DOCSLIB.ORG

Revisiting the Monument Fifty Years Since Panofsky’S Tomb Sculpture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Revisiting the Monument Fifty Years Since Panofsky’S Tomb Sculpture REVISITING THE MONUMENT FIFTY YEARS SINCE PANOFSKY’S TOMB SCULPTURE EDITED BY ANN ADAMS JESSICA BARKER Revisiting The Monument: Fifty Years since Panofsky’s Tomb Sculpture Edited by Ann Adams and Jessica Barker With contributions by: Ann Adams Jessica Barker James Alexander Cameron Martha Dunkelman Shirin Fozi Sanne Frequin Robert Marcoux Susie Nash Geoffrey Nuttall Luca Palozzi Matthew Reeves Kim Woods Series Editor: Alixe Bovey Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Somerset House, Strand, London WC2R 0RN © 2016, The Courtauld Institute of Art, London. ISBN: 978-1-907485-06-0 Courtauld Books Online Advisory Board: Paul Binski (University of Cambridge) Thomas Crow (Institute of Fine Arts) Michael Ann Holly (Sterling and Francine Clark Art Institute) Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact [email protected] All chapters of this book are available for download at courtauld.ac.uk/research/courtauld-books-online Every effort has been made to contact the copyright holders of images reproduced in this publication. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. All rights reserved. Cover Image: Detail of tomb of Jacopo de Carrara © Luca Palozzi. CONTENTS List of Illustrations 5 Notes on Contributors 8 Acknowledgements 10 Introduction 11 JESSICA BARKER Erwin Panofsky’s Tomb Sculpture: Creating the Monument 16 SUSIE NASH I. REASSESSING PANOFSKY From the ‘Pictorial’ to the ‘Statuesque’: Two Romanesque 30 Effigies and the Problem of Plastic Form. SHIRIN FOZI Memory, Presence and the Medieval Tomb 49 ROBERT MARCOUX Panofsky's Tomb Sculpture and the Development of the Early 68 Renaissance Floor Tomb: The Tomb Slab of Lorenzo Trenta by Jacopo della Quercia Reappraised. GEOFFREY NUTTALL II. MONUMENTS AND THEIR VIEWERS Petrarch and Memorial Art: Blurring the Borders between 89 Art Theory and Art Practice in Trecento Italy LUCA PALOZZI Stone and Bone: The Corpse, the Effigy and the Viewer in 113 Late-Medieval Tomb Sculpture JESSICA BARKER Competing for Dextro Cornu Magnum Altaris: Funerary 137 Monuments and Liturgical Seating in English Churches JAMES ALEXANDER CAMERON III. MONUMENTS AND MATERIALS Panofsky: Materials and Condition 155 KIM WOODS Revealed/Concealed: Monumental Brasses on Tomb Chests— 160 The Examples of John I, Duke of Cleves, and Catherine of Bourbon ANN ADAMS Veiling and Unveiling: The Materiality of the Tomb of 184 John I of Avesnes and Philippa of Luxembourg in the Franciscan church of Valenciennes SANNE FREQUIN ‘Nostre sépulture et derrenière maison’: A Reconsideration of the 201 Tomb of Jean de Berry for the Sainte-Chapelle at Bourges, its Inception, Revision and Reconstruction MATTHEW REEVES Deconstructing Donatello and Michelozzo’s Brancacci Tomb 226 MARTHA DUNKELMAN Bibliography 240 Photograph Credits 257 CHAPTER 11 'NOSTRE SÉPULTURE ET DERRENIÈRE MAISON': A RECONSIDERATION OF THE TOMB OF JOHN, DUKE OF BERRY, FOR THE SAINTE-CHAPELLE AT BOURGES, ITS INCEPTION, REVISION, AND RECONSTRUCTION MATTHEW REEVES As part of his wide-reaching 1964 study Tomb Sculpture, Erwin Panofsky attempted to 11.1 Jean de Cambrai, reconstruct what he saw as a distinctive ‘Northern’ temperament, which shaped the fash- Tomb effigy of Jean de ions and conventions of medieval funerary sculpture in France and the Low Countries. He Berry on black marble tomb-slab (c.1410, with suggested that gothic tombs carved in these regions were both ‘literal’ and ‘prospective’, c.1450 additions). placing the identity and personage of the deceased ‘in the center of a more or less complex Marble, effigy narrative’ concerning personal salvation.1 His reading is particularly apt for our percep- dimensions including the bear 205 x 65 x tion of the visual and spiritual agencies invested in the marble effigy of the Valois prince 35 cm. ‘Height’ of the John, Duke of Berry (1340-1416), which is today preserved in a vandalised but remarkably duke alone 177 cm, Bourges, Cathedral of intact state in the crypt of Bourges cathedral (figs 11.1-11.3). Berry’s life and patronage Saint Etienne. are the subjects of extensive study, but curiously the artistic and patronal decisions that MATTHEW REEVES | A RECONSIDERATION OF THE TOMB OF JOHN, DUKE OF BERRY 202 informed the design of his tomb continue to be overlooked.2 Indeed, Panofsky’s own survey touched upon the tombs of the Duke’s brothers, Charles V and Philip the Bold, as well as stylistically related sepulchral monuments made for the Bourbon dukes at Souvigny, but omitted any discussion of Berry’s tomb, and his tendency towards creating what Georges Didi-Huberman has described as a ‘deductive synthesis’ leaves many of its key features, which are highly atypical in the context of French tomb statuary, unexplained.3 The prob- lem was implicit in the scope of Panofsky’s lectures, which could not fully explore specific questions relating to the contexts, visibility and audience(s) of individual tombs, or their physical and material properties, including the role of applied and painted decoration (a stance also made emphatic through the 1964 publication’s blanket use of black and white photography).4 Nevertheless, Panofsky’s succinct highlighting of what he saw as some of the paradoxes inherent to northern European funerary portraiture in the later Middle Ages have tremendous importance for the present study: the blending of a certain truth to nature with idealism is interpreted as an attempt to bridge the gap between the existence of the individual on earth and their existence in heaven; and the depiction of the deceased body is entwined with the suggestion of a simultaneous readiness for the afterlife—open eyes become symbolic of a prepared soul, rather than a miraculously awakened corpse.5 Such notions will be considered here as having a crucial bearing on the Berry tomb, carved as we shall see, for a patron fully conversant with themes of life and death and highly re- ceptive to the nuances of their visual and linguistic representation. In studies undertaken since Panofsky, his charting of the rise of ‘realism’ and ‘natural- ism’ in medieval tomb sculpture has been critically re-analysed, and they are now recog- nised as problematic and heavily-loaded terms with regards to late-medieval portraiture.6 Naturalism will be discussed here as a device employed amongst others in a wider system of representation, and in combination with the realities of the Duke’s ceremonial and com- memorative wishes, to ratify the spiritual agencies of the tomb for a carefully defined con- temporary audience. Looking more closely at its surviving fragments, and with particular focus on its effigy, carved under his patronage during the first period of the project, this chapter will address how Berry sought to craft in this most personal of commissions a highly complex, dualistic identity. Although hampered by its state of incompletion upon the death of its debt-ridden patron (to be finished by his grand-nephew over thirty years Following page: later), as well as its subsequent relocation, destruction, and dispersal, Berry’s tomb will be re-presented as a carefully structured conduit for the Duke’s spiritual, social, and cultural 11.2 Jean de Cambrai, ambitions, and one of astonishing beauty and immediacy. This chapter will also touch Tomb effigy of Jean de upon the various reconstructions attempted after its relocation to Bourges cathedral and, Berry, detail. with reference to other aspects of the Duke’s commemorative patronage, will analyse the 11.3 Jean de Cambrai monument as part of personal, social and political performances, and consider how these Tomb effigy of Jean de changed with the completion of the project over the course of the fifteenth century. Berry, detail. MATTHEW REEVES | A RECONSIDERATION OF THE TOMB OF JOHN, DUKE OF BERRY 203 MATTHEW REEVES | A RECONSIDERATION OF THE TOMB OF JOHN, DUKE OF BERRY 204 THE DUKE OF BERRY’S DEATH AND THE SEARCH FOR A SEPULCHRAL SITE On the afternoon of 15 June 1416 John, Duke of Berry, aged 76, died in his Parisian chateau the Hôtel de Nesle.7 That evening, in the presence of John’s household and physi- cians, the master surgeon André Martin embalmed his corpse. Separating the entrails and heart from the body, he treated each with honey, mastic, spices, flour, and other preserv- ing and perfuming agents, before the heart was taken to the royal mausoleum of Saint- Denis, and the entrails to the Duke’s parish church of Saint-André-des-Arcs close to the Hôtel.8 Shrouded in black serge and surrounded by candles, the body lay in the grande salle until the evening of 19 June, while 200 prayers were said for the Duke’s soul. Then, accompanied by the Duke’s staff, representatives of the four mendicant orders of Paris, the Archbishop of Bourges, and other notables dressed in black mourning robes, the body was transported to the nearby church of the Augustins. Following funerary convention reserved for the nobility, it was placed on a catafalque in the choir, within a coffin draped with fur-trimmed black cloth, and a double-weight pall of blue, red and gold, representing the arms of the Duke.9 On Saturday 20 June, after 152 further prayers, Berry’s coffin was carried on a lavishly-decorated hearse to the churches of Étampes, Toury, Chaumont-en- Sologne and Vierzon, and on to his chateau at Mehun-sur-Yèvre, before arriving at the cathedral of Saint Etienne in Bourges, 200 km south of Paris, on the evening of Saturday 27th.
