Beverley Minster – Early Music Muse

Alliterative animals making medieval music in Saint Mary’s Church, Cogges (14th century)

Ian Pittaway alliterative literature, animals playing instruments, bagpipes, bells, Beowulf, Beverley Minster, cithara, citole, Doll thi ale, drum, duct flute, fiddle, flute, Foweles in the frith, Foweles in þe frith, harp, horn, hunting horn, iconography, kithara, medieval fiddle, medieval harp, minstrels, miracle plays, misericords, musical animals, mystery plays, Piers Plowman, pipe and tabor, psaltery, Puritans, recorder, Sir Gawain and the Green Knight, St. Mary's Church Cogges, viella, vielle, vielle tunings, viola 18th November 202321st November 2023

Alliteration was a foundational feature of medieval verse. Animals playing musical instruments are regularly seen in medieval art. The 14^th century stone-carved musicians of Saint Mary’s Church, Cogges, Oxfordshire, delightfully bring these two elements together: there are nine instruments played by eight alliterative animals (one plays two), including a sheep playing a citole and a boar playing a bagpipe (above).

This article begins with examples of alliteration in medieval poetry (Beowulf, Sir Gawain and the Green Knight, Piers Plowman), songs (Foweles in þe frith, Doll thi ale), and the medieval mystery plays; followed by illustrations of animals playing music in medieval and renaissance art. That is the background for a brief history of Saint Mary’s Church, Cogges, and an explanation of its eight alliterative animals playing medieval music, with photographs of every carving and a video of each instrument being played.

The medieval minstrels of Beverley Minster. Part 8/8: The strange and continuing history of the minstrels’ neglect.

Ian Pittaway Beverley Minster, citole, fiddle, gittern, iconography, medieval fiddle, minstrels 23rd August 20232nd October 2023 0 Comment

This is the last of eight articles about the iconography of Beverley Minster in Yorkshire: 71 musical minstrels carved in stone and wood in the 14^th century; musical misericords of the 16^th century; and neo-Gothic musicians carved in the early 20^th century. Beverley Minster has more medieval musicians and more misericords than any other church in the world.

The first article gives a potted history of the building being established in the 8^th century, then expanded in the 13^th and 14^th century, then the medieval minstrels being smashed by Puritans in the 16^th-17^th century and restored in the late 19^th and early 20^th century. The second, third and fourth articles describe all the 14^th century carvings of musicians, and the fifth sought to answer the question: why are there so many more medieval minstrels in this church than anywhere else? The sixth article explains the meanings of the 14^th century allegorical carvings; and the seventh describes the musical misericords of 1520 and the neo-Gothic organ screen of 1878–80 and 1919. This final article seeks to answer one central question: why, in the modern age, has the Minster’s medieval iconography been so poorly served?

Through a review of literature about Beverley Minster from the late 19^th century to the present, we will see the repeated pattern of either ignoring the minstrels altogether or muddled misnaming of the medieval instruments. This has been widespread in academic journals, in specialist books, and in publications for the general reader. This is a situation which still persists today, perpetuated by literature published by Beverley Minster.

First we outline the Beverley Minster Project, which would have provided an accurate book about the minstrels with illustrative photographs, complete with music CD/downloads; a concert with all the instruments of the Minster being played by medieval music specialists; an audio-visual tour of the minstrels for visitors; education for guides; and a new website about the minstrels linked to the main Beverley Minster site. This proposal would have been fully-funded by the Heritage Lottery Fund, at no cost to the Minster – indeed they would have generated money from it – and it would have promoted the Minster as an educational attraction for schools and individuals on the subject of historical music. The project was turned down without any engagement.

The medieval minstrels of Beverley Minster. Part 7/8: Tudor misericords and neo-Gothic musicians.

