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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. -
XIX.—Reginald, Bishop of Bath (Hjjfugi); His Episcopate, and His Share in the Building of the Church of Wells. by the Rev. C. M
XIX.—Reginald, bishop of Bath (HJJfUgi); his episcopate, and his share in the building of the church of Wells. By the Rev. C. M. CHURCH, M.A., F.8.A., Sub-dean and Canon Residentiary of Wells. Read June 10, 1886. I VENTURE to think that bishop Eeginald Fitzjocelin deserves a place of higher honour in the history of the diocese, and of the fabric of the church of Wells, than has hitherto been accorded to him. His memory has been obscured by the traditionary fame of bishop Robert as the "author," and of bishop Jocelin as the "finisher," of the church of Wells; and the importance of his episcopate as a connecting link in the work of these two master-builders has been comparatively overlooked. The only authorities followed for the history of his episcopate have been the work of the Canon of Wells, printed by Wharton, in his Anglia Sacra, 1691, and bishop Godwin, in his Catalogue of the Bishops of England, 1601—1616. But Wharton, in his notes to the text of his author, comments on the scanty notice of bishop Reginald ;a and Archer, our local chronicler, complains of the unworthy treatment bishop Reginald had received from Godwin, also a canon of his own cathedral church.b a Reginaldi gesta historicus noster brevius quam pro viri dignitate enarravit. Wharton, Anglia Sacra, i. 871. b Historicus noster et post eum Godwinus nimis breviter gesta Reginaldi perstringunt quae pro egregii viri dignitate narrationem magis applicatam de Canonicis istis Wellensibus merita sunt. Archer, Ghronicon Wellense, sive annales Ecclesiae Cathedralis Wellensis, p. -
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 -
REVEREND WILLIAM NOYES, Born, ENGLAND, 1568
DESCENDANTS OF REVEREND WILLIAM NOYES, BoRN, ENGLAND, 1568, IN DIRECT LINE TO LAVERNE W. NOYES, AND FRANCES ADELIA NOYES-GIFFEN. ALLIED FAMILIES OF STANTON. LORD. SANFORD. CODDINGTON. THOMPSON. FELLOWS. HOLDREDGE. BERRY. SAUNDERS. CLARKE. JESSUP. STUDWELL. RUNDLE. FERRIS. LOCKWOOD. PUBLISHED BY LA VERNE W. NO-YES, CHICAGO; ILLINOIS. 1900. PRESS OF 52 W. JACJCSON ST. LAV ERSE W. N oYi-:s. ~u9fi persona[ interest, and curiosity, as to liis antecedents, f lie pu6frslier of tliis 6ook lias 9atliered, and caused to 6e 9atliered, tlie statistics lierein contained. $ecause flieg Cfl)ere so dijficaft to coffed, as CftJe{{ as to figlifen tlie task of of liers of liis ~ind . red cwlio mag liave a simifar curious interest in ancesfrg, lie decided to print f.iem, and liopes tliat tlieg mag prove of maferiaf assistance to otliers. e&af/erne W. J2oges. CHICAGO, 1900. NOYES FAMILY. Reverend William Noyes was born in England during the year 1568. He matriculated at University College, Oxford, 15 November, 1588, at the age of twenty years, and was graduated B. A., 31 May, 1592. He was Rector of the Parish of Choulderton in Wiltshire, situated between Amesbury in Wiltshire and Andover in Hampshire, and eleven mile~ from Salisbury, which contains the great Salisbury Cathedral, built in the year 1220 A. D., whose lofty tower overlooks the dead Roman city of Sarum and '' Stonehenge," the ruins of the won derful pre-historic temple of the ancient Celtic Druids, in the midst of Salisbury Plain. The register of the Diocese shows that he officiated in the Parish from 1602 to 1620, at which time he resigned. -
A Monthly Newsletter for Chilmark & Ridge and Fonthill Bishop With
No.020 July 2017 A Monthly Newsletter for Chilmark & Ridge and Fonthill Bishop with Berwick St Leonard Music for a Summer’s Evening Welcome to the July and August issue of The Village Voice Leading London based chamber June was a busy month in Chilmark, the key events being the formal Installation of choir Vasari Singers are coming the new Team Vicar, the Revd Elaine Brightwell (p9), followed by a day of wonderful to Chilmark on Saturday 15 July weather and fun at Chilmark Church Fete (p4-5). 6-7pm to perform under the direction of Jeremy Backhouse Looking ahead, Opera at Chilmark returns in St Margaret’s Church. The to Cleeves Farm over the Bank Holiday programme will feature a range Weekend (p13) followed a week later by of favourites, old and new, sacred Chilmark Village Show on Saturday 2nd and secular, light-hearted and more September, 12noon-5pm. Please find weighty, including: Pachelbel’s your Village Show programmes inside this ‘Canon’, Elgar’s Nimrod, Folksongs issue with entry forms for all the Show from around the world, Beatles classes. Most importantly, please note the and Swingle songs. The hour- date of Entries night: Thursday 31 August, long concert will start at 6pm, with 7-8.30pm in the Reading Room. Please Pimms served from 5.30pm. return any 2016 trophies and cups on this Tickets £10 (£5 under 18s) from evening. VasariMSE.brownpapertickets.com or 0800 411 8881. As well as the Horticultural Show, there will See: www.vasarisingers.org be something for everyone to enjoy on the day from Children’s and Adult’s Races to a Fun Dog Show, the Tug of War (get your Village Voice news teams together!), a Grand Raffle, Tea Tent, Current and back issues of lots of Stalls (see below) and a Barbecue The Village Voice can be serving food and drink throughout, all set downloaded from the website: to music from a barrel organ. -
