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

Photographs © Ian Pittaway.

Alliteration was a foundational feature of medieval verse. Animals playing musical instruments are regularly seen in medieval art. The 14th 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.  

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

Photographs © Ian Pittaway.

This is the fifth in a series of eight articles about the 14th 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 14th century allegorical carvings of real and mythical beasts; in the seventh article with musical aspects of the 16th century misericords and the 19th–20th 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.

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