Jane Hawkes | University of York (original) (raw)
Books by Jane Hawkes
Articles by Jane Hawkes
British Art Studies, Issue 1: There's No Such Thing as British Art, Conversation piece, ed. R. Johns (online), 2015
In the eighteenth and nineteenth centuries the 'Celtic' art of the Britons was invoked as an art ... more In the eighteenth and nineteenth centuries the 'Celtic' art of the Britons was invoked as an art of resistance to 'British' imperialism."
Nineteenth-Century Art Worldwide, 2015
This article examines the scholarship of the scholar and artist W. G. Collingwood, perhaps best r... more This article examines the scholarship of the scholar and artist W. G. Collingwood, perhaps best remembered for his monograph on Anglo-Saxon sculpture (1927). It traces his evolution from the time his Philosophy of Art was published (in 1883), when he entered the inner circle of Ruskin’s collaborators and began exhibiting at the Royal
Academy, while at the same time embarking on a career as an archaeologist. This essay shows that the attitudes and views revealed in his art and articulated in his art-historical and critical works over the next twenty years remained largely unchanged until the early years of the twentieth century (1907) when he began depicting, commenting, and
publishing on early medieval sculpture in largely diagrammatic and formalist terms. While this scholarship marked an apparently significant departure from his work up to that point, and from the approaches that were emerging at the time among other Anglo-Saxon art-historical scholars, it nevertheless reflects a continuity in his work as an archaeologist.
This article addresses the ways in which Margaret Stokes illustrated her publications on Irish hi... more This article addresses the ways in which Margaret Stokes illustrated her publications on Irish high crosses, setting her practices against those of her contemporaries working in Britain on the early medieval sculptures of England, Scotland and the Isle of Man in order to demonstrate the unique nature of her methodology.
The carved stone fragment from Ingleby in Derbyshire has attracted little attention in the schola... more The carved stone fragment from Ingleby in Derbyshire has attracted little attention in the scholarly literature on medieval sculpture, largely because the question of its date has been considered particularly unclear. It thus raises interesting questions about dating, about the nature of the models lying behind the carving, and about its iconographic significances, the relevance of which extend far beyond Derbyshire. Here the piece is examined in the light of Anglo-Saxon art, and situated within the context of the later 9th and 10th century, but produced under the influence of artistic conventions dating back to the preceding century in the Insular world and Carolingian Gaul, which in turn look back to the art of late antiquity. The article argues for the influence of visual traditions in its illustration of agricultural tools rather than that of objects perhaps familiar in Anglo-Saxon England, and suggests that the unusual depiction of harvesting, which is perhaps only paralleled elsewhere in art from the SouthWest , is best considered in the light of the trees set in a rocky and watered landscape, also featured on the stone, and overall presents a set of eschatological iconographic references. introduction THE fragment of a stone cross shaft from Ingleby (Derbyshire), that stands on a turntable in the south porch of St Wystan's church in nearby Repton, has elicited little discussion since Routh's note of its discovery and initial assessment of the style of its decoration.1 This is surprising since the carving raises intriguing questions about dating, the nature of the models lying behind the images, and the iconographic significances of the piece, the relevance of which extend far beyond Derbyshire. In his 1937 article on the corpus of Anglo-Saxon stone sculpture surviving in Derbyshire, Routh set it firmly in that locale, describing how the fragment was found in 1905 in the field wall of the farm at Ingleby near the ruined chapel that seems to have been part of the monastic foundation at Repton, although the date of the establishment at Ingleby is unclear. In 1662 the chapel was destroyed and its stones removed to form the churchyard wall surrounding the new foundation at Foremark that has served the two communities (of Ingleby and Foremark) since that date.2 Today the remains of the chapel are still visible in the field at Ingleby, partly overlain by a modern barn (SK 351 269). On discovery, Routh records that the stone was removed and placed in the farmer's garden where it was viewed and identified as Anglo-Saxon by
Excavation within the Gothic nave of Lichfield Cathedral revealed three phases of masonry buildin... more Excavation within the Gothic nave of Lichfield Cathedral revealed three phases of masonry building ante-dating the Norman period. These are likely to relate to the church of St Peter, which Bede described as housing the timber shrine to St Chad, fifth bishop of Mercia. A rectangular, timber-lined pit found on the central axis of the building might represent a crypt or burial chamber beneath the shrine. Buried in a small pit alongside this were three fragments of a bas-relief panel of Ancaster limestone, carved with the figure of an angel. They comprise half of the left-hand end of a hollow, box-like structure that had a low-coped lid. This is interpreted as a shrine chest associated with the cult of St Chad. The sculpture, which was broken and buried in, or before, the tenth century, is in remarkably fresh condition, allowing for an in-depth analysis of its original painted embellishment and for an assessment of the monument in terms of its iconography and stylistic affinities, and thus the possible conditions of its production. It is argued that the surviving portion of the panel represents the archangel Gabriel, and that it is one half of an Annunciation scene.
