Norwich stained glass. Taylor 1967 deals with important early examples.
  1516.  
  1517. Bensly, W. T. “On Some Sculptured Alabaster Panels in Norwich.” Norfolk Archaeology 11 (1892): 352–358.
  1518. Save Citation »Export Citation »E-mail Citation »
  1519. “Te Deum” panels in Bishop’s Palace, St. Peter Mancroft, and St. Stephen, Norwich.
  1520. Find this resource:
  1521. Burrell, H. J. E., and G. Montagu Benton. “The English Medieval Alabaster Carvings of Cambridgeshire, with Special Reference to Fragmentary Examples at Wood Ditton Church.” Proceedings of the Cambridge Antiquarian Society 34 (1934): 77–83.
  1522. Save Citation »Export Citation »E-mail Citation »
  1523. Catalogue with list of subjects and references to other literature.
  1524. Find this resource:
  1525. Middleton, J. Henry. “On Fragments of Alabaster Retables from Milton, and Whittlesford, Cambridge.” Proceedings of the Cambridge Antiquarian Society 7.2 (1891): 106–111.
  1526. Save Citation »Export Citation »E-mail Citation »
  1527. Description of fragments of retables from Milton and Whittlesford, with illustrations of the latter.
  1528. Find this resource:
  1529. Taylor, M. R. “The Kettlebaston Alabasters.” Proceedings of the Suffolk Institute of Archaeology 30.3 (1967): 252–254.
  1530. Save Citation »Export Citation »E-mail Citation »
  1531. Continued in Proceedings of the Suffolk Institute of Archaeology 31.2 (1969): 202. Description of late-14th-century alabasters in the British Museum, found in Kettlebaston church c. 1863. Article also covers an alabaster fragment found in a cottage at Orford.
  1532. Find this resource:
  1533. Fonts
  1534.  
  1535. East Anglia is principally noted for the Seven Sacrament fonts, the iconography and theology of which are ably covered in Nichols 1994. An earlier iconographic survey is in Squirrell 1933. Bedell 1915 and Rose 1998 describe individual examples. For Romanesque fonts, see Astley 1906, and for post-Romanesque fonts other than the Seven Sacrament type, see Tomlinson 1929 and Williamson 1961.
  1536.  
  1537. Astley, H. J. Dukinfield. “A Group of Norman Fonts in North-West Norfolk.” Norfolk Archaeology 16.2 (1906): 97–124.
  1538. Save Citation »Export Citation »E-mail Citation »
  1539. Includes discussion of the Burnham Deepdale font.
  1540. Find this resource:
  1541. Bedell, A. J. “Cratfield Church: The Font.” Proceedings of the Suffolk Institute of Archaeology and Natural History 15.3 (1915): 229–237.
  1542. Save Citation »Export Citation »E-mail Citation »
  1543. Description of a Seven Sacrament font.
  1544. Find this resource:
  1545. Nichols, Ann Eljenholm. Seeable Signs: The Iconography of the Seven Sacraments, 1350–1544. Woodbridge, UK: Boydell, 1994.
  1546. Save Citation »Export Citation »E-mail Citation »
  1547. The chief focus of this important iconographical study is the East Anglian Seven Sacrament fonts.
  1548. Find this resource:
  1549. Rose, Martial. An Account of the Seven Sacrement Font in St. Lukes Chapel of Norwich Cathedral. Dereham, UK: Martial Rose, 1998.
  1550. Save Citation »Export Citation »E-mail Citation »
  1551. A useful, detailed description of the c. 1470 font from St. Mary-in-the-Marsh, Norwich, with photographs by Bruce Benedict.
  1552. Find this resource:
  1553. Squirrell, H. S. “The Seven-Sacrament Fonts of Norfolk.” Norfolk Archaeology 25.1 (1933): 83–94.
  1554. Save Citation »Export Citation »E-mail Citation »
  1555. Survey of iconographic types.
  1556. Find this resource:
  1557. Tomlinson, Harold. “Some Norfolk Fonts.” In A Supplement to Blomefield’s Norfolk. Edited by Clement Ingleby, 205–236. London: Clement Ingleby, 1929.
  1558. Save Citation »Export Citation »E-mail Citation »
  1559. Typological survey of fonts other than Seven Sacrament fonts.
  1560. Find this resource:
  1561. Williamson, W. W. “Notes on Some Norfolk Fonts.” Norfolk Archaeology 32.4 (1961): 247–260.
  1562. Save Citation »Export Citation »E-mail Citation »
  1563. Survey concentrating on post-Romanesque fonts other than Seven Sacrament fonts.
  1564. Find this resource:
  1565. Woodwork
  1566.  
  1567. The constructional and iconographic aspects of hammerbeam roofs are discussed in Haward 1999 and Tolhurst 1962. On stallwork, Fearn 1997 is an important contribution to the literature, and Rose 1994 is a convenient source of illustrations. Gardner 1955 provides an introduction to one aspect of bench ends, which are well covered in Cautley 1949 (cited under Regional Studies: Norfolk) and Cautley 1982 (cited under Regional Studies: Suffolk).
  1568.  
  1569. Fearn, Kate. “Medieval and Later Woodwork from the Choir in Ely Cathedral.” Journal of the British Archaeological Association 150 (1997): 59–75.
  1570. Save Citation »Export Citation »E-mail Citation »
  1571. Survey concentrating on choir stalls constructed c. 1336–1340 to designs probably by William Hurley, but also describing fragments of 13th-century stallwork.
  1572. Find this resource:
  1573. Gardner, Arthur. “The East Anglian Bench-End Menagerie.” Journal of the British Archaeological Association, 3d ser., 18 (1955): 33–41.
  1574. Save Citation »Export Citation »E-mail Citation »
  1575. Iconographic survey of East Anglian bench ends, noting religious subjects and genre scenes but concentrating on bestiary imagery.
  1576. Find this resource:
  1577. Haward, Birkin. Suffolk Medieval Church Roof Carvings: An Exploratory Photographic Survey with Notes. Ipswich, UK: Suffolk Institute of Archaeology and History, 1999.
  1578. Save Citation »Export Citation »E-mail Citation »
  1579. Valuable photographic survey with architectural notes and details of construction dates of hammerbeam roofs in Suffolk. Also includes three churches in Norfolk and two in Cambridgeshire.
