Friday, July 28, 2023

Crowcombe, Somerset

Monsters!

I am always on the lookout for monsters in churches. I live in an area – the Cotswolds – where a long tradition of stone carving made it easy for masons and parishioners alike to indulge a fascination with gargoyles and grotesques of many kinds. Most of these carvings are on the outsides of churches, where they range from the oddest of Norman corbels to the most amusing of late-medieval grotesques. No one really knows what they are doing there, but an answer connected to the notion of ritual protection (from evil spirits for example) is probably not too far from the mark. Grotesques and monsters carved on the walls of a church, especially around or near the doorway, may have been put there to protect the sacred space within from malign interference.

Sometimes, though, grotesques and monsters get inside the church too. In areas of the country where a lot of medieval woodwork has survived (Somerset and Devon spring to mind), foliate heads, grotesques, and other such images were sometimes carved on the ends of the benches or pews. The church at Crowcombe has an impressive set of late-medieval bench ends and one of the most striking of all features this remarkable scene of two naked men fighting a bizarre two-headed creature. It seems to be not quite a classical chimera, not quite a medieval amphisbema. I turned to my copy of M. W. Tisdall’s book, God’s Beasts,* a lavishly illustrated catalogue of animal carvings in churches. The author seems to agree, placing this carving in a chapter on dragons, but e glossing it as a ‘twin-headed monster’. Dragons generally are seen in Christian iconography as a symbol of evil, making these two human antagonists brave fighters for good. There’s also a sense though, that medieval woodworkers simply liked carving this sot of thing: images of evil overcome could be enjoyable to portray and behold.†

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* M. W. Tisdall, God’s Beasts (Charlefort Press, 1998)

† For a scholarly account of grotesques and similar images in medieval art, see Michael Camille, Image on the Edge (Reaktion Books, 2019)

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