DOI Page / Citation link:
https://doi.org/10.11588/diglit.41589#0037
Notes
I would like to acnowledge the help and advice of Nicholas Denyer, Peter Hammond and Jan
Srzednicki who gallantly read through the text os this paper at various stages in its genesis and
advised on how to improve it. Its mistakes are entirely my own.
1 J. Baily, St. Hugh’s Choir at Lincoln. In: Architectural History 1991, pp. 1—35. This article
provides a survey os the major interpretations of the building since the nineteenth century and
a detailed structural analysis.
2 In Medieval Art and Architecture at Lincoln Cathedral. The British Archaeological
Association Conserence Transactions sor the Year 1982, Leeds, 1986, pp. 29—42.
3 L. Hoey, Pier Alternation in English Gothic Architecture, Journal os the British Ar-
chaeological Association, 1986, pp. 45—-61.
4 The "Crazy” Vaults os Lincoln Cathedral AB, LXXII, 1953, pp. 95—107
5 N. Pevsner and J. Harris, rev. N. Antram, Lincolnshire. The Buildings os England Series,
2nd edition, 1989, pp. 444—482.
6 For instance ibid. p. 17: ’’Apart srom the unaccountable misplacements os quatrefoil, tresoil
and circular piercings in the tympana, the gallery acts as the unisying element..”
7 Frankl (Lincoln Cathedral AB, XLIII, 1962, pp. 29—39) suggests that this capital was not
sully finished and was intended to receive leas carving. This cannot be so since the stone is already
moulded in such a way that there is insufficient material sor leas shapes. This is evident even from
the illustration provided in his article. The capital is os a normal shape sor a finished moulded
capital.
8 Nordstrom, Peterborough, Lincoln and the Science os Robert Grosseteste: A Study in
Thirteenth Century Architecture and Iconography, AB 1955, pp. 241—272.
9 See K. Lehmann, The Dome os Heaven, AB, XXVI, 1945.
,10 In recent excavations to replace the heating system under the choir stalls one base on either
side os the choir was uncovered and there was clear evidence that the shafts continued right down
to the bases. (My thanks to Peter Hammond sor this insormation).
II There is no comprehensive recent account of the development os choir screens. For
a discussion os what is available see C. Edson Armi and E. Bradsord Smith, The Choir Screen os
Cluny III, AB, LXV, 1984, pp. 556—573.
72 Lon Shelby makes this plausible suggestion as a way os accounting sor the evidence
concerning Chartres put sorward by John James. See Shelby’s review os The Contractors os
Chartres, Gesta 1981.
13 Similar heads can also be seen on the minstrels os the nave arcading at Beverley, where there
was also an eighteenth century restoration.
14 The Medieval Painted glass os Lincoln Cathedral. London, 1983, pp. 27—34 & 38—41.
15 Illustrated in H. Fett, Norges Kirker i Middelalderen, Kristiana 1909, p. 67. (UL 401, 7 b 90 3).
16 C. Onians, Bearers os Meaning. Princeton, 1988. See especially pp. 98—104 where the author
discusses the use os varied columns to mark ’’zones os transition” srom the secular to the divine.
Also E. Femie, Archaeology and Iconography: Recent Developments in the Study os English
Medieval Architecture, Architectural History, 1989, pp. 18—29.
17Isidori Hispalensis Episcopi. Etymologiarum sive originum libri XX, ed. W. M. Lindsay.
Oxsord 1911. — Hrabanus Maurus, De Universo. In: Migne, P. L. CXI, cols. 9—614.
18 Extracts translated by E. Panossky in Abbot Suger on the Abbey os St.-Denis and its Art
Treasures. Princeton 1946. See also the extensive discussions os Suger in Abbot Suger and
Saint-Denis, ed P. Gerson, New York 1986, and The Royal Abbey os Saint-Denis in the Time os
Abbot Suger (1122—1151), Crosby, Little, Hayward and Wixom. New York 1981.
19 For example in the St. Albans Psalter (probably before 1123) the illustration to the Canticle
srom Isaiah 12 (p. 327) shows a cross with just such crockets, with a lamb on the arm and the sount
of salvation flowing at its base. O. Pacht, C. Dodwell, F. Wormald, The St. Albans Psalter, London
1960, PI. 9Id. By the time os the Psalter os Robert de Lindsey (besore (1222) the cross os the
crucifixion is shown with curled leaves very similar in sorm to stiff leas. Pevsner drew these parallels
but does not seem to have noticed their iconographic significance.