  1580. Find this resource:
  1581. Rose, Martial. The Misericords of Norwich Cathedral. Dereham, UK: Larks, 1994.
  1582. Save Citation »Export Citation »E-mail Citation »
  1583. Full photographic survey with description of early-15th-century misericords.
  1584. Find this resource:
  1585. Tolhurst, J. B. L. “The Hammer-Beam Figures of the Nave Roof of St. Mary’s Church, Bury St. Edmunds.” Journal of the British Archaeological Association, 3d ser., 25 (1962): 66–71.
  1586. Save Citation »Export Citation »E-mail Citation »
  1587. Well-illustrated interpretation of the iconography of the roof as depicting the ceremonies of High Mass. Two pairs of figures are identified as representing Henry VI and Margaret of Anjou.
  1588. Find this resource:
  1589. Monumental Sculpture
  1590.  
  1591. Most studies of monumental sculpture are confined to a particular place and are here listed under the appropriate county. Martindale 1989 is an ingenious attempt to identify the iconographic source of a monumental type found at several places in East Anglia. For other interpretations, see Ingham, Norfolk.
  1592.  
  1593. Martindale, Andrew. “The Knights and the Bed of Stones: A Learned Confusion of the Fourteenth Century.” Journal of the British Archaeological Association 142 (1989): 66–74.
  1594. Save Citation »Export Citation »E-mail Citation »
  1595. Proposes that the iconography of knightly figures lying on a bed of stones at Burrough Green, in Cambridgeshire, and Ingham and Reepham, in Norfolk, can be explained as an allusion to an antique statue in Rome once believed to represent Mars.
  1596. Find this resource:
  1597. Cambridgeshire
  1598.  
  1599. Butler 1957 and Sargent 2008 look at early cross slabs. For the important, though badly preserved, series of monuments at Burrough Green, Manning 1877 is still the best introduction.
  1600.  
  1601. Butler, L. A. S. “Medieval Gravestones of Cambridgeshire, Huntingdonshire and the Soke of Peterborough.” Proceedings of the Cambridge Antiquarian Society 50 (1957): 89–100.
  1602. Save Citation »Export Citation »E-mail Citation »
  1603. Includes discussion of early-14th-century cross slabs attributable to a Cambridge workshop.
  1604. Find this resource:
  1605. Manning, C. R. “Monuments of the De Burgh and Ingoldsthorpe Families in Burgh Green Church, Cambridgeshire.” Archaeological Journal 34 (1877): 121–129.
  1606. Save Citation »Export Citation »E-mail Citation »
  1607. Account of the tombs at Burrough Green, Cambridgeshire, with proposed identifications and an illustrative pedigree.
  1608. Find this resource:
  1609. Sargent, Andrew. “A Re-used Twelfth-Century Grave Cover from St Andrew’s, Cherry Hinton, Cambridge.” Church Monuments 23 (2008): 7–13.
  1610. Save Citation »Export Citation »E-mail Citation »
  1611. Proposes that a late-12th-century cross slab was converted to a semi-effigial slab as a means of enhancing status.
  1612. Find this resource:
  1613. Norfolk
  1614.  
  1615. General analyses of Norfolk monuments are provided in Finch 2000a and Finch 2000b. Finch 1996 looks at the few surviving medieval monuments in Norwich Cathedral, for which also see Williams 1960 under Norfolk: Post-1350 Brasses. An early cross slab is described in Cozens-Hardy 1924. Purcell 1968 looks at a 15th-century alabaster tomb.
  1616.  
  1617. Cozens-Hardy, B. “A Note on the Sepulchral Slab at Hickling Church.” Norfolk Archaeology 22.2 (1924): 79–82.
  1618. Save Citation »Export Citation »E-mail Citation »
  1619. Description of late-13th-century foliated cross slab, and interpretation of inscription. Suggests it marks the heart burial of Roesia de Valoines and was formerly at Hickling Priory.
  1620. Find this resource:
  1621. Finch, Jonathan. “The Monuments.” In Norwich Cathedral: Church, City and Diocese, 1096–1996. Edited by Ian Atherton, Fernie, Eric, and Harper-Bill, Christopher, 467–493. London, and Rio Grande, OH: Hambledon, 1996.
  1622. Save Citation »Export Citation »E-mail Citation »
  1623. Survey includes discussion of surviving medieval monuments, many of which suffered during Edwardine and Civil War iconoclasm.
  1624. Find this resource:
  1625. Finch, Jonathan. Church Monuments in Norfolk before 1850: An Archaeology of Commemoration. BAR British Series 317. Oxford: Archaeopress, 2000a.
  1626. Save Citation »Export Citation »E-mail Citation »
  1627. Study setting the monuments in their social and economic context. Extensive analysis of the distribution of monuments in different areas of Norfolk. Chapters 3 and 4 are devoted to medieval monuments.
  1628. Find this resource:
  1629. Finch, Jonathan. “Commemorating Change: An Archaeological Interpretation of Monuments in Norfolk before 1400.” Church Archaeology 4 (2000b): 27–41.
  1630. Save Citation »Export Citation »E-mail Citation »
  1631. Summary survey of monuments, suggesting an approach based on the archaeological principles of contextual and spatial analysis, and a more inclusive sampling of monumental types. Notes higher survival of cross slabs than previously suspected.
  1632. Find this resource:
  1633. Purcell, Donovan. “The de Thorp Tomb at Ashwellthorpe.” Norfolk Archaeology 34.3 (1968): 253–258.
  1634. Save Citation »Export Citation »E-mail Citation »
  1635. Description of the alabaster tomb of Sir Edmund de Thorpe (d. 1417).
  1636. Find this resource:
  1637. Suffolk
  1638.  
  1639. The rarity of surviving monumental effigies in Suffolk is reflected by the lack of specific bibliography. Blatchly 1980 illustrates the importance of antiquarian records.
  1640.  
  1641. Blatchly, John. “Two 14th-Century Ufford Family Memorials Recorded by Isaac Johnson.” Proceedings of the Suffolk Institute of Archaeology and History 34.4 (1980): 67–68.
  1642. Save Citation »Export Citation »E-mail Citation »
  1643. Effigies, now lost, from Rendlesham.
  1644. Find this resource:
  1645. Ely Cathedral
  1646.  
