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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Industry and the Ideal
INDUSTRY AND THE IDEAL Ideal Sculpture and reproduction at the early International Exhibitions TWO VOLUMES VOLUME 1 GABRIEL WILLIAMS PhD University of York History of Art September 2014 ABSTRACT This thesis considers a period when ideal sculptures were increasingly reproduced by new technologies, different materials and by various artists or manufacturers and for new markets. Ideal sculptures increasingly represented links between sculptors’ workshops and the realm of modern industry beyond them. Ideal sculpture criticism was meanwhile greatly expanded by industrial and international exhibitions, exemplified by the Great Exhibition of 1851, where the reproduction of sculpture and its links with industry formed both the subject and form of that discourse. This thesis considers how ideal sculpture and its discourses reflected, incorporated and were mediated by this new environment of reproduction and industrial display. In particular, it concentrates on how and where sculptors and their critics drew the line between the sculptors’ creative authorship and reproductive skill, in a situation in which reproduction of various kinds utterly permeated the production and display of sculpture. To highlight the complex and multifaceted ways in which reproduction was implicated in ideal sculpture and its discourse, the thesis revolves around three central case studies of sculptors whose work acquired especial prominence at the Great Exhibition and other exhibitions that followed it. These sculptors are John Bell (1811-1895), Raffaele Monti (1818-1881) and Hiram Powers (1805-1873). Each case shows how the link between ideal sculpture and industrial display provided sculptors with new opportunities to raise the profile of their art, but also new challenges for describing and thinking about sculpture. -
Unclassified Fourteenth- Century Purbeck Marble Incised Slabs
Reports of the Research Committee of the Society of Antiquaries of London, No. 60 EARLY INCISED SLABS AND BRASSES FROM THE LONDON MARBLERS This book is published with the generous assistance of The Francis Coales Charitable Trust. EARLY INCISED SLABS AND BRASSES FROM THE LONDON MARBLERS Sally Badham and Malcolm Norris The Society of Antiquaries of London First published 1999 Dedication by In memory of Frank Allen Greenhill MA, FSA, The Society of Antiquaries of London FSA (Scot) (1896 to 1983) Burlington House Piccadilly In carrying out our study of the incised slabs and London WlV OHS related brasses from the thirteenth- and fourteenth- century London marblers' workshops, we have © The Society of Antiquaries of London 1999 drawn very heavily on Greenhill's records. His rubbings of incised slabs, mostly made in the 1920s All Rights Reserved. Except as permitted under current legislation, and 1930s, often show them better preserved than no part of this work may be photocopied, stored in a retrieval they are now and his unpublished notes provide system, published, performed in public, adapted, broadcast, much invaluable background information. Without transmitted, recorded or reproduced in any form or by any means, access to his material, our study would have been less without the prior permission of the copyright owner. complete. For this reason, we wish to dedicate this volume to Greenhill's memory. ISBN 0 854312722 ISSN 0953-7163 British Library Cataloguing in Publication Data A CIP catalogue record for this book is available from the -
Holy Trinity Church
