The misericords of Beverley Minster : a corpus of folkloric imagery and its cultural milieu, with special reference to the influence of Northern European iconography on Late Medieval and Early Modern English woodwork
The set of 68 misericords in Beverley Minster, Yorkshire, carved in 1520, are considered here both as a corpus of 'folkloric' imagery in their own right, and in a eider cultural context. A detailed iconographic examination of the individual misericords under such headings as 'The Fool and Follies', 'Satires', 'The bestiary' 'Exempla', etc., leads to the isolation of a small number of motifs which are seen not to belong to the native tradition. These non-English motifs are traced to two main sources, the border woodcuts in early Parisian printed Horae and Flemish &amp; German prints. The identification of these sources for the Beverley designs leads to further identifications else here, and especially in the stalls of St. George's Chapel, llindsor, c. 1430. In the case of Beverley it is suggested that the means of transmission of such Continental imagery is via the port of Hull (the Customs Accounts for the port being examined in this light), and the printers and book-sellers of York. The local cultural milieu in which the Beverley stalls were created is examined and Henry Percy, the 'Magnificent' Fifth Earl of Northumberland, shown to be an influential patron of the arts; but other local influences considered
Jones, Malcolm Haydn
Wood carvings in a minister
The misericords of Beverley Minster : a corpus of folkloric imagery and its cultural milieu, with special reference to the influence of Northern European iconography on Late Medieval and Early Modern English woodwork. The set of 68 misericords in Beverley Minster, Yorkshire, carved in 1520, are considered here both as a corpus of 'folkloric' imagery in their own right, and in a eider cultural context. A detailed iconographic examination of the individual misericords under such headings as 'The Fool and Follies', 'Satires', 'The bestiary' 'Exempla', etc., leads to the isolation of a small number of motifs which are seen not to belong to the native tradition. These non-English motifs are traced to two main sources, the border woodcuts in early Parisian printed Horae and Flemish &amp; German prints. The identification of these sources for the Beverley designs leads to further identifications else here, and especially in the stalls of St. George's Chapel, llindsor, c. 1430. In the case of Beverley it is suggested that the means of transmission of such Continental imagery is via the port of Hull (the Customs Accounts for the port being examined in this light), and the printers and book-sellers of York. The local cultural milieu in which the Beverley stalls were created is examined and Henry Percy, the 'Magnificent' Fifth Earl of Northumberland, shown to be an influential patron of the arts; but other local influences considered
minster corpus imagery cultural_milieu special_reference influence northern_european iconography late medieval early_modern english woodwork set minster yorkshire carve consider corpus imagery right cultural_context detailed iconographic examination individual heading the the etc lead isolation small_number motif see belong native tradition non english motif trace two_main source border early parisian print german print identification source design lead identification else especially george chapel case suggest mean transmission continental imagery via port hull accounts port examine_light printer book york local cultural_milieu create examined henry fifth earl northumberland show influential patron art local influence consider