Iconography: a Checklist of Some Useful Sources for Scholars and Students of Medieval Art and Drama Clifford Davidson
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The William Cole Archive on Stained Glass Roundels for the Corpus Vitrearum
THE WILLIAM COLE ARCHIVE ON STAINED GLASS ROUNDELS FOR THE CORPUS VITREARUM Contents of the Archive NB All material is arranged alphabetically. Listed Material 1. List of Place Files: British, Overseas - arranged alphabetically according to place. Tours - arranged chronologically. 2. List of Articles by William Cole, draft and published material. 3. List of Correspondence with Museums and Organisations. 4. List of Articles about Stained Glass Roundels by other Authors. 5. List of Photographs from various Museums and Collections. 6. List of Slides. 7. Correspondence: A-G, H-P, Q-Z (listed) General, with individuals (unlisted) Unlisted Material 8. Notebooks, cassettes and manuscripts made by William Cole. 9. Corpus Vitrearum conferences. 10. A range of guidebooks and pamphlets. 11. Box of iconography reference cards. 12. William Cole‟s card index of Netherlandish and North European Roundels, by place. 1 1a. Place files Place Location Catalogue Contents of file reference Addington St Mary the Virgin, 7–73 Draft article [WC] Buckinghamshire Correspondence Alfrick St Mary Magdalene, 74–90 Correspondence Hereford & Worcester Banwell St Andrew, Avon 113–119 Correspondence Begbroke St Michael, Oxfordshire 120–137 Correspondence Berwick-upon- Holy Trinity, 138–165 Correspondence Tweed Northumberland Birtles St Catherine, Cheshire 166–211 Draft article [WC] Bishopsbourne St Mary, Kent 212–239 Correspondence Blundeston St Mary, Suffolk 236–239 Correspondence Bradford-on- Holy Trinity, Wiltshire 251–275 Correspondence Avon Photocopied images Bramley -
Vincent Sellaer
VINCENT SELLAER (active in Malines before 1538 - after 1544) The Holy Kinship oil on panel 94.6 x 108.6 cm (37¼ x 42¾ in) Provenance: Anonymous sale, New York, Sotheby’s, January 17th, 1992, lot 109, for $29,000, to Mrs. O. D. Cavatore, Texas; from whose estate acquired by a private New England Collector. HIS SUBTLY ANIMATED AND BEAUTIFULLY rendered scene of The Holy Kinship, demonstrates many of the stylistic traits and the originality for which Vincent Sellaer is held in such regard. The Virgin sits with her back to the viewer but leans around in order to display the Christ Tchild. Watching over the mother and child are the figures of St. Joseph and St. Elizabeth. The presence of St. Elizabeth suggests that one of the three other infants may be her son St. John the Baptist, most likely the boy dressed in green standing closest to Christ. The other two infants are likely to be cousins of Christ, although their exact identities cannot be identified due to the lack of attributes. The three adult saints all bear sober and pensive expressions; St. Margaret in particular bears a sombre expression as she stares at the Christ child, contemplating his future sacrifice. In comparison the infants are much more playful; three of them cheerfully play amongst themselves whilst a fourth climbs onto the Virgin’s back and this figure is the only one who directly meets the viewer’s eye, thus engaging us with the scene. ‘The Holy Kinship’ was a theme that flourished in Northern Vincent Sellaer, The Holy Family with the Infant St. -
The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2014 A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama Virginia Hanlon Murphy University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Murphy, Virginia Hanlon, "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama. " PhD diss., University of Tennessee, 2014. https://trace.tennessee.edu/utk_graddiss/2773 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Virginia Hanlon Murphy entitled "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Heather A. Hirschfeld, Major Professor We have read this dissertation and recommend its acceptance: Rob Stillman, Laura Howes, Kate Buckley Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Virginia Hanlon Murphy May 2014 Copyright © 2014 by Virginia H. -
Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship
Georgia State University ScholarWorks @ Georgia State University Art and Design Faculty Publications Ernest G. Welch School of Art and Design 2016 More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship John Decker Georgia State University, [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/art_design_facpub Part of the Art and Design Commons Recommended Citation John R. Decker, “More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship,” JHNA 8:1 (Winter 2016) DOI: 10.5092/jhna.2016.8.1.2. This Article is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Faculty Publications by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Journal of Historians of Netherlandish Art Volume 8, Issue 1 (Winter 2016) More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship John R. Decker [email protected] Recommended Citation: John R. Decker, “More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kin- ship,” JHNA 8:1 (Winter 2016) DOI: 10.5092/jhna.2016.8.1.1 Available at http://www.jhna.org/index.php/vol-8-1-2016/322-john-r-decker Published by Historians of Netherlandish Art: http://www.hnanews.org/ Terms of Use: http://www.jhna.org/index.php/terms-of-use Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. -
Dale Abbey Newsletter Autumn-Winter2018.Pub
Issue Number 13 Autumn/Winter 2018 M essage from the C h air H elloand welcome toou r winter s ion of s ome perennialplanting, news letter, its eems no time atall toprovide attrac tive, c os teffec - s inc e Iwrotethispiec e las tyear. tive and more eas ilymaintained d isplays. O u r annu al C hristmas lights events are d etailed inthe article W e have c ontinu ed ou r provision below and we look forward to of hanging bas kets inbothD ale welcoming you alltoboththe Kirk A bbey and KirkH allam and they H allam and D aleA bbey events. remaina popu larfeature throu gh- ou tthe s u mmermonths. This yearmarked the 10 0 thanni- versary of the end of W orld W ar I hope you find ou r N ews letter one and the P arish C ou nc illaid a interes ting and informative, wreathon behalfof the c ommu ni- pleas e give u s you r feed bac k as L ty, atthe Remembranc e D ay s er- we wou ldlove tohearfrom you . I vices inbothD aleA bbey and Kirk O n behalfof D aleA bbey P arish C H allam. C ou nc ilI wish you alla very k R Road s afetyhas been ofparticu lar H appy C hristmas and a P eac efu l N c onc ern over the pas t year with N ew Year. u U . regard tothe nu mber ofinc idents E along the A 60 96, pleas e s ee fu r- g O ther d etails inthe articleon page P eterFarmer r two. -
Rachel Prusko
Becoming Youth: Coming of Age in Shakespeare and Marlowe by Rachel Prusko A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English Department of English and Film Studies University of Alberta © Rachel Prusko, 2014 Abstract While studies in Renaissance childhoods, literary and historical, are becoming more prominent, this work has failed to distinguish between children and adolescents, leaving youth, as such, largely unexamined. My project attends not to the children of early modern drama, but to post-pubescent characters in their teen years, and argues that many plays literalize the ‘re-naissance’ of teenagers (‘adolescents’ or ‘youths’ in early modern England), reimagining what it meant to be young during a period when discourses surrounding youth were already clearly, yet crudely, defined. This thesis is a historicized analysis of young characters in several plays: Marlowe’s Edward II, and Shakespeare’s The Merry Wives of Windsor, Henry IV, Part 1, Henry IV, Part 2, Henry V, Romeo and Juliet, Pericles, The Winter’s Tale, and The Tempest. I argue that these plays intervene in the standard definitions so frequently applied to teenagers during the early modern period. The perception, on the one hand, of youthful behavior as violent, reckless, and rash was commonplace: Protestant preachers and moralists of the day insisted that young people were naturally prone to sin, rebelliousness, and unruly behavior, and so required strict regulation. On the other hand, optimistic portrayals of youth abounded as well: the age of youth was associated with hope and beauty as often as it was with folly and sin. -
Ph.D. THESIS Ewa Błasiak