Hortus Artium Medievalium, 8, 337‒48, 2002
The identity of the figure with a lamb carved on the upper stone of the Anglo-Saxon cross at Ruth... more The identity of the figure with a lamb carved on the upper stone of the Anglo-Saxon cross at Ruthwell, Dumfriesshire, was interpreted by Paul Meyvaert (in 1982 and 1992), as an apocalyptic image of the Deity instead of John the Baptist. Close inspection of the panel, however, makes it difficult to accept such an explanation. Instead, an adaptation of the early Christian iamges of the Baptist is proposed, and it is argued that the details of the panel are best understood in the light of the introduction of the Agnus Dei chant into the Mass by Pope Sergius I (687-701), and of the biblical commentary which saw athe Baptist himself as an apocalyptic figure associated with the Lamb, the paschal sacrifice, commemorated each day in the Mass.
The surviving fragments of the Rothbury Cross (Northumberland) have long been recognized as out-s... more The surviving fragments of the Rothbury Cross (Northumberland) have long been recognized as out-standing pieces of Anglo-Saxon stone sculpture, often beig compared with more substantial monuments at Ruthwell (Dumfriesshire) and Bewcastle (Cumbria). However, apart from isolated studies of one or two scenes, the iconography of the Cross has been largely neglected. This aspect of the decoration is examined here, with attention to both the iconographic models employed and the potential significance(s) of the scenes concerned. This analysis suggests that most of the (surviving) figural scenes were based on late antique and early Christian prototypes which were adapted within a Northumbrian context to suit specific theological purposes, purposes which are largely canonical and orthodox, but in some cases are fairly complex. In the light of these conclusions and the relationship between the Rothbury Cross and other Northumbrian sculptures, the conventional 'Carolingian' dating of the monument is reconsidered, and a date in the second half of the eighth century is proposed.
British Art Studies, Issue 1: There's No Such Thing as British Art, Conversation piece, ed. R. Johns (online), 2015
In the eighteenth and nineteenth centuries the 'Celtic' art of the Britons was invoked as an art ... more In the eighteenth and nineteenth centuries the 'Celtic' art of the Britons was invoked as an art of resistance to 'British' imperialism."
Nineteenth-Century Art Worldwide, 2015
This article examines the scholarship of the scholar and artist W. G. Collingwood, perhaps best r... more This article examines the scholarship of the scholar and artist W. G. Collingwood, perhaps best remembered for his monograph on Anglo-Saxon sculpture (1927). It traces his evolution from the time his Philosophy of Art was published (in 1883), when he entered the inner circle of Ruskin’s collaborators and began exhibiting at the Royal
Academy, while at the same time embarking on a career as an archaeologist. This essay shows that the attitudes and views revealed in his art and articulated in his art-historical and critical works over the next twenty years remained largely unchanged until the early years of the twentieth century (1907) when he began depicting, commenting, and
publishing on early medieval sculpture in largely diagrammatic and formalist terms. While this scholarship marked an apparently significant departure from his work up to that point, and from the approaches that were emerging at the time among other Anglo-Saxon art-historical scholars, it nevertheless reflects a continuity in his work as an archaeologist.
