̽��ֱ�� of Cambridge - Westminster Abbey

Bejewelled backdrop to coronations did not cost a king’s ransom

sjr81 — Thu, 12 Feb 2015 10:38:01 +0000

Cambridge conservation scientist Spike Bucklow uncovered the knock-down cost of the 1260 AD ‘Westminter Retable’ while researching his latest book ‘Riddle of the Image’, which delves into the materials used in medieval works of art.

Commissioned by Henry III during the construction of Westminster Abbey, the altarpiece’s use of fake gemstones is already well documented. However, what has not been known until now is just how little the king would have paid for the Retable, the oldest known panel painting in England.

Using centuries-old records of accounts from Westminster Abbey, Bucklow was able to determine prices for the amount of wood used, the area of glass needed, each pigment of paint, and the wages the carpenters and painters were paid. This information was combined with practice-based research into the Retable whilst it was being restored at the Hamilton Kerr Institute.

“This is bargain basement stuff, it was all dirt cheap,” he said. “While some of the other objects in Riddle of the Image would have been cost the same as a farm or country home, the Westminster Abbey altarpiece would have cost no more than eight cows or about £5 in 13th century money.

“Historians have often thought that a financially constrained Henry was cutting corners, but you don’t spend as much as he did on the rest of the Abbey and then cut corners on the most visual and most important area for the crowning of monarchs.”

Rather than penny-pinching to preserve pounds, crowns and shillings, Bucklow believes that Henry III deliberately chose cheap materials and fake gemstones to accentuate one of the key themes of the altarpiece – miraculous transformations.

“It is no coincidence that all three surviving painted scenes show Christ involved in a transformation. Transformation is key to the whole Retable. It was the backdrop for transformations in a very real sense. In front of it, once in a generation, someone was turned into a monarch, while much more often, bread and wine were transformed into the body and blood of Christ.

“To make a fake gem you take sand and ash and transform something ordinary into something beautiful. Henry is telling us that art is above gold. We know how engaged he was with artists of the day. I really believe that he was dedicating human ingenuity and skill to God. He’s making a statement.”

As well as determining the cost of the Westminster Retable, ̽��ֱ��Riddle of the Image is an attempt to look at medieval works of art through the eyes of those who commissioned and made them. Bucklow believes that our modern-day appreciation of cultural artefacts – such as mobile phones – is completely divorced from our understanding of the materials that go into their making.

In medieval times, however, there was a widespread knowledge of artists’ materials that contributed deeper meaning to objects such as the Metz Pontifical (c.1316) and the Macclesfield Psalter (c.1330), both beautiful illuminated manuscripts now in the Fitzwilliam Museum, as well as the Thornham Parva Retable, which was also restored at the Hamilton Kerr Institute, and the Wilton Diptych, Richard II’s iconic portable altarpiece.

Bucklow believes this is because many of the pigments and materials used in the pre-modern world for artistic purposes also had common, everyday uses such as cochineal and lapis lazuli being used in make-up and medicine. (Red dyes were used in heart tonics and the blue stone was used to 'dispel melancholy' and lower fevers.) As such, artists' materials were readily available from apothecaries of the day.

By examining the science of the materials, as well as the techniques of medieval artists, Bucklow hopes to further the reader and art-world’s understanding and appreciation of the paintings, and medieval art in general.

Each chapter in the book is devoted to one of five objects and each builds on the cultural relevance of materials, exploring the connections between artists’ materials and their everyday life; showing how materials could be used philosophically and playfully.

For example, in one of the book’s featured artworks, two blues, one of which cost ten times as much as the other, were used side by side, even though they could not be told apart with the naked eye. In another manuscript, the strange choice of materials matched the bizarre contorted hybrid figures seen swarming across the page margins.

̽��ֱ��Riddle of the Image, published by Reaktion Books, is available now.

Research into England’s oldest medieval altarpiece – which for centuries provided the backdrop to Westminster Abbey coronations – has revealed that it cost no more than the rather unprincely equivalent of eight cows.

̽��ֱ��Westminster Abbey altarpiece would have cost no more than eight cows or about £5 in 13th century money. This is bargain basement stuff.

Spike Bucklow.

Spike Bucklow

Detail from the Westminster Retable

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CS Lewis: 50 years after his death a new scholarship will honour his literary career

sj387 — Fri, 08 Nov 2013 12:00:00 +0000

̽��ֱ��author CS Lewis, best known to the general public for his children’s classics ̽��ֱ��Chronicles of Narnia, died 50 years ago on 22 November. He was much more than a children’s author: he was also a brilliant scholar, holding prestigious academic positions first at Oxford and then at Cambridge, as well as an influential Christian thinker.

In 1954, Lewis was awarded the chair in Medieval and Renaissance Literature at Cambridge, a post that was founded with him in mind. In order to support research in that broad field of Lewis’s interests, Cambridge ̽��ֱ�� is in the process of establishing a CS Lewis Scholarship that will help to fund an outstanding graduate student.

Lewis will be honoured with a memorial in Poets' Corner, Westminster Abbey at a ceremony on the anniversary of his death. His memorial will join those of some of the most famous names in English literature including poets Milton, Eliot and Wordsworth, playwrights Marlowe, Shakespeare and Wilde, and novelists Austen, Lawrence and Thackeray.

