WAR, GOVERNMENT and ARISTOCRACY in the BRITISH ISLES, C.1150-1500

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The Cathedral Church of the Holy

The Baptism of Christ 10 January 2021 Welcome to the Cathedral Church of the Holy and Undivided Trinity, Bristol Whether you are a regular worshipper, or this is your first time visiting the Cathedral, you are most welcome. The Eucharist will be broadcast on our social media channels. To book for any service, visit tinyurl.com/cathedralbooking. The Dean and Chapter are grateful for all the Christmas cards, gifts, and good wishes they received, and wish everyone a very Happy New Year! COVID-19 UPDATE Following the announcement of the third National Lockdown, the new pattern of worship and opening from Tuesday 12 January is as follows: BROADCAST WORSHIP (unchanged) Morning Prayer 8.00am Monday - Saturday Cathedral Eucharist 10.00am Sunday ON SITE WORSHIP Lunchtime Eucharist 12.30pm Tuesday – Saturday Choral Evensong * 5.15pm Friday BCP Communion * 8.00am Sunday Cathedral Eucharist * 10.00am Sunday * bookable via tinyurl.com/cathedralbooking. CATHEDRAL OPENING HOURS FOR PRIVATE PRAYER 12noon to 1.00pm Tuesday – Saturday If you would like to receive this notice sheet by email each week, please email [email protected]. GENERAL Support your Cathedral If you would like to support the Cathedral financially, particularly during these difficult times, there is a new donate button on our website. To donate, visit here: tinyurl.com/cathedraldonate. Thank you. A gentle reminder that, following the service, we ask you please to not mingle with those outside your household either inside or outside the building. New Chapter Members The Bishop has appointed two new members to Chapter, the governing body of the Cathedral.
Orson Welles's Deconstruction of Traditional Historiographies In

“How this World is Given to Lying!”: Orson Welles’s Deconstruction of Traditional Historiographies in Chimes at Midnight Jeffrey Yeager, West Virginia University ew Shakespearean films were so underappreciated at their release as Orson Welles’s Chimes at Midnight.1 Compared F to Laurence Olivier’s morale boosting 1944 version of Henry V, Orson Welles’s adaptation has never reached a wide audience, partly because of its long history of being in copyright limbo.2 Since the film’s debut, a critical tendency has been to read it as a lament for “Merrie England.” In an interview, Welles claimed: “It is more than Falstaff who is dying. It’s the old England, dying and betrayed” (qtd. in Hoffman 88). Keith Baxter, the actor who plays Prince Hal, expressed the sentiment that Hal was the principal character: Welles “always saw it as a triangle basically, a love story of a Prince lost between two father figures. Who is the boy going to choose?” (qtd. in Lyons 268). Samuel Crowl later modified these differing assessments by adding his own interpretation of Falstaff as the central character: “it is Falstaff’s winter which dominates the texture of the film, not Hal’s summer of self-realization” (“The Long Good-bye” 373). Michael Anderegg concurs with the assessment of Falstaff as the central figure when he historicizes the film by noting the film’s “conflict between rhetoric and history” on the one hand and “the immediacy of a prelinguistic, prelapsarian, timeless physical world, on the other” (126). By placing the focus on Falstaff and cutting a great deal of text, Welles, Anderegg argues, deconstructs Shakespeare’s world by moving “away from history and toward satire” (127).
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.
REACHING out a Celebration of the Work of the Choir Schools’ Association

REACHING OUT A celebration of the work of the Choir Schools’ Association The Choir Schools’ Association represents 46 schools attached to cathedrals, churches and college chapels educating some 25,000 children. A further 13 cathedral foundations, who draw their choristers from local schools, hold associate membership. In total CSA members look after nearly 1700 boy and girl choristers. Some schools cater for children up to 13. Others are junior schools attached to senior schools through to 18. Many are Church of England but the Roman Catholic, Scottish and Welsh churches are all represented. Most choir schools are independent but five of the country’s finest maintained schools are CSA members. Being a chorister is a huge commitment for children and parents alike. In exchange for their singing they receive an excellent musical training and first-class academic and all-round education. They acquire self- discipline and a passion for music which stay with them for the rest of their lives. CONTENTS Introduction by Katharine, Duchess of Kent ..................................................................... 1 Opportunity for All ................................................................................................................. 2 The Scholarship Scheme ....................................................................................................... 4 CSA’s Chorister Fund ............................................................................................................. 6 Finding Choristers .................................................................................................................
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
Wells Cathedral Library and Archives