This article addresses the ways in which Margaret Stokes illustrated her publications on Irish hi... more This article addresses the ways in which Margaret Stokes illustrated her publications on Irish high crosses, setting her practices against those of her contemporaries working in Britain on the early medieval sculptures of England, Scotland and the Isle of Man in order to demonstrate the unique nature of her methodology.
The carved stone fragment from Ingleby in Derbyshire has attracted little attention in the schola... more The carved stone fragment from Ingleby in Derbyshire has attracted little attention in the scholarly literature on medieval sculpture, largely because the question of its date has been considered particularly unclear. It thus raises interesting questions about dating, about the nature of the models lying behind the carving, and about its iconographic significances, the relevance of which extend far beyond Derbyshire. Here the piece is examined in the light of Anglo-Saxon art, and situated within the context of the later 9th and 10th century, but produced under the influence of artistic conventions dating back to the preceding century in the Insular world and Carolingian Gaul, which in turn look back to the art of late antiquity. The article argues for the influence of visual traditions in its illustration of agricultural tools rather than that of objects perhaps familiar in Anglo-Saxon England, and suggests that the unusual depiction of harvesting, which is perhaps only paralleled elsewhere in art from the SouthWest , is best considered in the light of the trees set in a rocky and watered landscape, also featured on the stone, and overall presents a set of eschatological iconographic references. introduction THE fragment of a stone cross shaft from Ingleby (Derbyshire), that stands on a turntable in the south porch of St Wystan's church in nearby Repton, has elicited little discussion since Routh's note of its discovery and initial assessment of the style of its decoration.1 This is surprising since the carving raises intriguing questions about dating, the nature of the models lying behind the images, and the iconographic significances of the piece, the relevance of which extend far beyond Derbyshire. In his 1937 article on the corpus of Anglo-Saxon stone sculpture surviving in Derbyshire, Routh set it firmly in that locale, describing how the fragment was found in 1905 in the field wall of the farm at Ingleby near the ruined chapel that seems to have been part of the monastic foundation at Repton, although the date of the establishment at Ingleby is unclear. In 1662 the chapel was destroyed and its stones removed to form the churchyard wall surrounding the new foundation at Foremark that has served the two communities (of Ingleby and Foremark) since that date.2 Today the remains of the chapel are still visible in the field at Ingleby, partly overlain by a modern barn (SK 351 269). On discovery, Routh records that the stone was removed and placed in the farmer's garden where it was viewed and identified as Anglo-Saxon by
Excavation within the Gothic nave of Lichfield Cathedral revealed three phases of masonry buildin... more Excavation within the Gothic nave of Lichfield Cathedral revealed three phases of masonry building ante-dating the Norman period. These are likely to relate to the church of St Peter, which Bede described as housing the timber shrine to St Chad, fifth bishop of Mercia. A rectangular, timber-lined pit found on the central axis of the building might represent a crypt or burial chamber beneath the shrine. Buried in a small pit alongside this were three fragments of a bas-relief panel of Ancaster limestone, carved with the figure of an angel. They comprise half of the left-hand end of a hollow, box-like structure that had a low-coped lid. This is interpreted as a shrine chest associated with the cult of St Chad. The sculpture, which was broken and buried in, or before, the tenth century, is in remarkably fresh condition, allowing for an in-depth analysis of its original painted embellishment and for an assessment of the monument in terms of its iconography and stylistic affinities, and thus the possible conditions of its production. It is argued that the surviving portion of the panel represents the archangel Gabriel, and that it is one half of an Annunciation scene.
Hortus Artium Medievalium, 8, 337‒48, 2002
The identity of the figure with a lamb carved on the upper stone of the Anglo-Saxon cross at Ruth... more The identity of the figure with a lamb carved on the upper stone of the Anglo-Saxon cross at Ruthwell, Dumfriesshire, was interpreted by Paul Meyvaert (in 1982 and 1992), as an apocalyptic image of the Deity instead of John the Baptist. Close inspection of the panel, however, makes it difficult to accept such an explanation. Instead, an adaptation of the early Christian iamges of the Baptist is proposed, and it is argued that the details of the panel are best understood in the light of the introduction of the Agnus Dei chant into the Mass by Pope Sergius I (687-701), and of the biblical commentary which saw athe Baptist himself as an apocalyptic figure associated with the Lamb, the paschal sacrifice, commemorated each day in the Mass.
