Mapping Space, Mapping Time: the Thirteenth-century Vault Paintings at Salisbury Cathedral

Abstract

This paper provides a new interpretation of the date, form, meanings and theological sources of the former painted cycle on the vaults of Salisbury Cathedral. As the cycle is now known predominantly from antiquarian evidence, we begin with a discussion of the nature and significance of that evidence, namely the series of sketches, drawings and notes produced by Jacob Schnebbelie in the late eighteenth century before the whitewashing of the medieval paintings. Through consideration of the archaeological and stylistic evidence, we propose a date for the cycle between c 1235 and 1245, thus contemporary with the new building campaign begun in 1220. Two connected interpretations of the cycle are offered: first, we argue that the painted cycle was designed to function as a map of the major liturgical sites of the eastern arm; second, we suggest that the imagery was designed to structure an allegory of religious experience and personal salvation in accord with reform-minded thinking in the post-Lateran period.