York Minster Timeline There Has Been a Minster in York Since AD 627
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The Value of Books
The Value of Books: The York Minster Library as a social arena for commodity exchange. Master’s thesis, 60 credits, Spring 2018 Author: Luke Kelly Supervisor: Gudrun Andersson Seminar chair: Dag Lindström Date: 12/01/2018 HISTORISKA INSTITUTIONEN It would be the height of ignorance, and a great irony, if within a work focused on the donations of books, that the author fails to acknowledge and thank those who assisted in its production. Having been distant from both Uppsala and close friends whilst writing this thesis, (and missing dearly the chances to talk to others in person), it goes without saying that this work would not be possible if I had not had the support of many generous and wonderful people. Although to attempt to thank all those who assisted would, I am sure, fail to acknowledge everyone, a few names should be highlighted: Firstly, thank you to all of my fellow EMS students – the time spent in conversation over coffees shaped more of this thesis than you would ever realise. Secondly, to Steven Newman and all in the York Minster Library – without your direction and encouragement I would have failed to start, let alone finish, this thesis. Thirdly, to all members of History Node, especially Mikael Alm – the continued enthusiasm felt from you all reaches further than you know. Fourthly, to my family and closest – thank you for supporting (and proof reading, Maja Drakenberg) me throughout this process. Any success of the work can be attributed to your assistance. Finally, to Gudrun Andersson – thank you for offering guidance and support throughout this thesis’ production. -
The Capital Sculpture of Wells Cathedral: Masons, Patrons and The
The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture MATTHEW M. REEVE For Eric Fernie This paper considers the sculpted capitals in Wells cathedral. Although integral to the early Gothic fabric, they have hitherto eluded close examination as either a component of the building or as an important cycle of ecclesiastical imagery in their own right. Consideration of the archaeological evidence suggests that the capitals were introduced mid-way through the building campaigns and were likely the products of the cathedral’s masons rather than part of an original scheme for the cathedral as a whole. Possible sources for the images are considered. The distribution of the capitals in lay and clerical spaces of the cathedral leads to discussion of how the imagery might have been meaningful to diCerent audiences on either side of the choir screen. introduction THE capital sculpture of Wells Cathedral has the dubious honour of being one of the most frequently published but least studied image cycles in English medieval art. The capitals of the nave, transepts, and north porch of the early Gothic church are ornamented with a rich array of figural sculptures ranging from hybrid human-animals, dragons, and Old Testament prophets, to representations of the trades that inhabit stiC-leaf foliage, which were originally highlighted with paint (Figs 1, 2).1 The capitals sit upon a highly sophisticated pier design formed by a central cruciform support with triple shafts at each termination and in the angles, which oCered the possibility for a range of continuous and individual sculpted designs in the capitals above (Fig. -
Books Available to Buy
The Stained Glass Centre: Books Available to Buy If you are interested in purchasing any of the books listed below, please get in contact with the Friends Administrator by post or email: The Stained Glass Centre Friends Administrator, c/o York Glaziers Trust, 6 Deangate, York YO1 7JB, or [email protected] Books can be picked up from the centre by arrangement, made available to collect at any of our upcoming events, or will be posted to you. Postage and packaging prices will be dependent on the weight and size of purchase. Many thanks The Stained Glass Centre Author Title Price Stock History of York Minster (no cover so title and author £1.00 1 unknown) Albutt, R. Stained Glass Windows of AJ Davies of the £25.00 1 Bromsgrove Guild, Worcestershire Albutt, R. Stained Glass Windows of Bromsgrove and Redditch, £8.00 1 Worcestershire Angus, M. Modern Stained Glass in British Churches £5.00 3 Archer, M. Introduction to English Stained Glass £2.00 7 Archer, M. Stained Glass £1.00 4 Armitage, L. Stained Glass £10.00 1 Atterbury, P. Pugin £25.00 2 Aubert, M. Stained Glass of the Xiith and Xiiith Centuries from £12.00 1 French Cathedrals Aubert, M. Le Vitrail en France £5.00 1 Baker, E. Church Archaeology £5.00 1 Baker, J. English Stained Glass of the Medieval Period (83 £10.00 3 Plates) Beaulah, K. Church Tiles of the Nineteenth Century £1.00 1 Beckett, L. & A. York Minster £3.00 1 Hornak Beckett, W. & G. Pains of Glass: The Story of the Passion from King's £2.00 2 Pattison College Chapel, Cambridgeshire Bell, C.C. -
AWN Pugin's “True Principles” Gothic Furniture
