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The Tudorbethan semi and the detritus of Empire
Deborah Sugg Ryan

depression and the fear of war are the chief promoters of the Tudoresque.7 Bertram’s thesis has much going for it. In the interwar years, the Tudor and Elizabethan periods were consistently represented as the crucial moments in the formation of British national identity. The British, or perhaps more accurately the English, have had a long-standing love affair with the Tudor period. From the eighteenth century, this was manifested across a range of visual and material culture – including architecture, furniture, ceramics, textiles, stained glass, advertisements, paintings

in Ideal homes, 1918–39
Zoë Thomas

with.48 Although detailed archival traces are extremely limited pertaining to women in the Arts and Crafts, loving, intimate partnerships between women who were professional pioneers were common and accepted.49 Mary Lowndes lived with her long-term partner and fellow stained-glass worker Barbara Forbes as ‘co-occupier’ with a maid at 259 King’s Road, Chelsea, across the early twentieth century.50 The short story Lowndes wrote about the two women artists – Cecilia and ‘Tinker’ – closely echoed the domestic situation of Lowndes and Forbes and provides a glimpse into

in Women art workers and the Arts and Crafts movement
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David Annwn Jones

glass? (cited in Wright, 2013 : 74) He is impugning the author of Otranto ’s famous weakness both for narratives involving phantoms and his hoards of gewgaws: rings, stained glass and cameos at Strawberry Hill. By ‘toys’, Mathias didn’t, of course, primarily mean children’s playthings but he was implying that the success of Gothic novels had

in Gothic effigy
Frank Grady

Man himself tells. Consider, for example, the role that Troy plays in the poem. As noted, the fall of that city is a type-scene of noble disaster that the Gawain-poet keeps carefully at the margins of his story. At first this seems like Chaucer’s plan, too; though images of the story are ‘y-wrought’ in the stained glass of the Dreamer’s chamber – the first thing he notices – the tale is merely mentioned, not narrated; it’s just a collection of names that stretches from Lamedoun to Lavyne. But when it comes up again, in the Man in Black’s list of the worthies whose

in Contemporary Chaucer across the centuries
Transhistorical empathy and the Chaucerian face
Louise D’Arcens

13 ‘In remembrance of his persone’: transhistorical empathy and the Chaucerian face Louise D’Arcens From the earliest manuscript images through to cinematic depictions, Chaucer’s face has been a key focus in the pursuit of transhistorical empathy – or, to use Stephanie Trigg’s term, ­‘congeniality’ – with the author. Along with the myriad translations, adaptations and continuations of his written works, Chaucer’s face has been portrayed repeatedly across subsequent centuries, in an array of media: illuminations, paintings, etchings, sculpture, stained glass

in Contemporary Chaucer across the centuries
Deathbed narratives and devotional identities in the early seventeenth century
Charles Green

, such as the smashing of stained-glass windows at St Andrew's Church in Tarvin. Like his sister, Bruen was later also commemorated in an innovative hagiographical biography. 36 While no evidence can confirm what specific aspersions were cast on Katherine by local Catholics (or how), this context points to the conditions under which deathbed publications were assembled, spurred by the snowballing nature of third-party intrigue and readers’ appetites for such materials. A wide range

in People and piety
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Eyal Poleg

Gospel’s message makes its appeal to followers via canticles and holy days, the church’s swell of organ notes and glitter of gold, the colours of its stained glass and altarpieces, the perfumes of its incense, the soaring spires of its cathedrals and shrines, the wafer’s placement on the tongue and the foot’s tread on the road to Calvary […] rather than individual or group exegesis of sacred texts’, Debray, Transmettre , p. 16 (and slightly revised in Transmitting Culture , p. 2). The reference to Cavalry – especially in its modern stone-encased re

in Approaching the Bible in medieval England
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Eyal Poleg

biblical lessons were read during Mass, in refectories, and in infirmaries, while Psalms were chanted day and night in monasteries and cathedrals. Educated priests knew the Psalter by heart, and such knowledge was steeped in the liturgy with its musical and performative strata. Biblical stories were likewise approached through a typological understanding evoked in exegetical works and taken up in manuscript illuminations, church murals, or stained glass windows. Thus, the narratives of the Song of Songs, a favourite reading among monastic communities, were seen as a map

in Approaching the Bible in medieval England
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Nijinsky, Delaunay, Duchamp
Mary Shaw

, même (Le Grand Verre) , 1915–23, Philadelphia Museum of Art. Bequest of Katherine S. Dreier, 1952–98–1. © Artists Rights Society (ARS), New York / Société des Auteurs dans les Arts Graphiques et Plastiques (ADAGP), Paris / Marcel Duchamp estate. I am referring of course to Duchamp’s Large Glass , La Mariée mise à nu par ses célibataires, même , with its written supplement, the notes of the ‘Green Box’ – negating the manner in which a stained-glass window reveals the truth inherent in images of god and man; and to Mallarmé’s Book – at once ‘a Theatre, whose

in 1913: The year of French modernism
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Cary Howie

the complicated, imperfectly present materiality of language, or history, or love, largely outstrips the more self-assured knowledge of critical discourse. I write these words, in other words, as at once a Puritan and a troubadour, a reluctant scholar and a poet manqué. If we can learn to see some of our all too familiar objects and concepts through the stained glass of lyric, we might see not just more vibrantly but more truly. If we can allow lyric voices and rhythms to recalibrate our senses, we may become alert to the very sensuousness of the world, even (in

in Transfiguring medievalism