Brandeston and Kettleburgh Parish News December 2017
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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. -
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 -
Tna Prob 11/48/27
THE NATIONAL ARCHIVES PROB 11/48/27 1 ________________________________________________________________________ SUMMARY: The document below is the Prerogative Court of Canterbury copy of the will, dated 17 November 1564 and proved 29 January 1565, of Lord John Grey (d. 19 November 1564) of Pyrgo (in Havering), Essex, whose daughter, Frances Grey (d.1608), married William Cooke (d. 14 May 1589), esquire, son of Sir Anthony Cooke (1505 – 11 June 1576), and brother of Oxford’s mother-in-law, Mildred (nee Cooke) Cecil (1526- 1589), Lady Burghley. OXFORD AND THE GREY FAMILY Oxford complained of the behaviour of the testator’s grandson, Sir John Grey (buried 7 October 1611), in a letter to King James dated 30 January 1604 (see ERO D/DMh C1): Seeing that it hath pleased your Majesty of your most gracious inclination to justice & right to restore me to be keeper of your game as well in your Forest of Waltham as also in Havering Park, I can do no less in duty and love to your Majesty but employ myself in the execution thereof, and to the end you might the better know in what sort both the forest & the park have been abused, and yet continued, as well in destroying of the deer as in spoiling of your demesne wood by such as have patents & had licences heretofore for felling of timber in the Queen's time lately deceased, presuming thereby that they may do what they list, I was bold to send unto your Majesty a man skilful, learned & experienced in forest causes, who being a dweller and eye-witness thereof might inform you of the truth. -
Image and Influence: the Political Uses of Music at the Court of Elizabeth I
Image and Influence: The Political Uses of Music at the Court of Elizabeth I Katherine Anne Butler Royal Holloway, University of London Submitted for the Degree of Doctor of Philosophy Acknowledgements With thanks to all the people who supported me throughout my research, especially: My supervisor, Stephen Rose, My advisors, Elizabeth Eva Leach and Anna Whitelock, The Arts and Humanities Research Council for funding this research, Royal Holloway Music Department for conference grants, My proofreaders, Holly Winterton, Sarah Beal, Janet McKnight and my Mum, My parents and my fiancé, Chris Wedge, for moral support and encouragement. Declaration of Authorship I, Katherine Butler, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Abstract In their Cantiones sacrae (1575), court musicians William Byrd and Thomas Tallis declared that ‘music is indispensable to the state’ (necessarium reipub.). Yet although the relationship between Elizabethan politics and literature has been studied often, there has been little research into the political functions of music. Most accounts of court music consist of documentary research into the personnel, institutions and performance occasions, and generally assume that music’s functions were limited to entertainment and displays of magnificence. However, Elizabethans believed that musical concord promoted a social harmony that would ease the process of government; hence politics and music were seen as closely connected. This thesis is an interdisciplinary investigation into the role of music in constructing royal and courtly identities and influencing Elizabeth’s policies and patronage. -
President's View
Page 1 SeniorNet Association Inc. February 2021 “Seniors helping seniors use computers and the internet” SeniorNet Association Inc. PO Box 559 Booval Qld 4304 Tel: (07) 3812 5034 www.seniornet.com.au On Other Pages New Committee page 2 President’s View Tech Talk page 3 This being our first newsletter for 2021 and also my first as your new Potty History page 5 President, I would like to take this opportunity to wish you and your Humour page 6 families a Happy New Year. Further Information page 6 We welcome this new year with a fair amount of trepidation as this wretched virus continues to dominate our lives. Are the new vaccines going to live up to expectations? But, in the middle of all this, there is Social Events “hope” and “resilience”. According to Wikipedia, “Hope” is “an optimistic state of mind that is based on an expectation of positive outcomes with respect to events and circumstances in one's life or the world at large”. When you watch world events and in particular how the pandemic is affecting some countries, we do have good reasons to be very hopeful and grateful in Australia. Following on our very well attended AGM and Christmas lunch last De- Lunches cember, I believe that we, the SeniorNet community, will continue to February provide hope and positive outcomes for our members. This happens Grand Hotel Yamanto thanks to the selfless commitment of the many trainers, your Manage- th Friday 19 @12. Meals $17 (seniors) ment Committee and the many volunteers who have once again March stepped up to deliver interesting courses and social activities. -
