Wallpainting - The Betrayal
Ickleton, Cambridgeshire
THE WALL PAINTINGS IN THE CHURCH
The wall paintings in the church belong to two different periods; those on the north of the nave are of the twelfth century whilst the one above the chancel arch belongs to the fourteenth century. Wall paintings of so early a date are extremely rare; there is a small ‘school’ of Romanesque paintings in the South East (Sussex/Surrey), a handful in Gloucestershire, and, for the rest, some isolated examples distributed throughout the country. The discovery of these paintings at Ickleton is of national importance because, with the exception of the famous cycle at Copford (near Colchester in Essex) there are at present no other extensive programmes of wall painting known to us in the East Anglian region.
Although the interiors of most churches are sober in colour today, it should be remembered that in the medieval period they were full of painted decoration. Vaults, ceilings, walls and window splays were all considered suitable for the display of wall paintings and, even where there was no pictorial decoration, wall surfaces were generally given some form of painted decorative treatment. The arches of arcades, windows and doors were often painted with geometric patterns (such as those round the arches of the arcade here) and sculptural detail was picked out in bright colours. In fact, colour played a most important part in the decoration of churches at this period.
Technique
The technique employed for the paintings on the north arcade is known as ‘true fresco’ and seems only to have been used in this country during the twelfth century. With this type of painting, the colour is applied to wet plaster so that the paint soaks into the wall and is thus much more durable than paint applied to a dry surface.
What remains at Ickleton is for the most part the under-painting, almost all the linear details, which would have defined the features and drapery forms, being lost. However, it is still possible to get some idea of how the original surface would have looked, if you examine the drapery of the Apostle next to Jesus on the splay of the more westerly of the two painted windows. The linear forms and ‘V folds’ of the drapery on the lower part of this figure are still clearly visible here.
Date
The arcades date from circa 1100 but the paintings are somewhat later belonging to the second half of the twelfth century. The church was appropriated by Ickleton Priory at the foundation of that institution, probably in the mid twelfth century. The paintings almost certainly postdate this event. (It should be realised, however, that the Priory did not take over the parish church for its own use; the nuns had a conventual church at the side of the Priory).
The overall decorative scheme
The paintings extend through two bays of the north arcade running from west to east. They are arranged in two tiers with a Passion cycle at the upper level and three scenes of martyrdom between the arches at the lower one. The two small clerestory windows which interrupt the upper series of paintings have fully painted splays. The twelfth century walls stopped just above these windows which were originally external ones looking out above the then lower side aisles. At this period the paintings would have clothed the wall from top to bottom. The bases, capitals and perhaps even the shafts of the piers may also have received painted decoration.
The four Passion scenes of the north arcade would probably have led up to a Crucifixion painted on the east wall of the nave. However, this wall was much altered in the fourteenth century when the chancel arch was made taller. In the process, the painted area of this wall would have been removed and the Crucifixion lost.
The arches of the south arcade were originally decorated with geometric pattern like that on the north arcade. This would lead you to expect that the wall above would also have been covered with paintings. However, although this wall has been carefully examined for traces of further paintings, none were found here. It may be that it was originally intended to complete the programme with a series of paintings of the events after the Resurrection but that financial resources were not available.
The theme of the paintings
The four Passion scenes of the upper tier represent reading from left to right, the Last Supper, the Betrayal, the Flagellation and Christ carrying the Cross.
In the Last Supper only the figure of Judas, separated from Christ and the other Apostles by being placed in front of the table, is clearly visible. He is shown in the act of taking a fish. This may be interpreted in two ways. One explanation is that the fish is a symbol of Christ and that his death is prefigured in this gesture. The other more straightforward version of the theme is that Judas is here shown up as a thief. In some paintings he is depicted holding the fish behind his back and in one he is actually shown hiding it under the tablecloth.
The Betrayal contains two linked scenes. The more important one, the kiss of Judas, is rather difficult to make out; Judas and Christ are the two large figures, a little to the left of centre, which together form a triangular shape. On the extreme right St. Peter is shown striking off the ear of the High Priests’ servant, Malchus.
The Flagellation needs little explanation. Christ stands tied to a column between two figures who must originally have held whips in their hands.
The final scene, which is badly damaged, shows Christ bearing the Cross.
The three scenes of the lower series all deal with different martyrdoms. The first one (on the left hand side and half covered by a wall plaque) shows St. Peter being crucified upside down. The central one depicts St. Andrew on the diagonal cross. Above him the hand of God can be seen outlined against the yellow border at the top. The one on the right hand side, adjacent to the wall of the crossing, may be St. Laurence being burnt on the gridiron. It is not clear what all the figures between these scenes signify but some of them may be pilgrims visiting the shrines of the Saints concerned. The figure to the right of St. Peter is wearing a palmer’s (or pilgrim’s) hat.
The left hand splay of the westernmost window shows a group of four figures carrying books. The one at the front is Christ and those behind probably three of his Apostles.
