DOCSLIB.ORG

Chapel Royal Leaflet Side a | Df4 | 27.07.2011

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chapel Royal Leaflet Side a | Df4 | 27.07.2011 : David Lawrence David : illustration | Guy Brockliss Aukett : design Deputy Priest in Ordinary in Priest Deputy www.chapelroyal.org Canon of Her Majesty’s Chapel Royal Chapel Majesty’s Her of Canon for more information. more for Denis Mulliner Denis website our visit or front of the chapel the of front We hope you enjoy your visit. your enjoy you hope We noticeboard at the at noticeboard Please check the check Please any questions you may have. may you questions any Warders will also be pleased to answer answer to pleased be also will Warders Holy Communion Holy in October 1537. October in 8.30am the Stewards and State Apartment Apartment State and Stewards the Royal Chapel the in baptized was The Chaplain, the Clerk of the Chapel, Chapel, the of Clerk the Chaplain, The Matins son, Prince Edward, Edward, Prince son, 8am King Henry VIII’s VIII’s Henry King by the altar and we will pray for you. for pray will we and altar the by Did you know... you Did welcome to fill out one of the cards cards the of one out fill to welcome Daily services Daily are you for, pray to us like would the south side. south the Choral Evensong Choral If you have a specific need that you you that need specific a have you If on Closet Day Holy Queen’s former 3.30pm Today, daily services are said in the the in said are services daily Today, the palace is closed. is palace the or Choral Matins Choral Anne. Queen for today is it as when or away, is Chaplain the when month & Holy Days) Holy & month it redecorated Wren until Closets, except day, every place take Services (First Sunday of the the of Sunday (First separate rooms, known as Holy Day Day Holy as known rooms, separate Choral Eucharist Choral You are warmly invited to join them! join to invited warmly are You two into divided originally was It 11am year. the of days most place holy and Holy Communion Holy beautiful this visit more many and overlooking the chapel. chapel. the overlooking 8.30am Royal, Chapel the in regularly Queen used to worship in this gallery gallery this in worship to used Queen Hampton Court Palace Court Hampton worship people 400 than More the King and and King the times Tudor From Sunday services Sunday Chapel Royal Chapel Discover the Discover Join us Join Royal Pew Royal Welcome Grand design The Chapel Royal is a part of The magnificent ceiling was made the Ecclesiastical Household of for King Henry VIII in 1535 and 1536 and Her Majesty The Queen. It has is one of the finest examples in England always been an active church in the of a Tudor pendant-vaulted ceiling. Church of England, and its services The ceiling was prefabricated in oak at are traditional, according to the Sonning in Berkshire before being painted Book of Common Prayer. and gilded on site. The bright Tudor Details of services held on Sundays colour scheme was restored in 1847. and Holy Days, and the daily The Royal Motto Dieu et mon Droit services said in the Holy Day Closet, (God and my Right) appears thirty-two are posted outside the chapel. All are Did you know... times, expressing King Henry VIII’s Did you know... welcome to come to these services. The gilded ceiling conviction that the Tudor Dynasty The chapel has been took 2 years to a regular place of The chapel was built in the late 1520s complete and possessed Divine authority. worship for almost by Cardinal Thomas Wolsey on the contains a total 500 years. The letter ‘ ’ is as the Tudors wrote site of a chapel used by the Knights of 60 gilded winged angels. the letter N. Hospitaller from 1236. It was then embellished by Henry VIII, before being restored 150 years later in the English Baroque style by Sir Christopher Wren for William III and Mary II, and Queen Anne. G1157 HCP CHAPEL ROYAL LEAFLET SIDE A | DF4 | 27.07.2011 | DF4 | A SIDE LEAFLET ROYAL CHAPEL HCP G1157 G1157 HCP CHAPEL ROYAL LEAFLET SIDE B | DF4 | 27.07.2011 1 9 Altar-screen Sir Christopher Wren offered Queen Anne two designs for the 10 reredos which was to replace the 1 window above the High Altar. Altar Her choice was carved under the direction of Grinling Gibbons. The Altar beneath the red Laudian ‘throw-over’ frontal 9 was designed by Wren. The Altar Cross is the work Ceiling of Sir Edwin Lutyens to match the pair of 17th century 2 The magnificent Tudor candlesticks given to the 10 ceiling was Henry VIII’s chapel by King Charles II. great contribution to the chapel. 