UNIVERSITY OF WROCŁAW Faculty of Letters Ph.D. THESIS Ewa Błasiak The Return of the Morality Play in Anglophone Drama of the First Half of the Twentieth Century Supervisor prof. dr hab. Ewa Kębłowska-Ławniczak Co-supervisor dr Marcin Tereszewski Wrocław 2020 2 ACKNOWLEDGEMENTS I wish to express my gratitude to my supervisor, Professor Ewa Kębłowska-Ławniczak, for her mentorship, guidance and constant support throughout the writing process. I am grateful for her patience, encouragement and the time she devoted to helping me develop this project. I would also like to thank her for being an extraordinary academic teacher, for it was the intellectual challenge of her English Literature classes which I attended as a first-year undergraduate student that inspired me to undertake further studies in this direction. I wish to extend my gratitude to my co-supervisor, Doctor Marcin Tereszewski, for the attention he gave to this thesis and for his invaluable suggestions. I am also grateful to the entire Institute of English Studies at the University of Wrocław for providing me with a stable and stimulating academic environment during all the years I spent there as an undergraduate and postgraduate student. I wish to thank all my teachers and lecturers for instilling in me curiosity and equipping me with skills which proved indispensable in working on this thesis. 3 4 Contents Introduction: Within and Beyond the Middle Ages ........................................ 7 Modern reception and assessment of the Middle Ages .................................................... 12 The notion of medievalism ............................................................................................... 18 Part I: The Return of the Morality Play Tradition to Contemporary British, European and American Drama and Its Reception ....................... -
Derbyshire Parish Registers. Marriages
942.51019 M. L; Aalp v.4 1379092 GENEALOGY COLLECTION ALLEN COUNTY PUBLIC LIBRARY 3 1833 00727 4241 DERBYSHIRE PARISH REGISTERS. flDarriagea, IV. phiiximore's parish register series. vol. xc. (derbyshire, vol. iv.) One hundred and fifty only printed. I0.ip.cj : Derbyshire Parish Registers, flftat triages. Edited by W. P. W. PHILLIMORE, M.A., B.C.L., AND LL. LL. SIMPSON. £,c VOL. IV. ILon&on Issued to the Subscribers by Phillimore & Co., 124, Chancery Lane. 1908. — PREFACE. As promised in the last volume of the Marriage Registers of Derbyshire, the marriage records of St. Alkmund's form the first instalment of the Registers of the County Town. The Editors do not doubt that these will prove especially interesting to Derbyshire people. In Volume V they hope to print further instalments of town registers in the shape of those of St. Michael's and also some village registers. It will be noticed that St. Alkmund's register begins at the earliest possible date, 1538, but of the remainder, two do not start till the seventeenth century and one, that of Quarndon, synchronizes with the passing of Lord Hardwicke's Marriage Act. 1379092 It will be convenient to give here a list of the Derby- shire parishes of which the Registers have been printed in this series: Volume I. Volume II. Dale Abbey Boulton Brailsford Duffield Stanton-by-Dale Hezthalias Lownd Volume III. Stanley or Lund Duffield Spondon Breaston Church Broughton Mellor Kirk Ireton Sandiacre Hault Hucknall Volume IV. Risley Mackworth Derby— St. Alkmund's Ockbrook Allestree Quarndon Tickenhall Foremark It has not been thought needful to print the entries — verbatim. -
Tikrit University College of Education for Humanities English Department First Year 2019-2020
Tikrit University College of Education for Humanities English Department First year 2019-2020 Medieval Theatre Assist. Prof. Marwa Sami Hussein Medieval Theatre Medieval times started after the fall of Rome and lasted through to 15th century, roughly to the Protestant Reformation. In this time before the printing press made it necessary or even possible for the great majority of people to read, the primary method of teaching and learning was through the oral tradition. Throughout this time, the church had grown to become the most powerful and most consistent institution throughout Europe. Since theatre tells stories, it was a natural mechanism for telling the bible stories and delivering any other information the church wanted communicated to the people, particularly as this period was a time of turmoil (chaos) and the church was the only stable government. In fact, the church had become so strong that it was able to close all theatre productions except for those that it officially sanctioned (acceptable). Those plays fell into three categories: morality, mystery and miracle plays. 