Tables
3.1 Paint samples from the font, St. Peter Mancroft, Norwich
3.2 Paint samples from the font canopy, St. Peter Mancroft, Norwich 134
4.1 Description of the PMA panels 145
4.2 General stratigraphy of the decorative scheme of PMA panels “a,” “b,” and “c” 155
5.1 Summary of laser scanning capture parameters 173
5.2 Photogrammetric inputs and outputs using Agisoft PhotoScan Standard Edition 175
Plates
1 Church of St. Peter Mancroft, Norwich (England), baptismal font. Source: Zachary Stewart 449
2 Church of St. Peter Mancroft, Norwich (England), baptismal font canopy. Source: Zachary Stewart 450
3 Carved panels, Norwich, England, c.1509–1527, oak, dimensions variable. Philadelphia Museum of Art, 1929-66-208a–d. From left to right: fronts of panels “a,” “b,” “c,” “d.” Source: Jason Wierzbicki, Philadelphia Museum of Art Division of Conservation 451
4 Carved panels, Norwich, England, c.1509–1527, oak, dimensions variable. Philadelphia Museum of Art, 1929-66-208a–d. From left to right: backs of panels “a,” “b,” “c,” “d.” Source: Jason Wierzbicki, Philadelphia Museum of Art Division of Conservation 452
5 Church of St. Peter Mancroft, Norwich (England), mid-restoration view of c.1900 looking northwest. Source: Norfolk Heritage Centre, Norwich, England 453
6 Church of St. Peter Mancroft, Norwich (England), view looking east. Source: Zachary Stewart 453
7 Henry Ninham, drawing, 1847. Norwich Castle Museum & Art Gallery, 1894.76.1045. Source: Norfolk Museums 454
8 St. Botolph’s church, Trunch (Norfolk, England), baptismal font canopy. Source: Zachary Stewart 455
9 Durham Cathedral (England), baptismal font canopy. Source: Angelo Hornak/Alamy Stock Photo 456
10 James Sillett, St Peter Mancroft Church Font, 1835. Norwich Castle Museum & Art Gallery, 1951.235.1234.B29. Source: Norfolk Museums 457
11 Henry Ninham, untitled drawing, 1851. Private collection. Source: Used by permission 458
12 Edward Preston Willins, Four Sketches Roundabout St Peter Mancroft Church (detail), 1884. Norwich Castle Museum & Art Gallery, 1954.138.Todd7.Mancroft.71. Source: Norfolk Museums 458
13 St. Peter’s church, Hepworth (Suffolk, England), baptismal font cover. Source: Lucy Wrapson 459
14 St. Mary’s church, Ufford (Suffolk, England), baptismal font cover. Source: geophotos/Alamy Stock Photo 460
Figures
0.1 Annotated historical photograph of objects 1929-66-208a–d in the curatorial files of the Department of European Decorative Arts and Sculpture, Philadelphia Museum of Art. Source: Amy Gillette 2
1.1 Map of Norman-era Norwich. The location of the Market Place, with its church of St. Peter Mancroft, is indicated in red. The location of Tombland, with its church of St. Michael, is indicated in blue. From Brian Ayers, Norwich: Archaeology of a Fine City (Stroud, 2009), 56 (with modifications by author). Used by permission 14
1.2 Church of St. Peter Mancroft, Norwich (England), plan showing locations of pre-1390 fabric in red (A) and hypothetical footprints of the church c.1100 (B), c.1200 (C), c.1300 (D), and c.1400 (E). Source: Zachary Stewart 16
1.3 Church of St. Peter Mancroft, Norwich (England), plinth excavated in south nave aisle, south side, south at top. Source: T.A. Heslop 17
1.4 Church of St. Peter Mancroft, Norwich (England), plinth excavated in south nave aisle, north side, west at top. Source: T.A. Heslop 18
1.5 Church of St. Peter Mancroft, Norwich (England), crypt under north chancel chapel looking southeast with later underpinning for arcade pier above visible at center. Source: Zachary Stewart 19
1.6 Map of medieval Southampton. From K.D. Lilley, “The Norman Conquest and Its Influences on Urban Landscapes,” in The Archaeology of the 11th Century: Continuities and Transformations, ed. D.M. Hadley and C. Dyer (London, 2017), 37. Used by permission 22
1.7 Church of St. Peter Mancroft, Norwich (England), south nave porch, inner door. Source: Zachary Stewart 29
1.8 Church of St. Peter Mancroft, Norwich (England), west respond of north arcade looking southwest. Scarring is visible from the level of the adjacent wall monument up. Source: Zachary Stewart 30
1.9 St. Michael’s church, Beccles (Suffolk, England), view of nave looking southwest. Source: Zachary Stewart 31