  1647. Because of iconoclasm at Norwich, Ely is the only cathedral in the region with a significant collection of monuments. Roberts 1988 and Sayers 2009 investigate two 13th-century episcopal effigies. Lindley 1984 is an important study of the relationship between Ely and metropolitan stylistic developments.
  1648.  
  1649. Lindley, P. G. “The Tomb of Bishop William de Luda: An Architectural Model at Ely Cathedral.” Proceedings of the Cambridge Antiquarian Society 73 (1984): 75–87.
  1650. Save Citation »Export Citation »E-mail Citation »
  1651. Examines the relationship of the tomb, attributed to Michael of Canterbury, with the Crouchback monument at Westminster Abbey, noting its influence on later work in Ely.
  1652. Find this resource:
  1653. Roberts, Marion. “The Effigy of Bishop Hugh de Northwold in Ely Cathedral.” Burlington Magazine 130.1019 (February 1988): 77–84.
  1654. Save Citation »Export Citation »E-mail Citation »
  1655. Stylistic and iconographic analysis of the monument. Also suggests that Bishop Northwold is represented on one of the presbytery bosses.
  1656. Find this resource:
  1657. Sayers, Jane. “A Once ‘Proud Prelate’: An Unidentified Episcopal Monument in Ely Cathedral.” Journal of the British Archaeological Association 162 (2009): 67–87.
  1658. DOI: 10.1179/006812809x12448232842376Save Citation »Export Citation »E-mail Citation »
  1659. Identifies a Purbeck episcopal effigy as most probably that of John Kirkby (bishop 1286–1290).
  1660. Find this resource:
  1661. Ingham, Norfolk
  1662.  
  1663. The superb collection of monuments at Ingham has been the subject of three recent, detailed studies: Badham 2006, Badham 2007, and Richards 2006. See also Martindale 1989 (cited under Monumental Sculpture) for an interpretation of the effigy of Sir Oliver de Ingham.
  1664.  
  1665. Badham, Sally. ““Beautiful Remains of Antiquity”: The Medieval Monuments in the Former Trinitarian Priory Church at Ingham, Norfolk; Part 1: The Lost Brasses.” Church Monuments 21 (2006): 7–33.
  1666. Save Citation »Export Citation »E-mail Citation »
  1667. Reconstructs the appearance of a largely lost sequence of brasses, mostly commemorating members of the Stapleton family, using early rubbings, engravings, and other antiquarian records.
  1668. Find this resource:
  1669. Badham, Sally. ““Beautiful Remains of Antiquity”: The Medieval Monuments in the Former Trinitarian Priory Church at Ingham, Norfolk; Part 2: The High Tombs.” Church Monuments 22 (2007): 7–42.
  1670. Save Citation »Export Citation »E-mail Citation »
  1671. Detailed descriptions of the tombs of Oliver, Lord Ingham, and of Sir Roger de Boys I and his wife, Margaret, with an analysis of their iconography.
  1672. Find this resource:
  1673. Richards, John. “Sir Oliver de Ingham (d. 1344) and the Foundation of the Trinitarian Priory at Ingham, Norfolk.” Church Monuments 21 (2006): 34–57.
  1674. Save Citation »Export Citation »E-mail Citation »
  1675. Discusses iconography of a now-lost wall painting in the tomb recess of Sir Oliver de Ingham and relates it to the refoundation of the church as a Trinitarian priory in 1360.
  1676. Find this resource:
  1677. Brasses
  1678.  
  1679. Monumental brasses were the most common form of memorial commemoration in late-medieval East Anglia. The region had local workshops in Norwich, Bury St. Edmunds, and Cambridge, all the subjects of major studies defining their stylistic characteristics, as noted in the county subsections with in this section. Linnell 1951 and Linnell 1952 provide an account of a form of commemoration of priests found throughout East Anglia. For further bibliography on brasses in East Anglia, see the online bibliography maintained by the Monumental Brass Society.
  1680.  
  1681. Linnell, C. L. S. “East Anglian Chalice Brasses.” Transactions of the Monumental Brass Society 8.8 (1951): 356–365.
  1682. Save Citation »Export Citation »E-mail Citation »
  1683. Analysis of types, with list of surviving and lost examples in Norfolk, Suffolk, and Cambridgeshire.
  1684. Find this resource:
  1685. Linnell, C. L. S. “Chalice Brasses.” Transactions of the Monumental Brass Society 9.2 (1952): 76–79.
  1686. Save Citation »Export Citation »E-mail Citation »
  1687. Continued in 9.4 (1954): 168–169. Supplements to Linnell 1951, listing further examples.
  1688. Find this resource:
  1689. Monumental Brass Society.
  1690. Save Citation »Export Citation »E-mail Citation »
  1691. Comprehensive online bibliography, regularly updated, with entries for each county as well as for general works covering the whole of England, with separate listing of key works.
  1692. Find this resource:
  1693. Cambridgeshire
  1694.  
  1695. The standard reference work is Lack, et al. 1995, part of the new County Series listing of brasses, designed to replace the work of Mill Stephenson. This supersedes Heseltine 1981, but Cave, et al. 1895–1897 still provides some additional detail. A general survey is provided in Rogers 1997.
  1696.  
  1697. Cave, C. J. P., C. J. Charlton, and R. A. S. Macalister. “The Brasses of Cambridgeshire.” Transactions of the Monumental Brass Society 2 (1895–1897): 174–179, 237–275, 307–314.
  1698. Save Citation »Export Citation »E-mail Citation »
  1699. Continued in Transactions of the Monumental Brass Society 3 (1897–1900): 2–30, 88–106; 4 (1900–1901): 60–78, 176–182; and 5 (1904): 8–16, 39–48. Catalogue, still not entirely superseded by Lack, et al. 1995, since it provides details of inscriptions.
  1700. Find this resource:
  1701. Heseltine, Peter. The Figure Brasses of Cambridgeshire. St. Neots, UK: Solo, 1981.
  1702. Save Citation »Export Citation »E-mail Citation »
  1703. General survey and catalogue, with illustrations of all figural brasses, effectively superseded by Lack, et al. 1995.
  1704. Find this resource:
  1705. Lack, William, H. Martin Stuchfield, and Philip Whittemore. The Monumental Brasses of Cambridgeshire. London: Monumental Brass Society, 1995.
