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Abstract
In the north-east corner of the nave of Lincoln Cathedral is a tomb slab made of Tournai marble emblazoned with the iconography of the Tree of Jesse. A Victorian inscription proclaims that it belongs to the building’s founder, Bishop Remigius de Fécamp (r. 1072–92). Since its ‘rediscovery’ in the cloister in 1857 scholars have examined the tomb slab’s material significance and its placement within the greater network of incised funerary monuments of the 12th century. This article re-examines the tomb’s possible patron and occupant, challenging earlier assumptions about its date and placing it within the context of Saint Hugh’s reconstruction of the cathedral’s east end. In so doing, it reassesses the importance of the Lincoln tomb slab and the iconography of the Tree of Jesse in medieval England.
ACKNOWLEDGEMENTS
I would like to thank Emily Guerry for providing so much support in every step of writing this article and to Angela Websdale for providing me with excellent photographs of the slab after my own attempts failed. Further thanks must be given to Tom Nickson and my anonymous reviewers, whose feedback provided several interesting avenues of research. Finally, I am indebted to the staff of Lincoln Cathedral, who allowed me access to the tomb slab at a time when the space was otherwise inaccessible.
Notes
1 ‘Et egredietur virga de radice Jesse, et flos de radice ejus ascendet. Et requiescet super eum spiritus Domini: spiritus sapientiae et intellectus, spiritus consilii et fortitudinis, spiritus scientiae et pietatis; et replebit eum spiritus timoris Domini.’
2 For the mantle, see E. Coatsworth and G. Owen-Crocker, Clothing the Past: Surviving Garments from Early Medieval to Early Modern Western Europe (Leiden 2018), 100–02. For the manuscripts, see G. Reimann and H. Büttner, Mittelalterliche Buchmalerei in Sammlungen Volksdemokratischer Länder (Leipzig 1961), 16–17, 36; J. Kvĕt, Czechoslovakian Miniatures from Romanesque and Gothic Manuscripts, Fontana UNESCO Art Books, 6 (Milan 1964), 11–14; J. D. Kyle, ‘The Monastery Library at St. Emmeram (Regensburg)’, The Journal of Library History, 15 (1980), 1–21; A. Gieysztor, ‘Symboles de la royauté en Pologne: Une groupe de manuscrits du XIe et du début du XIIe siècles’, Comptes Rendus des Séances de l’Académie des Inscriptions et Belles-Lettres, 134 (1990), 128–37, at 132; J. A. H. Williams, ‘The Earliest Dated Tree of Jesse Image: Thematically Reconsidered’, Athanor, 18 (2000), 17–23.
3 E. Panofsky and G. Panofsky-Soergel ed., Abbot Suger on the Abbey Church of St.-Denis and Its Art Treasures, 2nd edn (Princeton 1979); P. L. Gerson ed., Abbot Suger and Saint-Denis: A Symposium (New York 1986); S. M. Crosby and others ed., The Royal Abbey of Saint-Denis in the Time of Abbot Suger (1122–1151) (New York 1981); L. Grodecki, Les Vitraux de Saint-Denis: Étude sur le vitrail au XIIe siècle, Corpus Vitrearum Medii Aevi: France: Série Études, 1 (Paris 1976).
4 A. Watson, The Early Iconography of the Tree of Jesse Window (Oxford 1934).
5 A. Watson, ‘The Speculum Virginum with Special Reference to the Tree of Jesse’, Speculum, 3 (1928), 445–69; J. R. Johnson, ‘The Tree of Jesse Window of Chartres: Laudes Regiae’, Speculum, 36 (1961), 1–22; M. H. Caviness and V. C. Raguin, ‘Another Dispersed Window from Soissons: A Tree of Jesse in the Sainte-Chapelle Style’, Gesta, 20 (1981), 191–98; G. B. Blumenshine, ‘Monarchy and Symbol in Later Medieval France: The Tree of Jesse Window at Evreux’, Fifteenth Century Studies, 9 (1984), 19–57; E. C. Pastan, ‘“And He Shall Gather Together the Dispersed”: The Tree of Jesse at Troyes Cathedral’, Gesta, 37 (1998), 232–39; M. D. Taylor, ‘The Prophetic Scenes in the Tree of Jesse at Orvieto’, The Art Bulletin, 54 (1972), 403–17; R. Marks, Stained Glass in England During the Middle Ages (Abingdon 2006), 113–17.
