Publications
Anglo-Norman Studies XLVII
Anglo-Norman Studies XLVII offers a comprehensive exploration of the Anglo-Norman period, revealing its intellectual and political dynamism through diverse scholarly analyses. The volume highlights key insights into the production and significance of charters, diplomatic practices, and the roles of influential figures such as Peter the Deacon, Bishop Odo of Bayeux, and Eudo Dapifer. It also examines the portrayal of historical figures in Old Norse sagas and the evolution of institutions like St John's Abbey in Colchester. By integrating literary, historical, and archaeological perspectives, this collection provides a nuanced understanding of Anglo-Norman culture, governance, and religious practices during a pivotal era.
The east Redemption Window in Canterbury Cathedral: a pastoral reflection
A pastoral reflection on the medieval stained-glass east window of Canterbury Cathedral reveals its profound symbolism, offering insights into its religious and historical significance. The study examines the intricate details of the window, particularly focusing on the Redemption Window, to uncover its deeper meanings and cultural impact. Through a combination of art historical analysis and theological interpretation, the research highlights how this iconic feature of Canterbury Cathedral serves as both an artistic masterpiece and a spiritual beacon. This approach provides a fresh perspective on the intersection of faith, symbolism, and medieval craftsmanship.
Canterbury Cathedral: The Liturgy of the Cathedral and its Music, c. 1075–1642
Canterbury Cathedral, founded by Lanfranc in 1070 and consecrated by 1077, served as the central spiritual hub for a Benedictine monastic community. For nearly 470 years before Lanfranc, the cathedral's primary purpose was liturgical observance, a continuous cycle of worship, prayer, contemplation, and penance aimed at intercession for humanity and spiritual reward. This practice persisted for another 900 years post-Lanfranc, underscoring its enduring significance in medieval Christian ritual. The study examines the liturgy's role not merely as an act of devotion but as a means to benefit society and secure salvation, reflecting the deep theological and social dimensions of monastic life during this period.
Liturgical Calendars, Saints and Services in Medieval England
A previously unknown psalter owned by Bishop Ralph Baldock (c. 1300) and the continued reading of Old English homilies at Canterbury Cathedral in the 1180s were uncovered, alongside new insights into liturgical practices involving key medieval figures like Thomas Becket and St. Hugh of Lincoln. The study also reveals why psalters are often paired with calendars and solves a hagiographical puzzle surrounding saints venerated on January 19th. Combining four unpublished papers with an introductory overview, the research employs historiographical and bibliographical analysis to reconstruct medieval liturgical traditions, including 'Sarum' services in late parish churches and the devotional practice of St Gregory’s Trental.
The Choirs of Glasgow and Canterbury Cathedrals
A comparative analysis of the choirs in Glasgow Cathedral and Canterbury Cathedral reveals distinct architectural approaches to spatial design, highlighting the inventive use of differentiated spatial units. The study focuses on the lower choir of Glasgow Cathedral, contrasting it with the well-documented choir of Canterbury Cathedral. This comparison elucidates the architects' abilities in spatial articulation and inventiveness, offering insights into their design philosophies.
Medieval Manuscripts in Post-Medieval England
A comprehensive examination of medieval manuscripts in post-medieval England reveals the diverse and interconnected networks of collectors, libraries, and institutions that preserved these cultural artifacts. The study highlights significant figures such as Robert Green of Welby, Thomas Dackomb, John Twyne of Canterbury, and the Carye brothers, who played pivotal roles in collecting and preserving monastic manuscripts during a transformative period. It also sheds light on notable collections like those of Sir Walter Cope and Henry Savile, providing insights into their origins and significance. The research reconstructs fragmented manuscripts, including one from St Augustine's Abbey, Canterbury, offering a rare glimpse into the intellectual and cultural landscape of medieval England. By analyzing booklists, sammelbands, and library stamps, the study contributes to our understanding of manuscript circulation and preservation in the transition from the medieval to the post-medieval era.
