St Mary Redcliffe project 450 Initial Options Appraisal
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10.0 EXPLORING OPPORTUNITY - HERITAGE ASSET REVIEW<br />
To gain a greater understanding of <strong>St</strong> <strong>Mary</strong> <strong>Redcliffe</strong>’s collection of artefacts, their signifi cance<br />
and condition, a Heritage Asset Review was undertaken by Rita McClean, Museums & Heritage<br />
Consultant<br />
The review engaged with the Archivists of both <strong>St</strong> <strong>Mary</strong> <strong>Redcliffe</strong> and Bristol City Council to:<br />
1. Assess and catalogue the relevant physical objects and archives held in each collection<br />
2. Establish their capacity to illustrate key themes, including the:<br />
• Architectural development of the church<br />
• Donors/benefactors who funded or commissioned works<br />
• Artists and craftspeople involved in their creation<br />
• Items originally created for other locations, such as the font from <strong>St</strong> John’s Bedminster<br />
• Notable people associated with <strong>St</strong> <strong>Mary</strong> <strong>Redcliffe</strong>, including Canynges, Cabot, Chatterton, etc<br />
• Function of the church as a place of worship<br />
• Role of the church in the parish: its charitable activities, the provision of schooling, etc<br />
• Church as a landowner<br />
Additionally, in recognition of the piece’s potential signifi cance to Project <strong>450</strong>, and further to<br />
Section 6.0, the Heritage Asset Review also provides a specifi c assessment of William Hogarth’s<br />
Triptych, including:<br />
• The artistic and ecclesiastical signifi cance of the Triptych<br />
• Narratives surrounding the painting’s mid-C18 commission by the vestry of <strong>St</strong> <strong>Mary</strong> <strong>Redcliffe</strong><br />
• The relationship between the work and Bristol’s wealth, status, and ambition at this time<br />
• Hogarth, as an artist, and the potential reasons for this atypical commission<br />
• Hogarth, as social commentator, and his association with charitable works<br />
• The religious symbolism depicted in the work<br />
• The painting’s removal from <strong>St</strong> <strong>Mary</strong> <strong>Redcliffe</strong>, and subsequent ‘wanderings around the city’<br />
• The painting’s potential return to <strong>St</strong> <strong>Mary</strong> <strong>Redcliffe</strong><br />
• The potential heritage engagement associated with its conservation and reinstatement