The Grotesque in Church Art

In all these and their successors the incidents were varied. Having seen that, within at least certain limits, the story must have been exceedingly well-known and popular, we wi...

Sculptured ornament is not alone in the fact of its being a direct legacy from remotely ancient forms, though, on comparing that with any of the other arts hitherto recognized a...

There is a series of carvings, examplified at Ely, New College, Oxford, St. Katherine's (removed from near the Tower to the Regent's Park) and Gayton, which have Satan encouragi...

The third example is from a misericorde at Beverley Minster, the series at which place shews strong evidence of having been executed from the same set of designs as those of Man...

What is required to determine the general facts on these points is a return from various fabric accounts. We shall probably find both English and foreign carvers. There is littl...

The wild sweetness of one stringed and one wind instrument--not uncommonly met as harp and piccolo near London "saloon bars"--was a usual duet of the middle ages. In Stoeffler's...

The initial letter of this section is a fine grotesque rendering of the Egyptian goddess Athor, Athyr, or Het-her (meaning the dwelling of God.) She was the daughter of the sun,...

In a subsequent chapter (on Compound Forms in Gothic) the harpy is mentioned, and shewn to be a not uncommon subject of church art, either as from the malignant classic form whi...

by playing on the passions and weaknesses of mankind, but in particular to hold up to scorn the immunity procured by professional religion, though it is fair to note that the Fo...

The designs of which this book treats have vast fields outside the English church works to which it has been thought good to limit it. Books and buildings undoubtedly mutually i...

[2] Of Christ, the Virgin, and saints only. It is here quoted as evidence of a tendency. It is plain that the council protected itself, for the following distich is attributed t...