Facade As Spectacle: Ritual and Ideology at Wells Cathedral by Carolyn Marino Malone

By Carolyn Marino Malone

This interdisciplinary research translates the facade of Wells Cathedral as a vital part of thirteenth-century English Church liturgy and politics. Carolyn Malone posits that architectural motifs, as symptoms, complemented not just the facade's sculptural software of the Church positive but in addition its use in the course of liturgical processions. Interpreted as an ideological build, the facade's layout is expounded to theological swap, liturgical innovation and political approach, in addition to to the conjuncture of numerous significant old and cultural occasions of the 1220s. As a part of the Church's empowering ritual, the facade expressed the reforming perspectives of the Fourth Lateran Council, promoted Wells because the seat the diocese and proclaimed the covenant among Church and nation in England following Magna Carta.

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Extra info for Facade As Spectacle: Ritual and Ideology at Wells Cathedral (Studies in Medieval and Reformation Traditions)

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29 Lay people were ical similarities. W. Sauerlander, Le Siècle, p.  feels Chartres not Paris is the more likely source. Williamson, Gothic Sculpture, p.  points out similarities with the transepts of Chartres. M. Church, ‘Reginald, bishop of Bath (–),’ Archaeologia, , pt. (): –; and idem, ‘Jocelin,’ p. . Although there is no contemporary historical account, Jocelin’s charter of  states that the church had been consecrated on the day of Saint Romanus, martyr of Antioch, in .

And Harvey, ‘The Building,’ p. , n. . 3 W. Rodwell, ‘The Anglo-Saxon and Norman Churches at Wells,’ in Wells Cathedral A History, ed. S. Colchester (Shepton Mallet, England, ), pp. –; Church Chapters, pp. , ; and Robinson, ‘Documentary,’ p. . During the tenth century this chapel was a free-standing structure east of the main cathedral. It is referred to in documents of , , and . Harvey, ‘The Building,’ p. , n. . 5 A clear break in the nave’s construction is indicated by these details in the west bays, as well as by new building techniques, such as larger stones and the use of tas de charge springers in the high vault.

25 drapery in the Last Judgment tympanum at Notre-Dame in Paris. On the other hand, Andersson, English, pp. ,  classifies the Coronation at Wells in the same early group as the tympanum with the Virgin and Child and the quatrefoils. He believes the style of the Coronation differs from the late style of the façade and rejects Prior and Gardner’s assignment of it to the final stage of carving, noting the same deeplycut drapery in the quatrefoil of Christ in the Temple (Fig. H. R. Lethaby, ‘The Imagery and Sculpture on the West Front of Wells Cathedral,’ Archaeologia ():, Pl.

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