Ian Pittaway bagpipes, bestiaries, Beverley Minster, cobza, cornett, cornetto, fiddle, fools, gittern, harp, horn, hunting horn, iconography, koboz, kobza, lute, lyre, minstrels, misericords, morris dancing, organ, organistrum, pipe and tabor, portative organ, simfonie, simfony, sinfonie, symfony, symphonia, symphonie, tambourine, timbrel, zink 15th August 202315th August 2023 0 Comment

This is the seventh in a series of eight articles about the musical carvings in Beverley Minster, a church in the East Riding of Yorkshire. There are 71 14^th century carvings of musicians, more than in any other medieval site, as well as more Tudor misericords than in any other church, some of them musical, and a neo-Gothic organ screen with medieval instruments.

Having given the story of the Minster’s foundation, flourishing, iconoclasm and repair in the first article; examined the medieval minstrels of the arcades in the second article; of the walls in the third; and of the tombs, altar screen, chapel and south transept in the fourth; the fifth article asks why there is such an abundance of medieval minstrelsy in the Minster, finding the answer in the “Order of the Ancient Company or Fraternity of Minstralls”, which had its headquarters in Beverley. The sixth article completes the description of 14^th century iconography with the allegorical carvings.

This seventh article moves from the medieval period to the renaissance and describes musical aspects of the 16^th century misericords – animal and human musicians, fools and morris dancers, playing bagpipes, harp, fiddle, hunting horns, and pipe and tabor – and the neo-Gothic imitations of medieval instruments on the 19^th–20^th century organ screen, with lyre, timbrel, harps, portative organs, simfony, cornetts, gittern or koboz, and lute.

The final article puzzles over the paucity of publications about the magnificent medieval minstrels, and the Minster’s declared lack of interest in accurate information about their uniquely important iconography.

The medieval minstrels of Beverley Minster. Part 6/8: Medieval beasts and allegories.

Ian Pittaway amphisbaena, bestiaries, Beverley Minster, foliate heads, Green Man, iconography, minstrels, onocentaur, Reynard the fox, Triton, Virgin Mary, woodwose 9th August 202312th August 2023 0 Comment

This is the sixth in a series of eight articles about the 14^th century carvings of minstrels in Beverley Minster, a church in the East Riding of Yorkshire. There are a total of 71 musicians, more than in any other medieval site. Having given the story of the Minster’s foundation, flourishing, iconoclasm and repair in the first article; examined the minstrels of the arcades in the second article; of the walls in the third; and of the tombs, altar screen, chapel and south transept in the fourth; the fifth article asked why there is such an abundance of medieval minstrelsy in the Minster, finding the answer in the “Order of the Ancient Company or Fraternity of Minstralls”, which had its headquarters in Beverley.

This sixth article describes the 14^th century allegorical carvings and beasts of the Minster which accompany the minstrels on the west, north and south walls. We will see allegorical carvings and describe the medieval meanings of: dogs and their owners; a thirsty snake attacking a man; a fighting lion and dragon; a lustful goat carrying nuns to hell; Reynard the trickster fox; a wild hairy man of the woods (woodwose); a beard-tugging pilgrim; a faithless pilgrim in the grip of a two-headed dragon (amphisbaena); half-human half-ass hybrids (onocentaurs); asses being carried by people; Triton the merman; and foliate heads, now misleadingly called green men.

The next article examines musical aspects of the 16^th century misericords and the neo-Gothic imitation medieval instruments of the 19^th–20^th century organ screen. The final article puzzles over the paucity of publications about the magnificent medieval minstrels, and the Minster’s declared lack of interest in accurate information about their uniquely important iconography.

The medieval minstrels of Beverley Minster. Part 5/8: The “Order of the Ancient Company or Fraternity of Minstralls in Beverley”.

Ian Pittaway Beverley Minster, bombard, fiddle, lute, minstrels, miracle plays, mystery plays, recorder, Saint Mary’s Church Beverley, shawm, waits 2nd August 20238th October 2023 2 Comments

This is the fifth in a series of eight articles about the 14^th century carvings of medieval minstrels in Beverley Minster, a church in the East Riding of Yorkshire. There are 71 images of musicians in stone and wood, more than in any other medieval site. This article asks what is special about the Minster that it houses such a profusion of minstrel iconography, and finds the answer in the “Order of the Ancient Company or Fraternity of Minstralls in Beverley”, a trade guild for professional musicians which covered the whole of the north east of England.

