A LAST EASTER SEPULCHRE: THOMAS WEVER AND ST MARY’S CHURCH, TARRANT HINTON, DORSET

The defaced and probably unfinished Easter sepulchre at St Mary’s Church, Tarrant Hinton, in Dorset is exceptional in its scale and sophisticated renaissance decoration, in comparison to other sixteenth-century structures associated with contemporary Easter liturgy. Previous notice of it has been impeded by failure to assess properly the upper part of the monument, which new photography now renders accessible. This demonstrates a remarkable resemblance between its (defaced) angels and the bronze angels by Benedetto da Rovezzano being prepared at Westminster in the late 1520s for the tomb of Cardinal Wolsey; while the lower part of the structure displays influence from contemporary French decoration. This structure is assessed in the contexts of other monuments of the early sixteenth century intended to support a temporary Easter sepulchre and of what can be reconstructed of the career of the minor but wealthy cleric who was responsible for its erection. Thomas Wever MA (d. 1536) made additions to two of his rectories besides building substantial extensions on the north side of Tarrant Hinton church. It is suggested that both his building there and the Easter sepulchre itself are unfinished and were abandoned at his death as a result of his continued indebtedness. The sepulchre itself suggests a direction that English church decoration never took.

AVERHAM, ST MICHAEL, NOTTINGHAMSHIRE: A NEWLY IDENTIFIED PRE-CONQUEST CHURCH

The church of St Michael and All Angels, Averham, is largely constructed of counter-pitched rubble and has long been interpreted as being of the early Norman period. Recent archaeological investigations by the authors have revealed conclusive evidence that the date of part of the fabric is pre-Conquest and that the west tower was originally a possible two-storey porch. Ground-based remote sensing has further revealed complex anomalies in the south and east walls of the tower.

RAPTORS: ON THE ICONOGRAPHY OF AN ENIGMATIC CAPITAL IN THE NAVE OF BEVERLEY MINSTER

This article deals with the iconography of a unique fourteenth-century capital, situated near the one-time tomb of St John of Beverley in the nave of Beverley Minster, Yorkshire. The capital features two hybrid creatures, part animal, part human. Both creatures hold a severed bird’s claw. This article argues that these severed bird’s claws, resembling drinking vessels, are likely to be griffin claws. This interpretation allows for a reappraisal of the meaning of these figures and their use in the church.

THE UPPER PALAEOLITHIC OF CHURCHFIELDS, FISHERTON: 160 YEARS IN THE MAKING

Researchers of museum collections owe a great debt of gratitude to those responsible for curating the collections; however, staff may frequently remain innocently unaware of significant contents within the accessions. Such is a group of flint artefacts in Salisbury Museum, Wiltshire, which were found in 1860 on the outskirts of the city. The collection was rediscovered during unrelated archaeological research and comprises a series of blades, which include refitting components, demonstrating that the artefacts came from undisturbed prehistoric contexts. The blade blanks had been removed from opposed platform cores, using careful core preparation and soft hammer percussion. These characteristics can be most closely paralleled by Upper Palaeolithic Federmesser industries in Europe, which date from the end of the Last Glaciation. The existence of the Upper Palaeolithic was unrecognised at the time the artefacts were found, since when two other contemporary sites have been identified in the River Avon valley as well as others across the country. The newly recognised addition extends the distribution of Upper Palaeolithic activity further up the River Avon valley to Salisbury, where five rivers congregate, providing a convenient point for further dispersal. The finding also mirrors patterns of occupation on well-drained terrace bluffs overlooking the floodplain. Research results have yielded significant data, 160 years after the collection’s discovery, expanding current knowledge of the Upper Palaeolithic in the River Avon valley and demonstrating the continued value and potential of collections in our museums.

THE CARISBROOKE HAND: ANGLO-SAXON SCULPTURE AND THE HAND OF GOD?

This paper discusses the significance of a fragment of stone sculpture built into the north wall of the churchyard at Carisbrooke, Isle of Wight. The sculpture depicts an open right hand that is larger than life-sized and is probably of late Anglo-Saxon date. The size and character of the sculpture favours a manus dei (hand of God), forming the upper element of a large rood assemblage. The authors consider allied sculpture in which such a hand appears on Anglo-Saxon grave markers and in similar low relief depictions where Christ is figured on the Cross. At Carisbrooke, this architectural sculpture would have formed a significant feature of an Anglo-Saxon minster church that was rebuilt in the early Norman period. The siting of this building and the extent of its parochia is briefly considered. Supplementary material reviews the probable significance of the sculptural use of Quarr stone at Carisbrooke and elsewhere.