Bishop Sarapion's Prayer-Book : an Egyptian Pontifical Dated Probably
6 ti\>t<xty ofChe 'theological ^mimvy PRINCETON . NEW JERSEY PRESENTED BY B.B. Warfield's Library 1922 BR 45 .E36 v. Serapion, Bishop Sarapion ' s prayer- Idook BISHOP SARAPION'S PRAYER-BOOK : J/ £arli? Cburcb Classice BISHOP SARAPIONS PRAYER-BOOK AN EGYPTIAN PONTIFICAL DATED PROBABLY ABOUT A.D. 350—356 TRANSLATED FROM THE EDITION OF DR. G. WOBBERMIN WITH INTRODUCTION, NOTES, AND INDICES / BY JOHN WORDSWORTH, D.D. HISHOP OF SALISBURY LONDON SOCIETY FOR PROMOTING CHRISTIAN KNOWLEDGE, W.C. NORTHUMBERLAND AVENUE, CHARING CROSS, ; STREET, E.C. 43, QUEEN VICTORIA Stkhet. Brighton : 129, North B. YOUNG & CO. New York : E. J. 1899 PUBIJSHED UNDER THE DIRECTION OF THE TRACT COMMITTEE. CONTENTS Introduction :— § I. Date and importance of the book. Descrip- tion of the MS 7 § 2. Personality and character of Sarapion of Thmuis, His orthodoxy in regard to the doctrine of the holy Spirit. Question of the Doxology . lo " § 3. Was Sarapion author of the Letter Con- " cerning Father and Son ? . -19 § 4. The Collection of Prayers. Their general contents, style, and character. Unity of their style. Evidence of Egyptian origin 23 § 5. The Eucharistic Liturgy. The Pro-Anaphora. Prayers 19—30. Division into two Books. The Laodicene Canons. Tabular view cf the Liturgy of Sarapion 3- §6. The Eucharistic Liturgy (<:?«//«^/). Tabular view of the Anaphora. Prayers i — 5. Points of importance in the Consecration Prayer. " Like- ness." Position of the " Institution." Eucharistic Sacrifice. Invocation of the Logos. Traces of it elsewhere ......••• 4° §7. The Baptismal Prayers, 7— II. Hallowing of the Waters. Confirmation a separate rite . • 49 — 6 CONTENTS PAGE § 8. -
Direct Line 01722 438650 3Rd October 2018
Tel: Direct Line 01722 438650 3rd October 2018 Mission and Pastoral Measure 2011 Diocese of Salisbury Benefices of Ludgershall and Faberstown and Tidworth The Bishop of Salisbury has asked me to prepare a draft Pastoral Scheme in respect of pastoral proposals affecting the benefice of Ludgershall and Faberstown and the benefice of Tidworth. I enclose a copy of the draft Scheme. I am sending a copy to all the statutory interested parties, as the Mission and Pastoral Measure requires, and any others with an interest in the proposals. Anyone may make representations for or against all or any part or parts of the draft Scheme (please include the reasons for your views) in writing or by email to reach the Church Commissioners at the following address no later than by 14th November 2018. Matthew Crowe Church Commissioners Church House Great Smith Street London SW1P 3AZ ( email [email protected]) (tel 020 7898 1784) If they have not acknowledged receipt of your representation before this date, please ring or e-mail them to ensure it has been received. For administrative purposes, a petition will be classed as a single representation and they will only correspond with the sender of the petition, if known, or otherwise the first signatory – “the primary petitioner”. If the Commissioners do not receive representations against the draft Scheme, they will make the Scheme and it will come into effect as it provides. A copy of the completed Scheme will be sent to you together with a note of its effective date. If the Commissioners receive any representations against the draft Scheme, they will send them, and any representations supporting the draft Scheme, to the Bishop whose views will be sought. -
\¥ Ads Worth Family
"The thought of our past years in me doth breed perpetual benediction."- TVordswort/1. TWO HUNDRED. AND FIFTY YEARS -OF THE--- \¥ ADS WORTH FAMILY IN AMERICA. (WITH ILLUSTRATIONS.) CONTAINING AN ACCOUNT OF THE FAMILY REUNION, AT DUXBURY, MASS,, SEPTEMBER 13, 1882, AND A GENEALOGICAL REGISTER, PREPARED EXPRESSLY FOR THIS WORK, ---BY--- HORACE ANDREW WADSWORTH, AUTHOR OF "QUARTER-CENTENNIAL HISTORY OF LAWRENCE, AND PUBLISHER OF THE LAWRENCE DAILY AND ESSEX WEEKLY EAGLE, LAWRENCE,.MASS, LAWRENCE, MASS.: p, , . D AT THE EAGLE STEAM JOB PRlNTrNG ROOMS, 1883. PREFACE. It is not without misgivings that this volume is handed to my kinsmen and namesakes, as a History of'' Two Hundred and Fifty Years of the \Vadsworth Family in America." The subject covers a great deal, and could be extended · ad infinitum. To collect, edit and publish, what really should find a place in the family history, would be the work of at least twenty years, and I find that the family historians of many well known names have been busy at least that time, and still the task is not completed. But the author of this history cannot delay twenty years, ten years, or even five years. The demand for the work will not admit of it. Letters have been received, almost daily, with the question, " How soon will the history be completed?" Not a few of our people who are deeply interested in this work, have reached, or passed, the ripe age of three score years anrl ten, and for their benefit, if for no other reason the promised work should be forthcoming. -
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’.