Modus: Prace z historii sztuki (15.2015)

patterns, just without cusps, were used by Joy
in the crossing bay at Ottery St Mary (after
1337) and in the eastern arm of Wells Cathedral
(c. 1326 - before 1337)^ in the rectangular bay
of the retrochoir and in both side chapels. His
experiments are clearly noticeable in differ-
ent shapes and positions of the ridge lozenges,
and occasionally in elimination of diagonals
or sections of ridge ribs. Even more influen-
tial figuration was created by Joy in the vaults
of choir aisles, in which the lierne ribs form
a wide inscribed cross with triangular end-
ings. There are no ridge ribs and the diagonals
appear only in the middle part of the vault
(Fig. 22). This basic pattern was further trans-
formed and combined with curvilinear forms
in the southern nave aisles of St Mary Redcliffe
at Bristol (c. 1337-1342)^. In the nave vault of
this church, as well as in the much later, but
similar transept vaults of St Augustines (last
quarter of the 15^ century)^, the rib formation
still contains the motif of an inscribed ridge
cross. However, the complication and almost
mannerist virtuosity of the design makes it barely noticeable. Therefore, it is prob-
able that the decisive role in standardisation and dissemination of the Wells and
Bristol "inscribed cross patterns" was played by the strictly regular nave vault at
Canterbury Cathedral constructed by Henry Yevele (or Thomas Hoo?) by 1405^
(Fig. 23). Its composition is very clear, for it retains all the diagonals, tiercerons and
ridge ribs, and the inscribed lierne crosses are easily detectable. It also develops
the basic pattern. The insertion of additional tiercerons in the lateral webs creates
a symmetry between triangular endings of the ridge crosses and additional trian-
gular extensions based on the top of the formerets. Certainly not insignificant for
the international importance of the novel architecture of the Canterbury nave was
the cult of St Thomas Becket, so widespread on the Continent*^, and Canterbury's
location close to the Kentish shore.

23. Canterbury Cathedra},
vault of the nave. Photo:
author

(= British Archaeological Association Conference Transactions, 19), pp. 41-56. See also: S. Kramer,
Herrscha/tiiche Grabiege, pp. 83-122.
77 P. Crossley, Peter Parter and England, pp. 163-165; S. Kramer, Herrscha/tliche Grabiege,
pp. 257-301.
78 P. Crossley, Peter Parter and England, n. 51 on p. 177; I.S. Hendrix, Archttectare as Cosmology,
p.230.
79 S. Kramer, Herrscha/tliche Grabiege, p. 88.
80 HJ. Bóker, Der Beginn einer Spatgotik, pp. 95-106; idem, Pngttsche Satcraiarchitektar des Mit-
telalters, Darmstadt 1984, pp. 289-294; J.S. Hendrix, Arckttectare as Cosmology, pp. 253-254. The
attribution of the nave vault to Thomas Hoo was promoted by Francis Woodman (see: F. Wood-
man, The Architectural History of Canterbury Cathedral, London 1981; idem, Tor their Monuments,
Took about You. Medieval Masons and Their Tombs, in: I.A. Franklin, T.A. Heslop, C. Stevenson
(eds.), Architecture and interpretation. Essays for Eric Ternie, Woodbridge 2012, p. 189).
81 Cf. M. Walczak, 'Alter Christas". Studia nad obrazowaniem świętości w średniowieczu na przykła-
dzie sw. Tomasza Becketa, Kraków 2001 (= Ars Yetus et Nova, 5).

The Influence of 13^- and 14^-century English Architecture...

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