6 S. L. Green, Tree of Jesse Iconography in Northern Europe in the Fifteenth and Sixteenth Centuries (New York 2018).
7 G. A. Poole, ‘The Architectural History of Lincoln Minster’, Reports and Papers of the Architectural and Archaeological Societies of the Counties of Lincoln and Northampton, Associated Architectural Societies Reports and Papers, 4 (1857), 8–49; G. A. Poole, ‘The Tomb of Remigius. A Paper Read at a Meeting of the Lincolnshire Architectural Society, at Southwell, May, 1877’, Reports and Papers of the Architectural and Archaeological Societies of the Counties of Lincoln and Northampton, Associated Architectural Societies Reports and Papers, 14 (1877), 21–26; G. Zarnecki, Romanesque Sculpture at Lincoln Cathedral, Lincoln Minster Pamphlets, 2nd edn (Lincoln 1970); E. Schwartzbaum, ‘Three Tournai Tombslabs in England’, Gesta, 20 (1981), 89–97; J. F. King, ‘The Tournai Marble Baptismal Font of Lincoln Cathedral’, JBAA, 155 (2002), 1–21.
8 C. S. Drake, ‘The Distribution of Tournai Fonts’, Antiq. J., 73 (1993), 11–26, at 11–15; Schwartzbaum, ‘Tournai Tombslabs’, figs 1–3, in English Romanesque Art, 1066–1200, ed. G. Zarnecki, J. Allen and T. Holland (London 1984), 181–82.
9 Schwartzbaum, ‘Tournai Tombslabs’, 90n.
10 R. Mellinkoff, The Horned Moses in Medieval Art and Thought, California Studies in the History of Art, 14 (Berkeley 1970).
11 Poole, ‘Tomb’, 21.
12 Poole, ‘Architectural History’, between pages 16 and 17; J. Carter, Specimens of the Ancient Sculpture and Painting Now Remaining in This Kingdom, 2 vols (London 1786), I, pl. 37; R. Gough, Sepulchral Monuments in Great Britain: Applied to Illustrate the History of Families, Manners, Habits and Arts, at the Different Periods from the Norman Conquest to the Seventeenth Century. Part I. (London 1786), plate opposite lii, no. 6.
13 P. Salonius, ‘The Cathedral Façade: Papal Politics and Religious Propaganda in Medieval Orvieto’, in Visible Exports/Imports: New Research on Medieval and Renaissance European Art and Culture, ed. E. J. Anderson, J. Farquhar and J. Richards (Newcastle upon Tyne 2012), 127–28; Watson, Early Iconography, 125–27; J. Sommer, Das Deckenbild der Michaeliskirche zu Hildesheim, reprint (Königstein im Taunus 2000); A. Schmarsow, S. Martin von Lucca Und Die Anfänge Der Toskarischen Skulptur Im Mittelalter (Breslau 1890), 24–27; S. Martinelli, L’immagine Del Volto Santo di Lucca: Il Successo Europeo di un’iconografia medievale, Temi Del Medioevo Artistico in Toscana, 1 (Pisa 2016).
14 G. Zarnecki, Romanesque Lincoln: The Sculpture of the Cathedral (Lincoln 1988), 94; 1 Kings 10.18–20; Carter, Specimens, I, 37.
15 A. Iafrate, The Wandering Throne of Solomon: Objects and Tales of Kingship in the Medieval Mediterranean (Leiden 2016), 236–37, at 245–48; I. H. Forsyth, The Throne of Wisdom; Wood Sculptures of the Madonna in Romanesque France (Princeton 1972), 1–3, particularly n. 1.
16 L. Milner, ‘The Seals of Lincoln Cathedral Chapter’, JBAA, 175 (2022), 1–12.
17 Ibid.
18 Watson, Early Iconography, 89–92. For more on the Cîteaux manuscripts, see M. Fassler, ‘Mary’s Nativity, Fulbert of Chartres, and the Stirps Jesse: Liturgical Innovation circa 1000 and Its Afterlife,’ Speculum, 75 (2000), 389–434; F. Costantino et al., ‘San Leonardo in Arcerti: innovazione tecnologica per la Gestione Integrata dei Beni Culturali’, in 18 Conferenza Nazionale AS ITA 2014 (2014), 381–88, https://vcg.isti.cnr.it/Publications/2014/CDPCDS14/ (accessed 12 June 2023).
19 M. Rubin, Mother of God: A History of the Virgin Mary (New Haven 2009); M. E. Fassler, The Virgin of Chartres: Making History through Liturgy and the Arts (New Haven 2010).
