The English Reformation in Image and Print: Cultural Continuity, Disruptions, and Communications in Tudor Art

Total Page:16

File Type:pdf, Size:1020Kb

The English Reformation in Image and Print: Cultural Continuity, Disruptions, and Communications in Tudor Art University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2010 The English Reformation In Image And Print: Cultural Continuity, Disruptions, And Communications In Tudor Art Jessica Hoeschen University of Central Florida Part of the History Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Hoeschen, Jessica, "The English Reformation In Image And Print: Cultural Continuity, Disruptions, And Communications In Tudor Art" (2010). Electronic Theses and Dissertations, 2004-2019. 4353. https://stars.library.ucf.edu/etd/4353 THE ENGLISH REFORMATION IN IMAGE AND PRINT: CULTURAL CONTINUITY, DISRUPTIONS, AND COMMUNICATIONS IN TUDOR ART by JESSICA LYNN HOESCHEN B.A. University of Central Florida, 2007 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2010 © 2010 Jessica L. Hoeschen ii ABSTRACT In the sixteenth century, Martin Luther‟s Protestant Reformation generated multiple reform movements and political transformations in Europe. Within this general period of reform, political and cultural changes from the Tudor era (1485-1603) created a separate English Reformation. The English Reformation evolved from the different agendas of the early Tudor monarchs and occurred in two distinct waves: an initial, more moderate Henrician Reformation and a later, more complete Edwardian Reformation. Henry VIII and Edward VI‟s attempts to redefine monarchy through a new State and Church identity drove English church reform during this period, giving these religious shifts distinct political roots. Cultural artifacts were prominent indicators of these differing political goals, and Henry VIII and Edward VI adjusted and removed images and texts according to their propaganda methods. These royal manipulations of culture are well-documented, but historians have overlooked important components in the communication process. Lay responses to imagery changes ranging from compliance to rebellion demonstrate the complex relationship of images, monarchy, and reform. Examining images‟ function as propaganda with questions of intent, reception, and comprehension in royal communication is imperative for assessing the impact of royal messages on Tudor culture. Analyzing Tudor art as a form of political communication that disseminated idealized political representation reveals a strong visual discourse between the King and the English people. Images held key powers within royal discourse to create and disseminate propaganda of a kingship. iii This thesis is lovingly dedicated to my husband, Greg Hoeschen, and my parents, Jan and Dale Koger. Greg, your love and faith in me enabled this thesis to find its way and empowered me to become a better historian and person. Mom and Dad, your love and support are invaluable. This thesis is also dedicated in loving memory of my Grandma. Thanks to all of you because without love and family history would not be worth writing. iv ACKNOWLEDGMENTS I would like to thank my thesis advisor Dr. Peter Larson of the UCF History Department for his insightful contributions. I would also like to thank my additional thesis panel members Dr. Amelia Lyons and Dr. Spencer Downing. The aid of these professors allowed this thesis to mature and reach its full potential. v TABLE OF CONTENTS CHAPTER ONE: INTRODUCING THE TUDOR DYNASTY AND THE ENGLISH REFORMATION ............................................................................................................................ 1 Reformation Origins: Martin Luther, the Catholic Church, and England .................................. 2 Martin Luther and European Reform ...................................................................................... 2 Henry VIII and Rome: The beginning of English Reformation politics ................................ 4 Tudor Culture and Society: The impact of the Reformation .................................................. 6 Historiography ............................................................................................................................ 9 Tudor Society .......................................................................................................................... 9 Intent and Propaganda........................................................................................................... 10 Reception .............................................................................................................................. 13 Research Questions and Methodology...................................................................................... 17 Terminology .......................................................................................................................... 17 A Cultural Approach: Sources and methods ......................................................................... 23 Addressing Tudor Art and Print: Individual and collective examinations ........................... 24 Chapter Outline ......................................................................................................................... 27 CHAPTER TWO: ART AND POLITICS IN THE REIGN OF HENRY VIII ............................ 29 Catholic Traditions: The early Henrician period, 1509-1529 ................................................... 32 vi Church and Society ............................................................................................................... 32 Early Henrician Imagery ....................................................................................................... 33 Images, Text, and Society: Reception of visual and print communication .......................... 36 Comprehension, Intent, and Propaganda: Tudor visual communication .............................. 37 Henry VIII and English Reform, 1529 – 1547 ......................................................................... 45 Political and Visual Language of Change: Cultural continuity and disruption .................... 45 Threads of Cultural Continuity ......................................................................................... 49 Religious and Social Fashion Appropriation .................................................................... 51 Transitions: New power and new modes of representation .............................................. 