4 When King Henry VIII’s 3 (Read more overleaf). third Queen, Jane Seymour, 3 died in 1537, he commanded Organ that her heart be buried 2 beneath the Altar here. 8 The organ is an early Processional cross 18th century instrument built for Queen Anne in 1711. The cross is Ethiopian, The composer Handel received and was given to the a pension from Queen Anne Chapel Royal in 1969. in that year, and he may have It is made of gilded bronze. �played this organ occasionally. 4 8 Memorial The memorial panels Windows honour those who gave their lives in two World Wars and The windows in the upper who had lived or worked in walls are copies, made in 1894, 5 Hampton Court Palace. of the original Tudor windows. The great stained glass window behind the High Altar was destroyed in the 1640s. Beyond the organ on 7 the south side is a trompe 6 6 l’œil painted window from the 1690s, showing the new Fountain Court designed by Wren. 7 6 5 The walls between the upper windows were King James Bible Royal Arms Font painted for Queen Anne with her Royal Cypher First published in 1611, The heraldic arms of The elaborate font used for AR (Anna Regina) and the King James or Authorised Henry VIII and Jane Seymour Baptisms was brought from a her motto Semper Eadem Version was commissioned by are held up by pairs of angels church built by Sir Christopher (Always the Same), King James 1 at the Hampton on either side of the west door. Wren in the City of London. which had been used Court Conference in 1604 and Chapel Royal These angels were made for by Queen Elizabeth I. is still used in the chapel today. Hampton Court Palace Cardinal Wolsey, but later repainted for the king..
Load more

Recommended publications
  • March 27, 2018 RESTORATION of CAPPONI CHAPEL in CHURCH of SANTA FELICITA in FLORENCE, ITALY, COMPLETED THANKS to SUPPORT FROM
    Media Contact: For additional information, Libby Mark or Heather Meltzer at Bow Bridge Communications, LLC, New York City; +1 347-460-5566; [email protected]. March 27, 2018 RESTORATION OF CAPPONI CHAPEL IN CHURCH OF SANTA FELICITA IN FLORENCE, ITALY, COMPLETED THANKS TO SUPPORT FROM FRIENDS OF FLORENCE Yearlong project celebrated with the reopening of the Renaissance architectural masterpiece on March 28, 2018: press conference 10:30 am and public event 6:00 pm Washington, DC....Friends of Florence celebrates the completion of a comprehensive restoration of the Capponi Chapel in the 16th-century church Santa Felicita on March 28, 2018. The restoration project, initiated in March 2017, included all the artworks and decorative elements in the Chapel, including Jacopo Pontormo's majestic altarpiece, a large-scale painting depicting the Deposition from the Cross (1525‒28). Enabled by a major donation to Friends of Florence from Kathe and John Dyson of New York, the project was approved by the Soprintendenza Archeologia Belle Arti e Paesaggio di Firenze, Pistoia, e Prato, entrusted to the restorer Daniele Rossi, and monitored by Daniele Rapino, the Pontormo’s Deposition after restoration. Soprintendenza officer responsible for the Santo Spirito neighborhood. The Capponi Chapel was designed by Filippo Brunelleschi for the Barbadori family around 1422. Lodovico di Gino Capponi, a nobleman and wealthy banker, purchased the chapel in 1525 to serve as his family’s mausoleum. In 1526, Capponi commissioned Capponi Chapel, Church of St. Felicita Pontormo to decorate it. Pontormo is considered one of the most before restoration. innovative and original figures of the first half of the 16th century and the Chapel one of his greatest masterpieces.