The Purpose of This Thesis Is to Trace Lady Katherine Grey's Family from Princess Mary Tudor to Algernon Seymour a Threefold A
ABSTRACT THE FAMILY OF LADY KATHERINE GREY 1509-1750 by Nancy Louise Ferrand The purpose of this thesis is to trace Lady Katherine Grey‘s family from Princess Mary Tudor to Algernon Seymour and to discuss aspects of their relationship toward the hereditary descent of the English crown. A threefold approach was employed: an examination of their personalities and careers, an investigation of their relationship to the succession problem. and an attempt to draw those elements together and to evaluate their importance in regard to the succession of the crown. The State Papers. chronicles. diaries, and the foreign correspondence of ambassadors constituted the most important sources drawn upon in this study. The study revealed that. according to English tradition, no woman from the royal family could marry a foreign prince and expect her descendants to claim the crown. Henry VIII realized this point when he excluded his sister Margaret from his will, as she had married James IV of Scotland and the Earl of Angus. At the same time he designated that the children of his younger sister Mary Nancy Louise Ferrand should inherit the crown if he left no heirs. Thus, legally had there been strong sentiment expressed for any of Katherine Grey's sons or descendants, they, instead of the Stuarts. could possibly have become Kings of England upon the basis of Henry VIII's and Edward VI's wills. That they were English rather than Scotch also enhanced their claims. THE FAMILY OF LADY KATHERINE GREY 1509-1750 BY Nancy Louise Ferrand A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of History 1964 ACKNOWLEDGMENTS I am indebted to Dr. -
The Tudor Dwarf Princess
The Tudor dwarf princess At the Prime Minister’s country residence at Chequers, scribbles on the walls of the 12-foot prison room bear testimony to the dreary misery of the woman Elizabeth I had kept there: an heir to the throne, a potential English queen, now buried in obscurity. If Lady Mary Grey is recalled today, it is as a historical footnote. She was the dwarf who married a giant, the curious youngest sister of the famous nine days queen Lady Jane Grey. But Mary was a more significant figure than her stature in the literature suggests. And my discovery of lost manuscripts has helped me lay to rest a Tudor mystery. I am the historian Leanda de Lisle, uncovering the Tudors and Stuarts behind the myths For centuries, no one has known what Queen Elizabeth did with poor Mary Grey’s body, but the lost manuscripts have revealed where this remarkable woman was laid to rest. When Elizabeth became Queen in 1558, Mary Grey followed her sister Katherine, the second of three Grey girls, in line to the throne. This is not, of course, how history remembers it. Mary, Queen of Scots is the cousin we recall as Elizabeth’s heir. But Henry VIII had excluded the Stuart line of his elder sister Margaret from the succession and in their stead placed the heirs of his younger sister, Mary Tudor, Duchess of Suffolk — grandmother of the Greys. If Henry’s will, backed by statute, had not existed, Mary, Queen of Scots would have had the superior right to Elizabeth. -
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’. -
Crown of Blood.Indd
CONTENTS List of Illustrations. ix Genealogical Tables . xi Timeline . xiv Author’s Note . .xvi Introduction . xvii Prologue. xxiii Chapter 1: A Time to be Born and a Time to Die . 1 Chapter 2: Rejoiced All True Hearts . 19 Chapter 3: Anyone More Deserving of Respect . 36 Chapter 4: Th e Imperial Crown. 51 Chapter 5: A Loving and Kind Father. 60 Chapter 6: A Second Court of Right . 69 Chapter 7: Ruled and Framed Towards Virtue . 77 Chapter 8: She Did Never Love Her Aft er . 88 Chapter 9: I Th ink Myself in Hell . 98 Chapter 10: Godly Instruction. 118 Chapter 11: A Comely, Virtuous and Goodly Gentleman . 126 Chapter 12: Th e First Act of a Tragedy . 135 Chapter 13: Long Live the Queen!. 154 Chapter 14: Falsely Styled Queen . 169 Chapter 15: Jana Non Regina . 181 vii CCrownrown ooff BBlood.inddlood.indd vviiii 112/09/20162/09/2016 114:27:114:27:11 CROWN OF BLOOD Chapter 16: Shut Up in the Tower . 190 Chapter 17: Jane of Suff olk Deserved Death . 200 Chapter 18: Justice is an Excellent Virtue. 215 Chapter 19: Fear Not for Any Pain . 230 Chapter 20: Liberty of the Tower. 237 Chapter 21: Th e Permanent Ruin of the Ancient House of Grey 248 Chapter 22: Bound by Indissoluble Ties. 259 Chapter 23: I am Come Hither to Die. 270 Chapter 24: God and Posterity Will Show Me Favour . 280 Epilogue . 291 Appendix 1: Th e Queen Without a Face: Portraits of Lady Jane Grey . 296 Appendix 2: Jane’s Debate with Dr John Feckenham.