54 Removal and Replacement ............................................................................................... 57 New Identities in Imagery: Bible engravings and portraiture ................................................... 61 Conclusions: The death of Henry VIII and the birth of Edwardian England ........................... 65 CHAPTER THREE: RELIGIOUS REFORM AND THE ROYAL REPRESENTATION OF EDWARD VI ................................................................................................................................ 66 Introduction: The new reform of Edward VI ............................................................................ 66 Edward VI: Questions surrounding representations of the young king and his court .............. 69 Edward in Art: Continuity and change ................................................................................. 75 Edwardian Texts: Writing the kingship ................................................................................ 82 Conclusion: Edward VI and creating identity through cultural communication ...................... 86 vii CONCLUSION: POWER THROUGH TUDOR ART ................................................................ 88 Elizabeth I: The last Tudor ....................................................................................................... 88 Tudor Propaganda and Communication: Intent and reception ................................................. 89 Intent ..................................................................................................................................... 89 Reception .............................................................................................................................. 95 The Tudors and Art: Painting the monarchy........................................................................... 100 Conclusion: Image, text, and the Tudor dynasty .................................................................... 105 LIST OF REFERENCES ............................................................................................................ 107 Primary Sources ...................................................................................................................... 107 Books of Hours and Primers ............................................................................................... 107 Additional Printed Works and Engravings ......................................................................... 112 Images ................................................................................................................................. 119 Secondary ...............................................................................................................................
Recommended publications
  • A Short History of the Western Rite Vicariate
    A Short History of the Western Rite Vicariate Benjamin Joseph Andersen, B.Phil, M.Div. HE Western Rite Vicariate of the Antiochian Orthodox Christian Archdiocese of North America was founded in 1958 by Metropolitan Antony Bashir (1896–1966) with the Right Reverend Alex- T ander Turner (1906–1971), and the Very Reverend Paul W. S. Schneirla. The Western Rite Vicariate (WRV) oversees parishes and missions within the Archdiocese that worship according to traditional West- ern Christian liturgical forms, derived either from the Latin-speaking Churches of the first millenium, or from certain later (post-schismatic) usages which are not contrary to the Orthodox Faith. The purpose of the WRV, as originally conceived in 1958, is threefold. First, the WRV serves an ecumeni- cal purpose. The ideal of true ecumenism, according to an Orthodox understanding, promotes “all efforts for the reunion of Christendom, without departing from the ancient foundation of our One Orthodox Church.”1 Second, the WRV serves a missionary and evangelistic purpose. There are a great many non-Orthodox Christians who are “attracted by our Orthodox Faith, but could not find a congenial home in the spiritual world of Eastern Christendom.”2 Third, the WRV exists to be witness to Orthodox Christians themselves to the universality of the Or- thodox Catholic Faith – a Faith which is not narrowly Byzantine, Hellenistic, or Slavic (as is sometimes assumed by non-Orthodox and Orthodox alike) but is the fulness of the Gospel of Jesus Christ for all men, in all places, at all times. In the words of Father Paul Schneirla, “the Western Rite restores the nor- mal cultural balance in the Church.
    [Show full text]
  • 6. the Tudors and Jacobethan England
    6. The Tudors and Jacobethan England History Literature Click here for a Tudor timeline. The royal website includes a history of the Tudor Monarchs [and those prior and post this period]. Art This site will guide you to short articles on the Kings and Queens of the Tudor Music Dynasty. Another general guide to Tudor times can be found here. Architecture Click here for a fuller account of Elizabeth. One of the principle events of the reign of Elizabeth was the defeat of the Spanish Armada (here's the BBC Armada site). Elizabeth's famous (and short) speech before the battle can be found here. England's power grew mightily in this period, which is reflected in the lives and achievements of contemporary 'heroes' such as Sir Francis Drake, fearless fighter against the Spanish who circumnavigated the globe, and Sir Walter Raleigh (nowadays pronounced Rawley), one of those who established the first British colonies across the Atlantic (and who spelt his name in over 40 different ways...). Raleigh is generally 'credited' with the commercial introduction of tobacco into England .about 1778, and possibly of the potato. On a lighter note, information on Elizabethan costume is available here (including such items as farthingales and bumrolls). Literature Drama and the theatre The Elizabethan age is the golden age of English drama, for which the establishment of permanent theatres is not least responsible. As performances left the inn-yards and noble houses for permanent sites in London, the demand for drama increased enormously. While some of the smaller theatres were indoors, it is the purpose-built round/square/polygonal buildings such as The Theatre (the first, built in 1576), the Curtain (late 1570s?), the Rose (1587), the Swan (1595), the Fortune (1600) and of course the Globe (1599) that are most characteristic of the period.