1.10 Church of St. Peter Mancroft, Norwich (England), view of west tower looking northeast. Source: Zachary Stewart 33
1.11 Church of St. Peter Mancroft, Norwich (England), west door. Source: Zachary Stewart 35
1.12 Church of St. Peter Mancroft, Norwich (England), tower arch. Source: Zachary Stewart 36
1.13 St. Mary’s church, Worstead (Norfolk, England), west tower. Source: Zachary Stewart 38
1.14 Norwich Cathedral (England), north cloister walk, west bays of 1350s at left and east bays of 1380s at right. Source: Zachary Stewart 39
1.15 Norwich Cathedral (England), screen between south transept arm and south presbytery aisle. Source: Zachary Stewart 41
1.16 St. Michael’s church, Beccles (Suffolk, England), west front. Source: Zachary Stewart 43
1.17 Diagrammatic reconstruction of the three major phases of the rebuilding of St. Peter Mancroft, Norwich: c.1440–1445 (A), c.1445–1450 (B), and c.1450–1465 (C). Source: Zachary Stewart 46
1.18 Church of St. Peter Mancroft, Norwich (England), view of the sanctuary looking east, with the north arcade respond at far left and the south arcade respond at far right. Source: Zachary Stewart 48
1.19 Church of St. Peter Mancroft, Norwich (England), view of the north side of the high roof at the juncture between nave (left) and chancel (right). Source: Zachary Stewart 49
1.20 Plan of St. Peter Mancroft, Norwich, with author’s reconstruction of destroyed liturgical screenwork indicated by solid lines 1–5. From David King, The Medieval Stained Glass of St Peter Mancroft, Norwich (Oxford, 2006), xxvii. Used by permission 50
1.21 Church of St. Gregory Pottergate, Norwich (England), view looking northeast. Source: Zachary Stewart 52
1.22 St. Giles’s church, Norwich (England), view looking northeast. Source: Zachary Stewart 53
1.23 St. Nicholas’s church, King’s Lynn (Norfolk, England), north arcade wall. Source: Zachary Stewart 53
1.24 Norwich Cathedral (England), Erpingham Gate. Source: Zachary Stewart 55
1.25 Norwich Blackfriars (England), north nave arcade wall. Source: Zachary Stewart 57
1.26 Church of St. Peter Mancroft, Norwich (England), view of eastern treasure house looking northwest. Source: Zachary Stewart 58
1.27 Church of St. Peter Mancroft, Norwich (England), south nave porch. Source: Zachary Stewart 60
1.28 Church of St. Peter Mancroft, Norwich (England), north nave porch. Source: Zachary Stewart 61
1.29 St. Edmund’s church, Southwold (Suffolk, England), view looking east. Source: Zachary Stewart 62
1.30 Norwich Cathedral (England), view of nave looking east. Source: Zachary Stewart 64
1.31 John Kirkpatrick (1686–1728), Mancroft / St Peter Steeple, undated. Norwich Castle Museum & Art Gallery, 1894.76.1738. Source: Norfolk Museums 65
1.32 Norwich Cathedral (England), view of spire looking northeast. Source: Zachary Stewart 66
1.33 Church of St. Peter Mancroft, Norwich (England), alabaster panels depicting male saints (left) and female saints (right), now housed in the treasury. Source: Lloyd de Beer 69
1.34 Church of St. Peter Mancroft, Norwich (England), partially restored stained-glass panels depicting the Adoration of the Magi (left) and the Nativity (right), formerly installed in the east window of the east chancel chapel, now installed in the great east window. Source: Zachary Stewart 71
2.1 Former abbey church (now cathedral), Bristol (England), lavatorium in “vestibule” (former sacristy). Source: © Lesley Milner 83
2.2 Former collegiate church (now parish church), St. Mary Ottery (Devon, England), view looking northwest, showing the southern treasure house at center left. Source: Zachary Stewart 84
2.3 Plans of the treasure house at St. Peter Mancroft, Norwich (England), showing the upper vestry (third level) at left and the lower vestry (second level) at right. From William Henry St. John Hope, “Inventories of the Parish Church of St. Peter Mancroft, Norwich,” Norfolk Archaeology 14 (1901): 179, 186 86
2.4 Church of St. Peter Mancroft, Norwich (England), view of the treasure house looking southwest. Source: Zachary Stewart 87
2.5 Church of St. Peter Mancroft, Norwich (England), view of the upper vestry of the treasure house looking south. Source: Zachary Stewart 88
