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II.—Addenda to the Iconography of St. Thomas of Canterbury
Published online by Cambridge University Press: 19 July 2011
Extract
It is almost exactly two years since I had the honour of addressing this Society on the results of my investigations concerning the Iconography of St. Thomas Becket. I was conscious at the time that I had not arrived at anything like a complete survey of the existing material; and in the intervening period the material at my disposal bearing on this subject has as a matter of fact considerably increased. To a notable proportion of this new material my attention was drawn as a result of the publication of my paper in Archaeologia; and I should like at the outset to express my warmest gratitude to my numerous correspondents, many of whom are Fellows of this Society.— The widespread interest, which from this large body of evidence I may conclude exists in the Iconography of St. Thomas Becket, has emboldened me to give an account of certain of the most interesting aspects of the Iconography of St. Thomas upon which I did not touch in my previous paper.
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- Copyright © The Society of Antiquaries of London 1931
References
page 19 note 1 ‘The Iconography of St. Thomas of Canterbury’ in Archaeologia, vol. lxxix (1930), pp. 29–54.Google Scholar
page 19 note 2 See E. Magnússon in the preface to his edition of the Thómas Saga Erkibyskups (Rolls series, no. 65; London, 1875-1883), vol. ii, pp. xxix seqq.Google Scholar
page 20 note 1 For information on this point I am indebted to M. Mathias Thórdarson.
page 20 note 2 See Patel, José Soler y in Museum, vol. v (Barcelona, 1927), pp 295Google Scholar seqq., with reproductions. These paintings have subsequently been discussed by Post, C. R., A History of Spanish Painting, Cambridge, Mass., 1930, pp. 149–51Google Scholar and fig. 25, and by Kuhn, Charles L., Romanesque Mural Painting of Catalonia, Cambridge, Mass., 1930, pp. 41CrossRefGoogle Scholar seqq. and plates xxxv-vn. I am indebted to Mr. Eric P. Barker for first drawing my attention to these paintings.
page 21 note 1 Unless, indeed, the sword is one of a particular type with curved blade.
page 21 note 2 This phrase suggests the end of a hexameter, and if so, can only have a very vague general relationship to any verses in an office of St. Thomas. Mr. Hope-Nicholson has drawn my attention to the second Antiphon of the second Nocturn at Mattins of the Feast of the Translation of St. Thomas:
(Sarum Breviary, British Museum, Sloane MSS. 1909, fol. 374 V). These words are, as a matter of fact, singularly appropriate to the scheme of the Tarrasa paintings, even if—apart from other considerations—it has to be borne in mind that the Feast of the Translation was not instituted until 1220.
page 22 note 1 I have to thank Miss Eleanor Hollyer for her kind offices in deciphering the remains of these paintings.
page 23 note 1 Compare Heales, Alfred in Surrey Archaeological Collections, iii, 7 seq.Google Scholar
page 23 note 2 See Illustrated Catalogue of the Exhibition of English Medieval Alabaster Work, Society of Antiquaries, 1913, no. 39, pi. XVIIIGoogle Scholar ; and Nelson, P., in Transactions of the Historical Society of Lancashire and Cheshire, 1917, p. 87Google Scholar ; see pl. VII.
page 23 note 3 Compare on this discovery, by Prince Josef Clemens of Bavaria, Eberhard Hempel, Michael Pacher, Vienna, 1931, p. 81 seq.
page 24 note 1 I am indebted to Dr. Elisabeth Valentiner for drawing my attention to this drawing and for the photograph here reproduced.
page 24 note 2 Lichtwark, Alfred, Meister Francke, Hamburg, 1899, p. 125 seq.Google Scholar
page 24 note 3 Martens, Bella, Meister Francke, Hamburg, 1929, p. 216 seq.Google Scholar
page 24 note 4 Jusserand, J. J., English Wayfaring Life in the Middle Ages, London, 1925, p. 353 seq.Google Scholar
page 25 note 1 For information about this altarpiece I am much beholden to Pastor Hans Thorade of Tettens, a keen student of the cult and iconography of St. Thomas Becket in Germany, and to Dr. Müller-Wulkow, Director of the Landesmuseum in Oldenburg.
page 27 note 1 See Archaeologia, vol. lxxix, p. 46, note 4.
page 27 note 2 See Abbott, Edwin A., St. Thomas of Canterbury, London, 1898, vol. i, p. 324.Google Scholar
page 27 note 3 See Archaeologia, vol. lxvi (1915), pi. xxiv, fig. 2.
page 27 note 4 See Breck, Joseph in the Bulletin of the Metropolitan Museum of Art, vol. xiii (October, 1918), pp. 220–4.Google Scholar
page 27 note 5 Guernes of Pont Ste Maxence (v. 5598-5600) bears witness to the fact that William de Tracy was under the impression that the monk wounded by him was John of Salisbury. The latter, however, undoubtedly had already deserted the archbishop some time before the struggle began, and it is perhaps indicative of a feeling of embarrassment on his part that in his own account of the murder he does not mention the heroism of Grim.
page 29 note 1 Reproduced in Archaeologia, vol. lxxix, pi. xx, fig. 2.
page 29 note 2 For reproductions of all the above caskets see Archaeologia, vol. lxxix.
page 30 note 1 Royal Commission on Historical Monuments (England), Buckinghamshire, ii (1913), p. 341.Google Scholar
page 30 note 2 This is reproduced from a lithograph published in the Rev. C Lowndes's paper , ‘Mural paintings in Whaddon Church’ in Records of Bucks., vol. iii (1863), plate facing p. 272Google Scholar.
page 31 note 1 See Abbott, Edwin E., St. Thomas of Canterbury, London, 1898, vol. i, pp. 297Google Scholar seqq. I am indebted to Mr. Hope-Nicholson for drawing my attention to this group of miracles.