Search results
The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.
Sacrament of the altar, all burnt and reduced to dust, and thrown into the water which the Christians would drink, as soon as they drank it they would go mad and die. And in this way they would be revenged. [To obtain the heart, the Jews supposedly suborned a poor French nobleman, with many children and little with which to support them, promising him great
where parochial rights were being infringed. When, in 1311, the hermit of Cripplegate (London), Thomas de Byreford, 21 was found to have been hearing confessions, administering the sacraments, preaching, advertising indulgences, parading images of the saints through the streets, receiving offerings and burying the dead, all without licence, the bishop responded in the strongest terms. Translated from
Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.
This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.
’s beliefs, closely modelled on similar documents which had been produced in Germany and England in the previous fifteen years.13 Its 400 pages lead the reader through discussions of the Ten Commandments, the Apostles’ Creed, the seven sacraments and of prayer. It was, the council decreed, to be circulated to the clergy alone, ‘as much for the instruction of themselves as of the Christian people committed to their care’. It was not to be lent to the laity, except perhaps a few folk of exceptional gravity and piety. However, every Sunday and holy day, for half an hour, every
in the laying on of hands, but the bishop alone said, ‘Receive the Holy Ghost: whose sins thou dost forgive, they are forgiven: and whose sins thou dost retain, they are retained: and be thou a faithful dispenser of the word of God, and of his holy sacraments’. Priests then received the whole Bible and were exhorted, ‘Take thou authority to preach the word of God, and to minister the holy Sacraments in this Congregation’.8 Both ordination rites concluded with the bishop presiding at the Holy Communion, thus affirming unity in life, doctrine, and authority before
, Robert Wauchop, when the latter visited Ulster in the spring of 1550.4 It is also the case, moreover, that Dowdall conducted his defence of the eucharist without any identifiable reference to the papacy or, indeed, to any doctrinal statements emanating from Rome. Not only did he mount it before the Council of Trent’s decree on the sacrament of the eucharist was promulgated in October 1551, but his subsequent reconciliation with the papacy did not take place quite as quickly, or as seamlessly as the conventional view seems to suggest. Although his erstwhile rival
and very likely continued upon his return to England. 26 Indeed, in his A Treatise … of the Reall Presence of Our Saviour in the Blessed Sacrament , a much more polemical work written as we know very close to the same time as The Passions , Wright emphasises the fundamental importance of passion and the stimulation of the senses in the
handed these keys by an angel leaning through a painted window. In St Andrews in 1538, Mary of Guise was given the keys by ‘ane fair lady most lyke an angell’ who descended from a mechanised cloud. 10 Angels also had a visual presence in the pre-Reformation landscape. Images of angels decorated stone slabs and crosses, abbeys, tombs, sacrament houses, prayer books and books of hours, and church or castle walls. 11 Particularly common were angels playing string and wind instruments, often to celebrate Christ’s birth, or to evoke the joys of Heaven. There are well
merit reproduction. (i) John Paston III to John Paston II, November 1472 ( ibid ., I, p. 575): ‘My mother sends you God’s blessing and her’s, and urges you to get a new licence from my lord of Norwich so that she may have the sacrament in her chapel. I got a licence from him for a year, and it has almost expired. You should get it for the bishop’s life if