File:The grotesque in church art (1899) (14781618095).jpg

Identifier: grotesqueinchurc00wild (find matches)
Title: The grotesque in church art
Year: 1899 (1890s)
Authors: Wildridge, Thomas Tindall
Subjects: Grotesque Christian art and symbolism Church decoration and ornament
Publisher: London, W. Andrews & co.
Contributing Library: PIMS - University of Toronto
Digitizing Sponsor: University of Toronto

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DANCING POOLS, BBVERLBV MINSTER. of the mock services ; puddings were eaten, and dice rattledon the altar, and old shoes burnt as incense. This observance, so evidently an expedient parody ofthe old-time festivals, is traceable in England, and said tohave been abolished about the end of the fourteenth century.The carvings in Beverley Minster, here presented, aresupposed to refer to the Feast, and at any rate give us a goodidea of the mediaeval fool. There were innumerable classic
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19 THE DOMESTIC AND POPULAR. 147 dances. The Greeks send down the names of two hundredkinds. A dance with arms was the Pyrrhic dance, which wassimilar in some of its varieties to the military dance known asthe Morris. The Morris was introduced into Spain by theMoors, and brought into England by John of Gaunt in 1332.It was, however, little used until the reign of Henry VII.There were other vivacious dances, called Bayle, of Moorishorigin, which, as well as various kinds of the stately Courtdance, were used by the Spaniards. It is difficult, fromgeneral sources, to ascertain the dances in vogue in oldEngland. A drawing in the Cotton MSS. shews a Saxondancing a reel. The general inference is, however, that theMorris (of the Moors or Moriscoes) was the chief dance of theEnglish, and perhaps it is that in which the saltatory fools ofthe carving are engaged. Probably the extraordinary monstrosity shewn in theannexed block had an actual existence. There are fairlynumerous accounts of such m

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