GB 1100 Archives Wells Cathedral Library and Archives This catalogue was digitised by The National Archives as part of the National Register of Archives digitisation project NR A 43650 The National Archives Stack 02(R) Library (East Cloister) WELLS CATHEDRAL LIBRARY READERS' HANDLIST to the ARCHIVES of WELLS CATHEDRAL comprising Archives of CHAPTER Archives of the VICARS CHORAL Archives of the WELLS ALMSHOUSES Library PICTURES & RE ALIA 1 Stack 02(R) Library (East Cloister) Stack 02(R) Library (East Cloister) CONTENTS Page Abbreviations Archives of CHAPTER 1-46 Archives of the VICARS CHORAL 47-57 Archives of the WELLS ALMSHOUSES 58-64 Library PICTURES 65-72 Library RE ALIA 73-81 2 Stack 02(R) Library (East Cloister) Stack 02(R) Library (East Cloister) ABBREVIATIONS etc. HM C Wells Historical Manuscripts Commission, Calendar ofManuscripts ofthe Dean and Chapter of Wells, vols i, ii (1907), (1914) LSC Linzee S.Colchester, Asst. Librarian and Archivist 1976-89 RSB R.S.Bate, who worked in Wells Cathedral Library 1935-40 SRO Somerset Record Office 3 Stack 02(R) Library (East Cloister) Stack 02(R) Library (East Cloister) ARCHIVES of CHAPTER Pages Catalogues & Indexes 3 Cartularies 4 Charters 5 Statutes &c. 6 Chapter Act Books 7 Chapter Minute Books 9 Chapter Clerk's Office 9 Chapter Administration 10 Appointments, resignations, stall lists etc. 12 Services 12 Liturgical procedure 13 Registers 14 Chapter and Vicars Choral 14 Fabric 14 Architect's Reports 16 Plans and drawings 16 Accounts: Communar, Fabric, Escheator 17 Account Books, Private 24 Accounts Department (Modern) 25 Estates: Surveys, Commonwealth Survey 26 Ledger Books, Record Books 26 Manorial Court records etc.
Henry V Plays Richard II

Colby Quarterly Volume 26 Issue 2 June Article 6 June 1990 "I will...Be like a king": Henry V Plays Richard II Barbara H. Traister Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 26, no.2, June 1990, p.112-121 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Traister: "I will...Be like a king": Henry V Plays Richard II "I will . .. Be like a king": Henry V Plays Richard II by BARBARA H. TRAISTER N BOTH RichardII and Henry v, the first and last plays ofthe second tetralogy, I kings engage in highly theatrical activity. Each play, however, has a very different metadramatic focus. In Richard II acting becomes a metaphor for the way Richard sees himself. The focus of audience attention is the narcissistic royal actor whose principal concern is his own posturing and who is his own greatest, and eventually only, admirer. Richard is an actor and dramatist, the embodiment of Elizabeth I's comment: "We Princes, I tell you, are set on stages, in the sight and view of all the world duly observed" (quoted in Neale 1957,2:19). However, his self-ab sorption and blindness to the world around him lead the audience to make few, if any, connections between him and the actor-dramatist who created him. The play is nearly empty of self-reflexive dramatic overtones despite its complex portrait of a player king.
Maryanne Kowaleski Joseph Fitzpatrick S.J

Maryanne Kowaleski Joseph Fitzpatrick S.J. Distinguished Professor of History and Medieval Studies [email protected] 77-79 Seaman Avenue History Department Garden Apt. Rear Fordham University New York, NY 10034 Bronx, NY 10458 (212) 942-7547 (718) 817-3925 fax: (718) 817-4680 UNIVERSITY EDUCATION: University of Toronto: Ph.D. in Medieval Studies, 1982, M.A. in Medieval Studies, 1976 Pontifical Institute of Medieval Studies (Toronto): M.S.L. (Medieval Studies Licentiate), 1978 University of Michigan: A.B.1974: double major in French & Medieval/Renaissance Studies University of Exeter (England): Fulbright Scholar, 1978/79 Université d'Aix-Marseille (France): Exchange Student, Study Abroad, 1972/73 GRANTS AND FELLOWSHIPS: International Conference Travel Grant, Fordham University (Summer 2020) Fletcher Jones Foundation Fellow, The Huntington Library (Jan.-March, 2017) Visiting Scholar Fellowship, École des Hautes Études en Sciences Sociales, Paris (June 2016) Joy Foundation Fellow, Radcliffe Institute for Advanced Study, Harvard University, 2015/16 Huntington Library Andrew W. Mellon Short-Term Fellowship (2010-11, 2015/16 declined) American-Scandinavian Foundation Grant for Medieval Studies conference (2010) Delmas Fellowship, National Humanities Center, North Carolina (2005/06) Guggenheim Foundation Fellowship (2001/02) Fellowship, Institute for Advanced Study, Princeton (2001) Fellowship, National Humanities Center, North Carolina (2001/02, declined) Fellowship, Shelby Cullom Davis Center, Princeton University (1998) Fordham University
The Battle Speeches of Henry V