1-Mystery play Mystery play: is a dramatic genre, one of three principal kinds of vernacular (colloquial) drama in Europe during the Middle Ages (along with the miracle play and the morality play). The mystery plays, usually representing biblical subjects, developed from plays presented in Latin by churchmen on church premises (building) and depicted such subjects as the Creation, Adam and Eve, the murder of Abel, and the Last Judgment. 1 During the 13th century, various guilds began producing the plays in the vernacular at sites removed from the churches. -
The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages. -
Congregational History Society Magazine
ISSN 9B?>–?;<> Congregational History Society Magazine Volume ? Number < Spring ;9:: ISSN 0965–6235 THE CONGREGATIONAL HISTORY SOCIETY MAGAZINE Volume E No B Spring A?@@ Contents Editorial 106 News and Views 106 Correspondence 107 The Hampton Court Conference, the King James Version 108 and the Separatists Alan Argent Locals and Cosmopolitans: Congregational Pastors 124 in Edwardian Hampshire Roger Ottewill The Evangelical Union Academy 138 W D McNaughton Reviews 144 Congregational History Society Magazine, Vol. 6, No 3, 2011 105 EDITORIAL In this issue Roger Ottewill conducts readers to Edwardian Hampshire to meet the county’s Congregational pastors, both local, cosmo-local and cosmopolitan (all terms he explains), among whom we find the influential Welsh wizard, J D Jones of Bournemouth, called “the arch-wangler of Nonconformity” by David Lloyd George, who knew a thing or two about wangling. We travel north of the border to study that understated contribution to Scottish Congregationalism, the Evangelical Union, explicitly through its academy. Lastly, like many others in 2011, we turn aside to mark the 400th anniversary of the King James Version of the Bible. In this magazine, our examination of this Jacobean masterpiece involves a consideration of its origins, amid the demands for further reform of the established church, and the growth of those forerunners of Congregationalism, the English separatists. NEWS AND VIEWS We were saddened to learn of the death of John Taylor, for many years the editor of the Transactions of the Congregational Historical Society and, after 1972, of its successor and our sister journal, the Journal of the United Reformed Church History Society . -
Mankind Et Everyman Avant-Propos De Jean-Paul Débax & André Lascombes
Mankind et Everyman Avant-Propos de Jean-Paul Débax & André Lascombes coll. « Traductions introuvables : Théâtre Anglais Médiéval », 2012, p. 1-12, mis en ligne le 13 fevrier 2012, URL stable <https://sceneeuropeenne.univ-tours.fr/traductions/genre-humain-mankind>. Théâtre anglais Médiéval est publié par le Centre d’études Supérieures de la Renaissance Université François-Rabelais de Tours, CNRS/UMR 7323 Responsable de la publication Philippe Vendrix Responsables scientifiques Richard Hillman & André Lascombes Mentions légales Copyright © 2012 - CESR. Tous droits réservés. Les utilisateurs peuvent télécharger et imprimer, pour un usage strictement privé, cette unité documentaire. Reproduction soumise à autorisation. ISSN - 1760-4745 Date de création Janvier 2012 AVANT PROPOS P. 1-2 Mankind et Everyman Avant-Propos Jean-Paul Débax & André Lascombes Centre d’Études Supérieures de la Renaissance, Tours Ce premier volume d’une série projetée d’éditions-tra- ductions des œuvres sources du théâtre européen de la Renaissance, volume consacré au domaine anglais, pro- pose au lecteur deux pièces également représentatives, mais chacune à sa manière, de cette production drama- tique ; elles illustrent, l’une et l’autre, le théâtre de la fin du xve siècle : Mankind (Genre Humain), que nous connais- sons grâce au Manuscrit Macro datant de la fin du siècle, semble avoir été composé à une date très voisine de 1466, et d’autre part The Summoning of Everyman (La semonce ou Convocation de Tout-Homme, traduction/adaptation pro- bable de la pièce néerlandaise Elckerlijc) dont nous avons quatre éditions anciennes, chez deux impri- meurs différents, échelonnées de 1515 à 1535, mais pro- bablement composé avant la fin du siècle précédent.