Load more

Recommended publications
  • Embodiment and Devotion in the Très Riches Heures (Or, the Possibilities of a Post-Theoretical Art History)
    John Carroll University Carroll Collected 2020 Faculty Bibliography Faculty Bibliographies Community Homepage 2020 Embodiment and Devotion in the Très Riches Heures (or, the Possibilities of a Post-Theoretical Art History) Gerald B. Guest Follow this and additional works at: https://collected.jcu.edu/fac_bib_2020 Part of the History of Art, Architecture, and Archaeology Commons Embodiment and Devotion in the Très Riches Heures ​ (or, the Possibilities of a Post-Theoretical Art History) Gerald B. Guest, John Carroll University ​ Recommended Citation: Gerald B. Guest, “Embodiment and Devotion in the Très Riches Heures ​ ​ (or, the Possibilities of a Post-Theoretical Art History),” Different Visions: New Perspectives on Medieval ​ Art 6 (2020): 1-16. ​ Introduction likely created with the express intention of stimulating the Duke’s desires in multiple This article seeks to further our under- and even contradictory ways. standing of the Très Riches Heures as both a ​ devotional manuscript and as a work of art through an extended consideration of one of its key images, the Fall of Humanity (Fig. 1). I will be especially concerned in this analysis with the ways in which the book’s patron, Jean, duc de Berry (died 1416), might have experienced the manuscript if he had lived to see its completion. In nego- tiating what I see as a tension between the book’s devotional concerns and its aesthet- ics, I will argue for an approach that I characterize here as post-theoretical. It will take the full space of this article to explain what that term means and how it might be applied to a work of art from the late Middle Ages.
    [Show full text]
  • Très Riches Heures Du Duc De Berry 1 Très Riches Heures Du Duc De Berry
    Très Riches Heures du Duc de Berry 1 Très Riches Heures du Duc de Berry The Très Riches Heures du Duc de Berry or simply the Très Riches Heures (The Very Rich Hours of the Duke of Berry) is a richly decorated Book of Hours (containing prayers to be said by the lay faithful at each of the canonical hours of the day) commissioned by John, Duke of Berry, around 1410. It is probably the most important illuminated manuscript of the 15th century, "le roi des manuscrits enluminés" ("the king of illuminated manuscripts"). The Très Riches Heures consists of 416 pages, including 131 with large miniatures and many more with border decorations or historiated initials, that are among the high points of International Gothic painting in spite of their small size. There are 300 decorated capital letters. The book was worked on, over a period of nearly a century, in three main campaigns, led by the Limbourg brothers, Barthélemy van Eyck, and Jean Colombe. The book is now Ms. 65 in the Musée Condé, Chantilly, France. The Limbourg brothers used very fine brushes, and expensive paints to make the paintings. Calendar A generalized calendar (not specific to any year) of church Page from the calendar of the Très Riches Heures showing Jean, feasts and saints' days, often illuminated, is a usual part of Duc de Berry's household exchanging New Year gifts. The Duke a book of hours, but the illustrations of the months in the is seated at the right, in blue. Très Riches Heures are exceptional and innovative in their scope, and the best known element of the decoration of the manuscript.
    [Show full text]
  • Performance Research Tissue to Text: Ars Moriendi and the Theatre
    This article was downloaded by: [Swansea Metropolitan University] On: 10 May 2010 Access details: Access Details: [subscription number 917209572] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37- 41 Mortimer Street, London W1T 3JH, UK Performance Research Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t716100720 Tissue to Text: Ars moriendi and the theatre of anatomy Karen Ingham Online publication date: 06 May 2010 To cite this Article Ingham, Karen(2010) 'Tissue to Text: Ars moriendi and the theatre of anatomy', Performance Research, 15: 1, 48 — 57 To link to this Article: DOI: 10.1080/13528165.2010.485763 URL: http://dx.doi.org/10.1080/13528165.2010.485763 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material.
