Beverley, East Yorkshire

 

Friars and their successors

Anyone alighting from the train at Beverley station should find it easy enough to locate the remains of the medieval Dominican friary in Friars Lane – we stumbled on them straight after arriving in the town. The friars followed a teaching and preaching vocation and so their friaries are generally sited in towns and cities and this fact means that most of them have disappeared because of property development in the centuries after Henry VIII dissolved them in the 16th century. So standing friary buildings are scarce and, in my book, worth a look. At Beverley, the friary church has long gone (its foundations are in part buried beneath the nearby railway), but there is a substantial remaining building that may have originally housed the friars’ dormitory and library.*

The surviving buildings became a house after the dissolution, and its owners, the Warton family, preserved and enhanced them. One glimpse into their world is a series of fragments of wall painting visible in the surviving rooms. Some of this decoration (inscriptions on trefoil-shaped backgrounds surrounded by twining foliage, below) may in fact date to the time of the friars. But some particularly delightful, if now flaking, floral paintings (above), are post-Reformation. The geometrical pattern of bands in which the flowers are set have a Jacobean (i.e. 17th-century) look about them.

It’s good to be reminded that coloured decoration in the early-modern period was not limited only to the grand houses of the super-rich, with their coats of arms and mythological subjects. Here in a Beverley side street is evidence of the floral sensibilities of a middle-class family, who enjoyed bringing images of nature inside their house. I wonder if they were enthusiastic gardeners.

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* Today, the friary is a Youth Hostel. The building survives as a result of a campaign by preservationists when it was threatened by the expansion of a nearby factory that produced shock absorbers.

Berwick, East Sussex

A Bloomsbury Nativity

I wish my readers a happy Christmas with this unusual church wall painting, the 20th-century Nativity scene in the church at Berwick, not far to the west of Eastbourne in East Sussex. Commissioned in 1941, the paintings in the church are the work of Bloomsbury Group artists Duncan Grant, Vanessa Bell (the sister of Virginia Woolf), and Quentin Bell. They’re remarkable for being the only complete set of murals by major 20th-century artists in an English parish church.

Vanessa Bell’s Nativity scene is striking for its bold, direct style, although there’s something sombre about it – the colours are not as bright as in many of her works and the facial expressions are contemplative rather than joyous. The seriousness of the work no doubt relates to the story itself – the birth of Jesus is to be celebrated, but we know that his life on Earth will end in a brutal execution. Perhaps this quality in the painting also reflects the fact that the artist had lost not only her sister Virginia (who had taken her own life earlier that year) and her son, Julian, who was killed in the Spanish Civil War. Some say that she has painted the infant Jesus with similar features to those of Julian when he was a baby; the model for Mary was Vanessa’s daughter, Angelica. The sitters for the other figures were local farm workers and servants, so thet painting is steeped in the artist’s family and people she knew.

It is also very English (I am not only thinking of the clothes worn by many of the characters), and redolent of the local Sussex countryside in particular. The barn is probably based on one in the area; the view out looks towards the beautiful downland scenery that helped draw Virginia and Leonard Woolf, Vanessa and Clive Bell, and Duncan Grant to this part of the world. The lamb in the foreground is a Sussex lamb; the produce is in a Sussex trug; even the shepherds’ crooks are based on a local design.*

We are so used to plain whitewashed church walls punctuated with monuments and, just occasionally, a fragmentary medieval wall painting, that for many the extraordinary paintings in Berwick church must be something of a shock. As well as this Nativity, there’s an Annunciation, a Crucifixion, a Supper at Emmaus, a Christ in Glory, and much else. But I can’t help thinking that this location, this church, was right for a cycle of paintings by these British artists at the time of World War II. In spite of the solemnity, there is colour, optimism, renewal, and the faith in the future that must accompany the undertaking of any major project. They needed these things then, and we need them now. 

Season’s Greetings.

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* I am indebted to the Berwick church website, and to its guidebook, for much of this information.