A.W.N. Pugin’s “True Principles” Gothic Furniture Evolutionary, Revolutionary, Reactionary? Peter N. Lindfeld However much we may be indebted to lustrations laid down for the frst time the 15.1 Illustration of the extravagant style those ancient supporters of Pointed Ar- design principles that were to establish the of modern Gothic furniture and decora- chitecture who, faithfully adhering to its genuinely structural and medievally based tion, published in A.W.N. Pugin, Te True Principles of Pointed or traditions at a period when the style fell Gothic, as opposed to the decorative and Christian Architecture. into general disuse, strove earnestly, and fanciful Gothic, as the primary style of the [New Haven, CT, Yale Center for in some instances ably, to preserve its nineteenth century”.2 British Art: NA440 P9 1841] character; whatever value in the cause Te importance and infuence of Con- which we may attach to the crude and trasts and Te True Principles can not be isolated examples of Gothic which be- disputed.3 Unpublished manuscript sources, long to the eighteenth century, or to the however, indicate that the core idea in Pu- eforts of such men as Nash and Wyatt, gin’s polemical outpourings in Te True there can be little doubt that the revival Principles - the identifcation and restoration of Mediæval design received its chief of medieval design’s essential nature - is not impulse in our own day from the en- particularly revolutionary. Tis is especially ergy and talents of one architect whose the case when examining his and other ar- name marks an epoch in the history of British art, which, while art exists at all, chitects’ designs for furniture. -
'Daylight Upon Magic': Stained Glass and the Victorian Monarchy
‘Daylight upon magic’: Stained Glass and the Victorian Monarchy Michael Ledger-Lomas If it help, through the senses, to bring home to the heart one more true idea of the glory and the tenderness of God, to stir up one deeper feeling of love, and thankfulness for an example so noble, to mould one life to more earnest walking after such a pattern of self-devotion, or to cast one gleam of brightness and hope over sorrow, by its witness to a continuous life in Christ, in and beyond the grave, their end will have been attained.1 Thus Canon Charles Leslie Courtenay (1816–1894) ended his account of the memorial window to the Prince Consort which the chapter of St George’s Chapel, Windsor had commissioned from George Gilbert Scott and Clayton and Bell. Erected in time for the wedding of Albert’s son the Prince of Wales in 1863, the window attempted to ‘combine the two ele- ments, the purely memorial and the purely religious […] giving to the strictly memorial part, a religious, whilst fully preserving in the strictly religious part, a memorial character’. For Courtenay, a former chaplain- in-ordinary to Queen Victoria, the window asserted the significance of the ‘domestic chapel of the Sovereign’s residence’ in the cult of the Prince Consort, even if Albert’s body had only briefly rested there before being moved to the private mausoleum Victoria was building at Frogmore. This window not only staked a claim but preached a sermon. It proclaimed the ‘Incarnation of the Son of God’, which is the ‘source of all human holiness, the security of the continuousness of life and love in Him, the assurance of the Communion of Saints’. -
The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE)
ABSTRACT MARY ELIZABETH BLUME The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE) The Gothic Revival of the nineteenth century in Europe aroused a debate concerning the origin of a style already six centuries old. Besides the underlying quandary of how to define or identify “Gothic” structures, the Victorian revivalists fought vehemently over the national birthright of the style. Although Gothic has been traditionally acknowledged as having French origins, English revivalists insisted on the autonomy of English Gothic as a distinct and independent style of architecture in origin and development. Surprisingly, nearly two centuries later, the debate over Gothic’s nationality persists, though the nationalistic tug-of-war has given way to the more scholarly contest to uncover the style’s authentic origins. Traditionally, scholarship took structural or formal approaches, which struggled to classify structures into rigidly defined periods of formal development. As the Gothic style did not develop in such a cleanly linear fashion, this practice of retrospective labeling took a second place to cultural approaches that consider the Gothic style as a material manifestation of an overarching conscious Gothic cultural movement. Nevertheless, scholars still frequently look to the Isle-de-France when discussing Gothic’s formal and cultural beginnings. Gothic historians have entered a period of reflection upon the field’s historiography, questioning methodological paradigms. This -
The Cathedral Close
