France numbered second only to England in its veneration of the martyred archbishop of Canterbury. Nowhere in France was that veneration more widespread than Normandy, where churches and chapels devoted to Saint Thomas, many embellished with sculptures, paintings, and stained-glass windows, appeared throughout the Middle Ages. A nineteenth-century resurgence of interest in the martyred archbishop of Canterbury gave rise to a new wave of artistic production dedicated to him. A number of these modern commissions appear in the same sites and thus in direct visual dialogue with their medieval counterparts. This essay examines the long legacy of artistic dedications to Saint-Thomas in the town of Saint-Lô. It considers the medieval and modern contexts underpinning the creation of these works and what they reveal about Thomas Becket’s enduring import across nine centuries of Saint-Lô’s history.

中文翻译：

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在圣洛纪念托马斯贝克特

法国在对殉道的坎特伯雷大主教的崇敬方面仅次于英国。在法国，这种崇敬在诺曼底最为普遍，那里的教堂和小教堂专门用于纪念圣托马斯，其中许多装饰有雕塑、绘画和彩色玻璃窗，贯穿整个中世纪。19 世纪人们对坎特伯雷殉道大主教的兴趣重新抬头，掀起了以他为名的新一波艺术创作浪潮。许多这些现代委员会出现在同一地点，因此与中世纪的同行进行直接的视觉对话。本文探讨了圣洛镇对圣托马斯的艺术奉献的悠久遗产。