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St William of York achieved the unique distinction of being elected archbishop of York twice and being canonised twice. Principally famous for his role in the York election dispute and the miracle of Ouse bridge, William emerges from this, the first full-length study devoted to him, as a significant figure in the life of the church in northern England and an interesting character in his own right. William's father, Herbert the Chamberlain, was a senior official in the royal treasury at Winchester who secured William's initial preferment at York; the importance of family connections, particularly after his cousin Stephen became king, forms a recurring theme. Dr Norton describes how he was early on involved in the primacy dispute with Canterbury, and after his father attempted to assassinate Henry I, he spent some years abroad with Archbishop Thurstan. William knew some of the earliest Yorkshire Cistercians, who were subsequently among his fiercest opponents during his first episcopate, which is here reconsidered in the light of new evidence: he emerges from the affair with much greater credit, St Bernard with correspondingly less. Retiring to Winchester after his deposition, he was elected archbishop a second time in 1153, but died the next year amid suspicions of murder. Miracles at his tomb in 1177 led to his veneration as a saint. The book concludes with the bull of canonisation issued by Pope Honorius III in 1226. Dr CHRISTOPHER NORTON is Reader in Art and Architecture at the University of York.
A beautifully illustrated study and catalogue of one of York Minster's famous and unique medieval stained glass windows. The window was painted in c.1414 to commemorate York's only saint, William Fitzherbert (Archbishop 1143-1154). His life, death and miracles are displayed in 95 large panels, all of which are described in detail and reproduced in this book. The introductory chapter forms a useful discussion of both stained glass and medieval worship.
Devotional Interaction in Medieval England and its Afterlives examines the interaction between medieval English worshippers and the material objects of their devotion. The volume also addresses the afterlives of objects and buildings in their temporal journeys from the Middle Ages to the present day. Written by the participants of a National Endowment for the Humanities-funded seminar held in York, U.K., in 2014, the chapters incorporate site-specific research with the insights of scholars of visual art, literature, music, liturgy, ritual, and church history. Interdisciplinarity is a central feature of this volume, which celebrates interactivity as a working method between its authors as much as a subject of inquiry. Contributors are Lisa Colton, Elizabeth Dachowski, Angie Estes, Gregory Erickson, Jennifer M. Feltman, Elisa A. Foster Laura D. Gelfand, Louise Hampson, Kerilyn Harkaway-Krieger, Kathleen E. Kennedy, Heather S. Mitchell-Buck, Julia Perratore, Steven Rozenski, Carolyn Twomey, and Laura J. Whatley.
"The medieval stained glass of St. Peter Mancroft, Norwich, is the most important collection in a country rich in this medium. The glass is of exceptional quality and was painted in the city. It reflects the personal, religious and political interests in Norwich's urban elite, who were worshipping in the leading parish church of one of England's largest cities." "This illustrated volume reconstructs the glazing of much of the eastern arm of the church using extensive documentary and antiquarian evidence. The windows provide opportunities for the discussion of narrative, display and audience, and the glass is set in a local and national stylistic context. There is biographical information relating to all known Norwich glaziers from 1400 to the Reformation; this will constitute a invaluable resource for stained glass studies in the future. The reader will also find details of the documentary evidence for the furnishing and liturgy of St Peter Mancroft; transcripts of all the documents relating to the church's medieval glazing; and descriptions of panels from Mancroft now in other collections."--BOOK JACKET.
Recasts the Reformation as a battleground over memory, in which new identities were formed through acts of commemoration, invention and repression.
For a period of almost five hundred years York Minster resembled a building site as different parts were added and altered before it finally became the building we see today. This detailed study of the construction and development of the minster draws on architectural recording carried out on the building by the RCHME and English Heritage since the early 1970s, as well as more recent discoveries and research, particularly on the stained glass windows. Each major building phase is discussed in turn: the construction of the transept, the Chapter House, the nave, Lady Chapel, western choir and central tower. The historical background to these phases reveals some of the financial, political and religious events that hampered and/or motivated the building phases and this, and issues of imagery and patronage, are all discussed.
Why were so many religious images and objects broken and damaged in the course of the Reformation? Margaret Aston's magisterial new book charts the conflicting imperatives of destruction and rebuilding throughout the English Reformation from the desecration of images, rails and screens to bells, organs and stained glass windows. She explores the motivations of those who smashed images of the crucifixion in stained glass windows and who pulled down crosses and defaced symbols of the Trinity. She shows that destruction was part of a methodology of religious revolution designed to change people as well as places and to forge in the long term new generations of new believers. Beyond blanked walls and whited windows were beliefs and minds impregnated by new modes of religious learning. Idol-breaking with its emphasis on the treacheries of images fundamentally transformed not only Anglican ways of worship but also of seeing, hearing and remembering.
With new photography, here is an opportunity to appreciate the detail of the famous windows of York Minster, and the ground plan provides a useful guide for visitors. The 128 windows of York Minster are the eighth wonder of the world; they illustrate the art and craft of glass painting, extending over nine centuries. York is also an international centre for the study and conservation of stained glass, ensuring its survival into the third millennium. Sarah Brown introduces the magnificent stained glass at York Minster. She provides an holistic overview, starting with evidence for the glazing of the pre-Conquest Minster and the earliest surviving glazing from the twelfth-century church. She then embarks on an extended tour of the Minster s windows, including the Five Sisters in the north transept, the Rose Window in the south transept, the famous Bell-Founder's Window in the north nave aisle, the Great West Window, often called the Heart of Yorkshire, and the magnificent Great East Window. A ground plan of the Minster enables every window to be located. This book will situate you inside the Minster itself, and is a must-have for any stained glass enthusiast.
The cult of saints is one of the most fascinating manifestations of medieval piety. It was intensely physical; saints were believed to be present in the bodily remains that they had left on earth. Medieval shrines were created in order to protect these relics and yet to show off their spiritual worth, at the same time allowing pilgrims limited access to them. English Medieval Shrines traces the development of such structures, from the earliest cult activities at saintly tombs in the late Roman empire, through Merovingian Gaul and the Carolingian Empire, via Anglo-Saxon England, to the great shrines of the fourteenth and fifteenth centuries. The greater part of the book is a definitive exploration, on a basis that is at once thematic and chronological, of the major saints cults of medieval England, from the Norman Conquest to the Reformation. These include the famous cults of St Cuthbert, St Swithun, and St Thomas Becket - and lesser known figures such as St Eanswyth of Folkestone or St Ecgwine of Evesham. John Crook, an independent architectural historian, archaeological consultant, and photographer, is the foremost authority on English shrines. He has published numerous books and papers on the cult of saints.