The Nave of Saint Andrew at Steyning: A Study of Variety in Design in Twelfth-Century Architecture in Britian

Thurlby, Malcolm; Kusaba, Yoshio

doi:10.2307/767058

Cited by 5 publications

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“…This serves to emphasize the diversity of sources in a work like the Lady Chapel, and concomitantly the potential for complex meaning with their combination in the new setting. 34 Recently it has been suggested that the use of rich and varied forms of chevron in English architecture was inspired by the metalworker's art in a quest to create an ideal image of the Heavenly Jerusalem (Thurlby and Kusaba 1991). The leading proponents of this decorative variety were Roger of Pont l'Eveque, Archbishop of York (1154-81), and 30.…”

Section: The Architectural Iconography Of Glastonbury Lady Chapelmentioning

confidence: 99%

“…38) Abbot David asks the incumbents of abbey lands to send their contributions for the completion of the Lady Chapel which are now two years overdue (Hill 1944;Colchester 1969). For connections between the Elder Lady Chapel and Wells, see Malone (1973, 222-5); Colchester and Harvey (1974, 46, 203-4); Harvey (1982, 62;1984, 185); Stalley and Thurlby (1989, 362 n. 28); Thurlby (1991).…”

Section: Wells Cathedralmentioning

confidence: 99%

“…The polychrome is best preserved in the upper part of bay Ni. For parallels between the Bristol and Wells heads, see Thurlby (1991). 33,35,60).…”

Section: Wells Cathedralmentioning

confidence: 99%

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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%

Section: Wells Cathedralmentioning

confidence: 99%

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The Lady Chapel of Glastonbury Abbey

Thurlby¹

1995

Antiq. J.

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The Architecture of St Davids Cathedral: Chronology, Catastrophe and Design

Stalley¹

2002

Antiq. J.

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This article reassesses the design of the nave of St Davids Cathedral in the light of modern scholarship, arguing that the cathedral has been a victim of an overly historicist approach to architectural writing. New documentary evidence is presented, including information about the existence of two churches on the site. Anomalies in the west bay are defined and some of the explanations offered by Lovegrove (1922, 1926) are rejected. Following an analysis of the design, the background of the scheme is firmly located in an English west-country environment and suggestions of French influence are dismissed. Although a vault may have been envisaged when the nave was first begun, it is unlikely that a stone vault was ever erected. Nonetheless, the design of the nave emerges as a more significant and creative piece of architecture than is generally realized.

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The Cistercians as ‘Missionaries of Gothic’: The State of Research and Open Questions on the Beginnings of Gothic Architecture in England, Scotland, and Wales

Thurlby¹

2021

Nottingham Medieval Studies

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The Nave of Saint Andrew at Steyning: A Study of Variety in Design in Twelfth-Century Architecture in Britian

Cited by 5 publications

References 0 publications

The Lady Chapel of Glastonbury Abbey

The Lady Chapel of Glastonbury Abbey

The Architecture of St Davids Cathedral: Chronology, Catastrophe and Design

The Cistercians as ‘Missionaries of Gothic’: The State of Research and Open Questions on the Beginnings of Gothic Architecture in England, Scotland, and Wales

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