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Murray Stewart Leith and Duncan Sim

we associate with Pictish stones and early Christianity. But Scotland suffered, first from the Reformation whose Calvinists frowned on much medieval church art and this resulted in the loss of a lot of early stained glass and paintings. Second, the Union of the Crowns led to a loss of royal patronage and so it was not perhaps until the eighteenth century that a more recent distinctive Scottish art began to appear. Painters from that period, such as Allan Ramsay, Henry Raeburn and David Wilkie, were essentially portrait painters, often commissioned to record

in Scotland
King Lear and the King’s Men
Richard Wilson

in false gaze’ [ 1,3,19 ] stage-managed by Iago, a conspiracy theorist who abuses the other characters as his ‘Players’ [ 2,1,115 ], and whose name approximates to James. 46 If ‘what the stained-glass in the Great Hall at Hampton Court did’ for the Tudors, ‘ Macbeth did … for the Stuarts’, the commission was ironized by a tragedy in which life itself appears no

in Free Will
Abstract only
Ye goon to … Hereford? Regional devotion and England’s other St Thomas
Daniel Birkholz

Canterbury martyr’s position—whatever Chaucerian pilgrims’ tales may attest—as self-evident matrix for the realm’s sacred, political, and literary geography. This piece of stained glass, and the situation it invokes, has been little examined. During the six decades before the Black Death, however—a period coinciding with the lifetime of the Harley scribe—Thomas of Canterbury was obliged to share the country’s devotional attention, and to compete for his pre-eminent place in its landscape of sanctity, with another English St Thomas. This competitor was the holy and

in Harley manuscript geographies
Laura Varnam

Eamon Duffy argues, were examples of ‘complex space’ that were ‘based not around a single focal point – the high altar or pulpit – but subdivided into a series of distinct but overlapping enclaves, some more important and private than others, and representing different subgroups and interests in the broader community’.60 In the fourteenth and fifteenth centuries, church space began to be appropriated by wealthy nobles and influential local families who founded chantries and adorned the structure with images and stained glass that did as much to promote the earthly

in The church as sacred space in Middle English literature and culture
Department stores and the trade in interior decoration designs
Anca I. Lasc

, mirrors, as well as “Gothic” and other artistic stained-glass windows, for the latter of which the store could also provide models in watercolor.96 Au Bon Marché’s agents were also available to help arrange the furnishings that were not obtained directly from their store at the price of one franc and twenty centimes per hour.97 The nineteenth­-century department store thus functioned as a proto-interior designer in its own right, providing both furnishings and interior decorating services at the same time. The Grands Magasins du Louvre also positioned itself as an

in Interior decorating in nineteenth-century France
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Northumberland bodies unbound
Helen Barr

reach London, in his editing of MS Northumberland 455 Furnivall supplies a memory of that future destination from another borderline Chaucer work. Fresh from puzzling out stained glass windows in Canterbury Cathedral, the Interlude pilgrims become located in a spring Prologue that has been transported from the memory of the Chaucer window in Westminster Abbey. Canterbury to London via the Continent When we turn to the tale that takes the ‘fressh feleship’ out of Canterbury and back to London, it looks as though England gets left far behind. The Merchant’s telling of

in Transporting Chaucer
Evaluating commemoration and generational transmission of the special relationship
Robert M. Hendershot

a country and the people who lived there. And at the end of the day he didn’t think we should be divorced from England and the king.’ 34 It is noteworthy that reinterpreting Benedict Arnold’s life as a way of emphasizing Anglo-American linkage has been neither an isolated occurrence nor an exclusively British phenomenon. Arnold’s grave at St. Mary’s Church in Battersea, for example, has been marked by Americans with similar motives multiple times. An elaborate stained-glass tribute to Arnold was donated to the church by American Vincent Lindner during the 1976

in Culture matters
The challenge of a globalising world
Caroline Turner and Jen Webb

-Nazi resistance. He was eventually arrested by the Gestapo and hanged just weeks before the camp where he had been incarcerated was liberated by the US Army. Young interpreted this history in a work that responds both to the story and to a stained glass window in the Abyssinian Baptist Church in Harlem: in its vivid purples and greens, he states, it was one from which initially he ‘felt very distant … It was a black aesthetic which was as alien as Chinese opera to Western ears.’104 The glass, though, captures something of the vibrancy of local African American culture in the

in Art and human rights
Paul Greenhalgh

The interior of this early seventeenth century house was filled with furniture by William Morris and Company, with stained-glass windows by Edward Burne-Jones. The choice of architectural style and interior decor guaranteed a vision of aristocratic England in existence long before the industrial revolution. 25 The return to ‘Olde Englande’ had long and diverse

in Ephemeral vistas
Gervase Rosser

vision of the town community. 10 The monumental inscriptions embedded in the walls of the church of Long Melford announce at once the pride of successful wool-merchants and their desire to be remembered as contributors to a common religious purpose [ 110 ]. A stained-glass window in a York church, which combines text and pictures in a visionary prayer on the end of the

in Towns in medieval England