The 16th-17th June 2017 was the third annual MEMS Festival, a two-day celebration of all things Medieval and Early Modern at the University of Kent. Papers covered all kinds of topics, from art and literature to politics, identity, and everyday life from the entire period. The range of material meant that lots of different areas of expertise were brought together, leading to interesting discussions and comparisons. There were also lots of exciting practical workshops, such as a “mystery trail” in the Special Collections and Archives and workshopping a scene from the York Corpus Christi play with Claire Wright (University of Kent).
Kent undergraduate students present their final year dissertations
The two dedicated medieval art sessions covered objects from far and wide. The first panel looked at style and symbolism over the artistic networks in England and France. Cassandra Harrington (University of Kent) gave probably a paper on foliate head keystones, looking at a particular example from the chapter house at Cluny, and distinguishing them from the usual interpretation of such heads as “Green Men”. Angela Websdale’s (University of Kent) paper on the “lost” wall paintings at Faversham Cathedral investigated a potential Westminster workshop moving between London and Kent, while Alice Ball’s (University of Kent) considered images of the Prodigal Son, in particular how the iconography of the windows at Chartres cathedral may have influenced the Bibles Moralisees.
The second medieval art panel was made up of three students who had just finished their undergraduate degrees at the University of Kent, who all presented on their recently-completed dissertations. Michael Gittins gave a fresh look at a well-known object, considering the heraldry and weapons pictured in the Morgan Picture Bible to make a convincing argument that Walter of Brienne may have been the original patron. In contrast, Lucy Splarn’s paper turned towards a tiny and much less well-known pilgrimage badge of St Thomas Becket, looking at the unusual iconography of the saint riding a peacock (see embedded 3D model). This could have been a representation of Thomas’s personality, and the idea that he was arrogant in his outward appearance but humble inside, which tied in well with Paul Binski’s paper at the Thomas Becket study day on the concept of personality in the Middle Ages. Catherine Heydon gave the third paper, on the idea of Purgatory in the thought of St Augustine, thinking about the way in which the imagery of Classical thought influenced the theology of the early Church.
Medieval and Early Modern art made an appearance in other sessions as well. Hannah Straw (University of Kent) gave a paper on the imagery of Charles II’s escape in the Boswell Oak tree and how it was used to shape the king’s public identity. Emily Guerry (University of Kent) also looked at public identity and the use of history, by examining the significance of James Comey’s (mis)quotation of Henry II in his testimony, and the way in which the past can be used in the public imagination.
Each afternoon of the conference was taken up with activities and workshops, which was a great opportunity to get some hands-on work with objects and new technologies. This included a set of workshops and a tour of Eastbridge Pilgrim’s Hospital, which would have been a stopping point for hundreds of visitors to St Thomas’s shrine. Despite the ancient surroundings, two of these were on new technologies for approaching medieval objects and buildings, using GIS mapping and 3D modelling to see medieval art in a new way. Amy Jeffs (Digital Pilgrim Project) led a workshop on digitising pilgrim souvenirs and using software to enable better study and public appreciation of objects which are usually difficult to access, leading to a discussion on the benefits and potential issues of digitalisation. Tim Beach also used technologies to explore medieval art, but on a much larger scale, demonstrating how 3D laser scanning can be used to make a perfect 3D digital representation of medieval buildings, performing a live demonstration on the undercroft of Eastbridge Hospital itself.
Attendees take part in a workshop in the Eastbridge Hospital Chapel
The whole conference was an exciting look at new research and approaches to medieval and early modern history, and the diverse mix of papers meant that lots of interesting discussions were happening all through the weekend, finishing up in the beautiful space of Eastbridge Hospital. The festival showcased the new research in the History of Art emerging from the University of Kent, both in relation to the wealth of local art around Canterbury itself, and the international nature of work being done, with a particular focus on the art of France and networks between France and England.
Review by Han Tame
Postgraduate, University of Kent