Welcome. No matter your background, your faith, or your reason for visiting, we welcome you to Washington National Cathedral. Each year, the Cathedral opens its doors to hundreds of thousands of worshipers and visitors who come to find peace and inspiration, listen to beautiful music, and experience the 1 2 2 north rose south rose 4 5 5 6 7 8 8 9 Cathedral’s extraordinary art and architecture. CATHEDRAL ART AND ARCHITECTURE Built of Indiana limestone, the Cathedral is the sixth largest in Main Level (the Nave) 4 A tribute to those who have served in our armed forces, the 7 At the east end of the Cathedral nave is the HIGH 9 The Cathedral’s great iconographic story—the movement i The artwork in the BAPTISTRY depicts symbols the world. Its design is unique and not copied from any earlier art of WAR MEMORIAL CHAPEL tells stories of sacrifice ALTAR. One-hundred-and-ten figures of men and women of humankind from creation to redemption—begins outside representing baptism. A nearby elevator provides building. The building is shaped like a cross, with a long nave— 30 minutes—highlights and the struggle for freedom. exemplifying the highest ideals of Christianity surround at the WEST FAÇADE. The art here explores themes of wheelchair access to the lower level. the central figure of Christ in Majesty, completing the creation. The carved tympana above three massive portals a tenth of a mile—and two shorter transepts. Follow the numbered items to tour the “must see” highlights A statue of the Christ Child welcomes visitors to memorial bays—north 5 iconographic story with the redemption of humankind show the creation of day, the creation of humankind, and the of the Cathedral’s art and architecture. -
Stained Glass Windows Stained Glass and Banners • Stained Glass Windows and Banners Bring Colour to a Church
Stained Glass Windows Stained Glass and Banners • Stained glass windows and banners bring colour to a church. They also remind people of stories in the Bible or of important truths. • Before TVs or LCD projectors, stained glass windows could be used as visual aids. This is the risen Christ in the window of a church in the Cotswolds. What are the small black marks in the palms of his hands? Modern Stained Glass Window • This modern stained glass window is in memory of a young man. He died while mountaineering aged 19. • The mountain in the window - the Eiger - is on the last photo that he took. When looking at this window – what do you think people think about? This window may help people to think about their own lives, too. What does the bird in the sky make you think of? Can you see the Do you think that cross? this is a good Look closely at what memorial for a is behind the base of young person? it ... What do you think the cross towering over the town represents? About stained glass • Stained glass is simply coloured glass but the term stained glass is normally used in referring to pictorial windwos such as are to be found in some churches. The colours are produced by adding a metallic oxide to the glass. • The means of colouring glass was understood in the early years of the Common Era. The earliest stained glass in Europe has been found at Jarrow at the monastery where Bede lived, prayed, taught and wrote. -
York Minster a Medieval Cathedral
1 York Minster a Medieval Cathedral The Great East Window Lady Chapel High Altar Chapter House 2 Quire 1 3 North Central South The Five Transept Tower Transept Entrance Sisters Window Nave Altar Early English 1220 -1260 Decorated 1280 -1350 Nave Perpendicular 1361 -1472 1 Prince William’s Tomb 2 Cathedra West End 3 Walter Gray’s Tomb The Great West Window 2 York Minster KS 3 RE: A Christian Place of Worship The full title of this building is the Cathedral and Metropolitical Church of St Peter in York. You will see Peter’s chief symbol (the crossed + keys of Heaven) throughout. It is a cathedral because it is a church where a bishop has his + + throne, or cathedra. It is a metropolitical church Northern because our bishop is also an archbishop, also Province Diocese + of York known as a Metropolitan Primate. Minster is essentially an Old English word, which can mean + + either “monastery” or “mission-church”. York + + Minster was never a monastery, but was + + + + originally founded by a missionary-bishop, St + Paulinus, in AD 627. Not all cathedrals are + York Minster minsters; not all minsters are cathedrals, but we are both. + Other cathedrals of the Northern Province A bishop of the Anglican Church (Church of England) is responsible for all the parish churches and their priests in an area called a diocese. An archbishop, however, is also responsible for a group of dioceses, known as a province. The Anglican Church is divided into two provinces: YORK and CANTERBURY. Thus the Minster is the Mother Church for both the Diocese and Province of York. -
Constantine Triumphal Arch 313 AD Basilica of St. Peter Ca. 324
