DOI Heft:
Nr. 341 (October 1925)
DOI Artikel:Hamilton, Francis: Contemporary tomb figures
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19986#0027
inceRHACionAL
BISHOP HENRY CODMAN POTTER In the Cathedral of St. John the Divine BY JAMES E. FRASER
Potter add much to their effectiveness and no- is an extraordinarily fine work and as a piece of
bility. The "Founder's Tomb," so-called since realistic portraiture it is thrilling.
Horatio Potter began the plan for the Cathedral of Reference has been made to the Robert Bacon
St. John the Divine, is placed on an elevated base memorial by Malvina Hoffman as representing an
in the ambulatory between two great pillars and idea quite different from that animating the others
immediately behind the high altar, its position pictured here. It is comprised of two figures, a
being traditionally that reserved for the founder dead Crusader (such as those who went from
of a cathedral. In this work Konti followed the Cambridge, England, in the twelfth century and
style of the English Gothic of the fifteenth century gave their lives for an ideal) lying upon a cross
and except for the bishop's crozier and his vest- with his head pillowed in the lap of a cloaked
ments no further details of ornamentation are woman who looks upward in mute appeal. The
added. Since the figure is placed fifteen feet above two figures symbolize mutual sacrifice, and as they
the ambulatory floor a stairway leads to a plat- are not portraits of particular individuals the
form behind the tomb so that visitors may have a divergence from the original type is complete,
close view of the figure. Not the least of the interesting features of these
Fraser's effigy of Bishop Henry Codman figures as a whole are the traditions connected
Potter is in the Chapel of St. James, one of the with their poses and accessories. Thus in the case
chapels of the Seven Tongues that are such of this Crusader his feet are side by side and
noteworthy elements in the cathedral design. It pressed against a cornice-like base, this indicating
lies on a superb base of yellowish marble, the feet that he was one of those Crusaders who never
pressed against a simple round pillow, the hands reached Jerusalem. When such a knight did reach
resting on the breast, the head pressing down into the Holy City he was represented in one of these
the uppermost of two cushions. Technically this effigies with his feet crossed.
OCTOBER 1925
twenty-seven
BISHOP HENRY CODMAN POTTER In the Cathedral of St. John the Divine BY JAMES E. FRASER
Potter add much to their effectiveness and no- is an extraordinarily fine work and as a piece of
bility. The "Founder's Tomb," so-called since realistic portraiture it is thrilling.
Horatio Potter began the plan for the Cathedral of Reference has been made to the Robert Bacon
St. John the Divine, is placed on an elevated base memorial by Malvina Hoffman as representing an
in the ambulatory between two great pillars and idea quite different from that animating the others
immediately behind the high altar, its position pictured here. It is comprised of two figures, a
being traditionally that reserved for the founder dead Crusader (such as those who went from
of a cathedral. In this work Konti followed the Cambridge, England, in the twelfth century and
style of the English Gothic of the fifteenth century gave their lives for an ideal) lying upon a cross
and except for the bishop's crozier and his vest- with his head pillowed in the lap of a cloaked
ments no further details of ornamentation are woman who looks upward in mute appeal. The
added. Since the figure is placed fifteen feet above two figures symbolize mutual sacrifice, and as they
the ambulatory floor a stairway leads to a plat- are not portraits of particular individuals the
form behind the tomb so that visitors may have a divergence from the original type is complete,
close view of the figure. Not the least of the interesting features of these
Fraser's effigy of Bishop Henry Codman figures as a whole are the traditions connected
Potter is in the Chapel of St. James, one of the with their poses and accessories. Thus in the case
chapels of the Seven Tongues that are such of this Crusader his feet are side by side and
noteworthy elements in the cathedral design. It pressed against a cornice-like base, this indicating
lies on a superb base of yellowish marble, the feet that he was one of those Crusaders who never
pressed against a simple round pillow, the hands reached Jerusalem. When such a knight did reach
resting on the breast, the head pressing down into the Holy City he was represented in one of these
the uppermost of two cushions. Technically this effigies with his feet crossed.
OCTOBER 1925
twenty-seven