Marriage, Sin and the Community in the Register of John Chandler
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CHURCHOF ENGLAND Newspaper
THE ORIGINAL CHURCH NEWSPAPER. ESTABLISHED IN 1828 Celebrating Metropolitan THE Anthony P10 CHURCHOF ENGLAND Newspaper NOW AVAILABLE ON NEWSSTAND Standing together with FRIDAY, OCTOBER 17, 2014 No: 6250 the persecuted, p11 Traditionalist group reaffirms its commitment to the biblical stance on marriage Reform rethinking planned boycott THE ANGLICAN evangelical In addition, Reform claimed, the shared conversations in the ‘shared disagreement’ on the can respond pastorally to indi- group, Reform, is revising their that the objectives would also Church of England on Sexuality, issue of same-sex relationships, vidual needs. But the scripture’s commitment to the shared con- require participants: “To accept Scripture and Mission states and accepting that there is teachings on sexuality are not versations in the Church of Eng- an outcome in which the that one of the two main objec- every possibility of a shared an abstract concept we’ve land on Sexuality, Scripture and Church moves from its present, tives of the shared conversation conversation being set up, invented. Mission. biblical, understanding of mar- is “clarifying how we (CofE) can whilst conceding to terms of ref- “We are worried that the mes- Reform released a statement riage to one where we accom- most effectively be a missionary erence with predetermined out- sage being sent out in individual arguing that a second revision modate two separate beliefs, church in a changing culture comes. parishes across the UK is that of the objectives of the shared with one part of the Church call- around sexuality” and the other Mr Thomas said: “We accept we can affirm the faith, whilst conversation following the Col- ing for repentance over sexual is “to clarify the implications of the authority of the scripture disagreeing on sexuality,” he lege of Bishops meeting in Sep- sin and another declaring God’s what it means for the Church of and we are looking for ways we told us. -
Records of Bristol Cathedral
BRISTOL RECORD SOCIETY’S PUBLICATIONS General Editors: MADGE DRESSER PETER FLEMING ROGER LEECH VOL. 59 RECORDS OF BRISTOL CATHEDRAL 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 RECORDS OF BRISTOL CATHEDRAL EDITED BY JOSEPH BETTEY Published by BRISTOL RECORD SOCIETY 2007 1 ISBN 978 0 901538 29 1 2 © Copyright Joseph Bettey 3 4 No part of this volume may be reproduced or transmitted in any form or by any means, 5 electronic or mechanical, including photocopying, recording, or any other information 6 storage or retrieval system. 7 8 The Bristol Record Society acknowledges with thanks the continued support of Bristol 9 City Council, the University of the West of England, the University of Bristol, the Bristol 10 Record Office, the Bristol and West Building Society and the Society of Merchant 11 Venturers. 12 13 BRISTOL RECORD SOCIETY 14 President: The Lord Mayor of Bristol 15 General Editors: Madge Dresser, M.Sc., P.G.Dip RFT, FRHS 16 Peter Fleming, Ph.D. 17 Roger Leech, M.A., Ph.D., FSA, MIFA 18 Secretaries: Madge Dresser and Peter Fleming 19 Treasurer: Mr William Evans 20 21 The Society exists to encourage the preservation, study and publication of documents 22 relating to the history of Bristol, and since its foundation in 1929 has published fifty-nine 23 major volumes of historic documents concerning the city. -
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. -
Changes in the Appearance of Paintings by John Constable
return to list of Publications and Lectures Changes in the Appearance of Paintings by John Constable Charles S. Rhyne Professor, Art History Reed College published in Appearance, Opinion, Change: Evaluating the Look of Paintings Papers given at a conference held jointly by the United Kingdom institute for Conservation and the Association of Art Historians, June 1990. London: United Kingdom Institute for Conservation, 1990, p.72-84. Abstract This paper reviews the remarkable diversity of changes in the appearance of paintings by one artist, John Constable. The intention is not simply to describe changes in the work of Constable but to suggest a framework for the study of changes in the work of any artist and to facilitate discussion among conservators, conservation scientists, curators, and art historians. The paper considers, first, examples of physical changes in the paintings themselves; second, changes in the physical conditions under which Constable's paintings have been viewed. These same examples serve to consider changes in the cultural and psychological contexts in which Constable's paintings have been understood and interpreted Introduction The purpose of this paper is to review the remarkable diversity of changes in the appearance of paintings by a single artist to see what questions these raise and how the varying answers we give to them might affect our work as conservators, scientists, curators, and historians. [1] My intention is not simply to describe changes in the appearance of paintings by John Constable but to suggest a framework that I hope will be helpful in considering changes in the paintings of any artist and to facilitate comparisons among artists. -
Runaway Wives: Husband Desertion in Medieval England
