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Sacred Text—Sacred Space Studies in Religion and the Arts

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Sacred Text—Sacred Space Studies in Religion and the Arts Sacred Text—Sacred Space Studies in Religion and the Arts Editorial Board James Najarian Boston College Eric Ziolkowski Lafayette College VOLUME 4 The titles published in this series are listed at brill.nl/sart Sacred Text—Sacred Space Architectural, Spiritual and Literary Convergences in England and Wales Edited by Joseph Sterrett and Peter Thomas LEIDEN • BOSTON 2011 This book is printed on acid-free paper. Sacred text, sacred space : architectural, spiritual, and literary convergences in England and Wales / edited by Joseph Sterrett and Peter Thomas. p. cm. — (Studies in religion, ISSN 1877-3192 ; v. 4) Includes bibliographical references and index. ISBN 978-90-04-20299-3 (hardback : alk. paper) 1. Christianity and the arts—England— History. 2. Christianity and the arts—Wales—History. I. Sterrett, Joseph. II. Thomas, Peter Wynn. BR744.S23 2011 261.5’70942—dc23 2011034521 ISSN 1877–3192 ISBN 978 90 04 20299 3 Copyright 2011 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Global Oriental, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. Fees are subject to change. CONTENTS Acknowledgements ............................................................................. vii List of Illustrations ............................................................................. ix Foreword .............................................................................................. xiii Richard Chartres, Bishop of London Introduction ......................................................................................... 1 Joseph Sterrett PART ONE THE MEDIEVAL SACRED Images of Words: Iconographies of Text and the Construction of Sacred Space in Medieval Church Wall Painting ................ 15 Madeleine Gray Anglo-Saxon Monasteries as Sacred Places: Topography, Exegesis and Vocation ................................................................... 35 Thomas Pickles The Book of the Foundation of St Bartholomew’s Church: Consecration, Restoration, and Translation .............................. 57 Laura Varnam An Arena for the Holy: The Imitatio Francisci of Margery Kempe ......................................................................... 77 Roy Eriksen PART TWO RE-WRITING SACRED SPACE IN THE EARLY MODERN PERIOD To Great Saint Jacques Bound: All’s Well That Ends Well in Shakespeare’s Spain ................................................................... 97 Richard Wilson vi contents Sacred Space in Laudian England .................................................... 123 Graham Parry Early Modern Sacred Space: Writing The Temple ........................ 141 Helen Wilcox The “Desert Sanctified”: Henry Vaughan’s Church in the Wilderness ........................................................................... 163 Peter Thomas PART THREE SACRED TEXT AND SACRED SPACE IN THE NINETEENTH CENTURY The Abbey-Meditation Tradition: Wordsworth’s Sources in the Eighteenth Century ............................................................ 195 Dennis Taylor The Nineteenth-Century ‘Church Catholic’: Liturgy, Theology and Architecture ............................................................................. 227 Allan Doig Sacred Space as Sacred Text: Church and Chapel Architecture in Victorian Britain ........................................................................ 247 William Whyte Collector Connoisseurs or Spiritual Aesthetes? The Role of Anglican Clergy in the Growth of Interest in Collecting and Displaying Early Italian Art (1830s–1880s) .... 269 Susanna Avery-Quash Epilogue: Is the Modern World Disenchanted? ............................ 297 Patrick Sherry Index ..................................................................................................... 321 Plates ..................................................................................................... 