Reading the Bayeux Tapestry through Canterbury eyes
Scholarly analysis reveals that the Bayeux Tapestry, likely commissioned by Odo, bishop of Bayeux and earl of Kent after the Norman Conquest, was probably designed in Canterbury, England. This conclusion is supported by stylistic similarities between the tapestry's graphic style and Anglo-Saxon manuscripts from Canterbury's St Augustine’s abbey and Christ Church cathedral, particularly the Old English Illustrated Hexateuch. While earlier comparisons by Francis Wormald (1957) are now considered more generic than specific, the overall evidence—including Latin spellings, letter forms, and Odo's prominent role in the narrative—strengthens the case for Canterbury as the tapestry's origin. This study refines our understanding of the tapestry's provenance and its connection to one of England's most prestigious ecclesiastical centers.
The Architectural History of Canterbury Cathedral
A groundbreaking analysis of Canterbury Cathedral's architectural evolution reveals new insights into its Norman and Perpendicular phases, challenging established narratives. The study introduces provocative theories about William of Sens' original Gothic choir designs and Trinity Chapel, alongside a reattribution and redating of the cathedral's pulpitum—a first-time exploration of these periods. By integrating archaeological evidence with restoration data, the research maps the contributions of individual master masons, uncovering details no longer visible today. This comprehensive study not only enriches our understanding of Canterbury Cathedral but also sets a new standard for architectural historiography in British heritage.
The Romanesque Architecture of Canterbury Cathedral, 1070-1174
Canterbury Cathedral's Romanesque architecture, spanning from 1070 to 1174, exemplifies the sophistication and versatility of English architectural styles during the mid-twelfth century. This period showcases a unique blend of spatial qualities akin to early French Gothic designs, marked by elaborate detailing that became characteristic of English architecture. A key insight is the presence of Romanesque arcades beneath windows in St Anselm's work, though these are Gothic replacements in the transept. The study provides an overview of this architectural phase before delving into specific campaigns, offering a comprehensive understanding of Canterbury Cathedral's evolution during the Middle Ages.
Signs of the times: the Canterbury children’s operas of Alan Ridout
Alan Ridout's three children's operas composed for Canterbury Cathedral's choir during the 1960s offer a unique lens to examine the evolution of music education. Through personal recollections, archival analysis, and musical examination, this study reveals how these works reflect broader trends in educational creativity while maintaining enduring artistic value. The operas serve as both a historical artifact and a contemporary model for integrating musical innovation into learning environments.
The Customary of the Shrine of St. Thomas Becket at Canterbury Cathedral
A rare and detailed glimpse into the operations of a major medieval pilgrimage site has been revealed through the newly translated 'Customary of the Shrine of St. Thomas Becket at Canterbury Cathedral.' This 1428 document outlines the day-to-day management, including opening hours, decoration, maintenance, and staffing, of one of Europe's most significant pilgrim destinations. The Latin text with facing English translation provides unprecedented insights into the liturgical practices and organizational realities of a UNESCO World Heritage Site, offering valuable context for understanding medieval religious and pilgrimage practices.
A Florentine merchant’s visit to Canterbury Cathedral in 1444
A previously unknown Italian account from 1444 provides unprecedented insights into the shrine of St. Thomas Becket at Canterbury Cathedral, offering detailed observations that enrich our understanding of its mid-15th-century state and the pious practices of a contemporary merchant. The text, part of a ledger by Florentine merchant Mariano Ughi, describes his voyage to England and Flanders, including a diary detailing his visits to towns, cities, monuments, and pilgrimage sites. This rare firsthand perspective sheds light on both the material culture of the shrine and the devotional habits of a merchant class during a pivotal period in European history.
Canterbury Cathedral (1541)
A list of musicians from Canterbury Cathedral, compiled around 1541, reveals the institution's rich musical culture post-dissolution. The document, featuring Thomas Tallis as its first named singer, underscores the cathedral's enduring legacy as a hub for music and art, despite significant reorganization following Henry VIII's dissolution of monastic communities. This finding highlights the resilience of Canterbury’s musical traditions during a period of upheaval, with twelve professional singers leading a new lay staff. Supporting evidence includes references to the Peterhouse partbooks, suggesting a curated collection of music for Tallis and his colleagues, further emphasizing the depth of musical activity at the site.
Gifts of Thomas Becket’s Clothing Made by the Monks of Canterbury Cathedral
A stained glass panel in Canterbury Cathedral likely depicts the monks' distribution of Thomas Becket’s clothing to the poor immediately after his martyrdom, marking a pivotal moment in the early development of his cult. While entire garments were rarely given away later, small fragments—such as pieces of his hairshirt—were distributed to influential figures and became associated with miracles and pilgrimages, spreading veneration across Europe. The study analyzes these relics through historical records and textual evidence, revealing their enduring significance in medieval religious practice.