20 I have not, as yet, sound direct evidence os a knowledge os Dionysius at Lincoln in the late
Twelfth Century but it is worth recalling that Suger was only a generation besore St Hugh, that the
35
I would like to acnowledge the help and advice of Nicholas Denyer, Peter Hammond and Jan
Srzednicki who gallantly read through the text os this paper at various stages in its genesis and
advised on how to improve it. Its mistakes are entirely my own.
1 J. Baily, St. Hugh’s Choir at Lincoln. In: Architectural History 1991, pp. 1—35. This article
provides a survey os the major interpretations of the building since the nineteenth century and
a detailed structural analysis.
2 In Medieval Art and Architecture at Lincoln Cathedral. The British Archaeological
Association Conserence Transactions sor the Year 1982, Leeds, 1986, pp. 29—42.
3 L. Hoey, Pier Alternation in English Gothic Architecture, Journal os the British Ar-
chaeological Association, 1986, pp. 45—-61.
4 The "Crazy” Vaults os Lincoln Cathedral AB, LXXII, 1953, pp. 95—107
5 N. Pevsner and J. Harris, rev. N. Antram, Lincolnshire. The Buildings os England Series,
2nd edition, 1989, pp. 444—482.
6 For instance ibid. p. 17: ’’Apart srom the unaccountable misplacements os quatrefoil, tresoil
and circular piercings in the tympana, the gallery acts as the unisying element..”
7 Frankl (Lincoln Cathedral AB, XLIII, 1962, pp. 29—39) suggests that this capital was not
sully finished and was intended to receive leas carving. This cannot be so since the stone is already
moulded in such a way that there is insufficient material sor leas shapes. This is evident even from
the illustration provided in his article. The capital is os a normal shape sor a finished moulded
capital.
8 Nordstrom, Peterborough, Lincoln and the Science os Robert Grosseteste: A Study in
Thirteenth Century Architecture and Iconography, AB 1955, pp. 241—272.
9 See K. Lehmann, The Dome os Heaven, AB, XXVI, 1945.
,10 In recent excavations to replace the heating system under the choir stalls one base on either
side os the choir was uncovered and there was clear evidence that the shafts continued right down
to the bases. (My thanks to Peter Hammond sor this insormation).
II There is no comprehensive recent account of the development os choir screens. For
a discussion os what is available see C. Edson Armi and E. Bradsord Smith, The Choir Screen os
Cluny III, AB, LXV, 1984, pp. 556—573.
72 Lon Shelby makes this plausible suggestion as a way os accounting sor the evidence
concerning Chartres put sorward by John James. See Shelby’s review os The Contractors os
Chartres, Gesta 1981.
13 Similar heads can also be seen on the minstrels os the nave arcading at Beverley, where there
was also an eighteenth century restoration.
14 The Medieval Painted glass os Lincoln Cathedral. London, 1983, pp. 27—34 & 38—41.
15 Illustrated in H. Fett, Norges Kirker i Middelalderen, Kristiana 1909, p. 67. (UL 401, 7 b 90 3).
16 C. Onians, Bearers os Meaning. Princeton, 1988. See especially pp. 98—104 where the author
discusses the use os varied columns to mark ’’zones os transition” srom the secular to the divine.
Also E. Femie, Archaeology and Iconography: Recent Developments in the Study os English
Medieval Architecture, Architectural History, 1989, pp. 18—29.
17Isidori Hispalensis Episcopi. Etymologiarum sive originum libri XX, ed. W. M. Lindsay.
Oxsord 1911. — Hrabanus Maurus, De Universo. In: Migne, P. L. CXI, cols. 9—614.
18 Extracts translated by E. Panossky in Abbot Suger on the Abbey os St.-Denis and its Art
Treasures. Princeton 1946. See also the extensive discussions os Suger in Abbot Suger and
Saint-Denis, ed P. Gerson, New York 1986, and The Royal Abbey os Saint-Denis in the Time os
Abbot Suger (1122—1151), Crosby, Little, Hayward and Wixom. New York 1981.
19 For example in the St. Albans Psalter (probably before 1123) the illustration to the Canticle
srom Isaiah 12 (p. 327) shows a cross with just such crockets, with a lamb on the arm and the sount
of salvation flowing at its base. O. Pacht, C. Dodwell, F. Wormald, The St. Albans Psalter, London
1960, PI. 9Id. By the time os the Psalter os Robert de Lindsey (besore (1222) the cross os the
crucifixion is shown with curled leaves very similar in sorm to stiff leas. Pevsner drew these parallels
but does not seem to have noticed their iconographic significance.
20 I have not, as yet, sound direct evidence os a knowledge os Dionysius at Lincoln in the late
Twelfth Century but it is worth recalling that Suger was only a generation besore St Hugh, that the
35