20 G. Zarnecki, Romanesque Sculpture at Lincoln Cathedral, Lincoln Minster Pamphlets, 2nd edn (Lincoln 1970), 21; London, British Library, Lansdowne MS 383, fol. 15r, https://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Lansdowne_MS_383 (accessed 24 April 2023).
21 R. Mellinkoff, The Horned Moses in Medieval Art and Thought, California Studies in the History of Art, 14 (Berkeley 1970), 64–65; https://www.bl.uk/manuscripts/Viewer.aspx?ref=cotton_ms_claudius_b_iv_fs001r (accessed 23 March 2023).
22 London, Lambeth Palace Library, MS 4, fol. 98r; London, British Library, Cotton MS Nero C IV (the Winchester Psalter), fols 4r and 9r.
23 Douai Bibliothèque Municipale, De laudibus sanctae crucis, MS 340; Bibliotheque municipale d’Amiens, Bible of Corbie, MS 23; Bibliothèque de l’Arsenal, Psalter of Blanche of Castille, MS 1186.
24 M. H. Caviness, The Early Stained Glass of Canterbury Cathedral, Circa 1175–1220 (Princeton 1977), 71–75.
25 The exception to this is an antiphonary from Germany (Cleveland Museum of Art, MS 1949.202), which may date from before the Saint-Denis window and which shows the figures in a mixture of positions, including standing, seated and half-length.
26 Poole, ‘Architectural History’, 8; Gerald of Wales, ‘Vita Sancti Remigii’, in Giraldi Cambrensis: Opera, ed. J. F. Dimock, Chronicles and Memorials of Great Britain and Ireland during the Middle Ages (London 1877), 1–80; S. Plass, ‘A Scholar and His Saints: Examining the Art of Hagiographical Writing of Gerald of Wales’ (2020), 178–79. For Poole, see G. Herring, ‘Poole, George Ayliffe (1809–1883), Church of England Clergyman and Author’, ODNB (2004).
27 ‘Processu vero temporis, cathedralem beatae Virginis ecclesiam casuali contigit igne consumi. Et ipso incendio, cum fortius ingrueret, tecti materia in aream corruente, petra corpori superposita, per medium confracta, partes in geminas est separata’: Gerald of Wales, Vita Sancti Remigii, 25–26 (Cambridge, Corpus Christi College, Parker Library, MS 425).
28 The inscription reads: ‘Depositvm vt fertvr Remigii Dorcacestrensis primvm deinde Lincolniensis episcopi et hvivs ecclesaiae fvndatoris a. s. MLXXII restitvtvm a. s. MDCCCLXXII’: E. Venables, ‘The Architectural History of Lincoln Cathedral’, Archaeol. J., 40 (1883), 159–92, 377–418, at 174; F. Hill, Medieval Lincoln, reprint (Cambridge 1965), 374; M. Pawley, ‘Wordsworth, Christopher (1807–1885), Bishop of Lincoln’, ODNB (2010).
29 Poole, ‘The Tomb of Remigius’, 26.
30 G. Zarnecki, ‘Henry of Blois as a Patron of Sculpture’, in Art and Patronage in the English Romanesque, ed. S. Macready, Occasional Papers of the Society of Antiquaries of London, N.S. 8 (London 1986), 159–72; S. Badham, ‘The Use of Sedimentary “Marbles” for Church Monuments in Pre-Reformation England’, Church Archaeology, 11 (2007), 1–19, at 1; R. Wood, ‘The Romanesque Tomb-Slab at Bridlington Priory’, Yorkshire Archaeological Journal, 75 (2003), 63–76, at 66; J. F. King, ‘The Tournai Marble Tomb-Slabs at Trondheim (Norway) and Tortefontaine (France) and Their Significance’, JBAA, 161 (2008), 24–58, at 38; F. W. Anderson, ‘Provenance of Building Stone’, in Object and Economy in Medieval Winchester, ed. M. Biddle, Winchester Studies, 7/ii (Oxford 1990), 306–14, at 313.
31 See notes 51 and 48.
32 Zarnecki, Romanesque Lincoln, 93; G. Zarnecki, Later English Romanesque Sculpture, 1140–1210 (London 1953), 20; D. M. Smith, ‘Alexander [Called Alexander the Magnificent] (d. 1148), Bishop of Lincoln’, ODNB (2004).