2.6 Church of St. Peter Mancroft, Norwich (England), roof corbel in the upper vestry of the treasure house. Source: Zachary Stewart 89
2.7 Church of St. Peter Mancroft, Norwich (England), lavatorium in the upper vestry of the treasure house. Source: Zachary Stewart 90
2.8 Frauenkirche, Nuremberg (Germany), view looking northwest. Source: © Lesley Milner 94
2.9 The Tribunal, Glastonbury (Somerset, England). Source: © Lesley Milner 96
2.10 St. Michael’s church, Coventry (England), view of east end looking northwest. Source: Zachary Stewart 99
2.11 James Sillett (1764–1840), St. Peter per Mountergate Church, undated. Norwich Castle Museum & Art Gallery, 1951.235.1234.B74. Source: Norfolk Museums 100
3.1 St. Andrew’s church, Westhall (Suffolk, England), font. Damaged through iconoclasm, but with original polychrome decoration. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 108
3.2 Church of St. Peter Mancroft, Norwich (England), font, side panel showing the painted, box-like, “pulpit.” Infrared photograph. Compare to normal light image in plate 1. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 109
3.3 Sample PMF1 from the font at St. Peter Mancroft, Norwich, taken from the painted, box-like “pulpit,” through all layers. Normal light photograph 200 × magnification. From the lowest layer up: 1. Plaster consisting of both calcium carbonate and calcium sulphate; 2. Plaster, second layer, materially same as lower layer; 3. Medium rich layer, possibly an oiling out or sealant layer; 4. Lead white, chalk, and lamp black with occasional red lead particles; 5. Lead white and single azurite particle; 6. Yellow ochre, charcoal black. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 112
3.4 Sample PMF5 from the font at St. Peter Mancroft, Norwich, taken from black paint at the edge of the column decoration on the font. Normal light photograph 200 × magnification. From the lowest layer up: 1. Plaster consisting of both calcium carbonate and calcium sulphate; 2. Lead white, chalk, yellow ochre, and lamp black, occasional red lead particle; 3. Earth pigments, including umbers, chalk and charcoal black. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 114
3.5 Church of St. Peter Mancroft, Norwich (England), font canopy. The twist on this oak pendant, visible on the posts, is original. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 118
3.6 Church of St. Peter Mancroft, Norwich (England), font canopy. The tracery heads of the canopy are of a horizontally grained oak. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 119
3.7 Church of St. Peter Mancroft, Norwich (England), font canopy. Hessian repair behind one of the tracery heads. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 120
3.8 Church of St. Peter Mancroft, Norwich (England), font canopy. Sawn non-original insert with later repair. Note that the grey paint, originally smalt, does not go over the repair. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 121
3.9 St. Agnes’s church, Cawston (Norfolk, England), detail of rood screen with tin relief pattern of saints in niches. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 122
3.10 Church of St. Peter Mancroft, Norwich (England), font canopy. Detail of the paint on non-original oak insert. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 123
3.11 St. John’s College, Cambridge (England), hall screen, Thomas Loveday, c.1511–1516. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 126
3.12 St. Mary’s church, Hadleigh (Suffolk, England), north aisle parclose screen with curved castellated supertransoms. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 126
3.13 Church of St. Peter Mancroft, Norwich (England), font canopy post with curved castellations. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 128
3.14 St. Catherine’s church, Ludham (Norfolk, England), rood screen (1493). Post base with round headed blind tracery. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 129
3.15 St. Botolph’s church, Trunch (Norfolk, England), rood screen (1502). Post base with oilet and round headed windows. Also note the castellation design. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 129
