Repton and the Vikings

Antiquity ◽  
1992 ◽  
Vol 66 (250) ◽  
pp. 36-51 ◽  
Author(s):  
Martin Biddle ◽  
Birthe Kjølbye-Biddle

In 873 the Viking Great Army took winter quarters at the Anglo-Saxon monastery of Repton in the heart of Mercia. Excavations 1974–88 found their D-shaped earthwork on the river bank, incorporated in the stone church. Burials of Viking type were made at the east end of the church, and an existing building was cut down and converted into the chamber of a burial mound containing at least 249 individuals. Here is a first account of the evidence for the Vikings at Repton in and after the campaigning season of 873-4.

2006 ◽  
Vol 86 ◽  
pp. 66-109 ◽  
Author(s):  
Steve Bagshaw ◽  
Richard Bryant ◽  
Michael Hare

The church of St Mary at Deerhurst in Gloucestershire is well known for its Anglo-Saxon fabric and sculpture. In 1993 a painting of an Anglo-Saxon figure was discovered, and in 2002 it became possible for the authors to study the painting in detail.The painting is on one of a pair of triangular-headed stone panels set high in the internal east wall of the church. The discovery provides a significant addition to the tiny corpus of known Anglo-Saxon wall paintings. The identity of the standing, nimbed figure remains elusive, but the figure can be tentatively dated on art historical grounds to the middle to late tenth century.The authors also explore the structural context of the painting. It is suggested that in the first half of the ninth century the church had an upper floor over the central space (the present east end), and that this floor possibly extended over the whole church. At the east end, there were internal openings from this upper floor into a high-level space in the polygonal apse. At a later date two of these openings were blocked and covered by stone panels, one of which is the subject of this paper. It is possible that the panels flanked a high-level altar or an opening through which a shrine, set on a high-level floor in the apse, could be viewed.


1973 ◽  
Vol 53 (1) ◽  
pp. 52-58 ◽  
Author(s):  
H. M. Taylor

SummaryA survey of the structural and contemporary literary evidence for the position of the altar in Anglo-Saxon churches before the Viking invasions of the ninth century indicates that it was not at the east end of the church but in a more central position. This was sometimes near the east end of the nave and sometimes in the eastern compartment. As an indication of how this practice may have arisen in England, references are given to evidence for similar treatment of the altar in Continental and North African churches at somewhat earlier dates.


2003 ◽  
Vol 29 (2-3) ◽  
pp. 269-299
Author(s):  
Janna C. Merrick

Main Street in Sarasota, Florida. A high-tech medical arts building rises from the east end, the county's historic three-story courthouse is two blocks to the west and sandwiched in between is the First Church of Christ, Scientist. A verse inscribed on the wall behind the pulpit of the church reads: “Divine Love Always Has Met and Always Will Meet Every Human Need.” This is the church where William and Christine Hermanson worshipped. It is just a few steps away from the courthouse where they were convicted of child abuse and third-degree murder for failing to provide conventional medical care for their seven-year-old daughter.This Article is about the intersection of “divine love” and “the best interests of the child.” It is about a pluralistic society where the dominant culture reveres medical science, but where a religious minority shuns and perhaps fears that same medical science. It is also about the struggle among different religious interests to define the legal rights of the citizenry.


1985 ◽  
Vol 14 ◽  
pp. 233-292 ◽  
Author(s):  
Martin Biddle ◽  
Birthe Kjølbye-Biddle

In August 1979 a large sculptured stone was discovered, broken and upside down in a pit immediately outside the eastern window of the Anglo-Saxon crypt of the church of St Wystan at Repton in Derbyshire (pl. V). The scenes depicted on the two surviving faces of the stone are without direct parallel in Anglo-Saxon sculpture and have so far eluded definitive interpretation. The purpose of the present article is to place on record a detailed description of the stone, and some preliminary thoughts on its date and possible significance, in the hope that wider discussion may lead to a more satisfactory understanding of what must be, on any judgement, one of the more important surviving examples of pre-Conquest sculpture.