Constantine Triumphal Arch 313 AD Basilica of St. Peter ca. 324 ff. Old St. Peter’s: reconstruction of nave, plus shrine, transept and apse. Tetrarchs from Constantinople, now in Venice Constantine defeated the rival Augustus, Maxentius, at the Pons Mulvius or Milvian Bridge north of Rome, at a place called Saxa Rubra (“Red rocks”), after seeing a vision (“In hoc signo vinces”) before the battle that he eventually associated with the protection of the Christian God. Maxentius’s Special Forces (Equites Singulares) were defeated, many drowned; the corps was abolished and their barracks given to the Bishop of Rome for the Lateran basilica. To the Emperor Flavius Constantinus Maximus Father of the Fatherland the Senate and the Roman People Because with inspiration from the divine and the might of his intelligence Together with his army he took revenge by just arms on the tyrant And his following at one and the same time, Have dedicated this arch made proud by triumphs INSTINCTV DIVINITATIS TYRANNO Reconstruction of view of colossal Sol statue (Nero, Hadrian) seen through the Arch of Constantine (from E. Marlow in Art Bulletin) Lorsch, Germany: abbey gatehouse in the form of a triumphal arch, 9th c. St. Peter’s Basilicas: vaulted vs. columns with wooden roofs Central Hall of the Markets of Trajan Basilica of Maxentius, 3018-312, completed by Constantine after 313 Basilica of Maxentius: Vaulting in concrete Basilica of Maxentius, 3018-312, completed by Constantine after 313 Monolithic Corinthian column from the Basilica of Maxentius, removed in early 1600s by Pope Paul V and brought to the piazza in front of Santa Maria Maggiore Monolithic Corinthian column from the Basilica of Maxentius, removed in early 1600s by Pope Paul V and brought to the piazza in front of Santa Maria Maggiore BATHS OF DIOCLETIAN 298-306 AD Penn Station NY (McKim, Mead, and White) St. -
'Let Us Talk' – Response from Wimborne Minster the Responses
‘Let us Talk’ – Response from Wimborne Minster The responses to the questions below are based on work done in March this year with the Minster PCC. We spent the day together to reflect, discuss, worship and pray as we seek to discern God’s way forward for the Minster in the coming 3‐5 years. For a fuller sense of what is already going on at the Minster; of current projects; and a vision for the future, please see the accompanying ‘Rector’s Report’, delivered at our recent APCM on April 18th 2013. 1. What is the ‘Personality and Character’ of your local church? The Minster combines the desire to be a ‘normal’ parish church with a distinctive and historic ministry to the wider civic communities of Wimborne and East Dorset. As such, it can sometimes appear slightly schizophrenic! At its best, it is prayerful, caring, hospitable, generous and inclusive, benefiting from the gifts of able lay people, professional musicians, an iconic building and the affection of the local community. It has a certain ‘respectability’ which is inviting to many and can be off‐putting to others, but on the whole it succeeds in enabling those who come through its doors – whether pilgrim or visitor – to sense something of the hospitality of God. It enjoys high standards in worship and seeks excellence, but not at the expense of warmth. The downside of these many outward strengths is that its ‘internal’ relationships can sometimes suffer, and people within the congregation can, from time to time, be argumentative and critical in an unconstructive way. -
Canterbury Cathedral: Repairs to the North West Transept (1 of 2 Projects Funded) Awarded £150,000 in November 2014 Towards a £1,006,500 Project
Canterbury Cathedral: repairs to the North West Transept (1 of 2 projects funded) Awarded £150,000 in November 2014 towards a £1,006,500 project The need The North West Transept is, internally, one of the most visited and historically significant areas of Canterbury Cathedral, providing the main access to the Crypt and up towards the High Altar. Externally there was a need for emergency repair and stabilisation of previous failing repairs from the 19th and early 20th century to the Vice Turret Spirelet, in order to keep the area weather-tight and safe. New movement was recorded in the 2012 Quinquennial Inspection: cracks were evident through stones in addition to visible separation of stone joints. Failed cement-rich render had fallen on the roofs of the Cloister below. If the work had not taken place the cathedral would have had to close the site of the Martyrdom, where Archbishop Thomas Becket was murdered, which is the most visited part of the building. Outcomes The repair needs were urgent prior to the work taking place but will now require only routine maintenance, with no major work needed for the next 70 to 100 years. The improved condition of the Detail of the spirelet pinnacles. Photo Credit: Purcell Architects. stonework inspires confidence in the public and potential donors that the cathedral is being looked after. Economic and social impact During the project, the contractor had two stonemason apprentices and a leadworker apprentice. Two others were mature students doing a Foundation degree in Applied Historic Building Conservation and Repair, making five full- time equivalent apprentices.