The so-called Green Man motif, like the one on the left, is often found in medieval grotesques. An ancient symbol of rebirth, the Green Man is linked to spring, and earlier gods of the forest. Most generally, the Green Man is surrounded by leaves or branches.
This Green Man lives in York Minster, beneath the kings on the Quire Screen. And though surrounded by what looks like foliage, his color is gilt, not green.
Nearby, there is a companion carving also covered in gilt. To my eye, this figure has a feline countenance. This type of grotesque has almond-shaped eyes, and an open mouth. It also has hands with which to grasp the foliage.
Unlike the grotesques in the Chapter House, and carvings elsewhere in the Minster, these figures give a glimpse of the original sculpted figures that were once brightly painted.
The Chapter House at York Minster
The Chapter House at York Minister is a unique structure for several reasons, one of which is its distinctive ceiling. In particular, there is no central column holding it up. The vaulted ceiling is supported by painted wooden timbers. How so? Timber is a lighter weight than stone, and can support the roof with the weight transferring to columns between seven stained glass windows. Exterior buttresses against the exterior walls help distribute their weight.
Beneath the stained glass windows, there are forty-four seats for the canons of York Minster. Each canon can look across the open space with an unobstructed view of their colleagues. [Whether he can actually see his fellow clergy is another matter.]
Medieval canons with wandering minds could look at the jeweled stained glass, or up to the vaulted ceiling. They could also look at the grotesque sculptures near each seat. Over 200 individual stone portraits of men, women, and beasts reveal a kaleidoscope of facial expressions and behaviors. The mouth on the woman above, for example, is covered. Did she talk too much? Or perhaps she had a tendency to gossip.
The Chapter House Grotesques
In many ways, grotesque figures are archetypes illustrating various themes. Scholars once attributed the fact that so many grotesques are clutching their mouths to mean toothaches and other dental problems were rampant. Given the state of dentistry, they probably were, but there are other possible explanations. The usual name given to these figures is “mouth-pullers.” And the behavior of the figure on the right with one hand tearing out his hair, and the other near his mouth is an illustration of Anger, or Wrath — one of the Seven Deadly Sins.
The chap on the left seems to have other issues. Note his look of consternation, or is it revulsion, with his the wrinkled brow, horrified eyes, open mouth, and a seemingly complete set of teeth.
There are also faces screaming in terror. This fellow on the right stares forward with horror, his mouth (with another set of good teeth) is open in shock or pain. And who can blame him for his surprise? He has a creature sitting on his head with its claws extended into his scalp. Ouch! Beastly grotesques are said to indicate a chaotic life energy which may explain why the winged beast looks as horrified as his host.
A wide open mouth with a protruding tongue is said to be a symbol of devouring giants. But who is the chap on the left consuming? He too has a good set of teeth.( At this point on my voyage of grotesque discovery, I did a search on the symbolism of teeth. One site suggested teeth can manifest “emptiness,” and transience. Not very cheerful, but I thought I’d share the possibility.)
Did the canons zone out from meetings by contemplating horror, doom, & gloom? Did they muse on the possibility of their dire future existence in hell? Were their thoughts consumed by worry about a mythical bird sitting on their heads, clawing out their eyes, and pecking on their respective noses? Was it always a case of man pulling himself out of the abyss? If so, perhaps the canons should pay attention to the topics under discussion and keep their eyes on heaven.
Happily, there are a few carvings of folks who experience some happiness, such as this couple on the right who seem nervous but content.
There are also monkeys who seem to giggle at whatever sight they are viewing. This is not a good sign, since monkeys symbolized man’s folly and vanity. Perhaps they are not the best figures to emulate, but compared to other sculptures, they have a certain charm.
Dogs also have a friendly vibe. I’m not sure what this one holds in his mouth. It looks a bit like a fish to me.
Dogs, monkeys, bears and other animals were viewed as lower than humans who were expected to exhibit a higher standard of behavior.
In the Chapter House, the sculptures may have been put above each seat to create an opposite to each occupant. In all things, there had to be a balance of good and evil. If one carving was a benign figure, there had to be an opposite carving to instill a fear of falling into evil.
So for every depiction of what might be innocence, such as the young man on the left, there must be another who will pay an agonizing price for choosing the wrong path. Indeed, the fellow on the right looks as if he’s repenting as the winged figure digs its claws into his scalp.
Incidentally, the grotesques were not the monochromatic figures they are today. Originally they were painted in colors as bright as stained glass which must have made them appear all the more realistic.
COMING SOON!
The Life & Times of Sarah Good, Accused Witch
Illustrations & A Few Sources
Chapter House Ceiling by Michael D. Beckwith. Chapter House Windows by Paul Hudson. Chapter House Interior by Tilman2007. All other photos by Author. “York Minster.” Britain and Britishness. “York Minster Chapter House.” Historiette. Feb. 17, 2022.