329 ACKNOWLEDGEMENTS This book grew out of a relatively small but vital research grant awarded by the Cardiff University Graduate Schools. What began as a series of about five research seminars to explore the links between sacred texts and sacred spaces quickly grew into a conference at the reconstructed St. Teilo’s medieval church at St. Ffagan’s Museum of National History in Cardiff. We soon realised we had the beginnings of a volume and drew further interest from those who had been unable to attend the series or conference. We are therefore humbled by the support and outstanding scholarship that has resulted from such small beginnings. First thanks go, without question, to those who were instrumental at the very beginning with their encouragement, funds and experience. The Cardiff University Graduate Schools (sadly no longer in existence) is first among these for their initial award. Thanks also to Judi Loach for her undying interest throughout the whole project. Llion Roberts and Sioned Davies in the School of Welsh and Claire Connolly in the School of English were each instrumental in helping to get the project off the ground. Indeed, while the separate programme ‘Preachers and Pulpits’ in the Cardiff University School of Welsh could not be repre- sented in this volume for contractual reasons, it offered an important model and relevant parallel to the work presented here. Thanks also to Helen Phillips whose advice and guidance were so important par- ticularly with the medieval section. So too are we indebted to Graham Parry whose early recommendations on the book’s three-part structure have been so useful. Thanks indeed to my colleagues Elizabeth Ford and Johann Gregory for their vital and dogged organisational skills helping to make the series such a success. A very big thank you is due to Helen Wilcox, our first speaker and contributor to the final volume, who continued to support the project throughout in her usual ebul- lient and intellectually stimulating manner. And, as ever, thank you to Richard Wilson whose tireless energy and imagination are a support and inspiration. Thanks finally to all of those who contributed to this volume, doing so with such incisive and interesting scholarship. LIST OF ILLUSTRATIONS Fig. 1.1 St Christopher at Woodeaton (Oxf ). Copyright: Anne Marshall, www.paintedchurch.org .................................... 331 Fig. 1.2 Text on the painting of the Three Living and the Three Dead at Wensley (Yorks). Copyright: Anne Marshall, www.paintedchurch.org ................................................................ 332 Fig. 1.3 Broughton priest: Donor figure with speech scroll at Broughton (Oxf ). Copyright: Anne Marshall, www.paintedchurch.org ................................................................ 333 Fig. 1.4 Image of Pity: The letters jsu m (possibly jesu miserere, or part of the well-known prayer jesu mercy, lady help) on the Image of Pity from Llandeilo Talybont. Copyright: by permission of the National Museum of Wales .................... 334 Fig. 1.5 Fragment of text reading HOMO DA, possibly jesu christe deus et homo da nobis . ., from Llandeilo Talybont. Copyright: by permission of the National Museum of Wales ........................................................................................... 335 Fig. 1.6 Bound Christ: The inscriptionEcce Homo on the Bound Christ from Llandeilo Talybont. Copyright: by permission of the National Museum of Wales ......................... 336 Fig. 1.7 Christ in Majesty-feet: Fragment of the Sancta Trinitas inscription from Llandeilo Talybont. Copyright: by permission of the National Museum of Wales .................... 337 Fig. 7.1 Francis Quarles, Argalus and Parthenia (1629), frontispiece. Reproduced by permission of the Bodleian Library, Oxford, U.K. .................................................................... 338 Fig. 7.2 George Herbert, The Temple (1633), title-page. Reproduced by permission of Cardiff University Library, Wales, U.K. ...................................................................................... 339 Fig. 7.3 George Herbert, ‘Superliminare’, from The Temple. Reproduced from the 1679 ed. of The Temple by permission of Cardiff University Library, Wales, U.K. ................................ 340 Fig. 7.4 George Herbert, ‘The Altar’, from The Temple (1633). Reproduced by permission of Cardiff University Library, Wales, U.K. ....................................................................................... 341 x list of illustrations Fig. 7.5 George Herbert, ‘The Altar’, fromThe Temple (1679). Reproduced by permission of Cardiff University Library, Wales, U.K. Similar to the Superluminare, the layout of ‘The Altar’ in the 1679 edition of The Temple reveals how readers and publishers read the poem in terms of an architectural structure ........................................................................................... 342 Fig. 8.1 Silex Scintillans title page. Reproduced from the author’s copy of the Silex facsimile, ed. William Clare, 1885 ..................................................................................................
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