Interpreting Medieval Effigies: The evidence from Yorkshire to 1400 (original) (raw)
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Early secular effigies in England: The thirteenth century
1980
List of plates VII I. Preliminary remarks ι i.i State of research and points of departure ι 1.2 Materials used 1.3 Some remarks on the persons commemorated. Their social status. The outlook on life 2. The tomb 2.1 Its place inside the church. Tomb chests and recesses. 2.2 The slab and other accessories 2.3 Foot support 2.4 Head support 2.4.1 Introduction 2.4.2 From the absence of the cushion to the use of the single and the double cushion 2.4.3 The double cushion with attendant angels ... 3. Costume 3.1 Introduction 3.2 The costume on lady effigies 3.2 The costume on civilian effigies 3.4 The costume and armour on military effigies .... 3.4.1 Head-coverings 3.4.2 The hauberk and the representation of mail. Leg defences and other pieces of armour .... 3.4.2 The surcoat 3.4.4 The sword, sword-belt and the shield 4. Attitude 4.1 Introduction 4.2 The hands 4.2.1 The west-country school. Mid-thirteenth century 4.2.2 The early sword-handling knightly effigies ... 4.2.3 The London workshops up to the late thir teenth century and their influence 4.2.4 The later sword-handling type of knightly effigy VI CONTENTS 4.2.5 Effigies with their hands joined in prayer. Some other divergent attitudes 99 4.3 The legs 4.3.1 Introduction 103 4.3.2 The straight-legged attitude 103 4.3.3 The early cross-legged attitude 4.3.4 The cross-legged effigies of the second half of the thirteenth century 4.3.5 The lively martial attitude 4.3.6 The origin and meaning of the crossed legs.. .
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This report describes a medieval effigy and medieval grave slabs at All Saints Church, Batley in West Yorkshire. The effigy on the east side of the south entrance porch is of special interest because the broad flat ‘sword’ that he is wearing is probably a ‘weaving sword’ rather than a weapon. This indicates that the Batley effigy belonged to a successful man in the mediaeval textile business and probably dates to the late 14th century. The medieval grave slabs probably date to the late 12th or early 13th century when they were reused as building material for the present church built in 1485.
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In September 1327 the deposed king Edward II of England died under mysterious circumstances at Berkeley Castle; he was buried in St. Peter's Abbey, now Gloucester Cathedral, three months later. His body was eventually housed in an elaborate tomb comprised of a locally sourced Painswick oolitic limestone base and tomb chest with Purbeck marble panels, a multi-tiered limestone and Purbeck canopy, and an alabaster effigy (Figure 1). The installation of this monument sparked the production of a series of royal alabaster effigies and, following these commissions, an increasing number of aristocratic tomb figures. This essay examines that remarkable flowering in order to suggest an explanation of alabaster’s rather sudden popularity as a memorializing material. In doing so, it will consider a network of
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