  1706. Save Citation »Export Citation »E-mail Citation »
  1707. The standard catalogue of monumental brasses in Cambridge, superseding the Cambridgeshire section of Mill Stephenson’s work. All pre-1700 figural brasses are illustrated, and brasses are assigned to workshops.
  1708. Find this resource:
  1709. Rogers, Nicholas. “Cambridgeshire Brasses.” In Cambridgeshire Churches. Edited by Carola Hicks, 302–319. Stamford, UK: Paul Watkins, 1997.
  1710. Save Citation »Export Citation »E-mail Citation »
  1711. A chronological survey, discussing the various workshops, both London and local, that produced brasses for Cambridgeshire churches.
  1712. Find this resource:
  1713. Pre-1350 Brasses
  1714.  
  1715. Spittle 1970 is of importance in leading the way to a redating of the early military brasses.
  1716.  
  1717. Spittle, S. D. T. “The Trumpington Brass.” Archaeological Journal 127 (1970): 223–227.
  1718. Save Citation »Export Citation »E-mail Citation »
  1719. Identifies the brass as made for Giles I de Trumpington but then appropriated for the monument of his son Roger II, who predeceased him in 1326.
  1720. Find this resource:
  1721. Post-1350 Brasses
  1722.  
  1723. Greenwood 1969 is the fundamental study of brasses produced in Cambridge in the late 15th and early 16th centuries. Girard 1993 provides a guide to the iconography of the Blodwell brass at Balsham. Lack and Whittemore 2000–2001 is a study of two reidentified Cambridgeshire brasses. Benton 1947, Clare 1950, Cockerham 1989, and Heseltine 1977 document lost brasses.
  1724.  
  1725. Benton, G. Montagu. “A Brass, Formerly in Cherry Hinton Church, Cambridgeshire.” Transactions of the Monumental Brass Society 8.5 (1947): 177–179.
  1726. Save Citation »Export Citation »E-mail Citation »
  1727. Description, with illustration, of a lost demi-effigy of a priest, from c. 1375.
  1728. Find this resource:
  1729. Clare, F. Conquest. “Indents at Whaddon, Cambs.” Transactions of the Monumental Brass Society 8.8 (1950): 349–352.
  1730. Save Citation »Export Citation »E-mail Citation »
  1731. Description of important lost brasses of the d’Eschallers family, with illustrations of surviving indents.
  1732. Find this resource:
  1733. Cockerham, Paul. “A Lost Tomb from St. John’s College, Cambridge.” Transactions of the Monumental Brass Society 14.4 (1989): 268–272.
  1734. Save Citation »Export Citation »E-mail Citation »
  1735. Description of tomb with indents in an old chapel, probably associated with the Thomson Chantry.
  1736. Find this resource:
  1737. Girard, W. N. C. “John Blodwell, Rector of Balsham.” Transactions of the Monumental Brass Society 15.2 (1993): 119–136.
  1738. Save Citation »Export Citation »E-mail Citation »
  1739. Biographical study of Blodwell, and iconographic analysis of his brass.
  1740. Find this resource:
  1741. Greenwood, J. Roger. “Haines’s Cambridge School of Brasses.” Transactions of the Monumental Brass Society 11.1 (1969): 2–12.
  1742. Save Citation »Export Citation »E-mail Citation »
  1743. Important article identifying the stylistic characteristics of brasses made in Cambridge between c. 1470 and 1541, with a list of all known examples and observations on their distribution.
  1744. Find this resource:
  1745. Heseltine, P. J. “A Lost Brass from Isleham, Cambridgeshire.” Transactions of the Monumental Brass Society 12.3 (1977): 256–257.
  1746. Save Citation »Export Citation »E-mail Citation »
  1747. Unusual cross brass from 1516, with cross flanked by uplifted hands.
  1748. Find this resource:
  1749. Lack, William, and Philip Whittemore. “Grantchester and Brinkley: Two Lost Brasses Identified.” Transactions of the Monumental Brass Society 16.4 (2000–2001): 370–377.
  1750. Save Citation »Export Citation »E-mail Citation »
  1751. Identifies an Annunciate Virgin in the British Museum as having come from Grantchester, in Cambridgeshire, and two Cambridge-style figures in the Metropolitan Museum of Art, New York, as elements of the Stutfield brass at Brinkley, Cambridgeshire.
  1752. Find this resource:
  1753. Norfolk
  1754.  
  1755. Greenwood and Norris 1976 is the best introduction to the range of brasses to be found in Norfolk and is the standard guide to the various styles of brasses produced in Norwich. Earlier local production is a facet of Blatchly 1981, a survey that should be read in conjunction with the author’s study of Suffolk cross brasses, Blatchly 1975 (cited under Brasses: Suffolk). Lost brasses are covered in Beloe 1929 and Clark 1936. Farrer 1890 remains a useful local supplement to the Mill Stephenson list.
  1756.  
  1757. Beloe, E. M. “Some Lost Brasses of Norfolk.” In A Supplement to Blomefield’s Norfolk. Edited by Clement Ingleby, 97–121. London: Clement Ingleby, 1929.
  1758. Save Citation »Export Citation »E-mail Citation »
  1759. Discusses mechanisms of loss.
  1760. Find this resource:
  1761. Blatchly, J. M. “The Lost Cross Brasses of Norfolk, 1300–1400.” Transactions of the Monumental Brass Society 13.2 (1981): 87–107.
  1762. Save Citation »Export Citation »E-mail Citation »
  1763. Describes and illustrates seventeen cross brasses, many of unusual form and possible local origin, known only from indents or antiquarian records.
  1764. Find this resource:
  1765. Clark, H. O. “An Eighteenth-Century Record of Norfolk Sepulchral Brasses.” Norfolk Archaeology 26.1 (1936): 85–102.
  1766. Save Citation »Export Citation »E-mail Citation »
  1767. Drawings by the Reverend Thomas Sugden Talbot, made in 1793–1794, including several important lost brasses.
  1768. Find this resource:
  1769. Farrer, Edmund. A List of Monumental Brasses Remaining in the County of Norfolk, MDCCCXC. Norwich, UK: Agas H. Goose, 1890.
  1770. Save Citation »Export Citation »E-mail Citation »
  1771. Catalogue, containing some details, such as dimensions and a list of recently lost brasses, not found in Mill Stephenson’s work.
