The grotesque in church art . frequently attempted pretty detail intheir symbolic designs, but in all the formswhich have come from their chisels it iseasy to see how incomplete an embodi-ment they gave to their conceptions, orrather to the conceptions of their tradi-tional school. Norman work, beyond theGothic, irrespective of the architecturalpeculiarities, has traces of its easternorigin in the classic connection of itsdesigns. Adel Church, near Leeds, is peculiar in havingco-mingled with its eastern designs more than ordinarilytangible references to ancient Keltic worship, but ne
The grotesque in church art . frequently attempted pretty detail intheir symbolic designs, but in all the formswhich have come from their chisels it iseasy to see how incomplete an embodi-ment they gave to their conceptions, orrather to the conceptions of their tradi-tional school. Norman work, beyond theGothic, irrespective of the architecturalpeculiarities, has traces of its easternorigin in the classic connection of itsdesigns. Adel Church, near Leeds, is peculiar in havingco-mingled with its eastern designs more than ordinarilytangible references to ancient Keltic worship, but nearly all Norman ideographic detailconcerns itself with old-worldmyths. An excellent conception,well carried out, is in a maskwhich is one of a series of latecarvings alternating with thegargoyles of Ewelme. Inthis, instead of leaves issuingfrom the mouth of the mask, there are two dragons. If thosewith leaves are deities, this surely must be one of the is on the north side of the nave ; on the exterior of the aisle,. GORGONIC MASK, EWELME. 128 THE GROTESQUE IN CHURCH ART.
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Keywords: ., bookcentury1800, booksubjec, booksubjectchristianartandsymbolism
