The grotesque in church art . SATANIC REPRESENTATIONS. 65. by the myth-idea of Typhon (by whatever name known) as a scizcr, as indicated definitely in one of his general names, Graha. The figure was naturally one according well with the mediaeval under- __, standing of spiritual punish- Ep ment, and its varieties in carvingarenumerousenough ^5§j! to furnish an adequate in-ferno. The Dorchester example is a small boss in the groined ceiling of the sedilia of celebrants; that at Ewelme is a weather-worn parapet-ornament on the south of the choir ; the carving at Farnsham is on a misericorde. Not
The grotesque in church art . SATANIC REPRESENTATIONS. 65. by the myth-idea of Typhon (by whatever name known) as a scizcr, as indicated definitely in one of his general names, Graha. The figure was naturally one according well with the mediaeval under- __, standing of spiritual punish- Ep ment, and its varieties in carvingarenumerousenough ^5§j! to furnish an adequate in-ferno. The Dorchester example is a small boss in the groined ceiling of the sedilia of celebrants; that at Ewelme is a weather-worn parapet-ornament on the south of the choir ; the carving at Farnsham is on a misericorde. Not entirely, though in somedecree, the two next illustrationssupport the theory, of punishmentrather than conflict, for the others. The carvino- in York Cathedralis of a graceful type ; there is oneclosely resembling it at Wells. TheGlasgow sketch is from the drawingof a fragment of the cathedral ; it is more vivid and ludicrous than the other. A comparison of these two affords a good idea of the excellent in Gothic ornament. The Glasgow carving lacks eve
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Keywords: ., bookcentury1800, booksubjec, booksubjectchristianartandsymbolism