How to get your goat: automated identification of species from MALDI-ToF spectra
A groundbreaking automated method for identifying animal species from archaeological samples using MALDI-ToF spectra has been developed, offering both accuracy and confidence measures. The approach leverages cross-correlation of peptide masses derived from collagen sequences to classify samples efficiently, addressing the limitations of manual examination which is time-consuming and lacks a confidence metric. Tested on parchment folia from an 12th-century Gospel of Luke manuscript linked to St Augustine's Abbey in Canterbury, UK, this method matched 80 out of 81 classifications from previous studies while providing quantifiable confidence levels. This advancement not only streamlines species identification but also enhances the reliability of archaeological findings related to UNESCO World Heritage Sites like Canterbury Cathedral and St Augustine's Abbey.
Lessons from Structural Analysis of a Great Gothic Cathedral: Canterbury Cathedral as a Case Study
A structural analysis of Canterbury Cathedral, a UNESCO World Heritage Site and one of the UK's most iconic Gothic cathedrals, reveals that its damage patterns—characterized by repetitive cracks on vault intradoses and outward rotating movements in buttresses—stem from both extreme events and long-term processes. Using ambient vibration tests and finite element (FE) modeling, researchers calibrated a digital representation of the cathedral’s transverse section to match observed deformations. Nonlinear static analyses identified key factors influencing structural integrity, including construction history, infill volume, lateral thrusts, and differential settlements. The validated model confirmed that current safety factors for lateral and vertical loading align with local hazards, while comparisons with limit analysis provided additional insights into the cathedral’s resilience. This study offers a method for assessing similar heritage structures, balancing preservation needs with structural stability.
Light, Canterbury and the Cult of St Thomas
Artificial light, particularly candlelight, played a pivotal role in the cult of St. Thomas of Canterbury, with its most spectacular displays reserved for his December Passion feast. A 1428 document, the Customary of the Shrine of St. Thomas, reveals that natural and artificial light were meticulously managed to enhance the symbolic significance of Thomas’s tomb and shrine within Canterbury Cathedral's east end. This study sheds light on how light was strategically used in liturgical practices and the cult's imagery, providing insights into medieval religious symbolism and architectural design.
Modelling the Cult of Thomas Becket in Canterbury Cathedral
Digital models of Canterbury Cathedral's early 15th-century spaces reveal how access and exclusion, both physical and sensory, shaped the cult of Thomas Becket and pilgrimage experiences. The study, part of an AHRC project at the University of York, prioritizes understanding spatial use over architectural accuracy, focusing on the Trinity Chapel shrine and other key chapels. By analyzing the Corona, Martyrdom, and tomb chapels, researchers argue that the design and layout influenced the nature of devotion and pilgrimage, offering new insights into medieval religious practices.
Murder in the Cathedral
T.S. Eliot's 1935 play Murder in the Cathedral, performed in Canterbury Cathedral, transcends its historical setting to address enduring tensions between spiritual and temporal authority within Christian ecclesiology. While often interpreted as a meditation on Saint Thomas Becket’s martyrdom, the work critically engages with political and ecclesiastical power dynamics, reflecting anxieties of its time. The play dramatizes the conflict that has persisted since Constantine, challenging conventional narratives by emphasizing its political and theological dimensions over purely spiritual ones.
ASE volume 48 Cover and Front matter
A new analysis of Exeter Riddle 55 provides a fresh solution, while Latin verse in an Old English medical codex is examined for its cultural significance. The volume also explores the figure of Beowulf in a Scandinavian context and delves into the legal culture under Dena lage during Æthelred the Unready's reign. Additionally, it investigates liturgical performance as pastoral care through the lens of Leofric of Exeter and examines self-seeking themes in The Metres of Boethius. The collection concludes with a study on St Dunstan and the heavenly choirs of St Augustine's Abbey, Canterbury, as depicted in Goscelin's Historia translationis S. Augustini.
