Medieval decorative art (review)

Reviews 129 building could have accommodated. Interestingly, folk belief recognized the problem, claiming that the cross 'miraculously grew like a tree, till it touched the roof of the church'. If the cross was outside, it would have been viewed by ordinary people who could not have understood the subtle programmes presented by Meyvaert and Howlett This raises the whole question of readership, as opposed to authorship. As the Ruthwell audience is hardly discussed anywhere in this book, it is to be hoped that Cassidy will take up the question in a second colloquium and a second fine volume. Aedeen Cremin Centre for Celtic Studies University of Sydney Cherry, John, Medieval decorative art, London, British Museum Press, 1991; paper; pp. 72; 90 plates; R.R.P. A U S $ 19.95 [distributed in Australia by Thames & Hudson] The format of John Cherry's book on medieval decorative art is identical to the two works on medieval craftsmen reviewed above, [by Binski and Brown & O'Connor, Ed.] and shares with them the same strengths and limitations. The focus is somewhat different, however: a genre of medieval art rather than a particular craft. Although the tide of the book is Medieval decorative art, the actual subject is more specific, namely, medieval secular art. The selection of examples is also different With a handful of exceptions, all the works discussed and illustrated come from the British Museum. It is thus in some senses a thematic catalogue of the medieval collections of this celebrated institution. Inevitably, a preponderance of examples are from England, with France ranking second; although, other regions of Western Europe are occasionally represented. Medieval decorative art is light, reasonably entertaining reading, beautifully and profusely Ulustrated. Cherry has divided his discussion into four chapters, treating in turn a common theme of secular decoration: nature, heraldry, feasting, and courtly love. However, the book tends to read as a collection of only sketchily-connected examples. There is little sense of a coherent overaU theme. The emphasis is on the description and listing of a series of objects within each category, rather than any sustained analysis or 130 Reviews argument. Nevertheless, given the richness of the British Museum holdings, the array of individual objects is often fascinating and intriguing. Thefirstchapter explains the prevalence of scenes from nature and rural life by the continuing importance of agriculture for most classes in medieval society, whether urban or rural, rich or poor. The author surveys the long history of combining animal and foliage motifs in decorative patterns and notes the emergence of more naturalistic depictions by the thirteenth century. The list of themes associated with nature is long: the Labours of the Months, hunting and falconry, bhds, mythical and domestic animals, the popularity of monkeys in medieval art, often with a satirical or jesting intent and, from the fourteenth century on, scenes of pastoral delight and the enclosed garden as the site of courtly dalliance. I particularly enjoyed the fifteenth-century tapestry showing a noblewoman watering her flowers with a medieval watering pot! Chapter two is devoted to heraldry used as decoration. W e are reminded that the systematic use of heraldry as a hereditary device began in the twelfth century and was well established by the thirteenth. In keeping with the prominent role of heraldry in aristocratic society, the decorative use of heraldry proliferated over a wide range of objects, from ivory chess pieces and seals totiles,caskets, and cups. There is a section on English royal heraldry, and on the use of badges. These were distinctive devices adopted as a mark of recognition by individuals or families and became popular in England during the course of the fourteenth century. Here too a delightful example: a jewel moulded in gold in the form of a vivacious swan, its leg raised and beak slightly open, covered in white enamel to simulate the effect of feathers. The third chapter details the many instances of feasting in decorative art. The author wisely observes that such depictions should not be taken at face value, as reliable 'eye-witness' accounts. Rather, they are interpretations through the eye of the artist of whatever the patron wanted shown. Examples of the various objects and utensUs involved...