  1772. Find this resource:
  1773. Greenwood, Roger, and Malcolm Norris. The Brasses of Norfolk Churches. Holt, UK: Norfolk Churches Trust, 1976.
  1774. Save Citation »Export Citation »E-mail Citation »
  1775. Fundamental study of brasses in Norfolk (apart from Norwich). Includes an analysis of the diagnostic features of the various Norwich workshops.
  1776. Find this resource:
  1777. Post-1350 Brasses
  1778.  
  1779. Badham 1978 offers a correction to the account of Norwich brasses in Greenwood and Norris 1976 (cited under Brasses: Norfolk). Detailed accounts of the brasses in a particular place include Blatchly 1976, Linnell 1947 and Williams 1960. Lost brasses are discussed in Fiske 2005, Rogers 1989, and Slegg 1936.
  1780.  
  1781. Badham, Sally. “Brasses to the Brasyer Family in St. Stephen’s Church, Norwich.” Transactions of the Monumental Brass Society 12.4 (1978): 295–299.
  1782. Save Citation »Export Citation »E-mail Citation »
  1783. Questions the attribution by Greenwood and Norris of Norwich 4 brasses to the Brasyer family.
  1784. Find this resource:
  1785. Blatchly, J. M. “The Brasses of Sharrington, Norfolk.” Transactions of the Monumental Brass Society 12.2 (1976): 159–168.
  1786. Save Citation »Export Citation »E-mail Citation »
  1787. Description, with identifications.
  1788. Find this resource:
  1789. Fiske, Ron. “An Important Indent for a Lost Brass at All Saints’ Church, East Barsham.” Norfolk Archaeology 44.4 (2005): 713–715.
  1790. Save Citation »Export Citation »E-mail Citation »
  1791. Description of indent, identified as that of Sir Thomas Felton, K.G. (d. 1381), and son, probably removed from Walsingham Priory at the Dissolution.
  1792. Find this resource:
  1793. Linnell, C. L. S. “The Brasses at Cley-next-the-Sea, Norfolk.” Transactions of the Monumental Brass Society 8.5 (1947): 196–202.
  1794. Save Citation »Export Citation »E-mail Citation »
  1795. Detailed description including antiquarian record of 1716.
  1796. Find this resource:
  1797. Rogers, Nicholas. “Ogygius and the Knight.” Transactions of the Monumental Brass Society 14.4 (1989): 273–276.
  1798. Save Citation »Export Citation »E-mail Citation »
  1799. Discussion of an ex voto brass formerly at Walsingham, described in Erasmus’s Peregrinatio Religionis Ergo.
  1800. Find this resource:
  1801. Slegg, W. B. “The Chamberlaine Tomb at East Harling, Norfolk.” Transactions of the Monumental Brass Society 7.3 (1936): 126–129.
  1802. Save Citation »Export Citation »E-mail Citation »
  1803. Analysis of the indent that forms part of the Easter Sepulchre in the north wall of the chancel.
  1804. Find this resource:
  1805. Williams, J. F. “The Brasses of Norwich Cathedral.” Transactions of the Monumental Brass Society 9.7 (1960): 366–374.
  1806. Save Citation »Export Citation »E-mail Citation »
  1807. Assesses evidence for lost brasses.
  1808. Find this resource:
  1809. Hastings Brass, Elsing
  1810.  
  1811. One of the most elaborate brasses ever engraved in England, the Hastings brass is the subject of extensive art-historical discussion. The fullest stylistic analysis is to be found in Dennison and Rogers 2000. An aspect of the iconography is discussed in Binski 1985. The early description of the brass is analyzed in Wagner and Mann 1939. Unusual technical aspects of the brass are discussed in this, and in Hartshorne and Hope 1906 and Dufty 1949. Southwick 1988 focuses on the armor; Mourin 2001, on heraldic aspects.
  1812.  
  1813. Binski, Paul. “The Coronation of the Virgin on the Hastings Brass at Elsing, Norfolk.” Church Monuments 1.1 (1985): 1–9.
  1814. Save Citation »Export Citation »E-mail Citation »
  1815. Links the iconographic form of the Coronation of the Virgin with Pucellian models.
  1816. Find this resource:
  1817. Dennison, Lynda, and Nicholas Rogers. “The Elsing Brass and Its East Anglian Connections.” In Fourteenth Century England I. Edited by Nigel Saul, 167–194. Woodbridge, UK: Boydell, 2000.
  1818. Save Citation »Export Citation »E-mail Citation »
  1819. Explores links with contemporary illuminated manuscripts and stained glass and identifies other products of the same workshop, located in East Anglia, in Cambridge, Lynn, or Norwich.
  1820. Find this resource:
  1821. Dufty, A. R. “The Hastings Brass in Elsing Church.” Archaeological Journal 106 (1949): 103–104.
  1822. Save Citation »Export Citation »E-mail Citation »
  1823. Brief description, linking use of glass with decorative treatment of the Coronation Chair, Westminster Retable, and Norwich Retable.
  1824. Find this resource:
  1825. Hartshorne, Albert, and W. H. St. John Hope. “On the Brass of Sir Hugh Hastings in Elsing Church, Norfolk.” Archaeologia 60.1 (1906): 25–42.
  1826. DOI: 10.1017/S0261340900009322Save Citation »Export Citation »E-mail Citation »
  1827. Detailed description of the brass, identifying the weepers, and with a consideration of the evidence for the use of colored-glass inlays.
  1828. Find this resource:
  1829. Mourin, Ken. The Hastings Brass at Elsing, Norfolk. Norfolk Heraldic Monograph 3. Dereham, UK: Norfolk Heraldry Society, 2001.
  1830. Save Citation »Export Citation »E-mail Citation »
  1831. General survey, chiefly useful for its observations on the heraldry. Reproduces and discusses antiquarian records of the east window of Elsing church.
  1832. Find this resource:
  1833. Southwick, Leslie. “The Armour Depicted on the Hastings Brass Compared with That on Contemporary Monuments.” Transactions of the Monumental Brass Society 14.3 (1988): 173–196.
  1834. Save Citation »Export Citation »E-mail Citation »
  1835. Detailed analysis of the armor, setting it in a wider context.
  1836. Find this resource:
  1837. Wagner, Anthony R., and James G. Mann. “A Fifteenth-Century Description of the Brass of Sir Hugh Hastings at Elsing, Norfolk.” Antiquaries Journal 10.4 (1939): 421–428.
