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Belief and Patronage in the English Parish before 1300: Some Evidence from Roods
Published online by Cambridge University Press: 11 April 2016
Extract
The late medieval English laity expressed their piety through ostentatious artistic and architectural patronage. The rood, a large-scale image of Christ on the cross, flanked by the Virgin and St John, and placed in or above the chancel arch, was a particular object of both liturgical and financial devotion in the later Middle Ages. One of the more interesting conclusions of recent scholarship has been the recognition that the late medieval desire to express one’s piety through donations to the church was not limited to the upper classes or to one gender. Both men and women of all social classes and ages participated to the best of their ability through collective as well as individual giving. Moreover, people made very deliberate choices about the types of images and architectural forms on which they spent their money. Scholars have argued that the roots of this very active lay patronage lie in the mid-thirteenth century when diocesan statutes first assigned responsibility for maintaining the nave and most of a church’s ornaments to its parishioners.
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13 Ibid., p. 326. Super ostium etiam chori pulpitum ... et ex utraque part pulpiti arcus, et in medio supra pulpitum arcum eminentiorem crucem in summitate gestantem ... opere Theutonico fabrefactos erexit.
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42 Royal Commission for Historic Monuments (of England), Churches of South-East Wiltshire (London, 1987), pp. 43-44, pis 11 & 37; E. W. Tristram, English Medieval Wall-Painting. 1, Text: the 15th Century (Oxford, 1950), p. 625.
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46 Ibid., pp. 336-40. Charles Tracy and Paul Woodfield, ‘The "Adisham Reredos". What is it?’, The Journal of the British Archaeological Association, 156 (2003), pp. 27-78 (pp. 50-56 and fig. 26).
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49 Vallance, English Church Screens, p. 19.
50 It is possible that this cross once had a figure, but its square shape with roughly equal arms, which is reminiscent of the empty cross in the Winchester Liber Vitae, militates against this.
51 Tristram, Twelfth Century, pp. 113-15.
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61 Vallance, English Church Screens, p. 2. An early date is sometimes suggested for the rood stairs at Thurlby (Lincolnshire) on the basis of an early English shaft near the top of the rood stair; this shaft, however, was reset in its present position at a later date.
62 ‘Aliud vero altare sub cruce ad austrum in honore beate Marie ... alterum vero altare ad boream in honore sacnte virginis Milburge.’ Registrum Caroli Bothe, Episcopi Herefordensis A.D. MDXVI-MDXXXV, ed. A. T. Bannister, Canterbury and York Society, 28 (1921), p. 199.
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67 ‘Crux stagnea et depicta super majus altare, et alia parva et portailis ad efferendum.’ Ibid., p. 17.
68 Unica crux est ibi in maiori altari nec altera ad efferendum. Ibid., pp. 20-21. Efferendum is probably a misspelling of offerendum, suggesting that the visitors were criticizing the lack of a processional cross.
69 Crux una super altare lignea depicta. Ibid., pp. 4-5.
70 Una crux admallo et alia lignea depicta ... item lintheamen retro crucem. Ibid., p. 9.
71 Unum lintheamen ante crucem. Ibid., p. 11.
72 Velum ad cooperiendum crucem in ecclesia de canopo. Ibid., p. 2.
73 Crux magna cum ymaginibus super trabem iuxta cancellum de beata Virgine et b. Iohanne Ewangelista. Simpson, 1297, p. 59.
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75 Ibid., p. 45.
76 Ibid., p. 61.
77 Ibid., pp. 54, 57.
78 Ibid., pp. 12,17, 20, 24, 27.
79 ‘In medio navis ymago crucifixi pingenda, cuis pictura de formata per cadenciam pluie de negligencia parochianorum, cum ymaginibus beate Virginis et Sanct Johannis a diuerso latere.’ Ibid., p. 43.
80 Ibid., pp. 1-6, 52-53.
81 Ibid., p. 49.
82 Ibid., p. 50.
83 Ibid., p. 10.
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