‘Complete, thorough, and undeniable’: Robert Willis and The Architectural History of Canterbury Cathedral
A reassessment of Robert Willis's pioneering architectural history of Canterbury Cathedral reveals that his reconstruction of Archbishop Anselm's lost choir, while groundbreaking, contained misinterpretations and omissions of key evidence. Willis's work, presented at the first Congress of the British Archaeological Association in 1844, combined archaeological and literary sources but overlooked subtle clues within the cathedral's fabric. This study highlights the value of revisiting antiquarian scholarship to deepen our understanding of both the physical and intellectual construction of historic sites like Canterbury Cathedral.
Kentish Pilgrims in Canterbury Cathedral's Miracle Windows
A re-evaluation of the stained glass windows in Canterbury Cathedral's Trinity Chapel reveals that three surviving miracle panels, previously thought to depict pilgrims from Oxford, Essex, and Warwickshire, actually portray miracles experienced by individuals from Canterbury and Dover. This discovery highlights a previously unrecognized focus on local Kentish pilgrims, including William of Dene (a paralyzed knight), Goditha (a crippled laywoman from Canterbury), and Saxeva (a woman from Dover suffering abdominal complaints). The findings suggest that all surviving narratives in the nIV window commemorate Thomas Becket's Kentish cult, mirroring similar 'donor' or 'signature' panels found in contemporary stained glass at Chartres Cathedral. This study challenges prior interpretations and underscores the regional significance of the cathedral's artistic and religious heritage.
Medieval Art, Architecture & Archaeology at CANTERBURY
Canterbury's medieval art, architecture, and archaeology reveal a rich legacy of ecclesiastical innovation that shaped Britain's religious and cultural landscape. This collection of essays highlights the interplay between architectural design, liturgical practices, and movable fittings in Christ Church Cathedral and St Augustine's Abbey from the early Anglo-Saxon period to the close of the Middle Ages. New insights into the aesthetic, spiritual, and pragmatic considerations behind Canterbury's structures challenge existing historiography and underscore its global significance. The study demonstrates how surviving material continues to inspire fresh questions, bridging gaps between local traditions and broader historical narratives.
Recent Interpretations of the Late-12th-Century Rebuilding of the East End of Canterbury Cathedral and its Historical Context
Recent interpretations of the late-12th-century rebuilding of Canterbury Cathedral's east end, following the 1174 fire, reveal deeper connections between architectural innovations and the promotion of Thomas Becket's cult. Advances in archaeological analysis have clarified design changes during construction, linking them to shifting historical contexts and liturgical practices. This work also highlights the symbolic significance of materials and media used, offering a richer understanding of their role in late-12th-century European cultural and religious settings.
Sources for the Liturgy of Canterbury Cathedral in the Central Middle Ages
A substantial body of liturgical texts from Canterbury Cathedral's central Middle Ages has been identified, providing valuable insights into the cathedral's liturgical practices and architectural history. This research presents a provisional list of manuscripts containing material for occasional rites such as Candlemas, Palm Sunday, and church dedications, offering evidence for Canterbury’s unique liturgy. The study highlights how these sources can elucidate the policies of individual bishops, the evolution of the cathedral's fabric, and changes in liturgical performance over time.
St Anselm and the Visual Arts at Canterbury Cathedral, 1093–1109
St. Anselm's influence on the visual arts at Canterbury Cathedral, particularly during his tenure from 1093 to 1109, is revealed through a detailed analysis of surviving architectural elements and textual references. The study suggests that the cathedral's choir, constructed under Anselm's patronage, featured an innovative iconographic program that emphasized stained glass, setting a precedent for later European church architecture. By integrating Anselm's writings with surviving structural evidence, the research reconstructs this seminal program, highlighting its significance in the development of medieval ecclesiastical design.
The Ferramenta of the Oculi at Canterbury Cathedral
A groundbreaking discovery at Canterbury Cathedral reveals that the south oculus glass is supported by two layers of ironwork, representing an early form of space-frame construction. This innovative solution addressed the structural challenges posed by larger late Romanesque windows, which traditional armatures could no longer support effectively. The study assesses the significance of this technology and its potential influence across France and Germany, comparing it with subsequent developments in stone tracery. Detailed construction drawings and analysis by Rupert Austin further elucidate the assembly process of the frame.
