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Originally published in 1972, Themes and Images in the Medieval English Religious Lyric discusses themes and images in religious lyric poetry in Medieval English poetry. The book looks at the affect that tradition and convention had on the religious poetry of the medieval period. It examines the background of the lyrics, including the Latin tradition which was inherited by medieval vernacular and shows how religious lyric poetry presents, through a rich variety of images, the significant incidents in the scheme of Christ’s redemption, such as the Annunciation, the Nativity, the Passion and the Resurrection. It also considers the lyrics which were designed to assist humanity in the task of living in a Christian life, as well as those which prepared them for death.
The saints were the superheroes and the celebrities of medieval England, bridging the gap between heaven and earth, the living and the dead. A vast body of literature evolved during the middle ages to ensure that everyone, from kings to peasants, knew the stories of the lives, deaths and afterlives of the saints. However, despite its popularity and ubiquity, the genre of the Saint's Life has until recently been little studied. This collection introduces the canon of Middle English hagiography; places it in the context of the cults of saints; analyses key themes within hagiographic narrative, including gender, power, violence and history; and, finally, shows how hagiographic themes survived the Reformation. Overall it offers both information for those coming to the genre for the first time, and points forward to new trends in research. Dr SARAH SALIH is a Lecturer in English at the University of East Anglia. Contributors: SAMANTHA RICHES, MARY BETH LONG, CLAIRE M. WATERS, ROBERT MILLS, ANKE BERNAU, KATHERINE J. LEWIS, MATTHEW WOODCOCK
Examines the De Lisle hours of Margaret de Beauchamp, the De Bois hours (Dubois hours) of Hawisia de Bois, and the Neville of Hornby hours of Isabel de Byron.
The medieval wall paintings that remain in English churches are for the most part shadows of their former selves – the rare fragments of this beautiful art to have survived not only the Reformation but also successive waves of iconoclastic zeal and unsympathetic restoration. The whitewashed walls of most parish churches belie the riot of colour and decoration that once adorned them, but the remnants of paintings tucked into corners or rescued from later layers of paint help us to understand the role of art in medieval religion. Roger Rosewell here offers a guide to the role played by medieval wall paintings, as religious, didactic and commemorative works of art, telling the stories of those who created them and those who used them on a daily basis. He also compares and contrasts religious and domestic wall paintings, using beautiful colour photography throughout.
This volume offers a comprehensive introduction to and investigation of the multivocality of women’s experience in the Middle Ages. In medieval Europe women saw their role in the Christian Church and society progressively confined to conflicting models of femininity epitomised by the dichotomy of Eve/Mary. Classical views of gender, predicated on misogynistic dichotomies which confined women to matter and the corruption of the flesh, were consolidated in powerful male-dominated clerical institutions and widely disseminated. Towards the end of the Middle Ages, however, women’s corporeality and somatic spirituality contributed to and influenced burgeoning modes of piety centred around the cult of the Virgin Mary and the veneration of the suffering body of Christ on the Cross. This shift in devotional practices afforded women as bodily beings the space for an increased level of self-expression, self-realisation, and authority. Ranging from philosophical and theological enquiry to education and art, as well as medical sciences and popular beliefs, the essays in this collection account for the complexities and richness of the conceptualisations and lived experiences of medieval Christian women. The book will be especially relevant to students and scholars of religion and history with an interest in medieval studies and gender. Whilst expounding the key strands of thinking in the field, it engages with and contributes to some of the latest scholarly research.
The British Archaeological Association’s 2013 conference was devoted to the study of Westminster Abbey and the Palace of Westminster. It also embraced Westminster School, which was founded at the Reformation in the Abbey precinct. Collectively, these institutions occupy a remarkable assemblage of medieval and later buildings, most of which are well documented. Although the Association had held a conference at Westminster in 1902, this was the first time that the internationally important complex of historic buildings was examined holistically, and the papers published here cover a wide range of subject matter. Westminster came into existence in the later Anglo-Saxon period, and by the mid-11th century, when Edward the Confessor’s great new abbey was built, it was a major royal centre two miles south-west of the City of London. Within a century or so, it had become the principal seat of government in England, and this series of twenty-eight papers covers new research on the topography, buildings, art-history, architecture and archaeology of Westminster’s two great establishments — Abbey and Palace. Part I begins with studies of the topography of the area, an account of its Roman-period finds and an historiographical overview of the archaeology of the Abbey. Edward the Confessor’s enigmatic church plan is discussed and the evidence for later Romanesque structures is assembled for the first time. Five papers examine aspects of Henry III’s vast new Abbey church and its decoration. A further four cover aspects of the later medieval period, coronation, and Sir George Gilbert Scott’s impact as the Abbey’s greatest Surveyor of the Fabric. A pair of papers examines the development of the northern precinct of the Abbey, around St Margaret’s Church, and the remarkable buildings of Westminster School, created within the remains of the monastery in the 17th and 18th centuries. Part II part deals with the Palace of Westminster and its wider topography between the late 11th century and the devastating fire of 1834 that largely destroyed the medieval palace. William Rufus’s enormous hall and its famous roofs are completely reassessed, and comparisons discussed between this structure and the great hall at Caen. Other essays reconsider Henry III’s palace, St Stephen’s chapel, the king’s great chamber (the ‘Painted Chamber’) and the enigmatic Jewel Tower. The final papers examine the meeting places of Parliament and the living accommodation of the MPs who attended it, the topography of the Palace between the Reformation and the fire of 1834, and the building of the New Palace which is better known today as the Houses of Parliament.