3.16 St. Peter’s church, Hepworth (Suffolk, England), font cover. Detail of carved figure and castellations. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 130
3.17 St. Peter’s church, Hepworth (Suffolk, England), font cover. Detail of crocketted canopy. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 131
3.18 St. Peter’s church, Hepworth (Suffolk, England), font cover. Detail of shallow Tudor-style arch. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 131
3.19 St. Peter’s church, Hepworth (Suffolk, England), font cover. Detail of tracery and castellations. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 132
3.20 Sample PM1 from the font canopy at St. Peter Mancroft, Norwich, taken from grey overpaint on top of red on the northeast pillar. From the lowest layer up: 1. Vermilion, red lead, and some large lead soaps; 2. Lead white and lamp black with occasional particles of red lead. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 134
3.21 Samples PM2a (top) and PM2b (bottom) from the font canopy at St. Peter Mancroft, Norwich, taken from the brown/grey paint on the upper wooden insert, northeast pillar. Normal light photograph 200 × magnification. This sample split at the interface between the brown layer and the blue layer on top of it. From the lowest layer on Sample 2a up: 1. Chalk ground layer; 2. Lead white, charcoal black, and a little red lead; 3. Charcoal black, but found to include copper-containing particles identified using SEM/EDS; 4. Earth pigments (iron oxide red). Continuing on Sample 2b: 1. Earth pigments (iron oxide red); 2. Lead white and smalt. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 135
3.22 Sample PM6 from the font canopy at St. Peter Mancroft, Norwich, taken from the grey/blue paint over blue and green, southeast pillar. From the lowest layer up: 1. Red lead and lead white; 2. A second, glazier and more medium-rich layer of the copper green; 3. Gold leaf; 4. Azurite; 5. Blue/grey layer containing lead white, earth pigments, and some lamp black. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 138
3.23 Sample PM8 from the font canopy at St. Peter Mancroft, Norwich, taken from blue/gilding on the east side spandrel. Normal light photograph 200 × magnification. From the lowest layer up: 1. Brown layer containing clays and silicates, which also acts as a mordant for the gold leaf; 2. Gold leaf; 3. Lead white, lamp black, chalk, and red lead; 4. Largely organic dark-brown surface coatings. Source: © Lucy Wrapson, Hamilton Kerr Institute, University of Cambridge 139
4.1 Detail of carved shield of PMA panel “b” (Philadelphia Museum of Art, 1929-66-208b). Note the numerous small knots in the wood, encircled. Source: Jason Wierzbicki, Philadelphia Museum of Art Division of Conservation 147
4.2 Detail of end of PMA panel “a” (Philadelphia Museum of Art, 1929-66-208a). Note: the graphic of a tree in cross-section shows the approximate location of the pith, as a black circle, as well as growth rings. Source: Jason Wierzbicki, Philadelphia Museum of Art Division of Conservation 148
4.3 Detail of the back of PMA panel “b” (Philadelphia Museum of Art, 1929-66-208b). Note the pit saw marks. Source: Jason Wierzbicki, Philadelphia Museum of Art Division of Conservation 149
4.4 PMA panel “b” (Philadelphia Museum of Art, 1929-66-208b). Note the diagonal cut on the front of the post and the triangular-shaped tenon. Source: Jason Wierzbicki, Philadelphia Museum of Art Division of Conservation 150
4.5 Detail of the large cut-out on the back of PMA panel “c” (Philadelphia Museum of Art, 1929-66-208c). Source: Jason Wierzbicki, Philadelphia Museum of Art Division of Conservation 151
4.6 Two detail views of PMA panel “d” (Philadelphia Museum of Art, 1929-66-208d). Note: portions of nails are visible at left and appear white in the corresponding x-ray image at right. Source: Jason Wierzbicki, Philadelphia Museum of Art Division of Conservation 151
4.7 Detail from PMA panel “b” (Philadelphia Museum of Art, 1929-66-208b) showing small island of remaining surface coatings, including paint and/or varnishes. Note that the limited amount of surface coatings is found only in the interstices of these objects. Source: Jason Wierzbicki, Philadelphia Museum of Art Division of Conservation 153