The Rebuilding of Canterbury Cathedral by Archbishop Wulfred (805–32)
A reassessment of archaeological remains unearthed beneath Canterbury Cathedral's present nave reveals that Archbishop Wulfred's rebuilding campaign around 813 was more significant than previously understood. This early-9th-century structure, now recognized as an important architectural and liturgical model in Anglo-Saxon England, paralleled contemporary Carolingian developments on the continent. The study reanalyzes excavation data from 1997 to propose an alternative reconstruction of the cathedral's original design, shedding new light on its historical and cultural significance.
The Romanesque Screen at Canterbury Cathedral Reconsidered
A reassessment of the Romanesque sculpture found during the restoration of Christ Church Canterbury's west alley cloister challenges its long-standing association with an 1180 screen in Canterbury Cathedral. New historical and archaeological evidence suggests these sculptures, previously linked to the cathedral's screen, instead originated from a lavatorium—a ceremonial water feature—built by Prior Wibert as part of his extensive waterworks system within the great cloister. This reinterpretation hinges on a critical analysis of existing records and recent research, offering a significant revision to our understanding of medieval architectural and liturgical practices at this UNESCO World Heritage Site.
The Royal Window (c. 1485) at Canterbury Cathedral and the Magnificat Window (c. 1500) at Great Malvern Priory (Worcs.): Dynastic Rivalry in Late Medieval England?
Late medieval stained glass windows at Canterbury Cathedral and Great Malvern Priory, initially interpreted as symbols of dynastic rivalry during England's Wars of the Roses, reveal a more nuanced narrative about royal authority. The Royal Window (c. 1485) in Canterbury and the Magnificat Window (c. 1500) in Great Malvern share striking iconographic parallels, suggesting these artworks served as complex expressions of political legitimacy rather than mere propaganda. The study analyzes their visual elements to argue that both windows reflect broader concerns about the nature of kingship during a period marked by succession disputes and shifting dynastic loyalties.
‘Water mixed with the blood of Thomas’: contact relic manufacture pictured in Canterbury Cathedral’s stained glass
Stained glass panels in Canterbury Cathedral’s Trinity Chapel depict the mixing of Thomas Becket’s blood with water, creating a visual narrative that parallels the Eucharist and highlights the role of Christ Church Cathedral Priory monks. The images suggest the involvement of a lay sacrist and the use of mazers in the relic’s manufacture, offering rare insights into medieval ceremonial practices. By comparing these panels to Benedict of Peterborough’s miracle narratives, researchers reveal how the glaziers enhanced the relic’s early history, blending artistic representation with theological symbolism.
Asa Simon Mittman, "In Those Days: Giants And The Giant Moses In The Old English Illustrated Hexateuch," Imagining the Jew: Jewishness in Anglo-Saxon Literature and Culture, ed. Samantha Zacher (Ithaca: Cornell University Press, 2016)
A notable discovery from the eleventh-century Old English Illustrated Hexateuch, likely created at St. Augustine's Abbey, Canterbury, reveals that images of giants and a gigantic, horned Moses serve as complex visual elements in Anglo-Saxon identity formation. These figures challenge simplistic 'us vs. them' narratives by complicating the portrayal of Jewish protagonists, particularly Moses, thereby fostering deeper contemplation. The manuscript, containing around 400 images across 156 folios, uses these contrasting figures to enrich the viewer's engagement with the text and its cultural implications.
Canterbury Cathedral: Pilgrims and cathedrals as places of pilgrimage
Canterbury Cathedral has long been associated with pilgrimage, carrying significant cultural and religious meaning. This study delves into the concept of pilgrimage within cathedral contexts, focusing on Canterbury's enduring experience as a site of spiritual journey. The research highlights how the term 'pilgrimage' is laden with layers of significance in such settings, exploring its implications beyond mere physical travel. By analyzing historical and contemporary practices, the study reveals the multifaceted nature of pilgrimage, encompassing spiritual, social, and architectural dimensions. This approach provides a nuanced understanding of how cathedrals like Canterbury serve as both destinations and symbols of pilgrimage, bridging the gap between personal devotion and collective heritage.
Magic in the Cloister
A remarkable collection of over thirty magic texts, donated by monks with occult interests to St. Augustine's Abbey in Canterbury during the late thirteenth and early fourteenth centuries, reveals a significant shift toward more positive attitudes toward magical ideas in medieval Europe. These texts, which combined justifications for magic with other genres, demonstrate how religious insiders integrated magical studies into their orthodox worldview without contradiction. By analyzing this unique collection, Sophie Page's Magic in the Cloister sheds light on the evolving acceptance of magic within monastic life and broader intellectual culture during this period.