    [Show full text]
  • Of a Princely Court in the Burgundian Netherlands, 1467-1503 Jun
    Court in the Market: The ‘Business’ of a Princely Court in the Burgundian Netherlands, 1467-1503 Jun Hee Cho Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Jun Hee Cho All rights reserved ABSTRACT Court in the Market: The ‘Business’ of a Princely Court in the Burgundian Netherlands, 1467-1503 Jun Hee Cho This dissertation examines the relations between court and commerce in Europe at the onset of the modern era. Focusing on one of the most powerful princely courts of the period, the court of Charles the Bold, duke of Burgundy, which ruled over one of the most advanced economic regions in Europe, the greater Low Countries, it argues that the Burgundian court was, both in its institutional operations and its cultural aspirations, a commercial enterprise. Based primarily on fiscal accounts, corroborated with court correspondence, municipal records, official chronicles, and contemporary literary sources, this dissertation argues that the court was fully engaged in the commercial economy and furthermore that the culture of the court, in enacting the ideals of a largely imaginary feudal past, was also presenting the ideals of a commercial future. It uncovers courtiers who, despite their low rank yet because of their market expertise, were close to the duke and in charge of acquiring and maintaining the material goods that made possible the pageants and ceremonies so central to the self- representation of the Burgundian court. It exposes the wider network of court officials, urban merchants and artisans who, tied by marriage and business relationships, together produced and managed the ducal liveries, jewelries, tapestries and finances that realized the splendor of the court.
    [Show full text]
  • Masters' Thesis Abstract and Table of Contents
    Céline Cachaud Masters’ Thesis (2017) École Pratique des Hautes Études (Paris) Pr. Sabine Frommel (dir.) Nicholas Hilliard’s trip to France (1576-1579) and its consequences on his work A holistic approach This thesis is the result of more than two years of research. It is a two-parts research with a study of 167 pages and a comprehensive catalogue of Nicholas Hilliard’s work, the first in French, of 273 numbers. The study is currently only available in French. The study Nicholas Hilliard’s trip to France has regularly been boiled down to a no-consequence phase of his career by most of the specialists and scholars. However, sources and preserved works of art tell us another story : this period was indeed prolific and meaningful for the rest of his life. Although very few works of art are kept, circa twenty compared with the more than 200 authentic and attributed pieces, they are proofs of the plurality of his artistic production and the signs of the apex of his career thanks to the protection of the Valois court and most notably, thanks to the patronage of the French king’s brother, the duke of Alençon. Main issue Through the renewed analysis of the available and discovered archival and iconographical sources, this thesis had for main issue to discuss the consequences of Hilliard’s stay in France and the importance of it. To a lesser extent, it also questions Hilliard’s part in the renewal of portrait miniatures production in France in the late sixteenth century. ABSTRACT AND CONTENTS !1 Method : Our intentional holistic approach aimed at analyzing Hilliard’s trip to Paris in a global way, questioning on both Hilliard’s artistic career and human path into French society.
    [Show full text]
  • Modern Teachers of Ars Moriendi
    religions Article Modern Teachers of Ars moriendi Agnieszka Janiak 1 and Marcin Gierczyk 2,* 1 Department of Media and Communication, University of Lower Silesia, 53-611 Wrocław, Poland; [email protected] 2 Faculty of Social Sciences, Institute of Pedagogy, University of Silesia in Katowice, 40-007 Katowice, Poland * Correspondence: [email protected] Abstract: It is evident that a change is happening, a breakthrough, in perceptions of death; the next episode is being unveiled. After the stages Philippe Aries named death of the tame and then death of the wild, people today are finally experiencing the humanizing of death, which we call sharing death, whose influence is worth deep analysis. Our hypothesis is that today, Ars moriendi, meeting the needs of the dying, may be learned from the so-called death teachers, whose message is growing noticeably in society. This research shows a certain reversal of social roles that are worth noting and accepting. In the past, a priest was a guide and a teacher in the face of dying and death; today, he has the opportunity to learn Ars moriendi from contemporary teachers of dying, to imagine an empty chair standing by a dying person. Keywords: priest; Ars moriendi; sharing death; death teacher 1. Introduction One of religion’s fundamental functions is the existential one. Each religious system Citation: Janiak, Agnieszka, and facilitates facing existential dilemmas and provides tools to deal with the most incompre- Marcin Gierczyk. 2021. Modern Teachers of Ars moriendi. Religions 12: hensible and tragic aspects of human existence. J.M. Yinger, the American psychologist of 695.