4.8 Sampling sites on PMA panels (Philadelphia Museum of Art, 1929-66-208a–d). From left to right: panels “a,” “b,” “c,” “d.” Source: Jason Wierzbicki, Philadelphia Museum of Art Division of Conservation 154
4.9 Detail from panel PMA “b” (Philadelphia Museum of Art, 1929-66-208b) showing red-orange fill material in the cracks of the wood grain. Source: Jason Wierzbicki, Philadelphia Museum of Art Division of Conservation 156
4.10 Sample b4 from PMA panel “b” (Philadelphia Museum of Art, 1929-66-208b). Top: Backscattered electron image. Middle: VLM image. Bottom: FLM image. Layer identification starting at the bottom: (1) ground, (2) fill, (3) preparatory layer, (4) brown layer, (5) later decorative red layer, (6) later decorative blue/gray layer, (7) restoration layer. Source: Philadelphia Museum of Art Division of Conservation 157
4.11 Sample b2 from PMA panel “b” (Philadelphia Museum of Art, 1929-66-208b). Top: VLM image. Bottom: FLM image. Layer identification starting at the bottom: (1) ground(s), (2) preparatory layer, (3) green decorative layer, (4) media-rich layer including gold leaf, (5) later-generation ground layer, (6) later decorative green layer, (7) later decorative blue-gray layer, (8) restoration layer. Source: Philadelphia Museum of Art Division of Conservation 159
4.12 Sample d1 from PMA panel “d” (Philadelphia Museum of Art, 1929-66-208d). Top: VLM image. Bottom: FLM image. Layer identification starting at the bottom: (1) ground(s), (2) blue-gray layer(s), (3) red decorative layer, (4) thin brown layer, (5) white paint layer. Source: Philadelphia Museum of Art Division of Conservation 161
5.1 Digital technology application with reference to spatial scale of subject. After Jon Bedford, ed., 3D Laser Scanning for Heritage (Swindon, 2017). Source: Brent R. Fortenberry 170
5.2 Terrestrial laser scan of the east elevation of the font canopy at St. Botolph’s church, Trunch. Source: Brent R. Fortenberry and Benjamin Baaske 174
5.3 Photogrammetric scan of the northwest elevation of the font canopy at St. Botolph’s church, Trunch. Source: Brent R. Fortenberry and Benjamin Baaske 176
5.4 East elevation of the font canopy at St. Peter Mancroft, Norwich, combining photogrammetry and terrestrial laser scanning. Source: Brent R. Fortenberry and Benjamin Baaske 178
5.5 South elevation of the font canopy at St. Peter Mancroft, Norwich, combining photogrammetry and terrestrial laser scanning. Source: Brent R. Fortenberry and Benjamin Baaske 180
5.6 Reflected ceiling plan through the font stem of the font canopy at St. Peter Mancroft, Norwich, combining photogrammetry and terrestrial laser scanning. Source: Brent R. Fortenberry and Benjamin Baaske 181
5.7 Reflected ceiling plan of the font canopy at St. Peter Mancroft, Norwich, combining photogrammetry and terrestrial laser scanning and showing geometry and dimensions of major structural and decorative elements. Source: Brent R. Fortenberry and Benjamin Baaske 182
5.8 Base plan of the font canopy at St. Peter Mancroft, Norwich, combining photogrammetry and terrestrial laser scanning and showing geometry and dimensions of major structural and decorative elements. Source: Brent R. Fortenberry and Benjamin Baaske 183
6.1 All Saints’ church, Laxfield (Suffolk, England), font with original platform. Source: Wikimedia Commons 193
6.2 Church of St. Peter Mancroft, Norwich (England), view of font canopy ceiling showing medieval aperture and modern cover. Source: Zachary Stewart 194
6.3 Scaled reconstruction of the medieval font canopy at St. Peter Mancroft, Norwich. The canopy is shown in plan, from above, with a section cut through the proposed superstructure. Panels are shaded in color. Uprights are shaded in grey. The canopy ceiling/roof, with its peripheral pillar and pendant consoles, is unshaded. Source: Zachary Stewart 196
6.4 Scaled reconstruction of the medieval font canopy at St. Peter Mancroft, Norwich. The arrangement of the superstructure is based on fig. 6.3. The arrangements of the font platform and the font cover are speculative. Source: Zachary Stewart 197
