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SUMMARY: Practicalities of production: making Norfolk’s medieval screens
  - Dr Lucy Wrapson\, Hamilton Kerr Institute
DTSTART:20100607T163000Z
DTEND:20100607T174500Z
UID:TALK24405@talks.cam.ac.uk
CONTACT:Miss L Slater
DESCRIPTION:England is the pre-eminent country for medieval painted wooden
  screenwork and East Anglia its richest region\, for within Norfolk\, Suff
 olk and Cambridgeshire over five hundred examples remain\, dating from the
  14th-16th centuries. This large body of polychrome woodwork mainly takes 
 the form of chancel or rood screens. Rood screens were previously part of 
 a larger structure of which much is lost\, specifically the Crucifix or ro
 od\, its attendant figures and the rood loft\, a balcony on top of the scr
 een. However\, the dados of screens often survive with much of their paint
  intact\, and roughly one hundred and twenty screens in the region depict 
 figures\, among them saints\, prophets\, kings and angels. Screens have a 
 wealth of information to be mined\, in terms of their carpentry constructi
 on and painted decoration. Patterns of workshop production can be ascertai
 ned through close recording of details such as jointing methods\, moulding
  profiles and carving style and technique. Equally underdrawing style\, st
 encil motifs\, cast relief decorations and presence of figure paintings de
 rived from print sources can locate the activity and geographical range of
  the same groups of artists. The design structure of screens means that pa
 inting had mainly to be done on site\, indicating that screen painters wer
 e often itinerant. \n
LOCATION:The History of Art Graduate Centre - 4a Trumpington Street
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