    [Show full text]
  • Paper 2: Power: Monarchy and Democracy in Britain C1000-2014
    Paper 2: Power: Monarchy and democracy in Britain c1000-2014. 1. Describe the Anglo-Saxon system of government. [4] • Witan –The relatives of the King, the important nobles (Earls) and churchmen (Bishops) made up the Kings council which was known as the WITAN. These men led the armies and ruled the shires on behalf of the king. In return, they received wealth, status and land. • At local level the lesser nobles (THEGNS) carried out the roles of bailiffs and estate management. Each shire was divided into HUNDREDS. These districts had their own law courts and army. • The Church handled many administrative roles for the King because many churchmen could read and write. The Church taught the ordinary people about why they should support the king and influence his reputation. They also wrote down the history of the period. 2. Explain why the Church was important in Anglo-Saxon England. [8] • The church was flourishing in Aethelred’s time (c.1000). Kings and noblemen gave the church gifts of land and money. The great MINSTERS were in Rochester, York, London, Canterbury and Winchester. These Churches were built with donations by the King. • Nobles provided money for churches to be built on their land as a great show of status and power. This reminded the local population of who was in charge. It hosted community events as well as religious services, and new laws or taxes would be announced there. Building a church was the first step in building a community in the area. • As churchmen were literate some of the great works of learning, art and culture.
    [Show full text]
  • English Renaissance
    1 ENGLISH RENAISSANCE Unit Structure: 1.0 Objectives 1.1 The Historical Overview 1.2 The Elizabethan and Jacobean Ages 1.2.1 Political Peace and Stability 1.2.2 Social Development 1.2.3 Religious Tolerance 1.2.4 Sense and Feeling of Patriotism 1.2.5 Discovery, Exploration and Expansion 1.2.6 Influence of Foreign Fashions 1.2.7 Contradictions and Set of Oppositions 1.3 The Literary Tendencies of the Age 1.3.1 Foreign Influences 1.3.2 Influence of Reformation 1.3.3 Ardent Spirit of Adventure 1.3.4 Abundance of Output 1.4 Elizabethan Poetry 1.4.1 Love Poetry 1.4.2 Patriotic Poetry 1.4.3 Philosophical Poetry 1.4.4 Satirical Poetry 1.4.5 Poets of the Age 1.4.6 Songs and Lyrics in Elizabethan Poetry 1.4.7 Elizabethan Sonnets and Sonneteers 1.5 Elizabethan Prose 1.5.1 Prose in Early Renaissance 1.5.2 The Essay 1.5.3 Character Writers 1.5.4 Religious Prose 1.5.5 Prose Romances 2 1.6 Elizabethan Drama 1.6.1 The University Wits 1.6.2 Dramatic Activity of Shakespeare 1.6.3 Other Playwrights 1.7. Let‘s Sum up 1.8 Important Questions 1.0. OBJECTIVES This unit will make the students aware with: The historical and socio-political knowledge of Elizabethan and Jacobean Ages. Features of the ages. Literary tendencies, literary contributions to the different of genres like poetry, prose and drama. The important writers are introduced with their major works. With this knowledge the students will be able to locate the particular works in the tradition of literature, and again they will study the prescribed texts in the historical background.
