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Misericord thumbnail 2
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On loan
  • On display at Lynn Museum, Norfolk

Misericord

ca. 1419 (made)
Artist/Maker
Place of origin

'Misericord' is the name given to the ledge supported by a corbel or bracket, set on the underside of the hinged seats in the choirs of churches. They had no religious function but gave some support to the monks and clergy in the long parts of the services when standing was required. This explains the name 'misericord', which comes from the Latin for mercy. The decoration was often amusing and sometimes moral.

The subject of the carving is hunting. A mighty stag on the right of the main scene is being pursued by two hounds (whose carved heads have, unfortunately been lost.) Behind the stag another large animal, possibly a doe seems to evade the hounds by the moving to the left, where a rabbit peeps from its burrow. To the left and right of the main scene, with ribbon letters are a hunting horn and leaves (left), and what probably represents a crossbow (right). Hunting (stag hunting in partciular) is one of the more popular outdoor occupations depicted on misericords, reflecting its everyday occurence in Medieval life, both as entertainment for the nobility and as provider for food.

On loan to Lynn Museum.

Object details

Categories
Object type
Materials and techniques
Oak, carved
Brief description
Misericord, English, oak, ca, 1419, from St Nicholas Chapel, King's Lynn
Physical description
Carved from a solid, rectangular piece of oak. The two upper corners are cut away to form 45 degree angles. The back roughly cleaned (probably with an axe). With two mortices for the original hinges (missing).
The seat bordered with a four-sided double moulding; flanked by foliage and other decorative supporters. The subject of the carving consists of a stag pursued by hounds; on the left a hunting horn, on the right a crossbow, each in ribbon letters
Dimensions
  • Height: 25.4cm (Note: measurement converted from department register)
  • Width: 54.6cm (Note: measurement converted from department register)
  • Depth: 12.7cm (Note: measurement converted from department register)
from catalogue
Style
Object history
This misericord is one of ten (W.6 to 12 and 52 to 54-1921) which were purchased by the V&A from the Architectural Association (34 & 35 Bedford Square, WC1), per Messrs Bricciani & Co. 254 Goswell Road, EC1., in 1921. The group was purchased in 1921 as part of a larger acquisition of fifty-eight pieces of woodwork for £500. It was originally assumed that all ten misericords were from St Nicholas Chapel, Kings Lynn until G.L. Remnant – in A Catalogue of Misericords in Great Britain , Oxford, 1969 – pointed out the differences in design in the seats.

It is now thought the misericords divide into two groups: one of six (W.6,9, 10, 11, 12 and 54-1921), which are still believed to be from St Nicholas and one of four (W.7,8,52 and 53-1921) which, while possibly still from East Anglia, are not now thought to be from St Nicholas. This misericord is one of the six still thought to come from St Nicholas.

The Chapel of St Nicholas, Kings Lynn was founded by William Turbe, Bishop of Norwich, 1146-74, for the use of the inhabitants of the 'New Lande' he had laid out for building north of the Purfleet. His chapel was pulled down and on its site was built a small chapel, the west end of which remains (probably dates to 1200-1210). The present building was constructed in the early years of the fifteenth century and completed about 1419. This misericord was part of the original fitted wooden furnishings and was sold by the church wardens of St Nicholas, along with other objects, in 1852 to the Royal Architectural Museum.

Four of the six misericords associated with the Chapel of St Nicholas, Kings Lynn have supporters forming letters. Although there are other examples of this feature (e.g. from Cartmel Priory) it is relatively unusual. The letters could be the initials of donors to the church. (In the case of St Nicholas this is a distinct possibility, as the rebuilding of the chapel at the beginning of the fifteenth century was funded by the citizens of Kings Lynn.) Tracy suggests that the devices on the supporters of W.6-1921 may point to one of the donors being a ship's chandler, an appropriate occupation in a thriving medieval seaport.
Another possibility is that all the letters are in some way related to each other and that, along with other letters on misericords now lost they meant something when the seating they adorned was arranged in a certain order - a motto perhaps.

It is possible that the letters relate to prayers. The letters on all four misericords are formed of the same pseudo-ribbon as that clasped between the hands of the kneeling figure on this misericord (W.9-1921). Again, parallels can perhaps be drawn with medieval manuscripts, which quite often used blank, ribbon-like banners or scrolls to symbolise the spoken word. It seems plausible, even likely, that the banner clasped by the kneeling figure represents prayer, either as a means of showing themselves at prayer and thus recommending themselves as a pious person worthy of the mercy of God, or to encourage the prayers of others, either for them as donor or in general.