The surviving fragments of the Rothbury Cross (Northumberland) have long been recognized as out-s... more The surviving fragments of the Rothbury Cross (Northumberland) have long been recognized as out-standing pieces of Anglo-Saxon stone sculpture, often beig compared with more substantial monuments at Ruthwell (Dumfriesshire) and Bewcastle (Cumbria). However, apart from isolated studies of one or two scenes, the iconography of the Cross has been largely neglected. This aspect of the decoration is examined here, with attention to both the iconographic models employed and the potential significance(s) of the scenes concerned. This analysis suggests that most of the (surviving) figural scenes were based on late antique and early Christian prototypes which were adapted within a Northumbrian context to suit specific theological purposes, purposes which are largely canonical and orthodox, but in some cases are fairly complex. In the light of these conclusions and the relationship between the Rothbury Cross and other Northumbrian sculptures, the conventional 'Carolingian' dating of the monument is reconsidered, and a date in the second half of the eighth century is proposed.
Iconographic studies of the Anglo-Saxon carving at Wirksworth, Derbyshire, have provided widely d... more Iconographic studies of the Anglo-Saxon carving at Wirksworth, Derbyshire, have provided widely differing dates and interpretations. The identity and possible sources of the scenes are here re-examined, along with any implications this exercise may have for dating the piece. Consequent to this, the possible significance(s) of the scenes which could have influenced their selection and arrangement on the stone are discussed, demonstrating the protential for a female audience at Wirksworth.
The Miracle Scene on the Rothbury Cross-Shaft Fragments from a great Anglo-Saxon cross which once... more The Miracle Scene on the Rothbury Cross-Shaft Fragments from a great Anglo-Saxon cross which once stood at Rothbury are now divided between the village church and our Society's collection in the Joint Museum. The high quality of its ornament has attracted much art-historical discussion, most recently by Pro fessor Cramp, but the iconography of indi vidual scenes has not been extensively explored.1 Indeed, there is strong evidence to suggest that at least one of the scenes has been wrongly identified. The scene, consisting of three figures, is found at the top of the shaft now on display in the Joint Museum (PI. XII). Current ortho doxy interprets these figures as depicting two separate events. The left-hand and upper figures are supposed to show The Healing of a (seated) Blind Man, the two characters in volved being turned through ninety degrees from the vertical; the woman on the right has been identified as The Woman with the Issue of Blood. There are, however, several objec tions to these suggestions. Crucial to the usual interpretation is the notion that two scenes have been presented without any panelled division between them. Yet from what remains of the other scenes on the cross it would seem that all other indi vidual events were separated from each other by border mouldings, as they are on other Anglo-Saxon cross-shafts such as those at Ruthwell, Bewcastle and Auckland St. Andrews. Thus the portrait of Christ in Majes ty and the crowd of heads (found at the top of •Prepared for the press by L. Allason-Jones. Warmest thanks are accorded to the contributors.