6.5 Timothy Sheldrake, Norwich—Cross in the Market Place, 1732. Norwich Castle Museum & Art Gallery, 1954.138.Todd7.Mancroft.134. Source: Norfolk Museums 198
6.6 Reliquary, Spanish, early 16th century. Victoria & Albert Museum, London, M.289-1956. Source: Victoria & Albert Museum 199
6.7 Details of the figures on PMA panels “a” and “b” (Philadelphia Museum of Art, 1929-66-208a–b). Left: panel “a.” Right: panel “b.” Source: Philadelphia Museum of Art Division of Conservation 201
6.8 Details of the figures on PMA panels “c” and “d” (Philadelphia Museum of Art, 1929-66-208c–d). Left: panel “c.” Right: panel “d.” Source: Philadelphia Museum of Art Division of Conservation 202
6.9 Church of St. Peter Mancroft, Norwich (England), donor portrait of Thomas Elys, mayor of Norwich, originally located in the north chancel chapel (window nIV). Source: Wikimedia Commons 203
6.10 St. Andrew’s church, Norwich (England), lost tomb brass of John Clerk, mayor of Norwich, originally located in the north aisle. Source: John Sell Cotman, Engravings of Sepulchral Brasses in Norfolk, 2nd ed. (London, 1838), plate LX 204
6.11 Robert Jannys (c.1480–1530), Mayor of Norwich 1517, 1524, English, 17th century. Norwich Castle Museum & Art Gallery, Civic Portrait 68. Source: Norfolk Museums 205
6.12 Detail from Francis Blomefield’s “Plan of the City of Norwich” showing the city’s civic regalia, including the mace or sword given by King Henry V to the Guild of St. George (indicated in red). Source: Francis Blomefield and Charles Parkin, An Essay towards a Topographical History of the County of Norfolk, vol. 3 (London, 1805), plate 1 207
6.13 Schöner Brunnen, Nuremberg (Germany). Source: Wikimedia Commons 213
6.14 Church of St. Clement, Terrington (Norfolk, England), font cover. Source: Zachary Stewart 223
6.15 Church of St. Botolph, Cambridge (England), font cover. Source: Zachary Stewart 226
6.16 Church of St. Michael at Plea, Norwich (England), font cover. Source: George Plunkett 227
6.17 The baptistery of St. Peter Mancroft, Norwich, following the restoration of 1887–1888 (note the new font). Source: Frederick Baggallay, A Short Account of the Church of S.S. Peter and Paul at Mancroft, Norwich (Norwich, 1889), 6 231
7.1 Winchester Cathedral (England), choir stalls. Source: Charles Tracy 237
7.2 St. Mary’s Hospital, Chichester (England), chancel screen. Source: Charles Tracy 238
7.3 Ely Cathedral (England), choir stalls. Source: Charles Tracy 240
7.4 Lincoln Cathedral (England), choir stalls (upper register). Source: Charles Tracy 241
7.5 Ripon Minster (England), choir stalls. Source: Charles Tracy 242
7.6 Westminster Abbey (England), Lady Chapel, choir stalls. Source: Francis Bond, Wood Carvings in English Churches, vol. 2 (London, 1910), 132 244
7.7 King’s College Chapel, Cambridge (England), choir stalls. Source: Charles Tracy 246
7.8 Exeter Cathedral (England), bishop’s throne. Source: © H. Harrison 249
7.9 St. David’s Cathedral (Wales), bishop’s throne. Source: © H. Harrison 252
7.10 Hereford Cathedral (England), bishop’s throne. Source: © H. Harrison 255
7.11 St. Andrew’s church, Bramfield (Suffolk, England), chancel screen. Source: Charles Tracy 259
7.12 St. James’s church, Castle Acre (Norfolk, England), pulpit. Source: © National Monuments Record 264
7.13 All Saints’ church, Trull (Somerset, England), pulpit. Source: Charles Tracy 266
7.14 St. Nonna’s church, Alternun (Cornwall, England), bench end with angel, signed by Robert Daye. Source: Charles Tracy 270
9.1 Parish church, Sternberg (Carinthia, Austria), font pyramid, c.1490. Source: Wikimedia Commons 295
9.2 St. Catherine’s church, Brandenburg an der Havel (Brandenburg, Germany), font pyramid, Dietrich Molner, 1440. Source: Wikimedia Commons 296
9.3 St. Mary’s church, Salzwedel (Sachsen-Anhalt, Germany), font ensemble, Hans von Köln, 1520–1522. Source: Wikimedia Commons 297
9.4 St. John’s Cathedral, s’Hertogenbosch (North Brabant, Netherlands), font ensemble, Aert van Tricht, 1492. Source: G.J. Dukker, 1972. Reproduced by kind permission of the Collection Rijksdienst voor het Cultureel Erfgoed, no. F&D-20310806 299
9.5 Orvieto Cathedral (Umbria, Italy), font pyramid, Sano di Matteo, c.1407. Source: Claudio Giovanni Colombo/Alamy Stock Photo 304
