The Pilgrimage to Canterbury 1806 - 1807

Curator: Thomas Stothard’s "The Pilgrimage to Canterbury," currently held in the Tate Collections, depicts a vibrant procession of figures on horseback. I see here echoes of Chaucer's famous tales. What's your immediate take? Editor: It feels like a frieze, all these figures strung out across the canvas, a bit like figures from a tapestry. There's a real sense of forward movement, even if the details are a little…muddy? Curator: The horizontal composition does lend a processional feel. Stothard draws heavily on archetypes, the collective memory of pilgrimage, where each figure contributes to a greater narrative tapestry. Editor: Absolutely. And the costumes are wonderful—they evoke this very specific sense of medieval life, but also something…timeless. It's like he's plucked these figures straight out of a dream. Curator: Precisely. Pilgrimages themselves are potent symbols, reflecting both outward journeys and inward quests. Stothard captures that duality beautifully. Editor: I guess when I look at art like this, I always wonder about the horses. You know, they are silent witnesses to everything. Curator: Indeed, equine symbolism frequently denotes strength, travel, and even spiritual ascension. All integral to the pilgrimage narrative. Editor: Seeing this piece, I'm reminded that we're all, in our own way, on a pilgrimage, aren't we? Curator: An astute observation. Stothard reminds us that the quest continues through art, symbol, and the enduring human story. Editor: Yes, and the enduring story can also be an image, one that continues to speak to us.