    [Show full text]
  • Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels Between English Poetry and the Visual Arts Roberta Aronson
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 1-1-2003 Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts Roberta Aronson Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Aronson, R. (2003). Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/11 This Worldwide Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts A Dissertation Presented to the Faculty of the McAnulty College and Graduate School of Liberal Arts Duquesne University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Roberta Chivers Aronson October 1, 2003 @Copyright by Roberta Chivers Aronson, 2003 ACKNOWLEDGEMENTS I would like to extend my appreciation to my many colleagues and family members whose collective support and inspiration underlie all that I do: • To my Provost, Dr. Ralph Pearson, for his kind professional encouragement, • To my Dean, Dr. Connie Ramirez, who creates a truly collegial and supportive academic environment, • To my Director, Dr. Albert C. Labriola, for his intellectual generosity and guidance; to Dr. Bernard Beranek for his enthusiasm and thoughtful conversation; and to Dr.
    [Show full text]
  • Study of the Burgundian Chanson As a Source of Material for the High School Vocal Ensemble
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1968 Study of the Burgundian chanson as a source of material for the high school vocal ensemble Franklin Paul Halpin The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Halpin, Franklin Paul, "Study of the Burgundian chanson as a source of material for the high school vocal ensemble" (1968). Graduate Student Theses, Dissertations, & Professional Papers. 3737. https://scholarworks.umt.edu/etd/3737 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. /Y/ A STUDY OP THE BUHGUHDIAN CHANSON AS A SOURCE OP MATERIAU POR THE HIGH SCEOCU VOCAU ENSEMBLE by P. EAUU HAEPIN B. A, Idaho State University, 1953 ■resented in partial fulfillment of the requirements for the degree of Master of Music Education 1968 Approved by: September 13, 1 9 ^ 8 Date UMI Number: EP35336 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.
    [Show full text]
  • Fashionable Mourners: Bronze Statuettes from the Rijksmuseum
    Fashionable Mourners: Bronze Statuettes from the Rijksmuseum by Amanda Mikolic, Curatorial Assistant Cleveland’s celebrated early fifteenth-century alabaster tomb Figure 1. Mourners mourners are part of a major exhibition at the renowned from the Tomb of Philip the Bold, Rijksmuseum in Amsterdam this fall (fig. 1). In exchange, the Duke of Burgundy (r. Cleveland Museum of Art has the rare opportunity to exhibit 1363–1404), 1404–10. Claus de Werve four bronze mourners—traveling to North America for the (Netherlandish, first time—from the tomb of Isabella of Bourbon (1436–1465) 1380–1439). Vizille ala- (fig. 2). The original carvings are attributed to Jan Borman the baster; avg. h. 41.4 cm. The Cleveland Museum Younger and the casting attributed to Renier van Thienen. of Art, Bequest of Leonard C. Hanna Jr., 1940.128, 1958.66–67. Figure 2. Mourners from the Tomb of Isabella of Bourbon, c. 1475–76. Attributed to Jan Borman the Younger (Netherlandish, active 1479–1520); casting at- tributed to Renier van Thienen (Flemish, ac- tive 1460–1541). Brass copper alloy; avg. h. 56 cm. On loan from the City of Amsterdam, BK-AM-33-B, I, D, F. 2 3 Figure 3. Portrait of for overseeing the construction of Isabella’s tomb in addition to Isabella of Bourbon, c. casting the bronze mourners from wooden models attributed 1500. After Rogier van der Weyden (Flemish, to carver Jan Borman, who often worked with Van Thienen and c. 1399–1464). Musée was known in Brussels as a master of figural sculpture. des Beaux-Arts, Dijon, France.