33 David first appears holding a harp in the Tree of Jesse on a trumeau of the Portico de la Gloria of the cathedral of Santiago de Compostela, c. 1188, and later appears with regularity in miniatures and stained glass in around c. 1200, as seen in the Munich Psalter (Munich, Bayerische Staatsbibliothek, Clm.835, fol. 121r), the Bible of Corbie (Amiens, Bibliotheque Municipale d’Amiens, MS 23, fol. 195r) and in stained glass of the Chapelle de Chateau de Baye. The oldest depiction of a horned Moses comes from the Old English Hexateuch, Claudius B IV, in c. 1050 (this is the same manuscript in which one finds the illustrations of figures upon which images from the Canterbury Ancestors windows were based), https://www.bl.uk/manuscripts/Viewer.aspx?ref=cotton_ms_claudius_b_iv_fs001r (accessed 27 September 2022). It was not until c. 1120 that this iconography would be seen again, across England and in Salzburg within the Bury Bible (Cambridge Corpus Christi College, MS 2), the Shaftesbury Psalter (London, British Library, Lansdowne MS 383), and the Gebhardt Bible (Vienna Nationalbibliothek, Ser. nov. 2701), the second of which is in its depiction of the Tree of Jesse: Mellinkoff, Horned Moses, 61–62.
34 Zarnecki, Romanesque Sculpture, 93–96.
35 Schwartzbaum, ‘Tournai Tombslabs’, 93.
36 It should be noted that Zarnecki seemingly misinterprets dating of the slab in Hill, Medieval Lincoln, 374–75, to the ‘later part of the twelfth century’ as the ‘mid-twelfth century’ instead.
37 Zarnecki, Romanesque Sculpture, 21; Zarnecki, Romanesque Lincoln, 93–94; Zarnecki, Later English, 20–28; P. Dixon, Lincoln Cathedral: The Romanesque Frieze (Lincoln 2009).
38 Zarnecki, Later English, 20.
39 The slabs respectively measure 2.25 × 0.95 m (top) × 0.67 m (bottom) for Roger, and 1.72 × 0.895 m (top) × 0.70 m (bottom) for Nigel: Schwartzbaum, ‘Tournai Tombslabs’, 1–3.
40 Ibid., 91–92; Zarnecki, Romanesque Lincoln, 94.
41 Schwartzbaum, ‘Tournai Tombslabs’, 95–96; D. Crouch, The Reign of King Stephen: 1135–1154 (2014), 115.
42 Schwartzbaum, ‘Tournai Tombslabs’, 95; Smith, ‘Alexander’; J. Hudson, ‘Richard Fitz Nigel [Richard Fitz Neal] (c. 1130–1198), Administrator, Writer, and Bishop of London’, ODNB (2004); P. Kidson, ‘Architectural History’, in A History of Lincoln Minster, ed. D. M. Owen (Cambridge 1994), 14–46, at 23–24.
43 Zarnecki himself argues this point: Zarnecki, ‘Henry’, n. 52; R. Fitz Nigel, Dialogus de Scaccario: The Course of the Exchequer, ed. C. Johnson, Oxford Medieval Texts (Oxford 1983), 50; W. L. Warren, Henry II (Berkeley 1973), 266; J. Fairweather ed., Liber Eliensis: A History of the Isle of Ely from the Seventh to Twelfth Century; Compiled by a Monk of Ely in the Twelfth Century, reprint (Woodbridge 2005), bk. 3, ch. 122, p. 461; S. B. Chrimes, An Introduction to the Administrative History of Mediaeval England (Oxford 1966), 51.
44 Zarnecki, Romanesque Lincoln, 95–96.
45 Schwartzbaum, ‘Tournai Tombslabs’, 95.
46 King, ‘Baptismal Font’, 13–19; J. Crook, Winchester Cathedral (Andover 2001), 16; N. Pevsner and D. Lloyd, Hampshire and the Isle of Wight (London 1973), 17–18, 683, 523, and 200; N. Pevsner, J. Harris and N. Antram, Lincolnshire (New Haven 2002), 404.
47 P. Storemyr, P. Degryse and J. King, ‘A Black Tournai “Marble” Tombslab from Belgium Imported to Trondheim (Norway) in the 12th Century: Provenance Determination Based on Geological, Stylistic and Historical Evidence’, Materials Characterization, 58 (2007), 1104–18, at 1115, suggests four possible occupants of the Trondheim slab: Archbishop Jon Birgerson (d. 1157), King Haakon Herdebrei (d. 1162), Erling Skakke (d. 1179) and Archbishop Eystein (d. 1188). See also King, ‘Baptismal Font’, 16–19; Ø. Ekroll, ‘The Octagonal Shrine Chapel of St Olav at Nidaros Cathedral: An Investigation of Its Fabric, Architecture and International Context’ (unpublished Ph.D. thesis, Norwegian University of Science and Technology, 2015), particularly 361–65.