The Battle Speeches of Henry V Anne Curry University qfSouthampton In the attack on Constantinople in 1204, when Peter of Amiens saw Murzurphlus spurring his horse towards him, he shouted to his followers Now lords, stand firm' We will have a fight on our hands: see the emperor is coming. Take care that there is no one so bold as to run away. But now resolve to stand firm,l Such scenes arc commonplace in medieval chronicles. As Bllese observed, chroniclers wrote hundreds of battle orations. harangues to the knights before or during combat, that show in detail the kinds of motive appeals the chroniclers believed would be most effective in building morale.' . One of the most famous battle speeches of all must be that of Henry V at Agincourt, well known not from its chronicle versions but from the stirring words of Shakespeare.' Shapiro has alerted us to Shakespeare's use of expressions he heard in daily life as well as those he read in the printed histories which informed his works. In the case of the battle speech, Shapiro detects the influence ofa sermon delivered to the royal court on Ash Wednesday 1599 by Lancelot Anclrewes. 4 The theme was war, the context the preparations for the expedition of the earl of Essex to Ireland. Andrewes' 'thumping reiteration of "this time" and "this day''', Shapiro argues, inspired Shakespeares similarly repeated emphasis on 'St Crispin's day'. Shakespearean scholars have detected other influences on the composition of the speech, ranging from popular sayings,' to biblical passages,6 to accounts of other battles in the histories of Hall and Holinshed.' But Henry V's battle speech has a much longer pedigree which can be traced back to the earliest chronicle narratives of the battle.
Henry V Template

OHIO SHAKESPEARE FESTIVAL KING HENRY V AUGUST 2015 HISTORICAL CONTEXT QUIZZES & VOCAB ACTOR INSIGHTS READ ABOUT THE TRUE STORY OF FIND PRINTABLE QUOTES QUIZ OSF ACTORS SPEAK ABOUT THEIR HENRY V, THEN COMPARE IT TO THE (WITH TEACHER’S KEY) AND A CHARACTERS COMING ALIVE TAKE SHAKESPEARE CHOOSES TO VOCABULARY LIST WITH THROUGH SHAKESPEARE’S TEXT. TELL. DEFINITIONS. KING HENRY V Historical Context Henry Bolingbroke was king, King Henry IV, first king of the line of Lancaster. His claim to the throne was hotly contested, with powerful noble families “We few, we happy believing that Lord Mortimer, who Richard II named as his heir before his few, we band of death, was the rightful king. The Percy’s, led by Harry ‘Hotspur’ Percy, raised an brothers…” army against Henry IV, meeting him in the famed battle of Shrewsbury. Here, !1 OHIO SHAKESPEARE FESTIVAL KING HENRY V AUGUST 2015 Henry Bolingbroke’s son, Henry of Monmouth (the future Henry V), played a pivotal role in securing victory for the king and crushing O! the Percy rebellion. Henry of Monmouth continued to show his battlefield prowess by quelling a Welsh rebellion led by the mighty for a Muse of Owain Glydwr. fire, that would With the kingdom secured in the year 1408 and the king in ill health, Henry of Monmouth sought a more active role in politics. ascend the The king’s illness gave Henry political control over the country, leaving him free to enact his own policies. These policies differed brightest heaven much from those of the king, who, in 1411 after a recovery from his illness, dismissed Henry from the court and reversed many of his of invention! policies.
Henry V Play Guide

Henry V photo: Charles Gorrill by William Shakespeare Theatre Pro Rata November 5-20, 2016 Performing at The Crane Theater 2303 Kennedy St NE, Minneapolis The play Henry V is part of a series of eight plays that covers a critical time in English history: from the reign of Richard II to the death of Richard III and the ascension to the throne of Henry Tudor (Henry VII), the grandfather of Queen Elizabeth. The first four play sequence, Henry VI, parts 1, 2, and 3, and Richard III (1589- 94) were great hits when first produced, and were certainly part of the impetus for the second four play sequence chronicling the “back story” of the first (Richard II, Henry IV, parts 1 and 2, and Henry V). The first source to mention Shakespeare, Greene’s Groats-worth of Wit, was published in 1592, and parodies a line from Henry VI, part 3. Shakespeare based his work on history written by Raphael Holinshed (who drew on earlier work by Edward Hall); but these histories were those of the victors, so not all the information was accurate. Later historians have corrected information from Hall and Holinshed that was often as much mythology as history. Critical facts about Henry V that are reflected in the play: Born: summer 1386; died 31 August 1422 Ascended to the throne: 20 March 1413 Victory at Agincourt: 25 October 1415 He was the first king of England to grow up speaking and writing fluently in English; previous kings spoke either French or Saxon. The play was originally written/produced in 1599, and played at the court of King James 1 on January 7, 1605.