    [Show full text]
  • Lent Term 2010
    KING’SCOLLEGE CAMBRIDGE CHAPELSERVICES LENTTERM HOLYWEEKANDEASTER 2010 NOT TO BE TAKEN AWAY THE USE OF CAMERAS, RECORDING EQUIPMENT, VIDEO CAMERAS AND MOBILE PHONES IS NOT PERMITTED IN CHAPEL [ 2 ] NOTICES SERMONSAND ADDRESSES 17 January Dr Edward Kessler Director Woolf Institute of Abrahamic Faiths, Cambridge; Fellow St Edmund’s College 24 January The Revd Richard Lloyd Morgan Acting Dean 31 January The Revd Abi Smetham Assistant Curate of Sheffield Manor Parish 7 February The Revd Canon Michael Hampel Acting Dean and Precentor, St Edmundsbury Cathedral 14 February The Revd Canon Anna Matthews St Albans Cathedral 21 February The Very Revd Dr John Hall Dean of Westminster 28 February The Rt Revd Dr Richard Cheetham Bishop of Kingston 7 March The Revd Canon Brian Watchorn Assistant Chaplain Maundy Thursday Professor Ellen Davies Amos Ragan Kearns Professor, Duke Divinity School, North Carolina Easter Day The Revd Richard Lloyd Morgan Acting Dean SERVICE BOOKLETS Braille and large print service booklets are available from the Chapel Administrator for Evensong and Sung Eucharist services. CHORAL SERVICES Services are normally sung by King’s College Choir on Sundays and from Tuesdays to Saturdays. Services on Mondays are sung by King’s Voices, the College’s mixed voice choir. Exceptions are listed. ORGAN RECITALS Each Saturday during term time there is an organ recital at 6.30 p.m. until 7.15 p.m. Admission is free, and there is a retiring collection. There is no recital on 16 January; the recital on 20 February will last 30 minutes and start at 6.45 p.m. following the longer Evensong that day.
    [Show full text]
  • Organ Scholarship 2021-2022
    Organ Scholarship 2021-2022 The Dean and Chapter of St Davids Cathedral wishes to appoint an Organ Scholar for the academic year beginning in September 2021. The scholarship is an outstanding opportunity for a gap-year or post-graduate organist to gain valuable training and experience as a church musician and play a full part in the musical life of a busy cathedral. The period of the appointment is usually for one year with the possibility to extend for a further year if appropriate. Please note: all the details shown here are subject to change depending on developing government guidance, rules and laws surrounding COVID-19. The Organ Scholarship was set up in 2016. Previous holders of the position have gone on to hold organist-posts at Tewkesbury Abbey; Ely Cathedral; Magdalen College, Oxford and St George’s Chapel, Windsor. The current post-holder, Michael D’Avanzo, has been appointed Organ Scholar of Southwell Minster. The scholarship is generously supported by the Friends of Cathedral Music (FCM), and by an anonymous donor who wishes to support and encourage the performance of Tudor church music at the cathedral. The successful candidate will have an interest in, and be willing to spend an appropriate portion of their time studying, performing and promoting Tudor music. St Davids St Davids is situated in the beautiful Pembrokeshire Coast National Park, West Wales. It is surrounded by some of the finest coastline in Europe and offers an unrivalled range of outdoor activities including walking, rock climbing, surfing, swimming and hiking. St Davids is an extremely popular tourist destination and hosts around half a million visitors every year.
    [Show full text]
  • A Festival of Nine Lessons & Carols
    A FESTIVAL OF NINE LESSONS & CAROLS SUNDAY, DECEMBER 22, 2013 S T . P A U L ’ S E PISCOPAL C HURCH F AIRFIELD , C ONNECTICUT 2 ELCOME TO THIS SERVICE , which anticipates the great feast of the Nativity of Our Lord Jesus Christ. The liturgy of Lessons and Carols was first used in the chapel of King’s WCollege, Cambridge, on Christmas Eve, 1918, with the candle-lit splendor of the chapel, the prayers and scripture readings, the great hymns and the soaring music of the choir and organ standing in eloquent contrast to the darkness of a cold winter night and the tragic shadows of the recently concluded Great War. The intervening years have seen the worldwide broadcast of this service become a much beloved Christmas tradition. As in 1918, we in our own day turn again to these sacred words and songs in a world troubled by war, natural disaster, violence, and economic uncertainty. Tonight’s service is offered in the spirit of that first service at King’s, as a light shining in the darkness; with fervent prayer for peace, goodwill and understanding among all people rising amidst the strains of glorious hymns and carols. Although much of the music at this service is sung by the choir, the congregation plays a central role. Please listen intently, pray and sing with your heart and voice, as indicated below. Again, welcome ! Of course, a major part of this service involves the joining together of everyone in making a joyful noise to the Lord. Should your child be further inspired to the making of extended joyful noise while others are trying to listen, we do ask that you escort your little one to the gathering area or outside for a brief moment or two until he or she becomes more contemplative.