Transmissions and Translations in Medieval Literary and Material Culture, ed. Megan Henvey, Amanda Doviak and Jane Hawkes, Leiden: Brill, 2022
Global Perspectives on Early Medieval Britain, ed. K. Jolly and B. Brooks, 2022
Recognizing that the term 'Anglo-Saxon' is currently fraught with sociopolitical associations, th... more Recognizing that the term 'Anglo-Saxon' is currently fraught with sociopolitical associations, the term is here used primarily adjectivally as a means to denote the cultural, social, political and economic phenomena associated with the Germanic-speaking peoples of Old English living mostly, although not exclusively, in the geo-political region now known as 'England' during the early Middle Ages (c. 450-1100). At certain periods during this time-frame these peoples also engaged culturally, politically and economically with those inhabiting the geographical region now referred to as Scotland; thus, it makes little sense to refer to these phenomena as 'English' or 'British', both in terms of the early medieval period but also in the light of the current heritage of nineteenth-century relations between the two nation states of Scotland and England; this is also true of course of 'Anglo-Saxon' activities in relation to the modern-day island of Ireland, and England's other early colony, Wales. In relation to the art of these peoples here named 'Anglo-Saxon', it is understood to be distinct from the so-called 'Celtic Art' of modern-day Ireland and Britain during this period and from that of generally termed 'classical' (emerging from the visual traditions familiar to the late antique Roman world)-being produced under the aegis of the Germanic-speaking peoples who came to settle in the region during the course of the fifth century. For summaries see,
Art and Worship in the Insular World: Papers in Honour of Elizabeth Coatsworth, ed. G.R. Owen-Crocker and M. Clegg Hyer, 2021
When I ��rst began my doctorate on the non-Cruci��xion iconography of pre-Viking sculpture in the... more When I ��rst began my doctorate on the non-Cruci��xion iconography of pre-Viking sculpture in the north of England, the only signi��cant study to-date on the subject was that of Betty Coatsworth, whose doctorate on the Cruci��xion iconography of Anglo-Saxon sculpture was the inspiration for my own work and provided much of the foundational scholarship on which I was lucky enough to be able to draw. This has remained the case, and decades on it is a considerable privilege to dedicate this essay to a scholar whose studies into Anglo-Saxon sculpture (and art generally), remain inspirational and required reading. ∵ Introducing the Fragmented With only three of the high crosses produced during the early medieval period still standing in situ in England, it is something of a truism to say that the once monumental Anglo-Saxon sculptures encountered today exist as nothing more than fragments:1 fragments recovered from church walls and excavated from church ��oors and foundations.2 Two pieces of the late eighth-century Rothbury cross, for instance, the top of the shaft and the remains of the cross-head, were recovered from the fabric of the Norman tower of the parish church in Rothbury in 1849-1850 and subsequently donated to the Society of 1 The three Anglo-Saxon crosses still standing in situ in England are those at Bewcastle, Irton, and Gosforth (all in Cumbria); the monuments at Bewcastle and Irton have been dated to the eighth century. That at Gosforth dates to the tenth. Se e Richard N. Bailey and Rosemary Cramp, Corpus of Anglo
Hardcover Edition: ISBN 978-1-78570-307-2 Digital Edition: ISBN 978-1-78570-308-9 (epub) A CIP re... more Hardcover Edition: ISBN 978-1-78570-307-2 Digital Edition: ISBN 978-1-78570-308-9 (epub) A CIP record for this book is available from the British Library
Hardcover Edition: ISBN 978-1-78570-307-2 Digital Edition: ISBN 978-1-78570-308-9 (epub) A CIP re... more Hardcover Edition: ISBN 978-1-78570-307-2 Digital Edition: ISBN 978-1-78570-308-9 (epub) A CIP record for this book is available from the British Library
Northumberland: Medieval Art and Architecture, ed. J. Ashbee and J. Luxford, Leeds: 34‒53, 2013
The stone sculpture surviving in Bernicia from the 'Age of Bede' makes it clear that the Church i... more The stone sculpture surviving in Bernicia from the 'Age of Bede' makes it clear that the Church in north Northumbria adopted rich and varied means in its initial displays of public art in sculptural form during the later 7th and 8th centuries. The ways in which the medium represented, at the time, a new and innovative art has allowed insight into the potential significances of its materiality as a result of its means of transmission, as have the motives informing the selection of the various monument forms, and the motifs and images used to decorate them. It is argued here that the results of such experimentation may well have included the deliberate manipulation of the art of carved relief and the presentation of the human form, which was originally highly coloured and inset with other materials, and it is suggested that this phenomenon should be understood to represent conscious attempts to recreate the painted icon: panels familiar in ecclesiastical contexts that played a specific role in sacred settings as the image made 'material'.