9.6 Minster of Our Lady, Ulm (Baden-Württemberg, Germany), font ciborium, Hans Kun and workshop, c.1420–1430. Source: Wikimedia Commons 306
9.7 St. Severus’s church, Erfurt (Thuringia, Germany), font ciborium, Hans Pfau and workshop, 1467. Source: Zoë Opačić 307
9.8 Très Riches Heures, fol. 37v, Baptism of St. Augustine of Hippo, Limbourg brothers, c.1410–1416. Chantilly, Musée Condé. Source: Wikimedia Commons 310
9.9 St. Mary’s church, Mendelsham (Suffolk, England), font pyramid, John Turner, 1630. Source: Wikimedia Commons 319
9.10 St. Martin’s church, Braunschweig (Lower Saxony, Germany), font pyramid, 1618. Source: Achim Timmermann 321
9.11 Erfurt Cathedral (Thuringia, Germany), font ciborium, Hans Friedemann the Elder, Hieronymus Preußer et al., 1585–1587. Source: Zoë Opačić 323
9.12 Parish church, Trédrez-Locquémeau (Finistère, France), font ciborium, c.1532–1540. Source: Wikimedia Commons 325
9.13 Church of St-Millau, Guimiliau (Finistère, France), font ciborium, 1675. Source: Hemis/Alamy Stock Photo 327
9.14 Church of St-Derrien, Commana (Finistère, France), font ciborium, Douaré Aillot, 1682. Source: Wikimedia Commons 328
9.15 San Nicola, Bari (Puglia, Italy), altar baldachin, c.1115. Source: Wikimedia Commons 330
10.1 St. Botolph’s church, Trunch (Norfolk, England), font canopy, c.1500. Detail of remains of Calvary scene. Source: Sarah Blick 336
10.2 St. Botolph’s church, Trunch (Norfolk, England), font canopy, c.1500. Details of woven, pruned, dry branches. Source: Sarah Blick 342
10.3 Jan Van Eyck, Madonna with Chancellor Rolin (detail), 1435. Source: public domain with addition by author 343
10.4 Standard of processional staff with Thierry of Alsace, Count of Flanders, receiving the Relic of the Holy Blood from the Patriarch of Jerusalem, polychromed wood, Bruges, c.1480–1500. Private collection. Source: Sam Fogg Gallery 344
10.5 Exterior of prayer bead with the Adoration of the Magi and the Crucifixion, boxwood, Netherlandish, early 16th century. Metropolitan Museum of Art, 17.190.475. Source: Metropolitan Museum of Art 345
10.6 Church of St. Mary the Virgin, Ewelme (Oxfordshire, England), font and font cover. Source: Joseph Skelton, The Antiquities of Oxfordshire (1825), 35 347
10.7 Church of St. Mary the Virgin, Ewelme (Oxfordshire, England), detail of the font cover showing the Archangel Michael. Source: Sarah Blick 348
10.8 Salvation with Paradise, Sacraments, Heaven and Hell, from A Carthusian Miscellany of Poems, Chronicles, and Treatises in Northern English, including an Epitome or Summary of Mandeville’s Travels, Northern England, 1460–1500. British Library, Add MS 37049, fols. 72v–73r. Source: British Library (with additions by Sarah Blick) 350
10.9 York Minster (England), dragon font cover lift mechanism, 15th century. Source: Sarah Blick 351
10.10 St. Mary’s church, Sparham (Norfolk, England), rood screen panel of c.1480 depicting Death and a baptismal font and cover. Source: Sarah Blick 353
10.11 St. Peter’s church, Radbourne (Derbyshire, England), underside of font cover. Source: Sarah Blick 355
10.12 St. Andrew’s church, Newcastle (England), font cover. Source: Sarah Blick 357
10.13 St. Andrew’s church, Newcastle (England), detail of small interior room of font cover. Source: Sarah Blick 358
10.14 St. Peter’s church, Hepworth (Suffolk, England), details of font cover, early 16th century. Source: Simon Knott 360
10.15 St. Peter’s church, Hepworth (Suffolk, England), details of font cover, early 16th century. Source: Simon Knott 360
10.16 St. Peter’s church, Wenhaston (Suffolk, England), detail of Doom painting, early 16th century. Source: Sarah Blick 362
10.17 Lucas Cranach, Fountain of Youth (detail), 1546. Gemäldegalerie, Berlin. Source: Wikimedia Commons 363
10.18 Jean Bellegambe, Triptych of the Mystic Bath, early 16th century. Musée des Beaux-Arts, Lille. Source: Wikimedia Commons 364
10.19 Church of St. Mary and All Saints, Plymstock (Devon, England), font cover. Source: Thomas Combe, Illustrations of Baptismal Fonts (London, 1844), np 366
10.20 Church of St. Mary and All Saints, Plymstock (Devon, England), present-day arrangement of font cover relief sculptures. Source: author 367