    [Show full text]
  • Design and Renovation Guidelines and Protocols
    GUIDELINES and PROTOCOLS for the DESIGN and RENOVATION of CHURCHES and CHAPELS First Sunday of Advent December 1, 2013 Catholic Diocese of Saginaw Office of Liturgy The Office of Liturgy for the Diocese of Saginaw has prepared this set of guidelines and protocols to be used in conjunction with those outlined in Built of Living Stones. This diocesan document attempts to give clearer direction to those areas that Built of Living Stones leaves open to particular diocesan recommendations and directives. All those involved in any design for new construction or renovation project of a church or chapel in the Diocese of Saginaw should be familiar with these guidelines and protocols and ensure that their intent is incorporated into any proposed design. Guidelines and Protocols for the Design And Renovation of Churches and Chapels Text 2009, Diocese of Saginaw, Office of Liturgy. Latest Revision Date: December 1, 2013. Excerpts from Built of Living Stones: Art, Architecture, and Worship: Guidelines of the National Conference of Catholic Bishops copyright 2001, United States Conference of Catholic Bishops, Washington, DC. Used with permission. All rights reserved. Excerpts taken with permission and appreciation from similar publications from the following: Archdiocese of Chicago; Diocese of Grand Rapids; Diocese of Seattle; Archdiocese of Milwaukee; Diocese of Lexington; Archdiocese of Philadelphia and Diocese of La Crosse. No part of these works may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without the permission in writing from the copyright holder. Printed in the United States of America For you have made the whole world a temple of your glory, that your name might everywhere be extolled, yet you allow us to consecrate to you apt places for the divine mysteries.
    [Show full text]
  • Self-Guided Tour of the Basilica 13
    Self-Guided Tour of the Basilica 13 This tour takes you from the baptismal 14 font near the main entrance, down the 12 center aisle to the sanctuary, then right to the east apsidal chapels, back to the 16 15 11 Lady Chapel, and then to the west side chapels. The Basilica museum may be 18 17 7 10 reached through the west transept. 9 The Bishops’ Museum, located in the Basilica’s basement, contains pontificalia of various American bishops, dating from the 19th century. 11 6 5 20 19 8 4 3 BASILICA OF THE Saint André Bessette, C.S.C. (1845-1937), founder of St. Joseph’s SACRED HEART FLOOR PLAN Oratory, Montréal, Canada, was canonized by Pope Benedict XVI on October 17, 2010. The statue of Saint André Bessette was designed 1. Font, Ambry, Paschal Candle by the Rev. Anthony Lauck, C.S.C. (1985). Saint André’s feast day is 2. Holtkamp Organ (1978) 8 January 6. 3. Sanctuary Crossing 2 4. Seal of the Congregation of Holy Cross 1 5. Altar of Sacrifice 6. Ambo (Pulpit) 9 7. Original Altar / Tabernacle 8. East Transept and World War I Memorial Entrance 9. Tintinnabulum 10. St. Joseph Chapel (Pietà) 11. St. Mary / Bro. André Chapel 2 12. Reliquary Chapel 17 13. The Lady Chapel / Baroque Altar 14. Holy Angels / Guadalupe Chapel 15. Mural of Our Lady of Lourdes 16. Our Lady of Victory / Basil Moreau Chapel 17. Ombrellino 18. Stations of the Cross Chapel / Tomb of A “minor basilica” is a special designation given by the Pope to certain John Cardinal O’Hara, C.S.C.
