The Carthusian order was founded in the late eleventh century in France. It spread rapidly and widely, and experienced great popularity during the later Middle Ages, when dozens of new charterhouses were founded against a background of sharp decline in monastic foundation in general. The main reason for Carthusian popularity was the order’s consistent adherence to the eremitic precepts and form of living established by its founding fathers. Manifest holiness generated a powerful reputation and patronage to match. The Carthusians also proved adaptable, managing to integrate into urban environments from the thirteenth century onwards without seriously compromising their principles.

This talk covers the art and architectural dimensions of Carthusian life with particular reference to the ten foundations of the order’s English Province. While these monasteries are all largely destroyed, enough survives to give a clear picture of the distinctive layout and elevation of their essential buildings and the sorts of embellishment they received. A fairy large number of Carthusian books and documents has also come down to us, some containing illumination, drawings and seals. Examples of this material that illustrate Carthusian ritual, customs and spirituality will be selected for discussion.

Medieval tombs often depict husband and wife lying hand-in-hand, immortalised in elegantly carved stone: what Philip Larkin would later describe in his celebrated poem, An Arundel Tomb, as their ‘stone fidelity’.

These gestural monuments seem to belong to a broader tendency towards ‘expressivity’ in late-medieval sculpture. Whereas the figures on Romanesque portals stare back at the viewer impassively, their Gothic counterparts beam with radiant smiles, wipe away bitter tears or grimace and gurney with uncontrolled rage. The nature and significance of this shift has been much debated in recent years, in particular the extent to which the heightened representation of emotion was designed to provoke an equivalent emotional response.

This talk explores these ideas through the gesture of joined hands on medieval tomb monuments. I first address the issue of why hand-joining tombs are almost entirely restricted to a fifty-year period in England, before going on to place these amorous effigies in dialogue with wedding rings and dresses, changes to matrimonial ritual, and the new economic opportunities offered to widows. What emerges is the careful artifice beneath their seductive emotional surfaces: the artistic, religious, political and legal agendas underlying the medieval rhetoric of married love.  

William Etty was obsessed with the female form. At the height of his career as a history painter, long after his election to Royal Academician in 1828, he sat side-by-side with novices to study naked models, a practice he continued even as his health faded toward the end of his life. Whether posed alone or in groups, these models served as templates for goddesses, graces, muses, nymphs and sirens in his finished paintings. Bypassing the conventions of his day, Etty abandoned the doctrine that the figure ought to be idealised according to the established norm of beauty based on Greco-Roman sculpture. His nudes tend to have breasts, thighs and other bodily features that are larger or more irregular than had long been customary. As the audience for contemporary British art grew steadily throughout his lifetime, his flouting of convention proved exciting and scandalous.

But there is more to Etty’s art than a move to a more naturalistic or realistic aesthetic. In his works, the female body remains mysterious and opaque, layered in flesh and rich paintwork. Many of the women who posed for him were employed simultaneously as sex workers, a fact that created a palpable sense of tension in the critical reception of his achievements, and arguably within the paintings themselves. This programme will take a look at this endlessly fascinating artist, exploring the conspicuous sensuality of his take on the classical body.