    [Show full text]
  • The Tudor Monarchy British History Online: Calendar of State Papers
    The Tudor Monarchy British History Online: Calendar of State Papers and Manuscripts in the Archives and Collections of Milan 1385-1618 Database contains a collection of Milan State papers and Manuscripts. Date range covers the reign of Henry VIII. The British Library: Henry VIII The exhibition contains Key documents from the life and times of Henry VIII, the pious yet bloodthirsty king whose reign forever changed the nature of England. There are also video extracts from David Starkey's acclaimed Channel 4 series 'Henry VIII: The Mind of a Tyrant'. Hampton Court Palace: Young Henry VIII Exhibition Hampton Court Palace is the home of Henry VIII. Explore the fascinating early years of Henry's reign by taking a virtual tour of the Young Henry VIII exhibition. The National Archives: Henry VIII The Nation Archives has an exhibition on King Henry VIII to commemorate the 500th anniversary of Henry VIII’s coronation with a wealth of information about the legendary monarch’s life and legacy. The National Archives: Tudor Hackney Tudor Hackney enables you to explore the world of 1601 through a virtual reality reconstruction of the Rectory House, which once stood on the west side of Hackney's Mare Street (then called Church Street). The National Portrait Gallery: Tudor and Elizabethan Portraits This contains a selection of portraits from 1485 to 1603, many of which are on display at the Gallery or at Montacute House, our regional partner in Somerset. Journal of the House of Lords: Volume 1, 1509-1577 This contains the official minute book of the House of Lords.
    [Show full text]
  • Protestant and Catholic Cooperation in Early Modern England Lisa Clark Diller Southern Adventist University, [email protected]
    Southern Adventist University KnowledgeExchange@Southern Faculty Works History and Political Studies Department 2008 Protestant and Catholic Cooperation in Early Modern England Lisa Clark Diller Southern Adventist University, [email protected] Follow this and additional works at: https://knowledge.e.southern.edu/facworks_hist Part of the European History Commons, and the History of Religion Commons Recommended Citation Diller, Lisa Clark, "Protestant and Catholic Cooperation in Early Modern England" (2008). Faculty Works. 10. https://knowledge.e.southern.edu/facworks_hist/10 This Conference Paper is brought to you for free and open access by the History and Political Studies Department at KnowledgeExchange@Southern. It has been accepted for inclusion in Faculty Works by an authorized administrator of KnowledgeExchange@Southern. For more information, please contact [email protected]. Protestant and Catholic Cooperation in Early Modern England The reign of James II gave English Catholics a chance to interact much more intentionally with their Protestant fellow citizens. The rich debate and mutual analysis that ensued with James’s lifting of the censorship of Catholic printing and penal laws changed assumptions, terminology, and expectations regarding religious and civil practices. A more comprehensive articulation of what should be expected of citizens was the result of these debates and English political life after 1689 provided a wider variety of possibilities for trans- denominational cooperation in social and political enterprises. The continuing importance of anti-Catholicism in the attitudes of English Protestants has been emphasized by historians from John Miller to Tim Harris.123456 Without denying this, I argue that the content and quality of this anti-Catholicism was changing and that too great a focus on the mutual antagonism undermines the significant elements of interaction, cooperation and influence.
    [Show full text]
  • Robert M. Andrews the CREATION of a PROTESTANT LITURGY
    COMPASS THE CREATION OF A PROTESTANT LITURGY The development of the Eucharistic rites of the First and Second Prayer Books of Edward VI ROBERT M. ANDREWS VER THE YEARS some Anglicans Anglicanism. Representing a study of have expressed problems with the Archbishop Thomas Cranmer's (1489-1556) Oassertion that individuals who were liturgical revisions: the Eucharistic Rites of committed to the main tenets of classical 1549 and 1552 (as contained within the First Protestant theology founded and shaped the and Second Prayer Books of Edward VI), this early development of Anglican theology.1 In essay shows that classical Protestant beliefs 1852, for example, the Anglo-Catholic were influential in shaping the English luminary, John Mason Neale (1818-1866), Reformation and the beginnings of Anglican could declare with confidence that 'the Church theology. of England never was, is not now, and I trust Of course, Anglicanism changed and in God never will be, Protestant'.2 Similarly, developed immensely during the centuries in 1923 Kenneth D. Mackenzie could, in his following its sixteenth-century origins, and 1923 manual of Anglo-Catholic thought, The it is problematic to characterize it as anything Way of the Church, write that '[t]he all- other than theologically pluralistic;7 nonethe- important point which distinguishes the Ref- less, as a theological tradition its genesis lies ormation in this country from that adopted in in a fundamentally Protestant milieu—a sharp other lands was that in England a serious at- reaction against the world of late medieval tempt was made to purge Catholicism English Catholic piety and belief that it without destroying it'.3 emerged from.