Holy Trinity Church Ingham - Norfolk HOLY TRINITY CHURCH INGHAM Ingham, written as “Hincham” in the Domesday Book, means “seated in a meadow”. Nothing of this period survives in the church, the oldest part of which now seems the stretch of walling at the south west corner of the chancel. This is made of whole flints, as against the knapped flint of the rest of the building, and contains traces of a blocked priest’s doorway. In spite of the herringboning of some of the rows of flints, it is probably not older than the thirteenth century. The rest of the body of the church was rebuilt in the years leading up to 1360.Work would have started with the chancel, but it is uncertain when it was begun. The tomb of Sir Oliver de Ingham, who died in 1343, is in the founder’s position on the north side of the chancel, and since the posture of the effigy is, as we shall see, already old fashioned for the date of death, it seems most likely that it was commissioned during his life time and that he rebuilt the chancel (which is Pevsner’s view), or that work began immediately after his death by his daughter Joan and her husband, Sir Miles Stapleton, who also rebuilt the nave. The Stapletons established a College of Friars of the Order of Holy Trinity and St Victor to serve Ingham, and also Walcot. The friars were installed in 1360, and originally consisted of a prior, a sacrist, who also acted as vicar of the parish, and two more brethren. -
Artistic Identity in the Published Writings of Margaret Thomas (C1840-1929)
University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 1993 Artistic identity in the published writings of Margaret Thomas (c1840-1929) Lynn Patricia Brunet University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Brunet, Lynn Patricia, Artistic identity in the published writings of Margaret Thomas (c1840-1929), Master of Creative Arts (Hons.) thesis, School of Creative Arts, University of Wollongong, 1993. -
"Wherein Taylors May Finde out New Fashions"1
"Wherein Taylors may finde out new fashions"1 Constructing the Costume Research Image Library (CRIL) Dr Jane Malcolm-Davies Textile Conservation Centre, Winchester School of Art 1) Introduction The precise construction of 16th century dress in the British Isles remains something of a conundrum although there are clues to be found in contemporary evidence. Primary sources for the period fall into three main categories: pictorial (art works of the appropriate period), documentary (written works of the period such as wardrobe warrants, personal inventories, personal letters and financial accounts), and archaeological (extant garments in museum collections). Each has their limitations. These three sources provide a fragmentary picture of the garments worn by men and women in the 16th century. There is a need for further sources of evidence to add to the partial record of dress currently available to scholars and, increasingly, those who wish to reconstruct dress for display or wear, particularly for educational purposes. The need for accessible and accurate information on Tudor dress is therefore urgent. Sources which shed new light on the construction of historic dress and provide a comparison or contrast with extant research are invaluable. This paper reports a pilot project which attempted to link the dead, their dress and their documents to create a visual research resource for 16th century costume. 2) The research problem There is a fourth primary source of information that has considerable potential but as yet has been largely overlooked by costume historians. Church effigies are frequently life-size, detailed and dressed in contemporary clothes. They offer a further advantage in the portrayal of many middle class who do not appear in 1 pictorial sources in as great a number as aristocrats. -
The Companion to the 2015 Edington Music Festival