Magic in the Cloister: Pious Motives, Illicit Interests, and Occult Approaches to the Medieval Universe (Sophie Page)
Monks at St. Augustine's Abbey in Canterbury integrated learned magic into their religious practices, justifying its study through intellectual discernment and pragmatic utility despite official condemnations. Sophie Page's analysis of the abbey's occult texts—including astral magic, Hermetic works, and image magic—reveals a nuanced approach where monks distinguished between permissible and prohibited forms of magic, such as natural magic (used in medicine) versus necromancy. The collection, enriched by donations from monks like Michael Northgate and John of London, demonstrates a persistent interest in occult knowledge, blending spiritual devotion with scholarly inquiry. Page's study highlights the abbey's role in preserving and transmitting magical theories, including the transfer of power from higher to lower forms, which persisted even after the dissolution of St. Augustine's in 1538.
Sophie Page. Magic in the Cloister: Pious Motives, Illicit Interests, and Occult Approaches to the Medieval Universe.
Medieval monks at St. Augustine's Abbey, Canterbury, were not the demon-worshipping figures often depicted but instead engaged with natural and theurgic magic, as revealed by a reconstructed 14th-century manuscript collection. This study challenges historical narratives by demonstrating that the abbey's library contained no explicitly demonic texts, but rather works focused on astrology, alchemy, and spiritual revelation—practices justified within a scholarly-monastic framework. While evidence of actual usage is limited, the research suggests that such texts were likely employed for private rituals or practical purposes like locating lost property. The study also hints at St. Augustine's as a potential haven for occult experimentation, though this aspect remains underexplored.
The Parabolic Discourse Window and the Canterbury Roll: Social Change and the Assertion of Elite Status at Canterbury Cathedral
A striking parallel emerges between the reactions of 12th-century Benedictine monks and 17th-century Parliamentarians to Canterbury Cathedral's artistic opulence. Theophilus Presbyter's 12th-century manual described an idealized viewer overwhelmed by the cathedral's intricate art, while Parliamentarians in the English Civil War struggled similarly with its abundance, ultimately targeting Archbishop Thomas Becket's shrine. This juxtaposition reveals how elite status and social change were asserted through monumental ecclesiastical art, enduring across centuries despite differing ideological contexts. The study employs a comparative historical analysis of textual sources to illuminate the intersection of art, power, and religious identity.
The Virgin and the Archbishop: A Comparative Analysis of the Cults of Mildred and Augustine at St Augustine's Abbey, Canterbury
A comparative analysis reveals that the medieval cults of Saints Mildred and Augustine at St Augustine's Abbey, Canterbury, were equally significant, particularly after the Norman Conquest. While Augustine's cult was widely recognized across England, Mildred's veneration held comparable importance within the abbey. The study leverages shrine placements, hagiographies, charters, and testamentary evidence to demonstrate how these two saints' cults complemented each other, challenging the assumption that Augustine's prominence overshadowed Mildred's influence.
Visions, Reliquaries, and the Image of “Becket’s Shrine” in the Miracle Windows of Canterbury Cathedral
A re-evaluation of the 13th-century stained-glass panels in Canterbury Cathedral's Trinity Chapel reveals that they depict scenes from Benedict of Peterborough's miracle collection, rather than the shrine of Thomas Becket. The study identifies a fictive shrine from a clerk's vision and a personal reliquary owned by the wife of the Earl of Hertford, both linked to Becket's relics. This challenges the traditional interpretation that these panels represent Becket's shrine, suggesting instead a decentralized early cult with widespread dissemination of clothing relics in local churches. The findings are supported by comparisons to contemporary stained glass, book illumination, and wall paintings.
St Anselm and the Good Samaritan Window at Canterbury Cathedral
A long-lost Good Samaritan Window at Canterbury Cathedral can be reconstructed using historical records of panel titles and inscriptions, revealing its striking similarity to an extant window at Sens Cathedral. This reconstruction suggests that the imagery program was devised in the circle of St Anselm around 1100, reflecting his theological interests during this period. The study also contextualizes the window within Canterbury's broader glazing sequence, originally consisting of twelve (likely thirteen) typological windows spanning the choir, transepts, and sanctuary. By analyzing surviving records and comparing them to known examples, the research provides a unique insight into medieval ecclesiastical art and its theological underpinnings.