For hunting, see Grossinger pp.165ff.
Hunting is one of the most popular outdoor occupations depicted on misericords reflecting its everyday occurence in real life, both as entertainment for the nobility and as provider for food. Much of the countryside was still covered by dense forests harbouring deer, stags, bears and boars. The Deer hunt is the most popular hunting subject on misericords, and other examples are found in Gloucester cathedral, Holy Trinity (Coventry), St Botolph Boston, Chester Cathedral, Beverley Minster, Bristol Cathedral, Manchester Cathedral,
Historical context
Misericord is the name given to the ledge supported by a corbel which is revealed when the hinged seats in medieval choir stalls are tipped up. The word comes from the Latin misericordia which means pity and alludes to the original function of the ledge, to ease the strain of standing for long periods by providing a seat-rest.

The rule of St Benedict, introduced in the sixth century AD, required the monks to sing the eight daily offices of the Church (Matins, Lauds, Prime, Terce, Sext, Nones, Vespers and Compline) standing up. They were only permitted to sit during the Epistle and Gradual at Mass and the Response at Vespers. Such long hours spent standing was particularly arduous for the older and weaker monks and they soon adopted a leaning staff or crutch to help take the weight off their feet.

By the eleventh century the rules were slightly relaxed and misericords were introduced - the monks were able to perch on the ledge and lean back slightly, taking much of the weight off their feet whilst still giving the appearance of standing up straight. They were in use wherever the monks were required to sing the daily offices, including cathedrals, abbeys and collegiate churches. They sometimes even appeared in Parish churches.

The earliest mention of misericords appears in the eleventh century in the rules of the monastery of Hirsau in Germany. It is not known when they were introduced in Britain but the earliest surviving examples are found at Hemingbrough in North Yorkshire and Christchurch in Dorset. Both date from the early thirteenth century. The earliest complete set of misericords is in Exeter Cathedral and dates from 1240 to 1270.

The choir seat, the ledge and the corbel supporting it were made of a single piece of wood, usually oak. The corbel provided an ideal platform for medieval craftsmen to carve all manner of narrative scenes and decoration. British misericords differ from those elsewhere in Europe by having subsidiary carvings on either side of the central corbel. These are known as supporters and are often used to develop the theme introduced in the carving of the corbel.

Over half of the misericords in Britain are decorated with foliage but of those which do have narrative decoration, both in Britain and on the Continent, very few depict religious subjects. More common themes included scenes of everyday life and moral tales, often being depicted in a humerous way.

Whether, as has been suggested, the lack of religious scenes was because the hidden location of the misericords meant craftsmen were more free to be creative with their carving, or whether the monks would have thought it inappropriate to sit on images of Christ, Saints or biblical scenes is not known. However, their lack of overt religious content together with their concealed physical position probably contributed to a large number of them surviving the Reformation and still existing today.

Information taken mainly from:
Church Misericords and Bench Ends, Richard Hayman, Shire Publications, Buckinghamshire, 1989 (no copy in the NAL)
The World Upside-Down - English Misericords, Christa Grössinger, Lonodn, 1997
(NAL = 273.H.95)
Summary
'Misericord' is the name given to the ledge supported by a corbel or bracket, set on the underside of the hinged seats in the choirs of churches. They had no religious function but gave some support to the monks and clergy in the long parts of the services when standing was required. This explains the name 'misericord', which comes from the Latin for mercy. The decoration was often amusing and sometimes moral.

The subject of the carving is hunting. A mighty stag on the right of the main scene is being pursued by two hounds (whose carved heads have, unfortunately been lost.) Behind the stag another large animal, possibly a doe seems to evade the hounds by the moving to the left, where a rabbit peeps from its burrow. To the left and right of the main scene, with ribbon letters are a hunting horn and leaves (left), and what probably represents a crossbow (right). Hunting (stag hunting in partciular) is one of the more popular outdoor occupations depicted on misericords, reflecting its everyday occurence in Medieval life, both as entertainment for the nobility and as provider for food.