48 King, ‘Baptismal Font’, 18.
49 Schwartzbaum, ‘Tournai Tombslabs’, 91–93.
50 E. Schwartzbaum, ‘The Romanesque Sculpture of the Cathedral of Tournai’ (unpublished Ph.D. thesis, New York University, 1977), 194–98.
51 S. Fozi, Romanesque Tomb Effigies: Death and Redemption in Medieval Europe, 1000–1200 (University Park, PA 2021), 158–64.
52 J. Hudson, ‘Richard Fitz Nigel [Richard Fitz Neal] (c. 1130–1198), Administrator, Writer, and Bishop of London’, ODNB (2004); Fozi, Romanesque, 164.
53 Fozi, Romanesque, 3.
54 Ibid.; both were witnesses for various royal charters within a couple of years of Roger’s death: Smith, ‘Alexander’; Hudson, ‘Nigel’.
55 F. Anderson, ‘The Tournai Marble Tomb-Slabs in Salisbury Cathedral’, in Medieval Art and Architecture at Salisbury Cathedral, ed. L. Keen and T. Cocke, BAA Trans., xvii (London 1996), 85–89, at 86–88.
56 Ibid., 85.
57 Ibid., 86–87.
58 Ibid., 85, 87.
59 Zarnecki, Romanesque Sculpture, 21; Zarnecki, Romanesque Lincoln, 95; Schwartzbaum, ‘Tournai Tombslabs’, 95; Fozi, Romanesque, 164.
60 Hill, 374–75; A. W. Clapham, English Romanesque Architecture After the Conquest (Oxford 1934), 159; Watson, Early Iconography.
61 Anderson, ‘Tournai Marble’, 86–87.
62 S. Badham and M. Norris, Early Incised Slabs and Brasses from the London Marblers, Reports of the Research Committee of the Society of Antiquaries of London, 60 (London 1999), 15; Badham, ‘Sedimentary’, 3. For example, see the tomb of the Hanseatic merchant, Wisselus de Smalenberg (d. 1340) in the church of St Botolph in Boston: W. Page, A History of Lincolnshire, VCH, 2 vols (London 1906), II, 215; A. Way, ‘Engraved Sepulchral Slabs: With Notices of Some Remarkable Examples Existing in France and in England’, Archaeol. J., 7 (1850), 48–55, at 54–55; F. A. Greenhill, Monumental Incised Slabs in the County of Lincoln (Newport Pagnell 1986), 4, 16–17, 21–24, 26–28, 64, 114–15, 116–17, 134–35; King, ‘Trondheim and Tortefontaine’, 38.
63 D. A. Stocker, ‘The Excavated Stonework’, in St. Mark’s Church and Cemetery, ed. B. J. J. Gilmour, D. A. Stocker and J. Dawes, Archaeology of Lincoln, 13,1 (London 1987), 44–82, at 63, n. 6 and 82; D. A. Stocker, ‘A Recently Discovered Romanesque Grave-Cover from Lincoln and Its Local Affiliations’, Lincolnshire History and Archaeology, 23 (1988), 31–34; Pevsner, Harris and Antram, Lincolnshire, 607; L. A. S. Butler, ‘Minor Medieval Monumental Sculpture in the East Midlands’, Archaeol. J., 121 (1964), 111–53, at 146.
64 D. Bates, Bishop Remigius of Lincoln, 1067–1092, reprint (Lincoln 2000), 8–12.
65 Green, Tree of Jesse, 2–15; J. A. H. Williams, ‘The Earliest Dated Tree of Jesse Image: Thematically Reconsidered’, Athanor, 18 (2000), 17–23, at 18. An image of the Virgin and Child like that on the tomb slab can be seen in glass in Lincoln Cathedral in the composite window s.II, which is likely reused and redeployed from Hugh’s east end (c. 1200–20): N. J. Morgan, ‘The Middle Ages’, in Stained Glass of Lincoln Cathedral (London 2012), 19. Other iterations include the Virgin and Child on a boss in the cloisters (c. 1296) and in the spandrels of the Angel choir (c. 1256–80), where, as on the tomb slab, a beast is crushed beneath the Virgin’s feet: C. R. Brighton, Lincoln Cathedral Cloister Bosses (Lincoln 1985), 14; K. Turley, ‘“The Face of the One Who Is Making for Jerusalem”: The Angel Choir of Lincoln Cathedral and Joy’, JBAA, 171 (2018), 61–99.