The Bayeux Tapestry and Its Contexts
A groundbreaking interdisciplinary study challenges the long-held assumption that the Bayeux Tapestry was commissioned by Odo, Bishop of Bayeux, or another comparable patron. Instead, it presents compelling evidence linking its design and patronage to the monks of St Augustine's Abbey in Canterbury. By synthesizing art-historical, archaeological, literary, historical, and documentary materials, the authors argue that the tapestry was crafted to narrate the abbey's perspective on the Norman Conquest of England in 1066. This reinterpretation offers a fresh understanding of one of history’s most enigmatic artifacts, reshaping our view of its origins, purpose, and cultural significance.
St. Mildred of Thanet: biography of a cult
St. Mildred of Thanet stands out as one of the most celebrated female saints in medieval England, with her cult enduring from the 7th century to the present day. Unlike other Anglo-Saxon saints, her legacy survived through physical relics and a vibrant tradition of devotion, including saintly biographies (vitae) and pilgrimage sites. Her relics were notably transferred from Minster Abbey to St. Augustine's Abbey in Canterbury before the Norman Conquest, where they became central to a new shrine and narrative. Despite the suppression during the English Reformation, her cult persisted in France and Belgium, with relics later returning to England in 1954. This study highlights Mildred's unique cultural and religious significance, contrasting her enduring legacy with the fading presence of other Anglo-Saxon saints.
1088 – William II and the Rebels
Historical records reveal that Odo, Bishop of Bayeux and Earl of Kent, likely attended the installation of Abbot Wido at St Augustine's Abbey, Canterbury, and subsequently accompanied King William II (William Rufus) to London for Christmas celebrations in 1088. This inference stems from a lost diploma accessible to Henry of Huntingdon, who compiled the names of bishops present during William's reign. The study reconstructs this event using fragmented sources, including a late account by William Thorne suggesting a December 21 date for Odo's presence in Canterbury. Additionally, it highlights William's early reign marked by peace and popularity, though his northern journey to York is documented only through Stephen of Whitby's later account of St Mary's Abbey's founding. The research relies on cross-referencing chronicles and lost diplomatic records to piece together the political landscape of Norman England.
Historia Monasterii S. Augustini Cantuariensis, by Thomas of Elmham, Formerly Monk and Treasurer of that Foundation
Thomas of Elmham's 'Historia Monasterii S. Augustini Cantuariensis' provides a significant historical account of St Augustine's Abbey, Canterbury, leveraging extensive documentary sources from the Abbey's renowned library. The work, compiled around 1414, aimed to offer a comprehensive history from 597 to 1414 but was left incomplete due to Elmham's appointment as Prior of Lenton. It includes original charters and earlier historical works, though many sources were later found to be forgeries or corrupt transcripts, often used to bolster the Abbey's claims to royal and ecclesiastical privileges. This edition, edited by Charles Hardwick in 1858, sheds light on the Abbey's complex history and its strategic use of documentation.
The Historical Works of Gervase of Canterbury
Gervase of Canterbury's Historical Works offer a unique and detailed insight into the political, ecclesiastical, and social dynamics of 12th-century England. His Chronica provides a comprehensive account of the reigns of Stephen, Henry II, and Richard I, capturing significant events such as the great fire of 1174. Additionally, his Imaginaciones document the contentious dispute between Baldwin and Christ Church, shedding light on the shifting power structures within the church during this period. Edited by William Stubbs in two volumes (1879–1880), this collection combines Gervase's Latin works with marginal English notes, preserving a valuable historical record that spans over a century of English history.
The Social Context and Political Complexities of Goscelin's Sermon for the Feast of Saint Augustine of Canterbury, the "Apostle of the English"
A twelfth-century sermon by Goscelin of Canterbury, commissioned by Abbott Wido around 1090, reveals the political and social complexities underlying medieval hagiography. The Sermo in festiuitate sancti Augustini Anglorum apostoli, preserved in two manuscripts from St. Augustine's Abbey, constructs Saint Augustine's sanctity not only for religious but also for political purposes. This strategic narrative was likely intended to restore the abbey’s reputation after internal conflicts and the establishment of a rival institution, Christ Church, by Lanfranc. The study highlights how medieval texts could serve dual roles—spiritual and political—challenging traditional hagiographical interpretations.