    [Show full text]
  • Benjamin Britten's Liturgical Music and Its Place in the Anglican
    Benjamin Britten’s liturgical music and its place in the Anglican Church Music Tradition By Timothy Miller Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording School of Arts, Communication and Humanities University of Surrey August 2012 ©Timothy Miller 2012 ProQuest Number: 10074906 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 com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10074906 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This study presents a detailed analysis of the liturgical music of Benjamin Britten (1913- 1976). In addition to several pieces Britten wrote for the Anglican liturgy and one for the Roman Catholic Church, a number of other works, not originally composed for liturgical purpose, but which fonction well in a liturgical setting, are included, providing a substantial repertory which has hitherto received little critical commentary. Although not occupying a place of central importance in the composer’s musical output, it is argued that a detailed examination of this liturgical music is important to form a fuller understanding of Britten’s creative character; it casts additional light on the composer’s technical procedures (in particular his imaginative exploitation of tonal structure which embraced modality, free-tonality and twelve-tone ideas) and explores further Britten’s commitment to the idea of a composer serving society.
    [Show full text]
  • Altars Personified: the Cult of the Saints and the Chapel System in Pope Pascal I's S. Prassede (817-819) Judson J
    Claremont Colleges Scholarship @ Claremont Pomona Faculty Publications and Research Pomona Faculty Scholarship 1-1-2005 Altars personified: the cult of the saints and the chapel system in Pope Pascal I's S. Prassede (817-819) Judson J. Emerick Pomona College Deborah Mauskopf Deliyannis Recommended Citation "Altars Personified: The ultC of the Saints and the Chapel System in Pope Pascal I's S. Prassede (817-819)" in Archaelogy in Architecture: Studies in Honor of Cecil L. Striker, ed. J. Emerick and D. Deliyannis (Mainz am Rhein: Philipp von Zabern, 2005), pp. 43-63. This Article is brought to you for free and open access by the Pomona Faculty Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Pomona Faculty Publications and Research by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Archaeology in Architecture: Studies in Honor of Cecil L. Striker Edited by Judson J. Em erick and Deborah M. Deliyannis VERLAG PHILIPP VON ZABERN . MAINZ AM RHEIN VII, 216 pages with 146 black and white illustrations and 19 color illustrations Published with the assistance of a grant from the James and Nan Farquhar History of An Fund at the University of Pennsylvania Bibliographic information published by Die Deutsche Bibliotbek Die Deutsche Bibliorhek lists this publication in the Deutsche NationalbibJ iographie; detailed bibliographic data is available on the Internet at dJttp://dnb.ddb.de> . © 2005 by Verlag Philipp von Zabern, Maim am Rhein ISBN- I0: 3-8053-3492-3 ISBN- 13: 978-3-8053-3492-1 Design: Ragnar Schon, Verlag Philipp von Zabern, Maim All rights reserved.
    [Show full text]
  • Robert Shay (University of Missouri)
    Manuscript Culture and the Rebuilding of the London Sacred Establishments, 1660- c.17001 By Robert Shay (University of Missouri) The opportunity to present to you today caused me to reflect on the context in which I began to study English music seriously. As a graduate student in musicology, I found myself in a situation I suspect is rare today, taking courses mostly on Medieval and Renaissance music. I learned to transcribe Notre Dame polyphony, studied modal theory, and edited Italian madrigals, among other pursuits. I had come to musicology with a background in singing and choral conducting, and had grown to appreciate—as a performer—what I sensed were the unique characteristics of English choral music of the sixteenth and seventeenth centuries. It was a seminar on the stile antico that finally provided an opportunity to bring together earlier performing and newer research interests. I had sung a few of Henry Purcell’s polyphonic anthems (there really are only a few), liked them a lot, and wondered if they were connected to earlier music by Thomas Tallis, William Byrd, and others, music which I soon came to learn Purcell knew himself. First for the above-mentioned seminar and then for my dissertation, I cast my net broadly, trying to learn as much as I could about Purcell and his connections to earlier English music. I quickly came to discover that the English traditions were, in almost every respect, distinct from the Continental ones I had been studying, ranging from how counterpoint was taught (or not taught) 1 This paper was delivered at a March 2013 symposium at Western Illinois University with the title, “English Cathedral Music and the Persistence of the Manuscript Tradition.” The present version includes some subsequent revisions and a retitling that I felt more accurately described the paper.