  1838. DOI: 10.1017/S0003581500008039Save Citation »Export Citation »E-mail Citation »
  1839. Description from 1408 provides valuable information about the original appearance of the brass and about the contemporary nomenclature of armor.
  1840. Find this resource:
  1841. Suffolk
  1842.  
  1843. Blatchly 1975 provides a useful typological sequence of a particular type of monumental brass, to be used in conjunction with Blatchly 1981 (cited under Brasses: Norfolk). Farrer 1903 remains a useful supplement to the Mill Stephenson list.
  1844.  
  1845. Blatchly, J. M. “The Lost Cross Brasses of Suffolk, 1320–1420.” Transactions of the Monumental Brass Society 12.1 (1975): 21–45.
  1846. Save Citation »Export Citation »E-mail Citation »
  1847. Describes and illustrates fifteen cross brasses, many of unusual form, known only from indents or antiquarian records.
  1848. Find this resource:
  1849. Farrer, Edmund. A List of Monumental Brasses Remaining in the County of Suffolk, MDCCCCIII. Norwich, UK: Agas H. Goose, 1903.
  1850. Save Citation »Export Citation »E-mail Citation »
  1851. Catalogue containing some details, such as dimensions and a list of lost brasses recorded by rubbings, not found in Mill Stephenson’s work.
  1852. Find this resource:
  1853. Pre-1350 Brasses
  1854.  
  1855. Badham 1997 presents a controversial redating of one of the early military effigies. The importance of indents in establishing a stylistic chronology of pre-1350 brasses is illustrated in Blatchly 1975 and Blatchly 1982.
  1856.  
  1857. Badham, Sally. “The Bacon Brass at Gorleston, Suffolk.” Transactions of the Monumental Brass Society 16.1 (1997): 2–25.
  1858. Save Citation »Export Citation »E-mail Citation »
  1859. Stylistic and genealogical evidence suggests that the brass commemorates a member of the Bacon family who died c. 1305, earlier than the c. 1330–1340 date proposed by Binski.
  1860. Find this resource:
  1861. Blatchly, J. M. “Mid-14th-Century Indents at Hollesley and Westleton, Suffolk.” Transactions of the Monumental Brass Society 12.1 (1975): 47–50.
  1862. Save Citation »Export Citation »E-mail Citation »
  1863. Indents of two ecclesiastics, one of whom was Prior William de Geytone of Butley (d. 1332).
  1864. Find this resource:
  1865. Blatchly, John. “Early 14th Century Indents from the Seabed at Dunwich, Suffolk.” Transactions of the Monumental Brass Society 13.3 (1982): 260–263.
  1866. Save Citation »Export Citation »E-mail Citation »
  1867. Description of fragments of important military indent of c. 1310–1320, found underwater.
  1868. Find this resource:
  1869. Post-1350 Brasses
  1870.  
  1871. Badham 1980 is the fundamental study of the brasses produced in the late 15th and early 16th centuries in Bury St. Edmunds. Much of the Suffolk literature is concerned with the identification and dating of monuments mutilated during the Civil War, such as Blatchly 1986, Blatchly and Northeast 1985, and Lillistone 1993. Studies of brasses in particular places include Blatchly and Northeast 1989 and Heseltine 1976. Blatchly and Greenwood 1978 and Rogers 2003 provide studies based on fragmentary evidence.
  1872.  
  1873. Badham, Sally. “The Suffolk School of Brasses.” Transactions of the Monumental Brass Society 13.1 (1980): 41–67.
  1874. Save Citation »Export Citation »E-mail Citation »
  1875. Essential article for a study of brasses produced in Suffolk workshops, most probably based in Bury St. Edmunds, an important metal-working center. Defines characteristics of four series produced between c. 1475 and 1556.
  1876. Find this resource:
  1877. Blatchly, John. “The Much-Attributed Military Brass at Barsham, Suffolk.” Transactions of the Monumental Brass Society 14.1 (1986): 39–43.
  1878. Save Citation »Export Citation »E-mail Citation »
  1879. Identifies brass as that of Sir Robert Tye the younger (d. 1415) and interprets letters on the scabbard as a version of the sacred monogram.
  1880. Find this resource:
  1881. Blatchly, J. M., and J. Roger Greenwood. “A Norwich-Style Brass to Three Wingfield Brothers Once at Letheringham, Suffolk.” Transactions of the Monumental Brass Society 12.4 (1978): 300–311.
  1882. Save Citation »Export Citation »E-mail Citation »
  1883. Reconstruction of a Norwich 3 brass engraved in the 1490s.
  1884. Find this resource:
  1885. Blatchly, John, and Peter Northeast. “The Tendryng Brass at Holbrook, Suffolk.” Transactions of the Monumental Brass Society 13.6 (1985): 484–489.
  1886. Save Citation »Export Citation »E-mail Citation »
  1887. Identifies London D brass as that of William Tendryng (d. 1431) and his wife, Elizabeth (d. 1466), who stipulated the design in her will.
  1888. Find this resource:
  1889. Blatchly, John, and Peter Northeast. “Seven Figures for Four Departed: Multiple Memorials at St. Mary le Tower, Ipswich.” Transactions of the Monumental Brass Society 14.4 (1989): 257–267.
  1890. Save Citation »Export Citation »E-mail Citation »
  1891. Identifies the members of the Wimbill, Baldry, and Drayll families commemorated by four late-15th- and early-16th-century brasses.
  1892. Find this resource:
  1893. Heseltine, Peter. “Brasses and Indents at Mildenhall, Suffolk.” Transactions of the Monumental Brass Society 12.2 (1976): 128–137.
  1894. Save Citation »Export Citation »E-mail Citation »
  1895. Catalogue, including illustration and discussion of a lost military figure of c. 1410.
  1896. Find this resource:
  1897. Lillistone, David. “The Lady and the Abbot’s Tomb at Stowmarket, Suffolk.” Transactions of the Monumental Brass Society 15.2 (1993): 137–141.