RUNAWAY WIVES: HUSBAND DESERTION IN MEDIEVAL ENGLAND By Sara Butler Loyola University New Orleans Scholars of the medieval family would generally agree that the lot of the me- dieval wife was not an easy one. Medieval husbands held the upper hand in the power relationship, both legally and socially. Although Lawrence Stone's view of niarried life in the Middle Ages as "brutal and often hostile, with little communication, [and] much wife-beating" has since been called into question, more recent historians have still painted a somewhat unflattering picture.' Ju- dith Bennett writes that "[m]edieval people thought of conjugality as a hierar- chy headed by a husband who not only controlled his wife's financial assets and public behavior, but also freely enforced his will through physical violence."^ Indeed, she argues that wife-beating was "a normal part of marriage."^ Even Bar- bara Hanawalt, who has optimistically described peasant marriage in medieval England as a partnership, still concedes that occasional violence was acceptable and expected in marriage.'' What is more, the rules of coverture, which adhered to the biblical principal of husband and wife as one flesh represented at law by the husband, left a wife economically vulnerable. Because all real and movable property legally belonged to the husband as head of the household, a wife who fell out of favor with her husband might well find herself expelled from the family home, without any resources to fall back on.^ From a modern perspective, mari- tal practices hardly provided any sense of reassurance. At a time when families, more often than individuals, took the lead in spousal selection, and inheritance and status were the chief criteria, strong bonds of affection were not guaranteed. -
Centenary Celebration Report
Celebrating 100 years CHOIR SCHOOLS’ ASSOCIATION CONFERENCE 2018 Front cover photograph: Choristers representing CSA’s three founding member schools, with lay clerks and girl choristers from Salisbury Cathedral, join together to celebrate a Centenary Evensong in St Paul’s Cathedral 2018 CONFERENCE REPORT ........................................................................ s the Choir Schools’ Association (CSA) prepares to enter its second century, A it would be difficult to imagine a better location for its annual conference than New Change, London EC4, where most of this year’s sessions took place in the light-filled 21st-century surroundings of the K&L Gates law firm’s new conference rooms, with their stunning views of St Paul’s Cathedral and its Choir School over the road. One hundred years ago, the then headmaster of St Paul’s Cathedral Choir School, Reverend R H Couchman, joined his colleagues from King’s College School, Cambridge and Westminster Abbey Choir School to consider the sustainability of choir schools in the light of rigorous inspections of independent schools and regulations governing the employment of children being introduced under the terms of the Fisher Education Act. Although cathedral choristers were quickly exempted from the new employment legislation, the meeting led to the formation of the CSA, and Couchman was its honorary secretary until his retirement in 1937. He, more than anyone, ensured that it developed strongly, wrote Alan Mould, former headmaster of St John’s College School, Cambridge, in The English -
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 -
Incidents in My Life and Ministry
This is a re-creation of the original – see page 2 – and please note that the headings on the contents page 3 are hyperlinks INCIDENTS IN MY LIFE AND MINISTRY BY CANON A. G. HUNTER Some time Vicar of Christ Church, Epsom, Rural Dean of Leatherhead, and Hon. Canon in Winchester Cathedral. PUBLISHED BY BIRCH & WHITTINGTON, 10, STATION ROAD, EPSOM, SURREY. 1935. Price Two Shillings Net. DEDICATION. To my dear old Epsom friends I dedicate this little book. A. G. H. Transcriber’s note This small book (of some 100 octavo pages in the 1935 original) has long been out of print. To provide a more accessible source for local and other historians, the present text has been scanned in from an original held by Epsom & Ewell Borough Council’s local history museum at Bourne Hall, Ewell. While it reflects the typography and layout of the original, it does not – as is obvious from the different page count – purport to be a facsimile. Archer George Hunter (pictured here in about 1908) was born on 12 November 1850. As the title page indicates, he was among other things Vicar of Christ Church, Epsom Common. Appointed in 1881 to succeed the first Vicar, the Revd George Willes (who served from the parish’s foundation in 1876) he led the parish for 30 years until his retirement in 1911 at the age of 60. In 1906, he was appointed as Rural Dean of Leatherhead, alongside (as is usual) his parish duties. Less usually, he continued as Rural Dean – perhaps even more actively – after standing down from the parish, retiring from that in 1925 at the age of 75. -
The Canterbury Association
The Canterbury Association (1848-1852): A Study of Its Members’ Connections By the Reverend Michael Blain Note: This is a revised edition prepared during 2019, of material included in the book published in 2000 by the archives committee of the Anglican diocese of Christchurch to mark the 150th anniversary of the Canterbury settlement. In 1850 the first Canterbury Association ships sailed into the new settlement of Lyttelton, New Zealand. From that fulcrum year I have examined the lives of the eighty-four members of the Canterbury Association. Backwards into their origins, and forwards in their subsequent careers. I looked for connections. The story of the Association’s plans and the settlement of colonial Canterbury has been told often enough. (For instance, see A History of Canterbury volume 1, pp135-233, edited James Hight and CR Straubel.) Names and titles of many of these men still feature in the Canterbury landscape as mountains, lakes, and rivers. But who were the people? What brought these eighty-four together between the initial meeting on 27 March 1848 and the close of their operations in September 1852? What were the connections between them? In November 1847 Edward Gibbon Wakefield had convinced an idealistic young Irishman John Robert Godley that in partnership they could put together the best of all emigration plans. Wakefield’s experience, and Godley’s contacts brought together an association to promote a special colony in New Zealand, an English society free of industrial slums and revolutionary spirit, an ideal English society sustained by an ideal church of England. Each member of these eighty-four members has his biographical entry. -
