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rita wood is an independent researcher concentrating on the interpretation of romanesque sculpture in england and working to an academic standard. her first paper was published in 1994, and since 1995 she has been a fieldworker for the corpus of romanesque sculpture in britain and ireland , recording sites in the west and east ridings of yorkshire. for that project, see www.crsbi.ac.uk . 1 author's introduction 2 list of publications in order of appearance 3 amendments and afterthoughts 4 index to articles 5 offprints, downloads or read-on-line 1 author's introduction having published more than 30 papers in diverse archaeological journals since 1994, i am hoping to make them more widely known through this web-site. continuous observation and reflection have produced a collection of related studies; the experience of each site studied has shaped the perception of those following. interpretations have been progressively refined, and favoured themes of the period discovered. the papers may be of interest to foreign readers, as they discuss a sample of the romanesque sculpture of england and wales. my first book, romanesque yorkshire , was something i had long wanted to write. the particularly rich range of sculpture that exists in yorkshire is not well known outside the county, nor from place to place within it. themes and motifs of romanesque sculpture as found in england and wales are common throughout the christian west, and the antiquity of these themes and of the method of teaching by condensed imagery and animal symbols is already discernible in sculpture at dijon (c.1010; paper 23 ) and jelling (c.965; paper 32 ). my second book, paradise: the world of romanesque sculpture , looks around europe and offers a new and rational interpretation of the plentiful background sculpture which is often described as decoration (or worse), or dismissed as meaningless; it is suggested that the gregorian reforms promoted sculpture as a medium for teaching the laity. the findings have fully justified my earliest assumption that the sculpture was primarily a visual aid, but my study was undertaken without academic oversight, in ignorance of customary research techniques and without a grounding in standard art history. these deficiencies were positively advantageous in allowing me to avoid mistaken assumptions and well-worn routines, but there are, no doubt, omissions and faults of which i am still unaware. although i had no conventional training for this work, my background has included continuous practical experience of making art from an early age, a degree in geography and economic history, employment in a publisher’s editorial office and marriage to an anglican priest, all of which have been relevant. it was our days out in yorkshire and peter’s appointment as vicar of riccall in the east riding (“oooh, its doorway’s in pevsner!”) that watered the seed of these papers; his retirement and early death that allowed space for them to grow. the fact that we never had a car meant that visiting every site in the study region – the standard preparation for a doctoral student – was not possible for me. my research has almost always concentrated on one site at a time and, preferably, on a site accessible by public transport. this favoured a different emphasis in my approach to the sculpture, a focus on the integrity of the individual site rather than on collecting comparisons far and wide. i am glad to record my great debt to professor george zarnecki and to deirdre mortimer, then assistant librarian at the minster library, york, for their vision, kindness and encouragement when my art-historical curiosity was in a rudimentary state. the annual international medieval congress at leeds was my education for many years. currently, i associate more with archaeologists, but feel that the fences between the two camps are being broken down. e-mail: [email protected] back to top 2 list of publications articles 1 ‘the romanesque doorways of yorkshire, with special reference to that at st mary’s church, riccall’ yorkshire archaeological journal [ yaj ] 66 (1994) 59-90. yorkshire parish churches have an unequalled series of twelfth-century doorways that have been neglected by researchers. close examination of some 30 doorways with figurative sculpture provides evidence of the organisation of their making, which roughly speaking changed from direction by religious designers in the first half of the century to composition by freelance travelling craftsmen in the 1160s. the subjects shown are basically those met with in french romanesque sculpture, with local additions. 2 ‘the romanesque doorway at foston church’, yorkshire philosophical society annual report for the year 1996 , (1997) 67-75. a small doorway, having a scheme of 9 carvings with teaching for a lifetime. some unusual imagery, and some shared subjects. 3 ‘malmesbury abbey: the sculpture of the south entrance’, wiltshire archaeological & natural history magazine 91 (1998) 42-56. there are sufficient links with the order of cluny to suggest that it was the arrival of abbot peter moraunt and his train c.1141 that made possible the conception of the scheme for the porch entrance. manuscripts in the abbey’s library may have fired their imagination to produce this particular plan, which united their cluniac past with the anglo-saxon past of malmesbury. there is evidence that influences from here were transferred to yorkshire in the late 1150s. 4 ‘real people in english romanesque sculpture’, medieval life 11 (summer 1999), 8-15. most romanesque art pictures a timeless spiritual condition by symbolism, and is often assumed to be unapproachable by the fast-moving scientific modern world, though the vigorous texture of jostling lions, dragons and foliage has a certain appeal. just occasionally, however, twelfth-century sculpture shows people of the period in actual situations, and this may allow us to appreciate something of an apparently alien world. 5 ‘the romanesque doorway at fishlake’. yaj 72 (2000), 17-39. the paper describes the display at fishlake, suggests an interpretation of it and briefly relates the scheme to its immediate sources. 6 ‘before the green man’, medieval life 14 (autumn 2000), 8-13. from about the end of the twelfth century a human head dissolving into foliage – nowadays described as the ‘green man’ – began to be carved in churches in northern europe. leaves arise imperceptibly from all parts of the surface of the face, and they are occasionally emitted from the mouth or the nostrils as well. the typical green man is more greenery than anything else, and a characteristic product of gothic woodcarvers and sculptors. the wonderful proficiency of the craftsmen in this period enabled them to reproduce and then develop their model, which was the classical or eastern motif of a foliage mask. 7 ‘two lions at milbourne port’, somerset archaeology & natural history 141 (1998) 1-15. this paper explores the twelfth-century sculpture at milborne port from several directions, combining close consideration of the work itself with a variety of contemporary evidence. tentative suggestions are made as to the meaning of the tympanum and the nature of the original scheme for the building. 8 ‘the lions in the crypt of canterbury cathedral’, archaeologia cantiana , cxx (2000) 386-393. this short note discusses two carvings: a double-bodied lion standing over a chalice, and another lion. the author suggests both are grinning. 9 ‘the romanesque memorial at conisbrough’, yaj 73 (2001), 41-60. the individuality of the memorial at conisbrough is emphasised by comparison with others of its period. the symbolism of the carvings is discussed. finally, it is suggested that the memorial commemorated the third earl de warenne. 10 ‘geometric patterns in english romanesque sculpture’ journal of the british archaeological association 154 (2001) 1-39. patterns are often seen on the doorways of village churches 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