11.1 Nicolas Beatrizet, Interior of the Lateran Baptistery, from the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence), 16th century. Source: Metropolitan Museum of Art 376
11.2 Hubert and Jan van Eyck, Ghent Altarpiece (detail of the Adoration of the Mystic Lamb), St. Bavo’s, Ghent, completed 1432. Source: Art in Flanders 378
11.3 Pietro Torrigiano, Portrait Bust of Henry VII, terracotta, 1509–1511. Victoria & Albert Museum, London. Source: Victoria & Albert Museum 379
11.4 Episcopal baptistery, Stobi (Macedonia), 5th century. Source: Wikimedia Commons 383
11.5 Norwich Cathedral (England), baptismal font formerly belonging to the church of St. Mary in the Marsh. Source: Zachary Stewart 388
12.1 St. Mary’s church, Fairford (Gloucestershire, England), relief on east tower wall depicting Christ as Man of Sorrows. Source: Kim Woods 400
12.2 St. Mary’s priory church, Abergavenny (Monmouthshire, Wales), Annunciation scene from the tomb of William-ap-Thomas (d. 1446). Source: Kim Woods 403
12.3 St. Mary’s priory church, Abergavenny (Monmouthshire, Wales), Coronation of the Virgin scene from tomb of Richard Herbert (d. 1510). Source: Kim Woods 404
12.4 St. Anno’s church, Llananno (Radnorshire, Wales), 15th-century rood screen, with Victorian statues. Source: Kim Woods 405
12.5 St. Mary’s church, Nottingham (England), fragment of tomb chest of unidentified merchant. Source: Kim Woods 409
12.6 St. Stephen’s church, Sneinton (Nottinghamshire, England), choir stalls from St. Mary’s, Nottingham. Source: Kim Woods 410
12.7 St. Mary’s church, Nottingham (England), alabaster scene from the life of Thomas Becket. Source: Kim Woods 411
12.8 All Saints’ church, Little Shelford (Cambridgeshire, England), niche in south chapel. Source: Kim Woods 413
12.9 All Saints’ church, Little Shelford (Cambridgeshire, England), stall backs. Source: Kim Woods 414
12.10 All Saints’ church, Little Shelford (Cambridgeshire, England), half-length alabaster figure. Source: Kim Woods 415
12.11 All Saints’ church, Little Shelford (Cambridgeshire, England), alabaster apostle. Source: Kim Woods 416
13.1 View of the “Gothic Hall” gallery, March 1931, Philadelphia Museum of Art. Medieval Art Department Records. Source: Philadelphia Museum of Art, Library and Archives 425
13.2 View of the gallery incorporating the portal from St. Laurent l’Abbaye, March 1931, Philadelphia Museum of Art. Special Format Records. Source: Philadelphia Museum of Art, Library and Archives 427
13.3 Details of chancel screens from Banwell (Somerset, England), Chawleigh (Devon, England), and East Portlemouth (Devon, England). From Alfred Maskell, Wood Sculpture (London, 1911), plate LVI 429
13.4 Heraldic Panel, English, c.1480, oak, 165 × 32.5 cm (64-15/16 × 12-13/16 in.). Victoria & Albert Museum, London, Gift of Mr. Murray Adams Acton and Mr. Frank Surgey through Art Fund, W.2-1928. Source: © Victoria & Albert Museum 432
13.5 Public announcement regarding the Philadelphia Museum of Art’s acquisition of the Taylor woodcarvings. From The Art Digest 111, no. 16 (May 1929): 9 434
13.6 Enrico Meneghelli (Italian-born American, 1853–after 1912), The Lawrence Room, Museum of Fine Arts, Boston, 1879, oil on canvas mounted on Masonite, 40.96 × 50.8 cm (16-1/8 × 20 in.). Museum of Fine Arts, Boston, Gift of M. Knoedler & Co., Inc., 57.675. Source: © 2023 Museum of Fine Arts, Boston 437
13.7 Installation view of the Hoentschel Collection in the Second Gothic Room at the Metropolitan Museum of Art (Wing F, 1st Floor, Room 4). Source: Art Resource, NY (© The Metropolitan Museum of Art) 438
13.8 Attributed to the circle of Henrick Douwerman (German, 1480–1543), St. John the Evangelist, c.1520, oak, 75.6 × 28.6 × 17.8 cm (29 3/4 × 11-1/4 × 7 in.). Philadelphia Museum of Art, purchased with funds contributed by Mr. and Mrs. Roland L. Taylor, 1929: 1929-66-9. Source: Philadelphia Museum of Art 442
13.9 Installation view of Gothic Woodwork given by Mr. and Mrs. Roland L. Taylor at the Philadelphia Museum of Art in 1941. Special Format Records. Source: Philadelphia Museum of Art, Library and Archives 444
13.10 Installation view of Taylor woodcarvings on display at the Philadelphia Museum of Art in 2009. Source: Philadelphia Museum of Art 445