̽��ֱ��CS Lewis Memorial Service in Westminster Abbey will take place at noon on Friday, 22 November and will be open to all those who have requested tickets. A collection at the service will be dedicated to the CS Lewis Scholarship.

̽��ֱ��current chair of Medieval and Renaissance Literature at Cambridge is Professor Helen Cooper. Like Lewis’s, her work emphasises the continuity of literature across the Middle Ages and Renaissance. Early in her career she studied pastoral literature from the late Classical period to Milton. Her more recent books include one on romance, from its invention in the 12th century to the death of Shakespeare, and another on Shakespeare’s debt to the Middle Ages. She has also published extensively on the Canterbury Tales.

“Scholarship – reading, lecturing, critical writing and teaching – was CS Lewis’s day job. He came to devotional writing and fiction, whether for children or adults, quite late in his life, and although he is now more widely known for those than for his critical work, it’s not because they are necessarily better or more important,” said Professor Cooper.

“From the moment of its publication in 1936, Lewis’s Allegory of Love transformed how medieval studies might be approached. ̽��ֱ��finest of his books, ̽��ֱ��Discarded Image, based on a series of his lectures, appeared after his death and remains the best short introduction there is to how people used to imagine the universe they inhabited.

“Lewis described his empathy with such lost ways of thinking by casting himself as ‘Old Western Man’, the equivalent of a surviving dinosaur who embodied what the age of the dinosaurs was like, and so could teach things that more conventional academic processes could not.”

As a child growing up in Northern Ireland, Lewis was enthralled by the myths and legends of Norse, Greek and Celtic literature. ̽��ֱ��young Lewis (known as Jack throughout his life) and his brother Warren invented a make-believe world called Boxen which was ruled by animals. Lewis fell in love with the landscape of the Mountains of Mourne which he said later inspired him to write the Narnia books.

Lewis’s deep interest in the bold universal themes that are woven into ancient, medieval and early modern literature endured throughout his life. His novels and poems draw on his extensive knowledge of texts such as ̽��ֱ��Voyage of St Brendan (which underlies ̽��ֱ��Voyage of the Dawn Treader) and the early Grail romances (which inspired That Hideous Strength). At Oxford ̽��ֱ��, where he read English Literature, he proved to be an outstanding student and, on graduating with a triple first, went on to teach there for more than 30 years.

Much of Lewis’s non-fiction writing deals with broad religious and spiritual questions, from the problem of evil to miracles. He was brought up in the Church of Ireland but as a teenager became an atheist. At Oxford, where he remained for most of his adult life, Lewis was part of a literary group nicknamed the Inklings, which included Tolkien. During this time, and influenced by his friends, he reluctantly re-embraced Christianity. In 1949 he wrote his first children’s novel, ̽��ֱ��Lion, the Witch and the Wardrobe, which can be read as a fantasy adventure story and as an allegory for Christ’s crucifixion.

Professor Cooper commented: “ ̽��ֱ��power of myth and legend that Lewis had discovered as a child helps to drive the Narnia books. ̽��ֱ��myths might be Greek or Norse or Christian – the last a myth that ‘really happened’, as he came to believe – and the legends might be Arthurian; but he had the gift of conveying something of their deep imaginative hold through his stories of children travelling in strange worlds, of talking animals and of battles against evil.”

̽��ֱ��year that Lewis became the first Professor of Medieval and Renaissance Literature at Cambridge saw the publication of his third (originally fifth) and eagerly awaited Narnia novel, ̽��ֱ��Horse and His Boy.

“At Cambridge Lewis was taken to represent a diametrically opposite mode of criticism from that of his contemporary FR Leavis, and undergraduates often aligned themselves behind one or the other. But despite their disagreements, Lewis expressed his admiration for Leavis’s powers as a critic,” said Professor Cooper. “Lewis’s belief in the importance of historical contextualisation was in many ways ahead of its time. That alertness to context included his recognition of the centrality of God in the medieval and early modern world. His lectures on Spenser’s Faerie Queene, like his earlier work on Milton, demanded that even atheist readers should start by understanding what each poet was attempting to do, and that included their reflection of, and on, the religion of their own age.”

Lewis worked in Cambridge for nine years. In August 1963, having discovered that he was terminally ill, he resigned his chair. He died in his home in Oxford and was buried in the churchyard of Holy Trinity Church, Headington. News of his death was overshadowed by the assassination of JF Kennedy.

Professor Helen Cooper is the sixth scholar, and second female scholar, to hold the chair of Medieval and Renaissance English at Cambridge. Like Lewis, she holds it in conjunction with a fellowship at Magdalene College.

Inset images from top: Magdalene College, jefurii (via Flickr), Keir Hardie (via Flickr)

CS Lewis, creator of some of the most-loved children’s stories and also a scholar of medieval and early modern literature, died half a century ago on 22 November. A scholarship to be set up in his name will support an outstanding graduate to study at Cambridge ̽��ֱ��

̽��ֱ��finest of his books, ̽��ֱ��Discarded Image, based on a series of his lectures, appeared after his death and remains the best short introduction there is to how people used to imagine the universe they inhabited.

Professor Helen Cooper

GeeJo via Wikimedia

̽��ֱ��Searcher, a statue of CS Lewis by sculptor, Ross Wilson, at Holywood Arches Library in Belfast

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