Francis Cheetham's classic survey of English medieval alabasters includes a richly illustrated catalogue of the Victoria and Albert Museum's unparalleled collection. English alabasters represent a unique contribution to medieval art. Less sophisticated, perhaps, than other contemporary forms of religious art, they were a neglected area of study until this volume was first published in 1984. Stories from the New Testament and The Golden Legend were the most favoured subjects, and the numerous examples that survive in churches and museums throughout Europe attest to their wide and enduring appeal. FrancisCheetham examines here all aspects of their production and demonstrates how the panels and altarpieces can aid our understanding of life and devotional practice in medieval times. At the heart of this fascinating study is arichly illustrated catalogue of the 260 examples in the collection of London's Victoria and Albert Museum: a collection "so comprehensive that it would be possible to write a survey of the subject almost without recourse to pieces elsewhere," as Sir Roy Strong notes in his Foreword. Their division into subject categories is an invaluable aid to identification and classification. The late Francis Cheetham was an acknowledged expert on medieval English alabasters, and this reissue of his classic work will be welcomed by historians, art historians, collectors and dealers alike, taking its place alongside his Alabaster Images of Medieval England which was published by the Boydell Press in 2003.
Praised by reviewers as highly recommended, indispensable, and thorough, comprehensive, usable, and unquestionably useful, theChaucer Name Dictionary is the ultimate A-Z guide to the writer who stands at the head of the English curriculum. It provides full information on all the hundreds of proper names mentioned throughout Chaucer and essential to an understanding of his works. Each entry provides historical and/or literary definition, references to occurrences in Chaucer's works with explanations of the context, a list of related words, etymology, and a bibliography of primary and secondary works. Special Features The only reference source that identifies the hundreds of historical, literary, and mythological names mentioned in Chaucer, Provides reliable background information essential to understanding Chaucer's text, Alphabetical arrangement and clear format allow quick answers to reference questions, Includes an important Glossary of Astronomical and Astrological Terms, along with six astrological maps Suitable for courses in:Chaucer, Medieval English Poetry, Medieval Literature in Translation, Old and Middle English Literature, Glossary Also includes maps.
This book visits the fact that, in the pre-modern world, saints and lords served structurally similar roles, acting as patrons to those beneath them on the spiritual or social ladder with the word "patron" used to designate both types of elite sponsor. Chapman argues that this elision of patron saints and patron lords remained a distinctive feature of the early modern English imagination and that it is central to some of the key works of literature in the period. Writers like Jonson, Shakespeare, Spenser, Drayton, Donne and, Milton all use medieval patron saints in order to represent and to challenge early modern ideas of patronage -- not just patronage in the narrow sense of the immediate economic relations obtaining between client and sponsor, but also patronage as a society-wide system of obligation and reward that itself crystallized a whole culture’s assumptions about order and degree. The works studied in this book -- ranging from Shakespeare’s 2 Henry VI, written early in the 1590s, to Milton’s Masque Performed at Ludlow Castle, written in 1634 -- are patronage works, either aimed at a specific patron or showing a keen awareness of the larger patronage system. This volume challenges the idea that the early modern world had shrugged off its own medieval past, instead arguing that Protestant writers in the period were actively using the medieval Catholic ideal of the saint as a means to represent contemporary systems of hierarchy and dependence. Saints had been the ideal -- and idealized -- patrons of the medieval world and remained so for early modern English recusants. As a result, their legends and iconographies provided early modern Protestant authors with the perfect tool for thinking about the urgent and complex question of who owed allegiance to whom in a rapidly changing world.