66 Plass, ‘A Scholar’, 278–79; M. Staunton, ‘Thomas Becket in the Chronicles’, in The Cult of St Thomas Becket in the Plantagenet World, c. 1170–c. 1220, ed. P. Webster and M.-P. Gelin (Woodbridge 2016), 95–111, at 102; Gerald of Wales, ‘Vita Sancti Remigii’, ch. VI–XX.
67 Chapters VI, VII and IX give ‘ad tumbam’ (at the tomb), whilst ch. VIII givess ‘coram tumba locatus’ (before the tomb): Gerald of Wales, ‘Vita Sancti Remigii’, ch. VI–IX.
68 ‘effossum corpus et discoopertum, cum annis jam xxxii. in terra jacuisset, adeo integrum ut ibi positum fuerat est inventum; nulla etiam in veste ipsius, vel in modico, laesione reperta’ (The body was dug out and uncovered after thirty-two years. He was placed on the ground, so complete it was if he had just been found deposited there. No injury was found, even to his clothes): ibid., 25–26.
69 ‘matrique ipsius totis semper nisibus, prsecipue vero in Lincolniensis ecclesise constructione, quam nomine suo fundaverat’: ibid., 27–28.
70 ‘Eatenus enim Christi planta divino virtutum atque signorum rore rigari non cessavit, donec ipsam in horto coelesti, veraque deliciarum area, per areolas congrue distincta, et fontis irrigui scaturigine temperata, firmas posuisse radices cunctis perspicuum esset’: ibid., 31.
71 Roger of Howden, Chronica Magistri Rogeri de Houedene, ed. W. Stubbs, Rerum Britannicarum Medii Ævi Scriptores; or, Chronicles and Memorials of Great Britain and Ireland during the Middle Ages., 4 vols (London 1964), III, 170–72; G. V. Scammell, Hugh Du Puiset, Bishop of Durham (Cambridge 1956), 176–81.
72 D. H. Farmer, Saint Hugh of Lincoln (London 1985); Adam of Eynsham, Magna Vita Sancti Hugonis: The Life of St. Hugh of Lincoln, ed. D. L. Douie and D. H. Farmer, Oxford Medieval Texts, 2 vols (Oxford 1985) [henceforth MVSH].
73 ‘Houses of Carthusian Monks: The Priory of Witham’, in VCH Somerset, ed. W. Page, 2 vols (London 1911), II, 123–28, at para. 4; Farmer, Saint Hugh, 16.
74 Page, ‘The Priory of Witham’, II, para. 6; ‘Bishops’, in Fasti Ecclesiae Anglicanae 1066–1300: Volume 3—Lincoln, ed. D. E. Greenway (London 1977), 1–5.
75 MVSH, II, 167; Farmer, Saint Hugh, 89; Adam of Eynsham, I, MVSH, xii.
76 MVSH, II, 167–71; J. N. M. Rocher, Histoire de l’abbaye Royale de Saint-Benoît-Sur-Loire (Orléans 1865), 300–10.
77 Kidson, ‘St Hugh’s Choir’, 34; Tatton-Brown, ‘Canterbury’, 98–99; D. A. Stocker, ‘The Mystery of the Shrines of St Hugh’, in St Hugh of Lincoln: Lectures Delivered at Oxford and Lincoln to Celebrate the Eighth Centenary of St Hugh’s Consecration as Bishop of Lincoln, ed. H. Mayr-Harting (Oxford 1987), 89–124, at 107; P. Binski, Becket’s Crown: Art and Imagination in Gothic England, 1170–1300 (New Haven 2004), 55.
78 Plass, ‘A Scholar’, 178–79; Staunton, ‘Chronicles’, 102.
79 ‘et non unica mercede retribuendo, beatum Remigium, nobilem Lincolniensem antistitem primum, simul cum Hugone primo, opere quidem et opera laudatissimis, Romie canonicari satagat, Lincolniseque transferri; quatinus qui magni meritis et gratia suis ambo temporibus, et propemodum in eadem ecclesia prsesidendo pares extiterant, magno simul in terris, dignoque, parique donentur lionore’: Gerald of Wales, ‘Vita Sancti Remigii’, 6.