    [Show full text]
  • FESTIVAL of LESSONS and CAROLS for CHRISTMAS Royal Hospital Chelsea Wednesday 16 December 2020 WELCOME
    FESTIVAL OF LESSONS AND CAROLS FOR CHRISTMAS Royal Hospital Chelsea Wednesday 16 December 2020 WELCOME As Chairman of Combat Stress, our charity’s crucial support Happy I’d like to welcome you to our particularly while the ongoing annual Festival of Lessons and COVID-19 safety measures Christmas... Carols. This service, like most continue. The platform includes of 2020, is so very different to new self-help psychoeducation what we expected but we are so materials and intensive psychological pleased that you are able to join rehabilitation programmes delivered us virtually this evening and I remotely, such as live group-based CDS Defence & hope this programme will help webinars and workshops and 1:1 guide you through the event. assessments and treatment. Security wishes 2020 has been a year of huge COVID-19 has affected us all but Combat Stress and change for us all but when the some of those veterans with PTSD all its supporters a pandemic began in March, Combat and other complex mental health Stress was already part-way through conditions may have found it even restful Christmas & its own transformation to provide a harder to cope. We are doing all we peaceful New Year. refocused service for veterans with can to support those who so need complex mental health needs and our help but today we are 75% reliant their families. on donations from people like you. We rapidly adapted to support Please help make a difference to lives veterans during COVID-19 through of veterans by making a donation this the provision of online self-help evening via combatstress.org.uk.
    [Show full text]
  • The Preces, Responses, and Litany of the English Church: a By-Way of Liturgical History Author(S): J
    The Preces, Responses, and Litany of the English Church: A By-Way of Liturgical History Author(s): J. M. Duncan Source: The Musical Times, Vol. 61, No. 930 (Aug. 1, 1920), pp. 551-552 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/910321 Accessed: 09-01-2016 04:36 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 138.253.100.121 on Sat, 09 Jan 2016 04:36:50 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES-AUGUST I 1920 551 Lord, Cburcbanb Groan flnteic (8.) Cristjt. have mercyupon us: THE PRECES, RESPONSES, AND LITANY [ ] OF THE ENGLISH CHURCH: A BY-WAY OF LITURGICAL HISTORY BY J. M. DUNCAN Ky - ri -e e - le - i - son. Chris - - te e - le - i - son. [ The writerwishes to acknowledgethe help kindlygiven him bythe librarians of the various librariesnamed in this In the English Litany,however, for the sake of article,and also byMr. G. E.
    [Show full text]
  • Open Muroya Thesis.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF HISTORY A COMPARISON OF NORMAN ARCHITECTURE IN THE KINGDOMS OF ENGLAND AND SICILY Mikito Muroya FALL 2014 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in History with honors in History Reviewed and approved* by the following: Kathryn Salzer Assistant Professor of History Thesis Supervisor Mike Milligan Senior Lecturer in History Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT This study offers a comparison of the differing architectural styles and forms in the Norman Kingdoms of Sicily and England, exploring what exactly differed, as well as attempting to determine why such differences exist in each area. In the Kingdom of England, the Normans largely imported their own forms from Normandy, incorporating little of the Anglo-Saxon architectural heritage. There are in fact examples of seemingly deliberate attempts to eliminate important Anglo-Saxon buildings and replace them with structures built along Norman lines. By contrast, in the Kingdom of Sicily, buildings erected after the arrival of the Normans feature a mix of styles, incorporating features of the earlier Islamic, Byzantine and local Italian Romanesque, as well as the Normans' own forms. It is difficult to say why such variance existed, but there are numerous possibilities. Some result from the way each state was formed: England had already existed as a kingdom when the Normans conquered the land and replaced the ruling class, while the Kingdom of Sicily was a creation of the Norman conquerors; furthermore, the length of time taken to complete the conquest contrasted greatly.
    [Show full text]