By Francis Cheetham
From the past due 1300s to the Reformation, alabaster carving used to be an incredible job within the English Midlands, in a space focused on Nottingham. Altarpieces and panels have been produced for the house marketplace, but in addition for export; the sculptures have a particular sort, dictated by means of the non secular topics and via the cloth, and have been frequently painted and gilded. on the Reformation, such goods have been hidden or destroyed, and it's the survival of diverse continental examples, relatively in France, including the rest examples from England, that allows the historical past of alabaster carving to be documented. This booklet catalogues a few 2,400 carvings, with their position and released references, coupled with a Geographical Index. it's the fullest catalogue but compiled on those beautiful small-scale sculptures, incorporating a lot new details, fairly in relation to the iconography of the carvings. The past due FRANCIS CHEETHAM used to be additionally the writer of English Medieval Alabasters, containing a list of the gathering within the Victoria and Albert Museum, London.
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Extra info for Alabaster Images of Medieval England (Museum of London Medieval Finds 1150 -- 1450)
1450. It is clear then, that the few Old Testament references on the alabaster carvings are all connected with New Testament themes. Old Testament scenes are not illustrated. The New Testament Virtually all the scenes representing Christ are directly inspired by the New Testament, as we find in the Passion of Christ altarpieces: the Betrayal, the Flagellation, the Crucifixion, the Entombment and the Resurrection, although some details derive from the Golden Legend and other sources. Carvings dealing with the Life/Joys of the Virgin rely more heavily on non-New Testament sources, although a typical Joys of Mary altarpiece contains panels directly inspired by the Gospels: the Annunciation, the Adoration of the Magi and the Ascension, the exceptions being Image not available Figure 11.
The widespread diffusion of woodcuts in Western Europe affected artistic activities in painting and sculpture, prints frequently being used as the basic design. This influence is seen on the alabaster carvers. Two examples may suffice. The grouping of Image not available Figure 8. Altarpiece of the Life of St Catherine. Ca d’Oro, Venice. Second half of fifteenth century. the figures in a typical fifteenth-century alabaster Betrayal panel from a Passion series, of St Peter, Christ and Judas, with the soldier grasping Christ’s cloak and the recumbent Malchus, now in the Burrell Collection, Glasgow (fig.
21, illus. 7 Cheetham1984, 93, cat. 22, illus. 5 Cheetham1984, 94, cat. 23, illus. 9 Cheetham1984, 95, cat. 24, illus. 5 Private collection De Maeyer-Buyle, Antwerp (1967) 42 × – Derveaux-Van Ussel, 1967, E/30 6 Musée des Antiquités, Rouen 43 × 15 Flavigny 1998, 128, cat. ; La Revue du Louvre et des Musees de France 1972, 257, illus. 2 × – Sotheby’s, 11 Dec. 1980, Sale Catalogue, no. 67, illus. 7 × – Tavender 1955, no. 18. 5 × – Handbook of the Collections of the University, pl. 5 – Ecclesistical Art 1865, 23, no.