Listen, O Isles, unto me: Studies in Medieval Word and Image in Honour of Jennifer O’Reilly, ed. E. Mullins and D. Scully. Cork: 230‒42, 2011
Rome across Time and Space. Cultural Transmission and the Exchange of Ideas, c. 500‒1400, Conference: Cambridge 2008, ed. C. Bolgia, R. McKitterick and J. Osborne, Cambridge: 201‒21, 2011
17th Annual Brixworth Lecture, 1999, 2003
Transmissions and Translations in Medieval Literary and Material Culture, 2021
Art and Worship in the Insular World, 2021
Place and Space in the Medieval World, 2017
Part 1 Archaeology and history: the Northumbrian identity, Rosemary Cramp changing burial rites i... more Part 1 Archaeology and history: the Northumbrian identity, Rosemary Cramp changing burial rites in Northumbria AD 500-750, Sam Lucy Anglo-Saxon settlements of the Golden Age, Julian D. Richards the Anglo-Saxon settlement at West Heslerton, North Yorkshire, Dominic Powlesland (Re)constructing Northumbrian timber buildings - the Bede's world experience, Susan Mills the art of Anglo-Saxon shipbuilding, Edwin &Joyce Gifford the middle Saxon site at Flixborough, North Lincolnshire, Kevin Leahy dynasty and cult - the utility of Christian mission to Northumbrian kings between 642 and 654, Nicholas Higham the Anglo-Saxon monastery at Hartlepool, England, Robin Daniels the inscribed stones from Hartlepool, Elisabeth Okasha Whitby, Jarrow and the Commemoration of Death in Northumbria, Catherine E. Karkov Willibrord's "Frisian" mission and the early churches in Utrecht, David Parsons relations between the Britons of Southern Scotland and Anglo-Saxon Northumbria, Craig Cessford. Part 2 Material culture: the Dupplin cross - a preliminary consideration of its art-historical context, Isabel Henderson Northumbrian vine-scroll ornament and the "Book of Kells", Douglas MacLean the necessary distance - "Imitatio Romae" and the Ruthwell cross, Eamonn O'Carragain Anglo-Saxon sculpture - questions of context, Jane Hawkes Northumbrian sculpture (the Ruthwell and Bewcastle monuments) - questions of difference, Fred Orton the iconographic programme of the Franks Casket, Leslie Webster the imagery of the Franks Casket - another approach, James Lang the travelling twins - Romulus and Remus in Anglo-Saxon England, Carol Neuman de Vegvar the Ripon jewel, R.A. Hall et al a Northumbrian plaque from Asby Winderwath, Cumbria, Susan Youngs design and units of measure on the Hunterston Brooch, Niamh Whitfield. Part 3 Manuscripts: the "Book of Durrow": the Northumbrian connection, Nancy Netzer Lindisfarne or Rath Maelsigi? the evidence of the texts, Christopher D. Verey the shape of learning at Wearmouth-Jarrow - the diagram pages in the "codex amiatinus", Carol A. Farr what's in the cupboard? Ezra and Matthew reconsidered, Perette Michelli. Part 4 Bede: the church as non-symbol in the age of Bede, George Hardin Brown Bede - scholar and spiritual teacher, Gerald Bonner Bede and the Golden Age of Latin Prose in Northumbria, Christopher Grocock source-marks in Bede's Biblical commentaries, Mark Stansbury (un)dating Bede's "De Arte Metrica", Arthur Holder Augustine and Gregory the Great in Bede's commentary on the Apocalypse, Thomas W. Mackay.
Peopling Insular Art, 2020
The Cross Goes North, Nov 26, 2002
... Karkov, CE 1999: ed. The Archaeology of Anglo-Saxon England: Basic Readings, New York and Lon... more ... Karkov, CE 1999: ed. The Archaeology of Anglo-Saxon England: Basic Readings, New York and London. ... Martin, LT and D. Hurst 1991:(eds) Bede the Venerable: Homilies on the Gospels 1, Kalamazoo, W. Michigan. Morris, RK 1989: Churches in the Landscape, London. ...
The Rood in Medieval Britain and Ireland, c.800-c.1500
Nineteenth-century art worldwide, 2015
Global Perspectives on Early Medieval England, 2022