Who painted Untitled?

Untitled was painted by Thomas Baxter in 1815.

Where can I see Untitled?

Untitled is held by Victoria and Albert Museum.

What movement is Untitled?

Untitled is associated with Romanticism.

Artwork

Untitled

Thomas Baxter , 1815

Untitled is a drawing by the Romanticist artist Thomas Baxter. It dates from 1815 and is held in the collection of the Victoria and Albert Museum.

About this work

Overview

Thomas Baxter’s 1815 wash drawing records a series of stone statues that once stood within the nave of Salisbury Cathedral and its Chapter House. The work captures the arrangement of these figures, which portray characters from the medieval allegorical poem *Psychomachia*, illustrating the contest between virtues and vices.

Subject & Meaning

The statues depicted are clothed in flowing robes and medieval attire, some kneeling, others upright, holding objects such as books, crowns, or resting hands on small animals. Their poses and attributes reference the moral allegory of *Psychomachia*, where each figure embodies a specific virtue or vice engaged in spiritual combat.

Technique & Style

Baxter employed a wash medium, layering diluted ink to create tonal depth, and reinforced shading through cross‑hatching—a method of intersecting lines that builds form and texture. The drawing’s careful line work conveys the stone surfaces and spatial relationships of the statues within the ecclesiastical setting.

History & Provenance

Created in 1815, the drawing serves as a visual record of the statues’ original placement before later alterations to the cathedral’s interior. Baxter’s notes on the page indicate the precise positioning of each figure, suggesting the work was intended as a documentary study rather than a purely artistic exercise.

Context

*Psychomachia*, composed by Prudentius in the early fifth century, was a popular source for medieval visual culture, inspiring numerous sculptural programs in churches. Baxter’s drawing reflects the continued interest in this allegorical theme during the early nineteenth century, a period when antiquarian documentation of ecclesiastical art was common.