Cathedrals and the British Revolution
Cathedrals played a pivotal role in the British Revolution, marking its violent beginning and symbolic end. The first act of unrest occurred at St Giles's Cathedral in Edinburgh on 23 July 1637, during protests against the Scottish Prayer Book, while the Revolution concluded with Charles II's return to Canterbury Cathedral on 27 May 1660, where he attended a church service using the Book of Common Prayer. This study highlights how cathedrals, once central to Catholic devotion, became contested symbols during the Reformation and were later reinstated as markers of monarchy restoration across the three kingdoms. The research examines the transition of cathedral functions from traditional Catholic practices to Protestant norms, emphasizing their significance in political and religious narratives.
Votives, Images, Interaction and Pilgrimage to the Tomb and Shrine of St. Thomas Becket, Canterbury Cathedral (Chapter 2)
Pilgrims to the tomb and shrine of St. Thomas Becket at Canterbury Cathedral engaged in a deeply interactive devotional practice, where votive offerings symbolized personal pledges and petitions to the saint. These objects, carefully chosen for their symbolic meaning, were displayed near the shrine, reinforcing the perceived efficacy of St. Thomas's intercession. The study reveals how this ritualistic interaction not only shaped individual pilgrimage experiences but also transformed the sacred space itself over centuries, until the cult's destruction. By analyzing votives as both physical and conceptual artifacts, researchers uncover a dynamic relationship between devotees and their divine patrons, offering new insights into medieval religious practices.
A Canterbury Cathedral Burlesque Anglo-Saxon Deed
A unique burlesque deed, discovered among Canterbury Cathedral's documents, challenges traditional perceptions of medieval legal records. This 13th-century parchment, written in rhyming Anglo-Saxon style, appears to be a later forgery dating from the late 13th or early 14th century, despite its purported date of February 2, 1298. The document, addressed to Simon the marshal and his wife Christine, details the sale of a third part of a burgage in 'Duntone' (possibly Downton, Wiltshire) for half a mark. Its deliberately archaic handwriting and rhymed text suggest it was crafted as a humorous or satirical piece rather than a genuine legal transaction. The deed's late 16th to early 17th-century endorsements, including one noting its uniqueness by William Somner, add historical intrigue. This discovery sheds light on the playful and complex nature of medieval documentation, offering insights into the period's literary and legal practices.
Out of the Wilderness: A Fourteenth-Century English Drawing of John the Baptist
A previously unnoticed, exceptional fourteenth-century English drawing of St. John the Baptist, housed in London's British Library (MS Royal 10 B XIV), has been identified as a significant addition to early to mid-fourteenth-century English art. The drawing, dated circa 1335–40 and likely executed in southeast England or East Anglia, features rare iconographic motifs, including a figure of Salome beneath the saint's feet and a monumental Gothic arch composed of living oak trees framing the saint. This unique imagery suggests the drawing was created as a focus of devotion for John of Lingfield, an Oxford scholar-monk and first recorded owner of the manuscript. The study explores the physical nature, bibliographical context, and artistic associations of the drawing, highlighting its role in the acquisition of manuscript illumination at St Augustine's Abbey, Canterbury, during the early fourteenth century.
The Verses Formerly Inscribed on Twelve Windows in the Choir of Canterbury Cathedral
A rare glimpse into the medieval inscriptions of Canterbury Cathedral's stained-glass windows, now lost to time, has been preserved through M. R. James' 1901 scholarly work. This publication, paired with an anonymous guide from 1897 believed to be authored by Emily Williams, documents the verses inscribed on twelve windows in the cathedral's choir during a significant restoration period. The texts, which have since disappeared, offer valuable insights into medieval palaeography and literary practices. James' meticulous scholarship, complemented by Williams' account of the changes wrought by 19th-century restoration efforts, provides a unique historical record. The preface by Dean Farrar adds context to the publication's purpose, with proceeds supporting the Cathedral Restoration Fund.
You are here:
World Heritage Explorer > World Heritage Research > World Heritage Sites > Canterbury Cathedral, St Augustine's Abbey, and St Martin's Church