  1898. Save Citation »Export Citation »E-mail Citation »
  1899. Identifies indent from c. 1470 as that of Margaret Tyrell.
  1900. Find this resource:
  1901. Rogers, Nicholas. “Scraps from Bury St Edmunds.” The Ricardian 13 (2003): 408–414.
  1902. Save Citation »Export Citation »E-mail Citation »
  1903. Devoted mainly to an analysis of palimpsest fragments at Hedgerley, Buckinghamshire, originating from Bury St. Edmunds Abbey, including a new inscription provided for Abbot Thomas Totyngton (d. 1312) after the 1465/1466 fire, and a portion of what may be an early-16th-century abbatial brass.
  1904. Find this resource:
  1905. Frenze Palimpsest
  1906.  
  1907. A non memorial Suffolk-style brass survives as a palimpsest at Frenze, Norfolk. It has been the subject of two iconographic investigations. The interpretation proposed in Goodall 1987 is rejected in Rogers 2010.
  1908.  
  1909. Goodall, John A. “Death and the Impenitent Avaricious King: A Unique Brass Discovered at Frenze, Norfolk.” Apollo, n.s., 126 (1987): 264–266.
  1910. Save Citation »Export Citation »E-mail Citation »
  1911. Argues that the palimpsest depicts an ars moriendi scene.
  1912. Find this resource:
  1913. Rogers, Nicholas. “The Frenze Palimpsest.” In Tributes to Nigel Morgan: Contexts of Medieval Art; Images, Objects and Ideas. Edited by Julian M. Luxford and M. A. Michael, 223–237. London: Harvey Miller, 2010.
  1914. Save Citation »Export Citation »E-mail Citation »
  1915. Refutes the interpretation in Goodall 1987 and demonstrates that the palimpsest depicts St. Edmund killing King Sweyn, a subject frequently found in illustrated lives of St. Edmund. Posits the suggestion that the brass came from some object, such as a screen, associated with the shrine of St. Edmund, and was part of the refurbishment of the shrine after the fire of 1465/1466.
  1916. Find this resource:
  1917. Flemish Brasses in East Anglia
  1918.  
  1919. The geographical position and the mercantile links of East Anglia with the Low Countries provided a significant clientele for Flemish marblers. The Walsokne and Braunche brasses at King’s Lynn have in particular attracted considerable scholarly interest. The best account of these is in Cameron 1979. Van Belle 2005, Buckland 1990, Edwards 1949, and Wilkins 1988 cover specific iconographic facets of the King’s Lynn brasses. An example of a Flemish slab with separate brass inlays is documented in Greenhill 1965. Blatchly and Northeast 2005 looks at the early-16th-century Pounder brass but does not address stylistic aspects in any depth.
  1920.  
  1921. Blatchly, John, and Peter Northeast. “The Pounder Memorial in St Mary at the Quay Church, Ipswich.” Proceedings of the Suffolk Institute of Archaeology and History 41.1 (2005): 57–61.
  1922. Save Citation »Export Citation »E-mail Citation »
  1923. Mainly biographical study.
  1924. Find this resource:
  1925. Buckland, J. S. P. “The Walsokne Brass, King’s Lynn, 1349, and Its Windmill.” Transactions of the Monumental Brass Society 14.5 (1990): 342–352.
  1926. Save Citation »Export Citation »E-mail Citation »
  1927. Technical assessment of the depiction of a post mill on the Walsokne brass.
  1928. Find this resource:
  1929. Cameron, H. K. “The Fourteenth-Century Flemish Brasses at King’s Lynn.” Archaeological Journal 136 (1979): 151–172.
  1930. Save Citation »Export Citation »E-mail Citation »
  1931. Detailed description of surviving Walsokne and Braunche brasses and lost Attelath and Bittering brasses.
  1932. Find this resource:
  1933. Edwards, Lewis. “The Historical and Legendary Background of the Wodehouse and Peacock Feast Motif in the Walsokne and Braunche Brasses.” Transactions of the Monumental Brass Society 8.7 (1949): 300–311.
  1934. Save Citation »Export Citation »E-mail Citation »
  1935. Iconographic and textual sources of the foot-panel images on the Flemish brasses at King’s Lynn.
  1936. Find this resource:
  1937. Greenhill, F. A. “An Incised Slab at Gressenhall.” Norfolk Archaeology 33.4 (1965): 423–426.
  1938. Save Citation »Export Citation »E-mail Citation »
  1939. Description of Tournai incised slab formerly with inlays, dated by Greenhill c. 1360.
  1940. Find this resource:
  1941. van Belle, Ronald. “The World of Folly: The Foot Panels of the Walsokne Brass and the Persistence of Its Iconography over the Centuries.” Transactions of the Monumental Brass Society 17.3 (2005): 185–222.
  1942. Save Citation »Export Citation »E-mail Citation »
  1943. Continued in Transactions of the Monumental Brass Society 17.4 (2006): 354–394. Exhaustive investigation of the proverbial iconography of the foot panels of the Walsokne brass, King’s Lynn.
  1944. Find this resource:
  1945. Wilkins, Nigel. “The Birds, the Bishop and the Music of Brass.” Transactions of the Monumental Brass Society 14.3 (1988): 205–216.
  1946. Save Citation »Export Citation »E-mail Citation »
  1947. Discussion of the depiction of a scene from the Voeux du Paon on the Braunche brass.
  1948. Find this resource:
  1949. Metalwork
  1950.  
  1951. Ashley, et al. 2000 and Lasko 1973 describe casual finds of small copper alloy figures. Pilgrim badges, which often mirror lost works of art, are surveyed in Spencer 1980. The microsculpture of seals is covered in Atkinson 1902, Campbell 1998, and Heslop 1996. For ironwork, Geddes 1996 is a useful survey of regional material, while Geddes and Sherlock 1987 focuses on a particular example.
  1952.  
  1953. Ashley, Stephen, Andrew Rogerson, and Helen Geake. “A Reclining Medieval Knight as a Sleeping Roman, from Shingham.” Norfolk Archaeology 43.3 (2000): 507–508.
  1954. Save Citation »Export Citation »E-mail Citation »
  1955. Copper alloy figure, dated to the 13th century, from a Resurrection scene.
  1956. Find this resource:
  1957. Atkinson, T. D. “The Seals of the Commonalty and of the Mayor of Cambridge.” Proceedings of the Cambridge Antiquarian Society 10.2 (1902): 123–128.
