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John Hudde and the English Renaissance*
Published online by Cambridge University Press: 20 November 2018
Extract
About 1501 Thomas Warley, Clerk of the King's Works to Henry VII, recorded in Latin the payments for preparations at St. Paul's Cathedral in connection with the marriage of the King's eldest son Arthur, along with payments for work at the Tower of London, Westminster Palace, Greenwich, and Eltham (British Museum, Egerton MS. 2358, Henry VII:15). With amounts for John Moore, Richard Codeman (or Codinham), Robert Bellamy, and Nicholas Delphyn, he listed those for a sculptor named John Hudde, who had carved two lions and a great rose surmounted by an imperial crown over the north door in Westminster Hall, and the dragon, lion, and leopards of a royal cipher in the Great Hall of the Tower of London, the latter afterwards painted and gilded by Robert Duke.
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- Research Article
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- Copyright
- Copyright © Renaissance Society of America 1965
Footnotes
*
This article, which contains some of the results of a study of late medieval English sculpture begun in London under the auspices of the British Council, was finished at Harvard University with the kind assistance of the Church Society For College Work.
References
1 Lethaby, W. R., Westminster Abbey Re-examined (London, 1925), p. 171.Google Scholar
2 Boinet, Amedée, La Cathédrale de Bourges (Paris), p. 18 Google Scholar.
3 Boinet, Amedée, ‘Les Sculptures de la Cathédrale de Bourges (Façade Occidentale),’ Revue de L'Art Chrétien, Supplement 1 (Paris, 1912), 14 Google Scholar.
4 Ibid., p. 13.
5 Ibid., p. 20.
6 Ibid., fig. 45.
7 See St. Bernard's statement quoted in An Introduction to Mediaeval Europe 300-1500 by James Westfall Thompson and Edgar Nathaniel Johnson (New York, 1937), p. 615.
8 Royal Commission on Historical Monuments: London, Westminster Abbey (London, 1924), 1, pl. 220 Google Scholar.
9 Brayley, Edward Wedlake, The History and Antiquities of the Abbey Church of St. Peter, Westminster (London, 1823), I, 58.Google Scholar
10 Westlake, Herbert Francis, Westminster Abbey, the Church, Cathedral and College of St. Peter, Westminster (London, 1923), II, 364 Google Scholar.
11 Perkins, Jocelyn, Westminster Abbey, Its Worship and Ornaments (Oxford, 1940), II, 163 Google Scholar.
12 Mr. J. Langton Barnard, for example, said that ‘while looking over some engravings on copper of Albrecht Dürer, I came across one which strikingly resembled the third misericord in the upper row on the north side (north side, upper range, fourth bay, #I; Royal Commission On Historical Monuments, pl. 217); the resemblance was extremely close, especially in the arrangement and folds of the woman's dress; this is stated by Bartsch in the Catalogue (vii, 103 and 93) to be one of his earliest plates. Another plate of Albrecht Dürer closely resembles the corresponding misericord in the lower row on the south side (south side, lower range, third bay, #5; Royal Commission On Historical Monuments, pl. 219) as regards the position of the limbs and the folds of the drapery; while the seventh misericord of the lower row on the south side (south side, lower range, third bay, #I; Royal Commission On Historical Monuments, pl. 219) almost resembles a plate by Israel van Meckenern of two monkeys and three young ones.’ (Quoted by Francis Bond, Woodcarvings in English Churches, Oxford, 1910, p. 74, from Sacristy, i, 266.) For other German influences at Westminster and Winchester about this period, see the author's article ‘Lawrence Emler,’ Gazette des Beaux Arts, Series VI, LXTV (1964), 153 ff.
13 For Guido Mazzoni's activity in England, see the author's article, ‘Two Italian Portrait-Busts of Henry VII,’ Art Bulletin, XLII, #4 (Dec, 1960), 291 ff.
14 The Wild Man In the Middle Ages, A Study In Art, Sentiment, and Demonology (Harvard University Press, 1952), p. 134 and fig. 28.
15 Ibid., fig. 9, with description on p. 26.
16 Ibid., fig. 36 and p. 156.
17 Sculpture in Britain 1530 to 1830 (Baltimore, 1964), p. 5.
18 See Pevsner, N., The Buildings of England: Suffolk (Penguin Books Ltd., 1961), pp. 387–388 Google Scholar, and pl. 50b (Shrubland Old Hall, terracotta windows, ca. 1525).
19 Whinney, p. 5.
20 Ibid., p. 6.
21 Ibid., p. 6. For an illustration of the Delaware Chantry, see her pl. 6B.
22 For further evidence of the English patronage of Italian Renaissance styles via French influence, see the author's article cited above, n. 13.