1984 ◽  
Vol 13 ◽  
pp. 65-96 ◽  
Author(s):  
Mildred Budny ◽  
Dominic Tweddle

Among the relics in the treasury of the church of St Catherine at Maaseik in Limburg, Belgium, there are some luxurious embroideries which form part of the so-called casula (probably ‘chasuble’) of Sts Harlindis and Relindis (pls. I–VI). It was preserved throughout the Middle Ages at the abbey church of Aldeneik (which these sister-saints founded in the early eighth century) and was moved to nearby Maaseik in 1571. Although traditionally regarded as the handiwork of Harlindis and Relindis themselves, the embroideries cannot date from as early as their time, and they must have been made in Anglo-Saxon England. Indeed, they represent the earliest surviving examples of the highly prized English art of embroidery which became famous later in the Middle Ages as opus anglicanum.


2005 ◽  
Vol 49 ◽  
pp. 241-245
Author(s):  
Julia Barrow
Keyword(s):  

2020 ◽  
pp. 1-15
Author(s):  
Jill A Franklin

Within the Romanesque abbey church at St Albans (Hertfordshire), the vestiges of an earlier structure have been identified for the first time. A hitherto unrecorded feature in the transept, noted by the author in 2017, indicates that, at some stage, the nave lacked its existing arcade piers and instead had solid walls. The implications of this are considerable, calling for a thorough reassessment of the building’s history. For now, it is important to record the primary evidence, so as to make it available for further research. This article aims to provide a concise account of the evidence and a summary of what it might mean. According to the thirteenth-century chronicler, Matthew Paris, the existing church was begun in 1077 and completed in 1088. New evidence indicates, however, that the Romanesque building, with its aisled nave and presbytery, was preceded by a cruciform structure without aisles. The inference is that the existing building contains the fabric of this unaisled predecessor. The obvious conclusion – that it therefore represents the lost Anglo-Saxon abbey church – does not follow without question; as yet, excavation has yielded no conclusive evidence of an earlier church on the site. The critical diagnostic feature presented here for the first time adds substance to the view that the remodelling of unaisled buildings was not uncommon in the post-Conquest period, including large as well as minor churches, as identified long ago at York Minster and, more recently, at Worksop Priory.


Author(s):  
Mark Collard ◽  
John Lawson ◽  
Nicholas Holmes ◽  
Derek Hall ◽  
George Haggarty ◽  
...  

The report describes the results of excavations in 1981, ahead of development within the South Choir Aisle of St Giles' Cathedral, and subsequent archaeological investigations within the kirk in the 1980s and 1990s. Three main phases of activity from the 12th to the mid-16th centuries were identified, with only limited evidence for the post-Reformation period. Fragmentary evidence of earlier structural remains was recorded below extensive landscaping of the natural steep slope, in the form of a substantial clay platform constructed for the 12th-century church. The remains of a substantial ditch in the upper surface of this platform are identified as the boundary ditch of the early ecclesiastical enclosure. A total of 113 in situ burials were excavated; the earliest of these formed part of the external graveyard around the early church. In the late 14th century the church was extended to the south and east over this graveyard, and further burials and structural evidence relating to the development of the kirk until the 16th century were excavated, including evidence for substantive reconstruction of the east end of the church in the mid-15th century. Evidence for medieval slat-bottomed coffins of pine and spruce was recovered, and two iron objects, which may be ferrules from pilgrims' staffs or batons, were found in 13th/14th-century burials.


Author(s):  
Francis Leneghan

This article identifies a new Old English poetic motif, ‘The Departure of the Hero in a Ship’, and discusses the implications of its presence in Beowulf, the signed poems of Cynewulf and Andreas, a group of texts already linked by shared lexis, imagery and themes. It argues that the Beowulf-poet used this motif to frame his work, foregrounding the question of royal succession. Cynewulf and the Andreas-poet then adapted this Beowulfian motif in a knowing and allusive manner for a new purpose: to glorify the church and to condemn its enemies. Investigation of this motif provides further evidence for the intertextuality of these works.Keywords: Old English poetry; Beowulf, Cynewulf; Andreas; Anglo-Saxon literature


Médiévales ◽  
2006 ◽  
pp. 173-178
Author(s):  
Élisabeth Lorans
Keyword(s):  

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