On the left hand splay of the window further east, there is a bearded man dressed in a dark tunic and wearing a palmer’s hat. It has been suggested that this is St. James. On the other splay of the same window is the figure of a woman, crowned and seated on a throne.
The fourteenth century doom painting over the chancel arch.
In the case of the Doom, it is not really the technique or style of the painting which is of special interest but the subject matter. Doom paintings illustrate the Day of Judgement as described in St. Matthew’s Gospel, chapter XXV. This theme was painted more frequently on the walls of churches than any other during the Middle Ages and about eighty examples are still to be seen in this country today. Doom paintings generally occupy the most arresting position in the church, over the chancel arch, where they may be seen and contemplated by all.
The elements which go to make up this composition usually vary little from one version to another. In the central position there is always Christ and Judge, seated on the rainbow, displaying wounds of the cross. On the left kneels the Virgin Mary and on the right either St. John the Evangelist or St. John the Baptist. There are usually figures of angels (sometimes blowing the Last Trump) grouped round about. Below this, there may be a scene with figures emerging from their graves as in the General Resurrection. And beneath that, there is often a section showing the Saved being separated from the Damned with the former being led off to Heaven and the latter prodded into the Jaws of Hell.
Unfortunately, the lower parts of the Doom at Ickleton are very much damaged; one or two figures rising from their graves can be made out just below Christ’s feet and there are two small crowned figures below that, on the right hand side, which are all that remain of the Damned.
The most unusual element of this painting, however, is that of the Virgin who appears with bare breasts. Argument has raged as to whether this is not a representation of Mary Magdalene which would seem appropriate as the church is dedicated to her. However, this dedication is of fairly recent date; during the Middle Ages the church was in fact dedicated to the Virgin.
There is another and more conclusive argument, however, for this being a figure of the Virgin. Baring the breast in the fourteenth century was a gesture of supplication. In representations of the Last Judgement the role of the Virgin and St. John is one if intercession for the souls of mankind. A Flemish critic of iconography wrote in 1574 that “Many painters show Mary and John the Baptist kneeling beside our Lord at the Last Judgement But we may not think at that day the Virgin Mary will kneel for us before the Judge, baring her breast to intercede for sinners”. This suggests that although the Ickleton Virgin seems at present to be the only example of this type (at least in the sphere of wall painting) there were originally many other paintings with this particular feature. Perhaps this image has been especially prone to destruction because later generations have found it unacceptable.
Wallpainting - The Betrayal
Ickleton, Cambridgeshire
THE WALL PAINTINGS IN THE CHURCH
The wall paintings in the church belong to two different periods; those on the north of the nave are of the twelfth century whilst the one above the chancel arch belongs to the fourteenth century. Wall paintings of so early a date are extremely rare; there is a small ‘school’ of Romanesque paintings in the South East (Sussex/Surrey), a handful in Gloucestershire, and, for the rest, some isolated examples distributed throughout the country. The discovery of these paintings at Ickleton is of national importance because, with the exception of the famous cycle at Copford (near Colchester in Essex) there are at present no other extensive programmes of wall painting known to us in the East Anglian region.
Although the interiors of most churches are sober in colour today, it should be remembered that in the medieval period they were full of painted decoration. Vaults, ceilings, walls and window splays were all considered suitable for the display of wall paintings and, even where there was no pictorial decoration, wall surfaces were generally given some form of painted decorative treatment. The arches of arcades, windows and doors were often painted with geometric patterns (such as those round the arches of the arcade here) and sculptural detail was picked out in bright colours. In fact, colour played a most important part in the decoration of churches at this period.
Technique
The technique employed for the paintings on the north arcade is known as ‘true fresco’ and seems only to have been used in this country during the twelfth century. With this type of painting, the colour is applied to wet plaster so that the paint soaks into the wall and is thus much more durable than paint applied to a dry surface.
What remains at Ickleton is for the most part the under-painting, almost all the linear details, which would have defined the features and drapery forms, being lost. However, it is still possible to get some idea of how the original surface would have looked, if you examine the drapery of the Apostle next to Jesus on the splay of the more westerly of the two painted windows. The linear forms and ‘V folds’ of the drapery on the lower part of this figure are still clearly visible here.
Date
The arcades date from circa 1100 but the paintings are somewhat later belonging to the second half of the twelfth century. The church was appropriated by Ickleton Priory at the foundation of that institution, probably in the mid twelfth century. The paintings almost certainly postdate this event. (It should be realised, however, that the Priory did not take over the parish church for its own use; the nuns had a conventual church at the side of the Priory).
The overall decorative scheme
The paintings extend through two bays of the north arcade running from west to east. They are arranged in two tiers with a Passion cycle at the upper level and three scenes of martyrdom between the arches at the lower one. The two small clerestory windows which interrupt the upper series of paintings have fully painted splays. The twelfth century walls stopped just above these windows which were originally external ones looking out above the then lower side aisles. At this period the paintings would have clothed the wall from top to bottom. The bases, capitals and perhaps even the shafts of the piers may also have received painted decoration.
