The Oak Menagerie: Allegorical Animals in English Misericords

Tiny lion, Worcester Cathedral, 14th c.

While much of the ornamentation in a medieval church was instructional or devotional, the misericord was unseen and not much-looked-upon because, out of use, it would be hidden, and in use, a clergyman's bum would be planted against it.

So, it shouldn't be surprising that the wooden carvings in such a lowly place might have been occasions for departures from exalted themes. I wonder if because misericords were for supporting backsides that typical religious stories or figures might be considered inappropriate--a degradation of images venerated in the rest of the church. That might explain why the majority of the carvings were either allegorical animals or secular events: demons, foliate creatures, dragons, unicorns, folk legends, daily life.

For the purposes of this post, I will focus on carvings of real animals, and save the magical creatures for a second entry. I will also use church carvings that are at the ends of benches (which seem to be done by the same artists making the misericords).

Sow nursing piglets, St. Mary the Virgin, Beighton 15th c.

A sow with piglets is a scene present in a handful of the English churches I've visited. The first one I saw was in the village of Beighton, near Sheffield, and I thought that pigs might be a positive thing in the rural countryside, and perhaps a symbol of abundance or fertility. Apparently not: medieval religious symbolism used pigs and boars to signify sinners and heretics because they are considered unclean animals.

Wild sow nursing piglets, Chester Cathedral, 1390

This misericord version found in a wealthy, more urban church has some contextualizing elements. The sow is under cover of oak trees, with acorns near her. This would be what she eats, which she passes on through her milk. In the upper left is a man in the trees, observing them. I'm not aware of what idea he may be suggesting here. I don't think it would be too far of a stretch to suppose that the unclean sow is like a false priest or leader, who may eat of the same tree as the righteous, but who distorts truths to those he cares for.

Boar, Church of St. Mary, Wilby, 15th c.

The bench-end boar here seems to know something we don't. I don't think of pigs as having enigmatic smiles, but here we are. It appears that English boars do not have tusks.

Boar playing harp, Beverley Minster, early 16th c.

This lovely pig is playing a harp. He's a variation on a medieval theme of foolish people imitating truth or beauty, getting above their station. Other animals that are shown in church art playing instruments include jackasses, monkeys, cats, and foxes.

Cat playing rebec to mice, Beverley Minster, early 16th c.

Along these same lines, we find here a cat playing music for mice. The implication is that the cat would not be doing this as a gesture of friendly entertainment. Rather, it is a predator seducing the naive. Another warning about deceivers who might lead the flock to their doom.

Cat catching mice, Beverley Minster, early 16th c.

And here, on a different misericord in the same set of stalls, we see the predator swooping in on its prey.

Fox capturing ducks, St. Mary's Church, Fairford, 15th century

Same theme, different predator. A variation of the proverbial fox in the henhouse. The use of the fox intensifies the theme. The fox in religious imagery of the Middle Ages is the devil himself.

Fox, with ape attendant, preaches to seven geese, Beverley Minster, early 16th c.

Predation seems a particular preoccupation of the misericord carvings in Beverley Minster. The fox in the pulpit is more direct in warning about corrupt priests, so I may read back through the Beverley misericord predators to suppose that they all admonish the monks using the misericord to take care of their flock, and resist abuse of power. This image has several charming touches: the fox wears a hooded cassock and holds a rosary in his left paw. The ape struts upright, and leads a goose tied to a long pole.

Bishop's seat bench-end with owl capturing a mouse, 19th century

Not medieval, but in the right place and the right theme to merit inclusion. Whoever carved this owl was drawing faithfully from nature. This owl looks to be an eagle owl, native to the area initially, but extinct in England since the 18th century. The artist also correctly portrays mantling, where an owl spreads its wings a bit and hunches over its prey to protect it from other predators.

Bishop's seat bench-end with owl capturing a mouse, 19th c., different angle

You can't fully appreciate this carving without seeing the mouse fighting back!

Owl, Hereford Cathedral, 14th c. (possibly a modern replacement)

For the most part, medieval depictions of owls are a symbol of Jews. The owl, thought to be short-sighted or blind, to soil its nest, and to be a creature of darkness, was an anti-semitic trope. Nonetheless, this carver has rendered the eagle as majestic, vibrant, and, well, floofy--which may suggest it is not of medieval vintage.

Owl attacked by other birds (doves?), Beverley Minster, early 16th c.

This attack of this owl by either doves or some other birds represents punishment of Jews for their rejection of Christianity. In its warped way, this swarming of the owl suggests that Christians can triumph over God's enemies if they act together.

Heraldic Bear, chained; Hereford Cathedral, 19th c. or modern replacement

Though this is probably not medieval, it does echo representations of medieval bears on other misericords. The chained bear connotes exercising control over one's vices, an acknowledgement that said vices can be very powerful drives.

Let's finish up with some carvings that seem to be positive or whimsical.

Dog or puppy, Worcester Cathedral, 15th c.

This dog may be a representation of fidelity. The rope used to cordon off the choir stalls makes him look poignant, as though tied to a leash awaiting his (or her) master.

Attentive dog, Church of St. Mary, Wilby, circa 19th c.

Here is a more modern version of the puppy above. I can imagine a congregant looking forward to sitting by him (or her) during the service.

Squirrel eating nuts, Church of St. Mary, Wilby, 15th c.

Also in Wilby, this little guy. My guess is that his collection of nuts suggests the virtue of preparedness or thrift.

Storks, Victoria and Albert Museum, made in Belgium, circa 1450

I thought this was lovely and cheery, but according to the Online Medieval Bestiary "As storks make a sound by clashing their bills, so do those who 'with weeping and gnashing of teeth' proclaim their guilt through confession."

More positively, they are the enemy of snakes (symbol of wicked thoughts.)

Tiny Lion, Norwich Cathedral, 16th c.

Lions are symbols of Christ or Christianity, but this little guy is so cute that I doubt he's up for such a huge responsibility.

Peacock, Ely Cathedral, 14th c.

Finishing on a high note, peacocks have been symbols of eternal life for at least a couple thousand years, but the Ely peacock wears a crown as a choker, asserting that this peacock is representing eternal life through salvation.

While these carvings have a religious message in them, they are in a league of their own in terms of sheer joy and play in their forms, even more some than many stone carvings from the same period. It's tempting to think of medieval Christian art as all seriousness and solemnity, but these misericords and bench ends must have added delight to the clergy's workspace.