Over the course of the twentieth century, the study and interpretation of English medieval misericords has been undergoing a transformation in the way these artistic pieces are viewed. Because misericords were believed to have been designed and crafted by folk artists for the appreciation of the “simple folk” they had been considered to be simply exquisite examples of folk art with little-to-no symbolic meaning; the next step in the evolution of scholarly research of these artistic pieces viewed them as being “profane exuberance.”
In his text, Hardwick presents a new, more academic purpose for studying and interpreting medieval misericords. The author asserts that because the misericords were commissioned and primarily used by medieval clergy, not by the “simple folk,” they will contain a great deal of religious symbolism. Therefore, it is important to view the misericords as ecclesiastical artworks to be examined from a medieval theological viewpoint. If done so, Hardwick postures that scholars will see that the predominant axiom of misericord decoration is indeed symbolism. He also argues that by examining the misericords in this manner, scholars can use their interpretations of the symbolism in the decorations to help them better understand the “doctrinal and devotional culture” of the medieval ages. Thus, Hardwick builds upon and reworks the theories of Francis Bond, Michael Camille, Christa Grossinger, and Malcolm Jones and firmly connects his study of the symbolism in the decorations of medieval misericords to the broader field of medieval religious studies, showing that what was once believed to be simply folk art can, in actuality, be a tool to help better understand the religious culture of the medieval ages.
Hardwick’s purpose is simple and straightforward: to give credence to the study of misericords and more importantly to firmly connect this area of scholarship to the broader field of religious studies. He also seeks to promote a discourse among scholars about the interpretations of the symbolism found in the decorations of the misericords. Because of the immense variety of the nature of the decorations, interpretations can be very ambiguous. Therefore, promoting discourse among scholars is essential in solidifying the argument that this area of scholarship is directly connected to the field of medieval religious studies.
The text is broken down into six main chapters and includes an introduction, conclusions, gazetteer, bibliography, and index. Hardwick’s introduction sets the tone for the rest of his work by laying out his purpose and his beliefs. The introduction offers a compelling reason for the author’s assertion to shift how and why scholars analyze medieval misericords. The introduction also offers a brief primer about the purpose and function of misericords for those who are unfamiliar with these pieces of art. Each of the six main chapters focuses on a different type of motif that can be found in the decorations of the misericords; everything from folklife, animals, and monsters to gender conflict can be found in the decorations. Also in each chapter is an analysis of the symbolism in different depictions of the motif and connecting the interpretations of symbolism to possible cultural and/or religious meanings. The gazetteer provides a very extensive alphabetical listing of the locations of misericords in the British Isles.
Hardwick’s text is one of the few truly indispensable books for both scholars and amateur enthusiasts alike. While focusing solely on English medieval misericords, the author provides a great deal of research and analysis that is sure to aid both scholars and enthusiasts.
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[Review length: 571 words • Review posted on February 13, 2012]