    [Show full text]
  • Evensong 9 August 2018 5:15 P.M
    OUR VISION: A world where people experience God’s love and are made whole. OUR MISSION: To share the love of Jesus through compassion, inclusivity, creativity and learning. Evensong 9 August 2018 5:15 p.m. Evensong Thursday in the Eleventh Week after Pentecost • 9 August 2018 • 5:15 pm Welcome to Grace Cathedral. Choral Evensong marks the end of the working day and prepares for the approaching night. The roots of this service come out of ancient monastic traditions of Christian prayer. In this form, it was created by Thomas Cranmer, Archbishop of Canterbury in the 16th century, as part of the simplification of services within the newly-reformed Church of England. The Episcopal Church, as part of the worldwide Anglican Communion, has inherited this pattern of evening prayer. In this service we are invited to reflect on the business of the past day, to pray for the world and for ourselves, and to commend all into God’s hands as words of Holy Scripture are said and sung. The beauty of the music is offered to help us set our lives in the light of eternity; the same light which dwelt among us in Jesus, and which now illuminates us by the Spirit. May this service be a blessing to you. Voluntary Canzonetta William Mathias The people stand as the procession enters. The Invitatory and Psalter Opening Sentence Said by the officiant. Preces John Rutter Officiant O Lord, open thou our lips. Choir And our mouth shall shew forth thy praise. O God, make speed to save us.
    [Show full text]
  • Renaissance and Elizabethan Period: Shakespeare, Henry V
    Dr. Stephan Gramley Social and cultural history of English RENAISSANCE AND ELIZABETHAN PERIOD: SHAKESPEARE, HENRY V WS 2009/2010 English and American studies Presentation by: Daniel Riechmann, Vincent Gouws, Ivaylo Yovchev The Renaissance in Europe Presentation: Vincent Gouws, 3rd December 2009 The What?! - The Renaissance (French: “rebirth”) was a period of revival of classical art, literature, architecture and philosophy in Europe, beginning around the 14th century - It is seen as the transition from the Middle Ages to Modernity - Protestant Reformation took place (from 1517 on) - And lots, lots more... Italy in the 14th Century - Northern Italian communes were left self-governed due to the Roman Empire’s ongoing dispute with the Pope over the extent of Church authority in secular government - Also the northern Italian regions were wealthy and culturally diverse due to successful trade with the Arabic Mediterranean -The cultural exchange included Arabic approaches to science, mathematics and philosophy Renaissance beginnings - Giotto (1267-1337), Florentine painter and architect - Was the first to leave the Byzantine style behind and to paint realistically Marriage at Cana, Scrovegni Chapel Renaissance beginnings - Petrarch (1304-1374), Florentine scholar, poet, one of the first Renaissance humanists - “The Father of Humanism” - His sonnets became a model for modern lyrical poetry - His works are mostly concerned with personal inner conflicts rather than Christian themes → Canzoniere, a collection of sonnets, expressing unconventional
    [Show full text]
  • Music and Image Details from the Historical Association Film: An
    Music and Image details from the Historical Association Film: An Introduction to Tudor Royal Authority Music: 1. Serenity by Paul Werner. Licensed through Jamendo: https://licensing.jamendo.com/en/track/1532773/serenity Images: 1. Framed print, "Plucking the Red and White Roses in the Old Temple Gardens" after the original 1910 fresco painting by Henry Albert Payne (British, 1868-1940) based upon a scene in Shakespeare's Henry VI, the original in the Palace of Westminster and a later similar painting by Payne in the Birmingham Museum and Art Gallery, this print marked "copyright 1912 in London & Washington by "The Fine Art Publishing Co., Ltd. London", sight: 20.25"h, 21"w, overall: 27"h, 27.5"w, 9.25lbs. Public Domain. 2. King Henry VI. Purchased by National Portrait Gallery in 1930. Copyright NPG. 3. King Edward V, by unknown artist. Copyright National Portrait Gallery. 4. Portrait of Richard III of England. Copyright National Portrait Gallery. 5. King Henry VII, by unknown artist. Copyright National Portrait Gallery. 6. Portrait of Henry VIII (1491-1547). Galleria Nazionale d'Arte Antica. Public Domain. 7. Portrait of Thomas Cromwell. The Frick Collection. Public Domain. 8. Portrait of King Edward VI of England (1537–1553). Public Domain. 9. Portrait of Mary I, Museo del Prado. Public Domain. 10. Portrait of Elizabeth I of England of the 'Badminton' type. The Queen is shown in a black dress with gold embroidery, holding a red rose. Public Domain. 11. The Pelican Portrait by Nicholas Hilliard. The pelican was thought to nourish its young with its own blood and served to depict Elizabeth as the "mother of the Church of England".