80 R. Koopmans, Wonderful to Relate: Miracle Stories and Miracle Collecting in High Medieval England, The Middle Ages Series (Philadelphia 2011), 152–53; E. Mason, St Wulfstan of Worcester, c. 1008–1095 (Oxford 1990), 278–80.
81 Farmer, Saint Hugh, 101.
82 Ibid., 56; John Capgrave’s Lives of St. Augustine and St. Gilbert of Sempringham and a Sermon, ed. J. J. Munro (London 1910), 142.
83 ‘ecclesia Lincolniensis mertopolitana scissa est a summo deorsum’: Chronica Magistri Rogeri de Houedene, II, 303; R. M. W. Musson, The Seismicity of the British Isles to 1600 (Keyworth 2008), 23.
84 J. Bilson, ‘The Plan of the First Cathedral Church of Lincoln’, Archaeologia, 62 (1911), 543–64; P. Kidson, ‘St Hugh’s Choir’, in Medieval Art and Architecture at Lincoln Cathedral, ed. V. A. Sekules and T. A. Heslop, BAA Trans., viii (London 1986), 29–42, especially 30–31; J. Baily, ‘St Hugh’s Church at Lincoln’, Architectural History, 34 (1991), 1–35; S. Harrison, ‘The Original Plan of the East End of St Hugh’s Choir at Lincoln Cathedral Reconsidered in the Light of New Evidence’, JBAA, 169 (2016), 1–38, especially 1–3; D. A. Stocker, ‘Excavations to the South of Lincoln Minster 1984 and 1985—An Interim Report’, Lincolnshire History and Archaeology, 20 (1985), 15–20, particularly 18–19; R. Stalley, ‘Lapides Reclamaeunt: Art and Engineering at Lincoln Cathedral in the Thirteenth Century’, Antiq. J., 86 (2006), 131–47, at n. 1.
85 Farmer, Saint Hugh, 31–34.
86 Kidson, ‘Architectural History’, 30. For a new interpretation of Lincoln's relationship to Beverley Minster, see the article by Harrison and Philips in this volume of the journal.
87 Harrison, ‘Original Plan’; Kidson, ‘Architectural History’, 25–37.
88 Compare, for example, the panel of Noah in the Ark in Lincoln, s.II, to that of Canterbury, n.XIV.
89 E. Venables, ‘Some Account of the Recent Discovery of the Foundations of the Eastern Termination of Lincoln Minster, as Erected by St. Hugh’, Archaeo. J., 44 (1887), 194–202, at 199.
90 Kidson, ‘Architectural History’, 27; Baily, ‘St Hugh’s Church’, 23, 24.
91 Kidson, ‘St Hugh’s Choir’, 34; Stocker, ‘Mystery’, 107; Baily, ‘St Hugh’s Church’, 31.
92 J. Jenkins, ‘Replication or Rivalry? The “Becketization” of Pilgrimage in English Cathedrals’, Religion, 49 (2019), 24–47.
93 Ibid., 42.
94 Koopmans, Wonderful, 134–35.
95 Ibid.; Jenkins, ‘Replication’, 40, 42.
96 Farmer, Saint Hugh, 1; MVSH, I, 117–18.
97 ‘quod Lincolniensem episcopum simul et lerum inter illos computaret, quibus ob sui contemptum grauia queque rependere quamtocius maturaret’: MVSH, II, 131; Farmer, Saint Hugh, 71; ‘cum de bonorum seu malorum principum morbius et premiis postfuturis multa dissereret’: MVSH, II, 142–43.
98 K. J. Leyser, ‘The Angevin Kings and the Holy Man’, in St Hugh of Lincoln: Lectures Delivered at Oxford and Lincoln to Celebrate the Eighth Centenary of St Hugh’s Consecration as Bishop of Lincoln, ed. H. Mayr-Harting (Oxford 1987), 49–74, at 67.
99 C. R. Cheney, Hubert Walter (London 1967), 44–48.
100 MVSH, I, 56. For Hugh’s funeral, John wrote a short epitaph: ‘Pontificum baculus, monachorum norma, scholarum consult, regum malleus Hugo fuit’ (Here lies Hugh, model of bishops, flower of monks, friend of scholars, and hammer of kings): MVSH, II, 232.