This is followed in the sixth article with an examination of the 14^th century allegorical carvings of real and mythical beasts; in the seventh article with musical aspects of the 16^th century misericords and the 19^th–20^th Gothic revival century organ screen; and the final article puzzles over the paucity of print publications about the magnificent medieval minstrels, and the Minster’s declared lack of interest in accurate information about their uniquely important iconography.

Left to right, fiddle, citole and harp as they appear in the *Romance of Alexander*, MS. Bodl. 264, 1338-44, and above as they appear carved in Beverley Minster, 1330-40.

The medieval minstrels of Beverley Minster. Part 4/8: The minstrels of the tombs, reredos, Saint Katherine’s chapel, and south transept.

Ian Pittaway Ars musicae, bagpipes, Beverley Minster, drum, fiddle, fiddle tunings, foliate heads, Green Man, harp, horn, hunting horn, iconography, Johannes de Grocheio, medieval fiddle, medieval fiddle tunings, minstrels, nakers, olifant, oliphant, olyphant, organ, organetto, organino, portative organ, vielle 26th July 202315th September 2023 0 Comment

This is the fourth in a series of eight articles about the 71 stone and wood carvings of musicians created between 1330 and 1390 in Beverley Minster, a church in the East Riding of Yorkshire. Since Beverley Minster has more iconography of medieval musicians than any other surviving historical site, these articles are a survey of the musical life of 14^th century England.

Having given the Minster’s history in the first article, described the medieval musicians of the arcades and triforium in the second article and those on the walls either side of the nave in the third article, here all the outstanding medieval stone and wood carvings are explored in the remaining parts of the church. We will see 14^th century carvings of musicians playing bagpipes, hunting horn, vielles (medieval fiddles), harps, portative organs, psaltery, oliphants, and nakers. These carvings raise questions about: the history of the influential de Percy family from the Norman conquest to the English Civil War; the royal and military practice of blowing elephant horns; and the pre-eminence for medieval musicians of the fiddle, bagpipe, harp and portative organ.

The medieval minstrels of Beverley Minster. Part 3/8: The minstrels of the west, north and south walls.

Ian Pittaway bagpipes, Beverley Minster, citole, cornet, cornett, cornetto, cup cymbals, cymbals, drum, fiddle, fiddle tunings, gittern, harp, horn, hunting horn, hurdy gurdy, iconography, Jerome of Moravia, medieval fiddle, medieval fiddle tunings, medieval harp, minstrels, olifant, oliphant, olyphant, organ, organetto, organino, organistrum, pipe and tabor, portative organ, psaltery, serpent, simfonie, simfony, sinfonie, symfony, symphonia, symphonie, tambourine, timbrel, trumpet, vielle, zink 19th July 202313th September 2023 0 Comment

There are 71 images of 14^th century musicians in stone and wood in Beverley Minster, a church in the East Riding of Yorkshire, more than in any other medieval site. This is the third in a series of eight articles about the Minster’s medieval minstrels, surveying the musical life of 14^th century England. This article explores the carved musicians of the west, north and south walls, who are depicted playing medieval fiddles (vielles or viellas), gitterns, timbrel (tambourine), bagpipes, portative organs, citoles, harps, pipes and tabors, horns, cymbals, simfony, psaltery, nakers, and trumpets. Each instrument is described, with a photograph and a link to a video of the instrument being played.

In this article, the carvings on the walls teach us about: the meaning of minstrel; fashions of the 14^th century; a medieval menagerie of captive animals from overseas; a transition in the form of the portative organ; the fog of confusion in differentiating between the citole and gittern, only recently lifted; evidence of medieval fiddle tunings; and the difficult art of restoration and repair in both medieval art and medieval music.