The Companion to THE EDINGTON MUSIC FESTIVAL A festival of music within the liturgy 23-30 AUGUST 2015 The PRioRy ChuRch of Saint MaRy, Saint KathaRine and All SaintS Edington, WeStbuRy, WiltShiRe THE COM PANION TO THE ED I NGTON MUSIC FESTI VAL Sunday 23 to Sunday 30 AuguSt 2015 Contents Introduction Benjamin Nicholas IntRoduction page 3 FoR Some, the fiRSt Edington MuSic FeStival in AuguSt 1956 iS Still within FeStival and geneRal infoRmation page 6 living memoRy, and it haS been wondeRful to heaR fRom Some of the SingeRS FeStival paRticipantS page 10 who weRe involved in that veRy fiRSt feStival. WhilSt the woRld outSide iS veRy, ORdeRS of SeRvice, textS and tRanSlationS page 12 veRy diffeRent, the puRpoSe of thiS unique week RemainS veRy much the Same: David TRendell page 48 a feStival of muSic within the lituRgy Sung by SingeRS fRom the fineSt CathedRal SiR David & Lady BaRbaRa Calcutt page 50 and collegiate choiRS in the land. It iS veRy good to welcome you to the Sixty yeaRS of Edington page 52 Diamond Jubilee FeStival. The Edington MuSic FeStival—commiSSioned woRkS page 54 TheRe haS been plenty to celebRate in Recent feStivalS, and the dedication of BiogRaphieS page 56 the new HaRRiSon & HaRRiSon oRgan laSt yeaR iS Still veRy much in ouR mindS. FeStival PaRticipantS fRom 1956 page 59 It may be no SuRpRiSe that the theme thiS yeaR iS inSpiRed by a cycle of oRgan woRkS by the oRganiSt-compoSeR Jean-LouiS FloRentz. The Seven movementS of hiS Suite LaUdes have influenced the StRuctuRe of the week: A call to prayer , Incantation , Sacred dance , Meditation , Sacred song , Procession and Hymn . -
Download 2003 Transactions
TRANSACTIONS OF THE Monumental Brass Society VOLUME XVII, PART 1 2003 Monumental Brass Society (Founded in 1887 as the Cambridge University Association of Brass Collectors) PRESIDENT Rev. Canon D.G. Meara, M.A., F.S.A. VICE-PRESIDENTS C. Blair, O.B.E., M.A., F.S.A. Miss N.R. Briggs, M.A., F.S.A. J. Coales, F.S.A. Rev. Fr. J.F.A. Bertram, M.A., F.S.A. P.D. Cockerham, M.A., Vet.M.B., F.S.A., M.R.C.V.S. Prof. N.E. Saul, M.A., D.Phil., F.S.A., F.R.Hist.S. HON. SECRETARY H.M. Stuchfield, F.S.A. HON. TREASURER M.A. Paige-Hagg, B.Tech., M.Sc. HON. EDITOR N.J. Rogers, M.A., M.Litt., F.S.A. HON. BULLETIN EDITOR L.A. Smith ADDITIONAL MEMBERS OF EXECUTIVE COUNCIL Miss S.F. Badham, F.S.A. J.C. Bayliss, B.A. D.A. Chivers, B.A.(Hons.) Prof. P.R. Coss, B.A., Ph.D., F.S.A., F.R.Hist.S. Rear-Admiral M.G.T. Harris, J.P. P.J. Heseltine D.R. Hutchinson, F.S.A. R. Knowles, F.S.A. Dr. S. Oosterwijk, M.A., Ph.D., F.S.A., All communications regarding membership, the general conditions of the Society, etc., to be addressed to the Hon. Secretary, H. Martin Stuchfield, Esq., F.S.A., Lowe Hill House, Stratford St. Mary, Suffolk CO7 6JX; editorial matter to the Hon. Editor, Nicholas Rogers, Esq., M.A., M.Litt., F.S.A., c/o The Muniment Room, Sidney Sussex College, Cambridge CB2 3HU, who will be pleased to supply Notes for Contributors and to discuss proposed articles. -
General Synod
GS 1708-09Y GENERAL SYNOD DRAFT BISHOPS AND PRIESTS (CONSECRATION AND ORDINATION OF WOMEN) MEASURE DRAFT AMENDING CANON No. 30 ILLUSTRATIVE DRAFT CODE OF PRACTICE REVISION COMMITTEE Chair: The Ven Clive Mansell (Rochester) Ex officio members (Steering Committee): The Rt Revd Nigel McCulloch, (Bishop of Manchester) (Chair) The Very Revd Vivienne Faull (Dean of Leicester) Dr Paula Gooder (Birmingham) The Ven Ian Jagger (Durham) (from 26 September 2009) The Ven Alastair Magowan (Salisbury) (until 25 September 2009) The Revd Canon Anne Stevens (Southwark) Mrs Margaret Swinson (Liverpool) Mr Geoffrey Tattersall QC (Manchester) The Rt Revd Trevor Willmott (Bishop of Dover) Appointed members: Mrs April Alexander (Southwark) Mrs Lorna Ashworth (Chichester) The Revd Dr Jonathan Baker (Oxford) The Rt Revd Pete Broadbent (Southern Suffragans) The Ven Christine Hardman (Southwark) The Revd Canon Dr Alan Hargrave (Ely) The Rt Revd Martyn Jarrett (Northern Suffragans) The Revd Canon Simon Killwick (Manchester) The Revd Angus MacLeay (Rochester) Mrs Caroline Spencer (Canterbury) Consultants: Diocesan Secretaries: Mrs Jane Easton (Diocesan Secretary of Leicester) Diocesan Registrars: Mr Lionel Lennox (Diocesan Registrar of York) The Revd Canon John Rees (Diocesan Registrar of Oxford) 1 CONTENTS Page Number Glossary 3 Preface 5 Part 1: How the journey began 8 Part 2: How the journey unfolded 15 Part 3: How the journey was completed – the Committee‟s clause by clause consideration of the draft legislation A. The draft Bishops and Priests (Consecration and Ordination of Women) Measure 32 B. Draft Amending Canon No. 30 69 Part 4: Signposts for what lies ahead 77 Appendix 1: Proposals for amendment and submissions 83 Appendix 2: Summary of proposals and submissions received which raised points of substance and the Committee‟s consideration thereof Part 1. -