  1958. Save Citation »Export Citation »E-mail Citation »
  1959. Describes a common seal from 1423 and mayor’s seals in use in 1352 and 1471.
  1960. Find this resource:
  1961. Campbell, Marian. “Medieval Metalworking and Bury St Edmunds.” In Bury St Edmunds: Medieval Art, Architecture, Archaeology and Economy. Edited by Antonia Gransden, 69–80. British Archaeological Association Conference Transactions 20. London: British Archaeological Association, 1998.
  1962. Save Citation »Export Citation »E-mail Citation »
  1963. Survey of precious and base metal artifacts found in and around Bury. Discussion of lost work, including items made by Master Hugo, to whom certain seals have been plausibly attributed by T. A. Heslop.
  1964. Find this resource:
  1965. Geddes, Jane. “The Medieval Decorative Ironwork.” In Norwich Cathedral: Church, City and Diocese, 1096–1996. Edited by Ian Atherton, Fernie, Eric, and Harper-Bill, Christopher, 431–442. London, and Rio Grande, OH: Hambledon, 1996.
  1966. Save Citation »Export Citation »E-mail Citation »
  1967. Survey citing related items in East Anglia.
  1968. Find this resource:
  1969. Geddes, Jane, and David Sherlock. “The Church Chests at Icklingham, Suffolk and Church Brampton, Northamptonshire.” Proceedings of the Suffolk Institute of Archaeology and History 36.3 (1987): 202–206.
  1970. Save Citation »Export Citation »E-mail Citation »
  1971. Two wooden chests with cut-out ironwork decoration of the late 13th century.
  1972. Find this resource:
  1973. Heslop, T. A. “The Medieval Conventual Seals.” In Norwich Cathedral: Church, City and Diocese, 1096–1996. Edited by Ian Atherton, Fernie, Eric, and Harper-Bill, Christopher, 443–450. London, and Rio Grande, OH: Hambledon, 1996.
  1974. Save Citation »Export Citation »E-mail Citation »
  1975. Investigation of the semiology of the Norwich seals.
  1976. Find this resource:
  1977. Lasko, P. E. “The “Rattlesden” St. John.” Proceedings of the Suffolk Institute of Archaeology 32.3 (1973): 269–271.
  1978. Save Citation »Export Citation »E-mail Citation »
  1979. Bronze figure from a Crucifixion, c. 1180, related to Mosan work.
  1980. Find this resource:
  1981. Spencer, Brian. Medieval Pilgrim Badges from Norfolk. Norwich, UK: Norfolk Museums Service, 1980.
  1982. Save Citation »Export Citation »E-mail Citation »
  1983. Catalogue of pilgrim badges in the collections of the Norfolk Museums Service, mostly items associated with Walsingham.
  1984. Find this resource:
  1985. Floor Tiles
  1986.  
  1987. Most of the literature on floor tiles is site specific, but it usually sets the material in a wider context. A good general survey, although confined to Suffolk, is provided in Sherlock 1980. The major kiln site at Bawsey, the products of which are found throughout East Anglia, is analyzed in Eames 1955. Artistically, the most-significant examples are the mosaic tile pavements in Prior Crauden’s Chapel at Ely and elsewhere, discussed in Keen 1979 and Keen and Thackray 1975. More archaeological in nature are the reports in Drury and Norton 1985, Keen 1971, Keen and Sherlock 1972, and Rogerson 1983.
  1988.  
  1989. Drury, P. J., and E. C. Norton. “Twelfth-Century Floor- and Roof-Tiles at Orford Castle.” Proceedings of the Suffolk Institute of Archaeology and History 36.1 (1985): 1–7.
  1990. Save Citation »Export Citation »E-mail Citation »
  1991. Earliest dated incised tiles in Europe, datable to c. 1165–1167.
  1992. Find this resource:
  1993. Eames, Elizabeth. “The Product of a Medieval Tile Kiln at Bawsey, King’s Lynn.” Antiquaries Journal 35 (1955): 162–181.
  1994. DOI: 10.1017/S000358150004169XSave Citation »Export Citation »E-mail Citation »
  1995. Full listing of 14th-century relief tiles produced at Bawsey, identified by wasters found at the kiln site.
  1996. Find this resource:
  1997. Keen, Laurence. “Medieval Floor-Tiles from Campsea Ash Priory.” Proceedings of the Suffolk Institute of Archaeology 32.2 (1971): 140–151.
  1998. Save Citation »Export Citation »E-mail Citation »
  1999. Analysis of types of tile found during excavation, 1969–1970.
  2000. Find this resource:
  2001. Keen, Laurence. “The Fourteenth-Century Tile Pavements in Prior Crauden’s Chapel and in the South Transept.” In Medieval Art and Architecture at Ely Cathedral. Edited by Nicola Coldstream and Peter Draper, 47–57. British Archaeological Association Conference Transactions 2. London: British Archaeological Association, 1979.
  2002. Save Citation »Export Citation »E-mail Citation »
  2003. Description of line-impressed mosaic pavements, datable to the 1320s. Suggests the Adam and Eve panel may have been intended originally for the Lady Chapel.
  2004. Find this resource:
  2005. Keen, Laurence, and David Sherlock. “Medieval Floor-Tiles from Orford and Sudbourne.” Proceedings of the Suffolk Institute of Archaeology 32.2 (1972): 198–200.
  2006. Save Citation »Export Citation »E-mail Citation »
  2007. Typological links for 14th-century tiles.
  2008. Find this resource:
  2009. Keen, Laurence, and David Thackray. “A Fourteenth-Century Mosaic Tile Pavement with Line-Impressed Decoration from Icklingham.” Proceedings of the Suffolk Institute of Archaeology 33.2 (1975): 153–167.
  2010. Save Citation »Export Citation »E-mail Citation »
  2011. Pavement related to ones at Denny and Ely.
  2012. Find this resource:
  2013. Rogerson, Andrew. “Medieval Floor Tiles from St. John the Baptist’s Church, Reedham.” Norfolk Archaeology 38.3 (1983): 380–383.
  2014. Save Citation »Export Citation »E-mail Citation »
  2015. Relief tiles of non-Bawsey type.
  2016. Find this resource:
  2017. Sherlock, David. Medieval Floor Tiles in Suffolk Churches. Chattisham, UK: Suffolk Historic Churches Trust, 1980.
  2018. Save Citation »Export Citation »E-mail Citation »
  2019. General survey with catalogue of all recorded types.
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