On loan to Lynn Museum.
Associated objects
Bibliographic references
  • Christa Grössinger, The World Upside-Down, English Misericords (London 1997), fig.259
  • Charles Tracy, English Medieval Furniture and Woodwork (London, 1988), cat. no. 76. Misericord, one of six (Mus. Nos. W.6-1921, W.9-1921,W.10-1921, W.11-1921,W.12-1921, W54-1921) the seats bordered with a four-sided double moulding; flanked by foliage and other decorative supporters (PLS 25-30). The subject of the carvings consist of: A leopard gorged and chained, on the left a merchant’s mark, and on the right a barrel and a hook, each in ribbon letters (Mus. No.W.6-1921); An ecclesiastic, apparently the donor, kneeling at prayer; he is vested in a long full surplice. hood and round cap; on the left a twisted ribbon in the shape of the letter ‘B,’ enclosing an eagle displayed; on the right a ‘Y,’ with a pod, probably the donor's device (Mus. No. W.9-1921). A falcon grasping a rabbit; on either side a pomegranate (Mus. No. W.10-1921); A stag pursued by hounds; on the left a hunting horn, on the right a crossbow, each in ribbon letters (Mus. No. W.11-1921); A lion crouching; on either side a rose. On the back are cut the words: ‘W. H. Hubbard, March 19, 1775,’ and the letters ‘E P, 1769.’ (Mus. No. W.12-1921); and a master-carver seated at his bench with his dog at his feet, designing with the aid of dividers and square, while two apprentices are busily carving on the left, and another brings a jug. In the background is a completed tracery-head, also two lengths of cresting, fret-cut but not carved, also a plank. On the left of the group is a twisted ribbon forming the letter ‘W’ enclosing a saw; on the right the letter ‘V’ and a gouge (Mus. No. W.54-1921). From St Nicholas. King's Lynn Oak. About 1419 25.4 X 54.6 X 12.7cm Mus. No. W.11-1921 The Chapel of St Nicholas, King’s Lynn was founded by William Turbe, Bishop of Norwich, 1146-74, for the use of the inhabitants of the New Lande he had laid out for building north of the Purfleet. His chapel was pulled down and on its site was built a small chapel, the west end of which, probably dating from 1200-1210 (Edward M. Beloe, Our Churches: (King’s Lynn, Norfolk), Cambridge, 1900., p.95), remains. The present building was constructed in the early years of the fifteenth century and completed about 1419 (Edward M. Beloe, Our Churches: (King’s Lynn, Norfolk), Cambridge, 1900., p.111). These misericords and many other carvings from St Nicholas, evidently part of the original fitted wooden furnishings, were sold by the churchwardens in 1852 and bought by the Royal Architectural Museum (H. Clifford Smith, Victoria and Albert Museum Department of Woodwork Catalogue of English Furniture and Woodwork, Vol.1, Gothic and Early Tudor, London, 1923. Revised and reprinted 1929,p.28-29., and Catalogue of the Royal Architectural Museum, 1877, p.53). There can be no doubt whatsoever that this group of six misericords is from St Nicholas’ Chapel. Some of the woodwork is still in situ and telling details, on both the loose carvings and the fitted furniture still in the church, are found in common. The museum also bought a number of bench-ends (mus. Nos. W.2 to 11-1916, W.14-1921, W.16 to 18-1921, W.20-1921, W.56 to 60-1921, Circ.26-1921, Circ.36 to 39-1921, Circ.41-1921). In its original arrangement the woodwork must have been very impressive. It is a tragedy that the nineteenth-century ecclesiologist selected to tidy it up. The poppy-heads, now in the chancel of the church, are some of the finest in England. The misericords are also of high quality. The carving of the master-carpenter is well known. There are a few other misericords in England showing the carpenter at work (FIG.19) but the museum's composition is one of the most informative. Another misericord displays contemporary wooden furniture. The carving with the ecclesiastic kneeling at prayer, possibly the donor of the woodwork, shows a bench with high, crested back and a reading desk not unlike the one in the museum's collection (mus.no. 143-1898, PL.114a,b&c). Another carving shows a bird of prey in the act of catching a rabbit. This subject is often found on misericords. An example from Stowlangtoft in Suffolk of about the same date makes a good comparison (No.20). On the King's Lynn carving other rabbits are peeping out of their burrows. This motif also occurs in two elaborately carved chest fronts at the V & A, one from Rufford Old Hall, Lancs (Acq.No.82-1893) of mid fifteenth-century date and probably Flemish, and the other of unknown provenance, possibly from the late fourteenth century and probably English (W. 5 and 15a-1920, PL.106). Another carving from this group worthy of special mention is the misericord of the gorged and chained spotted leopard (Mus. No.W.6-1921, PL.25). Perhaps the devices on the supporters here suggest that one of the donors of this very elaborate furniture was a ship's chandler, an appropriate occupation in a thriving medieval seaport.
  • Charles Tracy, 'The former nave and choir oak furnishings and the west end and south porch doors, at the Chapel of St. Nicholas, King's Lynn', in King's Lynn and the Fens Medieval Art and Archaeology, BAA King's Lynn Conference Transactions XXXI (Leeds, 2008), pp. 28-52
Collection
Accession number
W.11-1921

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Record createdFebruary 13, 2007
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