This is followed in the fourth article with photographs and commentary on the minstrels in the tombs, altar screen, Saint Katherine’s chapel and south transept; and in the fifth article by a gathering of evidence to answer the question: why are there so many medieval minstrels in the Minster? The sixth article describes the 14^th century allegorical carvings of real and mythical beasts; and the seventh article explores musical aspects of the 16^th century misericords and 19^th–20^th century neo-Gothic organ screen. The final article puzzles over the paucity of print publications about the magnificent medieval minstrels, and Beverley Minster’s declared lack of interest in accurate information about their uniquely important iconography.

The medieval minstrels of Beverley Minster. Part 2/8: The minstrels of the arcades, triforium and capital.

Ian Pittaway bagpipes, Beverley Minster, bombard, citole, drum, fiddle, fiddle tunings, gittern, harp, lute, medieval fiddle, medieval fiddle tunings, medieval harp, nakers, organ, organistrum, pipe and tabor, portative organ, psaltery, shawm, simfonie, simfony, sinfonie, symfony, symphonia, symphonie, tambourine, timbrel, vielle 12th July 202311th October 2023 2 Comments

This is the second in a series of eight articles about the 14^th century carvings of medieval minstrels in Beverley Minster, a church in the East Riding of Yorkshire. There are 71 images of musicians in stone and wood, more than in any other medieval site. This article explores the carved musicians of the arcades, triforium and a capital, depicted playing harps, fiddles, bagpipes, timbrels, shawms, gittern, citole, portative organ, psaltery, pipe and tabor, nakers, and a drum. Each instrument is described, accompanied by a photograph of the Minster minstrel carving, with a link to a video of the instrument being played. This article thereby acts as a survey of the musical life of 14^th century England.

This is followed in the third and fourth articles with photographs and commentary on the minstrels in the rest of the church, and in the fifth article by a gathering of evidence to answer the fundamental question: why are there so many medieval minstrels in the Minster? The sixth article describes the 14^th century allegorical carvings; and the seventh article focuses on musical aspects of the 16^th century misericords and 19^th–20^th century neo-Gothic organ screen. The final article puzzles over the paucity of print publications about the magnificent medieval minstrels, and the Minster’s lack of interest in accurate information about their uniquely important iconography.

The medieval minstrels of Beverley Minster. Part 1/8: Foundation, destruction, and restoration.

Ian Pittaway Beverley Minster, Edward VI, fiddle, harp, Henry VIII, iconography, medieval fiddle, minstrels, organistrum, Puritans, simfonie, simfony, sinfonie, symfony, symphonia, symphonie, vielle 5th July 202328th July 2023 10 Comments

This is the first in a series of eight articles about the medieval musical iconography of Beverley Minster, a church in the East Riding of Yorkshire. Beverley Minster has a remarkable 71 medieval carvings of musicians in stone and wood, more in one place than any other site, as well as 68 magnificent Tudor misericords, more than in any other church. The current building originates from the 13^th century onward, its musical carvings largely from the 14^th century, with some additionally from the 16^th and 19^th–20^th centuries.

This series of articles is the first and so far the only available account in print or online to photograph and describe all the medieval musical iconography and many of the allegorical carvings of this historically important church. The articles are illustrated by colour photographs by the author, acting as a survey of the musical instruments and religious culture of 14^th century England.

This first feature is an introduction to the Minster’s history: its foundation in the 10^th century under King Athelstan; its attempted destruction under Henry VIII and then the Puritans; with a particular focus on the repair of its stone medieval minstrels in the late 19^th and early 20^th century by John Percy Baker, making it possible for visitors today to admire the minstrels rather than view only vandalised fragments.

