Romanesque Sculpture at Malmesbury
Evelyn Hardy visits an English architectural monument of elaborate richness.
During the second half of the twelfth century, when the realm of Henry II stretched from the Pyrenees to the Orkney Islands, Romanesque sculpture reached its full development in this country; and it was at this time that artistic connections between England and France—more especially western and northern France—were closest.
Among the remnants of Romanesque splendour surviving in this country the south porch of Malmesbury Abbey must take pride of place. Furthermore, it is the “most important decorative scheme in which the influence of Western France is present.”1 The high place of Malmesbury has long been acknowledged by English authorities; but they have dismissed it with reticent words, such as “highly impressive, important, vigorous “quaint and clumsy,” for the Apostles; and “minutely elaborate,” for the medallions. Sir Arthur Clapham can say little more than that the Apostles are both “stiff-necked” and “graceless.”2
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