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    Issue 34 – May 2025

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    In this issue of the Antiquary, we begin by looking at the background to one of days in the traditional English Spring calendar – Oak Apple Day, which commemorates the restoration of the monarchy and the miraculous escape of Charles II from the soldiers of the New Model Army after the battle of Worcester in 1651.  Then we go back in time to look at some medieval examples of a common piece of church furnishing, the pulpit, and the evidence for their purpose and use in the context of medieval worship and parish life. Lastly, we cross both the English Channel and the Atlantic to look at a remarkable survival – a set of fine, courtly tapestries from early Renaissance France, now in New York.  These tapestries, that once graced the hall of a high status patron, depict a unicorn hunt, set within luscious Spring flowers. We explore both the religious and secular meaning of the unicorn’s iconography.   

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    Issue 29 – December 2024

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    In the first article we focus on several Netherlandish panel paintings from the the fifteenth and sixteenth century depicting the Annunciation.  In it we decode some of the hidden symbolism of the Incarnation within these paintings.  Here in the UK, this winter is looking to be rather colder than those of recent years, but by no means as cold as those of the seventeenth and eighteenth centuries  – in the second article we explore the  frost fairs and amusements that took place on the frozen Thames during this period.  The last article has a more somber tone to it, as we explore the martyrdom of archbishop Thomas Becket on a chilly day in December 1170.  We take a look at his cult and his lost shrine in Canterbury Cathedral.  I do hope you enjoy this issue, and may I wish you and your family a very happy Christmas and a blessed New Year.    

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    Issue 7 – February 2023

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    The churches of Norfolk contain one of the most remarkable collections of late medieval art in Western Europe – they are a series of panel paintings incorporated into screen work, most notably rood, or as they are more appropriately called, chancel screens. Some of these paintings are of such fine quality that they are of international importance. If they were hung in an art gallery in a major city, they would be well known and acclaimed – but because they are to be found in isolated churches, they are not appreciated as much as they ought to be. In this issue of The Antiquary, we want to share examples of this great artistic legacy to give some sense of the significance, purpose, and motives behind their creation.  In many cases, these works of art, like our medieval churches in England in general, are now fragile and perilous. Unless they become better known, we risk losing an artistic treasure and essential source material for our medieval ancestors’ religious and social life.

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