The Early Gothic Choir of Pershore Abbey

Stalley, Roger; Thurlby, Malcolm

doi:10.2307/990454

Cited by 2 publications

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“…When enriched with its original polychrome, especially if the painted saints recorded by Collinson (1779) are contemporary, the Lady Chapel would have created a striking illusion of a richly enamelled, precious-metal shrine. And how appropriate this illusion would have been for a monument to the Vetusta Ecclesia given the observation in De Antiquitate that it was 'a heavenly shrine on earth' (Scott 1981, 66/7 Thurlby (1989). 37.…”

Section: The Architectural Iconography Of Glastonbury Lady Chapelmentioning

confidence: 99%

“…Although emphasis has been given to the role of the Cistercians as disseminators of Gothic in northern England, the potential contribution of the Augustinians should not be overlooked. The acanthus capitals and other fragments from the former cloister of the Augustinian priory at Bridlington relate to northern French Gothic work (Thurlby 1989). Keeled and gorged angle rolls are preserved in the stone store at Augustinian Kirkham Priory which were drawn to my attention by Stuart Harrison.…”

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The Lady Chapel of Glastonbury Abbey

Thurlby¹

1995

Antiq. J.

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After the devastating fire of 1184, the Lady Chapel of Glastonbury Abbey was constructed on the site of the Old Church (Vetusta Ecclesia), the wattle church traditionally associated with Joseph of Arimathea. The lavish decoration of the chapel is frequently mentioned in the literature. In many cases authors emphasize the old-fashioned, Romanesque character of much of the ornament in contrast to the seemingly more progressive contemporary early Gothic mouldings of nearby Wells Cathedral. Nevertheless, it is generally recognized that the designer of Glastonbury Lady Chapel knew of the latest developments in French Gothic architecture as witnessed in his use of crocket capitals and sharply pointed arches in the vault. This juxtaposition of Romanesque and Gothic motifs has led to the categorization of the Lady Chapel as Transitional. Convenient as such a label may be as a term of reference in charting a purely typological evolution, it does little for our understanding of the use of some distinctly different elements in contemporary structures located in the same region. Is it the case that the patron and/or master mason of Glastonbury Lady Chapel are simply more conservative than at Wells Cathedral? Could Glastonbury Lady Chapel be consciously archaizing in an effort to emphasize the antiquity of the site? Should we perhaps think in terms of a traditional Benedictine monastic style at Glastonbury as opposed to an innovative style for the secular canons of Wells? Or is the rich decoration at Glastonbury Lady Chapel to be explained in a more general sense as an imitation of the art of church treasures? To address these questions the first part of this essay will examine the stylistic sources of the Lady Chapel. The meaning of the style of the Lady Chapel in the context of the beginnings of Gothic architecture in Britain will be discussed. Attention will then be turned to the sculpture of the Lady Chapel (Thurlby 1976a).

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Section: The Architectural Iconography Of Glastonbury Lady Chapelmentioning

confidence: 99%

mentioning

confidence: 99%