    [Show full text]
  • Developing an Ars Moriendi (The Art of Dying) for the 21 Century
    Developing an Ars Moriendi (The Art of Dying) for the 21st Century Study Leave Project for the Kaimai Presbytery August to September 2018 By Rev Donald Hegan Dedication Dedicated to the memory of a dear friend and mentor Pastor Jim Hurn. What sweet fellowship I enjoyed with you and your lovey wife Kaye in your dying days. Jim was determined to commit his dying days into the hands of a living and loving God. He trusted that God would take him on his last great journey. For Jim death was not the opposite of life but just the anaesthetic that God used to change his body. Please be there to greet me at those “Pearly Gates” my dear friend. Rest in Peace. Index I. Introduction page 1-2 1.Let us speak of Death pages 3-9 2.Current Attitudes towards Death pages 10-21 3.Portraits of a Good Death from Scripture and History pages 22-37 4.Developing a Healthy View of Death/ Memento Mori pages 38-42 5.The Churches Traditional Response to Death and Dying pages 43-51 6.Current Societal Trends in Death and Dying pages 52-64 II. Adieu page 65 III. Appendices 1. Short Stories page 66-68 2. Web Resources Worthy of Note page 69 3. Last Rites pages 70-71 4. Printed Resources -Christian Reflection, A series in Faith and Ethics, Study Guides for Death pages 72-93 -My Future Care Plan pages 94-103 IV. Bibliography pages 104-108 Introduction My first encounter with death was when I was eight years old.
    [Show full text]
  • Prolegomena to Pastels & Pastellists
    Prolegomena to Pastels & pastellists NEIL JEFFARES Prolegomena to Pastels & pastellists Published online from 2016 Citation: http://www.pastellists.com/misc/prolegomena.pdf, updated 10 August 2021 www.pastellists.com – © Neil Jeffares – all rights reserved 1 updated 10 August 2021 Prolegomena to Pastels & pastellists www.pastellists.com – © Neil Jeffares – all rights reserved 2 updated 10 August 2021 Prolegomena to Pastels & pastellists CONTENTS I. FOREWORD 5 II. THE WORD 7 III. TREATISES 11 IV. THE OBJECT 14 V. CONSERVATION AND TRANSPORT TODAY 51 VI. PASTELLISTS AT WORK 71 VII. THE INSTITUTIONS 80 VIII. EARLY EXHIBITIONS, PATRONAGE AND COLLECTIONS 94 IX. THE SOCIAL FUNCTION OF PASTEL PORTRAITS 101 X. NON-PORTRAIT SUBJECTS 109 XI. PRICES AND PAYMENT 110 XII. COLLECTING AND CRITICAL FORTUNE POST 1800 114 XIII. PRICES POST 1800 125 XIV. HISTORICO-GEOGRAPHICAL SURVEY 128 www.pastellists.com – © Neil Jeffares – all rights reserved 3 updated 10 August 2021 Prolegomena to Pastels & pastellists I. FOREWORD ASTEL IS IN ESSENCE powdered colour rubbed into paper without a liquid vehicle – a process succinctly described in 1760 by the French amateur engraver Claude-Henri Watelet (himself the subject of a portrait by La Tour): P Les crayons mis en poudre imitent les couleurs, Que dans un teint parfait offre l’éclat des fleurs. Sans pinceau le doigt seul place et fond chaque teinte; Le duvet du papier en conserve l’empreinte; Un crystal la défend; ainsi, de la beauté Le Pastel a l’éclat et la fragilité.1 It is at once line and colour – a sort of synthesis of the traditional opposition that had been debated vigorously by theoreticians such as Roger de Piles in the previous century.
    [Show full text]
  • Introduction: Traveling to Meet the Dead
    Notes Introduction: Traveling to meet the Dead 1. See Woodbridge on the background for Godwin’s thought: “the Reformation’s desire not to speak with the dead [manifested by its destruction of old churches and funeral monuments] was a profoundly antihistorical moment .... If the dead make up the original imagined community ... Renaissance Europe founded a living imagined community, the nation, on the desecrated graves of a dead medieval community” (599). Aware of what had been lost, many thinkers of the Romantic era took special interest in the dead of pre-Reformation times. 2. As Godwin surely knew, agitators in France had decided to clear all of Paris’s ancient burying-grounds, effectively erasing “the human debris of the ancien régime” (Brooks 7). 3. Notable critics have written on “romantic death”—the effort to rescue indi- vidual death from the anonymity of mass carnage. See Kelly’s introduction to Felicia Hemans (26–28). For representative images of the apocalyptic floods, see Hemans’s “A Thought of the Sea,” the famous inundation of Wordsworth’s Prelude V, or any of myriad complaints about the “deluge of print.” 4. A comparable account from the period’s fiction appears in Mary Lamb’s Mrs. Leicester’s School: “I was born in the parsonage-house, which joins the church- yard. The first thing I can remember was my father teaching me the alphabet from the letters on a tombstone that stood at the head of my mother’s grave. ... in this manner, the epitaph on my mother’s tomb being my primmer and my spelling-book, I learned to read” (9–10).
    [Show full text]