Following articles explore the carvings of 14^th century minstrels high in the arcades, triforium and capitals (article 2); on three walls at eye level (article 3); and in the rest of the church, such as the Minster’s two tombs (article 4). This is followed by a gathering of evidence to answer the fundamental question: why are there so many medieval minstrels in the Minster (article 5)? Because they are too interesting to omit, the next article surveys the wonderful 14^th century stone carvings of allegorical dogs, Reynard the fox, beard-pullers and dragons, some with two heads (article 6). The penultimate article surveys the musical aspects of the 16^th century misericords and 19^th–20^th century neo-Gothic organ screen, with its imitation medieval instruments (article 7). The final article surveys literature about Beverley Minster, puzzling over the paucity of print publications about the magnificent medieval minstrels, and the Minster’s declared lack of interest in its own heritage (article 8).

“the verray develes officeres”: minstrels and the medieval church

Ian Pittaway Ars musicae, bagpipes, Berkeley manuscript, Beverley Minster, bombard, Bosch Hieronymous, Bosch Jheronimus, bray harp, Canterbury Tales, carols, Chaucer Geoffrey, cithara, citole, cymbala, ductia, dulcimer, estampie, fiddle, Garden of Earthly Delights (Bosch painting), gittern, hammer dulcimer, harp, Jean de Grouchy, Jerome of Moravia, Johannes de Grocheio, jongleurs, lute, minstrels, monochord, nota, Notre Dame school, Order of the Ancient Company or Fraternity of Minstralls in Beverley, organ, organistrum, organum, pipe and tabor, portative organ, psaltery, rebab, recorder, rubeba, Saint Mary’s Church Beverley, shawm, simfonie, simfony, sinfonie, stantipes, Summa musice, symfony, symphonia, symphonie, Tractatus de Musica, vielle, violin 16th June 202123rd August 2023 8 Comments

In the middle ages, minstrels were regularly accused by church commentators of vanity, idleness, inflaming carnal desire, lechery, and leading others into vice. In the 12^th century, Bishop of Chartres John of Salisbury expressed the view that all minstrels should be exterminated. Because of this reputation, the church wanted to ensure that its most sacred music was different in kind to minstrel music, and restated several times that only the voice and organ were allowed in the liturgy, not instruments of minstrelsy. Still some writers complained bitterly of secular styles of music corrupting singers’ voices in sacred chant.

How can we account for the contradiction between clergy’s invectives against minstrels and the innumerable quantity of medieval and renaissance paintings in which gitterns, shawms, harps, fiddles, lutes – the instruments of minstrels – are shown in worship of the Virgin Mary and in praise of the infant Jesus? How can we reconcile the critiques of clerics against minstrels with their regular appearance in religious manuscripts, their likenesses carved in churches, and their employment by the church? This article seeks answers through the evidence of medieval Christian moralists; church councils; music treatises; religious paintings; records of church ceremonies; and the relationship of the church with organised minstrelsy.

Images from *The Luttrell Psalter*, 1325-1340 (BL Add MS 42130).
**Top row, left to right:** church singers (f. 171v); bishop (f. 31r); pilgrim (f. 32r); nun (f. 51v).
**This row, left to right**, players of: harp (f. 174v); pipe and tabor (f. 164v);
organistrum, also called the symphony (f. 176r); portative organ (f. 176r).

Performing medieval music. Part 1/3: Instrumentation

Ian Pittaway Beverley Minster, Cantigas de Santa María, carols, citole, fiddle, gittern, harp, historically informed performance, mediaeval, medieval, medieval fiddle, medieval harp, monophony, recorder, rota, tabulae, vielle 1st August 201823rd August 2023 17 Comments

The most fundamental question of all in playing early music today is: how can the music be played to reflect historical practice? This is the first of three articles looking at historically-informed ways of performing medieval music, aiming to be a practical guide, with plenty of musical examples and illustrations, and a bibliography for those who wish to delve further.

This first article discusses the use of instruments and instrument combinations in medieval music. The illustrations in two manuscripts are used as typical representative examples: the 13^th century Iberian Cantigas de Santa Maria and the 14^th century English Queen Mary Psalter. The second article gives practical methods for making arrangements of medieval monophonic music according to historical principles, with an example to illustrate each method; and the third article discusses questions of style, including the performance of the non-mensural (non-rhythmic) music of the troubadours, ornamentation, and the medieval voice. Read more