The four Passion scenes of the north arcade would probably have led up to a Crucifixion painted on the east wall of the nave. However, this wall was much altered in the fourteenth century when the chancel arch was made taller. In the process, the painted area of this wall would have been removed and the Crucifixion lost.
The arches of the south arcade were originally decorated with geometric pattern like that on the north arcade. This would lead you to expect that the wall above would also have been covered with paintings. However, although this wall has been carefully examined for traces of further paintings, none were found here. It may be that it was originally intended to complete the programme with a series of paintings of the events after the Resurrection but that financial resources were not available.
The theme of the paintings
The four Passion scenes of the upper tier represent reading from left to right, the Last Supper, the Betrayal, the Flagellation and Christ carrying the Cross.
In the Last Supper only the figure of Judas, separated from Christ and the other Apostles by being placed in front of the table, is clearly visible. He is shown in the act of taking a fish. This may be interpreted in two ways. One explanation is that the fish is a symbol of Christ and that his death is prefigured in this gesture. The other more straightforward version of the theme is that Judas is here shown up as a thief. In some paintings he is depicted holding the fish behind his back and in one he is actually shown hiding it under the tablecloth.
The Betrayal contains two linked scenes. The more important one, the kiss of Judas, is rather difficult to make out; Judas and Christ are the two large figures, a little to the left of centre, which together form a triangular shape. On the extreme right St. Peter is shown striking off the ear of the High Priests’ servant, Malchus.
The Flagellation needs little explanation. Christ stands tied to a column between two figures who must originally have held whips in their hands.
The final scene, which is badly damaged, shows Christ bearing the Cross.
The three scenes of the lower series all deal with different martyrdoms. The first one (on the left hand side and half covered by a wall plaque) shows St. Peter being crucified upside down. The central one depicts St. Andrew on the diagonal cross. Above him the hand of God can be seen outlined against the yellow border at the top. The one on the right hand side, adjacent to the wall of the crossing, may be St. Laurence being burnt on the gridiron. It is not clear what all the figures between these scenes signify but some of them may be pilgrims visiting the shrines of the Saints concerned. The figure to the right of St. Peter is wearing a palmer’s (or pilgrim’s) hat.
The left hand splay of the westernmost window shows a group of four figures carrying books. The one at the front is Christ and those behind probably three of his Apostles.
On the left hand splay of the window further east, there is a bearded man dressed in a dark tunic and wearing a palmer’s hat. It has been suggested that this is St. James. On the other splay of the same window is the figure of a woman, crowned and seated on a throne.
The fourteenth century doom painting over the chancel arch.
In the case of the Doom, it is not really the technique or style of the painting which is of special interest but the subject matter. Doom paintings illustrate the Day of Judgement as described in St. Matthew’s Gospel, chapter XXV. This theme was painted more frequently on the walls of churches than any other during the Middle Ages and about eighty examples are still to be seen in this country today. Doom paintings generally occupy the most arresting position in the church, over the chancel arch, where they may be seen and contemplated by all.
The elements which go to make up this composition usually vary little from one version to another. In the central position there is always Christ and Judge, seated on the rainbow, displaying wounds of the cross. On the left kneels the Virgin Mary and on the right either St. John the Evangelist or St. John the Baptist. There are usually figures of angels (sometimes blowing the Last Trump) grouped round about. Below this, there may be a scene with figures emerging from their graves as in the General Resurrection. And beneath that, there is often a section showing the Saved being separated from the Damned with the former being led off to Heaven and the latter prodded into the Jaws of Hell.
Unfortunately, the lower parts of the Doom at Ickleton are very much damaged; one or two figures rising from their graves can be made out just below Christ’s feet and there are two small crowned figures below that, on the right hand side, which are all that remain of the Damned.
The most unusual element of this painting, however, is that of the Virgin who appears with bare breasts. Argument has raged as to whether this is not a representation of Mary Magdalene which would seem appropriate as the church is dedicated to her. However, this dedication is of fairly recent date; during the Middle Ages the church was in fact dedicated to the Virgin.
There is another and more conclusive argument, however, for this being a figure of the Virgin. Baring the breast in the fourteenth century was a gesture of supplication. In representations of the Last Judgement the role of the Virgin and St. John is one if intercession for the souls of mankind. A Flemish critic of iconography wrote in 1574 that “Many painters show Mary and John the Baptist kneeling beside our Lord at the Last Judgement But we may not think at that day the Virgin Mary will kneel for us before the Judge, baring her breast to intercede for sinners”. This suggests that although the Ickleton Virgin seems at present to be the only example of this type (at least in the sphere of wall painting) there were originally many other paintings with this particular feature. Perhaps this image has been especially prone to destruction because later generations have found it unacceptable.