    [Show full text]
  • Erin and Alban
    A READY REFERENCE SKETCH OF ERIN AND ALBAN WITH SOME ANNALS OF A BRANCH OF A WEST HIGHLAND FAMILY SARAH A. McCANDLESS CONTENTS. INTRODUCTION. PART I CHAPTER I PRE-HISTORIC PEOPLE OF BRITAIN 1. The Stone Age--Periods 2. The Bronze Age 3. The Iron Age 4. The Turanians 5. The Aryans and Branches 6. The Celto CHAPTER II FIRST HISTORICAL MENTION OF BRITAIN 1. Greeks 2. Phoenicians 3. Romans CHAPTER III COLONIZATION PE}RIODS OF ERIN, TRADITIONS 1. British 2. Irish: 1. Partholon 2. Nemhidh 3. Firbolg 4. Tuatha de Danan 5. Miledh 6. Creuthnigh 7. Physical CharacteriEtics of the Colonists 8. Period of Ollaimh Fodhla n ·'· Cadroc's Tradition 10. Pictish Tradition CHAPTER IV ERIN FROM THE 5TH TO 15TH CENTURY 1. 5th to 8th, Christianity-Results 2. 9th to 12th, Danish Invasions :0. 12th. Tribes and Families 4. 1169-1175, Anglo-Norman Conquest 5. Condition under Anglo-Norman Rule CHAPTER V LEGENDARY HISTORY OF ALBAN 1. Irish sources 2. Nemedians in Alban 3. Firbolg and Tuatha de Danan 4. Milesians in Alban 5. Creuthnigh in Alban 6. Two Landmarks 7. Three pagan kings of Erin in Alban II CONTENTS CHAPTER VI AUTHENTIC HISTORY BEGINS 1. Battle of Ocha, 478 A. D. 2. Dalaradia, 498 A. D. 3. Connection between Erin and Alban CHAPTER VII ROMAN CAMPAIGNS IN BRITAIN (55 B.C.-410 A.D.) 1. Caesar's Campaigns, 54-55 B.C. 2. Agricola's Campaigns, 78-86 A.D. 3. Hadrian's Campaigns, 120 A.D. 4. Severus' Campaigns, 208 A.D. 5. State of Britain During 150 Years after SeveTus 6.
    [Show full text]
  • Writing About the Ymage in Fifteenth-Century England*
    Writing about the ymage in fifteenth-century England* Marjorie Munsterberg Considerable scholarly attention has been given to the ways in which writing about art developed in Renaissance Italy. Michael Baxandall and Robert Williams especially have studied how still-familiar methods of visual description and analysis were created from classical texts as well as contemporary studio talk. This new language spread rapidly through Europe and, over the course of the sixteenth century, overwhelmed every other approach to the visual arts. By the start of the seventeenth century, it had become the only acceptable source of serious visual analysis, a position it still holds in much of art history.1 I would like to examine an earlier English tradition in which both instructions for how to look at visual objects and historical accounts of viewers looking describe something very different. Beginning in the late fourteenth century and continuing through the fifteenth century, Lollard and other reform movements made the use of religious images a * Translations of the Middle English texts are available as an appendix in pdf. Click here. All websites were accessed on 9 December 2019. The amount of scholarly literature about fifteenth-century English religious writings that has been published in the past few decades is staggering. Like others who write about this topic, I am deeply indebted to the pioneering scholarship of the late Margaret Aston as well as that of Anne Hudson, Emeritus Professor of Medieval English, University of Oxford, and Fiona Somerset, Professor of English, University of Connecticut at Storrs. Professor Daniel Sheerin, Professor Emeritus, University of Notre Dame, was extraordinarily generous in response to my inquiries about the history of analysing painting in terms of line and colour.
    [Show full text]