Mary Shelley, Frankenstein, and the Spectacle of Masculinity Author(S): Bette London Source: PMLA, Vol
Mary Shelley, Frankenstein, and the Spectacle of Masculinity Author(s): Bette London Source: PMLA, Vol. 108, No. 2 (Mar., 1993), pp. 253-267 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/462596 Accessed: 24-02-2018 15:52 UTC 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]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to PMLA This content downloaded from 158.135.1.176 on Sat, 24 Feb 2018 15:52:34 UTC All use subject to http://about.jstor.org/terms Bette London Mary Shelley, Frankenstein, and the Spectacle of Masculinity BETTE LONDON, associate IN A STRIKING MEMORIAL to the Shelleys-commis- professor of English at the sioned by their only surviving child, Sir Percy, and his wife, Lady Shelley-the couple is impressed in the image of Michelan- University of Rochester, is the gelo's Pietd (fig. 1). Mary Shelley kneels, breast exposed, in the author of The Appropriated traditional posture of a Madonna humilitatis, supporting the lifeless Voice: Narrative Authority in body of her drowned god and idol. Superimposing a Christian Conrad, Forster, and Woolf narrative onto a notorious Romantic "text"-a scandalous life story ( U of Michigan P, 1990). -
Eighteenth-Century Sculpture and Its Interpretation
Eighteenth-century Sculpture and its Interpretation Malcolm Baker University of Edinburgh PhD (by Research Publications) 2003 Eighteenth-century sculpture and its interpretation Publications by Malcolm Baker submitted for Degree of Ph.D by Research Publications The following publications are submitted for the above degree: 1. Figured in Marble. The Making and Viewing of Eighteenth-century Sculpture, London and Los Angeles, 2000. (65,431 words) 2. Roubiliac and The Eighteenth-century Monument. Sculpture as Theatre, New Haven and London, 1995, 207-273, 382-387. (23,337 words) (The text submitted by the candidate forms part of a collaborative work by David Bindman and Malcolm Baker; the volume is made up of several distinct authorial contributions and the responsibility of each author for different parts is clearly stated in the publication.) 3. They are accompanied by a Critical Review (10, 956 words) (Total word length: 99, 724 words.) Appendix I: Catalogue of Roubiliac's Funerary Monuments, forming Part III of Roubiliac and the Eighteenth-century Monument, 275-359 Appendix II: A list of ten related articles. 1 and 2, along with the Critical Review, were written solely by me. The text included under Appendix I was written almost entirely by me but incorporates some material provided by David Bindman and Tessa Murdoch. The articles listed in Appendix II were written solely by me, except for one article of which I was the principal author, the co-authors being Alastair Laing and Colin Harrison. I also declare that none of the above mentioned writings have been submitted for any other degree or professional qualification. -
Archaeological Journal the Monumental Brasses of Bedfordshire
This article was downloaded by: [University of Exeter] On: 15 July 2015, At: 12:12 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London, SW1P 1WG Archaeological Journal Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/raij20 The Monumental Brasses Of Bedfordshire the Rev. H. Addington Published online: 14 Jul 2014. To cite this article: the Rev. H. Addington (1883) The Monumental Brasses Of Bedfordshire, Archaeological Journal, 40:1, 303-315, DOI: 10.1080/00665983.1883.10852092 To link to this article: http:// dx.doi.org/10.1080/00665983.1883.10852092 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. This article may be used for research, teaching, and private study purposes.