John Constable, Salisbury Cathedral & John Fisher
John Constable, Salisbury Cathedral & John Fisher On the 10th February 1829, John Constable finally realised his dream of becoming an Academician and later in the month he exhibited what is for many, his most ‘Sublime’ painting, Hadleigh Castle, that is the one that most eloquently expressed the emotional turmoil attendant to his wife’s death just a few months earlier. In this painting, the three aspects of ‘Chiaroscuro’, as a natural phenomenon, a pictorial device and as a metaphor for the range of human emotions, were so instinctively combined by Constable, that for him, to an unprecedented degree, the act of painting became an instrument of self- confession. Indeed, Constable may have been the first painter, to apply the term Chiaroscuro, hitherto used in relation to art, to the appearance of Nature, highlighted by this remark to Fisher: ‘I live by shadows; to me shadows are realities.’ Hadleigh Castle, oil on canvas, 48x64 inches, Yale Centre for British Art Constable visited Hadleigh in 1814 at which time he made several sketches of the coastline of the Thames estuary. The picture was painted at Hampstead and before bringing it to the exhibition, he confessed his anxieties to Leslie, his friend and biographer, as he was still smarting after his election and Sir Thomas Lawrence’s insensitive remarks on his admission to the Academy as an Academician, where he only defeated Francis Danby by one vote. When Constable made his official call upon Lawrence, the President of the Academy, Lawrence, ‘Did not conceal from his visitor that he considered him peculiarly fortunate in being chosen as an Academician at a time when there were historical painters of great merit on the list of candidates.’ Coming at this time, the event was, as he said, ‘devoid of all satisfaction’. -
Chapter, Monastic-Cnopf
THE AGES DIGITAL LIBRARY REFERENCE CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE Chapter, Monastic - Cnopf, Ernst by James Strong & John McClintock To the Students of the Words, Works and Ways of God: Welcome to the AGES Digital Library. We trust your experience with this and other volumes in the Library fulfills our motto and vision which is our commitment to you: MAKING THE WORDS OF THE WISE AVAILABLE TO ALL — INEXPENSIVELY. AGES Software Rio, WI USA Version 1.0 © 2000 2 Chapter, Monastic. This was held in winter after tierce, but after prime in summer. At the sound of a bell, rung by the prior, the monks entered two and two, and bowed to a cross in the centre of the room, to the superior's chair, and to one another. The ordinary business transacted comprised reading the martyrology, announcement of coming festivals, reading the rule, or, on Sundays and holy-days, a homily of the fathers, commemoration of the departed and living benefactors, nomination of celebrants and the officiating priest for the week ensuing, public confession of faults, infliction of. penance and discipline, and once a year recital of charters. The novice was admitted in chapter; the superior was elected, and the great officers of the house were confirmed in it; the inventory of the library was also carefully inspected in chapter every Lent. In the secular chapter, held after prime, all business connected with the church, the services, and lands was transacted, and all disputes determined. Every canon had his voice in chapter, and his stall in choir. -
Church and People in Interregnum Britain
Downloaded from the Humanities Digital Library http://www.humanities-digital-library.org Open Access books made available by the School of Advanced Study, University of London Press ***** Publication details: Church and People in Interregnum Britain Edited by Fiona McCall https://humanities-digital-library.org/index.php/hdl/catalog/book/ church-and-people-in-interregnum-britain DOI: 10.14296/2106.9781912702664 ***** This edition published in 2021 by UNIVERSITY OF LONDON PRESS SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU, United Kingdom ISBN 978-1-912702-66-4 (PDF edition) This work is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License. More information regarding CC licenses is available at https://creativecommons.org/licenses Church and people in interregnum Britain New Historical Perspectives is a book series for early career scholars within the UK and the Republic of Ireland. Books in the series are overseen by an expert editorial board to ensure the highest standards of peer-reviewed scholarship. Commissioning and editing is undertaken by the Royal Historical Society, and the series is published under the imprint of the Institute of Historical Research by the University of London Press. The series is supported by the Economic History Society and the Past and Present Society. Series co-editors: Heather Shore (Manchester Metropolitan University) and Elizabeth Hurren (University of Leicester) Founding co-editors: Simon Newman (University