101 ‘Nam procul dubio in posteris Henerici regisimpleri necesse est quod Sciptura prelocuta es, “Spuria uitulamina non dabunt radices altas” et “Ab iniquo thoro semen exterminabitur”. Set et rex modernus Francorum sanctum genitorem suum Lodowicum ulciscetur in sobole preuaricationis, que thorum cum eo immaculatum repudiauit eiusque emulo Anglorum regi impudica adhesit. Quamobrem Gallicus iste Philippus regiam Anglorum ita delebit stripem quemadmodum bos herbam solet usque ad radices carpere. Nam a Gallis tres ipsius nati iam abrasi sunt, reges uidelicet duo, unus consul. Quartus qui superset curtam habebit pacem ab eis’: MVSH, II, 184–85.
102 Ibid., I, xi–xii.
103 Ibid., xii.
104 Farmer, Saint Hugh, 94–95.
105 D. Knowles, C. N. L. Brooke, and V. C. M. London ed., The Heads of Religious Houses: England and Wales, I, 940–1216, 2nd edn (Cambridge 2004), 49.
106 Gerald of Wales, Gerald of Wales: Instruction for a Ruler (De Principis Instructione), ed. R. Bartlett, Oxford Medieval Texts (Oxford 2018), xiii–xix.
107 Ibid., 232–33.
108 Gerald of Wales, ‘Vita Sancti Remigii’, 61; C. Ó Clabaigh and M. Staunton, ‘Thomas Becket and Ireland’, in Listen, O Isles, Unto Me: Studies in Medieval Word and Image in Honour of Jennifer O’Reilly, ed. E. Mullins, D. Scully and J. O’Reilly (Cork 2011), 87–101, at 89; Gerald of Wales, The Conquest of Ireland, ed. T. Wright, trans. T. Forester (Cambridge 2001).
109 ‘De origine tam regis Henrici qvam Alienore regine et radice filiorvm omni ex parte visiosa’: Gerald of Wales, Instruction for a Ruler, ch. 3.27.
110 Ibid., ch. 3.27, 685–89.
111 Ibid., 685.
112 Ibid., ch. 3.27.
113 Ibid., 693.
114 Ibid., 702–03.
115 Although the Metrical Life is anonymous, evidence strongly suggests that Henry of Avranches is the author: Garton, Metrical Life, 4; J. C. Russell, ‘Master Henry of Avranches as an International Poet’, Speculum, 3 (1928), 34–63, at 34–35.
116 Garton, Metrical Life, ll. 544–87.
117 ‘ecclesiae libertas exigit unum // Tutorem, quem non moveat reverential, qui pro // Omnibus alleget unus, propriumque cruorem // Fundere non timeat pro libertate tuenda // Nullus ad hoc aptus reperitur praeter Hugonem’: ibid., ll. 1020–24, pp. 64–65.
118 Gerald of Wales, ‘Vita Sancti Hugonis’, in Giraldi Cambrensis: Opera, 81–150, at 87.
119 M. Staunton, The Historians of Angevin England (Oxford 2017), 104–05.
120 V. Sekules, ‘The Tomb of Christ at Lincoln and the Development of the Sacrament Shrine: Easter Sepulchres Reconsidered’, in Medieval Art and Architecture at Lincoln Cathedral, ed. T. A. Heslop and V. A. Sekules, BAA Trans., viii (London 1986), 118–31, at 118.
121 Carter, Specimens, I, pl. 37; Gough, Sepulchral Monuments, see plate opposite p. lii, no. 6. Gervase, The Historical Works of Gervase of Canterbury, ed. W. Stubbs, 2 vols (London 1880), II, 285; J. A. Robinson, Gilbert Crispin, Abbot of Westminster: A Study of the Abbey under Norman Rule (Cambridge 1911), 25.
122 R. Sanderson, Lincoln Cathedral; An Exact Copy of All the Ancient Monumental Inscriptions There, as They Stood in MLCXLI (London 1851), iii–iv; Poole, ‘Architectural History’, 16.
123 MVSH, II, 184–85.
124 M. Paris, Matthaei Parisiensis Chronica Majora: Volume 5: AD 1248 to AD 1259, ed. H. Richards Luard, 7 vols (Cambridge 2012), V, 419, 490; Statutes of Lincoln Cathedral, ed. H. Bradshaw and C. Wordsworth, 2 vols (Cambridge 1892), I, 368; Liber Quotidianus Contrarotulatoris Garderobae. Anno Regni Regis Edwardi Primi Vicesimo Octavo A.D. MCCXCIX & MCCC, ed. J. Topham (London 1787), 37.
125 The Book of John de Schalby, Canon of Lincoln (1299–1333), Concerning the Bishops of Lincoln and Their Acts, trans. J. H. Srawley, Lincoln Minster Pamphlets, 1, 8 vols (Lincoln 1949), II, 5.